Semester 3 Project: Final Review & Reflection

As a final reflection on my project i would like to say although i am happy with the art i made i am dissatisfied with how incomplete this project feels - I think the issue comes down to how my brain works, where it struggles to function with the empty gaps in an idea if it doesn't make sense i can’t plan out the concept which is why i’m so dependent on having accurate research in my work. 

I think the most important part of this final review and reflection is to answer if I was able to show how I answered the question I had written for myself at the beginning of semester 2.

‘Deconstructing the importance of research when crafting concept art for games that explore folk tale themes.’

Having this sort of information helped expand my project in a way that allowed the concept art to develop naturally and i believe i showed that in my work - starting from the idea of a goblin carved from stone and finishing with a collection of concepts about a Hob who churns butter was all supported and improved by research. 

Learning about the relationship between Folk Tale creatures and local farm animals, finding information and references of materials and assets made from heather opened me to new ideas from mechanics to inventory and by researching documents and books crafted by Folklorists who collected the accounts of locals in rural villages who described the Faeries, Boggarts Hobs and such who were apart of their everyday lives helped me find a way to transcribe these creatures to bring new life to their folklore and adapt them into a game. 

The research was not in vain as having this information collected in one place means I can return to this project.

Hobs and Such, What Could of Been.

Character Design -

With my character design there are some sketches I would have liked to see rendered into digital concepts, especially the first two initial concepts. I would have liked to experiment more with the type of fur and hair texture the Hob has to be more accurate to the description of Hobs in Folk Tales while keeping to the rules of my art style. 

The fact I only have one human character design in my concept art is also disappointing, I had many more human characters planned out to add, such as the Farmer, Innkeeper and the local villagers of Over Silton.

Reference Library: 

Below is a collection of images found and saved that would have inspired and influenced the concept art of this subject.

Inventory

One design hurdle that comes with a character who wears no clothes is where does he put the items he collects?. Several pieces of visual research followed this idea ranging from woven baskets made from heather to old medicine travel boxes.

Reference Library: 

Below is a collection of images found and saved that would have inspired and influenced the concept art of this subject. 

Folklore Creatures 

One of the things i really delved into for this project was the other types of folklore creatures that lurked on the Moors; in my list of ideas was small goat-like Faeries who adorned themselves in clover leaves and stole teacups, a fearsome Barghest similar in appearance to a wolfhound but had heather growing from his fur so when he would rest he would faze into the hills of the heath and the Boggart.

What happens when a Hob goes bad? He becomes a Boggart. He would reside by the Hobthrush Rook after being chased away from his farm in Farndale but would still be on the lookout for cousin trouble for travellers. There was one particular description that had taken my interest and what I wanted to do with the character's design.

“Some accounts describe boggarts as fearsome, shape-shifting creatures, occasionally resembling the archetypal devil, with horns, cloven hooves and glowing red eyes, but most were simply ugly, squat and recognisably human. These creatures struck real fear into communities and it was common for people to use charms or symbols of protection to keep them away – it’s thought that today’s good luck symbol of the upturned horseshoe originated as protection against boggarts.” 

Katherine Clements, Folklore of the Yorkshire Moors, 2018

By using that goat influence and turning it to the opposite direction by making it scary would emphasise how much more malicious the Boggart is compared to the Hob.

Reference Library: 

Below is a collection of images found and saved that would have inspired and influenced the concept art of this subject. 

Research Reference: 

https://www.foyles.co.uk/blog-Folklore-of-the-Yorkshire-Moors 

https://www.northyorkmoors.org.uk/visiting/see-and-do/land-of-myths-and-legends

https://www.examinerlive.co.uk/news/history/yorkshire-monsters-terrifying-prowl-streets-18258619 

https://engole.info/grindylow/ 

https://britishfairies.wordpress.com/tag/grindylow/ 

https://www.britannica.com/art/Barghest 

https://britishfairies.wordpress.com/2018/11/27/laying-boggarts/ 

https://britishfairies.wordpress.com/2020/10/26/beyond-faery-iv-bogies-boggarts-and-bugganes/ 

http://soilstonebone.co.uk/the-longridge-boggart 

http://www.strangehistory.net/2015/02/06/23793/ 

https://www.examinerlive.co.uk/news/history/supernatural-census-boggarts-looking-tales-17096139 

The Land of the Green Man: A Journey Through the Supernatural Landscapes of the British Isles Book by Carolyne Larrington, 2015

Semester 3 Project: A Journey Through an Art Book, Page 30 & 31

These concepts were produced through my research on the history of Hobs in Yorkshire and the North Yorkshire Moors with the intention of planning out the layout of level design and environment concept art. At first I found several stones named after Hobs such as ‘Hob Cross’ and ‘Hob on the Hill’. 

