Published By: Aizat Hilmi Bin Azizan Edited By: Aizat Hilmi Bin Azizan Dr. Dahlan Bin Abdul Ghani Published Date: October 2015 ©
Index Wayang Kulit or shadow play is a Malaysian art form that is slowly disappearing with the passage of time. This effort is not merely a social responsibility, but also an obligation of shadow play, puppetry, Malaysia has its own unique version. Shadow play is a traditional theatre genre that as flourished for centuries in the oral context of the societies of the Malay Archipelago. This book the process of making the concept of the game from the ground up. For example, this book contain the team members, kulit wayang, character design, concept art, props, background, 3d model, and game Engine. This is book features a traditional form of art and trying to revive the old traditional shadow puppet into 3d and 2d games. This will help the audience remember the old tradition that has been forgotten.
Montage screenshot
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TEAM MEMBERS
Montage screenshot
TEAM MEMBERS
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Lead Grand Researcher
Dr. Dahlan Abdul Ghani
University Kuala Lumpur (MIIT)
Research Assistant
Aizat Hilmi Bin Azizan
Game Developers University Kuala Lumpur (MIIT) Bachelor in Multimedia Design Research Assistant
Amirul Razali Farahain Rosly Artist Modelers University Kuala Lumpur (MIIT) Bachelor in Computer Animation
Research Assistant
Mohd Izzuddin
Artist Modelers University Kuala Lumpur (MIIT) Bachelor in Computer Animation
Team members
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INTRODUCTION
Team members
INTRODUCTION
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Team members
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Introduction T
he art of shadow play or puppetry has evolved as a unique form of theatre in Malaysia. In an effort to preserve and safeguard the unique heritage of Wayang Kulit (Shadow Play), UNESCO has designated it as a Masterpiece of Oral and Intangible Heritage of Humanity on 7th November 2003. The reality is, Wayang Kulit is currently threatened with imminent extinction in Malaysia. This research describes a method of 3D computer animation technique to develop Wayang Kulit mainly focusing on Wayang Kulit Kelantan. The research objectives comprises of exploring traditional visual arts in Wayang Kulit and emerging computer technologies related to key frame animation through historical and theoretical inquiries as well as focus groups. Also, the objective of the research is to evaluate the expressivity of a 3D animation prototype by using expert and non-expert focus groups.
There are several main component between traditional and computer animation of Wayang Kulit studies that this research will focus on the research objectives including puppet design, light and shadow, animation narrative and audio . Moreover, the prototype versions of 3D Wayang Kulit animation are also being developed. This research through the development of Wayang Kulit 3D animation were able to contribute several aspects including describing the role of 3D animation as technique and alternative media, as well as new dimension arts for Wayang Kulit. Moreover, discovering several aesthetics or expressitivity related to design and movement of the puppets and finally, a hypothesis findings related to relationship of Disney’s twelve principles of animation in Wayang Kulit visual arts.
PROBLEM STATEMENT 1. Lack of support ( appreciation) & slowly being forgotten According to famous wayang kulit Craftsman & Music Traditional for Che Isa Samad believe that Wayang Kulit are lack of support (appreciation) of among young generation and professional body responsible for traditional performing arts and it is slowly being forgotten among the Malay society [5]. The today’s young generation prefers to watch movies at cinema, Internet, or buying high end electronic gadgets rather then to spend time watching shadow play entertainment with no cost. – Digital Natives. 2. No interest They (the youth and urban people) has no interest to watch wayang kulit although this heritage culture contains atheistic values, moral and entertainment. From their point of view, watching Wayang Kulit entertainment is a waste of time because their out of date no showmanship, to long, boring , stereotype music , use of dialect difficult to understand, also to much story-telling of old history [6]. Introduction
INTRODUCTION
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3. Misunderstanding among Muslim This was because wayang kulit arts contained Hindu, Buddhist and animistic influences and were deemed un-Islamic. Example the character design in the original wayang kulit is influenced from Ramayana & Mahabrata Hindu famous epic, special superstitious offerings, characters and more. According to Sulaiman Jaafar(2006), even the State Government of Kelantan has defended its policy to ban Malay folk traditions, such as Mak Yong, Menora and Wayang kulit in 1990 due to its conflict from Islamic point of view, [7]
[5] [6] [7] Introduction
Che Isa Samad, Newspaper Article “Dependence of Malay Art”, Sunday Metro, 2010 P. Atiyyahnatasya, Article, News Straits Times, Social Behavior Among Malaysian Youth : Lack of Interest on Malaysia Traditional Entertainment. November 21, 2009 Sulaiman Jaafar ,Online Resource : Article “Wayang Kulit”, New Straits Times,2006 THE CONCEPT ART OF WAYANG FIGHTER
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Research objective Research objectives I) To explore traditional visual arts in wayang kulit and emerging computer technologies related to key frame animation through historical and theoretical inquiries as well as focus groups.
