Graduate Portfolio - Bringing Terrax to Life: A Journey Through Contemporary Creative and Technical Animation Practice

Bringing Terrax to Life: A Journey Through Contemporary Creative and Technical Animation Practice

By Matt Lawson-Hall

Introduction

This journal will critically evaluate and reflect on the creative and technical progress across this project. It will explore key elements involved in producing the animation outcomes (Lawson-Hall, 2025a–b), beginning with the project rationale to justify the chosen direction and position skill development within the contemporary games, animation and VFX (GAVFX) industries. It will then examine the creative and technical progress achieved, drawing attention to significant challenges and critical reflections. Lastly, it will study the learning processes and behaviours employed to secure skill development and ensure the end results reach a high level of professional quality. Collectively, these sections offer critical insight into the project’s evolution and the creative and technical growth achieved because of these efforts.

Rationale and Contextualisation Within the Contemporary 3D Animation Industry

The goal of this project was to develop skills that aligned with identified skill gaps and ongoing software and pipeline developments across the GAVFX industries. The project focused on developing advanced character rigging techniques and increasing proficiency in Unreal Engine (2024), whilst continuing to improve the quality of character animation and storytelling skills. This section builds on the goals established in the Career Plan Report (Lawson-Hall, 2025d) and positions the project outcomes within contemporary 3D animation practices.

Globally, the GAVFX sector has experienced a shortage of animators with the combined technical and creative skillset needed for complex character rig development (NIHERST, 2018). This trend persists, as Oakley (2025) highlights in his thesis, noting that the limited number of technical animators creates bottlenecks within production pipelines. Therefore, developing skills in this area directly aligns with industry demand and may enhance future employability.

Developing a character rig paved the way for exploring the games-industry character pipeline by creating the rig, importing it into Unreal Engine (2024), and developing a custom character controller. To date, the work developed within this master’s qualification has focused primarily on character animation for film, therefore this strand of the project extended practice to include games-industry workflows. However, developing skills with game engine does not just link to the games-industry. As Jia, Berry and Johnston (2025) identify, game engines are now widely utilised in film workflows for real-time rendering, dynamic lighting to support rapid iteration leading to more efficient and creative production processes (Sobchyshak, Berrezueta-Guzman and Wagner, 2025). Therefore, building experience in Unreal Engine (2024) is a strategic response to evolving industry pipelines that further strengthens employability across the wider GAVFX industry.

The final aim was to further enhance character animation quality. Yu and Tsao (2022) assert the importance of characters acting as “psychological projections for viewers or readers and convoys of plots…” (p.75), demonstrating that original character creation can enhance storytelling potential. This builds on the iconic work of Johnston and Thomas (1981), who repeatedly emphasise the importance of personality and appeal at the core of successful character animation. Therefore, as both a character rig and animation require a 3D model, this opened the opportunity to design and develop an original character, rather than working with pre-existing rigs, and bring it to life through animation. In turn, developing the character’s backstory and narrative scenario created a strong foundation and provided creative freedom that steered the project towards higher-quality animation outcomes driven by the character’s original design and personality, which wouldn’t have been possible with a pre-existing character rig.

These goals provided a vessel to develop character animation skills that align with the GAVFX industries. Strong film-focused character animation could be explored through the creation of traditional narrative centred animation that utilises the ‘12 Principles of Animation’ (Johnston and Thomas, 1981). In parallel, gameplay animation systems would be developed to demonstrate the ability to construct engaging character controllers, using ‘The Five Fundamentals of Game Animation’ established by Cooper (2019, p.41). This positioned the project with a clear vision and scope to produce high-quality animation outcomes while also developing skills in demand within the continuously evolving GAVFX landscape.

Critical Evaluation of Creative Production Processes

This section breaks down and evaluates the development of the complete project over time, beginning with the creation of the 3D character model (Lawson-Hall, 2025e-j), followed by the development of the Terrax Character Rig Demo (2025a), progressing to the Terrax Crash Landing Cutscene (2025b), and finally with Terrax Gameplay Animations and Character Controller (2025c).

