Design Specification - Unkept Unconscious

unkempt unconscious
a virtual reality experience by olivia meredith (SID: 13510110)
FINAL SUBMISSION - 10/08/18

MMDE12-252: INTERACTIVE MEDIA DESIGN STUDIO | OLIVIA MEREDITH
TABLE OF CONTENTS
1.0 DISCOVERY
1.1 EXECUTIVE SUMMARY
1.2 STRATEGIC OBJECTIVES
1.3 PROJECT SCOPE
1.4 TARGET MARKET
1.4.1 PRIMARY USER PROFILE
1.4.2 SECONDARY USER PROFILE
1.5 COMPETITOR ANALYSIS
1.5.1 COMPETITOR #1: AWKWARD DIMENSIONS REDUX (2016)
1.5.2 COMPETITOR #2: THE DREAM MACHINE (2010 - 2017)
1.5.3 COMPETITOR #3: THAT DRAGON, CANCER (2016)
1.6 INSPIRATION
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2.0 CONCEPT PLANNING
2.1 PROJECT NEEDS
2.2 COMPETITOR REFLECTION
2.3 STYLISTIC DIRECTION
2.3.1 INITIAL MOOD BOARD
2.3.2 REFINED MOOD BOARD
2.3.3 DETAIL REFERENCES - PART ONE
2.3.4 DETAIL REFERENCES - PART TWO
3.0 CONCEPT DEVELOPMENT

3.1 SYMBOLISM & METAPHORS
3.1.1 COMMON DREAM SYMBOLS INVOLVED
3.1.2 SCENES & SYMBOLISM - REFINED FOR PART ONE
3.1.3 SCENES & SYMBOLISM - INTENTIONS FOR PART TWO
3.2 CONCEPT EXECUTION - PART ONE
4.0 DESIGN DEVELOPMENT

4.1 EXPERIENCE FLOWCHART
4.2 FLOOR PLANS WITH INTERACTIONS
4.3 PROGRESS SHOTS
4.3.1 MILESTONE TWO
4.3.2 MILESTONE THREE
5.0 DESIGN PRODUCTION
5.1 STORYBOARD
5.2 ASSETS
5.3 FINAL SCREENSHOTS
6.0 PROJECT MANAGEMENT
6.1 PROJECT TIMELINE
6.1.1 MILESTONE ONE (ORIGINAL)
6.1.2 MILESTONE TWO REVISION
6.1.3 MILESTONE THREE REVISION
6.2 TASK PROGRESS
6.2.1 MILESTONE TWO
6.2.3 MILESTONE FOUR
6.3 REVISION HISTORY
6.4 REFLECTION
6.4.1 CHALLENGES FACED
6.4.2 SKILL DEVELOPMENT
6.4.3 SELF-ASSESSMENT
6.5 REFERENCES
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1.0 DISCOVERY
where
how
what
why
who
An adventurous virtual reality (VR) experience exploring concepts surrounding the unconscious mind from the perspective of a dreamer. With an underlying story about the
player character trying to come to terms with a fatal accident, the experience involves confronting common symbols of emotions present in dreams. Whilst exploring the
environment and collecting pieces of a photograph, the player steps into the unconscious mind of a grieving parent trying to come to terms with their new reality.
The project has been split into two parts, with Part One being this semester’s focus.
- Part One tackles environment design and development, and the incorporation of initial interactions (teleportation in VR & collecting photograph pieces).
- Part Two intends to focus on providing experiences reflective of common dream symbols (details to follow).
- To explore concepts surrounding the unconscious mind, concerns / fears and discomfort.
- To provide users with a different perspective, and an experience unobtainable in reality (i.e. a dreamlike simulation, with agency).
- To encourage users to get more in touch with their underlying emotions and confront their fears.
Ultimately, anyone with an open mind...
The experience will appeal to people who enjoy self-directed adventure games and those who like media with deeper meanings (where there is more than meets the eye). It
will also be particularly interesting for people who have trouble remembering their dreams, those with an interest in psychology, spiritual folk, artists and experimentalists. As
a generalisation, the primary users will be young men (aged 16-25) and the secondary users will be middle aged women (aged 45-55).
In a house (representing the inner psyche) with a large kitchen / dining / lounge room, hallway, office, bedroom and bathroom.
Part One involves creating an original and immersive (realistic and consistent) environment for the experience to take place within.
Part Two will involve incorporating additional details to further communicate the concept of being in a dream. For example, more peculiar objects and inconsistencies will be
incorporated to go hand in hand with the bizarre occurrences that will take place within the spaces.
Using Unity 2017.3.1f1 (game engine), VRTK (Virtual Reality Toolkit for Unity) and Maya 2018 (3D modelling).
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1.1 EXECUTIVE SUMMARY

The main purpose of this project is to both expand and deepen my skill set as a multimedia designer and developer. By committing to a larger individual project, many dif-
ferent skills are to be cultivated. Rather than purely working to my current strengths, which is a common occurrence in group projects, I am pushing myself to tackle every
aspect of the process. With all that the Interactive Media & Design degree entails, my goal is to become more well-rounded with my capabilities and create a portfolio piece
that showcases a broad range of skills in a memorable way.
1.2 STRATEGIC OBJECTIVES
personal
From a design perspective, the purpose of this project is to provide an experience that wouldn’t otherwise be possible without the capabilities of virtual reality.
In addition to this, my project management, concept development and design documentation skills will be exercised and thus improved.
From a technical perspective, the nature of this project will further my skills with scene / level design (no experience), 3D modelling (very basic, have made one simple scene
in the past), texturing and lighting (limited experience, very basic skill level), C# game coding with Unity (basic knowledge, limited experience; have worked on two projects
but was only responsible for the UI), developing with virtual reality (very limited experience; only added teleportation prefab, no interactions), audio design (very basic skills),
optimisation and resolution (beginner, no practical experience), amongst others.
My main goals are to reach an intermediate to expert level with 3D modelling (better geometry, low polycounts and competency with more complex objects), develop a better
understanding of UV mapping and texturing (Maya and Unity shaders), improve my C# skills and become competent with developing for VR. All of which will result in the cre-
ation of a portfolio piece reflective of my abilities whilst expanding the scope of my skills to become a more well-rounded asset for future employers.
design
technical
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1.0 DISCOVERY
The experience’s fundamental message is about the importance of confronting unpleasant things in your life, as opposed to hiding from them.
Being honest with yourself will show you things aren’t as scary as they may seem, and your energy can then be used for bigger and better things. Repression only makes
things worse. This message will be better resolved with Part Two.
the message