II ) To design a 3D wayang kulit animation prototype.
Research objective
II) To evaluate the expressivity of a 3D animation prototype Wayang Kulit by using expert and non-expert focus groups.
INTRODUCTION
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Literature Review Types of puppet entertainment
Hand puppet
Rod puppet
Shadow puppet
Body puppet
String puppet
With the development and techniques used in Puppetry Theater, several types of puppetry have been identified They are marionettes or string puppet, body puppet, marionettes, hand puppet, rod puppets, and shadow puppets (Cariad Astles, 2009)
SHADOW Literature Review
SHAPESHIFTER THE CONCEPT ART OF WAYANG FIGHTER
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Shadow puppet
S
hadow puppets are described as two-dimensional (2D) figures made with hinged parts and controlled by rods. Shadow and silhouettes of puppet figures are portrayed by a source of light for the audience to view them two-dimensionally [10] The author had the opportunity to witness a performance by Tok Dalang (master puppeteer) Pak Nasir in 2011 at Panggung Bandaraya Kuala Lumpur (Refer to Figure) where he performed a shadow puppet of Wayang Kulit Siam performance called “Siti Dewi Kidnapped”. From the author’s observation, Pak Nasir was skillful in handling and manipulating the puppets by controlling the wooden rod attached to the puppets, in a synchronized movement (mouth, body and hands) and creating pleasant mood with the lighting persona
[10[ Wright, 1986, “Rod, Shadow, and Glove Puppet, From The Little Angle Theatre, R.Hale Press, London, pp: 139-141 Literature Review
INTRODUCTION
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Puppet design
A
basic Wayang Kulit Kelantan set consists of 65 – 120 puppets and each puppets representing the principal characters. The puppets from the visual above (Noble Characters) are shadow puppets design by Pak Hamzah himself applies detail crafting, articulation, joints and variety character traits that enables to project translucent silhouette colour effects projected on the Kelir or white screen.
[16]
For example, Dalang Pak Hamzah design, texture and colouring puppets of wayang kulit characters are simply exceptional. Pak Hamzah prefers to use thin translucent coat bright colours for his puppet character design as the audience will find it more compelling especially for children with main characters using red and green colours known for beauty in performance [16].
Mary Beth Osnes, (1992), A Survey of Shadow Play in Malaysian Traditional Shadow Puppet Theatre, Thesis PHD, University at Colorado at Boulder, pp : 70 – 72
Literature Review
THE CONCEPT ART OF WAYANG FIGHTER
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Animation Studies
A
nimation is an illusion of frame by frame illusion of movement through sequences assembles [19]. Animation consists of imagining and action representation. Paul Wells’s in his book, Understanding Animation (1998), claims that ‘animations as representative of art and language in film context, with stylish and dynamic compared to original mainstream films. Bringing an object to life is the concept and the heart of animation [21] According to Hassan Mutalib a famous
[19] [20] [21] [22]
animation film director, said that wayang Kulit is one of the example first animation in the world [22]. According to him, Wayang Kulit uses imagery and moving shadow illusions based on frame by frame with the help of Tok Dalang and music together.
Richard Taylor, 2003, The Encyclopedia of Animation Techniques, Page One Publishing, Kaki-Bukit Tec park, ISBN: 981-00-7962-1, Singapore Wells Paul., 1998, Understanding The Meaning of Animation, Published by Routledge Publication, London, United Kingdom, ISBN No. 0415115973 Denslow, P.K, 1997 ‘The Definition of Animation & Who Should Know? An Essay on ‘Terms(definition)’, Research animation studies, pp. 1-5., UK Hassan Mutalib, 2003, Seminar & Bengkel Animasi ,Universiti Malaysia Sabah on 28th June
Literature Review
INTRODUCTION
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Animation Studies
A
ccording to the interview with animation director, Usamah Zaid, he describe Upin & Ipin (Geng) 2009 as the first 3D Malaysian feature animation film done using Key Frame technique and described it as a much easier technique to manage and produced quality results in terms of visualization and audience needs. According to Hassan Muthalib (2007), the animation development in Malaysia started in early 1980’s (Hikayat Sang Kancil) and the first animated television series ‘Usop Sontorian’ was only screened in 1995 [23]. Malaysia’s first animated feature, Legendary Silat Warriors known as ‘Silat Legenda’ hit
[23]
Literature Review
the screens in 1998 where it was mostly done with cel animation including some scenes using 3D animation. Animation can be in form of cartoon or realistic looks, but most importantly is contains capable expression stylish in supporting various industry or sectors including medical, military, education and entertainment.