Photos of Hob stones found on the North Yorkshire Moors

Why these stones exist was opened up to me through further research. I found these and other similar stones are known as ‘Marker Stones’ and were used to signify the name of a plot of land and also to point a traveller in the right direction to another part of the Moor or nearby village.

With this information I found a new concept to create and add to the game - using these ‘Marker Stones’ I can make signs placed within the environment to help the player navigate through areas of the game e.g. travelling from Over Silton to the Moors. 

Reference Library: 

Below is a collection of images found and saved that inspired and influenced these concepts - my main objective was to search for images of  Marker Stones found on the North Yorkshire Moors and any specific or unique details about the stones. 

Research Reference:

https://www.megalithic.co.uk/article.php?sid=30360 

https://www.yorkshiremilestones.co.uk/2020/09/05/handstones-guide-stoops-on-the-north-york-moors/ 

http://www.mypennines.co.uk/north-york-moors/walks/170314.html#sthash.MsIM5bhx.dpbs 

Semester 3 Project: A Journey Through an Art Book, Page 29

For this page I tried to set up a layout that showed a progression of ideas that would answer any questions that would be brought up, such as ‘Can humans see Hobs?.’ 

I sketched out some concepts of the hob walking past people without being seen, only to be noticed in the corner of their eye or when they look to where the hob has been. I've tried to show that in the sketch but I'm not sure it’s conveying that. I feel it lacks depth to the placement of characters - no sense of foreground or background so I might go back to this concept and improve it. 

When looking at how I could turn churning butter into a game mechanic. I looked at different styles of churners; researching what types were used in England during the 19th Century. This is where I came across the barrel churner which was in popular use around the time - with larger churners used on farms and smaller versions of the churner for use in the home or local inns. 

What i wanted this mechanic to be structured as a step-by-step process for the player to follow; from collecting the milk, carrying it to the churner, filling the churner and then start churning until the milk is at the right consistency - Being such a core element to the Hobs story it was a mechanic I thought about more in depth. 

Many mechanics in the game would be methodical and engage the player in the day-to-day life of a Hob. 

Reference Library: 

Below is a collection of images found and saved that inspired and influenced these concepts - my main objective was to search for images of different barrel churns, cream jugs, nightgowns and brass candlestick holders from the 1800s. 

Research Reference:

https://www.objectlessons.org/work-and-innovation-victorians/barrel-butter-churn-victorian-original/s64/a930/ 

http://www.oldandinteresting.com/end-over-end-churn.aspx

Semester 3 Project: A Journey Through an Art Book, Page 28

Unlike the more unfavourable way goblins are described and depicted, I wanted to take a different approach to the design - but why are goblins ugly? 

As a Hob is considered one of the more friendlier types of goblin i made the decision to alter the archetype of the goblin; his appearance is softer and more so ‘charming’, while he has human-like hands and feet the shape of his nose, ears and legs are more similar to a goats. 

This was prompted by an interesting piece of research I came across about Faery Animals. Faery Animals or Fae Animals are accounted as usually animals that fae folk are familiar with or in some cases will transform into. This can range from a variety of animals where in Folk Tales both fae and goblins alike may be seen around deer or farm livestock like chickens and goats.

While goats have popped up in various Fairy Tales what connects goats to fae and folklore is unknown - it could be ties with pagan imagery, their ability to roam moorland freely or the light spring in their step that makes it look like their dancing but the concept of goats and faeries has been documented as part of folklore across Britain through hearsay, books and paintings.  

Fairies combing goats' beards, Richard Doyle, 1870

“Goats in Wales are held in peculiar esteem for their supposed occult intellectual powers. They are believed to be on very good terms with the Tylwyth Teg, and possessed of more knowledge than their appearance indicates. It is one of the peculiarities of the Tylwyth Teg that every Friday night they comb the goats’ beards to make them decent for Sunday.”

British Goblins: Welsh Folk-lore, Fairy Mythology, Legends and Traditions, Wirt Sikes, 1880

One thing I wished to add was the goat having flowers woven into its beard and hair by the Hob and Faeries - which I was able to demonstrate with the concept sketch on the right. When it came to looking at what type of flower to use it through my research of faeries and goats is when I discovered a flower known as ‘Goats Beard’. 

