Environmental Storytelling
‘Zombie Lab’ by Joseph Chalmers (2203944)
Through Setting and Temporally Contextual Stories
Links
Walkthrough - https://youtu.be/W4fzuZl6yuY
Project ZIP - https://drive.google.com/file/d/1t0T1cMHIve6qPUvubO7zwl-LfQWQbHww/view?usp=sharing
Introduction
Intro
Project Aims
For this project, I have decided to create a set of immersive points of interest to improve my design capabilities and experience. I believe this is something I already have a good skill in, but equally it’s something that I could be much better at as I’ve never had a good reason or a random drive to properly dive into articles or breakdown and analyse scenes from movies or games. All the skill that I’ve accrued in this domain is from personal experience in games like Fallout and general knowledge of cinematic rules and art rules.
I will start by analysing a couple games and/or movies/shows/media from different genres. I will then brainstorm, design, and write several setting relevant plot points which can be visually explained whilst being fairly visually abstract - this is to account for my limitations in 3D modelling. I will then research some level design rules and sketch some different map designs, before drawing the final map which will host and display the points of interest in a readable and understandable framing.
This project will be a great design challenge for me and will give me a better idea on how to create immersive locations as well as a better understanding of visual storytelling. This project was originally planned to be made by modding Fallout 4, but that turned out to be incredibly difficult and out of scope. It will instead be created in Unreal 5 using low-poly models made by me in Blender.
I specifically want to focus on improving my design ability using colour theory, semiotic rules, visual hierarchy, negative space, and focal attention. While these wont impact the individual stories, they will be vital for prefacing the setting and for defining the tone throughout the level.
Intro
Skill Diamond
I am a programmer and designer that enjoys coming up with unique mechanics or throwing twists on old ideas, equally I enjoy creating a world and bringing it to life, filling it with immersive interactions and environmental storytelling.
I have looked into different positions for Programming and Level Design from companies like Rebellion and Build A Rocket Boy. The primary skills I noted in the requests were:
DESIGN
Intro
This project has roughly a four month development time. This gives me a month for research time, a month for design, a month for development, and a month for polish. Obviously timelines rarely work out as perfectly as that but it’s a good starting point for my expected timeline. Research should not take as long as a month, giving me an earlier start on getting the story, setting, and level designed. With the additional design time, I will hopefully be able to create easily readable contextual stories and a well laid out map with an overall striking tone - development usually takes longer than expected, so I will assume it will eat into some of the polishing time. During the polish time, I will finalise the portfolio, add any small or additional details I’ve come up with, and ensure feedback is over all positive.
Scope
Intro
Detailed Timeline
Intro
Setting
Story
A hint at what to expect through architecture, colour, lighting, & detailing.
The experience of someone other than the player told through contextual, non-verbal means.
Intro
Colour Theory
Scale
Colours on opposite sides of the wheel are contrasting colours, impactful when used. Colours close to one another are analogous colours, harmonious when used.
A large object by a small object will come across as stronger and more threatening.
Fig 1.
Fig 2.1.
Intro
Angles
Soft v Sharp
Diagonal lines tend to convey tension, leaning towards the viewer conveys something approaching.
A sharper point on an angle or edge will make an object feel more aggressive. (Bouba/Kiki)
Fig 2.3.
Fig 2.2.
Eye-Leading Light
Eye-Leading Composition
In a dim environment, a bright light over an object will naturally draw the viewers. Light beams will grab the viewer's from the source to the destination.
The viewer’s eye will typically be centered in the middle of a shot, allowing the central object to be reinforced by surrounding design. (Leading Lines)
Fig 1.
Fig 2.1.
Fig 3.
Research
Video Game Research
Components
Take an environment or specific shot and break it down on an abstract level, delving into an in depth analysis of each component without going too in depth on the game's overarching story.
Common Words
Games by genre
Method
Analysis - An exact breakdown of the shot
Environmental Design - How the area is put together
Symbolism - Human ideals within design
Hidden Story - What is the shot telling the viewer
Colour Theory - Why are colours being used
Lighting - How is light being used
Audio - How is audio being used
Temporal Context(s) - What stage of the story is being told by the shot
Player Experience - What is the overall experience presented by the shot
FPS: Dishonored, Borderlands, Doom, Metro, Bioshock
Open World: Skyrim, Dying Light, Subnautica, AC: Black Flag
Platformer: Inside, Little Nightmares, Hollow Knight, Ori & the Blind Forest
Third Person: Dead Space, Mass Effect, Red Dead Redemption, The Witcher 3
Isometric: Disco Elysium, Xcom, Pillars of Eternity, Baldur's Gate 3
The Player - The person playing the video game, experiencing the shots in real time and focused on the task at hand.
The Viewer - The reader viewing the shot, experiencing the shots in still time and considering the greater implications.
Dishonored
setting #1
Colours, typical for Dishonored, are dull and dark blues, greys, and browns, they invoke a serious tone throughout. The primary light source in this image is the bright sun hidden behind a light fog and stratus clouds, casting an eerie brightness across the city. There is no music in this scene, only a quiet howl of the wind, a humming of engines, the splashing of the water, and the caw of gulls above.
The entire experience is ominous, setting up for a strange experience in a cold world, this is an excellent establishing shot that serves to tell the player of what to expect from future settings.
The first scene of the game sets up the viewers expectations of the world to come. In the background, the city runs along the river's coast, a set of factories sit to the left with chimneys rising into the air; billowing smoke. In the middle ground is a gigantic whale hunting ship; large and imposing, along with a metallic buoy covered in rust. In the foreground is a well-dressed and openly armed man, his style speaks of aristocratic imperialism. Together, these objects spark the idea of an industrial post-Victorian era.
Dishonored
setting #2
This scene tells the viewer of the mechanisms behind the city cogs, of the brutalism that keeps the city in check, and of the high regard the upper echelon hold themselves. The player has been here recently, though it has been skipped past, as can be confirmed by the audio recorder sitting on the desk. While this room follows the typical Dishonored blue, grey, brown, it has the additional stark red which, while lacking saturation, completely stands out in its environment and draws attention to itself. The limited sounds here are the constant PA announcements, prisoners yelling, and rats; additionally, when the player enters the room for the first time, there is a musical sting indicating that the area is dangerous and to be stealthy. This environment does a great job at setting the player up for how harsh and unforgiving the game is going to be from now on. The experience affixes the previous ominous feelings.
Immediately noticeable as a torture room, clearly used recently. In the foreground, blood covers the floor by a grate, the tools lay on a table by the restraining chair, and a small rack is over a still lit fire. The middle ground has a large meat hook and behind it, a long authoritarian flag. In the background a bright light illuminates a desk with an audio recorder, below the light is a giant painting of the torturer - vanity at its finest. Above that sits a demanding sign with bold underlined text, a light below each word to reinforce that this is an authoritarian demand.