1.0 DISCOVERY
PART ONE - this semester PART TWO - next semester
- Detailed concept design and delivery
- Level / scene design
- 3D modelling all necessary environments & objects in Maya
- UV Mapping & texturing
- Consolidation of scenes in Unity
- Scene lighting in Unity
- Final scenes visualised in virtual reality with the HTC VIVE
- Coding interaction with the environment (teleportation, doors and objects)
- The ability to collect objects (pieces of a photograph)
- Basic sound design
- An opportunity to “complete” the experience
- Concept delivery refinement (including a more uplifting ending)
- Additional environmental details (building on dream-like atmosphere and
strengthening the communication of the underlying story)
- Further coding of environment interaction (e.g. opening cupboards & drawers)
- Coding events (falling, timer, flying*, flooding, etc.)
- Scriptwriting
- Audio elements (sound effects, voiceovers, atmospheric music)
- Error handling & performance optimisation
- A short trailer / promotional cinematic
Due to the conceptual depth and general size of this project, it is necessary for its creation to be split into two parts.
The project aims to be complete after the duration of two semesters of studio time.
This is considered to be an integral approach, as the artistic elements as well as the functionality will directly correlate with the experience’s potential for effective immersion.
As many of the tasks involved will be incredibly time consuming, and the goal is for this experience to become a core portfolio piece, it is believed that spending two
semesters on this project will be a meaningful use of time, and beneficial to both broadening and deepening my skill set.
1.3 PROJECT SCOPE
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1.0 DISCOVERY
1.4 TARGET MARKET
06 OF 38
description
The primary user of the experience is a young man who is interested in gaming and emerging technologies.
He has his own virtual reality device which he uses to relax and have fun. He’s particularly intrigued by
experiences that explore deeper concepts.
user objectives
This target market’s aim is to explore and enjoy themselves through the use of this experience. They are
in search of an immersive environment with appealing audio visual elements, ease in navigation, enjoy-
able interactions, and thoughtful concepts. They want an absorbing experience that will stay with them
long after they leave the virtual world; something that will surprise them, and create emotions.
user expectations
• A convincing virtual world (detail-oriented, consistent, sound-effects)
• A crisp, v environment that allows for a comfortable frame rate
• Simple and intuitive controls for navigation and interaction (easily accessible instructions if need be)
• An interesting concept that maintains a drive to continue engaging with the experience
• Experience to have a smooth flow (from the menu screen, through the narrative towards completion)
• Features that keep the experience fresh and alive
• To be able to save game progress, so they can return to the current state at a later date
USER PROFILE - YOUNG MAN
GENDER Male
AGE GROUP 16 - 25
RESIDENCE Australia
EDUCATION High School Graduate
OCCUPATION Casual store attendant / University student
COMPUTER LITERACY Advanced
EXPERIENCE w/ VR Intermediate
Figure 1. Man on Gray Shirt Portrait (Stefancik, 2015)
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1.4.1 PRIMARY USER PROFILE

MMDE12-252: INTERACTIVE MEDIA DESIGN STUDIO | OLIVIA MEREDITH 06 OF 38
description
The secondary user of the experience is a middle age woman who works in the field of digital media. She
is always on the lookout for new ways to approach problems creatively in her career. She loves to read
non-fiction books, and educate herself on many different topics. She enjoys engaging with a diverse
range of interactive media. She does not have her own virtual reality device, however her workplace has a
HTC VIVE that is available to employees for both work and leisure.
user objectives
The secondary user aims to discover new and exciting ways to visualise content and concepts, as well
as engage clients and their target markets. She wants to interact with immersive media to brainstorm
alternative approaches for work purposes, as well as to de-stress and escape from her busy corporate
life. On a personal level, she is interested in psychology and philosophy, which means she values media
that prompts her to explore deeper concepts.
user expectations
• Well-resolved creative concept executed in a consistent and visually appealing virtual environment
• Optimised built environment resulting in a highly functioning experience (comfortable frame rate)
• Easily accessible instructions providing direction for the use of simple and memorable controls
• Immersive and purposeful sound effects that enhance the experience
• The ability to navigate the virtual environment without concern for motion sickness
• To be able to save game progress, so they can return to the current state at a later date
• Thought-provoking concept that is both engaging and memorable
USER PROFILE - MIDDLE AGE LADY
GENDER Female
AGE GROUP 45-55
RESIDENCE Australia
EDUCATION Bachelor’s Degree
OCCUPATION Digital Media Strategist
COMPUTER LITERACY Intermediate
EXPERIENCE w/ VR Novice
Figure 2. Grayscale Photo of Woman Using Her Phone (Rawpixel, 2017)
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1.0 DISCOVERY
1.4 TARGET MARKET
1.4.2 SECONDARY USER PROFILE

LEAD DESIGNER / DEVELOPER: Steven Harmon
YEAR OF RELEASE: 2016
PUBLISHER: StevenHarmonGames
premise:
An interactive dream journal & diary that, “focuses on getting to understand another person
through an interpretation of their dreams, thoughts, fears, desires, and past work.”
(Harmon, 2016)
Click here for the Awkward Dimensions Redux (2016) trailer
Representations of anxieties and problems we have in our own lives.
This game brings pleasure by allowing for these anxieties to be resolvable,
whereas they aren’t always in our dreams…
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1.0 DISCOVERY

form
SPACE: Varies hugely;wide open fields, floating space stations, dark rooms filled with doors.
LENGTH: Twenty minutes to an hour.
STRUCTURAL QUALITIES: Different scenarios blend together, sometimes much more smoothly
than others, although each is considered its own level.
NARRATIONAL QUALITIES: Larger than life diegetic text provides the name of the section and thus,
the underlying concept the segment is exploring.
aesthetics
VISUAL STYLE: Varies greatly, although never very realistic. Noise is present in low light situa-
tions. Colour is used to reflect the mood of the current sections concept. Some segments are
dull, while others are saturated, high contrast, and dream-like (reminiscent of sunsets, or fairy
floss). Once scene is executed with flat vector shapes and gradients used to provide some depth.
SONIC QUALITIES: Mostly atmospheric or spoken words, sometimes music to accompany the
level’s concept.
ludological factors
OBJECTIVES / RULES / CORE MECHANICS: Less traditional game interactions that can be likened to
a walk-through although there are opportunities to interact with perhaps one object per segment.
GAME FEEL / EMBODIMENT / AGENCY: Surprising environments that require different approached
to navigation allow a strong sense of embodiment. Freedom to explore and go your own way
provides a false sense of agency. Feels confusing and bewildering like dreams often do.
TONE / THEME / MEANING: Dreams, individual interpretations, insights into the creator’s
subconscious.
MISCELLANEOUS: MADE WITH UNITY.
Figure 3. Floating geometric maze (Harmon, 2016a)
Figure 4. Dimly lit bedroom (Harmon, 2016b)
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1.0 DISCOVERY

LEAD DESIGNER / DEVELOPERS: Anders Gustafsson and Erik Zaring
YEAR OF RELEASE: 2010 - 2017
PUBLISHER: Cockroach Inc.
premise:
“A point and click adventure made out of clay and cardboard” (Falk, 2017) whereby the
protagonist, Victor, is led to dive into the dreams of his apartment building’s tenants.
Click here for The Dream Machine (2010 - 2017) trailer
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1.0 DISCOVERY

form
SPACE: An apartment building and basement that is home to The Dream Machine, which allows
for adventuring into other character’s dreams.
LENGTH: About 15 hours, dependent on level of exploration and puzzle solving speed.
STRUCTURAL QUALITIES: Episodic (6).
NARRATIONAL QUALITIES: Detailed dialogue trees provides opportunities to interact with other
characters, ask questions, and find out about the story. Victor’s thoughts also provide insight
upon interacting with objects.
aesthetics
VISUAL STYLE: “Handcrafted from various real-world materials” (Falk, 2017), macabre, interesting,
detailed, dark, obscure and mysterious.
SONIC QUALITIES: Atmospheric, minimalist.
ludological factors
OBJECTIVES / RULES / CORE MECHANICS:
Combine and implement objects in creative ways to solve puzzles.
GAME FEEL / EMBODIMENT / AGENCY:
Many clickable objects and dialogue trees give a sense of agency. Difficulty disrupts immersion
(visual style making objects hard to find mixed with far-fetched logic).
TONE / THEME / MEANING: Dreams. Voyeurism.
Figure 5. Victor looking at surveillance screens (Falk, 2017a)
Figure 6. Victor in the clouds with rocks (Falk, 2017b)
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1.0 DISCOVERY

