Autor: sarah.molinari

The „Lords of War“ cinematics for World of Warcraft are a stunning example of how minimalistic animation can deliver powerful stories. Released as part of the promotional content for the „Warlords of Draenor“ expansion, these short films delve into the backstories of key characters, offering players a glimpse into the rich lore of the game’s universe. What sets these cinematics apart is their unique art style (a combination of illustrated stills with subtle movements and dynamic transition) which creates a dramatic and immersive narrative experience.

What the cinematics are about

The „Lords of War“ series focuses on five iconic warlords from World of Warcraft, exploring their origins, motivations, and rise to power. Each episode serves as a character study, delving into the moral complexities and pivotal moments that shaped these leaders. For example, one cinematic portrays Grommash Hellscream’s unwavering loyalty to his people, while another delves into the tragic downfall of Kilrogg Deadeye, highlighting his vision-driven decisions.

These stories are deeply rooted in the game’s lore, yet they also stand alone as very interesting short films. Even viewers unfamiliar with World of Warcraft can appreciate the emotional depth and universal themes of loyalty, sacrifice, and ambition.

Storytelling and animation style

The animation style of „Lords of War“ is to me very innovative. Instead of fully animated sequences, the series uses richly detailed illustrations (concept art style) that are brought to life through three main elements. The first one are the subtle movements. Small, deliberate animations such as flowing hair, shifting eyes, or flickering flames add a sense of life to the still images. The second one are dynamic transitions. The cinematics employ zooms, pans, and dramatic shifts between frames to create momentum and intensity. And the third one is depth created through illustration layers. Illustrations are often composed in layers, giving a sense of dimension and space as the camera moves through the scenes.

This minimalistic approach to animation focuses attention on the intricate artwork and voice acting, allowing the story to take center stage. The result is a visually unique and emotionally resonant series that captures the essence of the characters and their worlds.

Behind the scenes of the art

A key insight into the creation of these cinematics comes from the behinf the scenes video, „Lords of War Behind the Scenes – Art. “ This featurette reveals the thought process and creative decisions behind the animations. The creators discuss how they used concept art as a foundation, enhancing it with digital tools to craft a visually cohesive and impactful style.

One fascinating aspect of the process is the use of negative space and contrast. By playing with shadows and highlights, the artists create a sense of drama and focus that complements the narrative. They also emphasize how minimal motion can evoke strong emotions, proving that effective storytelling doesn’t always require elaborate animation.

Why this series was interesting for me

The „Lords of War“ cinematics deeply resonated with me because of their ability to tell complex stories through a minimalistic approach. The use of illustrated stills with subtle movements inspired me to think about how I could incorporate similar techniques into my own work.

I was particularly drawn to the way the cinematics rely on atmosphere and tone rather than overt action. The interplay of visuals, voiceovers, and music creates a rich emotional tapestry that elevates the storytelling. This approach is a reminder that sometimes less is more, and that thoughtful design can make even minimal animations feel epic and impactful.

Links

1. World of Warcraft – Lords Of War
2. Lords of War Behind the Scenes – Art
3. Illustration & Concept Art with Laurel Austin

The Amazon Prime series „Secret Level“ takes viewers on a journey of creative exploration, presenting unique short stories inspired by iconic video games. Each episode is a standalone story that draws on the themes, aesthetics, and worlds of specific games, transforming them into captivating visual tales. This approach celebrates the cultural impact of gaming by reimagining its stories in a cinematic format, making the series a distinctive tribute to the medium.

What the series is about

„Secret Level“ is not a traditional documentary or behind-the-scenes series. Instead, it uses the essence of video games as a foundation for crafting original short stories. The show takes inspiration from titles across various genres and eras, turning their themes into stories that stand on their own.

For example, one episode channels the vibrant, chaotic energy of retro arcade games into a fast-paced, neon-drenched action sequence (A dystopian world where Pacman is trying to escape an endless hellscape with the help of flesh puppets). Each installment is a unique interpretation, blending the visual and narrative style of video games with cinematic storytelling.

Storytelling approach

The series employs a distinctive storytelling style that combines:

1. Cinematic Narratives: Each episode unfolds as a visually stunning short film, drawing heavily on the aesthetics of the game it’s inspired by.
2. Artistic Homage: The creators pay tribute to the design and atmosphere of the source material while crafting entirely original stories.
3. Atmospheric World-Building: Rich visuals and sound design immerse viewers in the distinct mood of each episode, echoing the immersive nature of video games.

