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Similar to ASAPScience, Kurzgesagt uses 2D animation to educate people about scientific subjects, though it has a bigger focus on theoretical science and complex physics subjects such as string theory.

Different from the stop motion like animation from ASAPScience, Kurzgesagt uses a more traditional 2D animation so there is a focus on more vivid backgrounds and smooth animation frames. There is also a clear difference in it's color palette that gives the animation an unique feeling to it.

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Homeopathy Explained – Gentle Healing or Reckless Fraud?

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Jean Dubuffet was an artist that I wasnt very familiar with, but his work caught my attention almost immediatly.

His drawings are certainly impressive, but his sculptures are the pieces with the most ammount of charm as they integrate 2D and 3D visual elements into the "drawing-like sculpture".

Aside from a style reference though, his work isnt going to influence the current project much due to a focus on 2D media instead of a 3 Dimensional one.

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Jean Philippe Arthur Dubuffet (31 July 1901 - 12 May 1985) was a French painter and sculptor. His idealistic approach to aesthetics embraced so-called "low art" and eschewed traditional standards of beauty in favor of what he believed to be a more authentic and humanistic approach to image-making. He is perhaps best known for founding the art movement art brut, and for the collection of works- Collection de l'art brut -that this movement spawned. Dubuffet enjoyed a prolific art career, both in France and in America, and was featured in many exhibitions throughout his lifetime.

Dubuffet was born in Le Havre to a family of wholesale wine merchants who were part of the wealthy bourgeoisie. His childhood friends included the writers Raymond Queneau and Georges Limbour. He moved to Paris in 1918 to study painting at the Académie Julian, becoming close friends with the artists Juan Gris, André Masson, and Fernand Léger. Six months later, upon finding academic training to be distasteful, he left the Académie to study independently. During this time, Dubuffet developed many other interests, including free noise music, poetry, and the study of ancient and modern languages. Dubuffet also traveled to Italy and Brazil, and upon returning to Le Havre in 1925, he married for the first time and went on to start a small wine business in Paris. He took up painting again in 1934 when he made a large series of portraits in which he emphasized the vogues in art history. But again he stopped, developing his wine business at Bercy during the German Occupation of France. Years later, in an autobiographical text, he boasted about having made substantial profits by supplying wine to the Wehrmacht.

Jean Dubuffet, 1960

In 1942, Dubuffet decided to devote himself again to art. He often chose subjects for his works from everyday life, such as people sitting in the Paris Métro or walking in the country. Dubuffet painted with strong, unbroken colors, recalling the palette of Fauvism, as well as the Brucke painters, with their juxtaposing and discordant patches of color. Many of his works featured an individual or individuals placed in a very cramped space, which had a distinct psychological impact on viewers. In 1943, the writer George Limbour, a friend of Dubuffet from childhood, took Jean Paulhan to the artist's studio. Dubuffet's work at that time was unknown. Paulhan was impressed and the meeting proved to be a turning point for Dubuffet. His first solo show came in October 1944, at the Galerie Rene Drouin in Paris. This marked Dubuffet's third attempt to become an established artist.

In 1945, Dubuffet attended and was strongly impressed by a show in Paris of Jean Fautrier's paintings in which he recognized meaningful art which expressed directly and purely the depth of a person. Emulating Fautrier, Dubuffet started to use thick oil paint mixed with materials such as mud, sand, coal dust, pebbles, pieces of glass, string, straw, plaster, gravel, cement, and tar. This allowed him to abandon the traditional method of applying oil paint to canvas with a brush; instead, Dubuffet created a paste into which he could create physical marks, such as scratches and slash marks. The impasto technique of mixing and applying paint was best manifested in Dubuffet's series 'Hautes Pâtes' or Thick Impastoes, which he exhibited at his second major exhibition, entitled Microbolus Macadam & Cie/Hautes Pates in 1946 at the Galérie René Drouin. His use of crude materials and the irony that he infused into many of his works incited a significant amount of backlash from critics, who accused Dubuffet of 'anarchy' and 'scraping the dustbin'. He did receive some positive feedback as well- Clement Greenberg took notice of Dubuffet's work and wrote that '[f]rom a distance, Dubuffet seems the most original painter to have come out of the School of Paris since Miro...' Greenberg went on to say that 'Dubuffet is perhaps the one new painter of real importance to have appeared on the scene in Paris in the last decade.' Indeed, Dubuffet was very prolific in the United States in the year following his first exhibition in New York (1951).

After 1946, Dubuffet started a series of portraits, with his own friends Henri Michaux, Francis Ponge, George Limbour, Jean Paulhan and Pierre Matisse serving as 'models'. He painted these portraits in the same thick materials, and in a manner deliberately anti-psychological and anti-personal, as Dubuffet expressed himself. A few years later he approached the surrealist group in 1948, then the College of Pataphysique in 1954. He was friendly with the French playwright, actor and theater director Antonin Artaud, he admired and supported the writer Louis-Ferdinand Céline and was strongly connected with the artistic circle around the surrealist André Masson. In 1944 he started an important relationship with the resistance-fighter and French writer and publisher Jean Paulhan who was also strongly fighting against "intellectual terrorism", as he called it.[citation needed ]

Corps de dame jaspé [Marbleized Body of a Lady] (1950) at the National Gallery of Art in 2022

Dubuffet achieved very rapid success in the American art market, largely due to his inclusion in the Pierre Matisse exhibition in 1946. His association with Matisse proved to be very beneficial. Matisse was a very influential dealer of contemporary European Art in America, and was known for strongly supporting the School of Paris artists. Dubuffet's work was placed among the likes of Picasso, Braque, and Rouault at the gallery exhibit, and he was one of only two young artists to be honored in this manner. A Newsweek article dubbed Dubuffet the 'darling of Parisian avant-garde circles,' and Greenberg wrote positively about Dubuffet's three canvases in a review of the exhibit. In 1947 Dubuffet had his first solo exhibition in America, in the same gallery as the Matisse exhibition. Reviews were largely favorable, and this resulted in Dubuffet having at least an annual, if not a biannual exhibition at that gallery.

