Boss Model

Make an enemy the player can read from across the arena and remember after it falls.

What makes a boss model different from a character model

• Silhouette at distance. The shape must be identifiable at 50 m and at 5 m. Asymmetry helps: one oversized arm, one broken horn.
• A weak point that shows. The core, the exposed heart, the cracked plate — the place the player is meant to hit is visible in the design, not only in the rules.
• A past. The best bosses were something else: a guardian, a person, a machine that still half-works. The design carries that history in its materials.
• Phase states. The boss changes as it is beaten. Each phase needs a variant sheet: armour cracked, eyes changed, limb lost.
• Scale reference. Every sheet includes a human-height figure or a known object so the model, the engine and the video all agree on size.

What the user gets

What the user has to do

1. Describe the boss and, ideally, what it used to be.
2. Pick a style by letter if the project has none.
3. Pick the sheet from 2–4 candidates.

Rules this entry enforces

• Everything in character-model, plus:
• Scale figure in every panel. A 1.8 m human silhouette or a named object.
• Weak point drawn. Named in the prompt, visible on the sheet, framed in the detail panel.
• Action board before video. The 4-panel board is the reference the video prompt uses for how the boss moves; a static sheet alone produces a statue that slides.
• Phase variants share the base. Generated with the base sheet as image reference plus a one-line delta ("armour on the left shoulder cracked open, cyan light inside"). Never re-described from scratch.
• Readable materials. Bone, iron, chitin, flesh — each with a stated wear. "Weathered ivory bone with hairline cracks filled with cyan light" survives; "scary monster" does not.

Related entries

• boss-battle — the fight this model is for
• character-model — the base pipeline
• weapon-prop — the greatsword