张瑞航. Ruihang Zhang
个人简介 About me
郑雨晴，女，2003年生，中国江西省上饶市人，鲁迅美术学院动画专业硕士研究生在读，专注于动画、数字艺术插画与游戏美术等创作，作品多次斩获行业奖项。
Yuqing Zheng, female, born in 2003, is from Shangrao City, Jiangxi Province, China. She is currently pursuing a master's degree in animation at Lu Xun Academy of Fine Arts, specializing in animation, digital art illustration, and game art. Her works have won industry awards multiple times.
作品名称 Animation Title : 末页的晨曦 The Dawn of the Last Page
简介 Description: In the mist-shrouded ancient Ireland, the Morrí g na, goddess of fate, weaves the threads of heroes—all destined to snap. Yet, the thread of the warrior Cú Chulainn burns with unyielding light. Drawn by this anomaly, she descends to test him through relentless trials, but he shatters every prophecy with resilience and grace. On the blood-soaked field of his foretold death, as the spear of fate flies, Cú Chulainn’s final act of will deflects destiny itself, though at the cost of his life. In the stillness that follows, the Morrí g na witnesses a crack in eternity—a dawn born from a hero’s last stand.
在古老爱尔兰的迷雾中，命运女神摩莉甘编织着英雄命运的丝线——这些丝线注定都将断裂。但其中有一根丝线属于战士库丘林，它燃烧着不屈的光芒。为了探索这异常，她降临人世，通过严酷的考验来试探他。然而，库丘林凭借坚韧与优雅击碎了每一个挑战。在他被预言会殒命的血染战场上，当命运的矛尖呼啸而至时，库·丘林最后的意志之举挡住了命运之矛，扭转了命运本身，但因为力歇而亡。在随之而来的寂静中，摩莉甘见证了永恒的一次断裂——一个英雄的最后坚守孕育出了一道曙光。
My conceptual inspiration stems from the intricate, winding lines and vibrant decorative elements characteristic of Mucha's art—they function not merely as visual embellishments but as vessels for emotion and narrative. Witnessing Genshin Impact adapt and distill this style into its game PVs, I was inspired to explore what I call "heraldic storytelling." Through this approach, every glance of a character, every strand of hair, resembles an illustration from an ancient manuscript, carrying the soul of the figure while also inviting close contemplation as a decorative composition.
As a first-time user of Live2D, I encountered not only the software’s interface but an entirely unfamiliar visual language. The initial stiffness in animation and inelegance in masking often left the results far from my envisioned ideal. Yet these very constraints guided me back to the essence of creation, prompting a return to the fundamentals of motion principles. Each "unsolvable" challenge became an opportunity to simplify—replacing complex physical simulations with more essential, emotive motion to convey sincerity through movement.
The story of Cú Chulainn and the Morrí g na mirrors this creative journey metaphorically. Like the goddess of fate working within predetermined patterns, I operated within the dual frameworks of a defined artistic style and narrative structure. Yet the characters and scenes, much like the defiant hero Cú Chulainn, often broke free from the courses I had imagined, emerging with an unexpected vitality and radiance. In the end, what I sought to create was not merely a dynamic image, but a living heraldic emblem—one that breathes on the screen.