Due to his participation in a steady stream of art exhibitions within his first few years in New York, Dubuffet became a constant presence in the American art world. Dubuffet's association with the School of Paris provided him with a unique vehicle to reach American audiences, even though he dissociated himself from most of the ideals of the school, and reacted very strongly against the 'great traditions of painting.' Americans were intrigued by Dubuffet's simultaneous roots in the established French vanguard and his work, which was such a strong reaction against his background. Many painters of the New York school at this time were also trying to seek status within the avant-garde tradition, and drew influence from Dubuffet's work. His reception in America was very closely linked to and dependent upon the New York art world's desire to create its own avant-garde environment.

Specific examples of American artists interested in Dubuffet's art were Alfonso Ossorio and Joseph Glasco. At the end of 1949, while Pierre Matisse was preparing Dubuffet's January 1950 show, Alfonso Ossorio had traveled to Paris to meet Dubuffet and buy some of his paintings. Then in 1950, at Ossorio's urging, his young friend Joseph Glasco left New York for Paris to meet Dubuffet. Glasco credited this encounter as having had an influence on his own art, and Dubuffet frequently asked about "Pollock and Glasco" in his letters to Ossorio.

Barbe des combats [Combat Beard] (1959) at the National Gallery of Art in 2022

Between 1947 and 1949, Dubuffet took three separate trips to Algeria-a French colony at the time-in order to find further artistic inspiration. In this sense, Dubuffet is very similar to other artists such as Delacroix, Matisse, and Fromentin. However, the art that Dubuffet produced while he was there was very specific insofar as it recalled Post-War French ethnography in light of decolonization. Dubuffet was fascinated by the nomadic nature of the tribes in Algeria-he admired the ephemeral quality of their existence, in that they did not stay in any one particular area for long, and were constantly shifting. The impermanence of this kind of movement attracted Dubuffet and became a facet of art brut. In June 1948, Dubuffet, along with Jean Paulhan, Andre Breton, Charles Ratton, Michel Tapie, and Henri-Pierre Roche, officially established La Compagnie de l'art brut in Paris. This association was dedicated to the discovery, documentation and exhibition of art brut. Dubuffet later amassed his own collection of such art, including artists Aloïse Corbaz and Adolf Wölfli. This collection is now housed at the Collection de l'art brut in Lausanne, Switzerland. His art brut collection is often referred to as a "museum without walls", as it transcended national and ethnic boundaries, and effectively broke down barriers between nationalities and cultures.

Court les rues (1962) at the Milwaukee Art Museum, an example of a non-painterly Dubuffet painting

Influenced by Hans Prinzhorn's book Artistry of the Mentally Ill, Dubuffet coined the term art brut (meaning "raw art", often referred to as 'outsider art') for art produced by non-professionals working outside aesthetic norms, such as art by psychiatric patients, prisoners, and children. Dubuffet felt that the simple life of the everyday human being contained more art and poetry than did academic art, or great painting. He found the latter to be isolating, mundane, and pretentious, and wrote in his Prospectus aux amateurs de tout genre that his aim was 'not the mere gratification of a handful of specialists, but rather the man in the street when he comes home from work....it is the man in the street whom I feel closest to, with whom I want to make friends and enter into confidence, and he is the one I want to please and enchant by means of my work.' To that end, Dubuffet began to search for an art form in which everyone could participate and by which everyone could be entertained. He sought to create an art as free from intellectual concerns as Art Brut, and as a result, his work often appears primitive and childlike. His form is often compared to wall scratchings and children's art. Nonetheless, Dubuffet appeared to be quite erudite when it came to writing about his own work. According to prominent art critic Hilton Kramer, "There is only one thing wrong with the essays Dubuffet has written on his own work: their dazzling intellectual finesse makes nonsense of his claim to a free and untutored primitivism. They show us a mandarin literary personality, full of chic phrases and up-to-date ideas, that is quite the opposite of the naive visionary."

Dubuffet's art primarily features the resourceful exploitation of unorthodox materials. Many of Dubuffet's works are painted in oil paint using an impasto thickened by materials such as sand, tar and straw, giving the work an unusually textured surface. Dubuffet was the first artist to use this type of thickened paste, called bitumen. Additionally, in his earlier paintings, Dubuffet dismissed the concept of perspective in favor of a more direct, two-dimensional presentation of space. Instead, Dubuffet created the illusion of perspective by crudely overlapping objects within the picture plane. This method most directly contributed to the cramped effect of his works.

From 1962 he produced a series of works in which he limited himself to the colours red, white, black, and blue. Towards the end of the 1960s he turned increasingly to sculpture, producing works in polystyrene which he then painted with vinyl paint.

In late 1960-1961, Dubuffet began experimenting with music and sound and made several recordings with the Danish painter Asger Jorn, a founding member of the avant-garde movement COBRA. The same period he started making sculpture, but in a very not-sculptural way. As his medium he preferred to use the ordinary materials as papier-mâché and for all the light medium polystyrene, in which he could model very fast and switch easily from one work to another, as sketches on paper. At the end of the 1960s he started to create his large sculpture-habitations, such as 'Tour aux figures', 'Jardin d'Hiver' and 'Villa Falbala' in which people can wander, stay, and contemplate. In 1969 ensued an acquaintance between him and the French Outsider Art artist Jacques Soisson.

In 1974 Dubuffet created Jardin d'émail: a very large outdoor painted sculpture designed for the Kröller-Müller Museum.

In 1978 Dubuffet collaborated with American composer and musician Jasun Martz to create the record album artwork for Martz's avant-garde symphony entitled The Pillory. The much written about drawing has been reproduced internationally in three different editions on tens-of-thousands of record albums and compact discs. A detail of the drawing is also featured on Martz's second symphony (2005), The Pillory/The Battle, performed by The Intercontinental Philharmonic Orchestra and Royal Choir.

Dubuffet died from emphysema in Paris on 12 May 1985.

The Fondation Jean Dubuffet currently collects and exhibits his work.

The following is a chronological list of exhibits featuring Dubuffet, along with the number of his works displayed at each exhibit.