3D Modelling: Original Character Creation

The first challenge was to build a high-quality character model that followed the concept (Figure 1). 3D modelling had not been explored extensively in previous projects, and there was added pressure to execute it to a high standard to support the later rigging and animation stages. The workflow followed a typical pipeline of sculpting, retopology, UV unwrapping, baking, and texturing (FlippedNormals, 2022). One of the key learnings throughout the sculpting process was the importance of maintaining a low-resolution sculpt for as long as possible to establish accurate anatomy and achieve a believable character outcome (FlippedNormals, 2022; SpeedChar, 2022a; SpeedChar, 2022b). The retopology workflow was guided by professional practices discussed by Jensen and Sanden (2018, 2025), particularly the importance of establishing anchor loops with matching division counts that enabled topology to be efficiently filled and connected later. This resulted in an animation-ready model (Figure 5; Lawson-Hall, 2025i) and provided a strong technical foundation for the rigging phase of the project.

Figure 1. Original character concept, ‘Terrax’, developed by Lawson-Hall (2025f), further detailed in this blog post.

Figure 2. Anatomy reference gathered and used whilst sculpting, as detailed in the blog post by Lawson-Hall (2025h).

Several creative and technical challenges arose during this phase. The first challenge involved determining how to sculpt the mouth in a way that supported a clean texture bake and allowed for jaw animation and deformation across a range of facial mouth shapes (Lawson-Hall, 2025g). SpeedChar (2023) highlights that the mouth and jaw should be sculpted slightly open, with a small mouth cavity that can be expanded during retopology. This guidance provided a useful starting point; however, due to the character’s larger muzzle, a wider internal cavity was required. Secondly, baking the high-poly sculpt onto the retopologised mesh resulted in artefacts, primarily caused by overlapping UVs and duplicated geometry used to increase texel density. After testing different approaches, the most effective solution was to temporarily remove duplicates for the bake (Figure 3), then reimport the duplicated meshes afterwards, producing a clean bake while retaining UV optimisation.

Figure 3. 'Terrax' texturing baking solution, developed by Lawson-Hall (2025j), further detailed in this blog post.

The result (Figure 4; Figure 5; Lawson-Hall, 2025g,h) was a well-proportioned character with clean animation-ready topology and a stylised hand-painted texture (Abe Leal 3D, 2023), achieving a professional standard comparable to characters in Ratchet & Clank: Rift Apart (2021). This is attributed to the use of anatomical reference (Figure 2), alongside the concept art (Figure 1), which was consistently studied to inform the sculpt, aligning with the view that observational skills are fundamental in producing successful artworks (Mostert, 2022). Retopology (Figure 5; Lawson-Hall, 2025i) was successful, with even quads and strong edge flow that allowed for efficient UV unwrapping and will support clean deformation during animation, especially in the facial region where loops follow muscle direction (Osipa, 2003). These processes helped translate the character’s appeal and personality into 3D (Johnston and Thomas, 1981), realising the athletic space-ranger aesthetic defined in prior development work (Lawson-Hall, 2025e).

Figure 4. 'Terrax' 3D character model, developed by Lawson-Hall (2025j), further detailed in this blog post.

Figure 5. 'Terrax' character wireframe topology, developed by Lawson-Hall (2025j), further detailed in this blog post.

Technical Animation: Character Rig

Although character rigging had been explored previously, this project aimed to progress these skills further. This phase included the production of a skeleton (Figure 6), skinning of skeleton to the mesh and control rig (Figure 9). Lake’s (2024) technical breakdown provided key industry practices that informed the workflow. Key practices harnessed during this project included applying a -90° rotation to the X-axis of the root bone to prepare the skeleton for translation into Unreal Engine’s (2024) Z-up coordinate system, as opposed to Maya’s (2024) Y-up system. Utilising Maya’s (2024) bone labelling feature to more accurately mirror skin weights across the mesh. Offset groups were used for control curves to enable flexibility through local transform space on each control. Controls were organised in a flat hierarchy using parent constraints, rather than nested direct parenting, to allow greater flexibility when maintaining an advanced rig. These practices contributed to an industry-aligned rig that could be easily maintained, modified, and improved as the project evolved.

Figure 6. 'Terrax' skeleton, developed by Lawson-Hall (2025k), further detailed in this blog post.

Further bespoke facial rigging techniques were developed using the tutorial series by Martin (2022), alongside technical animation theory learned from Lake (2024). A key application involved strategically positioning locators as the ‘aim-up’ element of aim constraints, allowing local up direction control and resulting in more natural deformation aligned with facial muscle movement. Another technique was locking skin influences other than those intended for blending. This prevented Maya (2024) from automatically reassigning weights, allowing full control over bone influence distribution and resulting in a more efficient painting process that ensured bones deformed the mesh as intended.