DESIGNED BY: Ryan Green (father) and WRITTEN BY: Amy Green (mother)
PROGRAMMER: Josh Larson
YEAR OF RELEASE: 2016
PUBLISHER: Numinous Games
premise:
An autobiographical reflection of two parents’ experience with their young son’s battle with brain
cancer. The point-and-click adventure game has memorialised their personal interactions and
time spent with him.
Click here for That Dragon, Cancer (2016) trailer
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1.0 DISCOVERY

form
SPACE: In the park, by the lake, at the hospital, at church, and in some more abstract environments.
LENGTH: About two hours.
STRUCTURAL QUALITIES: The experiences is divided into fourteen small vignettes. Segments
involve different interactions, and progressions is prompted once the scene has played out.
NARRATIONAL QUALITIES: Audio dialogue with key phrases also appearing on the screen in a hand-
written font (spatial) that is sometimes placed to align with in-game elements (e.g. sitting on the
horizon, or showing which character the words are coming from).
aesthetics
VISUAL STYLE: High contrast, low polygon models (larger objects have even less detail), very
large trees make you feel small, mystical light, lightly textured with subtle tone variations give a
hand-painted feel (watercolour-like in places).
SONIC QUALITIES: Atmospheric, calming, soothing, piano music, also emotional and melancholy.
Some audio logs are present, and conversations play out as you explore environments.
ludological factors
OBJECTIVES / RULES / CORE MECHANICS: White, glowing rays can direct the player. Explore and
engage with characters and objects.
GAME FEEL / EMBODIMENT / AGENCY: Fulfilling the role of different characters, from both third and
first-person perspectives.
TONE / THEME / MEANING: Faith, hope, love, loss, grief, family, presence and reflection.
MISCELLANEOUS: MADE WITH UNITY.
Figure 7. Joel & pug in park with pancakes (Siedel, 2016a)
Figure 8. Park bridge with handwritten phrase (Siedel, 2016b)
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1.0 DISCOVERY

Figure 9, 10 & 11. Waking Life (Pallotta, Smith, Walker-McBay, West & Linklater, 2001)
- Trapped in a series of dreams;
continuously thinking you’ve awoken, only to realise you’re still dreaming
- Philosophical conversations
- Theories about human existence (e.g. free will)
- Chuang-tzu’s dream paradox: a man dreams he’s a butterfly, but he might really be a
butterfly dreaming that he’s a man...
- Rupert Sheldrake’s notion of collective memory
- Conceptually dense, visually fascinating (concepts expressed both verbally and visually)
[ read more here ]
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1.0 DISCOVERY
1.6 INSPIRATION
FILM: WAKING LIFE (2001)

Figure 12. Inception media cover (Warner Bros. Pictures, 2010)
- Infiltrating the subconscious
- Dream space as a reflection of your inner psyche
- Dream characters turning on you when your mind becomes suspicious
- Defying gravity
- Architecture and Penrose stairs (the impossible staircase)
- Blurring of waking life and dream states (questioning reality)
Figure 13 & 14. Inception (Thomas & Nolan, 2010)
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1.0 DISCOVERY
1.6 INSPIRATION
FILM: INCEPTION (2010)

Figure 15. Relativity (Escher, 1953) Figure 16. Bathyscape (Yerka, 2001)
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1.0 DISCOVERY
1.6 INSPIRATION
ARTIST: M.C. ESCHER ARTIST: JACEK YERKA

Austrian neurologist and the founder of psychoanalysis, SIGMUND FREUD (1856 - 1939).
FREUD’S IDEAS ABOUT THE UNCONSCIOUS MIND & DREAMS
“The unconscious was first introduced in connection with the phenomenon of repression, to explain what
happens to ideas that are repressed.” (Sigmund Freud, n.d.)
BOOK: The Interpretation of Dreams (1900)
“During sleep, the unconscious condenses, displaces, and forms representations of the dream content,
the latent content of which is often unrecognizable to the individual upon waking.”
(The Interpretation of Dreams, n.d.)
“In order to preserve sleep the dreamwork disguises the repressed or “latent” content of the dream
in an interplay of words and images which Freud describes in terms of condensation, displacement and
distortion. This produces the “manifest content” of the dream as recounted in the dream narrative.”
(Sigmund Freud, n.d.)
Figure 17. Father of Psychoanalysis (2018)
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1.0 DISCOVERY
1.6 INSPIRATION
OTHER: SIGMUND FREUD

PHYSICAL ADVENTURE GAMES WHERE, “PLAYERS SOLVE A SERIES OF PUZZLES AND RIDDLES USING CLUES, HINTS, AND STRATEGY TO COMPLETE THE OBJECTIVES AT HAND.”
(Escape Room, n.d.)
- Figure out the secret plot within the set time limit
- ALSO IN COMPUTER GAME FORM -> A SUB-GENRE OF POINT-AND-CLICK ADVENTURE GAMES,
whereby the user is required to exploit the surroundings in attempt to solve the puzzle and escape imprisonment
Figure 19. The Cipher Room (n.d.)Figure 18. The Nightmare (2017)
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1.0 DISCOVERY
1.6 INSPIRATION
OTHER: ESCAPE ROOMS

Beginning with an exploration into the unknown, the user is confronted with circumstances common in dreams, each with underlying meaning as they are symbolic expres-
sions of concerns prevalent in the human condition. Designed to shock and defy reality’s conventions, the experience encourages the user to take their own direction and
explore at their own pace.
In order to communicate the narrative in a way that is both enjoyable and interesting, a balance between leaving things up to the player’s interpretation and giving
them insight is required. Although the concept is rather abstract and perhaps complex for some people, it isn’t necessary for the user to fully understand the symbol-
ism and underlying narrative in order to enjoy the experience, or to find it interesting. With Part Two, the narrative is planning to become clearer but Part One works
to build a firm foundation and prompt ideas about what’s to come.
The experience aims to inspire reflection (of symbolism and deeper meanings explored in the game) and contemplation (of their own dreams and relationship with their un-
conscious). A key takeaway would be to consider the benefits of deconstruction and confrontation of fears and underlying emotions. With Part Two, some textual elements will
be useful in portraying the experience’s deeper concepts (e.g. notes that can be found throughout the environments, or world space text), as well as audio elements.
From an instructional point of view, although the target markets are likely to have used virtual reality technology before, instructions informing users of which buttons allow
for teleportation and object interaction will be provided. These instructions will be provided on a sign in the beginning scene (diegetic interface), as well as in the form of
permanent tooltips attached to the controllers which will show labels for the relevant buttons.
Built in Unity, the project is designed as a Virtual Reality (VR) experience.
HTC VIVE: 16:9, 1080x1200 per eye (2160x1200 combined)
Duration is dependent on user’s speed and choices
intellectual needs
narrative needs
technical specifications
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2.1 PROJECT NEEDS

To begin with (TITLE/TUTORIAL/CREDITS), the aim is for the user to feel intrigued and excited.
With tall trees and water surrounding the player, towards the door is the only way to go.
Upon entering the door and finding themselves in the KITCHEN / DINING / LOUNGE, the player will still feel intrigued, but also somewhat awestruck.

