Scavengers Reign Combined case study
Contents
List of Figures ............................................................................................ pg. 3
Introduction by Nathan Dobson.................................................................. pg. 4
Scavengers Reign and Ligne Claire by Evie Joyce ................................... pg. 5
Character Design by Holly Davis ............................................................... pg. 10
Creature Design by Holly Davis ................................................................. pg. 13
Artist Analysis - Charles Huettner by Damien Street ................................. pg. 18
Environment Analysis by Sasha Bowman ................................................. pg. 29
Bibliography ............................................................................................... pg. 30
LIST OF FIGURES (IN ORDER OF APPERANCE IN TEXT):
Figure 1: Scavengers Reign Screen cap by Max, (2023)………………...........…...............................................................……pg. 4 Figure 2: The Adventures of Tintin comic book page by Hergé, (1955)..................... pg. 6 Figure 3: Scavengers Reign Screencap 1 by Davis, V., (2023) ............................. pg. 6 Figure 4: The art of Moebius by Character Design References, (n.d) .............. pg. 7 Figure 5: Scavengers Reign Screencap 2 by Starzec, H.R.,(2023)............................. pg. 7 Figure 6: Nausicaä of the Valley of the Wind Screencap by Google, (n.d.) ....................... pg. 8 Figure 7: Scavengers Reign Screencap 3 by Hutchinson, C., (2023) ......................... pg. 9 Figure 8: (Scavenger's Reign Wiki 2024b).................................................pg. 10 Figure 9. (Dunyach 2022)....................................................................................pg. 11 Figure 10. (Yar 2023)................................................................................pg. 12 Figure 11. (Dunyach 2022)........................................................................pg.12 Figure 12. (Wood 2024)......................................................................pg. 13 Figure 13. (Hadidi, 2024).................................................................................pg. 14 Figure 14. (Bennet et al. 2023)...........................................................................pg. 15 Figure 15. (Bennet et al. 2023).................................................................................pg. 16 Figure 16. Above for Cartoon Networks online gumball promo by Huettner, C., (n.d.)......pg. 19 Figure 17. Background Art for Scavengers by Huettner, C., (2016).................................pg. 19 Figure 18. Poster for Scavengers Reign by Huettner, C., (2023)..................................pg. 20 Figure 19. Background art for Scavengers Reign by Huettner, C., (2023)......................pg. 21 Figure 20 . Storyboard images for Scavengers Reign (Charles Huettner, 2023) .........pg. 21-22 Figure 21. Concept art and Layout images for Scavengers Reign (Charles Huettner, 2023).pg. 23 Figure 22. Poster for Scavengers Reign (Charles Huettner, 2023) ....................pg. 24 Figure 23. Poster for Scavengers Reign (Charles Huettner, 2023) ...................pg. 25 Figure 24. Poster for Scavengers Reign (Charles Huettner, 2023) .........................pg. 26 Figure 25. Poster for Scavengers Reign (Charles Huettner, 2023).................pg. 27
Scavengers Reign: Introduction
Scavengers Reign 2023 is an incredible piece of fiction. This series takes a delve into the human psyche when placed under a tremendous amount of stress in an unfamiliar environment, watching this series you’ll follow 5 characters for much of the series and you’ll begin to realise that a 6th character is making itself well known. That 6th character is the environment itself; the alien world this story takes place in, and that is what I would like to focus on.
The flora and fauna on this planet are almost perfectly interlinked in symbiosis, the shear complexity of these creatures and the interactions between them is shown within the first few minutes of watching; it is beautiful display of how this world works however, the interactions that take place can be violent, just as it is in our world, there are predators and prey. This world is hostile in every sense of the word, it will consume you if you don’t fight back sometimes in a literal sense. Hopefully a similar feeling would be elicited by our game.
Fig. 1 Screen cap from Scavengers Reign 1x5
Scavengers Reign and Ligne Claire
Scavengers Reign's art style has bold lines, minimal shading and bright colours. Although there is little rendering the linework allows for lots of small details to be seen. One art movement that Scavengers Reign can be compared to is 'Ligne Claire'. This style was made popular by The Adventures of Tintin comics. Linge Claire is a French term meaning 'clear lines' in English. Ligne Claire is characterised by bold thick line art, solid colours with minimal shading, but detailed drawings. As the style is popular in comic books artwork can often be cartoonish and stylised (Delwiche n.d.). The Adventures of Tintin were action adventure and mystery comics intended for children.
