As the leader of the whole group, I also often organise drawing and working together, and at least once a week I take the initiative to go to a group member’s house so that I can supervise and monitor them
Our prime minister tries to find references in the usual paintings, including smoke, colours and different needs of the atmosphere
We discussed a lot about the flow of the plot and the pacing of the script, scaled into three parts, the prologue development and the climax
We felt there was a point that had to be enforced in the character design and the overall plot: counter-expectation, which means taking the audience by surprise, such as a normal fridge opening up, only to find out that the fridge is not a tool for food but a building of staff kitchens. For example, when designing a character, the audience expects the character to be fat, but once the side of the character is shown, the audience will realise that the character looks fat, but is really a squishy one!
In terms of plot discussion, we discussed that we could introduce the whole story development with narration, for example, there is a voice that echoes in the air, this voice tells the audience that there is a very good takeaway here, and then the whole plot is introduced with the flight of the fly, although this idea was vetoed by the teacher in the final implementation because it was too much of a disruption to the story’s pacing, but this kind of thinking about discussing with each other has taught me a lot.
At the climax of the story, we wanted to use a special device like Disney’s rubber tube animation style or smoke with mandala-like patterns, and these discussions helped a lot in the post-animation stage
Characters spinning in the air like mandala patterns
Disney’s rubber tube animation