The inverse kinematics (IK) and forward kinematics (FK) switch presented a key challenge. An initial system was created using a core FK skeleton driven by an additional IK joint chain (Lake, 2024), which worked independently but produced offset issues when integrated into the full rig. Dikko (2002) proposes a solution involving a third joint chain, where separate IK and FK chains both drive the core skeleton, preventing the offset issues encountered. Another challenge was developing an automated system to drive pauldron transforms, while retaining manual control to prevent mesh intersection. Implementing an additional pauldron bone with an aim constraint, look-at target and up-vector, as outlined by Motomura (2018), achieved the desired behaviour. This demonstrated growth in technical problem-solving skills aligned with the expectations of technical animators within the GAVFX industry (NIHERST, 2018).

The resulting character rig (Figure 9) demonstrated an array of advanced techniques. Once the facial rig was established using the concepts outlined by Martin (2024), the Studio Library (2025) plugin for Maya (2024) was used to construct an extensive facial pose library (Figure 7), informed by the concepts and reference presented by Faigin (1990). These poses demonstrated the success of the rig to create emotive facial poses as shown in Figure 8. The Terrax Character Rig Demo (2025a) provides a clear demonstration of the rig’s flexibility and technical proficiency, evidencing the successful outcome of this research-driven rigging process and its alignment with contemporary industry practice.

Figure 7. 'Terrax' facial pose library, developed by Lawson-Hall (2025k), further detailed in this blog post. 

Figure 8. Example 'Terrax' face pose, developed by Lawson-Hall (2025k), further detailed in this blog post.

Figure 9. 'Terrax' control rig, developed by Lawson-Hall (2025k), further detailed in this blog post.

Cinematic Animation: Crash Landing Cutscene

The Terrax Crash Landing Cutscene (2025b) allowed for exploration of a full traditional animation pipeline, from pre-production to final render, strengthening core character animation skills in line with industry standards. Johnston and Thomas (1981) stress the importance of extensive planning and exploration of ideas prior to production to create engaging animation. This links to Cheng (2019), who finds that storyboarding “is an indispensable step in today’s animation industry” (p.3). This informed the decision to dedicate time to producing an effective storyboard (Figure 10, Figure 11), which was later translated into an animatic (Lawson-Hall, 2025n), establishing a solid foundation for the animation. This established a clear vision, which was expanded by acting out the scenario to gather reference footage (Lawson-Hall, 2025o). Hooks (2003) outlines acting principles that connect performance theory with the skills needed to create believable animated characters on screen. These processes and theories established a solid foundation for informing poses and timing to construct the animation in Maya (2024), enabling a smooth workflow through layout, blocking, spline refinement, polish and render (Lawson-Hall, 2025l).

Figure 10. Crash landing Cutscene storyboard part 1, developed by Lawson-Hall (2025e,l), further detailed in this blog post.

Figure 11. Crash landing Cutscene storyboard part 2, developed by Lawson-Hall (2025e,l), further detailed in this blog post.

The greatest challenge in this animated outcome was responding to feedback from Williams (2025), who noted the quality of character animation but highlighted that the cockpit setting was potentially unclear and recommended adding a window to show space in the background. The environment was modified to include a transparent window (Figure 12), however, when rendered this disrupted the lighting balance within the scene (Figure 13). Prior to this modification, the main window was positioned in front of the character and behind the camera. Adding the window allowed Skydome light to enter from behind the character, causing noticeable glare. This was frustrating because the earlier render (Figure 14) had strong visual balance with complementary orange and blue lighting. Fixing the issue would have required a full lighting rebuild, which was too time intensive to fit within the project schedule. Therefore, the decision was made to instead add an establishing shot of the spaceship flying through space (Figure 15) before cutting to the cockpit, providing clearer audience context and directly responding to Williams’ (2025) feedback.

Figure 12. Window solution to incorporate a space background as discussed in feedback with Williams (2025), further detailed in the blog post by Lawson-Hall (2025l).

Figure 13. Demonstration of how the window solution disrupts lighting and render quality, further detailed in the blog post by Lawson-Hall (2025l).

Figure 14. Original lighting and render quality, further detailed in the blog post by Lawson-Hall (2025l).

