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TIGSource ForumsCommunityDevLogsMIRROR MALL - the Chaos Simulator/Look ‘Em Up for the home computer
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troyduguid
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« on: August 11, 2015, 12:38:30 PM »

Entry #001: Introducing MIRROR MALL - the Chaos Simulator/Look ‘Em Up for the home computer and virtual reality goggles.



He-hello people. This is my first post here, but I've been lurking for a while, needless to say devlogs have been an enormous inspiration, and so here goes nothing...


PART 1: HELLO THIS IS ME *skip if you don't give a shit about who I am!!*

Hello! I am yet another fresh-faced babby making the terrible mistake of creating an esoteric indie game. My background is animation, and before starting this project I made a bunch of animated films - also I worked commercially on an app game. So naturally as someone from a visual background I am a complete hack and fraud and barely know how to program.

Anyway I started working on this project about six months ago. Although at this time I also semi-spontaneously moved from Australia to Germany (with zero contacts/prospects awaiting my arrival) and somehow severely underestimated how much of an uphill battle sorting out general life stuff would be. Needless to say I've been very busy (and still am, got any spare change?), but I have been working on Mirror Mall whenever I can.
Now that I think about it, grossly underestimating things is probably going to be a reoccurring theme around here :p  :O  ٩(இ ⌓ இ๑)۶


Whaaaat have I gotten myself into?


PART 2: MIRROR MALL

Mirror Mall is a Dwarven voxel survival rouge-like nah just joking it's a fucked up game with barely any mechanics set in a shopping center. Are you still reading? I will go more into the setting and artistic goals next time, but for now I want to talk about the broader concept and how it has changed, so suffice to say it is 'Magnolia meets LSD: Dream Emulator meets Pokémon Snap'. Below is the INITIAL CONCEPT of this project I had earlier this year...

INITIAL CONCEPT!! A mix of interactive film and videogame. A passive, sensory experience in which the user's only control is the direction in which they look. At different points in the story the user's gaze influences aspects of 'chance' or 'fate' in the world of the game (some examples: natural forces such as wind direction, a coin toss, ) elements outside of human control. In this way the audience is not a character, nor an avatar, but chaos itself, an invisible entity altering the universe (and therefore the story) of the game. The choices the audience makes have unpredictable consequences that dramatically influence the story in surprising ways. /INITIAL CONCEPT!!


Sequence from first prototype.

That was my Big Idea, and I came at it from more of a film angle and focused on character designs, writing, thumb-nailing - typical Pre-Production stuff. However in late June I heard of a local games festival and crammed a prototype for the deadline. I am SO glad I did this, as a lot became ABUNDANTLY clear to me about this project. Through this prototype I had a (what I assume will be a first of very many) painful lesson: for all the design and talk in the world a game is nothing but the Unity project you’ve got on your computer. Obvious when you read it, but learning it was pretty huge for me. But then again, it wasn’t painful at all but kind of liberating, now that I have a framework things have really simplified for me.
This first prototype had two significant flaws - firstly tying choice to the same input as camera direction went directly against the concept of exploratory observation that I wanted. Secondly, although there was interactivity and various outcomes, the core structure and experience remained incredibly linear.

This structure must sound familiar, as it is very much the typical 'choose-your-own-adventure' template seen in titles from Telltale Games - a type of structure I would call an ultimately linear story (no hate though, goes without saying Telltale are very skilled at what they do). In my opinion, this kind of structure needs well written, complex characters - the key engagement coming from the reactive script. It's not the kind of story I am good at (and more importantly) not at all the kind of story I want to make. I had been going mad trying to get all these little visual ideas into this linear structure and this project was growing into a terrifying monolith. Because of this linear structure, every element of change added would further complicate the entire project. Imagine a metaphorical dish, and each choice was an additional ingredient. Somehow every possible combination of ingredients must somehow result in a satisfying palette on some level. In addition, this dish would always start the same, and only grow more complex over time.

So I went back to the drawing board on what this project actually is. I wanted structure that was free, modular. I have a personal rule now that the only tools I can use in this design phase are a pen, paper and Unity (and Lego!). Firstly, what were the key attributes I wanted this game to have?
  • Passive, experiential, voyeuristic. Although Mirror Mall started as an interactive film, this was not to pursue a ‘cinematic’ experience. I am striving for a feeling of dream-like total immersion, a trip inside your own head.
  • Accessible to people not game-literate.
  • Interactivity used in a way that enriches and strengthens the theme of chaos - an interconnected environment pushed in surprising directions.

