Ringmaster Character designed today in FUSE
Ringmaster Animated in Mixamo
Ringmaster Character model, Rig, Materials and animation exported from Fuse into Unity.
Mixamo Tests
New Lunarium GIF and MP4 sequence for Promo Video
New Lunarium GIF and MP4 sequence for Promo Video
VR UI
Tower Start Scene
Simple VR UI
Scene 0
In scene Directional Arrow
Escape Button
Attached to player controller
VR UI
Tower Start Scene
Simple VR UI
Scene 0
In scene Directional Arrow
Escape Button
Attached to player controller
Lines of Desire: Traversing natural, built & immersive VR environments.
Can VR ‘natural’ lines of desire and curiosity points be revealed by VR heat maps?
Could these inform VR environment design?
Are there any ethical considerations?
I am thinking about my environment design and I am reflecting on the video game research I have read that presents theory on wayfinding, proprioception, semiotics and cinematic environment design. I am reflecting on how this is informing my level design so that it is more effective.
I have been interested to learn how Disney approaches park layout design and how visitors find their way from one attraction to another and the use of ‘Weinies’, treats that lead the visitor from one spot to another as well as environmental signs that indicate the transition from one region to another.
I am also thinking about how hikers wear away paths in the Pennines. The national trust lays paths to protect the landscape from ‘lines of desire’ by laying stone paths. Although a ‘natural’ landscape, is managed as is an urban planned environment.https://www.theguardian.com/cities/2018/oct/05/desire-paths-the-illicit-trails-that-defy-the-urban-planners
I am also thinking about how light, texture, wind direction, natural form (such as ice formation), temperature, signs, symbols and sounds help me to form an internal model of my environment informed by the physiological senses. This model helps to locate my body in space and time as it assists in my traversal of the ‘natural’ landscape. I study a site that is close to where walkers converged to assert their right to roam. Thinking about this raises the question of freedom and ethics in game/animated VR environment design.
I am also interested in ‘nature inspired design and computation’ which includes swarming behaviour, edge finding and biomimetic design. It is my understanding that AI has the potential to further develop this area of research. When I think about this my thoughts move to the area of ‘nature inspired AI’ Research. Having previously explored how ‘slime mould’ tracks the forest floor like an organic systematic computer I relate this to humans ability to spatial-temporary orientates itself and how information can filtered from the environment (lightfields and pinhole cameras)there is something here in terms of a potential research project.
This brings me back to HCI, control and ethics and the question of, Can human-computer interaction be ‘naturalised’ and if it can, should it be?
I’m going to conduct a sweep of the literature in this area to see if there is something there that could be further explored both through my experimental VR Animation/Games work while trying to spot a gap in the current literature.
(This is a familiar process and quite comforting at points in practice).
VR heat map analysis:
InstaVR
Unity 360 video heat mapping
Lines of Desire: Traversing natural, built & immersive VR environments.
Can VR ‘natural’ lines of desire and curiosity points be revealed by VR heat maps?
Could these inform VR environment design?
Are there any ethical considerations?
I am thinking about my environment design and I am reflecting on the video game research I have read that presents theory on wayfinding, proprioception, semiotics and cinematic environment design. I am reflecting on how this is informing my level design so that it is more effective.
I have been interested to learn how Disney approaches park layout design and how visitors find their way from one attraction to another and the use of ‘Weinies’, treats that lead the visitor from one spot to another as well as environmental signs that indicate the transition from one region to another.
I am also thinking about how hikers wear away paths in the Pennines. The national trust lays paths to protect the landscape from ‘lines of desire’ by laying stone paths. Although a ‘natural’ landscape, is managed as is an urban planned environment.https://www.theguardian.com/cities/2018/oct/05/desire-paths-the-illicit-trails-that-defy-the-urban-planners
I am also thinking about how light, texture, wind direction, natural form (such as ice formation), temperature, signs, symbols and sounds help me to form an internal model of my environment informed by the physiological senses. This model helps to locate my body in space and time as it assists in my traversal of the ‘natural’ landscape. I study a site that is close to where walkers converged to assert their right to roam. Thinking about this raises the question of freedom and ethics in game/animated VR environment design.
