CONTENTS -

Initial Ideas 1

THE MAKING OF Building Visuals 5

HEROS
Character Design 9

Props Design 11

JOURNEY
Ending Alteration 13

Moving to Maya 15

Animating 21

CREATED BY
TWISTED TURTLE STUDIOS
FORMED OF
MICHAELA CERNEJOVA - DOUY SINGSAMRAN - MICHAEL BROOK
 INITIAL IDEAS
As a group, we were given our brief: to create an animation base around a premise of failed or
forgotten Superheroes. We immediately set out to write down as many ideas as we could think of,
and then select the ones we thought worked best.

The ideas we selected were:

A woman with super strength but only uses it to juggle
A man whose hair grows back instantly
An immortal person who works as a crash test dummy
Someone who can read minds
Someone who can never blink
A man with super speed but hasnt worked out how to stop

After deciding on these, we set about creating a 3-Panel comic, to allow a visual aspect to our
thinking process.

3-Panel Comics

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Unfortunately, those ideas were having a bit of an identity crisis as they either didnt feel like they
were failing in any way, or they werent really superheroes at all.

After realising this, we decided we were going to use pre-existing Superheroes from the Marvel and
DC universes as they were already established in peoples minds, and breaking these expectations
in our animation would be significantly more successful than our previous ideas.

We then had to think of a way for those expectations to be broken, and after some deliberation we
settled on the idea that they were all pensioners. This basis allows us to easily alter what made
these famous characters strong, instead turning them into weaknesses.

New 3-Panel Comic

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 BUILDING VISUALS
After having settled on our new ideas, we set out to decide on the structure of our animation and
give deeper thought into the sets we were going to use. And then, after deciding on all of this, we
created an animatic to better represent our ideas at the time.
Structure
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Sets / Backgrounds -
Flash Set A plain staircase with carpeted floor. A boring-looking colour on the wall behind his
stairlift, lined with framed newspaper clippings of him in his hay-day all the way up. Possibly a
hallway at the top and bottom of the stairs? Shoes neatly placed together at the end of the
stairs on carpeted floor.
Batman Set Plain background during the fast sequence (maybe a room in the background but
heavily blurred?). And a normal-looking garage from the outside, on a small road (maybe a cul-
de-sac?).
Hulk Set Top-down of a huge multi-lane highway, packed full of cars. Hulks car interior looks
quite boring, maybe with a plush toy of Hulk instead of dice on his rear-view mirror to let
viewers know who theyre looking at while hes still in his Bruce Banner form.
Superman Set Flat land in front of the camera, leading to a bench and some trees, and
multiple tall buildings on the horizon, which Superman will be on when hes attempting to fly.
When he crashes, he will land on the flat ground and skid towards the camera.
Influence Maps
And Silhouettes

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 CHARACTER DESIGN
Having established how we wanted our animation to look, we set about sketching out ideas for how
we planned the characters would look on-screen. As we were going to be using a pre-existing model
as a base for each of our characters, we had to be strategic in regards to creating costumes because
we couldnt edit the model too much without breaking it in some way. Therefore, the majority of
the changes made were textures, filled only with the necessary information to let the viewer know
exactly who they were looking at.

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PROPS DESIGN

Hulks Car Batmans Mobility Scooter

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 ENDING ALTERATION

At this time, we decided we needed to alter the final scene of the animation to leave the
viewer with a joke, as opposed to our the earlier idea which was somewhat underwhelming.

For this scene, we decided to incorporate it directly into the Superman scene, so that when
Superman crash lands in front of the camera, he dusts himself off and sits on a park bench with
the rest of the cast to feed birds.

After this, the credits would roll while this sequence of the bench-full of Superheroes feeding
birds played out to one side.
Altered Ending Storyboard

However, we still felt that this idea lacked a proper ending. We then edited the story so that the
punchline comes when Bruce Banner (who had previously turned into Hulk) shimmies out from
behind a bush, fully naked as his clothes had been ripped during his transformation.

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 MOVING TO MAYA

Having established everything up to this point, we decided it was time to head over to Maya to
start creating everything as it would be seen in the final animation.

Using our previously-created concepts for the characters and props, as well as the gathered
reference material, we set about creating all of our assets in 3D. The vast majority of changes
made to the Moom model were with textures maps, with major aspects of the characters
appearances having been modelled and then parented.

To keep a comic book feeling to the art style, most of the props were accentuated in areas and
the materials applied to the models were kept rather simple.

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 Animating

Now that we had finished modelling everything, we each chose which scenes we were going to
be working on, and split up to get to work.

Michaela Superman/Ending Scene

Douy Hulk Scene

Michael Flash and Batman Scenes

Due to licensing issues, the final animation will not be rendered, but instead playblasted in a
high quality. Because of this, renders have been including in this section to give a better idea as
to how the finished animation could have looked.

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Superman Scene

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Hulk Scene

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Flash Scene Batman Scene

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