The Hyperion mission! Having to manage one unit with a continuous stream of battling non playable characters takes away the added task of micro management and lets me enjoy a feeling of ‘distinctiveness’
How ‘cutscenes’ meld into gameplay e.g when saving Raynor, Kerrigan’s Leviathan arms smash into the prison ship which then transitions into the game level
Evolution missions really helps players understand how an evolution works and how to use it
After Kerrigan’s battle with Narud, I felt she recovered too quickly. It drew from the gravity of the fight. She should have been in an injured state for the Leviathan section where characters could comment on her fight. Then by the next mission having recovered, there would be a contextual piece of dialog about it
Introduction: Developed on the Oculus Rift with PS Move, DinoRancher had guests play atop a Triceratops armed with an electric lasso. The goal of the guest was to shepherd a herd of Stegosaurus to safety, protecting them from danger.
Story: You are a DinoRancher armed with your electro lasso and trusty trike. Travel across the desolate wasteland, and protect your herd from those nasty predators!
Integration of the PS move into Virtual Reality
Trike movement system
Design Goal: To create an experience that made the guest feel like a cowboy travelling through the desert protecting a herd of dinosaur from predators.
My Contributions: As producer I arranged meetings, delegated pending tasks, and contributed creatively. In addition as a programmer I was responsible for setting up the games environment which included, asset preparation, level design and developing agent behavior.
Introduction: Developed on the CAVE with Makey Makey, NoseDive had guests play in the CAVE environment using airplane controls we constructed using Makey Makey.
Platform:CAVE, and Makey Makey in Unity 3D | Time: 2 weeks | Roles: Programmer – Game Designer – Producer | Team Size: 5
Story: Our game had our guests take the role of make shift pilots thrust into having to fly a plane to safety through a terrible storm when the captain has become incapacitated.
Adapting to the CAVE environment.
Creating an authentic flight simulator experience with an easily understand story.
Design Goal: To create an authentic story of saving the day through the game we created.
My Contributions: For NoseDive I was producer, designer and programmer. Being producer involved scheduling and coordination of our teams artist, programmer and sound designer. In addition I assisted my fellow programmer with environment and Unity prop setup.
Introduction: A Playroom was a developed on the HTC Vive. A virtual reality device that allows a guest to walk around a calibrated virtual reality space with hand held controls.
Platform:HTC Vive in Unity 3D | Time: 2 weeks | Roles: Designer – Producer | Team Size: 5
Story: The setting of the game is in a play room where the guest encounters a ghost boy who needs help in-order to ‘move on’.
Design Challenge: To design a game for naive guests, conduct play tests, and make three predictions of what the guest will do all whilst having the guest ‘feel free’.
Design Goal: Round 2 of Building Virtual Worlds was indirect control round. This required we build an experience that felt free, and was intuitive enough for a guest to play from start to finish without any instruction or guidelines.
My Contributions: I analyzed, and designed the guests interactions as well as wrote our main non playable characters dialogue. In addition I conducted play tests which gave us invaluable feedback which we used to further develop the experience.
I focused on interaction development by first analyzing what we currently had. From that I wrote a draft story design which was a rough version of what we would aim for. Our current gameplay was clearly a linear story experience, and I believed we could achieve a greater sense of freedom by allowing a player a choice of what game to play.
From this notion I created two different interaction models.
I then met with the team, presented my two plans. We choose plan 2 which I further developed into a more detailed version.
Audio would play a vital aspect in driving this interaction model therefore I worked with our sound designer on a script for the game which we iterated over based on feedback (script documents).
Once the various audio cues, and interaction model was implemented we went about play testing the game. I conducted play tests with over fifteen naive guests which included an audience of fellow students, professors and non-students. This feedback was then used to polish elements of our experience.
In conclusion we correctly predicted each of the three interactions, and the guest understood our story, all with no guidelines or instruction from us.
We began our project with brain storming, and research into the platform on which we were developing. We came up with several ideas including:
Darkness– Use light to guide the guest through a street.
Space Exploration– Explore the universe, and pick a planet to colonize.
Dreaming – Flying a plane, flying elephants, flowers turn to buildings (freedom from constraints).
Empty Room – Furniture place (guide them to a correct place).
Having difficulty grappling with the concept of ‘freedom’ we spoke to a member of The Entertainment Technology Faculty Jesse Schell. After meeting with Jesse Schell we honed in on an idea of a ghost boy which we would help in some manner through objects around him.
Next we thought about location, which was first a storage room due to it making sense to have many object, we then changed to a play room as it offer the potential for a ‘warmer’ environment for guests to feel comfortable.
After creating a basic room with a simple number of interactions which included:
Place a train on the train track.
Hide & Seek.
Give a hug.
We had a prototype ready for interim.
After interim our two main points of feedback were
Make the boy and game generally less ‘creepy’.
To develop our interactions.
Point 1 was a significant design challenge which we tackled by investing time into solving by:
Making our main game character look more human like.
A warm game atmosphere.
A friendly, light and clear character voice.
I decided to tackle point 2 by first analyzing what we currently had, then writing a draft story design which was a rough version of what we would aim for. Our current game play was clearly a linear story experience, and I believed we could greater the sense of freedom by allowing a player a choice of what game to play.
From this notion I created two different interaction models.
After meeting with the team, presenting the two plans and convincing them of the need to carefully design the experience, we choose plan 2 which I then further developed into a more detailed version.
Audio played a vital aspect in our experience so I worked with our sound designer on a script for the game which we iterated over three times based on feedback (script documents). In addition to audio we used a number of other techniques including:
Lighting – To direct the players focus.
Color – Brightly contrasting objects such as with the yellow train on a blue chair, and a red book on a beige floor caught the players attention.
Uniformity – A suggestive picture fragment was placed in the frame, and other similar looking puzzle pieces were placed around the level.
After implementing these features with a new interaction model we went about play testing the game. We conducted play tests with over fifteen naive guests which included an audience of fellow students, professors and non-students.
Based on the feedback we received we continued to polish elements of the game. The end result of our work was that not only did we accurately predict each of the three interactions, but the guest completely understood the story behind our world all with no guidelines or instruction from us.
Story: Jam-O-Draw was inspired by the classic etch-a-sketch game.
Design Goal: We wanted to create a multiplayer artistic experience with a fascinating reveal.
Adapting to an unfamiliar platform.
Creating an aesthetically pleasing experience using visuals and audio
Having the user interface during the experience be responsive and informative.
My contributions: My primary role on this project was as producer which involved making creative contributions, arranging meetings, coordinating our artists, programmers and sound designer to create the game in a timely manner. My programming responsibilities included assisting my fellow programmer with development, and preparing the game environment and assets.