Figure 15. Spaceship establishing shot inserted before interior cock pit shot to improve story contextualisation, further detailed in the blog post by Lawson-Hall (2025l).

The completed animation (Lawson-Hall, 2025b) reflects a polished outcome, showing noticeable growth in skill and execution compared to previous projects. This can be attributed to the quality and time invested in planning materials, as well as the continued practice of creative and technical character animation skills. The breakdown video demonstrates clear continuity between the animatic, acting reference, animation block-out and completed outcome, showcasing a thorough and professional production process. This demonstrates the practical application of animation planning theories outlined by Johnston and Thomas (1981), Cheng (2019) and Hooks (2003), which directly contributed to the production of a high-quality animation.

Gameplay Animation and Character Controller System

The last outcome, Terrax Gameplay Animations and Character Controller (2025c) explored producing gameplay animations and integrating them into a character controller system in Unreal Engine (2024). Character animation creation was an established strength, however, importing these animations into Unreal Engine (2024) and constructing a Blueprint-based character controller was less familiar. Ask a Dev (2023) provided a clear technical breakdown of common Blueprint nodes required to construct a functioning character controller. Figure 16 illustrates the core Blueprint functionality, including nodes used to detect character speed, movement state, ground contact, and additional gameplay conditions. These variables were then used in the animation state machine (Figure 17), which interprets them to determine the character’s state and select the appropriate animation. Figure 18 shows the character blend space, where locomotion animations (idle-slow walk-walk-jog–run) transition smoothly based on the player’s speed variable. This approach was particularly successful, as blending four locomotion animations of increasing motion allowed the character’s animation to scale naturally with player input, improving responsiveness and visual fidelity. This system functioned effectively as a foundation; however, several challenges arose during further development that required problem-solving.

Figure 16. Character controller Blueprint in Unreal Engine (2024), developed by Lawson-Hall (2025m), further detailed in this blog post.

Figure 17. Animation State Machine in Unreal Engine (2024), developed by Lawson-Hall (2025m), further detailed in this blog post.

Figure 18. Locomotion Blend Space in Unreal Engine (2024), developed by Lawson-Hall (2025m), further detailed in this blog post.

A combo-based combat system was developed to expand the character controller’s functionality, using Unreal University’s (2024) concepts as a technical foundation. Unlike locomotion loops, combat attacks involved the character thrusting forward rather than animating on the spot, resulting in different start and end positions. Root motion was required on these animations to preserve the end position of each attack and prevent the character from snapping back to the initial pose. This functioned correctly for all animations except the combo finisher, where the character was meant to leap upward but remained grounded. After further exploration and research, it became apparent that for root motion to allow the character to leave the ground, the character controller needed to enter ‘flying mode’ (Druid Mechanics, 2022). Figure 19 shows the Blueprint system that receives an animation notifier at the start of the combo-finisher animation to set the character mode to flying, and another notifier at the end to disable it. After implementation, the animation behaved as intended, successfully expanding the controller to allow player movement and attack functionality within gameplay.

Figure 19. Character controller Blueprint handling flying mode switching to support character root motion in Unreal Engine (2024), developed by Lawson-Hall (2025m), further detailed in this blog post.

This phase effectively bridged creative animation practice with technical gameplay system, blending animations in real-time according to player input. The outcome (Lawson-Hall, 2025c) demonstrates a flexible and functional gameplay animation system and marks significant development in animation skills relevant to the games-industry. Future improvements could involve turning leans, stopping animations and a double-jump front flip to improve the character’s feel and responsiveness. This outcome continues directly from Terrax Crash Landing Cutscene (2025b), as shown in the storyboard (Figure 11). After the cinematic ends, the player would take control of the character, effectively beginning gameplay within the crashed spaceship environment (Figure 20) to maintain continuity and link all practical outputs together. This further enhances storytelling across all outcomes and demonstrates significant creative and technical skill development, as set out in the rationale.

Figure 20. Burning spaceship in environment for continuity in Unreal Engine (2024), developed by Lawson-Hall (2025m), further detailed in this blog post.

