Research & Inspiration  
e inspiration for this collection of works originates from the science fiction novels I wrote during my leisure time, reflected in the design of var-  
ious genres of book covers. I aspire to distill key elements and themes from my novel’s content, translating them into cover designs that capture its  
essence, while also transforming it into a graphic novel format.  
e protagonist group followed the elders and other villagers to learn how to survive in the wild. ey communicated with the orcs to establish and expand their own settlements.  
Settlements were oꢀen attacked by thieves. rough the contact between thieves and merchants, the protagonist group realized that the world is made up of those forces. Because  
of a severe natural disaster, the villagers had to move out of their homes. Although the elders were helpless, they had to let the protagonists face a wider world.  
Due to environmental degradation and evolution, the protagonists were forced to go to the city and learn how to cope with the currently fickle nature, thus learning better appli-  
cation methods and solving natural disasters. In the process of in-depth learning, the leading group had learned that the city lacks the technology to communicate with the wild  
orcs. So, in collaboration with the citys scientific researchers, they developed a system to interact with them. However, some people in the city wanted to use this technology to  
manipulate and utilize the orcs to exploit resources and destroy the environment. e leading group attempted to remediate the situation but achieves no results, so they aban-  
doned their collaboration with the city. ey finally decided to go back to the original settlement to establish a sustainable stronghold of their own. But midway, they suffered  
retaliatory encirclement and suppression imposed by the city. e protagonists got separated in the process of the revolt. In order to survive, the group was forced to start from  
scratch and set up new plans. At this moment, the wild orcs helped the members of the group to find each other and the four protagonists got reunited. Eventually, they achieved  
a breakthrough in their personal ability and succeeded in going through the most difficult path.  
Aꢀer the four protagonists reunited, the city suddenly encountered a serious geological catastrophe and the city needed their help and the wild orcs. Aꢀer the protagonist team  
learned about the situation of the city, they knew about the severity of this situation in the city; so together with the Orcs, they finally decided to forgive their grudges and to join  
forces with the city in order to protect all the intelligent lives. Aꢀer experiencing this catastrophe, people in the city realized that it is unsafe to have radical control over nature,  
because this is a highly risky and gambling way of upgrading civilization which can easily backfire. At last, the city abandoned the previous development model of controlling  
nature, eliminating the fluke mind set of rapidly upgrading of civilization.  
Aꢀer the catastrophe, the intelligent lived live together in peace. But changes from outside the world broke the long-lost peace in this world. A huge crack appeared in the sky,  
and the edge was not visible. Many wondered if there have been many unknown existences entering the world where the protagonist group lives. e appearance of the crack did  
not make an impact on the normal maintenance operation of this world. Out of curiosity and fear about the unknown, the protagonist team and the public jointly formulated  
various plans, including the use of previous technologies for space voyages and other programs to explore this giant crack. At the moment when it was about to reach the end of  
the crack, the protagonist group saw for the first time a scene outside of their world. ey discovered that their world where they lived in was actually a gigantic petri dish, and  
that there were countless petri dishes similar to theirs in this world simulation laboratory. Some of the other petri dishes were already devastated, and some were still in their  
infancy in diverse forms. ey only leꢀ the petri dish they belonged to. e leading group was shocked at first but did not panic. ey decided to establish a friendly communi-  
cation relationship with the outside world under the condition of protecting their own world. e reason for establishing the laboratory was that the superordinate race wanted  
to know whether radically controlling the nature or harmoniously protecting the nature can better utilize the available resources and upgrade the civilization. e world where  
the leading group belonged was the first one that vanquishes the obstacles set by the superordinate race, breaks through the barriers and succeeds in upgrading. e researchers  
in the laboratory regarded the world in which the leading group lived as the most successful one and gave this world a new beginning.  
Observing the cover designs of many famous novels, I summarised and generalised the different styles of binding forms and drew on  
their experience of converting textual content into images in a generalised way. I have summarized the cover designs into the following  
three styles: Retro Sci-Fi, Cubist, and Hand-Drawn Illustration.  
The Retro Sci-Fi style is often seen in classic science fiction works from the last century, such as the renowned sci-fi novel series “Hy-  
The Cubist design inspiration originates from the commemorative covers of the Chinese editions of a series of sci-fi novels by Polish  
writer Stanisław Lem, especially the book “Solaris,” in celebration of his centenary.  
The Hand-Drawn Illustration style is commonly found in cover designs for literary fiction, as seen in the works of Polish author Olga To-  
karczuk, where a purely hand-drawn approach is employed.  
Cover design process  
Sketchbook & Process  
In my experimentation with the draft of the cover bind-  
ing, I wanted to synthesise all the summarised design  
elements that I had previously summarised. And com-  
bine it with the landscape of my hometown.The story  
is divided into four parts, so I designed four covers for  
it. The theme colours are red, white, blue and black.  
Red beaches, blue skies and mountains, black caves,  
and white abandoned factories respectively symbol-  
ize the four main characters in the story.  
Narrative Graphic Design  
The content of my graphic novels is filled with many  
various tribal groupsMy source of inspiration of these  
tribal comes from the Furry group. In this group,People  
usually dress up as a variety of anime-style fantasy  
animal figures. I realized that Furry is a special group  
after all. It takes a long time to be accepted.Therefore,  
I tactfully introduced this minority group into my work  
by depicting them as tribal villagers. Moreover, some  
of my paintings are inspired by traditional Japanese  
paintings, as I show some details. At the same time,  
some color combinations also inspired me, such  
as Itō Jakuchū's mosaic colour palette and bright,  
flamboyant colour scheme.  
I’ve experimented with a variety of mediums for designing graphic novels, For instance,  
various mediums such as hand-drawn illustration, printmaking, digital painting, and collage  
can be employed to interpret the novel's content. I enjoy exploring and experimenting with  
diverse approaches and practices to find the most suitable narrative style for my content.  
I prefer blue in terms of colour preference. Blue not only stands for gloominess or depres-  
sion but also warmness in tranquility. In the white-blue warm atmosphere, the furry hold  
a party in their yard. They are imagining their own world, like the dreamland of Chagall  
and the peace of Vermeer. I aim to infuse my narrative with a cool-toned warmth and im-  
bue my science fiction storytelling with a fairy tale-like quality. I will achieve this aesthetic  
through a combination of various colors.  
Final works  
Cover binding design  
Graphic novel content