THE HALLWAY will create a sense of suspense, loneliness, and mild frustration.
The hallway is rather dark with many doors. The doors provide the user with a sense of agency, but could result in them feeling overwhelmed by choice.
THE OFFICE will make the user feel intrigued, as well as a sense of gloom [becomes an escape room in PART TWO].
Minimalist styling and lack of colour creates a sense of loneliness, timer ticking down, door locked, not knowing what to do, and then falling.
THE BEDROOM will be home to feelings of relaxation, confusion, contemplation and reflection [respawn location in PART TWO].
“Am I awake or am I still dreaming..?”
THE BATHROOM will instill a sense of curiosity, followed by [as well as a rising sense of anxiety in PART TWO as it floods].
Seemingly normal, although suspicious.
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emotional needs - PART ONE
2.1 PROJECT’S NEEDS - CONTINUED...

what ’s to be avoided
Forgetting to prioritise
Detail is required in relevant instances, but for project management purposes as they relate to the constraints, it’s im-
portant to be decisive and focus on the most important elements so time isn’t lost in lower priority tasks.
Coming up with an elaborate concept and not communicating it effectively
This aspect requires ongoing consideration as the project develops so that strengthening elements can be incorporated
into the environment. Although the initial plan was to have the collectables be notes that form a puzzle when they have
all been acquired as a way of communicating the concept (see Figure), the photograph approach that has been imple-
mented is believed to be great as it adds an additional layer to the concept along with a sense of mystery. Audio ele-
ments will help to communicate the concept further in Part Two.
asleep in life’s waiting room
how to make your fears your friends?
you seem to sleepwalk through your
waking life, yet here you are...
wake-walking through your dreams.
Figure 20. Torn paper landscape (Anderson, 2012)
challenges to be faced
Designing and then modelling environments that are immersive (balancing of realism, intrigue, and peculiarities)
The environment itself needs to be interesting to navigate
Project management (not getting caught up in the details, staying on track and balancing this with the above)
Underestimating time taken to complete tasks and being able to adjust the scope as necessary
Executing the falling and flying (causing some discomfort is purposeful, but avoiding taking that too far and deterring users)
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2.1 PROJECT’S NEEDS - CONTINUED...
Figure - Splash (Petisci, 2015)
constraints
The project must be completed in 10 weeks (following initial documentation), with little to no budget (if absolutely necessary,
<$50 but very unlikely). This is an individual project (no tasks are to be outsourced, aside from the use of some preexisting roy-
alty free content). By focusing on delivering a VR experience, along with the time constraints, the project will be confined to VR
mode although it would be valuable to work towards also delivering a PC version with Part Two.

- the diversity of the game’s levels (some involve simply navigating a nice environ-
ment, others are puzzles or escape rooms)
- the game’s ability to provoke emotion (unpredictable elements along with the use of
sound builds intensity)
- the level’s names and other phrases being apart of the environment (diegetic)
- the level’s names providing subtle hints and insight into its concept
- the colour palette (sometimes very fluorescent, other times quite dull)
- the use of contrast to increase impact
- there being no non-player characters and the way it fosters a sense of isolation
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2.2 COMPETITOR REFLECTION
- the playful colours (quite bright with soft textures, reminiscent of watercolour)
- the angular, low poly approach
- atmospheric use of light, especially in conjunction with the trees (making the play-
er feel small, inspiring awe from vastness)
- contemplative themes, shared with the player through both audio and stylised
captions (tied in with the environment [similar to Awkward Dimensions Redux])
- concepts being so abstract that the user is confused or simply unaware of the
presence of a deeper meaning
- creating frustration without an aha moment or sense of relief
- theatrical camera work
(instead, focus on player exploration with a deeper sense of agency)
- leading the player to feeling emotionally drained
- taking the user onto the next scene before they are ready
things I’d like to avoid:things I admire:
- puzzles or required activities for progression being overly difficult (the user should
be challenged, but not end up so frustrated that they have to look up the solution)
- overly intricate environments for the sake of performance and frame rate
- the elements of exploration (encouraging the user to interact with objects and
think about possible ways they could relate)
- the strength of the environment’s aesthetics (everything is so interesting to look at,
even just walking around is enjoyable, thinking “wow” when entering a new area)
- the game’s use of hidden areas / unexpected spaces and portals
COMPETITOR #2: THE DREAM MACHINE (2010 - 2017)
COMPETITOR #1: AWKWARD DIMENSIONS REDUX (2016)
COMPETITOR #3: THAT DRAGON, CANCER (2016)

MMDE12-252: INTERACTIVE MEDIA DESIGN STUDIO | OLIVIA MEREDITH 23
2.3.1 INITIAL MOOD BOARD
Figure 21. Pink field with meme machine. (Harmon, 2016c).
Figure 28. Joel flies with cancer balloons (Sellar, 2018)
Figure 22. Low poly tree (Put, 2014).
Figure 24. Subtle turquoise texture. (2018).
Figure 25. Tall trees in forest (2018)
Figure 23. Starry eye (2018)
Figure 29. Falling slowly (Shaden, 2015)
Figure 26. Fluro fractal (n.d.) Figure 31. Low poly river between mountains (2015)
Figure 30. Dark wood texture (n.d.)
Figure 27. Steampunk Cogs (CC0)

2.3.2 REFINED MOOD BOARD

NOTE: peculiarities are commonplace within a dreamscape...
steampunksurreal ->
Figure 40. Lowered reading room (2017) Figure 44. Fishtank countertop (2015)
Figure 39. Rustic with a view (n.d.) Figure 41. Chalet (n.d.)
Figure 42. Mechanic Brain (Karwacka, 2012)
Figure 43. Restoration hardware chandelier (2014)
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2.3.3 DETAIL REFERENCES - PART ONE

2.3.4 DETAIL REFERENCES - PART TWO
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Figure 32. Self destruct timer. (Harmon, 2016d) Figure 34. That Dragon, Cancer. (Green, R., Green, A., & Larson, 2016)
Figure 36. The Dream Machine (Gustafsson & Zaring, 2010-2017)
Figure 33. Awkward Dimensions Redux (Harmon, 2016)
Figure 37. Magical hallway (Kato, 2009-2018)
Figure 35. Surreal bookshelves (Saba Italia, n.d.)
Figure 38. Painting overflows (CC0)

3.1.1 COMMON DREAM SYMBOLS INVOLVED
game space as a house - inner psyche, how you think; each room represents a different part of you, your memories and emotions.
hallway with many doors - fragments of the mind.
lots of water (title scene and bathroom) - overwhelmed, unsupported, out of control, in over your head.
being trapped (office / escape room) - repression, a need for change, facing difficult decision, feeling stuck.
falling (escape room exit) - insecurity or lack of support, lack of control, letting go, continuous failure.
jumping high / flying (ending) - escaping current circumstances and becoming happy, free, uplifted and motivated.
The following are intentions for Part Two. Please note they are not fully realised.

