Game Development - Task 2: Art Asset Development
Lew Guo Ying / 0365721 / Bachelor of Design in Creative Media
Game Development
Index
Lectures
Week 5
In Week 05, we were taught
how to take any character image—regardless of art style—and prepare it for
animation. First, we imported the image into
Photoshop, where we used
layer separation to divide the body into parts such as the
head, torso, arms, legs, and hands. It was crucial to name each layer clearly (e.g.
UpperArm_L,
Head) to avoid confusion later
during rigging and animation. Once all body parts were neatly separated, we
saved the file as a
.psb (Large Document Format), which Unity supports for complex rigs.
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| Fig1.1 Week 5 Lectures Video |
Week 6
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| Fig1.2 Sprite sheet animation |
Week 7
Instructions
Requirement
For Task 2: Art Asset Development, students are required to create a comprehensive set of visual assets for their game projects. This task spans from Week 05 to Week 07, with the final submission due in Week 07. The development process involves designing various elements such as characters, environments, items, props, obstacles, as well as power-ups and HUD (Heads-Up Display) interfaces. The goal is to showcase a thoughtful approach that reflects the audience, purpose, and context of the game.
Submissions must be made in PDF or Google Doc format, and students are also expected to publish their work as part of their reflective e-portfolio posts. This not only demonstrates technical skill, but also critical thinking and conceptual development—key competencies emphasized by Taylor’s University Design School. A total of 20% of the final grade is allocated to this task, underlining its importance.
To score well, it is encouraged to include extensive documentation, behind-the-scenes sketches, multiple concept variations, and clear development processes. Adding annotated visuals and process breakdowns can enrich the submission, making it appear more in-depth and comprehensive.
1. References
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| Fig2.1.1 Task Distribution |
To start, we created a shared FigJam board where we could collect visuals and connect them with earlier concept documentation. This setup helped us coordinate our ideas, maintain consistency, and split tasks logically across our group. As we started to define the game’s structure, we proposed two main levels, each featuring a unique set of enemies and a boss. We also brainstormed an optional secret dungeon area, which would act as an in-game easter egg.
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| Fig2.1.2 Blood Moon Monster |
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| Fig2.1.3 Enemies |
For the enemy designs, I took the lead. We split them into two distinct levels to avoid repetitive encounters. The first level was set in a pyramid and featured enemies like the Sandpot, Mummy, and Undead Cat. The second level, themed around a desert setting, included the Sand Pirate, Fox, and Scorpio. The Skeletal Monster was designed as a dungeon-specific enemy.
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| Fig2.1.4 Enemies References |
Each monster had distinct behaviors:
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Skeletal Monster: uses ranged attacks like bone throws and flaming arrows.
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Sand Pirate: appears in groups of three; one melee with a sword and two archers.
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Fox: attacks with sound waves and a charm effect that immobilizes the player.
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Scorpio: shoots venomous projectiles from its tail and attacks in melee with claws.
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Sandpot: may explode, reveal rewards, or transform into enemies upon interaction.
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Mummy: mid-range attacker that uses bandages to slow or bind players.
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Undead Cat: fast, shadow-dwelling creature that causes bleeding over time.
This breakdown not only guided our visual reference search but also laid the groundwork for balanced gameplay and interesting encounters.
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| Fig2.1.5 Minions References |
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| Fig2.1.6 Golden Scarab |
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| Fig2.1.7 Minions Types |
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Fighter Minions are agile companions that follow the player and engage in melee combat:
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Mummy Cat: Fused from the Mummy and Undead Cat, it performs swift melee attacks and has moderate health.
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Howling Scorfox: A fusion of the Scorpio and Fox, it attacks with both tail strikes and claws, and can launch poison projectiles.
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Shield Minions are defensive units that protect the player:
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Bone Wrap Shield: Made from Skeletal Monster and Mummy, it appears as a bone barrier in front of the player, absorbing damage before shattering.
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Spiked Clay Wall: A stationary wall created from Sandpot and Scorpio. It taunts nearby enemies and explodes upon taking enough damage, dealing area damage.
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Turret Minions stay in place and provide ranged support:
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Fox Turret: Fused from Fox and Sandpot, this turret shoots sonic projectiles from a fixed location.
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Sandshot Ballista: Built from Skeletal Monster and Sand Pirate, it fires magical bone missiles—slow but powerful.