Unlike a typical anthology series, „Secret Level“ focuses more on evoking the spirit of the games rather than directly referencing their characters or plots. This approach allows it to appeal to both gamers and general audiences, offering something familiar yet entirely new.

Why this series was interesting for me

As someone deeply interested in storytelling and visual media, „Secret Level“ resonated with me on multiple levels. The series demonstrates how themes and aesthetics from one medium can be reinterpreted into another, sparking my own ideas for cross-media storytelling. Its ability to distill the essence of a game into a completely new narrative inspired me to think about how folklore could be similarly adapted into modern visual formats.

Watching the series encouraged me to explore how elements like atmosphere, tone, and symbolism can transcend their original medium to create something fresh and impactful. It also reinforced the idea that inspiration doesn’t have to come from direct adaptation—instead, it can emerge from the underlying themes and emotions that make a story memorable.

Links

1. Secret Level on Amazon Prime
2. Every Secret Level Episode Explained
3. Secret Level Trailer

“The usual hero adventure begins with someone from whom something has been taken, or who feels there is something lacking in the normal experience available or permitted to the members of society. The person then takes off on a series of adventures beyond the ordinary, either to recover what has been lost or to discover some life-giving elixir. It’s usually a cycle, a coming and a returning.”[1]

Joseph Cambpell (1904-1987) was an American writer and teacher. He is known for his book “The Hero with a Thousand Faces”. In his study of the „hero myth,“ Campbell explains that heroic journeys follow a similar pattern in myths from all cultures (the monomyth). The book describes the main stages, challenges, and outcomes that make up this universal hero’s journey.[2]

Monomyth

“In narratology and comparative mythology, the hero’s quest or hero’s journey, also known as the monomyth, is the common template of stories that involve a hero who goes on an adventure, is victorious in a decisive crisis, and comes home changed or transformed.”[3]

Hero’s Journey

The hero’s journey is a storytelling structure that describes the typical stages heroes experience in myths, legends, and stories from various cultures. As mentioned before, it was first introduced by Joseph Campbell in “The Hero with a Thousand Faces”, this journey outlines a pattern that mirrors universal struggles and growth, often highlighting themes of self-discovery, transformation, and victory.[4]

The 3 Main Stages of the Hero’s Journey

“The standard path of the mythological adventure of the hero is a magnification of the formula represented in the rites of passage: separation — initiation — return: which might be named the nuclear unit of the monomyth.”[5]

The hero’s journey is separated into 3 stages, these are departure, initiation, and return. In the first stage, the departure (also called call to adventure), the hero departs from the world he knows. The hero must leave the safety of his world, the known “conventional world”, and enter the unknown, a “special world” that is foreign. In the second stage, the initiation, the hero must face a series of trials. The journey is not safe, as he is tested in battle, skill, and conflict, where he may not succeed but must press on. In this stage he will meet enemies, allies, and mentors with supernatural aid. In the last stage, the return, the hero returns home, he has had an internal transformation through the experience of events. [6]

Campbells Hero Journey Arc

“The stages of the hero’s journey are the common sequence of events that occurred in the monomyth motif.”[7]

Campbell’s model is divided into seventeen stages. These seventeen stages are divided in the three phases mentioned before.

1. The call to adventure (Departure)
2. Refusal of the call (Departure)
3. Supernatural aid (Departure)
4. The crossing of the first threshold (Departure)
5. The belly of the whale (Departure)
6. The road of trials (Initiation)
7. The meting with the goddess (Initiation)
8. Woman as the temptress (Initiation)
9. Atonement with the father (Initiation)
10. Apothesis (Initiation)
11. The ultimate boon (Initiation)
12. Refusal of the return (Return)
13. The magical Flight (Return)
14. Resue from without (Return)
15. The crossing of the return threshold (Return)
16. Master of the worlds (Return)
17. Freedom to live (Return) [8]

These stages can be found globally in the myths and legends throughout  recorded history.[9]

The Modified 12 Stages of the Hero’s Journey

Compard the Campbell’s model with 17 stages, Christopher Vogler created a model with 12 stages. It is a model which simplifies Campbell’s hero journey arc.