1944: Galerie Rene Drouin, Paris

1946: Galerie Rene Drouin, Paris

1951: Pierre Matisse Gallery, New York 29 works

1955: Institute of Contemporary Arts, London 56 works

1957: Stadtisches Museum, Leverkusen 87 works

1958: Arthur Tooth and Sons, London 31 works

1959: Pierre Matisse Gallery, New York 77 works

1960: Arthur Tooth and Sons, London 40 works

1960: Kestner-Gesellschaft, Hanover 88 works

1960: Musee des Arts Decoratifs, Paris 402 works

1960: Hanover Gallery, London 27 works

1962: Museum of Modern Art, New York 85 works

1962: Robert Fraser Gallery, London 60 works

1963: Galleria Marlborough, Rome 68 works

1964: Robert Fraser Gallery, London 18 works

1964: Palazzo Grassi, Venice 107 works

1964-5: Stedelijk Museum, Amsterdam 198 works

1964-5: Galerie Jeanne Bucher, Paris 18 works

1964-5: Galerie Claude Bernard, Paris 46 works

1965: Galerie Beyeler, Basel 88 works

1965: Gimpel Hanover Galerie, Zurich 34 works

1966: Institute of Contemporary Arts, London 76 works

1966: Robert Fraser Gallery, London 13 works

2001: Jean Dubuffet: Exposition du centenaire, Centre Pompidou, Paris

2019: Jean Dubuffet: un barbare en Europe MuCEM, Marseille, France

2021: Jean Dubuffet: Brutal Beauty, Barbican Art Gallery, London

In June 2019, Christie's set an auction record when the artist's work Cérémonie (Ceremony) sold for $11.1 million.

In April 2021, Jean Dubuffet's La féconde journée (1976), was auctioned for £3.6 million in a contemporary art auction in London.

Catalogue Raisonné

Catalogue des travaux de Jean Dubuffet, Fascicule I-XXXVIII, Pauvert: Paris, 1965-1991

Webel, Sophie, L'Œuvre gravé et les livres illustrés par Jean Dubuffet. Catalogue raisonné. Lebon: Paris 1991

Jean Dubuffet, Prospectus et tous écrits suivants, Tome I, II, Paris 1967; Tome III, IV, Gallimard: Paris 1995

Principal studies

George Limbour, L'Art brut de Jean Dubuffet (Tableau bon levain à vous de cuire la pâte), Paris, Éditions Galerie René Drouin, 1953.

Peter Selz, The Work of Jean Dubuffet, New York: The Museum of Modern Art, 1962

Max Loreau, Jean Dubuffet, délits déportements lieux de haut jeu, Paris: Weber, 1971

Michel Thévoz, Jean Dubuffet, Geneva: Albert Skira, 1986

Marianne Jakobi, Julien Dieudonné, Dubuffet, Paris, Perrin, 2007, ISBN 978-2-262-02089-7.

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Jean Philippe Arthur Dubuffet (31 July 1901 - 12 May 1985) was a French painter and sculptor. His idealistic approach to aesthetics embraced so-called "low art" and eschewed traditional standards of beauty in favor of what he believed to be a more authentic and humanistic approach to image-making.

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『ゼノブレイド2』の世界を覆う雲海は、光を行進させる"レイマーチング"で生み出された【CEDEC 2018】 - ファミ通.com

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CEDEC2018で行われたセッション、"『ゼノブレイド2』のレイマーチングを使った雲表現"をレポート。

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Fan Question: Do you hand draw every scene?

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Answer: South Park is not a traditionally animated show, and the "drawing" is only done in the very early phases of productions...

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Learn how to create stop motion animation with Dragonframe, with instructional videos by creative director Jamie Caliri.

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Stop motion software for easy animations.

After some testing the software proved to be too difficult to work with as it is suited for professional productions. Instead I am going to use photoshop which can take the frames of a stop motion and render it as a video with adjustable framerate

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Stop Motion Software - macOS/Windows/Linux - Dragonframe

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Dragonframe is the industry standard stop motion animation software. Discover why it is the choice of major movie studios and independent filmmakers.

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Lockers

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Which is more hygienic - paper towel or hand dryers? SUBSCRIBE! It's free: http://bit.ly/10kWnZ7 Get Your Free Audiobook: http://bit.ly/XIcZpz --- Links to follow us below --- Instagram and Twitter: @whalewatchmeplz and @mitchellmoffit Clickable: http://bit.ly/16F1jeC and http://bit.ly/15J7ube Facebook: http://on.fb.me/1fjWszw Twitter: http://bit.ly/1d84R71 Tumblr: http://bit.ly/1amIPjF Vine: Search "AsapSCIENCE" on vine!

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This youtube channel aims to teach a wipe public about common to pretty weird topic in an objective scientific manner in order to help with the common misinformation that is spread around the internet, they use animation as a tool for transmiting the message.

Their animation is about the pinnacle of infographic design, never filling the screen with too much information and using the pictures as complementary material for what is being said on screen, making so even complicated topics can be easily digested through the drawings.

This is my most influential reference for this project as it uses stop motion to transmit health and safety infromation to people who might not have a spec of understanding about the subject.

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Keeping hands clean is one of the most important steps we can take to avoid getting sick and spreading germs to others. Many diseases and conditions are spread by not washing hands with soap and clean, running water.

Feces (poop) from people or animals is an important source of germs like Salmonella, and norovirus that cause diarrhea, and it can spread some respiratory infections like adenovirus and hand-foot-mouth disease. These kinds of germs can get onto hands after people use the toilet or change a diaper, but also in less obvious ways, like after handling raw meats that have invisible amounts of animal poop on them. A single gram of human feces-which is about the weight of a paper clip-can contain one trillion germs . Germs can also get onto hands if people touch any object that has germs on it because someone coughed or sneezed on it or was touched by some other contaminated object. When these germs get onto hands and are not washed off, they can be passed from person to person and make people sick.

Handwashing with soap removes germs from hands. This helps prevent infections because:

People frequently touch their eyes, nose, and mouth without even realizing it. Germs can get into the body through the eyes, nose and mouth and make us sick.

Germs from unwashed hands can get into foods and drinks while people prepare or consume them. Germs can multiply in some types of foods or drinks, under certain conditions, and make people sick.