My theme was chaos, dynamic systems - how could I use that to drive the story and interactivity in a meaningful and engaging way? After some researching and mad doodling it started to slowly dawn on me how similar this is...


(Metroid Prime, 2002)

To this...


(Bifurcation Diagram)

And so that was a bit of a personal epiphany: Mirror Mall is a labyrinth. But not of rooms, a labyrinth of possibilities, of moments in time - the experience itself is literally a dynamic system. I want the labyrinth of Mirror Mall to represent a (simplified) bifurcation diagram. Like a maze each branch, each fork in the road can be revisited. Think of the branches not as different variations of the same story, but each a standalone diorama that can be witnessed in any order - each revealing truths of other branches, there is no linearity to the story anymore - a fractal labyrinth of sequences telling a broader, meta story. The core experience (much like Metroid Prime) is navigating this maze and discovering the shape these rooms all make together.

So I am really excited about this structure 2.0, although I still need to do further experimentation for how the player navigates these possibility branches. My current goal is finding a solution based more on player discovery and experimentation - less rigid, less linear. And with these discoveries in mind I am now working on a new prototype - I will report back with my findings.


This will be you inside my Hyper-Capitalist Fantasy Hell World. Hopefully by 2016 but probably more like 2099999999999999999

And finally, #JUST4FUN an unrelated video showing a  test of the system I am building for modular facial animation (all animated inside of Unity)...



Thank you for reading xo
- troy
« Last Edit: August 11, 2015, 11:29:50 PM by troyduguid » Logged

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« Reply #1 on: September 07, 2015, 03:20:48 PM »

Entry #002: Moodboards more like *Mooo-ed*boards (like a cow)



Inspired by Sam Barlow’s moodboards for Her Story (who was in turn inspired by another project) I decided to create some moodboards of my own.

Firstly, above is the general overall moodboard AKA the METAMOODBOARD - works I find to be personally inspiring for either artistic, emotional or design reasons. It was a surprisingly very useful mental process, I started with about five times as many  inspirations, and so bringing it down to these key references really helped me think about what and why these works are important to me, why I love them and why they inspire me.
In addition it’s been a great method for psyching myself up when I feel overwhelmed/confused/lost/contemplating the approaching, inevitable void (which is often).

METAMOODBOARD: Ron English, Kentucky Route Zero, Monument Valley, Oneohtrix Point Never, Chaos by James Gleick, LSD: Dream Emulator, Galen Pehrson, Tim and Eric, Jumping Flash!, The Holy Mountain, Takeshi Murakami, Final Fantasy VII (yea ok whatever, fight me).




The M1 Environment Moodboard

Secondly, this is the second type of moodboard I am creating, a collage for a specific environment. Unlike the METAMOODBOARD I have made it a personal rule to only use photographs I have taken, I want my environments to feel like lost, forgotten memories, hopefully contrasting the extremely vivid and abstract characters that inhabit the world. So I suppose these environment moodboards are not so much for personal inspiration but references, shapes and colours.




Finally, here is a bit of concept art for the M1, I hope it is apparent the inspiration taken from my photos. I don’t think this picture is perfect, but I think I am making progress towards the feeling I want to evoke, the ……………….mood, I suppose.

I hoped you enjoyed reading ‘mood’ twelve times. Next post I’m just going to do a big ol art dump of what I’ve done up till this point. xoxo
- troy.
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« Reply #2 on: September 07, 2015, 04:37:25 PM »

Very interesting concept. Don't think I can give any useful input at the moment unfortunately, more than that I will watch the progress of this project with interest.
Also found your reflections interesting and entertaining to read.

What range of "chaos" will be player be able to control? The choice of word makes me relate to more violent themes but I get the impression that this game is more about making subtle and seemingly harmless changes in the environment which can have a big impact? I like that idea anyway.
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« Reply #3 on: September 08, 2015, 01:22:34 PM »

Very interesting concept. Don't think I can give any useful input at the moment unfortunately, more than that I will watch the progress of this project with interest.
Also found your reflections interesting and entertaining to read.