The stages are:

1. Ordinary world
2. Call to adventure
3. Refusal of the call
4. Meeting the mentor
5. Cross the first threshold
6. Test, allies, enemies
7. Approach to the inmost cave
8. Ordeal
9. Reward
10. The road back
11. Resurrection
12. Return with the elixir [10]

Conclusion

In summary, Joseph Campbell’s „The Hero with a Thousand Faces“ outlines a universal journey shared by heroes in myths worldwide. Known as the „hero’s journey“ or „monomyth,“ this structure involves three main phases: departure, initiation, and return. In these stages, the hero faces challenges, gains wisdom, and returns transformed. Campbell’s 17-step journey has been adapted into a simpler 12-step model by Christopher Vogler. Both versions show that the hero’s journey reflects universal themes of growth and self-discovery, illustrating how stories help people understand and navigate their own life challenges.

Bibliography

Books:

Campbell, Joseph. The hero with a thousand faces. United States: New World Library, 2008.

Web:

Baugh, Nathan. “The Psychology of the Hero’s Journey: Going Beyond the 12-step Process to Talk About Archetypes, Rites of Passage, and Conflict.” Medium, Accessed November 8, 2024 https://medium.com/@nathan.baugh/the-psychology-of-the-heros-journey-0bda883de114.

Bronziten, Dan. “The Hero’s Journey – Mythic Structure of Joseph Campbell’s Monomyth.” Movie Outline. Accessed November 8, 2024. https://www.movieoutline.com/articles/the-hero-journey-mythic-structure-of-joseph-campbell-monomyth.html.

JCF. “About Joseph Campbell.” Accessed November 8, 2024. https://www.jcf.org/learn/joseph-campbell-biography.

JCF. “Joseph Campbell and the Hero’s Journey.” Accessed November 8, 2024. https://www.jcf.org/learn/joseph-campbell-heros-journey.

Jeffrey, Scott. “A Practical Guide to Joseph Campbell and the Hero’s Journey.” Scott Jeffrey (blog), October 1, 2024. Accessed November 8, 2024. https://scottjeffrey.com/heros-journey-steps/.

Rovatti, Matteo. “THE HERO WITH a THOUSAND FACES — Monomyth and the Hero’s Journey — Animator Notebook,” Animator Notebook, May 25, 2024, accessed November 8, 2024, https://www.animatornotebook.com/learn/the-hero-with-a-thousand-faces.

The Heroine Journeys Project. “Joseph Campbell’s Hero’s Journey Arc,” October 22, 2019. Accessed November 8, 2024. https://heroinejourneys.com/joseph-campbells-heros-journey-arc/.

UC Berkley. “Monomyth: Hero’s Journey Project | ORIAS.” Accessed November 8, 2024. https://orias.berkeley.edu/resources-teachers/monomyth-heros-journey-project.

Wikipedia contributors. “Hero’s Journey.” Wikipedia, October 20, 2024. Accessed November 8, 2024. https://en.wikipedia.org/w/index.php?title=Hero%27s_journey&oldid=1252231656.

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[1] Baugh, Nathan. “The Psychology of the Hero’s Journey: Going Beyond the 12-step Process to Talk About Archetypes, Rites of Passage, and Conflict.” Medium, Accessed November 8, 2024 https://medium.com/@nathan.baugh/the-psychology-of-the-heros-journey-0bda883de114.

[2] JCF. “About Joseph Campbell.” Accessed November 8, 2024. https://www.jcf.org/learn/joseph-campbell-biography.

[3] Wikipedia contributors. “Hero’s Journey.” Wikipedia, October 20, 2024. Accessed November 8, 2024. https://en.wikipedia.org/w/index.php?title=Hero%27s_journey&oldid=1252231656.

[4] Jeffrey, Scott. “A Practical Guide to Joseph Campbell and the Hero’s Journey.” Scott Jeffrey (blog), October 1, 2024. Accessed November 8, 2024. https://scottjeffrey.com/heros-journey-steps/.

[5] Campbell, Joseph. The hero with a thousand faces. (United States: New World Library, 2008), 28.

[6] Jeffrey, “A Practical Guide to Joseph Campbell and the Hero’s Journey.”

[7] Jeffrey, “A Practical Guide to Joseph Campbell and the Hero’s Journey.”

[8] The Heroine Journeys Project. “Joseph Campbell’s Hero’s Journey Arc,” October 22, 2019. Accessed November 8, 2024. https://heroinejourneys.com/joseph-campbells-heros-journey-arc/.

[9] Jeffrey, “A Practical Guide to Joseph Campbell and the Hero’s Journey.”

[10] Bronziten, Dan. “The Hero’s Journey – Mythic Structure of Joseph Campbell’s Monomyth.” Movie Outline. Accessed November 8, 2024. https://www.movieoutline.com/articles/the-hero-journey-mythic-structure-of-joseph-campbell-monomyth.html.

The animated masterpiece „Spirited Away“, directed by the legendary Hayao Miyazaki and produced by Studio Ghibli, remains one of the most celebrated films in the history of animation. Released in 2001, the film captivated audiences worldwide with its enchanting narrative and breathtaking visuals. It tells the story of a girl named Chihiro, who accidentally ventures into a magical world of spirits, gods, and peculiar creatures. Beyond its fantasy elements and stunning animation, the film offers a window into Japanese culture and spirituality, where spirits play a crucial role.

The story as a gateway to the spirit world

Chihiro’s adventure begins with her family’s relocation to a new town. During their journey, they stumble upon an old tunnel leading to a deserted town. When her parents eat food meant for spirits, they are transformed into pigs, leaving Chihiro to navigate the chaotic and mystical spirit world to rescue them and return to the human realm.

The narrative draws deeply from Japanese folklore, which is rich with spirits and supernatural beings. In Japanese culture, the boundary between the human and spiritual worlds is often blurred. This concept is vividly depicted in the film, with the amusement park transforming into a bathhouse for spirits. Initially terrified and confused, Chihiro gradually learns to empathize with and respect these spiritual beings.

Japanese concepts of spirits and gods 

The spirits in „Spirited Away“ are not merely frightening or dangerous; they are complex entities with unique stories and personalities. Many of them are divine beings in Shintoism who reside in natural elements such as rivers, trees, and mountains. For example, the river spirit,whom Chihiro helps purify in the bathhouse, represents the plight of nature suffering from pollution.

Shintoism, which heavily influences Japanese culture, teaches that the world is filled with spirits and gods, and that every element of nature has its own spiritual essence deserving of respect. Through various scenes, „Spirited Away“ emphasizes the interconnectedness between humans and nature, reflected in the themes of cleansing and harmony.

Central setting

The film’s central setting is the grand bathhouse, where spirits come to relax and cleanse themselves. This location serves as a symbolic space for purification and transformation, highlighting the significance of water in Shinto practices. It is here that Chihiro learns to adapt to the spirit world, encountering figures such as the river spirit, the enigmatic No-Face, and other supernatural beings.

No-Face, in particular, stands out as a fascinating character who embodies the complexities of human desires and loneliness. Initially appearing kind and unassuming, No-Face becomes monstrous due to greed and gluttony. His transformation illustrates how emotions such as greed, anger, and the longing for acceptance can lead to destruction.

Spirituality and personal growth

Chihiro’s journey is not just an external adventure but also an internal one. Her confrontation with the spirit world serves as a metaphor for the transition from childhood to adulthood. Initially timid and reliant on others, Chihiro gradually develops confidence, empathy, and resilience. Her interactions with the spirits enable her to understand herself and the world around her better.

The film also carries a powerful ecological message. The polluted river spirit that Chihiro cleanses underscores the damage humans inflict on nature. These spirits symbolize the neglected or destroyed elements of the environment, reflecting Miyazaki’s enduring concern for environmental awareness.

Relevance to my Master’s Thesis

I find the film’s masterful integration of Japanese folklore into an engaging narrative fascinating. It demonstrates how cultural elements can be preserved and presented in a way that is both authentic and universally relatable. The dynamic and standalone nature of each spirit’s story in »Spirited Away« aligns closely with my vision for episodic storytelling, where each tale stands independently while contributing to a cohesive thematic exploration.

Moreover, the rich symbolism and character depth in »Spirited Away« emphasize the importance of designing narratives that resonate emotionally and intellectually. This reinforces my goal of creating animations that not only entertain but also provoke thought and spark curiosity about cultural heritage.

Links

1. Spirited Away Revealed: The Real Mythology & Folklore Explained!
2. Making of Spirited Away – Part 1
3. Spirited Away Trailer

The podcast »Mythology and Fiction Explained« was one of the first podcasts that really caught my attention. Each episode explains a different folk tale, mythological story, or other form of fictional narrative through captivating storytelling. The podcast dives into the origins, meanings, and cultural contexts of myths from around the world. With episodes ranging from the Greek pantheon to Norse sagas and even lesser-known legends, it opens up a vast field of narrative possibilities.

»Mythology and Fiction Explaied« is also a channel on YouTube, where its episodes are presented with animated visuals that complement the storytelling. With a focus on accessibility, the host uses clear and concise language, making it easy for both casual listeners and mythology enthusiasts to engage with the content. Episodes typically range between 10 to 20 minutes, ensuring that even complex topics are covered in an approachable and digestible format.

What makes the podcast especially engaging is its storytelling approach. Each episode is structured like a journey, starting with the origins of a myth or creature, building up with explanations of its roles and transformations in different cultures, and concluding with its relevance in modern interpretations. For instance, an episode on the Norse god Loki delves into his complex character—a trickster who disrupts but also catalyzes growth and change within the mythological world. Similarly, the host’s exploration of mythical creatures like the phoenix provides a blend of historical accounts and symbolic interpretations, making each topic richly layered.

Every episode introduces a new topic or creature, often highlighting both well-known and hidden elements. For example, an episode on the Greek Minotaur covers not only the famous labyrinth but also lesser-known interpretations of the myth as a reflection of societal fears. The podcast also touches upon myths from underrepresented cultures, such as African, Polynesian, and Indigenous folklore, providing a global perspective on storytelling traditions.

Why this podcast

The way the host blends narrative storytelling with cultural analysis inspired me to think about how I could approach storytelling in my own work. Rather than attempting to replicate the podcast’s format, it encouraged me to explore how I might develop my own unique way of presenting folklore. Specifically, it sparked the idea of creating an animated series where each episode explains a different folk tale through engaging storytelling and distinctive animation styles. The podcast’s ability to bring myths to life through vivid descriptions and thoughtful insights showed me how storytelling can effectively bridge entertainment and education.

Relevance to My Master’s Thesis

The podcast demonstrates how complex myths can be shown as simple stories, without losing their charm. This aligns with my goal of creating short, visually captivating episodes that respect the cultural origins of the stories while making them appealing to modern audiences.

One of the podcast’s greatest strengths is its focus on cultural context. For instance, when exploring the Japanese sun goddess Amaterasu, the host connects the myth to agricultural cycles and the importance of light in Japanese culture. This approach inspired me to ensure that my animations not only tell the story but also provide viewers with a sense of its historical and cultural significance.

The podcast’s episodic structure is another source of inspiration. By presenting each topic as a self-contained yet interconnected story, it keeps the audience engaged while building a thematic narrative. My series will adopt its own format tailored to animation, where each episode stands on its own while contributing to a larger exploration of folklore’s role in human storytelling.

Links

1. Maythology & Fiction Explained
2. Mythopedia

Introduction to Mythopedia

Mythopedia is a website dedicated to providing a deep dive into the rich and diverse world of mythology, legends, and fictional stories. The website serves as a great resource for anyone interested in exploring mythological creatures, gods, heroes, and cultural tales from all around the world. The goal of Mythopedia is to preserve and share the complex histories, beliefs, and storytelling traditions of mythologies from different regions, providing a window into how cultures have used myths to explain the world around them.

Website Structure

Mythopedia’s structure is organized around several major mythological themes, making it easy for users to navigate and explore specific traditions.  These are Aztec Mythology, Celtic Mythology, Chinese Mythology, Egyptian Mythology, Greek Mythology, Hindu Mythology, Japanese Mythology, Norse Mythology, and Roman Mythology. Each of these sections is divided into subcategories, offering articles on a variety of topics such as gods, creatures, cosmology, heroes, and others. Whether users are looking for a brief introduction to a specific god or a deep exploration of ancient cosmological beliefs, the website caters to all levels of interest.

Mythopedia is a website that has lots of information about myths and legends. It has articles that are easy to read if you’re just curious, but it also has really detailed ones if you want to learn a lot. Each article is written in a way that’s both fun and informative, mixing stories with real facts. The site includes references to important books, old writings, and academic studies, so the information is reliable and can be trusted.

Mythopedia’s articles feature supplementary materials such as timelines, maps, and diagrams. These visual aids help readers understand the geographic, historical, and thematic contexts of the myths, making it easier to connect with the mythological topics being discussed. For example, a detailed map of ancient Greece might accompany an article on Greek gods, allowing readers to visualize the locations where these deities were worshipped.

Relevance to my Master’s Thesis

The Mythopedia website is a great tool for my project by providing in-depth articles on a wide range of myths, which helps me select meaningful and engaging stories. The detailed information about gods, creatures, and cosmologies ensures the myths I adapt stay true to their cultural roots. Mythopedia also inspires the visual and environmental design of my series, offering vivid descriptions of legendary figures and mythological realms. Additionally, the website explores how these ancient myths remain relevant today, helping me connect them with modern audiences. Mythopedia encourages me to approach my project with cultural sensitivity and creativity, offering both research and creative resources that will help me craft an accurate and compelling animated series.

Links

1. Mythopedia

For my first impuls I chose the book series “Enzyklopädie des Wunderbaren”. The series has right now 6 volumes:

• Volume 1: Witches by Cécile Roumiguière, 2022. Illustrated by Benjamin Lacombe
• Volume 2: Fairies by Sébastien Perez, 2022. Illustrated by Bluebirdy (Fatemeh Haghnejad)
• Volume 3: Dragons by Cécile Roumiguière, 2023. Illustrated by Yvan Duque.
• Volume 4: Monsters by Sébastien Perez, 2023. Illustrated by Stan Manoukian.
• Volume 5: Ghosts by Sébastien Perez, 2024. Illustrated by Isabella Mazzanti.
• Volume 6: Ogres by Cécile Roumiguière, 2024. Illustrated by Etienne Friess.

The collection explores the mythological worlds of the different mythological and folklore creatures. Each book offers not only stories about cultural myths, but also visually beautiful illustrations. These books inspired me to combine visual media with folklore tales and to find different styles to fit to different topics.

A key feature of this book series is that for the past 3 years, two books were published every year, one written by Cécile Roumiguière and one by Sébastien Perez. Each book is illustrated by a different artist. This collaboration gives each book its own unique style, so that each category can be connected to one.

The storytelling in the series is very imaginative and often poetic, combining history and fantasy. Each book has its own unique storytelling approach and structure, designed to match the creatures it talks about and a distinct illustration style to fit with it:

»Witches« includes mystic illustrations, which show mystery, which aligns with the stories of misunderstood wisdom and magic. »Fairies« is a more ethereal style and captures a more delicate, otherwordly nature. »Dragons« has very bold and vibrant visuals, which show the majesty of these legendary creatures. »Monsters« is done in a more grotesque style, showing more primal and powerful illustrations. »Ghosts« is very melancholic, evoking the beauty and emotional depth of stories, centered around loss. »Ogres« has very earthy and rough styles, showing the wild and untamed nature of these massive creatures.

This collections matters to me, because it has given me a lot of ideas for my Master’s Thesis, especially about storytelling and how to combine different stories with different illustration styles. What I love most is how the illustrations in these books are not just decorations, but are part of the story. Each artist’s unique style helps the book’s thematic come to life and this reminds me how important it is to match visuals to the story’s mood message. Additionally, the book collection is made for kids, structuring the stories as such, trying to make different folklore and mythological creatures and stories interesting to children.

Links

1. »Hexen«
2. Cécile Roumiguière
3. Sébastien Perez

Animated Short Film: How to Become a Knight (Kratki animiran film: Kako postati vitez) by Kaja Kregar, dipl. obl. vizual. kom. (UN)

The master thesis I chose researches the topic of animation and creating a story with an environmental message. It is divided into two parts, the theoretical and the practical. In the theoretical part the author writes about animation, types of animation, modern environmental issues and how they affect our way of life. Her research questions are:

• How to present the issue of pollution creatively with the media of animation?
• Is art important for fixing said issues and how can it influence the viewer?

The author defines the meaning of used symbols and allegories and how they represent real modern day social issues. Specifically how they represent issues in ecology and how climate change effects the younger generation. The author explains her use of fairy tale themes and knights as well as touch upon pre-existing animated works with similar messages.

The practical part of her thesis consists of the animation process, from the inspirations to sketches, narrative and the storyboard. The author how they used the principles of animation to communicate the story and atmosphere, what digital programs they used and the analysis of the used colors and textures in the animation (the symbolical and allegorical meaning). They also talk/write about the use of music and sound effects for the animation.

1. Level of Design

The master’s thesis was created according to the faculty’s regulations, giving it the standard design of a master’s thesis. However, the thesis has a very good structure. The table of contents clearly shows how the author divided the individual chapters and systematically organized them. I appreciate that it starts with ecological issues and only later moves on to what animation is, and finally to the animation process. The appendix also includes all illustrations and sketches, which I find great, as it’s an excellent way to display individual parts of the animation in the book. The research question is clearly visible; unfortunately, a clear conclusion from the research is missing, as well as the methodology.

2. Degree of innovation

The topic the author addresses is not new; it’s a subject that many media designers engage with. The innovative part of the thesis is the connection between ecological issues and animation, as well as research on the theme and role of the knight in stories. The author explores how animation has been used throughout history and how certain animations have already included this theme. Her mentioned examples of animations are globally recognized animated films. The author discusses basic animation techniques and does not delve into new areas of animation. As mentioned earlier, the author speaks very little about the research itself and mainly describes how the practical work was created.

3. Independence

The thesis shows the student’s strong ability to work by herself, taking initiative and managing the research process with little outside help. The author also created an original animation by herself, showing both skill and creativity. This project adds a practical element to her research and highlights her commitment to bringing her ideas to life on her own.

4. Outline and structure

The master’s thesis is very well-structured, dividing into a theoretical and practical section. The author first discusses ecological issues in today’s society in general (from waste and recycling issues, corporate responsibility, habitat endangerment, to the consequent rising sea levels and how these impact young people), also providing an example of Mount Everest. After researching and writing about ecological issues, the author delves into the topic of animation, explaining what animation is and its basics. She also addresses social and historical issues of fairy tales, the influence of Walt Disney in the 20th century, and the significance of the knight in modern storytelling. The knight is the main character in the author’s animation. The last chapter of the theoretical part of the thesis is a study on how to create an animated film with an environmental message, where the author explores what animation as a medium can achieve and performs a comparative analysis of existing examples (Wall-E, Princess Mononoke).

In the practical section, the author begins by researching the target audience and then moves on to the analysis of story structure, sketches, and design (covering character design, environment, and a guidebook) and creating a storyboard. She then discusses her animation process, the animation technique used, the application of animation principles, software, visual analysis, editing, and post-production. The author has included the entire storyboard, character design, and background design as an appendix, so all work is visible in one place.

While I think the thesis is very well-structured, it seems to me that everything is somewhat superficially researched, and the author should delve deeper into certain topics. The research methodology is not clear in the thesis; I assume it is experimental since the author does not address it. In the conclusion, the author notes that she only supported her research theoretically.

5. Degree of communication

The author clearly explains various concepts and goes into specific areas of research. She describes the process of creating her work in detail, adding various technical details. Each step in creating her practical work has its own subchapter, where she professionally describes the process. The author also uses many examples to illustrate different areas of the thesis and includes images to facilitate understanding of individual topics.

6. Scope of work

The author explores the topic rather superficially, but places significant detail on the practical work. Although she writes about current ecological issues, provides examples, and discusses animation in general, this remains only a rough outline of individual subchapters, with the theoretical part covering only a third of the printed work. The rest of the thesis is dedicated to describing the animation creation process. The thesis lacks “research” where the author could present findings (if she has any) related to the stated question.

7. Orthography and acuracy

The thesis is well structured, it being divided into logical chapters and subchapters. It also includes an introduction, body, and conclusion, along with sources and an appendix with all the illustrations. The author also uses footnotes for citations and correctly lists sources in the bibliography. However, the thesis does contain spelling errors. The first spelling mistakes already appear in the abstract and in the English translation.

8. Literature

Considering the length of the thesis, it seems that very little literature was used. Many things are cited from the same source, so the thesis lacks comparative analysis. Altogether, 26 sources were used, half of which are online sources. Additionally, I was surprised to see how many of the sources were news articles, which were barely related to the topic.

For this project, I wanted to explore the usage of plants in Blender and I went into the project thinking that I will be using the GScatter addon. After a bit of working with it, I found out that this addon was way more complicated than just using the built-in features in Blender called Geometry Nodes.

I also wanted to create a day and night cycle animation and I also thought this would be very complicated by using light animation, but then I also found out that Blender has a built-in sun position animation addon, which creates the whole animation with a few settings.

Another thing I learned during this Project was, that the addons used in a Blender File are not saved to the .blend file, but need to be activated again on each PC before rendering. I made the mistake of not activating the addons before rendering and ending up with 18 animations with no day/night cycle. So as a reminder to everyone – Don´t forget to activate your addons!

To conclude, I found out that Blender has a lot of built-in addons and functions, for which I thought I would be using external addons or do it manually.