Germs from unwashed hands can be transferred to other objects, like handrails, table tops, or toys, and then transferred to another person's hands.

Removing germs through handwashing therefore helps prevent diarrhea and respiratory infections and may even help prevent skin and eye infections.

Teaching people about handwashing helps them and their communities stay healthy. Handwashing education in the community:

Reduces the number of people who get sick with diarrhea by 23-40%

Reduces diarrheal illness in people with weakened immune systems by 58%

Reduces respiratory illnesses, like colds, in the general population by 16-21%

Reduces absenteeism due to gastrointestinal illness in schoolchildren by 29-57%

About 1.8 million children under the age of 5 die each year from diarrheal diseases and pneumonia, the top two killers of young children around the
world .

Handwashing with soap could protect about 1 out of every 3 young children who get sick with diarrhea and almost 1 out of 5 young children with respiratory infections like pneumonia , .

Although people around the world clean their hands with water, very few use soap to wash their hands. Washing hands with soap removes germs much more effectively .

Handwashing education and access to soap in schools can help improve attendance .

Good handwashing early in life may help improve child development in some settings .

Estimated global rates of handwashing after using the toilet are only 19%.

Preventing sickness reduces the amount of antibiotics people use and the likelihood that antibiotic resistance will develop. Handwashing can prevent about 30% of diarrhea-related sicknesses and about 20% of respiratory infections (e.g., colds) . Antibiotics often are prescribed unnecessarily for these health issues . Reducing the number of these infections by washing hands frequently helps prevent the overuse of antibiotics-the single most important factor leading to antibiotic resistance around the world. Handwashing can also prevent people from getting sick with germs that are already resistant to antibiotics and that can be difficult to treat.

1. Franks AH, Harmsen HJM, Raangs GC, Jansen GJ, Schut F, Welling GW. Variations of bacterial populations in human feces measured by fluorescent in situ hybridization with group-specific 16S rRNA-targeted oligonucleotide probes. Appl Environ Microbiol. 1998;64(9):3336-3345.

2. Freeman MC, Stocks ME, Cumming O, Jeandron A, Higgins JPT, Wolf J et al. Hygiene and health: Systematic review of handwashing practices worldwide and update of health effects. Trop Med Int Heal 2014; 19: 906-916.

3. Hogerzeil H. Promoting rational prescribing: An international perspective. [PDF - 6 pages] Br J Clin Pharmacol. 1995;39:1-6.

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centers for disease control and prevention

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Why Wash Your Hands? Read the Science Behind the Recommendations.

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Learn why washing your hands is one of the most important steps you can take to avoid getting sick and spreading germs to others.

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The Legend of Zelda - Breath of the Wild

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The Legend of Zelda - Breath of the Wild

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The Legend of Zelda - Breath of the Wild is a reimagining of the original Legend of Zelda and tries to replicate that feeling of being dropped in a complete hostile environment without any guidelines but this time in a 3 dimensional world.

It's landscapes are by far it's biggest asset, a single section of it can tell countless stories of times long past and it is even more impressive when knowing just how huge the map actually is.

For this project this reference is especially important due to it representing a post apocalyptic environment and having a lot of setpieces that need to tell stories about it's world through ruins and marks of battle and conflict.

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The Legend of Zelda: Breath of the Wild is a 2017 action-adventure game developed and published by Nintendo for the Nintendo Switch and Wii U. Set at the end of the Zelda timeline, the player controls an amnesiac Link as he sets out to save Princess Zelda and prevent Calamity Ganon from destroying the world. Players explore the open world of Hyrule while they collect items and complete objectives such as puzzles or side quests. Breath of the Wild's world is unstructured and encourages exploration and experimentation; the story can be completed in a nonlinear fashion.

Development lasted five years, commencing immediately after the release of The Legend of Zelda: Skyward Sword in 2011. Led by director Hidemaro Fujibayashi and producer Eiji Aonuma, Nintendo sought to rethink 's conventions and introduced elements such as detailed chemistry and physics engines. The designers drew inspiration from Shadow of the Colossus (2005) and The Elder Scrolls V: Skyrim (2011). Monolith Soft, known for their work on the open-world Xenoblade Chronicles series, assisted in designing landscapes and topography.

Breath of the Wild was first planned for release in 2015 as a Wii U exclusive. It was eventually released on March 3, 2017, as a launch game for the Switch and the final Nintendo game for the Wii U. It received widespread acclaim and won numerous Game of the Year accolades. Critics praised its open-ended gameplay, open-world design, and attention to detail, though some criticized its technical performance. It is the best-selling Zelda game and one of the best-selling video games of all time, with 32.35 million copies sold by 2023.

Breath of the Wild is considered one of the greatest video games of all time. Journalists described it as a landmark in open-world design for its emphasis on experimentation, physics-based sandbox, and emergent gameplay. Numerous developers cited Breath of the Wild as inspiration, and it is a popular point of comparison among open-world games. A spin-off, Hyrule Warriors: Age of Calamity, was released in 2020 while a sequel, The Legend of Zelda: Tears of the Kingdom, was released in 2023.

Players are free to explore the world of Breath of the Wild using a variety of tools. For example, by jumping from a high elevation and deploying his paraglider, Link can travel quickly.

Breath of the Wild is an open world action-adventure game. Players are tasked with exploring the kingdom of Hyrule while controlling Link. Breath of the Wild encourages nonlinear gameplay, which is illustrated by the game's lack of defined entrances or exits to areas, scant instruction given to the player, and encouragement to explore freely. Breath of the Wild introduces a consistent physics engine to the Zelda series, letting players approach problems in different ways rather than trying to find a single solution. The game also integrates a " chemistry engine" that defines the physical properties of most objects and governs how they interact with the player and one another. For example, during thunderstorms, metal objects will attract powerful lightning strikes; during a storm, therefore, a player must be careful not to carry metal, but may also throw metal objects at enemies to draw lightning to them. These design approaches result in a generally unstructured and interactive world that rewards experimentation and allows for nonlinear completion of the story.

