Updated version of FMP planning

1. FMP Planning/Pre-
Production
Will Anderson

2. Project
Concept
What do I plan to create?

3. Project Concept
• Whilst I was always certain that I wanted to create a 2D animated piece for my FMP, I wasn’t initially sure what area I wanted it to
be focused on. For my FMP last year, I created an opening sequence for a TV show, and so I wanted to try a different style for the
project this time around. As a result, I decided on creating an animated videogame trailer. It is going to be in the style of a
Metroidvania game – focusing on platforming and upgrading abilities within a large interconnected world. Inspirations for the idea
include Ori and the Blind Forest, the Shantae series, Hollow Knight and Bloodstained: Symphony of the Night, each of which are
instalments of the Metroidvania genre.
• The above-listed games all feature greatly different art styles, with Bloodstained using 3D models, Shantae using pixel art (until its
most recent instalment), and Ori and Hollow Knight having unique hand-drawn visuals. The styles of Ori and Hollow Knight are the
ones that appeal to me the most, as their larger emphasis on shadows and lighting in conjunction with their soft and smooth
character designs give the games a more inviting feel, at least to me. With this in mind, I want the art style for the game I am
creating a trailer for to share some similar ideas, such as the sharper black outlines in the foreground compared to the
backgrounds that Hollow Knight uses, as well as the lush backdrops and luminous lights seen in Ori.
• My top priority for my trailer is for it to excite and intrigue my target audience whilst also acting as a realistic representations of a
Metroidvania game. With this is mind, I plan to put emphasis on the variety of different locations that the player could
hypothetically travel to, the enemies they can expect to encounter and how they will develop new abilities and skills as they
progress through the game. To do this, I will create settings unique to one another that stand out on their own, giving the viewer a
clear idea as to the theme of the areas. This will include forests/jungles, oceans, temples, cities, underground caverns and more.
The characters and enemies found within these areas will reflect the settings, boasting visuals that fit with the backgrounds.
• The theme behind the overall setting of the game my trailer will be based on will be that of fantasy. However, I want to stray away
from the typical fantasy race/species conventions of the genre so that I can explore new ideas that take a different look at aspects
of real-life creatures. The basis for a lot of these things will include interesting combinations of existing features of various animals
as well as ideas that have come about in my head as puns (e.g. There could be a rock character called ‘Stalag the Mighty’, with the
name being a pun on ‘stalagmite’.

4. Project Concept – Plot Summary/Synopsis
• The following is a short summary of the plot behind my game:
• The island of Locovent is sinking. Ctholu, the colossal octopus that holds the land above the ocean, is weakening for some strange
reason (unknown to the world, four colossal creatures from the surrounding ocean have latched onto the octopus with their hook-
like tongues, and are dragging it down into the ocean for consumption). The resulting descent of the island is killing off its animals
and plantlife. The Mollu, sentient squid-like creatures, are one of the many species inhabiting the parts of the island located
underwater. Kaya (19), princess of the Mollu, is sent to the mainland with the task of discovering the reason behind ‘The Great
Collapse’ as well as a means of ending it. If she fails, the lands of the Mollu are sure to be devastated. With this goal in mind, Kaya
must awaken the four Sleeping Beasts of the land to help Ctholu hold the continent aloft and defeat the.
• Through her travels, she ventures to many lands, ranging from the lush Bubble Jungle to the red-hot Crimson Caverns, and as she
continues her quest, she is forced to interact with the various species of Locovent Isle, whether friend or foe. Whilst the tree-like
Mokabirk of the Bubble Jungle may prove to be friendly faces, the Magknight found deeper within the Crimson Cavenrs may be
less inclined for a friendly greeting. Pursuing through her journey, Kaya will be able to obtain new equipment and abilities to make
her better suited for facing the deadly foes that await her.
• The four main areas that Kaya will need to venture to are the peak of the Steamwork Spire, the heart of the Bubble Jungle, the
deep ravine at the bottom of the Crimson Caverns and the frozen Lake Vanilixe within the Snowy Tundra of the Drazmold
Mountain Range. At each of these, she will find Garouviin the Drazguul, the Blossomed Queen, the Nether Beast and Crystellia the
Pale Wolf. These colossal beings are located at the locations listed above respectively. With their aid, Kaya will be able to combat
the giants from the ocean’s depths and save Locovent Isle.