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We gathered visual references for each of these fusions and took care to ensure their abilities reflected both source creatures. These combinations emphasize the fusion of soul and flesh, forming mysterious beings that inspire players to discover new recipes and tactical uses.
One of our design challenges was how to implement a soul-detection system—how does the game recognize what monster souls the player has collected, and how do players combine them? This opens up future opportunities for crafting systems and UI innovations.
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| Fig2.1.8 Boss References |
For the two main levels in our game, we designed distinct and lore-driven boss characters that serve as both narrative anchors and gameplay challenges.
The first boss, named Tomb Keeper, is a zombie giant who acts as the guardian of the pyramid. Wrapped in decayed funeral cloth and carrying a heavy coffin on his back, he is bound by ancient runes. Inside the coffin lies the corpse of Sahira, whose lingering resentment has corrupted the pyramid and mutated its inhabitants. The Tomb Keeper, tormented by this energy, has become violent and seeks to destroy everything in sight.
His combat style evolves across phases:
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Initially, he attacks using a pharaoh's blade and a long spear.
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When enraged, he breaks free from his chains and swings the coffin itself, dealing AOE knockback damage.
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He can also summon Skeletal Monsters as reinforcements and trigger bone explosions as area attacks.
However, his attacks can be effectively blocked by Shield-type minions, giving players a strategic defense option.
The second boss, known as the Priest of Anubis, dwells deep within the Forgotten Sands. This ancient figure has long since lost touch with time, with only the whispers of the desert hinting at his presence. He appears as a jackal-headed figure cloaked in golden robes, wielding a forbidden tome. His mastery of both fire and ice magic allows him to create destructive clashing energy fields that explode with tremendous force.
In his rage phase, he begins to float, with magic staves orbiting his body. He channels icy winds and soul-burning fire, using them to freeze time and scorch everything nearby. While extremely powerful, he requires lengthy incantations to activate his forbidden spells—giving players an opportunity to interrupt him using Fighter and Turret minions.
These two bosses not only add narrative weight to each level, but also demand tactical thinking from the player, rewarding preparation and smart minion combinations.
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| Fig2.1.9 Enemy Balance |
For example, we made sure that boss attacks deal significant damage but can still be countered with well-timed minion usage. Some enemies are fast but fragile, while others have slower movement but stronger area effects. Having this balance sheet also allowed us to fine-tune enemy health pools and minion cooldowns, making encounters more dynamic and rewarding.
We also had in-depth discussions about UI and background design. Our two main levels have very different atmospheres:
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Level 1 (Pyramid) is set in a dim and ancient crypt, where lighting is minimal and colors are muted.
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Level 2 (Desert) is an open, sunlit environment with warmer tones and wider spaces.
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| Fig2.1.10 Environment and Background References |
To maintain visual coherence, we chose to avoid strong outlines on floating interface elements like files or icons. This subtle approach helps them blend more naturally with the background and avoids creating visual clutter.
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| Fig2.1.11 UI References |
For the UI, our goal was to make it intuitive and supportive. We added on-screen buttons with visible keybindings, so players wouldn’t forget which keys to press during combat. We also designed a “Compendium Book”, which acts as a player handbook. It includes character profiles, fusion recipes, and other helpful information, making it both a lore resource and a practical gameplay guide.
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| Fig2.1.12 Task Distribution and other task |
Our project was a team effort, and we divided the tasks based on each member’s strengths. Winnie and Huiyi were in charge of all the visual art components. This included creating detailed backgrounds for both levels, designing UI buttons, and drawing character animations such as idle, run, walk, and attack states. From minions to enemies and even the bosses, they handled all the illustration work.
Meanwhile, I was responsible for the animation phase, especially using After Effects to bring the art assets to life. I focused on animating the visual sequences based on the drawings provided by my teammates, making sure each action felt smooth and responsive within the gameplay context.
Throughout this process, we gathered a large number of references to support each of our tasks. While I focused on enemies and bosses, Winnie and Huiyi concentrated more on environment design, UI interface elements, and player characters. We frequently shared progress updates and visual materials, and eventually, we compiled all assets into a central system for easy management and integration into the game.
This workflow not only helped maintain consistency in our visual style, but also made sure we could efficiently move forward as a team.
2. After Effect Animation
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| Fig2.2.1 Mastersheet |
The image above shows the artwork created by my teammate using Adobe Illustrator. Once the illustrations were completed, it was my job to separate each enemy into its own dedicated sheet for further animation work in After Effects.
