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As the first game developer dropped the project, I had to prepare a game demo first for the showcase in 2 days. Plan B is the King

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A game demo video for the 3D virtual experiential project The Shrine Will Guide Your Way.

For more info: https://graduateshowcase.arts.ac.uk/projects/294965/cover

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Plan for the game developer to understand

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Plan for the game developer to understand

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The concept of the interactive game: a virtual environment for people addicted to occult divination is built with a 22-way temple that includes a fountain that is rumored to answer all their questions by drinking from a spring. The audience is asked to enter the question they want answered and then select the number that matches the corresponding fountain to get to the fountain.

To emphasize the question of why divination is addictive, or why these viewers are addicted to divination, when the viewer goes to a section, they enter an infinite space where they can see the exit from a distance and see part of the fountain, but the distance does not decrease when they try to move forward anyway, so the viewer has to exit the section and choose the number again. Each time they are re-matched to a different location, they see a different part of the fountain, but they can't get any closer, and they can't quit the game, so addicted soothsayers have to keep choosing again and again, hoping that the next choice will lead them to the final fountain.

But is it possible to reach the fountain? Yes, but the likelihood of doing so is so random that they may get to the fountain the first time, or they may finally get there for the 1,000th time. But after reaching the fountain and drinking from the spring, the audience member will just float in the endless emptiness with the questions he or she asked when he or she arrived, and the game will be over.

The number chosen does not correspond to the place, but is randomly transmitted. There are three patterns in the space behind the relics, and the relics do not correspond to the space behind the relics.
The patterns are random. The patterns seen in the back space are also random, but the random chance of the patterns can be like drawing cards.
The random chance of the patterns can be like drawing a card with the smallest chance of getting a certain pattern, while the other patterns have their own chance (but the player does not need to be informed of this in the game).
(but do not need to tell the player in the game).
Some process details.

1:When you enter the screen, you will first see an interface that explains their general background and instructions, then you can walk around and approach the temple by yourself, and when you click on any of the fairs, an interface will appear asking them if they want to find the fountain and what kind of questions they want to ask, and then you can enter the fairs by selecting a number from 1 to 22 to randomly match the fairs.

2. After each entrance, there are infinite spaces with different landscapes (different flowing patterns), and when you click forward, you can see the patterns receding (implying that the audience is actually moving forward). The exit distance seen upon entry is the same for all spaces behind the relics.

3. After entering the space and moving forward for more than 30s, a sign will automatically appear to start over.

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Under water scene test for the finale

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A reflective piece of how this flyers works perfectly for my project

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A reflective piece of how this flyers works perfectly for my project

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This poster is part of the promotion materials I created for my 3D virtual experiential project ‘The Shrine Will Guide Your Way’. The project explores the psychological impact of the recent rise of online mystical consultation usage due to the pandemic. I will outline how this poster represents the idea of “Execution Perfection” through the angles of composition, tone of voice, font choice and color scheme.

To recreate the absurdity and highlight the essence of the project, the poster uses a compact, well structured symmetrical layout and a specific copywriting style which is inspired by the visuals of psychic flyers from the New York underground station.

The exaggerated serifs from the font Arthemy Display Regular also match the classic and mysterious atmosphere of the whole project.

Additionally, the colour scheme of the poster comes from the stained glass windows of a French church (Notre-Dame-du-Haut) to provide a divine, clean and safe aura for the overall impression.

Finally, the poster stands well both alone and within the context of the whole project, as its hierarchy presents the necessary information for the service itself whilst conveying the sarcastic tone towards exaggerated promotion of mysticism related services.

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I quickly generate 3 versions of flyers and chose the 3rd one, as the layout is more condense and the hiracky of info are more clearer

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7 cards that can be collected

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The player sees the image of part of the fountain far away

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if impassible, the player can see the images is a card, if not they can walk through straight away.

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New exhibition plan made for show case to reduce the fabric cost

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unable to create a huge water surface, so instead i created a surface with displacement animation to create the ripples effect.

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I used a plugin in C4D called Real Flow to create the water flowing effect for the fountain and the pool alongside the learning normal C4D animation function such as setting keyframes, setting up camera and movement.

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the purpose of creating a poster/flyer is also to simulate how the promotions are done in these mystical consultation. I also intend to print it out with multiple copies, then place them around the installation.

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Based on all these flyers/posters I collected Online, I chose the font, copywrites and similar visual elements, start experimenting with the flyer layout.

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Loading page:

To navigate the space, click and drag to turn the view, use WASD and ….to move.

Welcoming page:

We are so glad that you are finally here.

Welcome to your virtual shrine, a spirit shelter that exists specifically for you.

We understand the confusion, frustration, the conflict in your mind, and what you desire.