Dishonored
setting #3
In the middle is a tram rail covered by defensive barriers and guard stationing, the streets are mostly clean - meanwhile, the destitute streets of a run-down city are only steps away. The foreground is devoid of notable content. In the building on the left, lives a physician who is responsible for developing the current method of warding off the plague, though it’s no cure - this makes it an important place for the city to hold on to. The typical colours are dimly lit by the moon and street lights, giving the whole road a somewhat pale look. The focused areas of light are along the main road and the building entrances, from this vantage point we can see clear paths of darkness; encouraging stealth. There is little audio here besides a constant humming reverberation and the sounds of rats. This environment tells the viewer of how those who have money or power are coping with the city’s plague, only serving to further the player’s understanding of the societal classism.
The setting is one of the primary streets leading into the city, just beyond a large port and gatehouse; a rich district, protected by guards and state technology, ensuring these people only feel the ripples of the plague and not the brunt. At the back of the shot is a tall gateway protected by an electric wall, each side hosts even taller buildings; grand and lit up. Above the gateway is a large billboard which proclaims ‘THE BOLDEST MEASURES ARE THE SAFEST’, flanked by another authoritarian flag and the busts of leadership.
Dishonored
setting #4
The streets are covered in debris and garbage while any flora is either dead or overgrowing. With this district being the first to show signs of the plague, the city was caught off guard and so barricades were erected in order to quarantine the sick - despite how many healthy they condemned. Buildings crowd the skyline and smother any natural light this area might get, the only lights sources within the scene are campfires, oil, or candles, this dreary atmosphere gives the whole environment a dark and depressing tone. Once again, there is little audio but the groaning of the sick and the everlasting rats. This gives the player deeper insight into the true state of how the city has fared before their arrival and how those who were left in the worst of it, dealt with the plague - once more serving to further the player’s understanding of the societal classism within the city.
This scene takes place in one of the financial district streets, one of the first taken by plague - and so, hit the hardest. In the background, one man stands in a pool of spilled oil by a barricade, another stand over a fire; reality for the common folk, greatly opposed to the previous environment. The buildings stand as tall as the rest of the cities, but most are barricaded from the outside; the windows are all barred shut and not a single light is on. The middle ground has a barricaded door and a turned off lamppost, nothing of interest. In the foreground, a campfire and candles lit by survivors or the recently deceased.
Dishonored
story #1
In the sewers below the city castle, a grate overhead illuminates the edge of a dirty bed. Two people lie here in the darkest corner, they hold each other, clearly desperate for some kind of shelter and escape from what lies above, and aware that these are their last moments together. This is the sort of sorrow and brutality the player can expect as they progress. This shot sets the scene of something that has already happened and gives the viewer some impression of what could come later.
Dishonored
story #2
In the distance, smoke rises from a bridge. At one end stands a brick tower with scavenger birds flying overhead, on the other stands a tall mechanical tower with a bright spotlight aimed down the bridge. It is clear that something has happened and from what the viewer can gather, some kind of explosive or flammable content has been used against something that attracts birds. Considering that the mechanical tower is still active with its flood light still lit, we can safely assume that the something is still in the tower. This shot warns the viewer of both sides of this conflict, one, a destructive force, the other, reeks of death and is to be protected against.
Dishonored
story #3
The viewer stands at the end of the game, having followed the low chaos path, in the solar of a giant lighthouse - here, the player will find the character they’ve been searching for throughout the entire game. The room is tall, well lit by a glass roof, and full of regal furniture. In the foreground a man stands in a regal war room, drinking by the fireplace and staring into the fire. In the middle ground, two more men lie slumped in their chairs at a war table over a rich red rug - to the left is a large cork board, covered in information. There are no signs of an altercation and we can assume that the men were poisoned, leading the viewer to believe that the man by the fire is distrustful of the others. Judging by his dejected demeanour, we can assume that the man is unsettled by his actions or by what might come next. This environment speaks to the players previous actions, as well as the man by the fireplaces’.
Skyrim
setting #1
The town’s symbolism speaks for itself, there has been some big disaster and few remain; meanwhile the college stands tall, imposing over the town - additionally, the star window in the tallest tower could indicate some form of guidance. The true story of the town is that it used to be a thriving city before the disaster called ‘The Collapse’ in which the majority of the city fell down the cliffs and into the icy waters after a shockwave blasted from the college - though the college itself was left untouched. Typical with Skyrim's general colour set, there are predominantly dull tones of grey, blue, and brown; nothing particularly evocative. This scene is solely lit by the general position of the sun or moon in the game’s day/night cycle. With the lack of bustle around this quiet city, the only things the player might hear are the cold winds howling and icy waters splashing. In the current temporal context, the viewer is told not to expect much from this dreary town; in the past temporal context, the viewer is told of some disaster but is left to guess much. The general player experience of this location is sure to be underwhelming and unmemorable.
This scene is of Winterhold, the northernmost city in Skyrim, and home to the mages' college. While the locale is considered a city, it certainly doesn't live up to the expectations that one might think of when envisioning ‘the city of mages’, rather it boasts four whole buildings with no space for villagers. In the background, the mages' college stands tall beyond anything nearby, behind it is a large iceberg. In the middle ground there are a few dilapidated houses by a sheer cliff. In the foreground, there are a couple intact buildings and another destroyed home.
Skyrim
setting #2
The colours are once again dull greys, browns, and blues - nothing notable. The scene is lit by the sun or moon and a few small fires around the camp. Here, the viewer can hear birds, the splashing of the nearby stream, and the crackle of the fires in the camp.
The current temporal context does not tell the player much, though the lit fires let them know that somebody is still about. The player should be expecting and ready for a fight with some ferocious enemy that does not conform to social norms.
This scene is of a violent independence group known as the Forsworn and their camp in the south western mountains of Skyrim. In the background is mountains, stretching up into the clouds. In the middle ground is the group’s tents, built with untanned leathers and bones with spikes adorning every angle. The foreground is just greenery. Although there’s no story or societal symbolism to this area, the viewer can read the hostile intent the buildings project and assume the behaviour they might expect from the inhabitants.