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| Fig2.2.2 AI File List |
Inside each character’s .ai file, I had to break the body into individual parts—such as head, torso, arms, legs, and weapons—to ensure that every element could be animated independently. This step was essential for making smooth and dynamic animations using layered movement.
I also made sure to
name each layer systematically, following a consistent format (e.g.
RightArm,
LeftLeg,
Head) so that the animation
process in After Effects would be clean and easy to follow. This preparation
significantly reduced confusion during rigging and keyframe animation.
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| Fig2.2.3 Divide |
By carefully organizing and separating these Illustrator files, I was able to maintain full control over each body part’s motion, allowing us to create fluid actions like walking, attacking, and taking damage for both enemies and player characters.
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| Fig2.2.4 Part Naming |
Enemy Animation Showcase
This section presents the enemy animations developed for our game. As mentioned earlier, we designed a total of six unique enemies: Fox, Mummy, Sand Pirate, Scorpio, Skeletal Monster, and Undead Cat. Each enemy was carefully rigged and animated in After Effects using puppet pins, keyframes, and layered motions.
For every enemy, we created the three essential animation states:
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Idle — to give each character a subtle, life-like presence even when not moving.
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Attack — to reflect their unique combat mechanics and personality.
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Hit — to provide clear visual feedback when they take damage.
Some enemies also have additional or special animations, such as eye blinking, projectile effects, or transitional stances. These are highlighted and explained individually in their respective sections below, along with video demonstrations of each animation cycle.
One of my favorite animations to work on was the Fox enemy, which has a unique personality and combat behavior. I animated its blinking eyes for idle moments, and added a special touch where the pupils turn into heart shapes during its charm attack. This visual cue gives players a clear signal of what skill is being activated.
Before launching an attack, the Fox also performs a charging animation. To make this more expressive, I used its tail color transformation to show energy buildup—transitioning visually so that players can anticipate and possibly interrupt the attack in time.
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| Fig2.2.5 Keyframes of Fox |
In terms of technique, I primarily used keyframe animation and repeated frame patterns to create motion. For more complex sequences, I used copy-paste methods to reuse elements across actions. These techniques helped streamline the animation process, even though some refinements are still in progress.
A short video demonstration of these animations—blinking, charm attack, charging sequence, and transitions—is included to showcase the visual outcome.
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| Fig2.2.6 Mummy Eyes |
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| Fig2.2.7 Mummy |
For the Mummy enemy, I started by separating all body parts into layers, just like before. The first animation I worked on was the blinking eyes. To simplify the loop, I used a loop expression in After Effects, which allowed the blinking to repeat automatically without keyframing each blink manually.
After that, I created the three core animation states: Idle, Hit, and Attack. The movement design was intentionally kept simple—the Mummy uses both arms to perform vertical swing attacks. During the attack animation, I made the leg movements slightly faster to match the momentum of the strike and give it more impact.
For the Sand Pirate enemy, I wanted to emphasize his connection to the desert environment, with its harsh sunlight and blowing sand. To reflect this, I animated flowing movements on his clothing—including the loose fabric, headscarf, and a feather on his hat. To achieve a natural and aesthetically pleasing sway, I used a large number of keyframes for detailed motion control.
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| Fig2.2.8 Sand Pirate |
I followed the same structure as before, creating the standard three states: Idle, Hit, and Attack. His attack is a sword slash, and as with other enemies, I implemented a red flash effect to indicate when he takes damage. Once his health reaches zero, he disappears and transforms into a soul.
The idle animation shows the Sand Pirate lightly swaying, with his hat, clothing, and feather subtly moving in response to the desert wind. This helps convey his presence in a dynamic environment, even when standing still.
In the hit animation, the pirate reacts quickly to being struck, with a brief red flash applied to his body to indicate damage taken. This visual cue aligns with our universal enemy feedback system.
The walk and attack animation combines movement and combat. The Sand Pirate steps forward with increasing speed, drawing his sword in a diagonal slash motion. His clothing continues to flutter during the movement, keeping the animation lively and grounded in the desert theme.
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| Fig2.2.9 Scorpio |
The Scorpio enemy was designed as a ranged attacker, using its powerful tail to launch venomous green projectiles at the player. This gave us a chance to create animations that not only emphasize motion but also suggest danger and anticipation.
In the idle animation, the Scorpio maintains a poised, low stance, its tail twitching slightly to give a sense of alertness. The subtle movement keeps it alive without requiring big motions.