But please bear in mind, it is never an easy journey to find the ultimate answer… Only the people who are sincerely seeking it can find their way among all those doors to the mercury fountain.

Now, you can explore the shrine, reconnect your body with your mind along with the blessing of the spiritual energy in the shrine. Then, at a time once you are ready, simply click on any door to begin your journey to the mercury fountain. We wish you the best of luck on finding your way there.

Preparation:

Before we start, please write down the question which you are eager to know the answer:

Now, as the shrine has received your question, please take a deep breath whilst keeping the question in the forefront of your mind, then following your intuition to choose a number between 1 and 22.

READY

please type in the chosen number:

When the door comes up:

Now open your door to find out if it will lead you further along the path to the fountain!

When the door WILL NOT LET YOU THROUGH:

Unfortunately, this door will not lead you further to the fountain. However, you can collect a part of the fountain that you came across, and when you collect enough parts to assemble a complete fountain, a shortcut will reveal itself. Meanwhile, you still have a chance to come across the right door along the way.

When the player clicks exit:

Are you sure you want to give up this chance to help you find the ultimate answer? It may save you from the infinite misery……

TRY AGAIN / GIVE UP

When the player gets to the fountain:

You may just be one step away from your answer, so are you sure you don’t want to give it another try? The right way might just be behind the next door.

The questions that are floating in the fountain:
When will I get a job? Will I stay in New York?  Does he still love me? When will I get promoted?

How can I be rich? Will I find love that lasts? How will my career turn out? When will I be married?……

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The back ground music I found suitable for the interactive design

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The back ground music I found suitable for the interactive design

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Alpha Waves | Improve Your Memory | Super Intelligence

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A v retro web game use the form of fortunetelling to convey the idea of eco-friendly life style. However i dont like how it directly use the form of picking card which fits its own needs, but nor how i would intend to achieve my idea.

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The Fortune Teller is an interactive website about ecology and sustainability. It focuses directly on the source of the problem - consumerism. Through games and two opposed characters, Mother Earth Fortuneteller and evil consumerist, it educates about the urgency of the topic and what are the actions to take on an individual level.

This project is made by . Web Development by . Commissioned by Cinekid Festival 2020. It was made possible with the support of Mondriaan Fonds.

The Fortune Teller is een interactieve website over ecologie en duurzaamheid. Het project toont de directe kern van het probleem - consumentisme. Met games en twee tegenpolen als vertellers, Moeder Aarde als waarzegster en een slechte consumente, laat het de urgentie van het onderwerp zien en wat je zelf kan doen om te helpen.

Dit project is gemaakt in opdracht van Cinekid Festival 2020 door en werd mede mogelijk gemaakt door het Mondriaan Fonds. Web development: .

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The Fortune Teller is an interactive website about ecology and sustainability. It focuses directly at the source of the problem - consumerism. Through games and two opposed characters, Mother Earth Fortune Teller and evil consumerist, it educates about the urgency of the topic and what are the actions to take on an individual level.

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2019
The haribo Cult by Suzy Chan
The concept of "Gummy Bear = Happy" has been successfully left in people's impressions under their years of advertising marketing. But too much candy isn't good for health, especially those made of gelatine. Instead of telling its 'bad', I try to enhance its positive branding image. To consider the gummy bear as a religion, or cult, I hacked into a existed god-like system. With exaggeration, I tried to rise people's curiosity by creating a "Haribo Wolrd" (of course it is dominated by Haribo God). What I focus on is creating a sense of absurdity.

"小熊糖＝快樂"這個概念已經在他們多年的廣告營銷下成功地留在人們的印象中。但其實太多糖果對健康不利，特別是那些由明膠製成的小熊糖（他們大多是由豬皮製作成）。我無法一下改變人們的消費習慣，與其告訴別人它有多"壞"，不如把它推向相反的極端，告訴人們它有多"好"，設想小熊糖成為了你生活的信仰，甚至成為了一門你必須要相信的邪教。誇張地說，我通過使用小熊糖的品牌形象黑客进具有邪教意味的視覺系统而生成出一個"Haribo Wolrd"（當然它由Haribo神來主宰）來引起人們的好奇心，從而引起人們對這個零食的思考的疑問。我所創造的是一種荒謬感。

At the same time, I made two foam columns. Pretending to practise haribo magic.

同時，我製作了兩個由泡沫製成的柱子，試圖通過小熊糖"擺陣作法"。

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2019 The haribo Cult by Suzy Chan The concept of "Gummy Bear = Happy" has been successfully left in people's impressions under their years of advertising marketing. But too much candy isn't good for health, especially those made of gelatine. Instead of telling its 'bad', I try to enhance its positive branding image.

