Building a Bizarre Universe with Onchain Animation

4 years ago, Amusia was nothing more than an idea: a 2D Metroidvania with a Classical music-themed environment. There were only a few pretty drawings to show for it before it became a playable game. Over the years, over 60 people have contributed to the project, whether it’s through drawing concept art for a character, recording orchestral parts for the soundtrack, coding a simple feature, animating a player state, implementing an entire system, or more. Today, the game is under a newly founded LLC: Godspear Studios. Thank God for all who have helped me with this project’s demo and the great privilege of leading such a talented team. Special thanks to Jackson Richmond (Sound Engineer), Sabrina Pan (Lead Animator), Michael Muzilla (Programmer), and Anh Vu (Environment Artist) for their active contributions! If anyone would like to help with this project and add it to your portfolio/resume, please feel free to message Oscar Tiong! The game’s store page is also currently up on Steam, waiting for you to wishlist it :) https://lnkd.in/gQupDiVa

Following my previous post about the 3D character controller, I’ve published an itchio page to tease the atmosphere and sound design of We were children, a psychological horror-platformer made with Godot 4. The project focuses on atmospheric tension and platforming exploration within a distorted, interconnected childhood home. I’ve also decided to experiment with the online platform BandLab to compose the soundtrack and leverage its social features to gather a community around the game. Key Features: - Third-person exploration with 3D platforming mechanics. - Dreadful enemies hidden in every corner, creating a constant threat. - Art direction inspired by the 64 and 128-bit era. - Interconnected environment (house, garden, basement, etc). - Original soundtrack and sound design. Check it out and follow the project’s progress here: 👉 https://lnkd.in/eexwQQvT #GodotEngine #IndieDev #HorrorGames #BandLab #GameAudio #3DPlatformer #ItchIo #GameDesign

HUGE newssss - NERDO Studio is joining the roster of Not To Scale. NERDO go beyond "making images" to build the visual identity of brands, products, and rebels. Their work escapes rigid notions of technique, bounding across live action, 2D and 3D animation, and mixed media to tear up the rule book and create art that is inimitable, irresistible, and wholly their own. Lorenzo, Gavi and Claus formed NERDO eager to explore uncharted visual territories. Today, the founders and friends are based in Europe and the USA, providing a truly global outlook which spans genres, styles and industries. They’ve employed their multi-technique creative-thinking mindset for clients including Nike, Netflix, Google, Amazon, MTV, McDonalds, Vivobarefoot and Tencent, to name a few. We are so pleased to welcome you, guys!!! Let’s do this ☄️ See more of the incredible work of NERDO here: https://lnkd.in/eiNU4UcX Lorenzo Levrero Daniele Gavatorta CLAUS CIBILS Daniel O'Rourke

The Renderboxes hardware was excellent. But, the brand didn’t quite do it justice in explaining why that mattered. It products’ technical performance outmatched anything on the market. However, talk to VFX artists and animation studios who use this kit and the thing that comes up is not specs. It is time. - The render that is done when they wake up. - The machine that does not bottleneck the studio on a deadline day. - The hour not lost to a crash at midnight. Performance hardware is really about time. The time you do not lose. Time Is Power. That is the movement we built for Renderboxes. One idea. Every surface draws from it: homepage, product pages, partner ecosystem, the physical experience of the machine itself. We built an idea that compounds, rather than resets every quarter. We build movements over moments. (Time Is Power, after all).

Creative polymaths NERDO Studio have joined Not To Scale’s roster in a partnership that unites Not To Scale’s formidable international production capabilities with the director collective’s fierce, unwavering commitment to challenging conventions wherever they find them. NERDO was formed by Lorenzo Levrero, Daniele Gavatorta and CLAUS CIBILS in 2009, three friends eager to explore uncharted visual territories. Today, the founders are based in Europe and the USA, providing a truly global outlook which spans genres, styles and industries. Blending a wealth of experience and a passion to push new boundaries, they are perfectly positioned geographically and creatively for clients wishing to break the mold across oceans and time zones. Clients who have utilised NERDO’s unique creative-thinking mindset include the likes of Nike, Netflix, Google, Amazon, MTV, McDonalds, Vivobarefoot and Tencent. Daniel O'Rourke, Founder of Not To Scale: “We’re delighted to welcome NERDO to the Not To Scale director roster. Lorenzo, Gavo and Claus form a rare creative force, a team grounded in design with impressive versatility, working across a wide range of animation techniques. NERDO said: "Joining Not To Scale feels like the missing piece of the puzzle. We’re ready to bring our 'No Fluff' approach and our obsession with gutsy visual languages to a roster that has shaped the history of animation and live action. Let’s get to work." https://lnkd.in/eSqBeegA