What range of "chaos" will be player be able to control? The choice of word makes me relate to more violent themes but I get the impression that this game is more about making subtle and seemingly harmless changes in the environment which can have a big impact? I like that idea anyway.

Thank you! Yes you are right, the game is about 'chaos' in the sense that it is about how tiny changes in dynamic systems have unpredictable results that in turn change other dynamic systems, leading into a feedback loop of infinite dramatic change (ie: the 'butterfly effect'). Obviously this will not actually be simulated haha, but instead a stylised version of this concept.
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« Reply #4 on: September 15, 2015, 05:43:43 AM »

Liking the sound of this. Think the way you talk about using chaos systems sounds really interesting and I'm interested to see how this plays out.
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« Reply #5 on: September 24, 2015, 02:39:24 PM »

Liking the sound of this. Think the way you talk about using chaos systems sounds really interesting and I'm interested to see how this plays out.

Thank you for the kind words!
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« Reply #6 on: September 24, 2015, 02:56:10 PM »

Entry #003: “...woah” - Neo Upon entering the Matrix aka Mirror Mall



Some concept art of two lead characters - Joseph and Noah. Two shitty kids who wag school to visit the titular shopping centre.

Hi gang. I’ve been holding off on this update cos I wanted to finish a  demoscene I am working on first, but I changed my mind because firstly its taking too long and secondly that’s not really the point of doing these diaries. I haven’t made as much progress in the last two weeks as I would’ve liked, mostly due to e x t r e m e money woes. Thankfully though I’ve recently landed some steady employment, so hopefully that will be something no longer so mentally and time-consuming for me.

It’s not all d00m and gl00m though, I am very grateful to BerlinGameScene, who have been kind enough to lend me an Oculus DK1, which I’ve got working in my project. Getting an Oculus DK1 running took a lot of screwing around, it was funny reading the official forums where staff say they don’t support laptops, and here I am trying to get Oculus running on a tablet. But now I’ve got it working through some obscure combination of settings. Unfortunately though I doubt any later headsets are going to work on my Surface so I need to figure out how to trick corporations into giving me some free shit…



My first baby steps in VR… (Had to turn the headset with my hand to screencap, hence why it’s so shakey)

In addition to building the precarious house of cards that is Oculus running on a tablet, I’ve been working on the basic methods of interaction with the environment. I’ve got the functionality working, so now I have to figure out how to make the interaction a more engaging experience than ‘find the clickable object’.
I’ve also spent quite some time trying out various means of user input, and have currently gone with the typical VR route of the user’s gaze selects objects which are then activated via mouse click. This is what many VR games currently do, however I am not such a fan of the relationship this gives the player to their own gaze. To me tying casually looking around to game progress feels detrimental to a passive experience - it’s like you are roleplaying the barrel of a gun or something. But perhaps I am wrong, guess I need to watch how other people look around in a scene.

For this reason I am very eager to see more gameplay of Land’s End, as I think Ken Wong is someone very conscious of the player’s experience, yet it seems they have gone with this method. I’ve got a lot of respect for Ken Wong so I’m keen to see how ustwo made this input a pleasant experience.

I’ll stick with this method for now though as I thinking expanding upon dynamic systems is more important, but in the future I want to try separating gaze and interaction by bringing mouse-picking into VR - something that proves to be harder to implement than I expected.

Anyway, next diary will be soon. I want to talk about how I hope to create complexity and scale in an achievable way. In the meantime though, here is some random WIP art…
- troyduguid








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« Reply #7 on: September 24, 2015, 08:17:56 PM »

The art is all looking great, interested to see how you're going to do such a detached sort of gameplay.
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« Reply #8 on: September 25, 2015, 08:37:32 AM »

I'm really into this game, the art is what brought me here. I really appreciated your environment moodboard (especially that you took those photos yourself). Too often gamedevs try to replicate other games when the world is so much richer than that.

I'm really curious to see a gameplay video, any timeline on that?
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« Reply #9 on: September 25, 2015, 12:37:42 PM »

Interesting style you got going on, I particularly like the last portrait.

That white happy little dude is quite iconic, and the cuteness gives me desire to wish accident upon it, heh.
Curious to know more about the characters. Are the inhabitants in the world unique in any ability or just appearance?
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« Reply #10 on: September 26, 2015, 03:13:11 AM »

@QOG thank you!

