We’re excited to introduce you to the always interesting and insightful Tira Zhang. We hope you’ll enjoy our conversation with Ziyu below.

Tira, thanks for joining us, excited to have you contributing your stories and insights. Can you talk to us about a project that’s meant a lot to you?

From 2022 to 2023, I was fully immersed in a game project called ASTELLA. It was a unique experience where I put a lot of emphasis on something called “environmental storytelling.” This basically means that the game’s setting and surroundings play a big part in telling the story. To make this concept shine, I took a different approach than I usually would. I really dived deep into the background details and intricacies of the game’s lore.

In ASTELLA, players get to explore this place called the Grand Library. It used to be this super important spot for scholars in a kingdom that’s long gone. These scholars were absolutely fixated on stars and the cosmic realm. Their fascination actually led them to develop spells that could mess with space and time, using energy from the stars.

I wanted to create an environment that really matched the story I was telling. So, I took a trip to a bunch of libraries in New York – the New York Public Library, the Society Library, and the Morgan Library and Museum. At first, I was mainly checking out the architecture and the vibes of these old places. I was really trying to capture that special feeling, the calmness, even the smell of old books. But I felt like something was missing until I stumbled upon the Morbid Anatomy Library. There, I found a book called “Kabbalah” (Kerber Culture), and it hit me: why not blend elements from real Mysticism culture into my game’s universe? There were some interesting parallels.

It was a turning point. After a lot of thinking and sketching, I decided to align the whole design of the library in the game with different parts of the Tree of Kabbalah. This tree has ten sections, and I chose six of them – like Understanding, Wisdom, Strength, Mercy, Splendor, and Victory – to shape different areas of the library. So, I ended up with spots like the Hall of Wisdom, the Room of Mercy, and more. I made sure each area had its own unique symbol, inspired by the beliefs represented by those parts of the tree.

It was all about the details. I took my time to really polish the story’s foundation. Even though players would only get to see a fraction of it in the game – a mysterious part waiting to be discovered – I wanted that feeling of history and intrigue to come across. Gradually, the pieces fell into place, and the entire experience became something truly meaningful and fulfilling.

Tira, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

I’ve had a deep love for drawing and creating comics since I was a child. The joy of crafting stories, designing characters, and bringing their interactions to life on paper captured my imagination early on. This passion only grew stronger during high school, where I even took on the role of the art club president. I organized various drawing activities and had the opportunity to participate in anime conventions. So, when the time came to decide on university, it was a natural choice for me to pursue studies in an art school.

During my undergraduate years, I chose to major in Computer Art. Initially, I had little experience with 3D art, so I started from scratch, learning software like Maya, After Effects, Nuke, and more with guidance from my instructors. The industry demands strong technical skills, so my primary focus was on mastering these software tools. As I progressed, I even self-taught myself Blender in my junior year and collaborated with classmates on an animated short film in my senior year. We utilized Blender’s Eevee engine for real-time rendering, which turned out to be quite effective.

After that, my curiosity led me to explore real-time rendering software such as Unreal and Unity, which sparked my interest in game development. I saw an exciting opportunity to combine my passion for both gaming and storytelling. While I appreciate all forms of narrative, I found interactive games to be a unique medium for conveying atmospheric feelings. This shift inspired me to pursue a master’s degree, focusing specifically on game design and interaction at SVA’s graduate program. The program included mandatory programming courses, which turned out to be a valuable training ground for developing my problem-solving skills. As someone with an artistic background, I gradually acquired fundamental game programming skills. During this time, I also embarked on a game project, the one called ASTELLA. Whenever I needed a break from 3D modeling, I would indulge in drawing using my iPad and Procreate, even while commuting on the subway.

Regarding work, I’ve had the opportunity to participate in film and TV projects in China, gaining practical experience in the industry. Currently, I’m employed at an indie game studio in New York. In addition to my full-time role, I occasionally take up freelance work as a 3D generalist. From 2D art to editing and UI design. As a generalist, I’ve explored various creative avenues.