Hassan Abdul Muthalib, 2007, From Mouse Deer to Mouse: Malaysian Animation at the Crossroads, Inter-Asia Cultural Research Journal, Volume Eight (8), ISSN No. 1464-9373, Taylor & Franc.,pp:1-11. THE CONCEPT ART OF WAYANG FIGHTER
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DIGITAL PUPPETRY
K
hor & Yuen quoted that according to Prof. John A. Lent (2009) who is a Professor of Communications in Temple University, Philadelphia and the author of Animation in Asia and the Pacific, there is very limited animation in Asia that shows the visual styles of Wayang Kulit. Art Media Studios, a graphic and animation studio based in Kota Bahru, Kelantan developed the first 2D animated series titled “Jala Emas Jala Perak� in 2008 adapted from the original screenplay Wayang Kulit Siam theatre [30].
However it only captured the narration (voiceover) recorded from Dalang (puppeteer) Saupi and the story which was originated from Ramayana epic in Wayang Kulit Kelantan. The overall animation lacked the visual aesthetic of traditional Wayang Kulit.
Characters such Wok Yah, Samad, Said, Seri Rama and much more also new additional characters has given wayang puppetry or shadow play in Malaysia a new approach in modern entertainment. Puppet characters that we watch on screen(shadow play theatre) now is being animated with gesture, expresitivity, music, lip-sync(voice-over) and colourful scenery and characters and others that will help to capture the youth especially to watch wayang kulit.
Literature Review
INTRODUCTION
Wayang Figters
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WAYANG KULIT
Literature Review
WAYANG KULIT
seri rama
Pak Dogol
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Pak dogol T
he real name of Pak Dogol is Dewa Sealam Tunggal who was once the king of all gods in the celestial kingdom of Sura Lelaya. After a long time in the heavens as king of all the gods, he wanted to descend to earth to pave the way for the god mankind. Before descending to earth, Dewa Sealam Tunggal left a will and several instructions to Dewa Bentara Guru, and after that, he transfor med himself into an ugly human by the names of Pak Puru Langga, Pak Semar Semaran Kuala and Pak Dogol. Pak Dogol has a number of unusual characteristics. He is depicted as an ugly old man with jet black skin. People who are considered as magical beings are usually humble in speech. He wears a shirt and black trousers only, which is tied at the waist below the belly button. He has slightly raised buttocks, potbellied, and a protruding belly button.
Pak Dogol
Pak dogol
WAYANG KULIT
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Seri rama P
ortrayed as the seventh avatar of the God Vishnu, Rama is the eldest and favorite son of the King of Ayodhya, Dasharatha, and his Queen Kausalya. He is the epitome of virtue. Sri Rama is the hero of a 6.000 year old story: The Ramayana, an ancient Hindu epic poem containing 24.000 verses. He is the 7th avatar of Vishnu, bor n in ancient India to free the earth from cruelty and to be the embodiment of the ideal king. After his father’s death, Rama is sent to exile in the forest for fourteen years followed by his wife Shinta and his brother Lakshmana. Rawana, the demon King of Lanka hears about Shinta’s beauty and manages to kidnap her. Rama, aided Hikayat Seri Rama is the Malay literary adaptation of the Hindu Ramayana. The main story remains the same as the original Sanskrit version, but some aspects of it were slightly modified to a local context in order the story to be more interesting and keep the local interesting. Numerous branch stories had also been developed as add-on to this epic with the upgrading of minor characters to major ones, or reinvent totally new characters.
www.maskedart.com | Seri Rama
Seri rama
For example, in Malaysia, the storylines have produced many variations in which Laksmana plays a larger role, sometimes becoming more important than Rama the elder prince much like the Lao Phra Lak Phra Lam. Rama is righteous and virtuous. However, he was perceived to be weak and his character is often moved to the background while the younger Laksmana is admired for his courage and willingness to react decisively.