I'm really into this game, the art is what brought me here. I really appreciated your environment moodboard (especially that you took those photos yourself). Too often gamedevs try to replicate other games when the world is so much richer than that.

I'm really curious to see a gameplay video, any timeline on that?

Thanks Archgame, I am really into YOUR game! Glad you appreciate my moodboards, I completely agree that game devs need to take more inspiration from their personal environment, let alone just anything that isn't videogames.
An interesting challenge is I've now moved abroad, so I no longer live in the area that this game is inspired by, I am not sure if this is a problem, or if creating an environment based on memories will be interesting.

I am currently working on the first scene, and I hope to have some footage of actual gameplay soon. I've really gone back to the drawing board with gameplay though (first post shows more or less the original gameplay experiance). I am trying to figure out how to bring a sense of discovery and player expression* to these branching narratives.

*stole that phrase from Willy Chyr, I really like it.

Interesting style you got going on, I particularly like the last portrait.

That white happy little dude is quite iconic, and the cuteness gives me desire to wish accident upon it, heh.
Curious to know more about the characters. Are the inhabitants in the world unique in any ability or just appearance?

Hahahah I'm glad you say that! This character is called a Pico Boy, and is a genetically-enginerred mascot for a Japanese softdrink called Coco Calypso. They're basically a parody of those bloody Minion things, I want them to be something people love to hate Wink
Noah and Joseph are Porcelain People (still working on a better name), basically a race that is made from pottery, their fragileness playing a large part in their story.

Visually I want to create a contrast between more grounded, realistic environments and hyper-satured insane characters.
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« Reply #11 on: September 26, 2015, 08:21:21 AM »

Hahahah I'm glad you say that! This character is called a Pico Boy, and is a genetically-enginerred mascot for a Japanese softdrink called Coco Calypso. They're basically a parody of those bloody Minion things, I want them to be something people love to hate Wink
Noah and Joseph are Porcelain People (still working on a better name), basically a race that is made from pottery, their fragileness playing a large part in their story.

Visually I want to create a contrast between more grounded, realistic environments and hyper-satured insane characters.

Fascinating, sounds symbolic with the porcelain and all. The mascots background fits a big corporation nicely. Will all the inhabitants be of different weird races or will it be mixed?
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« Reply #12 on: October 06, 2015, 03:33:01 PM »

Great style Smiley
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« Reply #13 on: October 06, 2015, 03:50:41 PM »

I can imagine some really cool shader possibilities for the Porcelain People, it could indicate how fragile they are in the moment and could even have pieces of them cracking/falling off as they move around. It would totally add to the uncanny of the characters.
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« Reply #14 on: October 19, 2015, 12:02:07 PM »

Great style Smiley

Coming from you, that means a lot, thank you Smiley

I can imagine some really cool shader possibilities for the Porcelain People, it could indicate how fragile they are in the moment and could even have pieces of them cracking/falling off as they move around. It would totally add to the uncanny of the characters.

Yes! I am about to bring Noah into Unity and do just this. I am unsure how I am going to communicate the cracked porcelain of my illustrations while still keeping the 3D characters bold and visually simple - but I am very excited to start playing around with shaders.
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« Reply #15 on: October 19, 2015, 01:42:14 PM »

Entry #004: Slow Progress But Progress



Very pleased with how he turned out.

It's been a busy month, I've thankfully found steady employment as a 3D artist/motion designer which is great, but it is a fulltime job. Over the last few weeks I've been trying to work out a routine that gives me meaningful time to work on this project, this is my current daily schedule that I think is working pretty well...



'Frog Eat' refers to harder, more mentally taxing tasks, 'Chill' is more fun stuff like modeling.

I've incidentally found that I really love working early in the mornings, I am actually considering shaving off an hour in the evening and working an hour earlier. A related struggle I have found is maintaining a work/life balance, been coming to terms recently that I can all too easily spend 100% of my time working, and so I have been consciously choosing to do stuff on weekends, personally I think people that work 100% of the time become too obsessed with their chosen medium and create less interesting work, so in general the last few weeks has been much more chaotic and I think my work is better for it.



Incidentally, as part of my new 'Also Have a Life' program I went for a walk in Alt-Tegel forest yesterday and got absolutely, completely lost. I was walking around in the dark for hours trying to find civilisation, found out later that wild boars are known to be in the area :@

So yes, between a full time artist job and Mirror Mall I've never been busier, but at the same time I feel pretty good about my current situation, time has more meaning now. When I was unemployed for so long my work productivity got sloooower and sloooooowwwwwerrrrr.