As Link, players can perform actions such as running, climbing, swimming, and gliding with a paraglider, although Link is limited by his stamina. Link can procure items from the environment, including weapons, food, and other resources. Unlike previous Zelda games, weapons and shields degrade through use, eventually shattering. Many items have multiple uses; for example, wooden weapons can light fires, wooden shields can collect incoming enemy arrows, and shields can be used as makeshift snowboards. Players can obtain food and materials for elixirs from hunting animals, gathering wild fruit, or collecting parts of defeated enemies. By cooking combinations of food or materials, the player can create meals and elixirs that can replenish Link's health and stamina, or provide temporary status bonuses such as increased strength or resistance to heat or cold. An important tool in Link's arsenal is the "Sheikah Slate", a magical stone tablet which can be used to mark waypoints on the in-game map and take pictures of materials, creatures, and enemies. These pictures are stored in an in-game compendium that can be used to locate valuable items. The Sheikah Slate also gives the player the ability to create remote bombs, manipulate metal objects, form ice blocks on watery surfaces, and temporarily stop objects in time. In combat, players can lock onto targets for more precise attacks, while certain button combinations allow for advanced offensive and defensive moves. Players may also defeat enemies without weapons, such as by rolling boulders off cliffs into enemy camps.

One of Breath of the Wild's major gameplay mechanics is the ability to climb nearly anything in the game. With it, players can reach areas without following a particular path.

Besides exploration, players can undergo quests or challenges to obtain certain benefits. Activating towers and shrines will add waypoints to the map that the player may warp to at any time. Activating towers also adds territories to the map, although location names are not added until the player explores that area. Dotted throughout Hyrule are shrines that contain challenges ranging from puzzles to battles against robotic opponents. Clearing shrines earns Spirit Orbs; after earning four of these orbs, they can be traded for additional health or stamina points. When Link has at least 13 hearts, he can reclaim the Master Sword in the Korok Forest. The Master Sword is the only unbreakable weapon in the game, but it can run out of energy after extended use, requiring a 10 minute recharge. In addition to shrines, the Divine Beasts, giant mechanical animals, act as extended puzzles, each based around a unique animal and element. Scattered across Hyrule are small puzzles that reveal Korok Seeds, which can be traded to expand inventory size for weapons, shields, and bows. Towns serve as hotspots for quests, sidequests, and shops selling materials and clothing. Hikers and other travelers offer sidequests, hints, or conversation. Additionally, players can scan Amiibo figures against their controller to summon items or call Link's horse Epona from previous Zelda games and Wolf Link from Twilight Princess.

Breath of the Wild takes place at the end of the Zelda timeline in the kingdom of Hyrule. In ancient times, the ancient Sheikah race had developed Hyrule into an advanced civilization, protected by four enormous animalistic machines called the Divine Beasts and an army of autonomous weapons called Guardians. When an ancient evil known as Calamity Ganon appeared and threatened Hyrule, four great warriors were given the title of Champion, and each piloted one of the Divine Beasts to weaken Ganon while the princess with the blood of the goddess and her appointed knight fought and defeated him by sealing him away.

Ten millennia later, the kingdom of Hyrule had since regressed to a medieval state. Reading their ancestors' prophecies, Hyrule's peoples recognized the signs of Ganon's return and excavated surrounding areas to uncover the Divine Beasts and Guardians. During this time, Princess Zelda trained vigorously to awaken the sealing magic needed to defeat Ganon while trying to maintain her personal research. In the meantime, a knight was appointed to protect her: Link, a Hylian who was chosen due to his ability to wield the Master Sword, also known as "the sword that seals the darkness". After being sought out by Zelda, the Champions- Mipha, princess of the aquatic Zora; Revali, archer of the birdlike Rito; Daruk, warrior of the mountainous Gorons; and Urbosa, chief of the desert-dwelling Gerudo -assembled to pilot the Divine Beasts (Vah Ruta, Vah Medoh, Vah Rudania, and Vah Naboris, respectively) while Zelda and Link would face Ganon directly.

However, when Ganon appeared on Zelda's seventeenth birthday, he possessed the Guardians and Divine Beasts, turning them against Hyrule. King Rhoam and the Champions were killed, much of the kingdom was laid to waste, and Link was gravely wounded protecting Zelda while on their way to Fort Hateno. Zelda had Link taken to safety for him to heal, hid the Master Sword in Korok Forest under the protection of the Great Deku Tree, and used her light magic to seal herself and Ganon in Hyrule Castle. This cataclysmic tragedy came to be known over time as the Great Calamity.

A century after being placed in a healing chamber in the Shrine of Resurrection, an amnesiac Link awakens in a now-ravaged Hyrule. He meets an old man, who eventually reveals himself as the lingering spirit of King Rhoam. Rhoam explains that Ganon, sealed in Hyrule Castle, has grown stronger; he pleads for Link to defeat Ganon before he regains his full strength, breaks free, and destroys the world.

Link reunites with Impa, a Sheikah elder who previously served the royal family, and she instructs him to free the Divine Beasts. Link travels across Hyrule, returning to locations from his past and regaining his memories. At the behest of Hyrule's peoples, he boards the four Divine Beasts and purges them of the Blight Ganons, freeing the captive spirits of Hyrule's fallen Champions and allowing them to pilot the Divine Beasts once again. In this endeavor, Link is assisted by Sidon, the Zora prince and Mipha's younger brother; Yunobo, Daruk's cowardly descendent; Teba, a Rito warrior; and Riju, the child chief of the Gerudo. After obtaining the Master Sword from Korok Forest, Link enters Hyrule Castle and confronts Ganon. The Divine Beasts weaken him, and after Link defeats him, he transforms into Dark Beast Ganon in an attempt to destroy the world. Zelda gives Link the Bow of Light, which allows him to weaken Ganon enough for Zelda to seal him away, restoring peace and allowing the spirits of King Rhoam and the Champions to depart to the afterlife. Sensing their presence, Link and Zelda smile fondly.

If players have found all thirteen memories in the "Captured Memories" main quest, they unlock a post-credits cutscene in which Zelda declares that Hyrule must be rebuilt and that she and Link must begin the process by themselves. As Link and Zelda survey Hyrule and embark to restore it to-and perhaps beyond-its former glory, the princess confides in him that although her powers may have dwindled over time, she has come to terms with it.