Skyrim
setting #3
Unlike the last city, this one has large defensive walls all the way around; the left side bears large red banners draping along hard edged structure walls while on the right, the castle hosts a much more calm colour, no banners, and angled roofs. This city is laid out with shops first, which then leads to the military area or civilian area, with the monarchy at the most defendable point. There is no visible story to this city but it is the center of Skyrim’s political structure. This is the height of colour theory in Skyrim, while primarily the typical dull greys, browns, and blues, we also get the red banners of the military versus the soft blue roofing of the feudal monarchy. Lighting is taken care of by the games day/night system, though the city has its own lights - this is one of the few shots that does the scale and lighting of Skyrim some justice. Here the viewer will hear birds, distance ocean, and howling wind - a pleasant experience. The player should experience some real wonder while traversing Solitude, between its height advantage, well funded architecture, and placement in the divide of the green and white ends of Skyrim, this city should leave the player feeling inspired and immersed.
This scene is of Solitude, the north western most city of Skyrim and home of the human-run Imperial army. In the background, the view spans off into the distant seas and mountains. In the middle ground we find, the city; rows of housing span through the center; at the back left there is an imposing, authoritarian, and defendable structure, the Imperial headquarters; on the far right, in stark blue contrast there is the castle of Solitude. In the foreground, there is the entrance gate into a row of shops, leading into the mid-ground.
Skyrim
setting #4
This city is one of the three heavily defended Skyrim cities, from the single entrance choke point to the varying parapet surrounding the place. The viewer can assume the type of response they might get from these people given the layout of the city, the castle sits a single open area from the main gate, with a barracks in between. While keeping civilians out of harm's way, it's clear that these people are always ready to fight aggressively. There’s no clear story here. This entire city is built out of grey, blue, and brown materials; buildings here are made notable by their scale rather than identifiable colouring. The day/night system doesn't do much to improve the design due to the cities thick high walls and depth. The only things to hear are the bustle of the city during the day, and the crickets and howling wind at night. The player will likely experience a claustrophobic feeling while walking through the city streets. The overall weird design leaves the city being pretty unimpressionable.
This scene is of Windhelm, it sits just south of Winterhold and home to the opposing human army; the Stormcloaks. In the background is the mountain that sits between the city and Winterhold, additionally there is the city’s imposing and brutalist castle. In the middle ground is the bulk of the city, surprisingly short and not helped by the angle, this houses the entire community and supports the cities entire economy. In the foreground are the city's walls and the fortified bridge over icy water leading to the gate.
Skyrim
story #1
A tiny island lies halfway between Dawnstar and Winterhold, at the top of it, a skeleton holding onto a planted flag and some personal belongings. In the background is nothing but the icy horizon. The middle ground hosts the islands ridgeline. The foreground contains a chest, a book, an old skeleton, and a desiccated flag. From this scene, the viewer can derive that a presumably solo adventurer succumbed to the cold months ago, though they could have suffered from starvation or dehydration too - likely all. The chest and book they were carrying could imply that they were more than an adventurer, maybe a writer of some renown or a noble; the flag could imply they were a part of a noble house or some faction. Overall, there’s no explanation as to why this person ended up here, only that they did. It is clear that this happened long before the viewer came along and is sure to leave the view with some questions.
Skyrim
story #2
A lighthouse, also half way between Dawnstar and Winterhold, clearly something awful has happened. In the back of the shot, a giant dead bug by a cooking fire and two doors to further rooms. In the middle ground, a knocked over chair and a destroyed and bloody table; food thrown. The foreground, a chair surrounded by bottles, a knocked over lantern, and a large blood splatter. From this shot, the viewer can assume that the people that lived here were attacked mid meal. The bug doesn't have any clear allegiance but we can assume its unaligned and hostile. The two other rooms are both empty and there are no bodies to be found, informing the viewer that there were more people or creatures than the dead one found in the scene and that they likely overwhelmed and kidnapped the people eating. There’s no explanation as to why these people were attacked or where they’ve been taken but the viewer can assume that this has happened semi recently due to the still lit fires and wet blood.
Skyrim
story #3
A sword sticks out of a cairn by a cave mouth, halfway between Markarth and Morthal on Skyrim’s western edge. The cairn is surrounded by bodies and blood, yet the sword remains unclaimed and untouched. There are many possible reasons for this scene; maybe these people all came here together and fought each other over the sword with everyone losing; maybe these people all came separately and the sword is cursed, instantly killing anyone that touches it; maybe something lurks nearby, using the sword as a lure for the fool hearted. This shot could tell of both the past and the future, as a sign of what will happen if someone attempts to touch the sword.
Inside
setting #1
The player can assume from the militaristic style of the people and sharp shape of the dog in the background in conjunction with the sharp wire lined concrete wall, that these people are probably aggressive and it’s probably best not to be caught by them. The player would have previously seen that a couple dozen odd looking people were forced into the truck that’s currently driving off up the road, though there’s no explanation as to why this area is walled off and guarded or where the truck might be going. Everything in this shot and throughout the game is stylised with dark blues, greys, and browns. The only constant of colour in this game is the player character with its light skin and red top; the trail of leaves and broken refrigerator are the only other coloured objects in the scene, being used to guide the player. The ambient light is limited to the path the player can take with the only other source being the trucks headlights. The player will experience some sense of nervousness while trying to keep out others' views. The overall design is striking and does a great job of setting up the world.
The introduction to the world of Inside, it is dark, cold, and brutalist. This shot takes place moments into the game as the player is being introduced to the games mechanics. In the background on the left, a thick fog covers dark tree while on the right, a truck recently filled with odd people drives away; there are two guards as well as their dog. The middle ground is mostly a dark blob with occasionally slightly visible industrial trash. On the right, a thick concrete wall lined with barbed wire with the road continuing towards the end of the screen. In the foreground, a trail of leaves leading to the player standing on top of a pushed over refrigerator, the player is blocked by a wall conveniently missing the barbed wire; after that, the road finishes.
Inside
setting #2
While the symbolism isn't clear, it's obvious from the camera that the player is in some high surveillance state. The people seem to be unified in their goal by no clear means, though their shambling would imply that they’re not in total control of themselves; it’s not clear why the player is not part of the unified group. Given that the door is boarded up, it would make sense that the city was abandoned. The game follows the same dark grey/blue/browns, with the note of the peoples white skin and the player characters red shirt. The world is barely lit by the sun and the only other light in the scene comes from behind the boarded door, giving the player a good sense of where to go. The general player experience is a sense of unease as the player will realise that they’re truly alone in this world and whatever the characters goals are, the player is the only one that can carry them out.
This shot takes place in a cityscape, roughly 15 minutes into the game. In the background, a large building and highway are shrouded in shadow. In the mid-ground, pale people all dressed in black stumble and shuffle towards some unknown goal like a horde of mindless drones or zombies. The foreground places the viewer and player in an alleyway, in the top half of the shot; on the left a security camera watches the people, on the right is an air conditioner. In the bottom half of the shot, light beams through a boarded up doorway, the player attempts to pull the boards off. Throughout this whole shot, there’s hardly anything one might expect in a city; no trash, no cars, no ads.