Sup

But who cares about my life WHERE IS VIDEOGAME GRAPHICS??? A large part of this month has been dedicated to getting my head around rigging, and how I am going to create a workflow and system for creating the large cast of characters I want for this project. I have finally completed Noah, the first character I have taken fully through to completion with a full ik/fk rig. It was a learning process, and I am already much faster as I move on to the other characters.
I know there is not much gameplay in this update, but Mirror Mall is very much an audio/visual experience, and I consider getting a good animation system a vital part of my 'core gameplay'.
So yes, not much content to show but I feel like I've made very real progress - If only there were more hours in a day!



In addition, my friend Sophia made this for me and I am super stoked - when I am feeling burnt out this little Pico Boy cheers me on. You should all check out the process blog for her animated film Spacedogs - AMAZING visuals!

Also, here is some concept art of an older, more traditional porcelain character that I like.



And finally, thought I'd share my workstation for the last six months as it is pretty funny. Yes that is a shoebox.



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« Reply #16 on: October 20, 2015, 09:52:52 AM »

A busy schedule indeed. Good thing you are in motion. From my experience I've also found very early mornings, a couple of hours before sunrise, to be quite productive. I guess it's the combination of the mood of night and being rested. I seem to need more than 6 hours of sleep though, at least nowadays if I don't set the alarm.
Anyway, character looks nice, not much to say there. Regarding shaders, are you going for the flat colours or will you include regular lighting effects as well?
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« Reply #17 on: October 22, 2015, 08:51:31 PM »

I am unsure at this stage, in general I think I am leaning more towards flat colours with lots of colour correction as opposed to real lighting, but at the same time I am hoping to find a way to communicate that these characters are made with porcelain somehow  through their shader, so I will continue experimenting.
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« Reply #18 on: October 23, 2015, 01:48:50 PM »

I like this issue of representing porcelain in flat colours (especially because porcelain is usually discerned as a material by its unique light reflection), there are three different ways I've been thinking about it:

The first involves a little bit of lighting, but mostly relying on a toon shader to do all the hard work. I wonder if you could develop a toon shader that not only posterized your material into shadow, main, and specular colors, but it could also control the color of the shadow so that instead of a grey shadow it would be a soft blue that would sit well with the main white color. The only cartoon that comes to mind which articulated porcelain okay was Ghost in the Shell: Innocence.

The next idea would be to have a texture which applied subtle cracks, which are really specific to porcelain. This would be cool, because you could have the amount of cracks proportional to the player's health as you've mentioned before, and again you could control the color of the cracks so that they sit softly within the characters skin.

Have you considered non-visual ways to articulate porcelain? I'm imagining all the audio attached to the character is related to the sounds porcelain makes. Instead of the standard walk audio, what if you record yourself tapping on porcelain and used that ting as the walk audio? This could be a really cool way to experience porcelain and it doesn't require you to adjust your art style from your concept art, while giving you a unique conceptual framework for the games audio; this could add a lot to the audio experience of Mirror Mall.
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« Reply #19 on: March 21, 2016, 02:40:23 PM »

Entry #005.1: Polly Pocket and Abstract Space
    
*Walks past wall calendar and does a double take, cartoon eyes popping out of head* AAROOOGA! It’s been FIVE WHOLE MONTHS since I wrote Mirror Mall Diaries [email protected]@?? (இ௦இ)꒳ᵒ꒳ᵎᵎᵎ

You goddamn slacker you, my imaginary audience keenly waiting for the next update are saying, but tbh it hasn’t been through abandoning this project, rather working full time I had to prioritise between doing MM or writing about it with the precious spare time I had. Ok whatever maybe a bit of poor organisation on my part was involved get off my back ffs.