The walk and attack animation shows it crawling forward with its claws, before raising its tail and shooting a glowing green toxic orb in a quick forward thrust. The tail’s arc was carefully keyframed to deliver a punchy, snappy release.
The hit animation includes a reactive jerk and a red flash to indicate damage, consistent with the rest of the enemies. The legs and claws briefly recoil to show physical impact, adding to the realism of the creature’s response.
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| Fig2.2.10 Skeletal Monster |
The Skeletal Monster was one of the most technically complex enemies to animate due to its segmented body and visible bones. Each limb was carefully rigged using Puppet Pins, and its sword was animated separately to ensure a clean slicing motion.
The idle animation shows the monster swaying in place, with its limbs slightly loose and jittery to emphasize its undead nature. The motion was kept minimal to conserve energy for its dramatic attack animation.
For the attack animation, I focused heavily on frame rhythm and sword speed. The movement starts with a wind-up, followed by a heavy diagonal slash. The arms and legs were each keyframed to move in sync with the weapon swing, giving it a strong, weighted feel. The Puppet Tool helped to simulate flexible bone movement without making it look too fluid or unnatural.
The hit animation was also layered with reactions in the skull and shoulders. A short red flash signals damage, while the monster jerks slightly as if the blow shook its bones. This effect was reinforced with opacity flicker and subtle rotation offsets.
The screenshots above show the keyframe layout and how each bone, arm, and sword motion was timed carefully for precise feedback.
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Fig2.2.11 Undead Cat |
The Undead Cat is designed as a fast and elusive enemy with a shadowy presence. I began with the eye blinking animation, using keyframes and expressions to control both timing and loop behavior. The eyes glow in vivid purple, which I animated to occasionally blink shut for added realism and character.
In the idle animation, the cat stands still but subtly sways its body and tail. I used puppet pins on multiple joints, including the neck, legs, and tail, to give the motion a natural, weightless flow—perfect for a creature that hides in the dark.
The attack animation is more aggressive: the cat lowers itself slightly, narrows its glowing eyes, then lunges forward to strike. Each body part was independently keyframed, and I paid particular attention to the tail's motion arc and recoil after the hit, to reinforce the idea of speed and hit impact.
Boss Animation Showcase
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| Fig2.2.12 Tomb Keeper |
The Tomb Keeper was once a loyal guardian of Sahira’s tomb, but after being corrupted by Sahira’s lingering hatred, he transformed into a brutal, relentless monster. The coffin strapped to his back contains Sahira’s actual corpse, which becomes a weapon of destruction once he breaks free from his chains.
In the animation, he begins with a heavy stance and delivers a massive forward slam using the coffin. To make the motion feel natural and powerful, I layered multiple effects:
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First, I used Puppet Pins to allow for full control over the torso, shoulders, and arms.
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The motion includes a slight squash and stretch to give a sense of mass shifting.
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I adjusted the scale values mid-swing to simulate a 3D perspective effect, making the coffin appear to rush toward the screen before impact.
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I also offset the head and arm follow-through, so the character reacts believably after delivering the hit.
This attack is meant to cause AOE knockback in-game, and the animation emphasizes that through camera-facing enlargement and weighty visual timing. These details help sell the idea that Tomb Keeper’s final form is not just visually intimidating, but mechanically threatening.
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| Fig2.2.13 Priest of Anubis |
As the final boss of level two, the Priest of Anubis embodies a fusion of elegance and menace. Cloaked in gold-trimmed robes and bearing the visage of a jackal, he hides within the forgotten sands of the desert—waiting for the right moment to unleash forbidden elemental magic.
His animation was designed with two distinct phases, each more intense and threatening than the last. In the first phase, the priest uses a magical staff and a single forbidden grimoire to cast spells. His posture is composed and grounded, and his eyes glow with a controlled yellow hue. The attack patterns involve steady fire and ice projectiles, powered by spell animations that blend glow, scale, and rotation to simulate arcane buildup.
However, once his health drops below a certain threshold, he enters his second form—visibly more dangerous. His pupils ignite with blue fire, transitioning into a vivid red blaze to signal the change. In this phase:
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His staff begins to float, absorbing energy from the air and condensing water into ice for frost-based attacks.
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He duplicates the grimoire, now holding two forbidden tomes, casting spells simultaneously with both hands.
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A swirling barrage of fireballs and ice totems rain across the battlefield, dealing wide AOE damage.