I am also interested in ‘nature inspired design and computation’ which includes swarming behaviour, edge finding and biomimetic design. It is my understanding that AI has the potential to further develop this area of research. When I think about this my thoughts move to the area of ‘nature inspired AI’ Research. Having previously explored how ‘slime mould’ tracks the forest floor like an organic systematic computer I relate this to humans ability to spatial-temporary orientates itself and how information can filtered from the environment (lightfields and pinhole cameras)there is something here in terms of a potential research project.
This brings me back to HCI, control and ethics and the question of, Can human-computer interaction be ‘naturalised’ and if it can, should it be?
I’m going to conduct a sweep of the literature in this area to see if there is something there that could be further explored both through my experimental VR Animation/Games work while trying to spot a gap in the current literature.
(This is a familiar process and quite comforting at points in practice).
VR heat map analysis:
InstaVR
Unity 360 video heat mapping
Danse Macabre: connecting Operatic ‘classical’ Orchestration and the humble video game
Danse Macabre is a poetic tome that is performed by an operatic orchestra and strongly connects to the Halloween narrative embedded in the visuals.
https://www.laphil.com/musicdb/pieces/284/danse-macabre
The solo violin, xylophone and vocals connect high culture with folk instrumentation and the human voice. This is appropriate as we try to connect everyday common experience with the operatic. For me, the use of the aged track is more ‘human’ with sinister undertones and is more effective than a highly produced track. The recording is also available under commons licence through the Internet Archive.
Many classical music tracks are used in video games and is a topic of enquiry for a PhD researcher at Birmingham University. Danse Macabre has been used in the video game, Alone in the Dark.
http://vgmpf.com/Wiki/index.php?title=Alone_In_the_Dark_(DOS)
Alone In the Dark is a 3D survival horror game set in 1920. Jeremy Hartwood, a rich man with a fascination of the occult, has been found dead in his Louisiana mansion, apparently having hung himself! The player assumes the role of either Hartwood’s niece Emily or a private investigator named Carnby; one must go to the mansion, a house known as “Derceto,” and determine what really happened.
Upon entering the mansion, the player quickly discovers it to be swarming with various monsters and spirits, many of whom are far more powerful than the player. Weapons and ammunition can be found along the way to kill the monsters, but a lot of them must be defeated through wit or stealth. The game also has various puzzles which must be solved in order progress.
The games musical composition is partly the directors and partly classical scores.
Danse Macabre: connecting Operatic ‘classical’ Orchestration and the humble video game
Danse Macabre is a poetic tome that is performed by an operatic orchestra and strongly connects to the Halloween narrative embedded in the visuals.
https://www.laphil.com/musicdb/pieces/284/danse-macabre
The solo violin, xylophone and vocals connect high culture with folk instrumentation and the human voice. This is appropriate as we try to connect everyday common experience with the operatic. For me, the use of the aged track is more ‘human’ with sinister undertones and is more effective than a highly produced track. The recording is also available under commons licence through the Internet Archive.
Many classical music tracks are used in video games and is a topic of enquiry for a PhD researcher at Birmingham University. Danse Macabre has been used in the video game, Alone in the Dark.
http://vgmpf.com/Wiki/index.php?title=Alone_In_the_Dark_(DOS)
Alone In the Dark is a 3D survival horror game set in 1920. Jeremy Hartwood, a rich man with a fascination of the occult, has been found dead in his Louisiana mansion, apparently having hung himself! The player assumes the role of either Hartwood’s niece Emily or a private investigator named Carnby; one must go to the mansion, a house known as “Derceto,” and determine what really happened.
Upon entering the mansion, the player quickly discovers it to be swarming with various monsters and spirits, many of whom are far more powerful than the player. Weapons and ammunition can be found along the way to kill the monsters, but a lot of them must be defeated through wit or stealth. The game also has various puzzles which must be solved in order progress.
The games musical composition is partly the directors and partly classical scores.