Development

With Breath of the Wild, Zelda series producer Eiji Aonuma sought to rethink series conventions.

Nintendo EPD, an internal division of Nintendo, developed Breath of the Wild for the Nintendo Switch and Wii U. According to series producer Eiji Aonuma, the development team aimed to "rethink the conventions of Zelda". Development started immediately upon the release of The Legend of Zelda: Skyward Sword (2011). Aonuma received comments from players who wished to see a more interconnected map to explore the locales between the gameplay areas. In 2013, Nintendo experimented with nonlinear gameplay in The Legend of Zelda: A Link Between Worlds, which was a common point of praise from many outlets. At E3 2014, Aonuma said he planned to reform dungeons and puzzles, two of the series' major gameplay elements, and redesign the game to allow players to reach the end without progressing through the story. As Nintendo had never developed an open-world game on the scale of Breath of the Wild, they looked at The Elder Scrolls V: Skyrim and Shadow of the Colossus, the latter of which had some similar climbing mechanics and whose creator, Fumito Ueda, was friends with Aonuma. For the art style, the team drew inspiration from various Japanese anime which they had grown up watching, suspected to include Studio Ghibli and Hayao Miyazaki productions, among other anime. Series protagonist Link was redesigned for the game, with Aonuma purposely making him more gender neutral so that players could more easily relate to him.

Before full development, the developers designed a playable 2D prototype similar to the original Zelda to experiment with physics-based puzzles. The final game uses a modified version of the Havok physics engine. At the 2017 Game Developers Conference, director Hidemaro Fujibayashi, technical director Takuhiro Dohta, and art director Satoru Takizawa held a presentation titled "Change and Constant - Breaking Conventions with The Legend of Zelda: Breath of the Wild", during which they demoed the prototype. Aonuma called the physics engine in Breath of the Wild a major development for the Zelda series, saying that it "underpins everything in the world" and makes things operate in a "logical and realistic way", allowing players to approach puzzles and problems in different ways. He expanded on the difficulty in developing this system, recalling how one day during development he entered an area in the game and found that all the objects had been blown away by the wind. In the early stage of development, the game was to include "double hookshots", a variation of the hookshot present in previous Zelda games, that would let players swing "like Spider-Man". It ended up being removed after the developers found it gave the player too much mobility and broke the climbing mechanic. As previous Zelda games increased the amount of actions Link could perform, the development team realized that having too many actions would complicate the controls, so instead of adding more actions, they increased the number of events the player could interact with in the world.

Our mission in developing this new Zelda game ... is quite plainly to re-think the conventions of Zelda. I'm referring to the expectation that the player is supposed to complete dungeons in a certain order...we want to set aside these conventions, get back to basics and create a newborn Zelda so that the players can best enjoy the real essence of the franchise.

The game was built and demonstrated with touchscreen features for the Wii U, but the developers found that "looking back and forth between the GamePad and the screen" distracted from the game. The features were removed when the game moved to tandem development across the Switch and Wii U. The Wii U GamePad also affected animation; although Link is canonically left-handed, he is right-handed in the game to match the GamePad's control scheme, which has its sword-swinging buttons on its right side. The Switch version performs better than the Wii U release when docked to a television, although when undocked, both run at the same resolution. The Switch version also has higher-quality environmental sounds. Certain ideas that were planned for the game, like flying and underground dungeons were not implemented due to the Wii U's limitations; they would eventually resurface in the game's sequel. Aonuma stated that the art design was inspired by gouache and en plein air art to help identify the vast world. Takizawa has also cited the Jōmon period as an inspiration for the ancient Sheikah technology and architecture that is found in the game, due to the mystery surrounding the period. The game's landscape was based on locations in and around Kyoto, the hometown of game director Hidemaro Fujibayashi, and was partially designed by Monolith Soft, who assisted with topographical level design. The game's initial area was made a plateau so that players can see the world's expansive environments.

I really think the implementation of this physics engine is a major development for the Zelda series. The way the physics engine underpins everything in the world really offers up a lot of new possibilities. For instance, in Breath of the Wild you might have a puzzle where making use of the physics, there'll be various ways you can solve that puzzle. That really opens up a lot of possibilities so there's not just one way to progress in the game or just one way to solve a puzzle.

Breath of the Wild was the first main Zelda game to use voice acting in cutscenes, although Link remains a silent protagonist. Aonuma was affected by the first time he heard a character with a human voice in-game, and wanted to leave a similar impression on players. The team decided to record voice-overs for all cutscenes instead of only the key scenes, as originally planned. Nintendo provided voice-overs and subtitles in eight languages. Initially, players were not able to mix and match the languages of voices and subtitles, but Nintendo later released an update in May 2017 that allowed players to choose the voice-over language. After five years of development, the game went gold, with Nintendo holding a wrap party to celebrate. Coinciding with the game's launch in Taiwan and South Korea in early 2018, Nintendo introduced a patch worldwide adding traditional and simplified Chinese and Korean translations for the Nintendo Switch version.

The original score was composed by Manaka Kataoka, Yasuaki Iwata, and Hajime Wakai. Kataoka and Wakai had previously worked on the Zelda games Spirit Tracks and The Wind Waker respectively. The soundtrack was primarily written and performed on a piano, with a focus on ambient music and sounds rather than melodic and upbeat music as seen in previous Zelda games. According to Wakai, this helped add "authenticity" to the environments and was taken on as a challenge by the rest of the sound team.

A demo kiosk at E3 2016 for Breath of the Wild

Aonuma originally teased the game for the Wii U in January 2013 during a Nintendo Direct presentation. The game, he continued, would challenge the series' conventions, such as the requirement that players complete dungeons in a set order. The next year, Nintendo introduced the game's high-definition, cel-shaded visual style with in-game footage at its E3 press event. Once planned for release in 2015, the game was delayed early in the year and did not show at that year's E3. Zelda series creator Shigeru Miyamoto reaffirmed that the game would still release for the Wii U despite the development of Nintendo's next console, the Nintendo Switch. The game was delayed again in April 2016 due to problems with its physics engine. Nintendo let attendees play the game's Wii U version at the E3 convention in June 2016, where they also announced its subtitle, Breath of the Wild. It was listed among the best games at E3 by several publications.