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Visual space distortion effects simulate chaotic magical energy, distorting the player’s field of view and signaling that this phase is much more unforgiving.
To make these moments more dynamic, I used multiple animation strategies:
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Turbulent Displace and color blendings were layered on the projectiles to create fiery trails and icy glows.
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Eye effects were animated separately in isolated compositions to enhance emotional transition.
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Subtle floating movements and scale changes emphasize his ascension into a higher magical state.
Now it's time to showcase the animation of our main character — Sahira. As the protagonist controlled by the player, Sahira has the most diverse range of animations. In addition to the core states like idle, walk, jump, and dash, she also features unique animations such as hit reaction and soul summoning. The soul mechanic is central to her gameplay — by defeating enemies and absorbing their souls, she can combine different enemy essences to create minions that support her in battle.
Visually, Sahira’s movement emphasizes grace and responsiveness. For instance, in the jump animation, we used keyframes to simulate the weight of gravity, with subtle body rotations and squash-stretch effects for realism. The dash animation integrates masking and motion blur to enhance speed perception. In the soul summon sequence, glowing trails and opacity transitions make the ritual feel mystical and powerful.
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| Fig2.2.14 Sahira |
Minions Animation Showcase
This section highlights the animation of our designed minions. There are currently three minion types in the game:
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Fighter – melee type that actively chases and attacks enemies.
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Shield – defensive type that guards the player and absorbs damage.
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Turret – stationary type with powerful ranged attacks, ideal for controlling space.
The current minion lineup includes:
Mummy Cat, Howling Scorfox, Bone Wrap Shield, Spiked Clay Wall, Fox
Turret, and Sandshot Ballista.
Each minion is
created through the fusion of two different enemy souls, inheriting unique attributes and behaviors from them. This fusion system
not only enhances gameplay diversity but also visually connects minions to
their origins — giving them a
distinct personality and visual identity.
For instance, Mummy Cat combines fox and feline traits, featuring dashing attacks with nimble movements. Bone Wrap Shield embodies skeletal and defensive elements, curling inwards during impact to show a protective gesture. Turret types like Fox Turret and Sandshot Ballista exhibit sharp projectile animations and powerful firing mechanics, emphasizing their role as high-damage sentries.
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| Fig2.2.15 Howling Scorfox |
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| Fig2.2.16 Mummy Cat |
Mummy Cat is a hybrid minion born from the fusion of the Undead Cat and a Mummy, carrying both of their traits into a compact but deadly fighter unit. Due to being tightly wrapped in bandages, it cannot run like normal characters—instead, it bounces aggressively towards enemies in short bursts, making its movement unique and unpredictable.
The animation captures this distinct movement by using sharp puppet pin keyframes to simulate rapid hops. To reflect its speed, the cat's limb motions are minimized but looped tightly, creating a rhythm of momentum. Occasionally, it unleashes a ranged claw strike—a reference to the undead cat’s aggression—by adding a quick burst of animated slash effects to enhance visual feedback.
The design blends purple eye glow and wrap details to keep the undead aesthetic intact while symbolizing its mummified origin. Its attack speed is intentionally faster than other minions, making it an excellent vanguard unit.
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| Fig2.2.17 Bone Wrap Shield |
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| Fig2.2.18 Spiked Clay Wall |
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| Fig2.2.19 Fox Turret |
Fox Turret is a stationary yet powerful minion, created by fusing a clay pot with a fox, or alternatively, with a sand pirate. Don’t be deceived by its cute appearance—it delivers deadly blows. This turret features two distinct attack modes: the fox version utilizes phantom claw strikes, while the pirate version switches to a curved blade for slashing, bringing two unique tempos to the battlefield.
To highlight these differences, we used a Puppet Pin skeletal rig combined with real-time weapon asset switching. During attacks, the head, arms, and blade exhibit subtle movement variations to emphasize striking force. We also implemented red flicker effects on impact, adding a dynamic punch to each hit.
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| Fig2.2.20 Sandshot Balista |
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| Fig2.2.21 Soul |
After defeating enemies, souls are released and left floating behind. These souls can be collected by Sahira and used to craft minions, adding meaning and continuity to each battle.
To bring the animations to life, we created several demo videos showcasing not only the core movement animations—such as Sahira’s dash, jump, and soul fusion mechanics—but also interactions like opening chests or summoning minions.