Inside
setting #3
As is typical with Inside, it's unclear who the people are, why the caged people are taken away, or where they might be going - although the light may imply that the two are saviours or that salvation may lay in that direction.The player should feel some sense of curiosity about the people considering how they are framed in the scene and because this is the first child, beyond the player character, that has been seen so far.
This shot takes place roughly half way through the game in a large facility. The background is mostly hidden in shadow, the only thing that can be seen is a pair of people, an adult and a child, standing in a beam of light. This beam lights up the only other subjects in the room, a man driving a yellow forklift about to pick up a cage full of slumped over people. This scene is one of the rare instances of a high contrast colour, usually reserved for emotional and impactful use.
Inside
setting #4
journey. The pale yellow of the glow brings a sense of comfort and ease amongst the constant darkness, though no sense of hope or joy. There is no story actively being told here, nothing is about to happen, nothing is happening. The player should experience some kind of relief hitting this end point, their effort wasn't pointless and the story has come to a close.
This scene takes place in the final moments of the game. The player has turned into a giant amorphous blob and escaped the capture of the mystery organisation. They now lay at the bottom of a tall hill by a large body of water - whether this is an ocean or a lake is uncertain. The scene is primarily dark like the previous scenes, the only light is a beam coming from the sky directly on to the players final resting location. This would seem to be symbolic of freedom and the end of the players
Inside
story #1
A large truck sits in the far ground of the shot below the primary light source of the scene, its reverse lights are the only other sources of light in the scene. Inside the truck is a group of people, packed in like sardines - this truck doesn't seem to have been designed to carry people. The rest of the shot contains thick, tall trees and a hill that the player had just fallen down. The smaller, thin trees to the right side of the foreground of the shot are incredibly sharp, indicating some kind of threat around the van and that more may lie to the right. This shot explains something greater is at play and yet to be realised - something or someone wants these odd people and has some resources to locate and capture the people.
Inside
story #2
Roughly 10 minutes into the game, the player comes across a large, foggy farmstead. After running through an ominous wheat field and past some shrouded silos, the player finds a bright street light illuminating a pile of pig corpses - it seems like they've been here a while considering the pool that’s formed around them. The greys and blues give this shot a very eerie atmosphere. It’s not clear what killed the pigs or why, but given the intentional placement of the bodies, along with the apparent time they've been here, this was either planned in advance or happened a while ago and enough time has passed for the farm workers to have made the morbid display.
Inside
story #3
Nearing the end of the game, the player is in a large research facility - though its not clear what the research is on. People crowd around a large glass containment window, seemingly in awe but of course, the player nor the viewer get to know what it is yet. Some of the workers dropped what they were doing and rushed over - whatever it is, is incredibly important and interesting. The peoples’ shadows stretch out to reach the player as if standing before a sunrise. The common blues and greys that purvey the game are suddenly lifted in contrast and brightness, exchanging the sense of dread for a sense of wonder.
Pre-Production
Idea Brainstorming
The scenario setting is dedicated to telling the player about the type of place they are in and what to expect further into the experience. This is done through design rules, lighting, colour, sound, props, and details; there should be no verbal or literary story here besides the use of contextual signage, such as hazard signs or advertisements.
A modern underground research facility in which a highly contagious virus has escaped and spread throughout, turning everyone inside into zombies. An armed group of private military specialists has been hired to clear out the facility and reclaim it. The player is a third party investigator sent to collect data on the incident for a rival corporation.
A small seaside village in which a group of cultists have been conducting an ancient ritual, kidnapping local and nearby people to sacrifice to their goals. Mysterious and odd people have since started showing up in the town and the mayor is concerned. The player is a private investigator who has been hired to look into the disappearances for the mayor.
A ruined city in which construction of a subway tunnel has breached into a giant mysterious sanctum sealed with inscriptions about dooming the planet. This breach released a gigantic eldritch monster which caused anyone that saw it to become violent. The player is a student of ancient civilisations and has travelled to the epicentre seeking the university's professor of miskatonic studies.
A derelict ship which has just been subject to the first every warp drive test, suffered a catastrophic breakdown and killed the majority of its crew. The ship now sits stranded, light years from any known inhabited planets or any means of rescue. The player is a low rank officer serving aboard the spacecraft.
An underground bunker from some ancient bygone war, the AI installed to keep the base safe turned against its occupants when a glitch occurred in the central processor. The AI went rogue and abused its total control of the isolated site to kill the entire staff by any means. The player is a scavenger from well beyond the AI’s time, looking for old world technology.
Settings
Idea Brainstorming
The scenario should contain multiple individual stories that have been experienced by those other than the player. These stories must inform the player that some is/was happening or will happen through contextual and diegetic means. This is done using props, details, and contextual design.
Stories
Already Happened. A thing has happened, the scenario explains how it happened
A group of treasure hunters had a disagreement on how to split the loot, resulting in two dying in a standoff with the third being shot but making off with the treasure, before promptly meeting their demise to a bear trap.
Standing atop a cliff, a large target has been painted on the ground below and a corpse lies a few paces from the center.
In a smoking room a fire is lit, there are two chairs and a table. On the table are two glasses, one lies on its side with its contents spilled, the other sits upright and empty. A small vial of poison sits below the table.
In a post-apocalyptic wasteland, a large crater sits in the center of a road, warning signs for high radiation stand around the crater perimeter. (fallout)
A space station AI has encountered an error and turned against the crew, all station defences are active and alert. (2001: A Space Odyssey)
Idea Brainstorming
The scenario should contain multiple individual stories that have been experienced by those other than the player. These stories must inform the player that some is/was happening or will happen through contextual and diegetic means. This is done using props, details, and contextual design.
Stories
Currently Happening. A thing is happening, the scenario expands on the current state
An alien has boarded a spaceship, killed the crew, turned cargo into incubation, and is resting in the ships' engine room. (alien isolation)
Blood drops from the ceiling while growls and crunching can be heard from above.
A forest is full of dry bushes, there is a temperature gauge ready to burst, smoke can be seen on the horizon, animals all travel away in the same direction, there are fire hazard warnings from park rangers.
A research station is caught in the middle of rapidly thawing ice, parts of the building break and sink into the mush, alarms blair and an evacuation light blinks.
A space station is caught in the pull of a dying star, all systems are beginning to fail. Alarms blair, lights flicker and spark, emergency lights flash, and some doors have sealed the environmental locks due to rooms beyond being destroyed.
Idea Brainstorming
The scenario should contain multiple individual stories that have been experienced by those other than the player. These stories must inform the player that some is/was happening or will happen through contextual and diegetic means. This is done using props, details, and contextual design.