5. Existing Influences • In regard to video games, existing products that have
influenced my ideas for this game include members of the
Metroidvania genre such as Metroid, Castlevania, Hollow
Knight and Ori and the Blind Forest. Furthermore, games
from other genres including some instalments in The
Legend of Zelda series have also acted as inspiration.
• Both Hollow Knight and The Legend of Zelda: Breath of the
Wild have powerful, monster-esque creatures as their
primary antagonists. I personally like this sort of villain in
the concept of a video game, and want to explore how such
a threat to a large number of people would be responded
to by different nations and species. This includes how the
relationships between these different peoples would be
altered by such an overbearing threat. From Ori and the
Blind Forest, I took inspiration in regard to its heavy focus
on the actual setting of the game and how much of a part it
plays in the narrative. In Ori, the forest that the titular
protagonist lives in is dying from a sort of corruption. Whilst
I don’t want to simply take this exact scenario and paste it
into my own game, I do want the world itself to somewhat
feel like its own character. Castlevania is one of the two
games responsible for the naming of the Metroidvania
genre. With this in mind, I want to pay homage to the series
within my own works, as it has to have influence on the
gameplay-side of my idea by virtue of its importance to the
genre as a whole.
• However, it is important to note that for the various entities
and areas in my game, things of the real world have acted
as the primary influences, which I will discuss further on the
following slide.

6. Influence from Life
• The various creatures that I have invented for this game
are all anchored in influence to the real world. As
previously mentioned, a large basis for this is in
combining the aspects of various species or simply
coming up with ideas based on puns that I find amusing.
• One such species that I have created are a sentient race
of quid-like people named the Mollu, the name inspired
by the scientific classification Mollusca which makes up
about 23% of known marine life, including squid.
Features of different squid species have played a part in
different elements of the Mollu. One example of this
includes how many squid only see in black and white,
but have eyes that are extra-sensitive to light and able to
see extraordinary distances. With this in mind, I provided
the Mollu with a third eye that shares these
characteristics, whilst their front two eyes act more like
regular human eyes.

7. How Will I Create the
Animation?
• Before I begin the actual animating process, I need to develop concept art so that I have a basic idea of
what my characters and world should look like. For this, I used Adobe Photoshop, as its simple layer
system allows me to separate sketches outlines and colour onto individual levels. Additionally, its
‘opacity’ feature means I can leave the sketch layer on screen as I am creating the black ink outline,
allowing for a final look more accurate to the intended design. One other feature of Photoshop that I only
recently discovered is its ability to ‘select color range’. By selecting this, Photoshop will automatically
select every part of the image that shares the colour that I selected with the ‘eyedropper’ tool. This is
incredibly useful for shading, as it ensures that I only alter the look of the areas I intend to work on,
whilst also being a more accurate selection tool that the ‘quick select’ option.
• From a hardware standpoint, I will be using my Parblo Coast10 graphics tablet, which will allow me to
draw using a pen as opposed to with a mouse. Through this, I will be able to create much smoother line-
work in my drawings. One downside to this tablet it that the monitor displays slightly different colours to
what will actually be visible on the majority of people’s screens. For example, a yellow may actually be
more green-tinted than I intended. However, as this effect will occur for every colour, the overall colour-
scheme will remain consistent.

8. How Will I Create the
Animation?
• For the animation work, I will again use Adobe Photoshop. Earlier
in the college year, I purchased Toon Boom Harmony, a dedicated
animation software, with the intention of using it for this project.
However, I discovered that my graphics tablet wasn’t properly
supported by the software, and so it was unusable. However, I
believe that Photoshop will be sufficient for creating my
animation, and my work with it on previous projects gives me
confidence in my abilities.
• I will continuously refer back to my concept art and storyboards
when developing my animation to ensure that what I create
matches the intended aesthetic themes. Furthermore, my
concept art will ensure that I have plenty of variation in my
character and area designs, thus making sure that my animation
will remain interesting through its whole duration.

9. How will I Create the
Animation?
• A software that I only recently gained experience with through my
collaboration project with York Art Gallery is Adobe After Effects.
Whilst this software isn’t particularly useful for character
animations, its ability to easily alter the position, rotation and
opacity of different layers will work really well for a 2D-style
videogame. Uses include moving the backgrounds around the
screen as opposed to the characters to easily create the illusion of
movement. There will, of course, be exceptions where characters
move about the screen themselves as the background has a more
set position (e.g. when portraying boss fights in small rooms.
Additionally, by moving different layers of the environment at
different speeds, I will be able to create a sort of 3D effect that will
the ‘player’ feel more like they’re actually in the environment
through the introduction of depth. This is a very common feature of
many games in the Metroidvania genre.