- TITLE & CREDITS
- BRIEF INSTRUCTIONS
- OPPORTUNITY TO FAMILIARISE ONESELF
WITH THE CONTROLS
- PROVOKES CURIOSITY
- WATER MOTIF
- ENTER THE DOOR TO BEGIN
ENTERING YOUR PSYCHE
initial scene
- DOORS LEAD TO OTHER ROOMS,
ALTHOUGH TWO CANNOT BE OPENED
- PHOTO FRAME WITH PUZZLE OUTLINES
- FRAGMENTS COLLECTED IN OTHER
ROOMS ADD TO THE PICTURE
- PICTURE IS COMPLETE WHEN ALL
PIECES HAVE BEEN COLLECTED (AND
SPARE ROOM UNLOCKS)
FRAGMENTS OF THE MIND
hallway
- LOCKED AT FIRST (UNLOCKS WHEN
OTHER PIECES ARE FOUND)
- A PIECE OF THE PHOTOGRAPH FOR
COLLECTION
- VIEW FROM THE WINDOW DIFFERS FROM
OTHER ROOMS (WATER MOTIF)
QUESTIONING REALITY
bedroom
- MANY OBJECTS, BUT FEW OF
VALUE
- UNEATEN MEAL, EATEN MEAL
- PIPES SYMBOLIC OF VEHICLE
- A PIECE OF THE PHOTOGRAPH
FOR COLLECTION
DISORGANISATION
/ CONFUSION
kitchen
- THE FUTURE ROOM THAT WILL FLOOD
COLLECTION
OTHER ROOMS
LOSING CONTROL / AGENCY
bathroom
- THE FUTURE ESCAPE ROOM
COLLECTION
- WINDOW’S VIEW DIFFERS FROM OTHER
ROOMS
BEING TRAPPED
home office
NOTE: The phrase at the bottom of each box states what the segment is symbolic of.
- TELEVISION PAUSED ON CHILDREN’S SHOW
- ENVIRONMENT LOOKS BARELY LIVED IN
- A PIECE OF THE PHOTOGRAPH FOR COLLECTION
LOSS OF COMMUNICATION
/ TIME STANDS STILL
dining & lounge
28
A LARGE ROOM, SEPARATED INTO AREAS
3.1.2 SCENES & SYMBOLISM - REFINED FOR PART ONE
- LOCKED AT FIRST (UNLOCKS WHEN THE
LAST PIECE OF THE PHOTO IS PUT IN
PLACE)
- CONTAINS A GRAVESTONE (OF THE
PLAYER CHARACTER’S SON WHO DIED IN A
CAR CRASH)
CONFRONTING GRIEF -> ACCEPTANCE
spare room

3.1 SYMBOLISM & METAPHORS, CONTINUED...
3.1.3 SCENES & SYMBOLISM - INTENTIONS FOR PART TWO
- THE RESPAWN POINT
(WONDERING IF YOU’VE AWOKEN OR IF
YOU’RE STILL DREAMING)
COLLECTION
- BEDSIDE CLOCK DOESN’T SHOW A TIME
QUESTIONING REALITY
bedroom
- DOOR LOCKS BEHIND THE USER
COLLECTION
- ONCE THE USER INTERACTS WITH A TAP,
THE ROOM BEGINS TO FLOOD (WATER MOTIF)
OTHER ROOMS
LOSING CONTROL / AGENCY
bathroom
- ESCAPE ROOM
- DOOR LOCKS BEHIND THE USER
OTHER ROOMS
- TIMER ON WALL COUNTS DOWN
- RED HERRINGS, ESCAPING BEFORE THE
TIMER STOPS ISN’T POSSIBLE
BEING TRAPPED
home office
- UNLOCKED ONCE ALL PIECES OF THE
PHOTO HAVE BEEN COLLECTED
- GRAVESTONE FOUND THEN LEADS OUTSIDE
- SUNSET & FAINT STARS IN THE SKY
- LIGHT STREAMING THROUGH TALL TREES
- OUTDOOR TABLE SETTING
- A CITY CAN BE SEEN IN THE DISTANCE
- TRAMPOLINE
RESOLUTION & FREE FROM FEAR
spare room to backyard
initial scene hallwaykitchen dining & lounge
A LARGE ROOM, SEPARATED INTO AREAS
- TITLE & CREDITS
- BRIEF INSTRUCTIONS
- OPPORTUNITY TO FAMILIARISE ONESELF
WITH THE CONTROLS
- PROVOKES CURIOSITY
- WATER MOTIF
- ENTER FRONT DOOR TO BEGIN
ENTERING YOUR PSYCHE
- UNEATEN MEAL, EATEN MEAL
COLLECTION
- CUPBOARDS AND DRAWS THAT CAN BE
OPENED AND CLOSED
- MANY OBJECTS, BUT FEW OF VALUE
DISORGANISATION
/ CONFUSION
- TELEVISION PAUSED ON CHILDREN’S
SHOW
- PHONE THAT EMITS ENGAGED TONE
- BOOKSHELF WITH DREAM-THEMED
BOOKS (BUT IT’S TOO DARK TO READ)
LOSS OF COMMUNICATION
/ TIME STANDS STILL
- DOORS LEAD TO OTHER ROOMS,
ALTHOUGH ONE CANNOT BE OPENED
- PHOTO FRAME WITH PUZZLE OUTLINES
- FRAGMENTS COLLECTED IN OTHER
ROOMS ADD TO THE PICTURE
- PICTURE IS COMPLETE WHEN ALL
PIECES HAVE BEEN COLLECTED (AND DOOR
TO BACKYARD UNLOCKS)
FRAGMENTS OF THE MIND
NOTE: The phrase at the bottom of each box states what the segment is symbolic of.

IN ADDITION TO THE OPPORTUNITY OF DELVING INTO DREAMLIKE STATES OF MIND IN WAKING LIFE, WHICH WILL BE DEVELOPED
DURING PART TWO OF THE PROJECT, THE ABILITY TO COLLECT PIECES OF A PHOTOGRAPH HAS BEEN INCORPORATED INTO PART
ONE TO PROVIDE MORE PURPOSEFUL INTERACTION AND A SMALL TASTE OF WHAT’S TO COME.
The photo allows insight into the underlying story about the protagonist who has lost their son in a car accident.
The experience begins in a dreamlike title scene. Progressing into the kitchen / dining / lounge, the user is somewhat confused as the
relevance of small details is unclear (e.g. the tree, the full meal and eaten meal, the pipes on the walls, the children’s show paused on
the television). There are two pieces of the photograph to be found in this area, one of which is more obvious than the other. Their
peculiar shapes and blocks of colour, along with their changed state on hover, catch the player’s attention and indicate an opportunity
for interaction. When interacting with a piece, a sound effect confirms the object’s significance and the item is then attached to the
player’s controller, ready to be used (pressing the trigger again drops the item).
Upon exiting the room through the only door, the player finds themselves in the hallway and a bright hanging photo frame can be seen
in the distance. When in closer proximity, outlines of a puzzle can be seen in the frame. Touching a piece of the photo to the frame
provides audio feedback as the piece then appears in the frame. The player has found a purpose and motivation to continue exploring.
The player continues into the other rooms and collects the pieces.
Once the last piece has been collected, it’s clear that the photograph is of a car crashed into water. A different sound is heard and text
appears along the wall of the hallway, “it’s all coming back to me now...”. The background music changes. The mood changes, and the
tension builds. The sound of a door being unlocked is heard, and the player goes to investigate the door they noticed had been locked
earlier. Upon opening the door, a tombstone presents itself and words appear above it, one after another. “Denial, anger, bargaining,
depression, ACCEPTANCE...”.
The experience works to explore the unconscious mind of a parent whose son has died. It is an account of the parent’s dreams as he
comes to terms with his loss, and his mistakes. Having not yet accepted his new reality, the protagonist’s unconscious mind is mess of
confusion and fear, as he relives the moments that led up to the accident. The experience intends to end with the protagonist coming
to terms with his reality, and seeks to signify his acceptance of the situation and his efforts to move on.
This is the story that ties the experience together. Of course, the concept is only vaguely executed in Part One however being aware of
the narrative is integral to the process of making further design decisions as the project moves forward.
In addition to more environmental storytelling in Part Two, the office will become an “escape room” that’s symbolic of being trapped
in the car after it crashed. Not being able to escape, the player respawns in the bedroom, where they wonder if they’ve awoken or if
they’re still dreaming. The bathroom simulates the abundance of water as it began flooding into the vehicle, and reflects the common
fear of being overwhelmed, etc.
3.2 CONCEPT EXECUTION - PART ONE