Scavengers Reign is able to capture more detail than the Tintin comics and has some elements of shading. This is likely because of the different formatting. As Scavengers Reign is an animated show it is often shown on a larger screen, meaning the details are easier for the audience to see. It is also more long-form content and viewers will be looking at the scene for an extended time, so the visuals need to be eye-catching. Whereas in the Tintin comics, there is a much smaller space to work with and images will be looked at for a shorter amount of time as the reader passes over each panel to continue the story.
The different genre also impacts how each example uses the art style. For instance, The Adventures of Tintin are action adventures, and mystery comics intended for a younger audience. The comics often have realistic depictions of the world and historical landmarks as they are not in the fantasy genre. The colours they use are often brighter than in the real world, which adds to their style but also captures their audience. Although the colours are brighter, they are still very close to colours seen in real life. On the other hand, Scavengers Reign is a sci-fi adventure animation set on an alien planet. Because of this setting the plants and scenery are often unfamiliar and not realistic. This applies to the colours used too with purples, reds and orange often being seen throughout the show. They are often bright and unnatural to see in nature but help portray the feeling of an unfamiliar environment.
Figure 2.The Adventures of Tintin comic book page (Hergé 1955)
Figure 3. Scavengers Reign Screencap 1 (Davis 2023)
Scavengers Reign's art style also appears to be influenced by artist Jean Giraud also known as Moebius with one review stating the show looks like a "Moebius comic brought to life" (Webster 2023). Giraud was a French comic book artist and writer who is famous for their contributions towards the Science Fiction and fantasy genre (IAMAG n.d.).
Figure 4. The Art of Moebius (Character Design References n.d.)
Figure 5. Scavengers Reign Screencap 2 (Starzec 2023)
Above (fig. 3) is one of Moebius' less rendered pieces which works better for comparing to Scavengers Reign's art style.
In Fig. 3 there is limited shading which is similar to Scavengers Reign although there is sometimes the use of cell shading, it is not highly rendered and it uses mostly solid colours. In both, there is lots of use in the line work to create the feeling of texture. This can be seen in the rocks and trees and in Moebius' piece it is shown through scratches on the camping van making it look old and battered. Although they can seem simple pieces from afar both have a light level of detail, especially in the environment which adds to the story building of the worlds.
One difference is that Scavengers Reign has much simpler humans than the work of Moebius. Scavengers Reign's humans are stylised and use simple line art for their expressions and overall design. This is likely because they want to draw the viewer's attention to the alien environment and creatures rather than focusing on the human beings.
Another influence on the creation of Scavengers Reign was the work of Hayao Miyazaki. The film that inspired them the most was the 1984 Nausicaä of the Valley of the Wind by Studio Ghibli.
Figure 6. Nausicaä of the Valley of the Wind Screencap (Google n.d.)
Figure 7. Scavengers Reign Screencap 3 (Hutchinson 2023)
In terms of art movement, it can be hard to see similarities between Scavengers Reign and Nausicaä of the Valley of the Wind apart from characters as Nausicaä has highly detailed and rendered backgrounds that are painted traditionally whereas Scavengers Reign uses bold outlines and simple colours. The similarities can be seen in their depiction and focus on nature. Miyazaki is known for his beautiful and detailed backgrounds of nature shown in Studio Ghibli films. Scavengers Reign may not be as rendered but the detail that goes into their depictions of nature can still be seen. They both often draw humans in a simplistic way which further enhances the focus on the environment. Although Studio Ghibli films are often fantasy, they have roots in our world and our environment. Scavengers Regin may be set on an alien planet, but the shape language used in the plants is similar to real like as well.
In conclusion, I think that Scavengers Reign has a balance between the work of Moebius and the Ligne Claire art style to create a visually unique animation. Although The Adventures of Tintin and Scavengers Reign have some differences in terms of genre and levels of detail, Scavengers Reign is able to use the Ligne Claire style in a way that works with its genre and form of content.
