Final proposal:
https://docs.google.com/presentation/d/1ZapDCc0oo6EkBD98DhWnLr4NDHQRyxxdMyTcVvii8Ms/edit?usp=sharing
Assignment 4: AR Memory With Vocaloid Family
I was extremely obsessed with the Vocaloid family in high school even though I seldom listen to their songs now. I could still remember the first time I fell in love with those characters was watching their live performance recordings at my friend's house. So I created the scene where Miku, Rin and Len standing close and performing together.
I use the ARocclusion scene that enables user to hit and place the models on top of the surface, you can also drag the placed model to other places.
Midterm: Ghost Messages AR
Assignment 3: Haunted Messages
Slides here.
Assignment 2: Indexical Storytelling
This week I'd like to choose my favorite indie game The Beginner's Guide as an example of indexical storytelling. It is about Davey Wreden (the same creator as The Stanley Parable) himself walking us through the work of another game designer that he looks up to, a friend of his named Coda. Coda, as a person who had created many interesting games - not intended for public consumption - but has since stopped creating for reasons Wreden doesn’t understand. Wreden tells us he created The Beginner’s Guide in part as a message of encouragement for Coda to start creating again. But he was also motivated by trying to understand Coda by looking at the games he designed chronologically.
Just as the creator's description on steam says, "It lasts about an hour and a half and has no traditional mechanics, no goals or objectives. Instead, it tells the story of a person struggling to deal with something they do not understand." The Beginner’s Guide further stripped the basic walking simulator mechanism to present each level as a unique game prototype (e.g. the basement in which we can only walk backwards, the stairway that becomes harder to climb as it gets higher, the endless cycle of house cleanup chores etc.)
Level designs in this game are smashing the players’ inherent expectations for the puzzles, using “unfinished” as an excuse and means of to challenging our basic acknowledgement of games. Actually the gameplay we usually talk about is just like designers deceiving players, since however obscure or covert a puzzle design, a game with basic business logic will always give players the key to unlock the puzzle. The relationship between the designer and the player is not like the dungeon lord and the fighter, but a pair of sober and unconscious conspirator in a game that is predefined.
Just as the creator's description on steam says, "It lasts about an hour and a half and has no traditional mechanics, no goals or objectives. Instead, it tells the story of a person struggling to deal with something they do not understand." The Beginner’s Guide further stripped the basic walking simulator mechanism to present each level as a unique game prototype (e.g. the basement in which we can only walk backwards, the stairway that becomes harder to climb as it gets higher, the endless cycle of house cleanup chores etc.)
Level designs in this game are smashing the players’ inherent expectations for the puzzles, using “unfinished” as an excuse and means of to challenging our basic acknowledgement of games. Actually the gameplay we usually talk about is just like designers deceiving players, since however obscure or covert a puzzle design, a game with basic business logic will always give players the key to unlock the puzzle. The relationship between the designer and the player is not like the dungeon lord and the fighter, but a pair of sober and unconscious conspirator in a game that is predefined.
However, The Beginner’s Guide revolts against the deceptive essence of “game” itself. For example, when walking towards the beam that differs from the conventional setting for the ending, Coda devises a rapid rise of the player’s perspective. Penetrating through the walls, from the top the player can overlook the entire level, which breaks through the shield layer between the game designers and players and let players own the ultimate perspective that far exceeded the main view, the third-person view or even God’ s eye view: the designer’s view.
This game endeavors to challenge players’ cognition of the definition of games through elaborate level constructions. In chapter 13 “Mobius”, the only way to prevent the occurrence of the disaster and the arrival of reincarnation is to select the sentence: ”I can’t keep making these.” While the blind in this level are marching on normal conversations corresponding to this scenario, the key to the exclusive answer rests with the player jumping out of the delineated context and standing in Coda’s point of view to reveal his voice. The identity as a player coincides with it as the game designer again. Coda assimilated his emotion into game design and what he did is not depriving the player of his rights but allowing him to express himself through the games he created.
Assignment 1: Blippar Doge Demo
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| GIF created through Processing |
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| Making transparent background using Photoshop |
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| Scene #1 |
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| Scene #2 |
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| Scene #3 |
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