Breath of the Wild launched for both the Wii U and Switch on March 3, 2017. It was the last Nintendo game released for the Wii U. The Switch version was available in limited "Special Edition" and "Master Edition" bundles, which both included a Sheikah Eye coin, a Calamity Ganon tapestry with world map, a soundtrack CD, and a themed carrying case for the Switch. The Master Edition also included a figurine based on the Master Sword. An "Explorer's Edition" was released for the Switch on November 23, containing a two-sided map and a 100-page book of story information. In Europe, the game used unique packing artwork. A five-disc, 211-track soundtrack was released in Japan on April 25, 2018.

Downloadable content

Throughout 2017, Nintendo released two packs of downloadable content (DLC) via an "expansion pass": The Master Trials and The Champions' Ballad. The Master Trials, released in June, adds gameplay modes, features, and items. In the "Trial of the Sword" challenge, the player faces three trials, consisting of twelve, sixteen, and twenty-three rooms respectively. Each room is full of enemies which the player must defeat before proceeding. Every room must be completed before the player can claim their reward. The player begins with no equipment and will lose all progress if they receive a game over. At the end of each trial the player's Master Sword has its attack power upgraded by ten points and the blue sheen of its blade grows slightly. By the end of the third trial, the Master Sword will have doubled in attack power and will glow blue. The pack also adds an option to play the game at a higher difficulty level, called "Master Mode", which adds faster rank leveling and raises the ranks of enemies by 1. The enemies are more perceptive when Link sneaks near them and slowly regenerate health in battle. New floating platforms throughout the land offer enemies to battle and treasure as a reward. The Hero's Path feature draws the player's path on the game's map, designed to help players determine places they have not visited. The player can also find the hidden Travel Medallion to save Link's current position as a single waypoint to which the player can transport Link at any time. New items include the Korok Mask, which alerts the player when a Korok is nearby, and other themed cosmetics related to previous Zelda games.

The Champions' Ballad was released in December. It added a new dungeon, additional story content, new gear, and additional challenges, as well as the Master Cycle Zero, a motorcycle-like vehicle that Link can ride upon completing the quest line.

A complete "Expansion Pass" edition of the game, containing all DLC on the game card, was released exclusively in Japan on October 8, 2021.

Breath of the Wild received "universal acclaim", according to the review aggregator Metacritic. The game is the highest-rated of 2017 on Metacritic, and holds the largest number of perfect reviews of any game from any year. Several critics called the game a masterpiece.

The open-world gameplay received praise. Jose Otero of IGN described it as "a masterclass in open-world design" and "a wonderful sandbox full of mystery, dangling dozens upon dozens of tantalizing things in front of you that just beg to be explored". called it the most impressive game Nintendo had made, writing that it "takes designs and mechanics perfected in other games and reworks them for its own purposes to create something wholly new, but also something that still feels quintessentially like a Zelda game ... It's both a return to form and a leap into uncharted territory, and it exceeds expectations on both fronts". wrote that the game world was "an absolute, and unremitting, pleasure to get lost in" and that "the magic of being given all the tools in the opening hour is the knowledge that the solution to any problem is already at your disposal, and you can always change tack". According to Digital Trends, the ability to climb any surface and glide across the map gave players freedom of movement that "broke the genre open, pushing developers to rethink how players interact with the world" and putting extra thought into vertical design. In contrast to " Ubisoft-style" games that filled the game's map with points of interest and objectives, Breath of the Wild's free-form exploration encourages players to set their own objectives, marking the map with discoveries that serve as a record of what players have accomplished.

According to Kyle Orland of Ars Technica, the game with its open-world design reinvented Zelda formula, in comparison to other entries of the franchise. Journalists commented on unexpected interactions between game elements, with serendipitous moments proving popular on social media. Chris Plante of predicted that whereas prior open-world games tended to feature prescribed challenges, Zelda would influence a new generation of games with open-ended problem-solving. Digital Trends wrote that the game's level of experimentation allowed players to interact with and exploit the environment in creative ways, resulting in various "tricks" still discovered years after release.

Reviewers lauded the sense of detail and immersion. Kotaku recommended turning off UI elements in praise of the indirect cues that contextually indicate the same information, such as Link shivering in the cold or waypoints appearing when using the scope. Reviewers also commented on the unexpected permutations of interactions between Link, villagers, pets, and enemies, many of which were shared widely on social media. A tribute to former Nintendo president Satoru Iwata, who died during development, also attracted praise.

Jim Sterling was more critical than most, giving Breath of the Wild a 7/10 score, criticizing the difficulty, weapon durability, and level design, but praising the open world and variety of content. Other criticism focused on the unstable frame rate and the low resolution of 900p; updates addressed some of these problems.

Breath of the Wild broke sales records for a Nintendo launch game in multiple regions. In Japan, the Switch and Wii U versions sold a combined 230,000 copies in the first week of release, with the Switch version becoming the top-selling game released that week. In the UK, Breath of the Wild was the second-bestselling retail game its week of release behind Horizon Zero Dawn, and became the third-bestselling Zelda game behind The Wind Waker and Twilight Princess. In the United States, Breath of the Wild was the second-bestselling video game during its month of release behind Tom Clancy's Ghost Recon Wildlands. Nintendo reported that Breath of the Wild sold more than one million copies in the US that month, 925,000 of which were for Switch - a 100% attach rate. Nintendo president Tatsumi Kimishima said that the attach rate on the Switch was "unprecedented". Breath of the Wild had sold 30.65 million copies on the Switch by June 2023 and 1.70 million copies on the Wii U by December 2020.

Following its demonstration at E3 2016, Breath of the Wild received several accolades from the Game Critics Awards and from publications such as IGN and Destructoid. It was listed among the best games at E3 by Eurogamer, GameSpot, and GamesRadar+. In late 2016, Breath of the Wild received two awards at Gamescom, and won the award for Most Anticipated Game at the Game Awards 2016.