As our game takes place in a post-apocalyptic world it would be fun to explore our use of colours to push that unnatural feeling further and make earth appear like an alien world. It would also be good to think about how detailed we draw our characters as we could follow the inspirations in this case study and draw less detailed characters to bring a focus to the environment. Nausicaä of the Valley of the Wind and Scavengers Reign may have different art styles but the focus on nature is apparent in both.
Scavengers Reign Character Design
One character featured in the series is called Kamen. He is a survivor from a freighter ship, who becomes possessed by The Hollow, causing him to revisit memories of his wife Fiona, which subsequently damages his mental health. (Scavenger's Reign Wiki 2024b) This is reflected in his design, as he is shown to be dishevelled and clearly unwell. He wears what appears to be a damaged uniform, affirming the context above.
Other features that show his predicament are his sunken face and his eye bags. While his body hair may be something he usually sports, the appearance of it in the below images to me looks like outgrown stubble, perhaps showing he isn't doing his usual appearance upkeep. In terms of shape language, his uniform's jagged edges could symbolise the danger of his current situation. the simplicity of this uniform makes for a design that again shows he has little in terms of resources. The complimentary colour scheme works well alongside this.
Kamen's expressions usually show his distress, and his posing does the same. He appears hunched over, portraying him as helpless and meek, having little hope and confidence.
Figure 8. (Scavenger's Reign Wiki 2024b)
Figure 9. (Dunyach 2022)
Another character featured in the series is Azi. In contrast to Kamen, she is surviving well after the being marooned from the freighter ship and has built a farm and camp with the aid of a robot companion named Levi. She and Levi then try to find the ship after receiving an emergency landing signal (Scavenger's Reign Wiki 2024a). Her success is clearly reflected in her appearance. She has an air of confidence, appearing relaxed in poses. Her clothes, while still simplistic, are well looked after. While this demonstrates that she isn't living in luxury, she is clearly much better off than Kamen in terms of wellbeing. This simplicity is further emphasised in choices like her simplistic colour scheme.
To me, Azi's frame appears somewhat athletic. While she is not particularly muscular, she appears healthy and slender, almost reminiscent of marathon runners. This design choice represents endurance, something she demonstrates by surviving in a land so unknown to her.
I also personally like that Azi's appearance is somewhat gender neutral. This makes it easier for more people to relate to her as a character, regardless of gender. Considering the lack of black protagonists in media, especially black women, this is incredibly important.
Figure 10. (Yar 2023)
Figure 11. (Dunyach 2022)
Scavenger's Reign (2023) consistently shows the powers of simplicity and readability in character design. These characters are purposefully made to contract the world they have found themselves within, which I will talk about more below.
Scavenger’s Reign Creature Design
The creatures in Scavenger's Reign (2023) come in a variety of shapes and sizes. In an interview, the series' Supervising Director, Benjy Brooke says about these creatures: “There might be something bizarre and silly about the little tendrils going into the nose, but it’s deeply unsettling, and it connects with you on some kind of reptile brain fear level.” (Brooke, Webster 2023)
With the previous quote in mind, we can see that the design of the creatures in Scavenger's Reign (2023) intentionally lands in the "uncanny valley", a term used to describe the phenomenon of how designs gradually evoke more empathy as they become more lifelike, until they are almost lifelike, but not quite convincing enough. At this point, we hit the "valley" where a design can make us feel incredibly uncomfortable.
As an example of this, the concept art below by Caleb Wood pictures a creature from the series. We can register this as looking deer-like, but something looks slightly off. This places us contextually in the alien setting of Scavenger's Reign (2023) and evokes the sense of fear of the unknown in the viewer that the characters in the show would be feeling.
Figure 12. (Wood 2024)
There is a variety of danger associated with creatures in Scavenger's Reign (2023) and their designs change appropriately. For example, Cattails, a hostile species, used sharp edges, triangular shape language and dark colours, with an exception for their piercing eyes.
Figure 13. (Hadidi, 2024)
This use of design techniques, along with the uncanny valley effect, creates a visibly dangerous creature that invokes a primal kind of fear.