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2. Later on I consider a previous feedback I got from course mate: the part where most of the time the audience can only see a part of the fountain, I could turn this into a card collecting game, so the players can pass the door when the they collect all of the part of the fountain. I didn't take this further as I didn't want to complicate the concept by introduce more rules, and now I consider it could be an good idea to keep the player in the game and corresponding to my intention as well - the addicts are "collecting" certainty, confirmation and comfort and eventually hoping to find a solution without dealing with the problem directly.

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1. Maybe there could be a voice over/sound effect/reminding text that is narrating my intention of these loops. The problem is that the tone should not to be patronising

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At step 7 - 11, both Luise and I concerned that it will be confusing to audience to understand this is intentional, it might seem like a glitch in the game for them, and might lose interest after a few trial.

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However this idea inspired me to do a physical setting using transparent fabric on which the doors are printed rather than presenting using multiple screens.

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2 3D modeling workshops that could help in building the 3d environment.

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The music and the opening here are v perfect inspirations to achieve an atmosphere of high and calming energy.

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KRISTÝNA SIDLÁROVÁ

Kristýna Sidlárová (she/her) aka sida100 is a Czech-based multidisciplinary designer and visual artist with a focus on 3D and CGI. Although Kristýna specializes in digital art - for example creation of 3D objects, immersive environments, moving image, and filters in augmented reality - her practice is fueled by the traditional analog processes, such as sketching and clay sculpting. A typical feature of her practice is the conflict of material and virtual worlds, which is a vital part of her ongoing long-term project called Digital Climate.

@ sida100
︎ youtube.com/watch?v=sC8XpMtvMV4

3D CLIMATE

Exploring the endless possibilities in the microcosm of 3D software, creating your own climate within it, setting rules, creating relationships and stories. This workshop aims to help you to execute your vision within a digital 3D space. We will immerse ourselves in 3D sculpting via Zbrush and create a final shiny composition in Cinema 4D.

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KRISTÝNA SIDLÁROVÁ Kristýna Sidlárová (she/her) aka sida100 is a Czech-based multidisciplinary designer and visual artist with a focus on 3D and CGI. Although Kristýna specializes in digital art - for example creation of 3D objects, immersive environments, moving image, and filters in augmented reality - her practice is fueled by the traditional analog processes, such as sketching and clay sculpting.

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KAROLINA KRUPICKOVA

Through her practice, karolina is challenging power structures in graphic communication design. Her post-critical platform, her graduation project from MA Graphic Communication Design at Central Saint Martins, yesterday's tomorrow, collectively rethinks design h*stories, design education, and power structures.

After her BA in film and media studies in Vienna, Austria, and her background in costume design, karolina's practice specialised in Fashion as Design at the MoMa in NYC and the Graphic Design specialization programme at California Institute of the Arts, USA. karolina krupickova is the art director at studio basic and visiting lecturer throughout universities in Europe and the UK.

@ itskarolinakrupickova
︎ karolinakrupickova.com

TRANSFORMATIVE 3D LANDSCAPE

Creating a landscape of new values. A visual representation on how to politicise, depatriarchise, create, intersectionalise, queer, decolonise, transform, rethink and empower within a 3D tranformative landscape.

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KAROLINA KRUPICKOVA Through her practice, karolina is challenging power structures in graphic communication design. Her post-critical platform, her graduation project from MA Graphic Communication Design at Central Saint Martins, yesterday's tomorrow, collectively rethinks design h*stories, design education, and power structures.

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Trying to understand more about games or how to make a good digital experience.

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Transformative Collapse – Notes on digital games: from education to reflection and transformation.

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The Rodina lecture on digital games and how they are being enriched as a medium by artistic practices. 

Let’s look at selected concepts spanning from play as cultural phenomenon, motivational and educational tools, to digital games as counter-voices to current socio-political situations.

Artowrks Mentioned (credited & used only for educational purposes of this lecture at deBuren. Vlaams-Nederlands huis voor cultuur en debat):
Accidental Geopoetics, The Rodina, 2019
Elements of Style, The Rodina, 2020
Slow Signal: Carbon Performs Silicon, 2019
The Noise of Being, The Rodina, 2016
The Great Miseries of the War, Jacques Callot, 1632
The Post at Presnitz, Peter Snayers, 1641
Futuropolis: School of Emancipation, The Rodina, 2020
The Pong Experiment, Loren Carpenter, 1991, clip from All Watched Over by Machines of Loving Grace
Atari Tempest, gameplay, 1981 
Playbour: The New Workaholism, music Ventolin, design The Rodina, 2015
Clandestine Anomaly, ZenFri, release trailer, 2018
States of Play: Roleplay Reality, design The Rodina, artwork Reija Meriläinen, 2017
AIDOL 爱道, Lawrence Lek, trailer, 2020
Animal Crossing - New Horizons, Nintendo, trailer, 2019
Death Stranding, Hideo Kojima, trailer, 2019
Everything, David OReilly, trailer, 2017
Finding Fanon 2, Larry Achiampong and David Blandy, trailer, 2015
Poetic Machine Unlearning, The Rodina, 2018
Playbour: Roleplay Reality, The Rodina, 2018
Tropes vs. Women in Video Games, Anita Sarkeesian, 2017
Never Alone, Upper One Games, trailer, 2014
AR Dragon: Pet Simulator, Playside Studios, gameplay, 2017
HADO, NexRealm Productions, trailer, 2017
Playbour City Engines: Transaction Party with Yessica Deira, The Rodina, 2020
Ingress, Niantic, trailer, 2014
2 A.M., design The Rodina, music Puto Chino Maricon, 2018
The Elephant in the Room, School SOS and The Rodina, 2020
The Map of Scattered Society, The Rodina, 2019