4.1 EXPERIENCE FLOWCHART
SPARE ROOM
LOCKED UNTIL ALL PIECES
ARE FOUND, EXPERIENCE
ENDS HERE

kitchen
NOTE: FLOOR PLAN IS TO SCALE. 1 SQUARE = 10CM
4.2 FLOOR PLANS WITH INTERACTIONS
(LEADS TO THE HALLWAY) A PUZZLE PIECE CAN BE
FOUND HERE
THIS DOOR CAN BE
OPENED AND CLOSED

4.2 FLOOR PLANS WITH INTERACTIONS - CONTINUED...
dining & lounge
AFTER FIRST ENTERING
THE HOUSE, PLAYERS
SPAWN HERE
A PUZZLE PIECE CAN BE
FOUND HERE

entrance hallway
PHOTOFRAME
(LOCKED AT FIRST, LEADS TO
THE BEDROOM)
ALL OF THESE DOORS
CAN BE OPENED AND
CLOSED
(LOCKED AT FIRST,
EXPERIENCE ENDS HERE)
(LEADS TO THE OFFICE)
(LEADS TO THE BATHROOM)
(LEADS TO THE KITCHEN,
DINING & LOUNGE)

office
FOUND HERE
(LEADS TO THE HALLWAY)
THIS DOOR CAN BE
OPENED AND CLOSED

bedroom
FOUND HERE
THIS DOOR CAN BE OPENED AND
CLOSED, ALTHOUGH IT’S LOCKED
UNTIL THE SECOND LAST PIECE
HAS BEEN FOUND

bathroom
FOUND HERE
THIS DOOR CAN BE
OPENED AND CLOSED

kitchen
4.3 PROGRESS SHOTS
4.3.1 MILESTONE TWO

dining room
4.3 PROGRESS SHOTS - CONTINUED...
4.3.1 MILESTONE TWO

lounge
4.3.1 MILESTONE TWO

hallway
4.3.1 MILESTONE TWO

office
4.3.1 MILESTONE TWO

bedroom
4.3.1 MILESTONE TWO

bathroom
4.3.1 MILESTONE TWO

kitchen

dining room

lounge

hallway

office

bedroom

bathroom

5.1 STORYBOARD

5.1 STORYBOARD - CONTINUED...

5.2 ASSETS
MODELLED FROM SCRATCH
- waterfall
- introduction / tutorial sign
- all windows (aside from curved)
- all roofs (aside from kitchen / lounge / dining)
- all walls & floors (aside from kitchen / lounge / dining)
- skydomes
LOUNGE:
- bookshelf, rug
KITCHEN:
- cupboards, benches and handles
- drain and tap
- range hood
OFFICE:
- coffee table
- rug
- blinds
BATHROOM:
- cupboards & handles
- sink, drains and tap
- mirror & shelving
- shower & bathtub (excl. feet)
- lighting fixtures (excl. bulb and chain)
SOURCED, BUT ALTERED / OPTIMISED SOURCED & UNALTERED
- clouds, water and splashes in title scene
- doors, chandeliers, pot planets
- kitchen / lounge / dining roof & walls
- all pipes & cogs, switches
DINING:
- chairs and table
- curved windows (dining & bedroom)
- stairs for split-level
- banister (curved area & stairs)
LOUNGE:
- books on bookshelf, ladder
- lounges, coffee table
- television, under TV table
KITCHEN:
- corner shelving unit, bar stools, fridge
BEDROOM:
- bed, bedside tables, lanterns, cupboards
OFFICE:
- desk, desk items and chair
BATHROOM:
- towels, chain, bathtub feet
- frame/s
- gravestone
- trees
KITCHEN:
- fancy banister
- microwave, toaster, hanging pots
- mixer, knife block, stove
- plate, burger, tea cups & saucers
BATHROOM:
- soap pump, toilet

5.3 FINAL SCREENSHOTS

5.3 FINAL SCREENSHOTS - CONTINUED...

MILESTONE 01 MILESTONE 02
WEEK 03
(06/06/18)
WEEK 04
(08/06/18)
WEEK 05
(15/06/18)
WEEK 06
(22/06/18)
WEEK 07
(29/06/18)
WEEK 08
(06/07/18)
WEEK 09
(13/07/18)
WEEK 10
(20/07/18)
WEEK 11
(27/07/18)
WEEK 12
(03/08/18)
WEEK 13
(10/08/18)
- Two scenes need to be com-
pleted this week (e.g. front and
backyard [incl. house exterior])
- Learn more about UV mapping
and low poly modelling
- Update doc. with progress
- Texturing and lighting com-
plete
- Begin bringing 3D models into
Unity for consolidation
- Begin lighting the scenes
- Ensure organised work envi-
ronment with object labeling and
hierarchies
- Design logo / game branding
- Polish and finalise all models
- UV mapping
- Begin the search for seamless
textures and begin the process
- Begin lighting scenes
- Decide how to consolidate
scenes in Unity (one scene vs
coded transitions)
- Two scenes need to be
completed this week (e.g. lounge
room and kitchen)
- Carry out lighting research and
start thinking about how to light
your scenes
- Begin final 4K renders and
schedule accordingly
- Update document with detailed
concept approach, incl. annotat-
ed renders of scenes that show
interactions to be coded.
- Consolidation, lighting and
testing in Unity (examine in
VR with VRTK, scene consoli-
dation may require coding for
transitions)
- Test performance (frame rate)
pleted this week (e.g. entrance
hallway and home office)
- Test some scenes in Unity
- Reassess concept delivery and
make alterations as necessary
PRESENTATION OF CONCEPT
AND DESIGN DOCUMENTATION
- Prepare PDF document de-
tailing creative brief, research
target market, competitors and
inspiration, and detail concept
development and proposed
direction.
- Formulate a presentation
plan in attempt to manage
presentation anxiety whilst
simultaneously communicating
project concept and plan.
FIRST LOOK
- Two scenes been to be com-
pleted this week (e.g. bedroom
and bathroom)
- Estimated five scenes to be
showcased
- Detailed plans for all scenes
will be provided
- Document updated
SECOND LOOK
- 3D models of objects and
environments fully created
- Some brought into Unity with
VR functionality for testing
- UV Mapping, texturing and
lighting well underway
- Provide some preliminary
renders
- Document updated
- Continue style-based research
and decide on specific plans for
each scene
- Continue developing concept
and keep it in mind when decid-
ing key objects to model
- Source free assets that can be
incorporated or altered
- Work on instructions delivery
PRESENTATION OF FINAL
WORKING PRODUCT
- Unity file providing function-
ality for navigating the scenes
in VR with the HTC VIVE
- Updated design docu-
ment with detailed concept
approach/execution, annotated
models showing opportunities
for interaction & accompany-
ing 4K renders of all 8 scenes
82
6.1.1 MILESTONE ONE (ORIGINAL)