On the other side of this, there are creatures that aid the protagonists. An example of this are fish-like creatures that can be used as a mask and another that blows up like a balloon, pictured below:
Figure 14. (Bennet et al. 2023)
These creatures in comparison to Cattails are visually inoffensive, using much more rounded shapes, and appearing almost cutesy and silly. This can also be attributed then their big eyes and lack of dangerous features like teeth or claws. Had they not been approachable, they would likely not have been utilized by people in the universe of Scavenger's Reign (2023).
Contrary to these design choices, some creatures use their less threatening appearance to their advantage. The Hollow is a creature widely featured in the series that has an unthreatening appearance at first but is very dangerous. This creature can use telekinesis to control its victims. (Melo, 2024)
Figure 15. (Bennet et al. 2023)
To me, The Hollow resembles a baby because of its humanoid facial structure and proportions. I believe this is an intentional choice from the designers, as evoking a need to nurture in people would only aid in its survival. As well as this, we can still see a lot of rounded shape language like the fish creatures, but The Hollow's design still lands in the uncanny valley, making it provoke a feeling of unease without appearing too threatening.
In all of the above images there is at least some level of resemblance to real animals, as stated by Joe Bennet, a Co-Creator and Co-Executive Producer for the series: “We watched a lot of animal docs, and I think we pulled a lot of influences from nature on Earth. We got to a point where we sort of realized it was almost impossible to find something that doesn’t already exist here on Earth” (Lang et al. 2023). We can see this clearly in the final designs. This grounds the show in some sense of normalcy, meaning the creatures, while looking alien, still seem like feasible lifeforms, suspending our disbelief in their appearance.
Scavenger’s Reign Style Analysis
Scavenger's Reign['s] (2023) style features mostly flat colours and bold line art with minimal cell shading. One of the things I find most distinctive about the style is the line weight consistency: while a lot of styles feature heavier lines in areas that we want to appear deeper (I use this personally in my own work which can be found here) but with Scavenger's Reign (2023), we can see consistent line weight around all facial features and body parts, especially within the character designs. The exception to this is the use of black shading in some areas where there is deep shadow.
While the structure and shapes of the general environments and characters remain rather accurate to real life, this juxtaposition between the design features and the illustrative techniques used create a compelling and unique style. The colours also fall in line with this creative flair of semi-realism: the humans appear realistic in terms of colour scheme, but the creatures and environments use unnatural colour schemes, emphasising the alien nature of the setting. This also creates a separation between the characters and the world they have found themselves in.
How will I use what I have learnt in my asset production?
One thing I would like to use from Scavenger's Reign (2023) is the simple colour schemes of the characters in contrast to the complex environments and creatures. Having already designed my character, I will focus on the use of colour in this area. For my environment, I would like to emulate the use of line art for detail alongside simplistic shading. My prop, which will be a ladybird-like creature will be designed with the uncanny valley effect in mind. While this creature isn't hostile or alien, the universe in which our game is set allows for me to use things like mutation as a contribution towards an odd appearing insect mutation.
Artist Analysis - Charles Huettner
Charles Huettner is an artist and animator from Pennsylvania, North America. Charles Huettner is mainly known for his work on Scavengers Reign (2023), Scavengers (2016), Swap Meet (2015) and Ghost Stories (2013). He is the co- creator, writer, art director and comp lead for Scavengers Reign. Charles studied at Kutzdown University where he pursued a major in fine art despite originally wanting to be a graphics designer. Due to the purpose of this case study, I will be primarily focussing on the work he produced for Scavengers Reign. I chose Charles Huettner for this case study as he played a major role in the creation of Scavenger's Reign. The art he produced for it is breath taking and I'm eager to learn the thoughts and process Charles went through in his artwork.