我的构思来源于穆夏笔下那些蜿蜒繁复的线条与充满生命力的装饰，它们不仅是视觉的修饰，更是情感与叙事的容器。而《原神》以这种风格并简化提取精髓来展现它的游戏PV，我便想尝试一种“纹章化的叙事”——让人物的每一次回眸、每一缕发丝，都像古老典籍中的插画，既承载角色的灵魂，也如一幅可被细细品读的装饰图案。
初次接触Live2D，我面对的不仅是软件界面，更是一整套陌生的视觉语言。动画的生涩、蒙版的笨拙，都曾让画面无法达到我的理想样子。但正是这些限制，反而让我回归创作的本质，重新学习动画运动原理，每一次“无法解决”的问题，都成为放弃复杂的物理模拟，转而用简略的动画运动传达动画最真挚的情感。
而库丘林与摩莉甘的故事，恰恰也是这构思的深层隐喻。我与命运的女神摩莉甘一样，在预设的风格法则与剧情设定中创作动画，而创作中的角色与画面，却总像那位不屈的英雄库丘林，以其自身的生命力挣脱我预设的轨迹，诞生出意料之外的光辉。最终，我想创造的不仅是一个动态形象，更是一枚在屏幕上呼吸的“活着”的纹章。
使用软件 Tools Used: Procreate、Procreate Dreams、live2D、Adobe After Effects、Adobe Photoshop CC
灵感与创意 Inspiration and Concept
故事的核心创意，源于对“命运不可逆转”这一古典命题的现代性思辨。它描绘了战争女神摩莉甘——一位因看尽英雄宿命而日渐麻木的命运编织者——被战士库丘林那根燃烧着不屈光芒的命运丝线所触动。并非为了修正，而是出于一种复杂的好奇，她降临凡间，以三次试炼探究这个“变量”。然而，库丘林以超越预料的坚韧与智慧，一次次偏离她所预见的轨迹。最终，库丘林在必死的结局前，以纯粹意志偏转了命运之矛的轨迹，用选择如何死亡的方式，实现了对宿命本质的超越。
故事探讨的真正主题，是当结局无法更改时，人的自由意志是否仍有意义？库丘林的回答是——意义不在于改变终点，而在于赋予通往终点的过程以尊严与光辉。他的牺牲不仅改写了英雄史诗的寓意，更撼动了神明对永恒的理解，那具化作沃土的躯体所催生的新绿，正是他用生命为冰冷命运法则撕开的第一道裂痕，成为照亮后世的第一缕“晨曦”。
The core creative inspiration of this story stems from a modern contemplation of the classical proposition that "fate is irreversible." It portrays the war goddess Morrí g na—a weaver of destinies grown numb from witnessing the doomed ends of countless heroes—intrigued by the warrior Cú Chulainn’s thread of fate, which burns with an unyielding radiance. Driven not by a desire to correct, but by a complex curiosity, she descends to the mortal realm, subjecting him to three trials to probe this "variable." Yet, with resilience and wisdom beyond expectation, Cú Chulainn repeatedly diverges from the path she foresaw. In the end, faced with an inevitable demise, he defies the trajectory of the spear of fate through sheer will, transcending the essence of destiny by choosing how to die.
The true theme explored is whether human free will holds meaning when the outcome cannot be changed. Cú Chulainn’s answer is that meaning lies not in altering the endpoint, but in imbuing the journey toward it with dignity and brilliance. His sacrifice not only rewrites the moral of the heroic epic but also shakes the goddess’s understanding of eternity. The new life sprouting from his body, which returns to the earth as nourishing soil, represents the first crack torn by his life into the cold laws of fate—a first gleam of "dawn" illuminating the ages to come.
Mind Map
Research Reference
角色设计 Character Design
Because I am fond of the Mucha style, and coincidentally, the game Genshin Impact I play produced an animation in a simplified Mucha style. Additionally, with my interest in British decorative patterns, I felt that the intricate and detailed approach of the Mucha style to decorative painting made it the perfect choice for this artistic direction.
因为我喜欢穆夏风格，而恰好我玩的原神游戏，做出了简略穆夏风格动画，再加上我对英国装饰图案比较感兴趣，我认为，穆夏风格这种对于装饰图案绘画比较细节，就选择了这种美术风格。
Setting and Reference for Characters
Mood Board of the Characters
Design of characters
故事版 Storyboard
场景设计 Environment Design
技术实现 Technical Execution
第一次接触这个live2D软件，可以说是接触新领域了，做的过程十分艰难，比如说动画运动规律不够自然，蒙版方法运用不够灵活等等一些问题。需要多练习，多看一些教程，实在无法解决的话 就换其他角度，用简单的技术来代替复杂高难度技术的同时，也能够保证画面质量。
This is my first time using the Live2D software, so I’m truly stepping into a new field. The process has been quite challenging — for example, the movement in the animation doesn’t feel natural enough, and I’m still getting the hang of using masks flexibly. To improve, I need to practice more and watch more tutorials. When I really can’t solve a problem, I try to approach it from a different angle: using simpler techniques to replace more complex ones while still maintaining the quality of the visuals.