Stories
Going to Happen. A thing is yet to happen, the scenario alludes to what awaits
A large asteroid flies towards the planet, fear has ripped through the people and deranged mass riots have caused significant damage. (dead space 2)
In a smoking room, a fire is lit, there are two chairs and a table. On the table are two glasses, both upright and full, a small vial of poison sits below the table.
Inside an armoury, an alarm blares while an emergency light flashes, there is yelling and running outside, a screen displays a missile warning.
On a coastal town beach, the cliffs hang by a thread, there are warning signs about high tide along the beach, the top of the beach is lined with sandbags, the coastal houses are mostly up for sale.
A mountain village is in danger of a volcano going off, buildings have collapsed, there are occasional tremors, smoke rises from the top of the mountain, evacuation notices litter the area.
Idea Brainstorming
The level design is incredibly important for an environmental experience, especially for this one as there are no mechanics, art, or story otherwise supporting it.
While the setting may be readable, the tone may be clear, and the individual stories may be intriguing, the level design may make the setting and tone feel dissonant or the stories unclear.
“The Level Designer is the one who is taking everyone else’s hard work and tying it together into a cohesive package.” - Bleszinski, C.
I believe it’s important for this experience that the level design be realistic to the setting as well as simple and enclosed so that the design is in control of how the stories are seen .
Level Design
Finalising the Idea
The setting will use the first story idea; An underground corporate-scientific laboratory has had a zombie outbreak and lost control, a security team has been dispatched to deal with the situation. The player is a third-party investigator for a rival company and is here to steal data, they must make it in and out.
The story will be broken up into three different sections, the introduction, the build-up, and the climax. The introduction is where the player will start: in a forest on a road leading to the outside of the laboratory amongst the mountains, at the end of the road is a parking lot with multiple dormant security vehicles. Colours should be dull and primarily moonlit, except the corporation logo which should be a focal point.
This shot shows the setting for the player, the corporation has reach outwith the urban environment and they have something to hide away; the player should feel small and the corporation should feel overwhelming. The building should have a sleek brutalism style to reflect modern scientific and medical buildings. The player freely enters the building to a well lit and clean lobby with an elevator at the far side. External audio will include wind and the hum of idle engines.
Setting
Finalising the Idea
The build-up begins as the player exits the elevator. They are met with a second lobby with a large security desk in the center, in the corner are bodies of former staff while lined along the wall are security team body bags; through a side door, they enter the complex of the laboratory. This floor is laid out to incorporate a hundred workers with dozens of on-going projects at any given time.
The player will be locked primarily to the corridors in-between rooms, excluding progression rooms. Rooms in the floor will include a mess hall, a server room, a laboratory, and an admin room. Throughout the floor, there will be different scenes going on in different rooms; each telling stories from different temporal states. Before the player reaches the elevator, it will need to be unlocked from the admin office - this may be removed for time constraints.
The general setting of the floor will be similar to the previously mentioned design ideals but instead will be messy and marked. The lighting will be coloured emergency lighting to guide the player, opposed to the bright and sterile upper floor. General audio will include the buzz of lights and the opening/closing of doors while each room will have its own audio set.
Setting
Finalising the Idea
The climax begins as the player exits the final elevator on Floor -2. A hallway leads from the elevator past a security booth which will contain an environmental story, at the end of the hallway is an intersection with multiple routes each giving context as to what the corporation does; only one of the doors will open.
Through the door is an enclosed bridge with windows over a large ravine, from here the other two corridors can be seen. The final room is a large laboratory with some kind of humanoid experimentation taking place, large vats hold people and fleshy growths; some of them have been smashed.
This room contains the data the player has been searching for in a computer on a desk, the player interacts with it by running up to it. After interacting with the computer, an alarm sounds and lights start flashing; a lockdown and self-destruct procedure is announced. The player can run back to the elevator but they will find that it’s been locked. This is where the game fades to black and ends.
Setting
Finalising the Idea
Stories
1st Fl Lobby. The security team came through here and were ambushed by a crowd of infected who had attempted to escape. They were successful in clearing the room but lost multiple members and spent a lot of ammo. They dealt with the dead and moved on.
Mess Hall. Some of the staff attempted to barricade themselves inside the mess hall during the onslaught. Their managed to survive an extra couple of minutes before being overwhelmed. Somebody was celebrating their birthday with their friends and colleagues during the breakout.
Laboratory. A small team of survivors attempt to find a cure after the initial outbreak had subsided. The decontamination tunnel gave them an additional barrier against the infected. They found out that the infection was a weapon and were subsequently killed by the security team.
Server Room. A saboteur dressed as a janitor was attempting to sabotage the server room before the outbreak occurred. They were ambushed by a zombie which pushed them over, knocking their head and killing them; the zombie was impaled in the retaliation.
Admin Office. A skittish senior manager has been stealing from the company and was confronted by undercover investigators. When the outbreak occurred and the alarms started blaring, the manager freaked out, shooting himself and both investigators.
Security Booth. The weapons locker sits empty, a large blueprint sits on the wall with paths drawn through it, a couple of empty coffee mugs sit on the desk.
Moodboard
Setting
*some images generated by https://hotpot.ai/art-generator
Moodboard
Mess Hall
*some images generated by https://hotpot.ai/art-generator
Moodboard
Laboratory
*some images generated by https://hotpot.ai/art-generator
Moodboard
Server Room
*some images generated by https://hotpot.ai/art-generator
Production
Grey Boxing
The Level
Grey Boxing
Focal Points
Grey Boxing
Desks
Grey Boxing
Others
Light Tests
High Contrast Colour Tests
Exterior
Red - Ominous, tense, dangerous
Green - Tranquil, rest, nature
Blue - Vast, strength, peaceful
Brown - Optimism, motivation
Yellow - Happy, calm, inviting
Cyan - Cool, fresh, trust
White - Purity, totality, cold
Black - Lack, dread, serious
High Contrast Colour Tests
Interior
Red - Ominous, tense, dangerous
Green - Tranquil, rest, nature
Blue - Vast, strength, peaceful
Brown - Optimism, motivation
Yellow - Happy, calm, inviting
Cyan - Cool, fresh, trust
White - Purity, totality, cold
Black - Lack, dread, serious
High Saturation Colour Tests
Final
White ended up being the best choice for the interior. It’s clinical aesthetic brought the piece together whilst the other colours tended to distracted. Yellow was considered but it’s calm and happy feeling felt narratively dissocent to the events the story was exploring.
Brown worked best for the exterior because the light frames the logo well and shows off the scale of the building. Blue was considered but was quite overwhelming and too close to Vault Tec. Black was also considered and while it had an ominous tone, it took away from the wall’s scale.