Anyway, I’ve left my job and it feels GREAT to be able to properly focus, surprisingly enough I didn’t realise that doing two full-time mentally taxing jobs isn’t actually a good idea…
Around the same time i entered unemployment Merle joined which I am v happy about. It feels so invigorating to be able to share and collaborate on this project with another person and not just my anime pillow collection.*
Anyway since leaving work we’ve made great progress, and have a pretty conceptual devlog in store for you, heck it’s going to be a two-parter! So hold onto your proverbial hats and let’s get started shall we…


During November/December one problem that was becoming apparent was the scale of this project, in a literal sense - I was building a virtual world that was just too big. Perhaps due to my background with animation, or (the already existent) tropes of VR, I was presenting scenes at a human scale - as if you were standing there, with the characters. This is all fine and good, if you are making some kind of high-fidelity/low density experience. But this is not the kind of game we want to make, we want to make something very large in physical size with a lot of information, namely, a shopping centre. Therefore if we were to keep developing MM with this initial player scale we would have to basically construct and simulate an entire mall…



A shitty example I found from around late 2015 - as you can see, the player is in the scene at a human scale.

Present day videogames (especially Triple-A) have a tendency to be presented in a similar fashion - whether or not the game is an open world or a sequence of levels it often remains at a human/character scale, and almost always at a consistent scale. However, this was rarely the case with older videogames, which often resorted to a tiered solution for communicating vast worlds with limited resources, only showing relevant information. Due to this limitation, each scale expressed a different theme of a larger virtual world.

An example of this idea can be seen in the 1997 game Final Fantasy VII…

  • WORLD MAP
    Communicates a grand sense of scale, traveling large distances - therefore everything is reduced to an iconic element.
  • LOCAL MAP
    A setting or key location. Focus is drawn to the environment - what makes this a unique destination in this world? Characters remain abstract and simplified.
  • BATTLE SCREEN
    The lead characters take the foreground as the previously high fidelity environment is reduced to a vague backdrop.



Screenshots from Final Fantasy VII, from left to right: World Map -> Local Map -> Battle Screen. Btw pls don’t talk to me about Advent Children or the remake.

Obviously this is by no means a new concept (and is often still used in casual and indie games today) however I do think it is not often explored outside of being a compromise for limited resources and/or separating a game into distinct playmodes (XCOM comes to mind). The tendency of VR seems to be to put the user inside a (funnily enough) virtual reality. As fantastical and impossible that reality might be, there remains this limitation to operate within a fairly realistic idea of a human being in physical space. YOU put on the headset - and YOU are magically transported to another time and place!

But there is just so much potential to explore other realities, IMPOSSIBLE spaces, DIFFERENT ways of perceiving! At first we begun breaking the game into tiers in a representational way similar to the FFVII example, but we’ve become increasingly excited with this concept of abstract space both for practical and creative reasons. re-approaching what exactly we wish to express at each specific tier. We’ve come to think of an overworld populated by these isolated zones/dioramas the player can enter, dioramas that are not a literal ‘zoomed in’ version of the Overworld but instead symbolic spaces that could express the subjective experience of characters. Perhaps the perception of the player themselves is an extension of the diorama, their relationship in physical size, the camera FOV etc changing depending on what the diorama itself must express.



Polly Pocket came to mind as an interesting example of an Overworld/Diorama with two very separate elements reinforcing each other.

We’re feeling pretty good about the direction of our dioramas, but perhaps need to rethink our Overworld, which is currently a 3D scene the player can freely fly around in, which would be like a lower fidelity/simplified version of a more objective view of the mall. However perhaps this is too much detail, expressing the same information twice. Going forward we will explore how we could communicate the Overworld in a more meaningful way, perhaps doing something like this…



Firstly though we will need to find an answer for what exactly we are trying to express with the Overworld - what is its purpose?

A FEW NOTES ON INPUT AND THE DIORAMAS

It is hard to communicate without actually playing yourself, but we’ve also been doing a lot of reiteration with input: what can the player control and how do we create a form of navigation that is simple and intuitive.



We are using this diorama scene to experiment with how different shapes/pivot points/void (aka background) affect the player.





The above three gifs show an example of a simple iteration that has a significant impact when in VR. In the top gif the player is controlling themselves moving and rotating around the scene, the spinning causing nausea.
In the middle image instead the player is rotating and moving the diorama, however now the player experiences a sense of vertigo by pushing an object downward yet staying at the same position.
The final gif shows the current solution of the user rotating the diorama but moving themselves upward.
It sounds strange in concept but feels natural in action.

That’s all babs! Stay tuned for MM DIARIES 005.2 shortly with Merle on the direction we are going with interaction/narrative.

xoxo

- troyduguid

*i dont actually have an anime pillow collection. not yet anyway Wink
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