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Character DESIGN
Seri rama
CHARACTER DESIGN
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Seri rama
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Seri rama 3D game Design
Seri rama
CHARACTER DESIGN
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Seri rama
THE CONCEPT ART OF WAYANG FIGHTER
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Pak dogol 3D game Design
Pak dogol
CHARACTER DESIGN
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Pak dogol
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Pak dogol Flash 2D games Character
Walk step
Pak Dogol 2d platform walk cycle flash game
Pak dogol
CHARACTER DESIGN
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Seri rama Flash 2D games
Seri Rama walk cycle in the flash game
Seri rama
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CONCEPT ART
Seri rama
CONCEPT ART
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Seri rama
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Character Design
Seri Rama
By: Mohd Amirul & Mohd Izzuddin Character Design
CONCEPT ART
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Pak Dogol
By: Mohd Amirul & Mohd Izzuddin Character Design
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Head Turnaround
Seri Rama & Pak Dogol By: Mohd Amirul & Mohd Izzuddin Head Turnaround
CONCEPT ART
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Body sketch character
Seri Rama & Pak Dogol By: Mohd Amirul & Mohd Izzuddin Body sketch character
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Body turnaround
Seri Rama & Pak Dogol By: Mohd Amirul & Mohd Izzuddin Body sketch character
CONCEPT ART
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Seri Rama & Pak Dogol By: Mohd Amirul & Mohd Izzuddin Body sketch character
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Weapons
Weapon for both characters: Pak Dogol and Seri Rama By: Mohd Amirul & Mohd Izzuddin Weapons
CONCEPT ART
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Hands
Seri Rama & Pak Dogol By: Mohd Amirul & Mohd Izzuddin Hands
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Maps
By: Aizat Hilmi b azizan Maps
CONCEPT ART
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By: Aizat Hilmi b azizan Maps
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PROPS
Maps
PROPS
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Maps
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Objects Flash 2D game platform
Objects
Tree
Exit door
House
Platform PROPS
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Coins
Cloud
Key to win a level
User avatar
Enemy
Fence
Objects
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Objects Flash 2D game drag-&-Drop and Guess who
Seri Rama 2D Shadow Puppet
Navigation
Drag and Drop option level Drag and Drop object (Seri Rama)
Objects
PROPS
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Guess Who Option Drag and Drop Objects (Pak Dogol)
Home Button
Seri Rama Shadow Puppet
Pak Dogol Shadow Puppet
Objects
Pak Dogol 2D Shadow Puppet THE CONCEPT ART OF WAYANG FIGHTER
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Objects 3D game Design
Ammo Pack
Fence
Rocks
Health Pack Tree 2
Tree 1 Gate Wall Objects
PROPS
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House
Objects
THE CONCEPT ART OF WAYANG FIGHTER
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BACKGROUND
Objects
BACKGROUND
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Objects
THE CONCEPT ART OF WAYANG FIGHTER
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Background Flash 2D game platform
Background
BACKGROUND
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Background Flash 2D game drag-&-Drop
Background
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Background Flash 2D game guess Who
Background
BACKGROUND
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Background 3D game Design
Background
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3D MODEL
Background
3D MODEL
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Pak dogol 3D game Design 3D software Maya
Front
Pak dogol
3/4
3D MODEL
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Side
Pak dogol
Back
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Pak dogol 3D game Design 3D software Blender
Pak dogol
3D MODEL
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3D game Design 3D software Maya
Pak dogol
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Seri rama 3D game Design 3D software Maya
Front
Seri rama
3/4
3D MODEL
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Side
Seri rama
Back
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Seri rama 3D game Design
3D software Blender Software
Seri rama
3D MODEL
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3D game Design 3D software Maya
Seri rama
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Game engine
Seri rama
GAME ENGINE
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Unreal game engine T
he Unreal Engine is a game engine developed by Epic Games, first showcased in the 1998 first-person shooter game Unreal. Although primarily developed for first-person shooters, it has been successfully used in a variety of other genres, including stealth, MMORPGs, and other RPGs. With its code written in C++, the Unreal Engine features a high degree of portability and is a tool used by many game developers today.
Unreal game engine
UE4 also includes new developer features to reduce iteration time, and allows updating of C++ code while the engine is running. The new feature call Blueprint. It’s a visual scripting system from a successor to UE3’s Kismet, which allows for rapid development of game logic without using C++, and includes live debugging. The result is reduced iteration time, and less of a divide between technical artists, designers, and programmers.
GAME ENGINE
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Blueprint B
lueprints are Unreal Engine 4’s approach to visual scripting. This means that tasks generally reserved for programming scripts are instead created via a graph of nodes and connections, rather than having to type out any actual code. This enables artists and other non-coder type users to create intricate and sophisticated game-play systems that were previously only available to programmers. The purpose of the Blueprint Example is to demonstrate some of the many ways in which Blueprints can be employed in your level designs. The included level contains a variety of Blueprint-based effects. Some of these are used as level design elements for adding visual or environmental effects, such as fog sheets and “god rays,” while others are interactive level elements such as sophisticated security camera systems. The goal is to provide a sense of the enormous potential Blueprints have to offer, while also providing useful examples to help users learn how to create Blueprints themselves.
Blueprint
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Blueprint
GAME ENGINE
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Blueprint
THE CONCEPT ART OF WAYANG FIGHTER
Acknowledgment I
would like to thank Allah SWT, My wife Norashikin & Kids, Engine Developer Mr Aizat, Prof Mohd Sidin (UM), Nazrul Aizat, Dalang Pak Nasir, Prof Shahrulniza, Prof Ghulam Sarwar, Amirul, Izzuddin, Amir (DIA - UniKL), UniKL MIIT Creative Multimedia Staff, Nizam Animonstar, Usamah Zaid (LesCopaque & Wau Animation Studios) and others for the help and contribution towards this research and prototype development.
P O W E R E D B Y: