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"Story Design and Concept Art”

One of the most important tools we’ve used to develop the idea of “Fleish & Cherry in Crazy Hotel” was a question we were asking ourselves again and again: “What story do we want to tell?”

The main focus in the story is how Cherry, a character written as a damsel in distress, is forced by an unexpected twist in the script to take on the story’s main heroine role. That’s a role she hasn’t been written to perform and no one expects it from her. And it won’t be easy to prove otherwise Toonville, the player and, above everything else, herself. Everything in the game has been written with that mindset, we’ll be able to see the impact of Cherry’s evolution, from damsel in distress to heroine, on the story and the gameplay itself.

Our game is a well-intended tribute to the golden age of animation, 1920s and 1930s in particular, as we consider as magical the work Walt Disney and the Fleischer Brothers did. But a tribute is not just mimicking every characteristic element from the source material.We have taken special care in giving our game its own soul and vibe. The players won’t just be playing in a game based in this historic context of animation, they will feel it and live in it through a cartoon from that period.

In the artistic production, as with the story, instead of mimicking and copying what others have done before, we wanted to observe, examine, learn and have fun analyzing this art style to then be able to create our own, as one taken directly from that time. Our references are clear: the team formed by Walt Disney and Ub Iwerks, and the Fleischer Brothers. And, although they’re not part from the historical setting we’ve chosen in our game, we just wouldn’t be able to pay homage to the history of animation without taking into account the works of Tex Avery, Chuck Jones and Richard Williams. We have subtly put something characteristic of their works in this world from the 30s, when animation was exploiting its comic possibilities. We’ve even taken Osamu Tezuka as a reference for character design. We have taken special care creating the backgrounds and settings because after working on a wide range of designs, they have to be reworked so that they fit within the isometric point of view we use in our game.


"Diseño de la Historia y Concept Art"

Una de las herramientas más importantes que hemos usado en el desarrollo de la idea de “Fleish y Cherry in Crazy Hotel” es la pregunta que nos hacíamos constantemente: “¿Que queremos contar?”

El pilar central de la historia es como Cherry, un personaje escrito para ser una damisela en apuros, tras un giro inesperado en el guión, tiene que asumir a la fuerza el rol de heroína central de la historia. Un rol para el cual no ha sido escrita y que nadie espera de ella. Y no será fácil demostrarlo a Toonville, al jugador y sobretodo a sí misma. Cada elemento del juego ha sido focalizado con esa mentalidad, su evolución de damisela en apuros a heroína la veremos reflejada en la historia y la propia jugabilidad.

Nuestro juego es un intencionado homenaje a la época dorada de la animación, en concreto la época de los años 20 y 30, con el que consideramos mágico el trabajo de Walt Disney los Hermanos Fleischer. Pero un homenaje/tributo no funciona mimetizando cada elemento característico de la fuente. Hemos cuidado mucho el dotar de alma y carácter propio a ese homenaje. El jugador no solo estará ante un juego ambientado en ese contexto histórico de la animación, sino que lo verá y vivirá a través de un propio cartoon de aquella época.

En el apartado artístico tampoco hemos querido mimetizar y calcar, sino observar, examinar, aprender y divertirnos analizando este estilo artístico para luego crear el nuestro propio. Como si hubiera convivido con el resto de aquella época. Las referencias son claras: El tándem Walt Disney, Ub Iwerks y los Hermanos Fleischer. Pese a no formar parte del marco histórico que hemos elegido en nuestro juego, no podíamos hacer un juego tributo a la historia de la animación sin tener en cuenta el trabajo de Tex Avery, Chuck Jones y Richard Williams. Sutilmente hemos querido colocar un poco de su esencia en este mundo de los años 30 donde la animación estaba explotando sus posibilidades cómicas. Incluso Osamu Tezuka ha sido un referente a la hora de diseñar a los personajes. Uno de los procesos artísticos más cuidados ha sido la concepción de los escenarios, ya que tras una gran variedad de diseños artísticos, éstos tenían que ser aplicados y trasladados a nuestro terreno de juego isométrico.

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ZombiRam Featured By Owner 4 hours ago  Hobbyist General Artist
Thank you for the fav !!! love your art !
dominikmellen Featured By Owner 1 day ago  Hobbyist Traditional Artist
Thanks for the fave :)
elenchu Featured By Owner 1 day ago
Muchas gracias por el favorito, me alegra que te gustara ^^ 
RedLittleHouse Featured By Owner 1 day ago
De nada! :3
Kerozik Featured By Owner Edited Aug 22, 2014  New member Hobbyist Digital Artist
Your favoring is beyond noticed I am a dummy! 

(Fancy way of saying thanks for favoring)
specydroc Featured By Owner Aug 21, 2014  Hobbyist Digital Artist
Thank you for the favorite! ;)
RedLittleHouse Featured By Owner Aug 22, 2014
Anytime! :L
FlipelyFlip Featured By Owner Aug 11, 2014
thx for the fav :3
RedLittleHouse Featured By Owner Aug 21, 2014
No problem! :)
MattiasArt Featured By Owner Jul 31, 2014  Professional General Artist
Thanks for the fav :)
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