Final Models in Engine
Exterior
Final Models in Engine
Exterior
Built into a mountainous rock face in the middle of a forest, it’s clear the company is secretive and defensive - and perhaps braced for something.
The only two details along the giant flat wall are the company logo sitting imposingly above a large door. It is lit from below for a dramatic but readable effect. The logo’s dark, grand lettering brings a sense of foreboding.
A troupe of armoured vehicles sit outside the building, lights on and engines running - the security team is absent and obviously didn't expect anyone else to be here. The formation gives an enclosed but formidable feel.
Walking up GIF - https://imgur.com/gallery/WNdWNEp
This shot makes use of multiple leading lines. The road, the tops of the trees, and the trucks, all direct the view to a single door.
Cinematography
Exterior
The giant wall built into the rock face symbolises the strength, security, and division that the company represents.
The bold logo letters grab the viewer's focus and draws the player towards it. The size of the letters speak to the authority and values of the company.
The circle of big vehicles adds to the sense of perspective and the proximity of the objects increases the sense of involvement in the scene.
A long road symbolises a sense of journey and exploration, the large object in the distance inspires anticipation.
Final Models in Engine
Main Lobby
Final Models in Engine
Main Lobby
Bold and central, the company name imposes the immediate focal point - it is lit from below for dramatic highlighting. The desk sits in front of it, reminding the viewer of who is in control.
The lobby is well lit by large office lights, met by the red of the emergency light to cast a more dramatic tone across the room.
Against the walls are pristine social waiting areas, adding to the rooms clinical and orderly feeling.
Cinematography
Main Lobby
The bold logo in front of the long desk conveys a sense of professionalism and authority by ensuring that the corporate logo is always the center of attention.
The ways forward are clearly indicated by the inviting lighting pointing towards the elevator doors. The two paths flank the focal point, ensuring they will be seen.
A clean and organised environment insinuates a level of efficiency and attention to detail.
This could be misconstrued as two different directions, when in fact both doors lead to the same place.
Final Models in Engine
Research Lobby
Final Models in Engine
Research Lobby
The lighting follows a similar dramatic design as the entry lobby, it is like this throughout this floor.
The initial push into the lower lobby was a bloody battle that cost the security team several members.
The slain infected and dead staff lie scattered across the floor, the security team has made a simple path to the doorways.
The banners make use of semiotic messaging via their shape language and colour theory. The left brings forth thoughts of warfare and danger. The right alludes to science and intrigue.
Cinematography
Research Lobby
This room has no drive to pull the player through it. The banners each lead to a different door, this will be interpreted as two separate directions when there is only one.
The bags lined up against the wall display a sense of hope among the chaos of the room, a stark tonal contrast between the two factions inside the facility.
The large central desk reinforces the sense of authority that the company portrays.
Bodies lying around the room pose a feeling of shock and mortality. This creates a sense of unease, juxtapose to the previous floor.
The elevator darkness implies the transition of environment, giving up what was and accepting the contrast.
Reflection
Exterior & Lobbies
The exterior does an excellent job setting the tone. The imposing wall with the bold, lit logo lightly obscured by a forest of tall trees has a dramatic feel as the player walks up to the formidable brutalist building carved into the rock face.
The only temporal context in the exterior is the running trucks and lack of people, implying that whoever they are, are already inside. I had initially planned to have more of an encampment within the circle of trucks but due to time and skill constraints, it was left as seen - I didn't want to spend my limited time on a secondary section of the experience.
The moon-esque lighting does a great job at adding a mysterious undertone to the scene while the logo’s ground lights light up the block letters in a foreboding but readable manner.
The first room the player enters is the facilities main lobby, the place is pristine but deserted. This is contrasted by the red glow from the screens and emergency lighting gives the setting an ominous feeling.
Entering the elevator and going down, the doors open to a massacre - the first bodies the player will see on the experience. Going from the pristine ground floor to the horrific mess is an excellent tonal shift. The elevator serves as a good tone break, allowing the players brain a moment between the different designs.
There two temporal contexts used in this room are during and after. During the outbreak, people fled to the elevators to escape. Meanwhile after the outbreak, the security team attempted to enter the room.
I would have liked to have added some blood effects and bullet holes around the room. The only audio would be the buzz of the televisions, a stark silence disconnected from the chaotic scene.
Final Models in Engine
Mess Hall
Final Models in Engine
Mess Hall
A zombie and staff member both crushed by vending machines.
One of the infected blocking the door, probably responsible for the rest making it inside.
One staff member hid below a table only to succumb to their wounds.
Somebody was having a birthday celebration during the outbreak, giving them the numbers to attempt a defence of the room.
The final security guard fought to the bitter end, leading the infected through the room and taking them down one by one.
Stuck Door GIF - https://imgur.com/a/9oRaHwB
Cinematography
Mess Hall
The authoritative logo amongst the unmitigated chaos connects the two through the hierarchy the setting has portrayed, with the company held responsible.
The bodies start scattered but close to a point as they get closer to the end, this causes a feeling of directional movement in the scene.
The broken barricade implies the overwhelming force of the threat, the vanity of an attempt at survival, and the vulnerability of being human.
A body crushed below a vending machine is somewhat symbolic of a helpless tragedy, the imagery conveys senseless death - in spite of its surroundings.
A happy birthday sign in the gruesome room evokes a feeling of sad nostalgia, something innocent now tainted.
Reflection
Mess Hall
This was easily one of the hardest rooms to design and fill as it took a lot of time and work to figure out what would fit in a secret research facility cafeteria without being out of tone.
One of the glaring issues with the room was its size, it is huge and has no focal objects to distract from; nor objects to take away from the scale. This resulted in me adding small pieces at a time rather than focusing on the room until completion, but it worked out and eventually became a chaotic mess with the highest number of stories going on.
The stories inside focused on multiple temporal contexts, for instance the ‘Happy Birthday’ sign implies that there was a group of people in here before the outbreak occurred to explain the number of bodies in the room, meanwhile the guard leading a trail of zombies to the corner implies that this took place after the outbreak.
The non-lighting colours in this room serve only to drive the sterile environment. I would have liked to add some sparking to the fallen vending machines and some muffled ambient music coming from inside the room.
Final Models in Engine
Laboratory
Final Models in Engine
Laboratory
Bullet casings cover the platform by the door. Infected didn't kill these staff members.
The staff members were surprised while working. They didn't have time to leave their desks.
They captured an infected and were operating on it to find out what they could with their limited equipment and skills. This makes use of eye-leading light with the floodlights.