After its release, Breath of the Wild won multiple awards at the Game Awards 2017, including Game of the Year, Best Game Direction, and Best Action/Adventure Game, and was nominated for Best Art Direction, Best Score/Music, and Best Audio Design. At the 21st Annual D.I.C.E. Awards, it won " Game of the Year" amongst other awards. Industry publications including IGN, GameSpot, , Entertainment Weekly, , Electronic Gaming Monthly, GamesRadar+, and Game Informer ranked Breath of the Wild the best game of 2017. According to Metacritic, Breath of the Wild topped 18 lists of the decade's best games, more than any other game of the 2010s. The game also ranked high in several lists of the greatest video games, including The Guardian, IGN, Edge Magazine, and Famitsu. In a 2021 poll conducted by , polling over 50,000 Japanese users, Breath of the Wild was voted the best console game of all time, above Dragon Quest V at number two. A 2023 poll conducted by GQ Magazine which surveyed a team of video game journalists across the industry ranked Breath of the Wild as the best video game of all time.

It's been three long years since The Legend of Zelda: Breath of the Wild rewired the connections inside my brain. It messed me up. In some ways you might say it ruined video games. Other video games. [...] It's not 's fault that it's not Breath of the Wild. It's not 's fault that it's not Breath of the Wild. I spent a good 10 hours playing Red Dead Redemption 2, hoping it was Breath of the Wild, then eventually gave up. No one's fault. Sorry, other video games. You tried, but you weren't Breath of the Wild.

Shortly after Breath of the Wild's release, journalists and video game industry figures discussed how it would influence future open-world games and the Zelda series. Benjamin Plich, designer of Assassin's Creed Unity and , said that he believed developers would take inspiration from its focus on experimental and emergent gameplay, such as "the ability to experiment with things more freely, in an open way" and having a sense of autonomy and experimentation with the environment and the tools at their disposal. Damien Monnier, designer of The Witcher 3: Wild Hunt, said Breath of the Wild managed to bring classic open world mechanics together while not relying on them to guide the player through its world, encouraging players to go and explore anywhere in the game. Its "reactive physics" sandbox design was "a revelation for the open world genre at large" according to Screen Rant, and the game was noted for its experimental chemistry engine, emphasizing chemistry as much as physics. wrote that the game set a new standard for its genre and the future games to come.

The game's success sparked increased interest in the Wii U emulator Cemu, as the Cemu developers rapidly updated the software to run the game at a steady frame rate within weeks of release. The ability to run the game in an emulator led to a thriving modding scene.

Hyrule Warriors: Age of Calamity, a hack and slash game in the style of Dynasty Warriors series, following 2014's Hyrule Warriors, is a spin-off of Breath of the Wild, with the story set 100 years before. The game was released on November 20, 2020, on the Nintendo Switch.

A sequel was announced at E3 2019 with the title later revealed to be The Legend of Zelda: Tears of the Kingdom. It was conceived during planning for Breath of the Wild's DLC; the team came up with too many ideas, some of which could not be implemented due to technical constraints, so used them for a new game. According to Aonuma, the sequel will build atop the original's world with a new story and gameplay elements, and is inspired in part by Red Dead Redemption 2. Fujibayashi will reprise his role as director. Originally set to be released in 2022, the game was delayed to early 2023. The game was released on May 12, 2023.

References

External links

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The Legend of Zelda: Breath of the Wild - Wikipedia

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The Legend of Zelda: Breath of the Wild is a 2017 action-adventure game developed and published by Nintendo for the Nintendo Switch and Wii U. Set at the end of the Zelda timeline, the player controls an amnesiac Link as he sets out to save Princess Zelda and prevent Calamity Ganon from destroying the world.

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Like Breath of the Wild, Xenoblade Chronicles tells a tale of character living on top of a world long gone and, therefore, it has to tell about it's lore through it's scenery. Furhtermore it also has the unique environment theme of having it's world being titans, making for much more interesting landscapes and bits of lore.

This has a similar benefit to my project as BotW, but having the further advantage of the unique landscapes that come from the titans and allow for more unique looking and iconic set pieces.

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Xenoblade Chronicles is an action role-playing game developed by Monolith Soft and published by Nintendo for the Wii. Initially released in Japan in 2010, it was later released in the PAL region in 2011 and in North America in 2012. A port for the New Nintendo 3DS was released worldwide in 2015.

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The movie that inspired the whole structure of JRPGs and one of the most visually impressive ghibli film both at the time of release and even today. It's influence cannot be denied and it's environmental ideas and approach to industrialization, even though old can still be applied to today.

This is arguably my biggest influence for this project as it depicts an ancient civilization that is now long gone and has it's story and culture all passed down through it's environments and it does it flawlessly at that

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During her confrontation with Muska, Sheeta explains that the people of Laputa left the castle because they realized that man was meant to live on earth and not in the sky. Muska refuses her arguments, shoots off her braids and threatens to kill her unless the crystal amulet is given to him.

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An overview of Cloth creation using the in-Editor tools with Unreal Engine 4.

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How to change your font in Unreal Engine through TextRenderer

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How to change your font in Unreal Engine through TextRenderer

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How to make clean big text renderers with custom fonts? - UE4 AnswerHub

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Note that each time you tweak your font asset, this Font parameter value in the Text Material will not be updated, so you'll have to clear it and then select again your font. You can also notice a parameter Font Texture Page just under Font.

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Make a particle system follow the player followup (Unreal Engine 4)

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More resources for Unreal Engine

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"game art" "video games" artist "3d art" art

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In the real world im a video game artist working specifically in environments. My recent project was a part of Tom Clancy's The Division. I love an active ch...

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Welcome to the Unreal Development Kit (UDK) documentation start page, with all the details you need to become an expert with the award-winning Unreal Technology.

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OnlineMediaTutor | Maya modeling & animation tutorials!

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#7 Using Height Maps to Create Landscapes in UE4 | Unreal Engine 4 Tutorial for Beginners

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#6 How to Sculpt Landscape in Unreal Engine 4 | Unreal Engine 4 Tutorial for Beginners