WEEK 03
(06/06/18)
WEEK 04
(08/06/18)
WEEK 05
(15/06/18)
WEEK 06
(22/06/18)
WEEK 07
(29/06/18)
WEEK 08
(06/07/18)
WEEK 09
(13/07/18)
WEEK 10
(20/07/18)
WEEK 11
(27/07/18)
WEEK 12
(03/08/18)
WEEK 13
(10/08/18)
pleted this week (e.g. kitchen,
and lounge room)
- Lynda.com courses
(3D modelling and VR)
- Texturing and lighting com-
plete
- All environments can be
explored in virtual reality
- Code scene changes to link
rooms by doors (if necessary)
- Design logo / game branding
- Work with VRTK to create hover
effect on interactable objects
- Complete the texturing process
hierarchies
- Bring scenes into Unity
- Polish / make alterations to
models if necessary
- Check that coded transitions
between scenes is best
and office)
- Create a refined mood board
for the interiors
- Polish up UV mapping &
texturing skills
- Continue VRTK interaction
implementation of collectables
- Design + implement start game
title & instructions
- Code trigger to end game
- Add audio effects / music
- Player testing
- Model the final scene & com-
plete all other scenes
- Continue the texturing process
- Update document as necessary
direction.
FIRST LOOK
pleted this week (e.g. hallway
and bathroom)
showcased
- Continue texturing
- Floor plans for six scenes
with brief descriptions
- Document updated
SECOND LOOK
- Implement VRTK (teleporting
around environments in VR)
- Document updated
each scene
WORKING PRODUCT
- Unity file with HTC VIVE virtu-
al reality functionality
screenshots / floor plans
showing opportunities for
interaction
83
6.1.2 MILESTONE TWO REVISION

WEEK 03
(06/06/18)
WEEK 04
(08/06/18)
WEEK 05
(15/06/18)
WEEK 06
(22/06/18)
WEEK 07
(29/06/18)
WEEK 08
(06/07/18)
WEEK 09
(13/07/18)
WEEK 10
(20/07/18)
WEEK 11
(27/07/18)
WEEK 12
(03/08/18)
WEEK 13
(10/08/18)
pleted this week (e.g. kitchen,
and lounge room)
- Lynda.com courses
(3D modelling and VR)
- Texturing & lighting complete
- All environments can be
explored in virtual reality
- Work with VRTK to link rooms
by doors (incl. altering models to
accomodate doorways)
- Design collectable and begin to
implement
- Prepare doc. for the panel
- Complete the texturing process
hierarchies
- Bring scenes into Unity
- Polish / make alterations to
models if necessary
- Figure out best way to navigate
between scenes
and office)
- Create a refined mood board
for the interiors
- Polish up UV mapping &
texturing skills
- Design + implement start game
title & instructions
- Continue VRTK interaction
implementation of collectables
(incl. hover effect on interac-
table objects)
- Code simple game completion
- Polish environment (add
details, refine skyboxes, etc.)
- Finalise doc. for submission
- Model the final scene & com-
plete all other scenes
- Continue the texturing process
- Update document as necessary
direction.
FIRST LOOK
pleted this week (e.g. hallway
and bathroom)
showcased
- Continue texturing
- Floor plans for six scenes
with brief descriptions
- Document updated
SECOND LOOK
- Implement VRTK (teleporting
around environments in VR)
- Document updated
each scene
WORKING PRODUCT
- Player testing
- Unity file with HTC VIVE virtu-
al reality functionality
screenshots / floor plans
showing opportunities for
interaction
84
6.1.3 MILESTONE THREE REVISION

KITCHEN
DINING / LOUNGE ROOM
OFFICE
BATHROOM
texturing SOURCING ASSETS, CREATING APPEALING AESTHETICS & UV MAPPING
KITCHEN
OFFICE
BATHROOM
research / skill development
3D CONTENT CREATION FOR VIRTUAL REALITY (2 HRS)
MAYA 2018 ESSENTIAL TRAINING (8 HRS)
ADVANCED UNITY: 3D GAME PROGRAMMING (4 HRS)
LYNDA.COM COURSES
REVIT TO UNITY FOR ARCHITECTURE, VISUALISATION & VR (1.5 HRS)
GUI & OPTIMISATION
MATERIALS IN UNITY & ROOM-SCALE VR
BLENDER: INTERIOR ENVIRONMENTS FOR GAMES (4.5 HRS)
TEXTURE CREATION + UNITY IMPLEMENTATION
TIMELINE GOAL
MILESTONE TWO (29.06.18)
REAL-WORLD SCALING
BEDROOM
HALLWAY
BEDROOM
HALLWAY
6.2 TASK PROGRESS
6.2.1 MILESTONE TWO
modelling FROM SCRATCH, SOURCING ASSETS, OPTIMISING SOURCED ASSET GEOMETRY
& REAL-WORLD SCALING

modelling FROM SCRATCH, SOURCING ASSETS, OPTIMISING SOURCED ASSET GEOMETRY
& REAL-WORLD SCALING
KITCHEN
OFFICE
BATHROOM
texturing SOURCING ASSETS, CREATING APPEALING AESTHETICS & UV MAPPING
KITCHEN
OFFICE
BATHROOM
TIMELINE GOAL
MILESTONE THREE (20.07.18)
REAL-WORLD SCALING
lighting IN UNITY (SPOTLIGHTS, POINT AND DIRECTIONAL)
KITCHEN
OFFICE
BATHROOM
interactivity USING UNITY AND VRTK FOR VIRTUAL REALITY
VIRTUAL REALITY CAPABILITY (INCL. TELEPORTATION)
BEDROOM
HALLWAY
BEDROOM
HALLWAY
BEDROOM
HALLWAY
6.2 TASK PROGRESS

interactivity USING UNITY AND VRTK FOR VIRTUAL REALITY
DOOR INSTALLATION
COLLECTING PHOTOGRAPH PIECES
SCENE CHANGES
TITLE SCENE
texturing MAYA SHADERS BROUGHT INTO UNITY
REFINING RELEVANT SHADERS FOLLOWING UNITY IMPORT
PHOTOGRAPH & PIECES
TIMELINE GOAL
MILESTONE FOUR (10.08.18)
lighting IN UNITY (SPOTLIGHTS, POINT, DIRECTIONAL & PARTICLE EFFECT CANDLELIGHTS)
KITCHEN
BEDROOM
OFFICE
BATHROOM
HALLWAY
modelling
REDOING WALLS WITH DOORWAYS
ADDITIONAL SCENE CONNECTION ALTERATIONS
PHOTOGRAPH AND PIECES
USING MAYA 2018
TITLE SCENE
TITLE SCENE
6.2 TASK PROGRESS
6.2.3 MILESTONE FOUR
research / skill development
OPTIMISATION FOR VR IN UNITY
SKYBOXES FOR DIFFERENT ROOMS
ADDITIONAL (VR REFINEMENTS AND AUDIO)
SCENARIO TRIGGERED WHEN LAST PHOTO PIECE IS PLACED

