Maya - Pipeline 1: UV Layout Part 2 - Body and exporting maps

Maya - Pipeline 1: UV Layout Part 1 - Head and Head details

World cinema: France & Iran: "Persepolis" (2008) Film Review

Fig 1

Marjane Satrapi’s French-Iranian animated film “Persepolis” (2008) is an autobiographical adventure of the director, from her youth to coming of age during the Iranian Revolution. The film is also based off the graphic novel, of the same name, by Satrapi. 

The animation style is a beautifully simple and clean style that immerses the viewer into its deep storytelling. Far from the evolution of animated films becoming as realistic as possible, “Persepolis” embraces the 2D style and sticks closely to Satrapi’s actual style of drawing her graphic novels. Roger Ebert explains that: “It might seem that her story is too large for one 98-minute film, but "Persepolis" tells it carefully, lovingly and with great style. It is infinitely more interesting than the witless coming-of-age Western girls we meet in animated films; in spirit, in gumption, in heart, Marjane resembles someone like the heroine is "Juno" -- not that she is pregnant at 16, of course. While so many films about coming of age involve manufactured dilemmas, here is one about a woman who indeed does come of age, and magnificently.” (Ebert, 2008) Agreeing with this, “Persepolis” indeed tells the tale with care; and although some scenes are happy whilst others are tragic, the style keeps the viewer intrigued about what will happen next.

Fig 2

The first part of the film shows around the first 10 years of Satrapi’s life, which is remembered as a blissful and carefree time. She enjoys life surrounded by a loving family, remembering Bruce Lee as her idol, her interests in fashion and love for pop music. However, as she grew older, things started to change. Ebert explains: “She and her mother and her feisty grandmother had to shroud their faces from the view of men. Makeup and other forms of Western decadence were forbidden. At her age, she didn't drink or smoke, but God save any women who did.” (Ebert, 2008) As the society she once knew was rapidly deteriorating, so was her rights and freedom as a woman. She is almost arrested for wearing makeup, and so her parents, knowing she will be a magnet to trouble, sends her to Vienna. At first, she loves the freedom of Austria, but finds it difficult to live there in the end, due to the drug use and casual sex that is popular among everyone. She eventually returns to Iran, but it is nothing like she remembers. After many events, Marji leaves the country permanently to avoid the Iranian authorities. After her departure, Marji’s grandmother dies shortly after. In a final scene, as Marji gets into a taxi, the driver asks where she is from and she says “Iran”, remembering what her grandmother said about staying true to herself. 

Fig 3

The film is successful in its storytelling and scenes that flow into the next without being rushed, and keeps with the Iranian roots with the accents, environments, and character outfits, and when the scenes change to a different country, the environments and music change, as well as the characters themselves. 

Truly an emotional rollercoaster, the story that shows what Marji has gone through would make the viewer feel sympathy, however it seems she has grown into a strong and successful woman.

Bibliography

Ebert, R. (2008) rogerebert.com (Accessed on 23/03/2017) http://www.rogerebert.com/reviews/persepolis-2008 

Illustration List

Fig 1: (Accessed on 23/03/2017) http://www.arlyo.com/wp-content/uploads/2015/02/persepolis.jpg

Fig 2: (Accessed on 23/03/2017) http://cinanima.pt/wp-content/uploads/2017/03/010-persepolis-theredlist.jpg

Fig 3: (Accessed on 23/03/2017) http://mountainx.com/wp-content/uploads/2015/03/Persepolis-03.jpg

Adaptation B: Warrior sketches

I went back to loose sketches to find a style for the warrior.

Adaptation B: Further designs and style experiments

The top full body drawings are more refined ideas of the previous thumbnail sketches. At the moment, although i'd like to put a lot of detail into the design, I need to tone it down in order to create a successful model. I also feel the designs more experimentation to see what other possibilities there can be. The four faces are the start of the styles I am experimenting with, and at the moment they're rather realisitc, as is my style. Below (after looking at the influence map of styles such as Disney, Totally Spies, comic book characters etc) are more style experimentations. At the moment i'm liking 3, 6, 8 and 9. The scars symbolise her experience in battle and she proudly wears them. I'm also testing to see if the character can be along the lines of a middle aged woman, as most video games have a younger character, and I'd like to challenge this.

Life Drawing 13/03/2017

It's been a while since I went to a life drawing session, so it was a nice change to draw Sharon the model in multiple poses. The lying down poses were most challenging, but i'm fairly happy with the outcomes done freehand with fineliners of different sizes.

Adaptation B: Thumbnail sketches

For Adaptation B, I've chosen to adapt the Berber Queen, Dihya al-Kahina, who was a military leader during the 7th century. During this time, Northwest Africa was under the control of the Eastern Roman Empire, but Egypt fell to the Islamic Conquest.

For the character herself, I imagine her in an adventure/fighting video game where she is the protagonist, and is shown to be very powerful. The addition of scars will go against the stereotype of characters with scars and anomalies being shown as "evil", and her body will be more voluptious.  Also, as i've noticed with multiple leading ladies in games, such as Tomb Raider and Bayonetta, the female character is often sexualised in some way, but I wish to make the female equal to the male in terms of aesthetic and design, and for the character and outfit to be fit for purpose, e.g combatting with enemies

Looking at my influence maps I came up with some quick designs - however, i feel some look masculine and makes her look more male, but i'd like her to have a tough/macho feel. At the moment i'm liking 2,5 and 6. Feedback is welcome!

Adaptation B: Initial sketches

For Adaptation B, I've chosen to adapt the Berber Queen, Dihya al-Kahina, who was a military leader during the 7th century. During this time, Northwest Africa was under the control of the Eastern Roman Empire, but Egypt fell to the Islamic Conquest.

"The Byzantine capital of Carthage eventually fell to the armies of the Umayyad General Hasan ibn al-Nu'man, essentially wiping out Byzantine control of the area. However with their former rulers defeated, Dihya was able to rally all of the Berber tribes under her leadership and she became know as the 'Queen of the Berbers’. She mounted a campaign of resistance against the Ummayyad invaders, at first using guerrilla warfare but quickly escalating into outright conflict. Under her instruction the disorganised Berber forces quickly transitioned into a well-disciplined army." 

The general marched to face her but was defeated, and he had retreated to Libya, before preparing for a second battle with Dihya. Dihya's death is unknown, but it's thought that, Dihya had been killed by sword, or had committed suicide because of the inevitable defeat.

For the character herself, I imagine her in an adventure/fighting video game where she is the protagonist, and is shown to be very powerful. The addition of scars will go against the stereotype of characters with scars and anomalies being shown as "evil", and her body will be more voluptious.

Adaptation B: Deisgn and Style influence maps

Design influence: This influence map includes some design ideas I have in mind, for example a tough/strong female character, but with the slightest touch of elegance. She will not be sexualised as most female characters are in video games, and her arabic ethnicity will celebrate her identity. I'm also thinking of making her plus size and with toned muscles.

 

The style influece: As the end product will be a 3D model, I don't want to create a drastically complex character with intracate design, more so a simplified human character with a touch of my style. 

Mudbox: Face Progress

A face firstly sculpted in Maya using orthographs found on the internet, and slowly adding volume in Mudbox. At the moment it's a little tricky to create the eyes and hair. The lips are also very pouty, so I may reduce the volume of them.