The warp core is the largest thing in the room. It makes use of red by the roof to make it less jarring while the blue down low contrasts to draw attention. The fog is a complimentary light cream colour. The colour mix adds an aesthetic, ominous purple to the haze.
Final Models in Engine
Laboratory
The holo-emitter displays a Bacteriophage surrounded by information restricted warning. The emitter is a secondary focal point in the room as it is smaller than the warp core but its brightness, height, and animated texture make it stand out and draw attention.
The display implies that the infection is some kind of bacteria but the information has been locked away by company execs.
The display is a good example of warning semiosis. The bright yellow is eye catching and brings a sense of imminent danger, while the bright triangle makes it clear that this is warning of a hazard.
Hologram GIF - https://imgur.com/a/evTATI3
Cinematography
Laboratory
A raised platform, evoking a sense of authority over the rest of the room and implying a power dynamic in the story.
The thick fog covering the work area implies a state of uncertainty and may convey a sense of secrecy as the opacity of the fog is often used to obscure.
A large, central focal object from floor to roof gives off a sense of structure. It might not be clear what it is, but it is clear that the facility will go down without it.
The brightness of the secondary focal object brings the players attention away from the central object and emphasises its importance.
The bold logo, now lit by a purple haze, resonates with the mysterious identity and work of the company.
The powerful lights beaming on the infected corpse implies that the body was under intense focus and may be the key to a truth.
The body surrounded by defenses produce fear and uncertainty.
Reflection
Laboratory
The lab was my favourite room to put together despite being the last one I worked on. This room is roughly the same size as the mess hall and suffered from the same initiation anxiety but this time I already had a focal object design planned, once I had modelled the warp core and gotten it in, the rest of the room felt like it naturally fell together.
This was one of the rooms to receive a slight redesign mid-production as I had realised I needed to lower the floor in order to fit the computer terminals I had planned. Fortunately the lowered floor had other advantages such as opening up the room with the higher perspective and allowing me space to fit in a fog cube, which added a lot of visual and lighting depth.
The second focal object, the bacteria hologram, is intentionally smaller and less noticeable than the warp core as to look less structurally integral, though it is still bigger than any other object in the room and is brighter than the lights in order to draw attention.
There is only one temporal context being used throughout the room, after the outbreak. To begin with, these staff members survived the initial outbreak and began figuring out what they could. Later on post outbreak, the security team came through and put a stop to their effort.
The purple glow from the warp cores’ mixing colours does an incredible job at adding a subtle mysterious feel to the environment.
This room could be improved by adding some visual effects to the warp core such as an animated light and a gas leak to explain the fog in the room. Additionally the noise of the warp core and beeps of terminals would have made the room more immersive.
Final Models in Engine
Server Room
Final Models in Engine
Server Room
A spy sabotaging the corporate server. They were attacked and wounded but managed to kill the infected with a mop through the chest. The janitor bucket lays on its side, a gun lies nearby.
An unsuspecting staff member was running some tests when they were ambushed by an infected. They ran down the aisle only to bump into another.
The fog is a complimentary pale lavender colour.
One server unit is open and the server control displays a warning: ‘UNAUTHORISED SERVER ACCESS’ in yellow. The open server drawer features an individual yellow light amongst the red lights in order to draw connection between them.
Final Models in Engine
Server Room
The server control unit is the main focal point of the server room. It is larger than anything else in the room and brightly lit to bring attention to itself and set a dramatic tone in the room.
The model implies that there’s an open server unit that wasn't cleared by the facility administrator, but the issue was never resolved.
Cinematography
Server Room
The lone janitor, slumped against the server rack kindles a sentiment of loneliness and helplessness.
A staff member attacked from in front and behind brings an impression of overwhelming as the sheer numbers of infected allow for the unlikely to become common.
The control unit stands above everything else, imposing itself in the room and evoking a sense of totalitarianism and dread.
A corpse flopped over a rail in a comical fashion, bringing a sense of satire to a serious situation and hope in a dark time.
Reflection
Server Room
I enjoyed putting together the Server Room as it was simple compared to the other rooms, all of the objects are just variations of cubes. This room had started out lowered and had been designed with a small catwalk in mind, this immediately added to the rooms depth as I could add a fog cube and the player could now see across the server racks and to the back of the room, giving a real sense of scale. This worked in multiple ways as it also gave a good viewing position for the server controller.
The focal object makes heavy use of bright yellow text in order to contrast the constant reds throughout the room. This colour contrast and warning message tie into the rooms primary story in which a spy has accessed one of the server units. The open unit uses the same shade of yellow in order to draw a connection between the two - however subtle.
The server controller makes a lot of use of the red emergency light to create a more alert feeling to the room, while the fog uses a complimentary lavender colour to exaggerate the red.
The two temporal contexts being used in this room are both part of the same primary story, first is before the outbreak occurred and the second is during the outbreak. The sabotage is happening before the outbreak occurred and seeming unrelated, though the attack and death must have both happened during the outbreak.
This story was the hardest of any to pull off as both characters in the scene had to be visible, telling a story, and well framed. The original design had the janitor laying by the zombie with the broom in between them - this didn't work as the janitor was barely visible, none of the detail was visible, and it was unclear what the story was supposed to be. This took a month long redesign and reconceptualisation to come up with the final, realised design.
This room could be improved by animating the text to slowly scroll across the screen. I would have liked an electrical buzz to be constantly coming from servers and control unit.
Final Models in Engine
Admin Office
Final Models in Engine
Admin Office
The paranoid manager had two workers confront him on a timesheet discrepancy. When the alarms started going, the manager broke down and pulled out his weapon.
He caught the first staff member by surprise in the chest, the second tried to run but was shot in the back, the manager ended the spree by shooting himself.
Cinematography
Admin Office
The two give off an impression of desperation and struggle as the differences in pose and position implies a futile attempt to escape after being surprised.
The exec slumped back in his chair elicits a feeling a fragility in power. It’s clear the person was of some importance but also responsible for something they couldn't live with.
Reflection
Admin Office
The admin office was the first room to receive a redesign mid production. While I had felt confident with my ability to fill the room in the initial sketches, bringing objects into the 3D level made it blindingly obvious that the room would look sparse no matter how well designed or filled. This led me to halving the rooms width and dividing the length into two rooms separated by a hallway. This small scale change completely got rid of the space issue and made the environment feel far more intimate and appropriate for a managerial setting.
While there aren't any giant focal objects in any prime locations of the room, the story takes up a good amount of the shot. In the story, there are two staff members sprawled out across the floor and a third sitting slumped in a chair with a gun to his side.
The two temporal contexts happening in this story are of before the outbreak in which the manager has been up to some shady deals which would eventually lead to the company investigating them, and of during the outbreak when the alarms have only just started blaring and the manager has drawn his weapon.