Evaluation of Personal and Professional Development

The learning process across this module aligns closely with Kolb’s (2014) experiential learning cycle. This began with a baseline level of knowledge and skill, followed by reflection to identify areas for development, connecting these reflections to targeted research to expand knowledge, and finally applying new knowledge through active experimentation and iterative practice. This process is paired with reflection on progress over time, driving a continuous cycle of self-improvement. This links to Schön’s (1994) concept of ‘reflection-in-action’, which describes how practitioners learn through experimentation and problem-solving while making. Together, these theories demonstrate the development of independent learning skills that drive the pursuit of new knowledge and contribute to increasing visual quality across the project. This iterative process and personal growth are highlighted throughout the development blog posts (Lawson-Hall, 2025d-m) and outcomes (Lawson-Hall, 2025a-c).

Figure 21. Production schedule used to plan for success across a large project.

Building on the previous discussion, this learning approach aligns with the theory of deliberate practice (Ericsson, Krampe and Tesch-Römer, 1993), which attributes success and progress to intentional effort rather than innate talent. This also aligns with Gladwell’s (2008) popular concept of the ‘10,000-hour rule’, which suggests that mastery of a skill can be achieved through approximately 10,000 hours of focused practice. Alongside purposeful project management (Figure 21) this approach ensured planned success and supported organised exploration of all aspects of the project as outlined in the rationale. These combined learning behaviours have supported continuous growth, contributing to both the success of the outcomes and continued skill progression. This reflective, self-directed learning style explains why a remote master’s course was selected, as it enables autonomous study where progress can be made through deliberate experimentation, problem-solving and ongoing reflection.

Conclusion

The progress demonstrated throughout this project reflects the successful achievement of the goals outlined in the rationale. An original character was modelled, demonstrating technical success through exploration of the character sculpting pipeline, as well as creative success through the development of an appealing design (Johnston and Thomas, 1981; Yu and Tsao, 2022). Developing this original character (Figure 4) enabled the creation of an advanced custom character rig (Lawson-Hall, 2025a), presenting technical challenges that strengthened both technical animation and problem-solving skills, which are in demand within industry production pipelines (NIHERST, 2018; Oakley, 2025). The Terrax Crash Landing Cutscene (2025b) strengthened keyframe animation and storytelling skills through experiential learning (Kolb, 2014), deliberate practice (Ericsson et al., 1993) and reflective practice (Schön, 1994). This was underpinned by rich pre-production work (Cheng, 2019; Sobchyshak et al., 2025), resulting in a high-quality animation with clear character appeal and performance, highlighting a noticeable step forward in cinematic animation skills. Lastly, exploration with Unreal Engine (2024) to create gameplay animations and a character controller system (Lawson-Hall, 2025c) showcased further technical ability and skills aligned with current games-industry practices and wider GAVFX industry software trends (Berry and Johnston, 2025).

Collectively, these outcomes demonstrate meaningful growth across the full animation pipeline and position the developed skillset to align with contemporary GAVFX industry expectations. The decision to strengthen technical animation, cinematic animation and gameplay animation skills aligns with industry practice seen at studios such as TT Games (2025), who utilise traditional keyframe-animated, narrative-driven cutscenes alongside real-time gameplay animation systems. In contrast to studios like Rockstar Games (2025), who predominantly use motion capture to achieve hyper-realistic animation, this project intentionally focused on traditional keyframe animation. This choice aligns the skillset developed here towards stylised game pipelines and with performance-driven character animation, central to both game and film production. Ultimately, this project marks a significant stage of professional growth, with the final animation outcomes (Lawson-Hall, 2025a-c) achieving a high professional standard and demonstrating substantial advancement in creative and technical capability.

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Reference List

Academic Sources

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2.    Cooper, J. (2019) Game Anim: Video Game Animation Explained. 1st Edition. Florida: CRC Press.

3.    Ericsson, K. A., Krampe, R. T. and Tesch-Römer, C. (1993) ‘The role of deliberate practice in the acquisition of expert performance’, Psychological Review, 100(3), pp. 363–406. Available at: https://doi.org/10.1037/0033-295X.100.3.363 (Accessed: 07 December 2025).

4.    Faigin, G. (1990) The Artist’s Complete Guide to Facial Expression. New York: Watson-Guptill Publications.

5.    Gladwell, M. (2009) Outliers: The Story of Success. Penguin. EPUB. Available at: https://americanmagicacademy.org/wp-content/uploads/2025/04/Outliers_The_Story_of_Success_by_Malcolm_Gladwell_z_lib_org.pdf (Accessed: 07 December 2025).

6.    Hooks, E. (2003) Acting for Animators. Revised edn. Heinemann Drama.

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17. Yu, K.L. and Tsao, Y.-C. (2022) ‘A STUDY OF CHARACTER DESIGN METHOD’, International journal of organizational innovation, 15(1), pp. 75–90.