Inside the Loups-Garous Opening Sequence Design The opening sequence of Loups-Garous, the Canal+ series created by Fary and Panayotis Pascot and based on Les Loups-Garous de Thiercelieux, is nominated for the Prix Rosalie 2026 at La Nuit du Générique (Forum des Images). The title was designed, illustrated, and animated by Virgile Hernandez, with music composed by Leonardo Dessi, and produced for Canal+ with companies including JAAD Productions and Flab Prod. Hernandez worked in about 15 days without access to the episodes, using only the music and the original game cards as his visual and conceptual foundation, with full creative freedom. He first drew the sequence on iPad, then animated it in After Effects, with several sections—especially villagers moving in circular formations—created frame by frame to preserve a more tactile, handcrafted feel. The visual style is deliberately “naïve,” with simple, symbolic figures and a sparse rural setting that avoids realism. It focuses on recurring actions such as gathering, circling, suspicion, and exclusion rather than narrative storytelling, turning gameplay dynamics into visual motifs. Dessi’s music is minimal, rhythmic, and built around repetition and rising tension, reinforcing a ritual-like and slightly unsettling atmosphere. Together, the sound and visuals translate the mechanics of deception, voting, and group paranoia from the original game into a stylized audiovisual language that emphasizes mood and structure over plot. The result is an opening sequence that functions less as a traditional introduction to the series and more as a conceptual interpretation of its core mechanics, where animation, sound, and rhythm merge to express the cyclical nature of mistrust and collective decision-making inherent to the game. _ creativ medium is a multidisciplinary design studio and creative agency in Zug in Switzerland. www.creativ-medium.com _ #LoupsGarous #CanalPlus #TitleSequence #MotionDesign #Animation #VirgileHernandez #LeonardoDessi #Fary #PanayotisPascot #PrixRosalie2026 #LaNuitDuGenerique #AfterEffects #Illustration #GraphicDesign #TVDesign #OpeningCredits #FrenchTV #DesignAnimation #SoundDesign #BoardGameAdaptation

People often ask us whether Weebert’s World ®️ is a book, an animation project, a school programme, or a collection of robot sculptures. The answer is yes… to all of the above! Because they're all part of the same world. The more we develop Weebert's World, the more we realise we're not creating separate products. We're creating connections. A child might first meet Weebert in a story. Then build their own Bert from scrap. Then watch a stop-motion adventure. Then meet a real Bert at a school visit. Each experience deepens the relationship with the world and the values behind it: creativity, curiosity, kindness, and the confidence to have a go. That's why we're taking our time to get the foundations right. Strong characters. Clear world rules. Stories that families want to return to. Because the goal isn't simply to make content. The goal is to create a world worth coming back to. A world that children and their grown ups can trust. That's the future we're building at Weebert's World.

Generalist to Technical Artist... (Icons I've created) The word "generalist" doesn't do justice to what you actually do when you model, animate, integrate into engine and create procedural tools. A Technical Artist doesn't do everything — they investigate, connect, facilitate and execute. There are fields they master more than others, but they understand the dark magic underneath the processes. https://lnkd.in/exWxP8t2 Getting there has a path. Mine went through touching many areas — from creating app icons, to programming your own tools, developing and publishing your own game, or rigging and animating creatures. All that journey is what allows you to see the full picture now. https://lnkd.in/eBcGaZ7d

⚓ We’re glad to share the Erebus: Stained Sea trailer! Erebus is a short narrative technical game demo set in a dark fantasy world. This project was an opportunity to go beyond our academic framework at Creajeux. From the beginning, the goal was to experiment and to explore areas we wanted to grow in. We decided to take risks, and push ourselves out of our comfort zones, while working in a pipeline closer to industry standards. This trailer concludes the first months of development on our game demo, about 3 months of production. The demo was created in Unreal Engine 5 by the team below: Art: Pierre Lefort (Environment Tech Art) | Matthéo Castillo (Rigging) |Sebastian Mengüal (Animation & Project management) | Steven Bacouel (Character Art) | Amance GALAUP (Creature Art) | Tristan Tasset (Props/assets) Programming: Amaryne Bréand (UI/UX) | Sylvain Thomas (Lead Programmer) | Théo Arca | Adrien Claude | Colin Daniel | Mathéo Wissocq Special thanks to: Paul Hertmann (Sound Design) | Marius Bezos (Sound Design) | Evan BEUNET (Music) | Leonnel H. (Dev Support) | Antoine DAUBAS We’ll be sharing breakdowns on animation, environment, and tech very soon. 🌊

Premiering at UFO Terminal, Missing Signals is a new expanded animation currently in development. Presented within a matrix-screen environment composed of two curved displays, the work follows an aircraft gradually deviating from its assigned route, entering an airspace contaminated by network noise and data afterimages before slowly disintegrating in flight. The secondary screen continuously refreshes through the visual language of radar systems and flight schedules, displaying ghost flights, logged arrivals, data transfers, and statuses such as “No Passengers Detected.” The work approaches flight as a signal process in which routes, positioning, identity, and interfaces collectively determine what counts as arrival and what becomes lost in transmission. The aircraft is deviating, yet the system continues to update. Presented with the support of the UFO Terminal Loading… Project. Murphy Nile, 2026 Original artwork, programming & CGI by Murphy Nile Sound by Murphy Nile