10. Additional Production
• After I have finished my animation work, I intend to use any remaining time in the
production period to develop additional works to further develop my game
concept. The main idea I have for this is to develop an art book filled with concept
art of different characters and areas from my game. As I will be developing
concept art regardless of this additional product, developing this book wouldn’t
take too long as I will already have a lot of the necessary artwork created.
Furthermore, this book would work well as a means of giving additional
information about the world and narrative of my game to the reader, thus
ensuring that everything I create has some context to it.
• Other possible works that I could develop include merchandise, such as badges or
shirts. Sites like Redbubble would work well for actually creating this merchandise,
as the site allows for images to be printed onto clothing for selling. However, I will
prioritise the art book over this merchandise work as I believe it will work better
to expand on what is seen in the animated trailer.
• Additional, creating some box art would allow me to explore another element of a
video game product. I would be able to create this in Photoshop.

11. Reflection and Evaluation
• Throughout my project, I intend to keep a diary of my progress
through the pre-production and production processes. This will
involve recording my work as I create it, taking note of the software,
tools, hardware and techniques that I used to develop certain aspects
of my product. Furthermore, I will reflect back on my past works
throughout the college year as well as my last FMP. This will allow me
to see how I had developed over time, whilst also giving context as to
why I have decided to do certain things (e.g. how feedback from
previous projects has allowed me to introduce new reflections to my
evaluation).

12. Schedule
9 Production This week, I will be continuing to develop the many background areas of my animation. I want to prioritise getting these done after the player character animations as this
will ensure that my video presents a variety of different areas, something which my research has shown to be a very important (as well as popular) aspect of
Metroidvania games. This process will involve drawing the various layers involved in my areas before adding fitting animations that help the backgrounds come to life. It is
important that I save the different layers of the areas as separate files. Doing so will allow me to import them into Adobe After Effects separately, and thus I can have
them move across the screen at different rates to one another – creating sense of perspective and depth.
10 Production With my backgrounds done, I will be dedicating this week towards creating the animations for the boss enemies and prominent friendly NPCs of my game. I need to
ensure that I include a variety of movements and attacks for the different bosses which reflect the stature and nature of the enemies. For example, a big enemy with a
club could have an animation where they slam their club into the ground and the room shakes. Additionally, I will create a title-card for my game which will feature at the
end of the video.
11 Production In this week, I will be animating the less-important enemies found throughout the different areas of my game. It is important that the animations for these enemies
reflect the actions of my player character, as she may end up killing some during the video. With all my animations complete, I will import them all into Adobe After
Effects, where I will ensure that they all fit with one another (e.g. a boss enemy flashing to represent taking damage as they get hit by the player character). I will also
import the music that I commissioned into the software so that I can ensure the visuals sync up with it.
This week, I will be requesting peer feedback as I believe I will be at a point where my work as been sufficiently edited together so that the general structure is
understandable.
12 Production For the last week of my animation production, I will continue to edit my animations together in After Effects. When this process is completed, I will render and export the
animation as an MP4.
13 Production This final week will entail the creation of my additional production work, namely my concept art/lore book. I will need to develop multiple pages featuring the concept art
created during pre-production as well as accompanying text providing information about the characters and locations.
14 Evaluation Beginning this week, I will be looking back over my work, beginning with my Theory, and evaluating the positive and negatives of what I did as well as how I could
potentially improve on what I have done in future works.
15 Evaluation/Presenta
tion
For the first half of this week, I will focus on ensuring my evaluation is completed to a high standard. Additionally, I will make sure that my reflective diary is up to date.
16 Presentation This week I will be creating and editing together a video which shows the creative process behind the development of my products whilst also showing off the final pieces.
17 MODERATION ----------
18 Show Preparation For this week I will be focusing my efforts on preparing my production work for showing to an audience. This will involve ensuring that I have all the necessary equipment
for displaying my work.
19 Show During the show event, I plan to screen my animation whilst also presenting copies of my concept art/lore book at a stall. I will also attempt to gather feedback from
people at the event to utilise in a further evaluation.

13. Equipment List
Equipment What Will I Use it For?
Laptop This will be the hub for all of my work on this project. It has access to the entire
Adobe Creative Suite and has all my emails set up on it for easy access. I have
ensured that it has plenty of space available for saving files.
Parblo Coast10 Graphics Tablet This tablet will enable me to draw using a pen instead of a mouse, thus allowing
for much smoother line-work in my drawings. As the tablet has its own monitor
which Photoshop will be open on, I will have my laptop’s main screen be available
for reference images, written work, or any other important piece of my project –
allowing me to quickly look between the two screens when necessary.
Memory Stick(s) A memory stick provides a means of transferring files from one computer to
another. Whilst I could email some files across to different computers, some may
be too large to be sent this way. Thus, I can use a memory stick to transport them
across. Additionally, I have access to a memory stick which allows for files from
micro USB chips to be put onto computers via a USB port, thus ensuring I will be
able to utilise any footage that I may obtain from cameras.
Adobe Photoshop I will be using Photoshop for the bulk of the pre-production and production
processes. As previously mentioned, it will me to create detailed drawings for
concept art as well as the required animation for the production via its ‘timeline’
window.
Adobe After Effects After Effects will work well for animating the backgrounds moving across the
screen to create the illusion of movement in all directions (e.g. whilst jumping,
running, etc.)
Adobe Premiere This is where I will be making the post-production edits to my project. Premiere
will allow me to cut videos and music to ensure they properly sync up whilst also
providing a means of editing the speed of an animation as well as its location on
the screen.

14. Concept Art

15. Player Character
• What is important for their design?
- It is visually appealing to the player
- It has a complementary colour scheme
- It stands out against the background
- It fits with the aesthetic of the game’s world
- It is suitable for animation (design shouldn’t be too complicated)
- Distinct silhouette

16. Player
Character
Design
Mind Map

17. Colour Scheme

18. Functionality

19. Animations

20. Silhouette

21. Player Character Mood Board

22. Player Character Concept Art - Face
Design 1 Design 2 Design 3 Design 4

23. Player Character Concept Art - Face
Design 1 Design 2 Design 3 Design 4
Positives The dorsal fin atop the head acts as a
simple way of giving the head a
symmetrical look, working as a sort of
half-way divider. Additionally, the shape
of the red section of the head sort of
looks like a helmet, which I quite like as
it suits well with the character’s constant
engagement in combat throughout the
game.
Whilst I don’t feel that this design would
suit the player character very well, I
think that it would work well for a
background character of the same
species. It isn’t attention grabbing or
unique enough to make the player
character stand out,
I find this design to be quite aesthetically
pleasing, if not a bit simple. The three
tendrils work well to give the design a
symmetrical look, whilst the three eyes
located at each one’s front stop the
design from feeling too barren like
design 2 is.
The fins on either side of the head make
the design far more interesting than the
previous iterations. Additionally, the
angular look of these fins makes the
design feel more agile, fitting with the
intended gameplay. With these fins, the
head has an overall roundish shape. I like
this, as it stops the character from
feeling too hostile, instead giving a more
friendly appeal to them. With a mixture
of angular and round, this character
feels more like a feisty friend than an
enemy.
Negatives The design looks a bit too flat at the top,
making the head look much squarer than
intended. Given the quick and agile
playstyle I plan to have for the character,
a more angular look would be more
fitting.
This look doesn’t really have much to
make it particularly stand out, which
could risk the character not feeling
unique amongst others of their species.
I could potentially face some issues with
animating this head, as the design could
potentially be too detailed and thus take
more time to animate.
Final Thoughts I really like this design. I believe that it is
interesting enough to make the
character stand out whilst not being so
overly detailed that it is difficult to
animate. Whilst I don’t plan to use this
for the player character, as I prefer the
face in Design 4,
This is definitely my least favourite of
the four designs. I feel that it is too
boring and visually unappealing to be
used for the player character.
Whilst I like this design, I feel that I can
still improve upon it. I want to combine
elements of both this design and design
1 to produce a superior look that is
aesthetically pleasing and interesting,
whilst also allowing the character to be
unique amongst others of its species.
This is by far my favourite of all the
designs. I feel it fits well with to
emphasise the quick, agile playstyle that
I have in bind for the character I really
like the addition of pink blotches as they
more accurately reflect the look of real-
life squids. The fins are the part that I
like the most, and with all this in mind I
have decided that this is the design I will
be using for the player character’s
face/head.