Aruncus dioicus also known as ‘goat's beard” or ‘fairy hair” were introduced to England through cultivation in the 17th Century as a popular garden flower for cottages and later spread into the wild where it can be found in the woodland or near rivers. 

One of the interesting things i found myself doing when looking up plants was delving into not only the naming of plants but who named them and how they did it, which led me to discovering Carl Linnaeus and the Linnaean taxonomy, a form of biological classification for plants, animals and minerals. 

Reference Library: 

Below is a collection of images found and saved that inspired and influenced these concepts - my main objective was to search for images of goats, goats decorated in flowers, hair brushes used in the 1800s and images of goats beard flowers at a distance and close up so i could get the details of the individual flowers on a stem. 

Research Reference:

https://britishfairies.wordpress.com/2017/06/09/al-on-snowe-white-stedes-fairy-animals/ 

https://britishfairies.wordpress.com/2016/09/19/faery-goats/ 

https://www.terriwindling.com/blog/2014/12/the-folklore-of-goats.html  

https://www.gutenberg.org/files/34704/34704-h/34704-h.htm 

https://www.brc.ac.uk/plantatlas/plant/aruncus-dioicus 

http://www.plantsoftheworldonline.org/taxon/urn:lsid:ipni.org:names:20973-2 

https://cutflowers.ces.ncsu.edu/welcome/brief-history-of-specialty-cut-flower-production/ 

https://www.thoughtco.com/about-carolus-linnaeus-1224834 

https://www.britannica.com/science/taxonomy/The-Linnaean-system 

https://sercblog.si.edu/the-dark-side-of-taxonomy-part-one/ 

https://www.doaks.org/resources/online-exhibits/botany-of-empire/linnaean-names

Semester 3 Project: A Journey Through an Art Book, Page 26 & 27

In these concepts I wanted to use a plant more unique and specific to the area the game takes place in - that plant being heather.

During this stage of concepting I used research I was gathering to enhance and expand my ideas on the use of heather; this is where I learned about heather being used for bedding and broom making along with heather being woven into baskets and ropes. 

Not knowing about this information beforehand I personally love the idea of the Hob owning a heather broom - this has given me something to add to the Hobs task of sweeping and cleaning away cobwebs in the Inn and if i had more time to work on this project i would add this as a concept piece. 

In the Folk Tale ‘The Hob of Runswick Bay’ it was believed that visiting the home of this little goblin would cure you of ailments such as whooping cough; compare this to the popular use of medicinal plants in the 1800s many of the concepts in this part of the development are driven by the idea of the Hob collecting things that catch his eye, that he scrounges for scraps and trinkets to decorate himself with or so he is prepared to collect plants and herbs for later use.

Reference Library: 

Below is a collection of images found and saved that inspired and influenced these concepts - my main objective was to search for images of heather, the type of heather that grows on the North Yorkshire Moors, the shape and colour of heather flowers, how branches of heather looked individually or in a bunch and how heather look when it is presented in different ways e.g in a bouquet, a wreath or in nature

My other reference library involved collecting material images of twine and medicine bottles from the 19th Century so I know what sort of shape and label design to use as shapes and sizes varied depending on the ailment. 

Research References:

https://www.northyorkmoors.org.uk/discover/moorland/all-about-heather 

https://www.steveniceton.co.uk/north-york-moors-heather-bloom/ 

https://www.yorkshiredales.org.uk/about/wildlife/habitats/moorland/heather-moorlands/ 

https://treesforlife.org.uk/into-the-forest/trees-plants-animals/plants/heather/heather-mythology-and-folklore/ 

http://www.oldandinteresting.com/besoms-brooms.aspx 

https://electricscotland.com/gardening/heather10.htm 

https://wovencommunities.org/material/heather/ 

http://wovencommunities.org/collection/caroline-dear-notes-on-heather-use-in-basket-making/ 

https://www.bhe.scot/2018/07/28/heather/ 

http://www.flowersinsweden.com/Callunavulgaris_page.htm 

https://www.scottish-at-heart.com/scottish-heather.html 

https://sha.org/bottle/medicinal.htm

Semester 3 Project: A Journey Through an Art Book, Page 24 & 25

In my next set of concepts I looked at de-cluttering the design of the Hob with simply having moss on him - much like his stoney counterpart.

I chose irish moss because I liked the concept of flowers slowly blooming on the Hob overtime through the seasons; it breathed movement and life into the character even when standing still. 

Taking the idea of moss further onto a full body design; with the challenge of designing a charming fae character who wears no clothes there was a possibility this could be what he wears during Autumn and Winter.