Originally, Charles didn't have any passion for animation and struggled to understand how it was produced. He comments in an interview on tumblr that he "wanted to animate so badly" but it just seemed like "a huge, colossal undertaking" (Greg Sharp, 2014). He didn't really make a breakthrough in animation until an Adobe Photoshop update in 2007. Charles was quite familiar with Photoshop and he saw this as his opportunity to figure out hand drawn animation. He taught himself the basics of 2D animation and comments that "I've only recently started to feel confident with my 2D animation abilities this year" (Greg Sharp, 2014). Seeing other animators online was a big inspiration for him as he found it hard to connect with pre animation Youtube films. He found artist like David O'Reilly, Don Hurtzfeldt, Joel Trussell and David Ferguson. He used to hunt down experimental 3D animation especially ones that seemed to have no point or ambition. He found "the idea that you could make a film that didn't have to be a 'proper' festival piece was kind of an eye opener for me" (Greg Sharp, 2014). His first attempts at animation used AfterEffects puppetry and the experience he gained from this became handy when he eventually got into freelancing motion graphics.
When it comes to Charles' drawing process, he loved drawing characters. He wanted to have a huge visual library of the skills and stuff he already knew how to draw . This came in handy as he'd already have concepts and some skills that would aid him in the animation phase. Charles art is quite simplistic in terms of style which makes sense as he is an animator as well as an artist. He's said that he's "a fan of simple character design and geometric shapes" (Greg Sharp, 2014). This is shown throughout his artwork. He's always trying out different styles and techniques as he "quickly gets bored with how his stuff looks" (Greg Sharp, 2014). This leads to a lot of different illustrations and techniques.
People like to compare his art to popular cartoons such as Adventure Time and The Amazing World of Gumball.
Figure 16. Above for Cartoon Networks online gumball promo (Charles Huettner)
In 2023, Scavengers Reign was released on Netflix. Scavengers Reign is a sci fi tv series based on the short film Scavengers (Joseph Bennett, Charles Huettner, 2016). The art style and work Charles did for this project is what I'll be focussing on. This is due to the style used in this show being our main stylistic influence for our game. Charles played a crucial role in the creation of Scavenger's Reign. Not only was he the writer and director of the original short film (Scavengers), he's also the co- creator, writer, art director and comp lead for Scavengers Reign. He also helped direct the first episode alongside Joseph Bennett.
Figure 17. Background Art for Scavengers (Charles Huettner, 2016)
The software that Charles used to create the art for both Scavengers and Scavengers Reign, is photoshop. The style Charles and many other artist used is quite simplistic including majority of the detail in the linework. Another key feature of this style, is that they used vibrant colours and included minimal cell shading. Charles did a variety of different art pieces for Scavengers Reign. He drew some of the posters, background art and did some of the animations. He also contributed in the pre- production phase by creating storyboard images and concept art.
Here are some examples of his work:
Figure 18. Poster for Scavengers Reign (Charles Huettner, 2023)
Figure 19. Background art for Scavengers Reign (Charles Huettner, 2023)
Figure 20 . Storyboard images for Scavengers Reign (Charles Huettner, 2023)
Figure 21. Concept art and Layout images for Scavengers Reign (Charles Huettner, 2023)
In an interview in August 2024, Charles Huettner talks about Scavengers reign. The interviewer asked if there was any Pennsylvania inspiration behind the world - building. Charles responds by saying "Absolutely! I grew up on old farmland in south- central PA. I spent most of my childhood running around in the nearby forest. One of the biggest inspirations for me was the way some of the thorn bushes and vines would overtake certain man- made structures, like fence posts, etc. Eventually, they look like this big old chaotic mess of vines reaching out for something that doesn't exist" (Colin Deppen). I particularly love this answer given by Charles and it helps provide some insight on the inspiration behind the environments in Scavengers Reign. This is also particularly helpful for our game as its main theme is based on nature reclaiming the land.
Here is his process of one the posters:
Rough Sketch
Figure 22. Poster for Scavengers Reign (Charles Huettner, 2023)
Line Art
Figure 23. Poster for Scavengers Reign (Charles Huettner, 2023)
Flat Colours
Figure 24. Poster for Scavengers Reign (Charles Huettner, 2023)
Final Image
Figure 25. Poster for Scavengers Reign (Charles Huettner, 2023)
In this process, we can see Charles first creates a cleaned sketch of the rough composition he wishes to use. Then he goes in with the thin line work that adds the main details. The vibrant colours are then applied to the piece. In the final image it shows the minimal cell shading used in scavengers reign. Some areas are clearly darker than others and, in the centre, there's a light that creates a fog/ mist effect. To create depth in the image, Charles faded some of the trees in the background.
