Champions of Rokugan
Executive, communication and 3D visuals.
On this project, I had the role of graphic designer. I took elements put in place by the Monolith team to create new visuals for the Gamefound page or for communication.
The same goes for the creation of the 3D visuals: the idea was to take the already existing elements and put everything in place in a 3D scene with an atmosphere that highlights the game.
I also worked a little on the production of the game. I laid out the FR and EN game aids, corrected the maps and made the layout of the overlays for the maps.
I. Pre-campaign.
Crowdfunding campaigns involve pre-campaigns. This phase involved creating a few communication visuals using existing elements, as well as a visual presentation of the upcoming campaign.
This presentation visual is a long storytelling visual. It must therefore be visually appealing and coherent while remaining easy to read. This is the entry point for the Gamefound campaign, so it's very important that it's easy to read and makes you want to follow it.
II. Campaign: Presentation of the clans.
The clan presentation consisted of making a short, concise version (few visuals) with all the clans and a longer version of each clan with more visuals.
This work also required several tests and versions to arrive at a simple and satisfactory result. The goal was to feel the identity of the game while leaving room for a lot of important text.
Daily Reveals & Pledge of figs.
These two categories of visuals are intended to present the figurines that will be present in the game depending on the pledge you take (the higher the quality of the pledge, the more figurines there are).
The Daily Reveals are intended to showcase all the new figurines unlocked day by day during the campaign. These visuals are intended to show what the figurine in question looks like, but they are also intended to be attractive, which is why I also used the illustration associated with the figurine.
The fig pledge is more about being factual. It also needs to be attractive, but it does show the number of figures included in the box, and you have to try to stay close to reality.
Campaign communication.
I created some visuals for the campaign communication with the traditional 1:1, 16:9, 9:16 formats. The goal was to present some figurines in an attractive way and to create 3D to present different parts of the board.
For these 3Ds, the work was mainly to work on the view and the lighting atmosphere since I had already produced the entire 3D scene and all the elements of the game for the production (see a little further down).
Additional 3D for the campaign.
I also created a whole bunch of small 3Ds for the campaign, such as the acrylic tokens, the covers of the rules & scenarios, the figurines and the cards. These are fairly quick 3Ds to create, and their aim is to be factual so that the consumer can imagine what they are going to get.
III. Production : Aide de jeu.
Overall, a game aid is a reminder of the fundamental rules for playing one or more rounds of the game. It must be concise yet precise and take up as little space as possible. It was therefore important that I put in place an effective layout that would allow for as much information as possible while helping players find their way around.
This game aid, whether in English or French, required some back-and-forth to find the right balance between the number of rules to include and their layout. As you can see, having space on this type of support is a luxury.
3D visuals for rules.
For this part, the person in charge of the rules layout needed 3D supports. This helped him to be able to talk about the material (the dice), the setup of the game and the use of each board.
I had to understand the role of the game elements to be able to apply them in a 3D environment. Then I had to set up all the elements with scales corresponding to reality so that all the elements were represented in the right way. Once all this long part was done, I had to understand the general setup so that it was realistic compared to a real game. Finally, it was necessary to have a lighting atmosphere that highlighted the elements while remaining realistic.
Layout of overlays.
This work consisted of implementing lines on the tiles of houses, streets, and gates. These lines follow a specific gameplay code, and it was important to follow the code already implemented on the maps.
There were quite a few tiles (40 in total) and the goal was to make psd files that were easy to use for the person who was going to manage the manufacturing files (and that were efficient enough to go quickly on my side).
Cards corrections.
The only work I've done on the maps is the spelling correction stage and some image replacement.
The client provided me with PDFs of the corrected maps, and my role was to correct the in-design files and then replace them with their backup files. It's a quick and easy task, but it requires meticulousness.