Recently, I co-founded COSMOBIUS, a game studio, with former classmates. We’re in the early stages of planning a VR game project. I’m truly excited about the possibilities this venture holds. My aim is to continue creating games that tell a myriad of stories. As the studio gains momentum, we’re looking forward to taking on more projects and expanding our collaborative efforts.

How about pivoting – can you share the story of a time you’ve had to pivot?

I’m about to share a period of my life that might seem a bit naive in retrospect, but it held profound significance for me. Earlier this year, I went through a heartbreak that left me feeling utterly unmotivated. It was a tough emotional experience, and its aftermath rendered me almost incapable of finding inspiration for my creative pursuits. My artistic projects were moving at a painfully slow pace. For me, being in a creative state is when I’m most content and fulfilled. If I’m unable to tap into that creativity, I become increasingly anxious. It was a paradoxical cycle – the more anxious I felt, the more my creative abilities seemed to diminish.

Adding to the complexity was my introverted nature, which often led me to stay indoors. This further exacerbated the situation. However, a turning point came when I started stepping out and traveling more with my friends. The breakthrough experience occurred during a trip to Hawaii in June. While snorkeling in the sea, surrounded by a variety of fish, something clicked. I thought, what if I used this enchanting underwater experience as a wellspring of inspiration? The sensation of being immersed in the sea, encountering paper bubble sea snails and even holding a pink sea urchin, served as a vivid reminder of life’s vitality. The combination of the sea breeze, sparkling sunlight, and the pulse of life in my hand infused me with a sense of hope. My mind suddenly teemed with inspiration.

This wave of inspiration didn’t fade when the trip ended. During the return flight home, I found myself reflecting on possibilities. Could I channel this newfound energy into an artistic project about marine conservation? Perhaps I could create character designs based on underwater creatures? These thoughts sparked genuine joy within me.

Once I was back home, things began to change creatively. I chose to break free from the emotional constraints that had held me back. This shift allowed me to reclaim my creative drive and gradually return to the projects that had been languishing. It was a process of rebuilding and rediscovery.

Are there any resources you wish you knew about earlier in your creative journey?

During my creative process, what I am most grateful for are the tutorial videos on YouTube. Countless professionals in the industry contribute their wisdom and experience to explain the process of using software, methods for storytelling, and the final presentation of designs. However, initially, when I started university, I wasn’t aware of this. I used to think that learning anything required spending money, whether it was online courses or classes in person – you had to pay tuition to gain knowledge. It wasn’t until after my junior year that I realized there were so many free shared resources on YouTube. Some people would create tutorial series with over a hundred episodes, detailing the entire process of making a game from start to finish. For example, Stellar Studio, their videos on how to make a visual novel in Unity helped me a lot.

In my previous understanding, software and resources were all things you had to pay for, too. But Blender, Unreal, and Unity changed my perspective. They are all powerful software that is free to use. Unreal even comes with various model asset libraries. When I first started, I thought I had to do everything myself, even the smallest rock in the background. However, there are many alternative methods that can simplify the process. One is using free online assets (while being mindful of usage rights). Another is the development of 3D scanning technology in recent years, where you can even use a smartphone’s camera to scan and convert real-life objects into 3D models, which can then be used in animations or game scenes. In essence, as long as the overall presentation looks good, there’s no need to start from scratch for every detail. Efficiency is crucial for us creators, so I often find myself relying on these free and convenient resources. I also wish I had discovered these resources and understood their potential a couple of years earlier – it would have made many things much faster to achieve.

Contact Info:

• Website: https://www.tirazzhang.xyz/
• Instagram: https://www.instagram.com/tirazzhang/
• Linkedin: https://www.linkedin.com/in/ziyu-tira-zhang/
• Twitter: https://twitter.com/tirazzhang
• Youtube: https://www.youtube.com/@tiraz5874/videos