How will we apply what we have found to our game/ art style?
Looking through the work Charles Huettner has produced for Scavengers Reign, has helped me realise the key characteristics of this art style. The characters and creatures are simple and most of the detail in the environments come from the linework. The cell shading is minimum. This knowledge will help me when I try to recreate this style for the final assets in out game. In my case study, I included progress screenshots of Charles' process. This will help us recreate the style as we can see the different in each stage of the artwork. Another thing that will help us with recreating the style of our game, is the inspiration that went into Scavengers Reign. Charles Huettner commented that his biggest inspirations was seeing thorn bushes and vines around his home overtake man-made structures. One of the main themes of our game is nature taking back the earth and we could photos around where we live of overgrowth over man-made structures to aid us in creating our environments.
Environment Analysis
The series draws inspiration from artists like Moebius and works like Fantastic Planet, with intricate linework and bold, vibrant colours, which are prominently seen in the environments. The palettes feature contrasting tones, creating tension and highlighting the duality of beauty and danger. This can be applied in games to evoke emotion and signify environmental hazards. The artists used unusual colours, both muted and bright variations, to give both the feeling of familiarity and the mystery of an alien, all new environment, and to elevate contrast. The environments are separated by their unique use of animals and the flora surrounding it. Each place feels native to each region due to the use of colour theory and a distinct and consistent art style.
In game design, this could be used to separate levels, making linear progression and giving each level its own style. To go along with this, there are also many characters featured throughout the show, adding a sense of vitality to the otherwise barren but colourful environment. These are sometimes integrated into the environment or even have 'become one' with it. In the show, these characters range from robots overgrown with flora to jelly-fish creatures.
Scavengers Reign often mimics real life applications and adapts it into an alien concept, giving it a hint of realism whilst leaning firmly into the fantasy elements. The show uses many concepts taken from nature, and many niche concepts such as parasitic spores, which fits perfectly into the setting. To go back to the art style, texture goes hand in hand with the linework to depict intricate designs and patterns that give the show a distinct, beautiful and powerful look that immerses the viewer. This technique was achieved with 2D animation and then digital enhancements. The animation is deliberately fluid, with high frame traditional work being used, and then digitally moulded to the final product. The base colouring of the environment varies, but most of the detail is found with small intricate details and luminous, contrasting highlights. The artists used light and dynamic perspectives to give each shot even more of an ethereal charm, and at times, these sequences seem to border on psychedelic, with bizarre and unique colours, transitions and shapes used in moments of emotional uncertainty and physical stress, where both the characters and the audience would feel tense all the more.
Inspiration varies from studio Ghibli to surrealist art and moebius, which suits the sci-fi animation genre well. It covers themes from isolation to the beauty of the unknown and so must utilise a great number of visual storytelling techniques. Densely textured landscapes, alien plants and surreal geological formations, with a balance of beauty and danger being hidden away in the subtle landscapes. Muted colours are used extensively with almost neon highlights to create contrasts. A technique is used here to create mood shifts subconsciously. The palette often changes across different regions, and this could be useful when changing scenes in gameplay. Minimal character designs let the environments shine and sometimes create an overwhelming feeling when comparing the two.
Talking about how we could intergrade certain parts and take inspiration from the show to use ourselves, certainly we would start with visual storytelling. Using vast environments and dynamic perspectives like the show, and taking note of not just the colours, but the concept the artists had used, with muted tones and a bright highlight would create a similar, overwhelming effect if used correctly. Also, mimicking just the dynamic natural side of the environments would ensure that the game fits the idea we have, and whilst being altered slightly, I think this would suit the narrative and diversify the levels we create well. Environmental interactions that shape gameplay, though in a linear game, would also create interesting level designs and could open other possibilities whether that be with characters etc. The show does a lot of its storytelling through environments, almost serving as a 'silent narrator' which could decrease the need for dialogue in a game setting (cutscenes or wide pan shots) this would be extra effective in games centring around exploration.
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