Decided against doing high-quality
renders
RATIONALECHANGES MADE
This task would have been time consuming with not much opportunity for skill development. By not doing
renders in Maya, I can avoid needing to light the scenes twice and take them straight to Unity after the mod-
elling and texturing process is complete. This allows for more time to focus on the interactive experience,
and on developing other skills.
Decided against creating a low poly
stylised aesthetic
By having each room in a different scene, optimising geometry and avoiding particularly complex models,
there shouldn’t be issues with performance. This knowledge was acquired from research undertaken since
the submission of Milestone 1. There’s also a high risk that the effect couldn’t be executed as well as the
competitors, so by going for a more realistic aesthetic, the chances of effective immersion are higher.
Decided against modelling the front or
backyards
Mainly for time considerations, I didn’t feel as though it would be valuable for skill or concept development
purposes. It is believed that the experience will remain equally as effective if it begins in the house. Space
has been allocated for instruction delivery.
Decided to connect the kitchen and
lounge room for an open-plan design,
along with the addition of a dining area
This approach aims to create more of a wow-factor for the final scenes of the experience. The positioning
of the separate areas allows for the intended emotions to still be provoked in effective and meaningful
ways.
Decided to implement additional
interactions for the final milestone
After sourcing some free assets that acted as a great start for the scenes and really enjoying the modelling
process, I found myself somewhat ahead of schedule. Along with deciding against the renders, this decision
made sense.
DATE
FOR MILESTONE 2
6.3 REVISION HISTORY

RATIONALECHANGES MADEDATE
FOR MILESTONE 4
Decided to rearrange the intended
progression through the scenes
Rather than having users progressing straight from the title scene to the hallway, the decision was made to
have the largest and brightest area (Kitchen / Dining / Lounge) to be the first proper room the user experi-
ences. This aligns far better with the developed concept, and allows for the intended emotions to be more
effectively evoked.
Decided to add an additional simple
scene for the experience to begin
This decision was made for conceptual purposes. As opposed to using the dark, ominous hallway as the
initial scene, the new scene works to communicate a dream-like sense whilst evoking curiosity rather than
gloom. As the experience isn’t intended to be overly gloomy, starting in the hallway would have a stronger
impact than the underlying narrative intends to communicate.
Developed the concept and incorporated
an additional layer (collecting the photo
pieces)
Adding the underlying narrative was a decision made with the goal of providing something a little deeper
and more relatable, as well as giving the experience’s actions more purpose, in addition to purely exploring
and contemplating the concept. Having pieces of a photograph available for collection creates a sense of
mystery and seeks to engage and immerse the player in the environment by providing a goal, as well as
creating a way for the experience to be completed.
6.3 REVISION HISTORY - CONTINUED...
Decided to physically connect scenes as
opposed to transitioning between them
Once all rooms had been brought into Unity, it was time to code their connections and I began to more
closely consider the technicalities of doing this. Whilst aiming to create a smooth user experience, it
became apparent that the best way to approach moving between scenes was to implement VRTK doors, so
users could open and close them and loading separate scenes could be avoided. Going back to Maya and
altering the models so all scenes were physically connected was a significant task that hadn’t been consid-
ered when planning the project’s schedule for completion.
Decided to pull together a more conclu-
sive ending to Part One of the experience
Once the puzzle pieces had been created and gathering them on the frame in the hallway was coded, it
felt necessary to have something trigger once the final piece was put in place. The decision was made to
provide a different sound, have 3D text appear on the hallway wall that leads to a collider that triggers the
spare room door to unlock where a tombstone is found with more 3D text (with timed appearances).

6.4 REFLECTION
6.4.1 CHALLENGES FACED
conceptualisation
- keeping track of different files and assets (ensuring organisation and
consistency is maintained to avoid issues with linkage or misplacement)
- creating separate scenes in Maya and then bringing them into Unity, only to
then decide it would be best if all rooms were physically connected in one scene
- combining Maya exports once in Unity; making alterations to details and
exporting items, putting them into place into the preexisting scene, etc.
optimisation
managing a larger project
- being aware of the importance of optimisation, especially when developing
for virtual reality, I carefully considered my approach
- not being fully aware of the system’s limits, modelling each room as a
separate scene seemed like a safe bet however it didn’t end up being ideal for
the user experience so a lot of additional time was required to connect the
models and then install VRTK doors
- with so many ideas and a pressing due date for the project’s first milestone, I
finally decided to tackle this project mainly due to it being a great opportunity
for skill development (lots of room to grow)
- wanting to do every aspect really well, prioritising was definitely a challenge
- finding a way of splitting the project for completion over two semesters
- aiming for Part One to reach a point of “completion” on its own
sourced assets
- in attempt to share time spent across a range of skills, the decision to
incorporate sourced assets was made
- this proved to be troublesome as many had very poor geometry and it often
felt as though the time spent fixing the models would have been similar to
creating them from scratch
project scoping
- connected to “conceptualisation”, each part of the project needed to have its own scope that could be achieved effectively within a semester
- being able to present Part One and explain what it was and where it intends to go

6.4 REFLECTION
6.4.2 SKILL DEVELOPMENT
project managementdesigning & developing interactive experiences
- creating 3D models from my imagination and from reference
- sourcing assets to replicate (usually due to poor geometry)
- sourcing assets and then making alterations and optimising their geometry
UV mapping & texturing3D modelling
sound designdeveloping for virtual reality
- specified where, when and what sounds would enhance the experience
- acquired royalty free assets to fulfill the project’s needs
- edited the audio elements (trimmed where necessary) and added scripting
(C#) to trigger them to play
- creating a convincing and comfortable virtual environment to scale with the
real world
- Using the VRTK plugin: added teleportation, height adjustment specifications,
headset fade on collision, tooltips and interactable objects
- objects were mapped so the same textures could be used on multiple objects
- some objects (e.g. kitchen / dining / lounge walls) were mapped in a way that
created a completely new look
- Maya materials were brought into Unity and alterations to the shaders were
made to adjust to the change of software and lighting
- being able to conceptualise a project and bring it into fruition
- developing ideas and making progress with how to best execute said ideas
- breaking a project into smaller chunks and planning how to best schedule the
completion of the proposed tasks
- holding value in the process and taking self-determined milestones seriously
- version control (backing up projects and file organisation)
MAYA 2018 Unity 2017.3.1f1 Adobe Suite (Ai, Ps & Id)

1.0 EFFORT PUT INTO THIS PROJECT:
2.0 WHAT AREAS STILL NEED IMPROVEMENT?
I feel as though the conceptual execution needs work, although I feel as though the time and energy was instead put into interactivity, which the project’s scope
had not originally included. More environmental storytelling, minor virtual reality tweaks to enhance and aid the user experience, adding the ability to interact with
other objects (in addition to the pieces of the photograph), and perhaps some spoken words from the player character or more world-space 3D text would add to
the experience however these areas intend to be addressed in Part Two.
4.0 IF YOU WERE NOT ABLE TO COMPLETE YOUR PROJECT, EXPLAIN WHY AND WHAT HAPPENED?
The project was successfully completed on time.
ADDITIONAL COMMENTS:
Trying to conceptualise and plan such a big project, especially involving skills and tasks that I don’t yet have experience in, was difficult but also a great learning
experience in itself. Having completed Part One of this project, I will move onto Part Two with a more agile approach to encourage more regular reflection and
provide opportunities to make adjustments to foster creative development and cater to the incorporation of new found knowledge.
OLIVIA’SSELF-ASSESSMENT-GRADEOUTOF100-[95]
3.0 WHAT AREAS OF THE PROJECT ARE YOU MOST PROUD OF?
I am proud of how much I have accomplished in ten weeks. I worked really hard early on and found myself ahead of schedule but instead of being able to be less
busy as the semester continued, I redefined my scope, brought forth new challenges and developed a broader range of skills. In addition to this, I’m proud of
the unified aesthetic I was able to create, how I managed to balance resourcefulness and originality, and how much the project has matured since the brief was
originally defined.
6.4 REFLECTION
6.4.3 SELF-ASSESSMENT

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