One of the most compelling videos is our final showcase, where we simulate a full battle experience. Through dynamic camera movement, sound effects, and music editing—thanks to our teammates Winnie and Huiyi—this sequence becomes a cinematic teaser. It culminates in an intense boss attack that smashes the screen, followed by a dramatic "Coming Soon", leaving players excited for what's next.
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Gameplay Demo – Hero Actions & Interactions
In this clip, Sahira demonstrates her core mechanics—a swift dash, a graceful jump, and an elegant dash-jump combo. The animations are fluid, with blurred motion lines to convey speed and weighty landing frames that emphasize impact. A quick interaction with a chest reveals even casual elements, highlighting an interactive environment beyond combat. -
Soul Fusion & Minion Summoning
Here, the demo focuses on Sahira’s core mechanic: merging enemy souls to summon minions. As she castles a lithe soul beam upward, ethereal particle streams swirl around her, culminating in the magical appearance of a new ally. The animation balances mystique and clarity: you can clearly see the energy transfer, the soul's glow, and the quick formation of a minion, making the mechanic feel rewarding and substantial. -
Final Battle Teaser — Cinematic Showdown
The highlight reel portrays a dynamic encounter featuring Sahira's minions battling a towering boss. The camera performs dramatic pans and zooms, weaving between characters to maintain tension and engagement. When the boss unleashes its shattering screen smash, the animation syncs perfectly with music crescendo—a powerful moment that blends visual, auditory, and timing design. The closing frames fade to black with a definitive “Coming Soon”, wrapping the sequence into a compelling teaser.
Thanks to Winnie and Huiyi’s detailed sound design and music editing, all sequences feel cinematic:
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Footstep and slash SFX line up precisely with Sahira’s movement
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A rising synth melody underscores the soul fusion’s magical tone
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The boss smash features a deep bass hit and screen distortion, creating an impactful climax
Contribution
Feedback
Week 5
In Week 5, during our progress review, Dr. Mia provided encouraging and constructive feedback regarding our workflow and the direction we were heading. She acknowledged the creative breakdown process we applied in Photoshop—especially how we separated character body parts (head, torso, arms, legs, etc.) for future rigging. She appreciated our dedication in prepping clean and well-organized layers for Unity rigging and Sprite Editor slicing.
However, she suggested that we should pay more attention to
bone connection accuracy,
particularly around the
joints of arms and legs, to
avoid issues like misalignment or disconnection during animation. She also
highlighted the importance of
consistent naming conventions
to prevent confusion in later animation stages. Her feedback pushed us to
refine our rigging and naming workflow, ensuring smoother integration and
more
natural skeletal movement
in Unity.
Week 6
In Week 6, after we presented the rigged characters and early animations, Dr. Mia shared positive remarks on our improvement. She especially appreciated how we began to integrate weight painting and basic motion cycles, like idle and attack, across different characters and enemies.
Nonetheless, she encouraged us to further enhance animation smoothness, suggesting we adjust timing and spacing of keyframes to better reflect each character’s traits. For example, a heavy boss character should feel weighty, while agile enemies need quicker and sharper movements. Additionally, she advised us to incorporate more visual polish, such as refining tile textures, adding interactive animation effects, and ensuring style consistency throughout the game world. Her guidance helped us better align artistic expression with gameplay clarity.
Reflection
Experience
Throughout this project, I gradually developed a deeper understanding of animation creation. At the beginning, I heavily relied on manual keyframing for every single motion, which was time-consuming and repetitive. As I gained experience, I started applying loop expressions, which significantly streamlined my workflow, especially for cyclic actions like blinking or idle movements. Eventually, I was able to take on more complex animations, such as transitional poses and layered effects.
Observation
When we began working with Unity, it was a completely new environment for me. The initial learning curve was steep—I often found myself confused by bone linking, sprite slicing, and animation layering. Despite these technical challenges, I observed that small details—like proper pivot positioning and consistent naming—made a big difference in avoiding bugs and confusion. The classroom sessions helped, but hands-on trial and error taught me even more.
Findings
Looking ahead, I realize there’s still a long way to go before we can turn all assets into a fully playable Unity game. The coding part, especially, still feels intimidating and unfamiliar. However, I feel deeply grateful for my teammates Winnie and Huiyi, whose artistic talents and tireless efforts brought our visual style to life. Working together—even through sleepless nights—has made this experience both meaningful and fulfilling. I sincerely hope that in the coming weeks, we can continue our momentum and create something truly amazing as a team.
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