Technical Sources

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Software and Product Sources

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Other Sources

1.    Williams, A. (2025) Linkedin direct message received by Matt Lawson-Hall, 05 November.

Graduate Portfolio Animation Outcomes

1.    Lawson-Hall, M. (2025a) Terrax Character Rig Demo. Available at: https://vimeo.com/1134625825 (Accessed: 06 December 2025).

2.    Lawson-Hall, M. (2025b) Terrax Crash Landing Cutscene. Available at: https://vimeo.com/1133608609 (Accessed: 06 December 2025).

3.    Lawson-Hall, M. (2025c) Terrax Gameplay Animations and Character Controller. Available at: https://vimeo.com/1139831160 (Accessed: 06 December 2025).

Supporting Development Blog Posts and Assets

1.    Lawson-Hall, M. (2025d) ‘Career Plan Report’, Matt Lawson-Hall Animation Blog, 19/05/2025. Available at: https://mattlawsonhall.blogspot.com/2025/05/career-plan-report.html (Accessed: 06 December 2025).

2.    Lawson-Hall, M. (2025e) ‘Preproduction Exploration to Prepare for Career Development in the Graduate Portfolio Module, Matt Lawson-Hall Animation Blog, 20/04/2025. Available at: https://mattlawsonhall.blogspot.com/2025/04/practical-skill-development-to-prepare.html (Accessed: 06 December 2025).

3.    Lawson-Hall, M. (2025f) ‘Concept Art and Character Design’, Matt Lawson-Hall Animation Blog, 27/05/2025. Available at: https://mattlawsonhall.blogspot.com/2025/05/concept-art-and-character-design.html (Accessed: 06 December 2025).

4.    Lawson-Hall, M. (2025g) ‘Character 3D Modelling - Head’, Matt Lawson-Hall Animation Blog, 18/05/2025. Available at: https://mattlawsonhall.blogspot.com/2025/05/character-3d-modelling.html (Accessed: 06 December 2025).

5.    Lawson-Hall, M. (2025h) ‘Character 3D Modelling - Body’, Matt Lawson-Hall Animation Blog, 21/07/2025. Available at: https://mattlawsonhall.blogspot.com/2025/07/character-3d-modelling-body.html (Accessed: 06 December 2025).

6.    Lawson-Hall, M. (2025i) ‘Character Modelling - Retopology’, Matt Lawson-Hall Animation Blog, 22/07/2025. Available at: https://mattlawsonhall.blogspot.com/2025/07/character-modelling-retopology.html (Accessed: 06 December 2025).

7.    Lawson-Hall, M. (2025j) ‘Character Modelling - UV Unwrapping and Texturing’, Matt Lawson-Hall Animation Blog, 23/07/2025. Available at: https://mattlawsonhall.blogspot.com/2025/07/character-modelling-uv-unwrapping-and.html (Accessed: 06 December 2025).

8.    Lawson-Hall, M. (2025k) ‘Graduate Portfolio - Technical Animation - Character Rig’, Matt Lawson-Hall Animation Blog, 24/07/2025. Available at: https://mattlawsonhall.blogspot.com/2025/07/rigging.html (Accessed: 06 December 2025).

9.    Lawson-Hall, M. (2025l) ‘Graduate Portfolio: Crash Landing Cutscene’, Matt Lawson-Hall Animation Blog, 01/12/2025. Available at: https://mattlawsonhall.blogspot.com/2025/12/graduate-portfolio-crash-landing.html (Accessed: 06 December 2025).

10. Lawson-Hall, M. (2025m) ‘Graduate Portfolio: Character Animation – Gameplay Animation’, Matt Lawson-Hall Animation Blog, 02/12/2025. Available at: https://mattlawsonhall.blogspot.com/2025/12/graduate-portfolio-character-animation.html (Accessed: 06 December 2025).

11. Lawson-Hall, M. (2025n) Terrax Crash Landing Cutscene Animatic. Available at: https://www.youtube.com/watch?v=uwllTiFgk_E (Accessed: 07 December 2025).

12. Lawson-Hall, M. (2025o) Terrax Crash Landing Cutscene Live Action Reference. Available at: https://youtu.be/LYAi9DXn0PY (Accessed: 07 December 2025).