Gamespace and senses.

A new term at LCC started with a brand-new class for my course, called VR Design Research Labs. This is my first in person class since quite a long time (due to the Covid-19 and having Mia), and I am really looking forward to it, especially that it is a student- led project. It means that we can set a project we want to work on and create a VR experience that is important and interesting to us. 

At the same time, this class will introduce us to another industry software (Unreal), trends, and projects; we will have guest lectures and visit places, so we can experience various aspects of VR practice and think more about our future place in the industry. 

We started with a lecture by Herman Ho, who will spend several next weeks teaching us about game design and how to build the game environment in the Unreal game engine. This first session was focused on the gamespace and senses, so the way how the space within the game influences the player.  

It was an informative lecture, pointing out aspects that need to be considered when the game is being designed and built, and then played by the player. 

We were reminded what it means to play and how to define the game. (Game as an activity, play as an action). 

It was highlighted that designing a space brings in the consideration of its function – the video game genre defines the rules and gameplay. Game Space has a similar meaning to architectural space – the same principles – line (1D), plane (2D) and volume (3D) to determine the outline of the world, its form. We are always surrounded by space. Experiencing as a player a world which is – depending on the style of the game – remarkably close to the real world, or contrastingly, that does not exist at all (futuristic world) determines how the game would look, feel, and work. 

Game design is a broad term involving several principal elements, being wide topics themselves. Thinking about designing a game we need to consider narrative, animation, level, sound, VFX (visual effects), environment, character, programming, UI/UX, and research. All the above elements, to bring success, must work well together and create a logical whole and tell a story the player wants to be engaged in.  

Narrative – Level – Environment, influencing one another, make the game.  

Narrative includes the story, timeline, background research and reflections; it determines the style and the theme of the game.  

Level refers to the physical environment of the game and includes the level design, route, path/s, massing, obstacles, challenges etc. We can point at linear (one path only; must complete the level to progress) or non – linear progression or sandbox games (no predetermined goal, or a goal set by the player). 

Environment is about the aesthetics (art, architecture), theme and style which are driving the narrative; supporting the story. Architecture in the game plays its role as it is almost unlimited and has an enormous influence on the style of the game.  

When building a game for VR, 3d space and awareness of what is in the player’s sight is especially important – observation is crucial and all visual elements such as size, colour, shape play their role in the game/experience; it is about visual comfort (or discomfort). The importance of all the senses: smell – there are ways to present it to the player; hearing – type, volume etc.; taste; touch – the first sense human developed; the role of 6th sense: sense of space, perception, awareness, proprioception (perception or awareness of the position and movement of the body) – can be train, from one’s experience. 

Jump scare as an extra game element in video games was also mentioned during the lecture. It is a surprise, un/expected, immediate flip of an action within an environment by an object or a being. Often described as a tension built up to its climax. There are several elements helping to create a successful jump moment: narrative, visual obscurity, audio, tension cycle, art, and camera position. 

The game design is a chance to create a space that can be not only played within by the player, but also experienced, especially in VR.  

This lecture on the gamespace and senses brought up a lot of information I will be considering when working on my idea for a VR experience this term. This blog entry was based on my notes from the lecture and Herman’s presentation. I have decided to dedicate a separate entry on the topic as I did not want this knowledge to get lost amongst many other, more or less important notes and thoughts I (will) have on my project. I can easily get back here when I am stuck or if I need some extra impulse developing my game.