24. Player Character Concept Art – Face Final
Look

25. Player
Character
Concept Art
– Full Design
These were the three potential designs that I came up with for the player character. They all share some similar
features, such as the blue cowl/cloak. Additionally, I felt that the head didn’t need to be changed after the first
design, and so I kept it the same for each potential look.
Design 1 Design 2 Design 3

26. Player Character
Design 1 Design 2 Design 3
Positives Simple yet aesthetically pleasing colour
scheme. Only uses 3 different colours,
preventing the look from being overly
complicated. Dress will allow me to not
bother animating the arms for most
animations.
The design no longer looks to similar to
Hornet. The legs have more detail put on
them, fixing the issue of them feeling too
empty. Whilst the ratio for each colour used
has changed, the same 3 are found in this
design, keeping the colour scheme simple
and comprehendible.
Extending the cowl to be more cloak-like
keeps the aesthetic of the design that I liked
in the previous two whilst allowing the arms
to be covered. Whilst the brown boots do
introduce a 4th colour to the design, they
work really well to give the legs a bit more
detail whilst keeping the design looking light
and nimble. The dress from the first design
has sort of found its way into this one, albeit
far smaller and mostly covered by the cloak.
Negatives I believe that the red dress makes the
design feel too similar to Hornet’s from
Hollow Knight. Additionally, the legs feel a
bit empty compared to the rest of the
design, kind of looking as if the character is
wearing leggings without any footwear.
The removal of the dress leaves the arms
exposed, meaning I will have to animate
them for each movement of the character,
thus making the process for complicated
and time consuming. Additionally, the steel
armour makes the design feel quite
weighted, which will cause it to not fit well
with the fast, acrobatic movements I plan to
create for the trailer.
As mentioned above, the brown of the
boots introduces a 4th colour to the design,
something that I was hoping to avoid.
However, looking back at the design I
believe that this issue is extremely minor, as
the boots aren’t distracting from the rest of
the design.
Reasonings
Final Thoughts Whilst I like the look of this design, its
similarities to Hornet as well as the off
putting design of the legs has made me
decide not to use it for my production.
However, the features that I do like, such as
the head and cowl, influence the further
designs of the character.
Whilst this design fixes some of the issues
that I was having with design 1, it introduces
new problems that would seem counter-
intuitive to utilise. With this in mind, I will
not be using this design in the animation.
This is definitely my favourite of the three
designs. It hits all the points for a player
character design that I listed earlier in this
PowerPoint and fits with the sort of look I
had in mind for the character in my head. To
conclude, this is the design that I will be
using for my trailer.

27. Friendly NPCs

29. Friendly NPCs – Ink Baron

30. Friendly NPCs – Coral Shaman

31. Friendly NPCs - Blossa

32. Friendly NPCs - Ampora

33. Friendly NPCs - Saucle

34. Area Enemies
These are smaller, less important enemies that can be repeatedly found throughout the game’s
many areas. Given this, I have put less emphasis on creating detailed character sheets for them,
instead deciding to display their designs as they would appear for their in-game sprites.
Gameplay-wise, these enemies will either attack the player on sight, or continue on their set path,
damaging the player if they happen to make contact.

36. Area Enemies
Stalag Honeyshrew Magmole Shrubbersheep
Shellbert Hopple Ghillia Shell Warrior

37. Keel Scuttlebug Buzzlefly Loppin
Area Enemies

38. Friendly/Passive Creatures

39. Boss Enemies
These enemies are more important than the general area enemies, and so I have
included different-angled shots of the designs as well as details about their battle-
style, location and more.

40. Boss Enemies
Magknight
Area: Crimson Caverns
Manoeuvrability: Low
Attack Style: Slow and Heavy
Attacking moves: Shield Charge – Charges forwards
with shield held OutFront
Furnace Spew – Opens up furnace
on stomach, spewing lava in a
large area Infront of the
Magknight.
Sound Effects: Heavy stomping, clanking armour,
sizzling lava,

41. Boss Enemies
Aracha
Area: Bubble Jungle
Manoeuvrability: Medium
Attack Style: Slow and Heavy
Attacking moves: Leg strike – Stabs downwards at the
ground with one of its legs, skewering anything it hits
Mossy Silk –Shoots a string of moss at its
target, reeling them in like a fishing line
Sound Effects: Heavy stomping, scraping wood, whipping
sound for mossy silk attack.

42. Boss Enemies
The Hoodlum
Area: Unique Hoodlum Boss Room Area
Manoeuvrability: Extremely High
Attack Style: Quick and light
Attacking moves: Slash– Swipes at its target with its sharp
arms
Air Cutter – Jumps upwards, digging its
arms into the ground upon impact. Sends two shockwaves
forwards, damaging anything they hit.
Sound Effects: Upbeat cries (sort of like Mario, but less
outrageously Italian), exaggerated slashing knife sound,
whirling wind for air cutter attack.

