3D WORK
Yağmur Emsal Şensoylar
Hardcore D&D player, gamer, anime enthusiast, comic & animation addict, hopeless book lover… In short: A GEEK!
Hi, I'm Riri! Nice to meet you in this pixelated chaos!
Roll for Perception and View My Worklife!
I was born into art, as my family are all artists. There were always artists and important figures around me. However, back then, I had no real interest in any branch of art. Although I was always fond of cartoons and animation, most of the time I was just in my room with my toys, animations, and myself. Over time, what caught my attention or rather, discovering myself writing something and the development of my film culture combined with my love for animation led me to develop an interest in animation and drawing to bring my writings to the screen.
My inquisitive nature developed further when I attended a law high school abroad. As I gained a clearer understanding of politics, law, justice, and ethics, the turmoil I experienced caused my writings to become filled with imagery and allusions. I realized that the pen could be a sword and began to want to create a difference. Regardless of the genre fantasy, futuristic, sci-fi, horror my writings started to focus on "human" and "human issues." And dragons... Dragons are very important.
My curiosity about psychology, sociology, philosophy, and history guided me in my effort to understand and explore the theme of "human." In short, being a humanities-oriented person helped me realize something different. One of the things that saddens me is that we still haven't progressed enough in terms of history. And humanity still hasn't truly learned what it means to be "human."
Every organ of the media knows very well how to use psychology, sociology, philosophy, and history. That alone is an academic subject in itself.
What Does It Truly Mean to Be Human? Or What Should It Be?
From an early age, I’ve been immersed in the world of creative production. I began my career in the dubbing studio of Zeynep Neslihan İşbay as a child voice actor. My first professional job was dubbing, and I lent my voice to the productions such as Billy the Cat, Ip Man, Azur and Asmar and Butterfly Lovers.
The Names I Worked With at Studio Kedili;
Zeynep Neslihan İŞBAY
Onur VURAL
Serap GEDİK
Devrim PARSCAN
Fisun KOKUCU
Fisun KOSTAK
Cem KURTOĞLU
Toygun ATEŞ
I gained my first set experience during the filming of the absurd theatrical comedy series Hoştanlı Kalaylı Saray, where I had thechance to meet renowned actress Ayşen Gruda. At the time, I was learning on set while assisting the crew.
I then continued my professional development under director Metin Yücel, where I was trained in first assistant directing and assistant directing. I worked in these roles on one of his film projects, gaining hands-on experience in film production.
The Names I Worked With at Yüceller Film;
Metin YÜCEL
Tevfik İNCEOĞLU
My journey into the digital game industry began when I was accepted into Crazylabs' HUB program. Under the MadPapper Games label,I was responsible for level design and 3D asset creation for hypercasual games. During this period, we released 16 games on the Play Store.
Mentors I Studied With During the Hub Program;
Tuna PAMİR
Çakır AKER
After the HUB, I joined the educational platform “Hocalara Geldik” as a graphic designer, where I worked for two years.
While I was working at Hocalara Geldik, I also started teaching online at Kodland as a forward (FWD) instructor. I taught simple animation and design lessons under the title "Fantasy World Design" to online classes of about 15 students, aged between 8 and 16.
Later on, I received screenwriting training from Serap Gedik and collaborated with her on several projects. This experience led me to serve as a pre-selection jury member for short films at the Frankfurt Film Festival.
Serap GEDİK
I worked as an assistant while receiving one year of training under my dear mentor, Bülent Yıldırım, at Doku Sanat Atölyesi
Together, we worked on the role of simple shapes and colors in human psychology, and their impact on contemporary architecture and urban design.
Neon Vires
A dystopia. What is right, what is wrong? According to whom?
This is the animation project I'm currently working on. One of its most distinctive features is the absence of a traditional main character. The story unfolds through multiple perspectives, constantly challenging the viewer’s perception of morality.
What is good? Who decides what’s bad? Is morality fixed or does it shift depending on the perspective and situation?
Neon Vires explores humanity through contrasting viewpoints in a deeply dystopian setting. Through subtle references and layered subtext, the project raises essential questions:
Where is humanity headed? Is this really the right path?
The narrative also reflects on how the digital revolution has reshaped the human mind drawing parallels all the way back to the Gutenberg era. As technology advances, so too do our ways of thinking, perceiving, and valuing. But is this transformation progress, or a form of alienation?
Neon Vires isn’t here to give answers.
It’s here to make you question everything.
The character design shown here is from the series and belongs to a character named Lizzie
A few years ago, we participated in a game jam with the theme "Lost and Found." I wrote the story for a 2D point-and-click narrative game, and we worked hard to complete it in time. These are the character designs I created for that project. Sadly, we couldn't finish it in time, but this project is far from dead!
In the game, the main character is a teenager (representing us), trying to find a lost toy at home by interacting with other toys. We fulfill their requests to gain clues and information. Built around a deep and psychologically-driven narrative, the story explores complex emotions through simple yet meaningful interactions.
This unique series tells the story of Istanbul’s complex and magical world through the eyes of a cat. A camera that follows the city’s rooftops, hidden alleyways, historic districts, and the most intimate moments of daily life leads the viewer into a new story with each episode. The main character is a cat sometimes perched on the shoulder of a street musician in Galata, sometimes sitting at the window of an elderly woman in Balat, and sometimes wandering through the imagination of a child; witnessing the countless lives that make up the city.
The series portrays Istanbul’s rich cultural mosaic, the conflicts brought by modernization, its quiet miracles, deep loneliness, and unexpected encounters capturing the many facets of the human experience through the silent gaze of a feline observer. With every story, the cat guides us from one life to another, offering a new way to see the city.
Through the Eyes of Cats: Istanbul invites viewers on a visual and emotional journey to discover the city through the instincts of an animal.
A book project I'am recently working on (soon to be adapted into an animated series) explores a universe where lives from different times and places subtly intersect, regardless of whether they belong to humans, animals, or even souls. These intersections are minimal but meaningful, occurring in a mysterious space that exists beyond the boundaries of time and location. Those who enter this place do so unknowingly—usually when they need it most. Each chapter tells a standalone story, delving into a different emotional or existential dilemma of being human. These stories are brought to life through rich, fantastical imagery and symbolism, blending surrealism with emotional depth to create a thought-provoking narrative experience.
My First Pixel Art: The Little Cats at the Window!
I couldn’t help but mention my special interest in pixel art here! It’s a style I truly enjoy, and I plan to focus on it more deeply in the future.
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