Quotes, References, Mentions and Texts (credited in the essay & used only for educational purposes of this lecture at deBuren):
*1 John Amos Comenius, Orbis Pictus, [The World of Things in Pictures] (1658) presented a rich collection of 150 pictures showing everyday activities, things, and phenomena shown in the natural context of landscapes, still lifes, or allegorical images.
*2 Andreas Hellerstedt and Peter Mozelius, From Comenius to Counter-Strike – 400 years of Game-based learning as a didactic foundation, 2018 
*3 Thomas Malone and Mark Lepper, Making Learning Fun, 1987
*4 Loren Carpenter, The Pong Experiment, 1991, from the BBC documentary All Watched Over by Machines of Loving Grace
*5 Chin Jungkwon, Play and Labor, E-flux, 2017
*6 Alfie Bown, The Playstation Dreamworld, 2017  
*7 Alex Klein, Dorothy & Stephen R. Weber, and Milena Hoegsberg, Myths of Marble, exhibition at University of Pennsylvania, 2017
*8 Rindon Johnson, Away With You, 2016
*9 Larry Achiampong and David Blandy, The Finding Fanon trilogy, 2015–17
*10 Alfie Bown, The Playstation Dreamworld, 2017
*11 Lukas Likavcan, TANK magazine, Playing Against Extinction, 2020
Upper One Games, 2014
*12 Lucy Sollitt and Lesley Taker, States of Play: Roleplay Reality, exhibition at FACT, 2018
*13 Donna J. Haraway, Staying with the Trouble, 2016
*14 David OReilly, Everything, 2017

Lecture 6. October 2020 – deBuren: https://deburen.eu/programma/5132/spelbrekers-the-digital-space-and-games

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2/Mercury fountain with different textures and structural adjustment
(unfortunately, the process didn't get savedddddddd :))

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Latest update on the shrine and the fountain construction

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Latest update on the shrine and the fountain construction

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1/the shrine with different lighting and texture, considering put them up following my initial draft as well.

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However there are 22 doors (which means i would need 22 screens?) in my shrine, so it would be taught to recreate similar envionrment.

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Such as instead of building the virtual shrine, maybe rethink the interaction between the doors/the viewer/reality, put the doors into the screens and the audiences can actually walk in the shrine and experience different journeys behind each door.

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Unpacking the Processes of Artistic Knowledge

Design and identity of Sonic Acts Academy 2018 - a new platform for investigation, speculation, and reflection, focusing on educational practices and the critical examination of knowledge production in the field of art.

By expanding artistic experience into an academy of engagement and exchange, we wish to offer both a playground and a radical syllabus at odds with institutionalised learning.

in collaboration with Mateo Broillet
client: Sonic Acts, Amsterdam
2018

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Unpacking the Processes of Artistic Knowledge Design and identity of Sonic Acts Academy 2018 - a new platform for investigation, speculation, and reflection, focusing on educational practices and the critical examination of knowledge production in the field of art.

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In the tutorial with Matt, he suggested me to create a symbolic journey, in which the audience gets through the door, they can only see part of the fountain but can never really getting closer to it. So they need to exit the shrine and keep coming back to choose a different number to find the "right" door, and maybe they could get to the fountain the first time or they will get to it after 100 times.

This reflects the idea of unsatisfied from the psychic addicts, which is the reason why they would keep coming back to the tarot reading and other mystical consultation - People who are addicted to divination always want to see the whole picture of the future, however, the open-ended nature of divination itself determines that people can only ask a specific question, so they throw out questions one after another in the anxiety and anxiety brought by uncertainty, try to piece together a complete visible future in these answers, but ignore the reality and making the changes

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A digital experience hosted by EPFL Pavilions.

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Matt also suggested me to maybe re think the type of interaction and the form of the shrine

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championdontstop

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visual trick  symbolic journey

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mythical journey

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the key interactive exprience film

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I think rather than using lots of different complicate transparent material, it would be better if i just chose a few then focus on developing my own texture using previous drawing material.

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lover