I feel the first concept of the moss worked well with achieving that look but as I made the moss look more like a cloak the design began to fail and became unreadable. 

Reference Library: 

Below is a collection of images found and saved that inspired and influenced these concepts - my main objective was to search for images of moss, different types of moss textures, moss growing patterns and interesting inspiration like moss growing on statues and animals. 

Research References:

https://basicbiology.net/plants/non-vascular/mosses 

https://www.gardenia.net/plant/sagina-subulata 

https://hort.extension.wisc.edu/articles/irish-and-scotch-moss-sagina-subulata-and-arenaria-verna/ 

Semester 3 Project: A Journey Through an Art Book, Page 23

Following on from my initial concepts on page 3 and the idea of the Hob being covered in some sort of plant, be it for decoration, camouflage or they grow on his body i started with the most typical plant associated with goblins, goblin aesthetics and a plant commonly associated with fae folk - fungi. 

The North Yorkshire Moors host a feature of different species of fungi and there are many blogs you can find where people have documented their findings. 

For my first concept I chose a standard brown mushroom; not very outlandish or fae-like but I did come across interesting information about the properties of this mushroom and it’s psychedelic counterpart. 

My second concept uses the colour and design of red and white spotted mushrooms, the Fly Agaric; a mushroom we have attached to fae folklore in both art and stories due to its history. 

Between the two designs I think the second concept appeals more as the red from the mushroom compliments the palette of the Hob and the Hobs hat better. Re-examining these concepts I would have changed the bottom half of the design from the mossy pants to something else or removed it completely.

You will see on these pages that with each plant I tested as a concept I have added a segment detailing what the plant is used for, why I chose to use it and the properties of the plant - somewhat similar to a botany page. 

“Capped with brown, white or red they grow from the Hobs head.” 

The power of Folk Tales and Folklore is how it is told so when i wrote this short limerick i wanted it to feel like an old folkish saying. My plan for this book and the game was to weave poem-esque details into the narrative to bring a sense of life and realness to what is happening in the game - like these are saying you may of heard in an old English rural village. 

Reference Library: 

Below is a collection of images found and saved that inspired and influenced these concepts - my main objective was to search for mushroom related images, mushrooms growing on different materials and mushrooms that were specifically found on the North Yorkshire Moors.

Research References:

https://northyorkmoorsnationalpark.wordpress.com/2016/11/21/fantastical-fungi/ 

https://www.northyorkmoors.org.uk/visiting/see-and-do/nature-calendar/october 

https://www.first-nature.com/fungi/panaeolina-foenisecii.php 

https://www.zoology.ubc.ca/~biodiv/mushroom/P_foenisecii.html 

Semester 3 Project: A Journey Through an Art Book, Page 22

On this page is where I start concepting out ideas for game mechanics - the mechanics entails one of the core aspects of gameplay and other mechanics in which the player must be cautious of a health gauge that can dwindle. 

In old Folk Tales, for example the Dutch story ‘The Goblins Turned to Stone’ when a group of mischievous goblins who are causing trouble for a local village are tricked to stay out until sunrise and by having their red hats removed from their heads they turn to stone. 

Illustration from the book that featured ‘The Goblins Turned to Stone’ story, Dutch Fairy Tales for Young Folk, Illustrated by Rachael Robinson Elmer, Written by William Elliot Griffis, 1918 

Possibly due to their Scandinavian roots there is a similarity to goblins and trolls in which sunlight is the tool to defeat or pacify them by returning the troll or goblin back to it’s domain in nature as a slumbering creature of the land - hence why in many stories and in media they only come out at night or reside in the densest parts of the woods, caves, mines or underground. 

At first I wasn't sure how to make this a feature in the game - not only as a reference to the research I have gathered but as a homage to the stone goblin figure the character and project was inspired by. 

As most activities and tasks take place at night I wanted the player to be wary of being out during the and be something they should prepare for. 

The general idea for the health hearts came from compiling the different stories of the Hob and listing each task a Hob does; churning butter, threshing wheat, sowing seeds, harvesting, making the fire in the fireplace and cleaning cobwebs - besides churning butter many of these tasks could be found in standard farming games.

Screenshots from Harvest Moon: A New Beginning showing the players hearts deplete after completing farmwork, Harvest Moon: A New Beginning, Marvelous Inc, 2012 

These games challenge the players time management and ability to plan out a day of work; each crop watered and each cow milked will lower the players health. 

Research Reference: 

https://www.gutenberg.org/files/7871/7871-h/7871-h.htm#xvii 

https://fogu.com/hm11/basics/stamina.php