Second round of design based on the animatic, script and board postings.
For our Patient Zero we modified his wheelchair to be a bit more hi-tech and incorporated restraints into his clothing as well as the chair. There’s some question still as to how outwardly “artificial” he should appear… small seams in his skin and technical markings in areas such as the face, tongue or eyeballs might emphasize it in greater or lesser ways.
We looked to a combination of crystal structure and bone mutations which result in skin-piercing spurs (real stuff, very scary) as the inspiration for the primitive growths that serve as the focus and visual cue of his powers. They can be more or less jewel-like and faceted depending on whether we make them more crystalline or more bony.
Next up is Our Lady Of The Jar, who’s psychic stone growths appear more as polished gems rather than painful growths. The pattern of the stones is less random and more spaced to resemble a maangtika or a ferroniere (basically forehead jewelry).
Flowing, floaty hair can be very time-consuming to animate well (lots of mixed wave-forms), so while we want so show that she has a full head of hair, we can trick the amount of frames down by containing it in some interesting way. We might also incorporate the prop as part of the larger apparatus that surrounds here, with cables leading out of the sides or lights that indicate activity.
Our design of the “bug” starts with the basic form of a wasp, in this case Vespa Mandarinia. Also known as the Giant Asian Hornet, it measures about 2-3 inches and is powerfully venomous.
It’s also a good basis for the study of wasp anatomy, since it’s so big that the details of taxonomy and anatomy are readily apparent. Our little mecha-wasp has a similar basic structure and outward appearance, but replaces biology with technology and adds in a few tricks (like retractable antennae and a wide-range multi-spectrum visual array with macrotelescopic depth options.
I don’t know what any of that means, but it sounds awesome.