The only thing that could build upon this scene would be decals such as bullet holes and blood spills. Audio wouldn't make sense for this story.
Post-Production
Reflection
Setting and Tone
Throughout this project, I have continually sought the feedback of my peers both in and out of game development to ensure that the tone is accurate and the stories are contextually readable. Overall the setting is clear but could have been stronger with sound effects, visual effects, and better modelling skills. The tone on the other hand, I think I’ve done very well. The lighting is realistic and isn't overwhelming, something I constantly battled with throughout development - my first attempts were blinding. Chaos has torn throughout the map and I’ve made that very readable, the contrast between the intro and the main level does an excellent job at informing the player of the situation they've entered.
Cut Content
I had initially planned to add an entire second level to this design but it was cut due to time constraints. Once I had reached the stage of adding objects and lighting into the rooms, I realised that the main rooms would likely take up all of the time I had - though I kept it in just in case I found the time. Once I had a basic layout in each of the main floor rooms, I decided to consider the second floor at which point I realised that I wasn't happy with the layout and that I would have to do a substantial redesign of the floors main room. At this point I decided that the whole floor was additive content that would take too much work in too little time, and instead decided to focus on making the primary floor rooms the best I could - this was the right decision.
Missed Content
I wish I had found more time for this project and I wish I hadn't felt so burnt out by the professional project, otherwise I would have added VFX throughout the map, such as a gas leak in the laboratory warp core and sparking electricity coming from the knocked over vending machines in the mess hall. Additionally, I would have spent a considerable amount of time creating an immersive soundscape to build on the environments.
DESIGN
Design and Technical Skill Development
Throughout this project, I have put more thought, research, and skill into design than I have for any previous project. I have thoroughly enjoyed reading pieces on design rules such as Molly Bang’s Picture This: How Pictures Work and colour theory like LV Jones’ Color Theory for Healthcare Facilities. I also believe my analysis of technical design and of storytelling has exponentially improved over the course of the project. Additionally, I think my adaptability has improved as I was able to realise an impassable issue and find a way around without compromising my set out goals.
References
References
Tarnowetzki, L. (2015). Environmental Storytelling and BioShock Infinite: Moving From Game Design to Game Studies. [Online]. CONCORDIA UNIVERSITY. Available at: https://core.ac.uk/download/pdf/211518168.pdf [Accessed 15 February 2024].
Dawson, P, Sykes, C. (2018). Concepts of Time and Temporality in the Storytelling and Sensemaking Literatures: A Review and Critique. [Online]. British Academy of Management and John Wiley & Sons Ltd. Available at: https://onlinelibrary.wiley.com/doi/abs/10.1111/ijmr.12178 [Accessed 20 February 2024].
Bevensee, S.H., Dahlsgaard Boisen, K.A., Olsen, M.P., Schoenau-Fog, H., Bruni, L.E. (2012). Project Aporia – An Exploration of Narrative Understanding of Environmental Stor. [Online]. Springer, Berlin, Heidelberg. Available at: https://doi.org/10.1007/978-3-642-34851-8_9 [Accessed 23 February 2024].
Fig 1. - Silvestrini, N. Peter Fischer, E. (2011). Colour order systems in art and science. [Online]. Baumann & Stromer. Available at: www.colorsystem.com [Accessed 25 February 2024]. Page 862.
Fig 2. - Bang, M. (1991/2016). Picture This: How Pictures Work. [Online]. Chronicle Books. Available at: https://sienaproseminar.weebly.com/uploads/1/3/1/0/13109053/mollybang_reduced.pdf [Accessed 27 February 2024]. Page 20-26, 72-73.
70.62.172.254. (2022). Bouba/Kiki Effect. [Online]. Wikipedia. Available at: https://en.wikipedia.org/wiki/Bouba/kiki_effect [Accessed 5 March 2024].
Jones, L.V. (2022). Color Theory for Healthcare Facilities. [Online]. LeVino Jones. Available at: https://www.levinojones.com/blog/facility-color-theory/ [Accessed 5 March 2024].
Bleszinski, C. (2000). The Art and Science of Level Design. [Online]. Game Devs. Available at: https://www.gamedevs.org/uploads/the-art-science-of-level-design.doc [Accessed 14 March 2024].
Brown, B. (2016). Cinematography: Theory and Practice, Image Making for Cinematographers and Directors. [Online]. Taylor Francis. Available at: https://www.taylorfrancis.com/books/mono/10.4324/9781315667829/cinematography-theory-practice-blain- [Accessed 15 March 2024].
Henry Jenkins. (2000). GAME DESIGN AS NARRATIVE ARCHITECTURE. [Online]. web.mit.edu. Available at: https://web.mit.edu/~21fms/People/henry3/games&narrative.html [Accessed 24 March 2024].
DeGuzman, K. (2022). What Are Leading Lines — Composition in Photography & Film. [Online]. Studio Binder. Available at: https://www.studiobinder.com/blog/what-are-leading-lines-definition/ [Accessed 26 March 2024].
Fig 3. - Lee Martin, J. (2018). How to Lead the Eye With Composition, Shapes, and Lighting. [Online]. Fstoppers. Available at: https://fstoppers.com/education/how-lead-eye-composition-shapes-and-lighting-282032 [Accessed 26 March 2024].
DGG. (2009). Bacteriophage. [Online]. Wikipedia. Available at: https://en.wikipedia.org/wiki/Bacteriophage [Accessed 27 April 2024].
References
3D Models
Body Model - Tidominer. (2021). Low-Poly Male Body. [Online]. sketchfab.com. Last Updated: 09 July 2021. Available at: https://sketchfab.com/3d-models/low-poly-male-body-ddf11918aa8042cf9f43193f33611f47 [Accessed 17 March 2024].
Birthday Sign - Duznot. (2022). Happy Birthday Sign. [Online]. sketchfab.com. Last Updated: 27 March 2022. Available at: https://sketchfab.com/3d-models/happy-birthday-sign-7cac3f605db640cd9f490a053240ead4 [Accessed 14 April 2024].
Bacteriophage - cathalgarvey. (2012). Bacteriophage T4. [Online]. Thingiverse. Available at: https://www.thingiverse.com/thing:16496 [Accessed 10 May 2024].
Materials
tiedtke. (2023). Create a sci-fi HOLOGRAM material shader in Unreal Engine 5. [Online]. Youtube. Available at: www.youtube.com/watch?v=lWV52h-VHi8 [Accessed 10 May 2024].
Additional Resources
Adobe Mixamo - https://www.mixamo.com
Colour Wheel - https://www.canva.com/colors/color-wheel/
Neil’s Toolbox - https://www.neilstoolbox.com