43. Boss Enemies
Shulk
Area: Abyssal Reef
Manoeuvrability: High
Attack Style: Charged attacks, but quick when they are
ready.
Attacking moves: Leap – Jumps forwards onto its target,
causing damage
Beam Shot – Points its tail towards its
target. Charges for a few seconds, emitting a flashing light
which shows the attack’s trajectory. When ready, fires beams
of energy in quick succession.
Sound Effects: Scuttering legs on rocky surface, otherwise
mostly silent.

44. Boss Enemies
Hydragon
Area: Abyssal Reef
Manoeuvrability: Medium
Attack Style: Dives into walls and ground, quickly emerges
from different spots
Attacking moves: Bite – Lunges at the target, biting at it with
its razor sharp teeth.
Surface Dive – Crawls through a wall or the
ground, reappearing moments later by leaping out of the
surface.
Sound Effects: Ground moving at it traverses through the
area’s surroundings, loud clash when teeth meet as it bites.

45. Bosses Size Graph

46. Areas/Locations Design

48. World Map
Where the Abyssal Reef
would be
Where the Snowy Tundra
would be
The Crimson Caverns would be
located underground, and so
aren’t visible on this map
Where the Steamwork
Spire would be

49. Bubble Jungle Mood Board

50. What is the Bubble Jungle?
Located by the North-East coast of the Island, the Bubble Jungle is a
large area of trees that has been overrun by the neighbouring coral
reef. Many aquatic flora have evolved to survive above the water’s
surface, leading to the jungle’s colourful foliage, which contrasts heavily
with the dark green trees. Included in this flora are the Bubble Bushes,
which act as the namesake for the jungle.
Most of the creatures here have adapted to the jungle’s dense plantlife,
evolving to have camouflage to aid in both hiding and hunting. Some
creatures, such as the Ghillia, have evolved to disguise themselves as
potential food to lure in prey.

51. Crimson Caverns Mood Board

52. What are the Crimson Caverns?
• This is an underground area filled with magmatic activity. Pools of
molten rock can be found everywhere, giving the cave system an
extremely high temperature. The inhabitants of the Crimson Caverns
are well adapted to the environment, typical having heat-resistant
skin, or even incorporating magma into their anatomy.
• The cave system extends across the entire island, and is the cause of
the many natural hot springs found on the surface. Most above-
ground species struggle to traverse these depths due to the intense
temperatures, and so the systems are instead dominated by
subterranean species.

53. Steamwork Spire Mood Board

54. What is the Steamwork Spire?
• Located in Limiern City, the Steamwork Spire is a tall building restricted
from the city’s residents. The reason for this is that an unknown creature
has begun to live at the Spire’s peak, causing the clockwork machinery built
to defend the tower to activate an aggressive module. However, as the
machinery cannot reach the creature, they have been unable to complete
their objective for many years. This has damaged them, causing them to
become extremely hostile to any outside entity as they falsely identify
them as potentially being the creature they are supposed to be attacking.
• The tower is filled with steampunk machinery, powered by the steam risen
from the ground due to the heat of the Crimson Caverns. This power
source has allowed the residents to have particularly advanced technology
compared to other regions and nations.

55. Abyssal Reef Mood Board

56. What is the Abyssal Reef?
• Many parts of the island of Locovent are underwater due to the
octopus that it is atop of living relatively deep underwater (it is purely
its huge size that allows for the majority of the island to exist above
the ocean’s surface). The Abyssal Reef is one of these areas, and is
home to many peculiar marine species. Its depth means that little
light from the sun reaches the area, and so much flora and fauna have
evolved luminescent body parts to entice prey.

57. Snowy
Tundra
Mood Board

58. What is the Snowy Tundra?
• This is an area of mountains located in the South-East area if the island. The
heights of these mountains causes the area be dominated by cold, leading to the
snow covered planes. Magmatic activity is especially prominent underneath this
region, and so there are many large hot-springs located in the Tundra. These
springs are popular locations for outsiders to visit, and the residents of the region
have taken advantage of this. Most of the larger hot-springs have been converted
into tourist destinations, leading to small towns being grown from small taverns
stationed by the springs.
• The fauna of this region are well adapted to the cold, boasting thick fur or wool to
combat the incredibly low temperatures. Many species will often travel to the
hot-springs for warmth and enjoyment, and so residents must be careful to avoid
these particular springs.
• As well as snow, the Tundra has many glaciers and icicles found throughout it.
These are specially prominent higher up the mountain range.

59. Storyboard