How did the kiosk operate? The kiosk was a large empty drum with an elastic knob in the back that when pulled would push air out of the drum and shoot a burst wherever it was pointing. The human that was operating it would point it in a direction and then pull back on the knob, then releasing to let the air out with a loud bang, shooting it at a large sparkly target. The kiosk is demonstrating how play integrates our understanding of things. Like the understanding of actions and reactions, asking questions and figuring out the answer to them. It communicated the understanding in play by giving the user questions they needed to answer with it. Like what happens when you pull back the knob? What happens when I hit the target with the air? What happens when I hit someone in the face with a puff of air?
The kiosk has a contest nature to it, having the user try to aim and shoot at the middle of a target. The design was most understandable with the drum, as it was not difficult to figure out how to work it, simply just pull back and release. However, the drum would not always be pointed at the target, so the user would never know if there was a target there at all unless they searched around for it or were told directly. There was a sometimes visual but mostly physical feel and forceful feedback to the kiosk. You felt the elastic pulling against you, you heard and felt the knob fling back towards the drum, you could see the parts of the target fly around when shooting air at it, if standing in front you could feel the air be pushed against your face. The kiosk is game-like where as it has the user aim for a target, trying to get within the middle of it. That kind of interaction is fun and responsive because you get the sense of where you are hitting on the target very quickly and you can compete with others to see who can hit closest to the middle of the target.
Adding another drum could be an interesting concept. Bringing in a more competitive nature than it already has. There should be a discussion about the target rather than having the user try to find the target. Adding more targets would make the design more interesting, rather than just one target. Bring more elements to it. The kiosk is fun in a small sitting however long-term it gets repetitive and is not as rewarding when interacting with it multiple times. The elastic knob is hard to pull, so making it easier to pull back and release will make the puff of air feel more rewarding for the amount of effort put into it.
The kiosk is two tiny drag race cars that are parallel to each other. There is a screen between them and countdown lights above the screen. The users wait for the lights to turn green, and when that does, the users press the gas pedal to move their vehicle, whoever presses it the fastest wins. What was it intended to communicate? The kiosk is communicating anticipation to the user. How did it go about communicating? It does this by displaying when the user is to push the pedal at a random time. So you will have to be waiting for it to tell you to go, and each time may be longer or shorter than the other so it’s the anticipation of the symbol for go that really brings the interaction of the kiosk together.
The presentation as well as the feedback of the kiosk were very strong. It set itself up like a racer, and when pressing the pedal, you were told very easily who had won. kiosk told you what to do and when to do it fairly simply. The feedback on the press of the pedal, though sometimes slow to display, was visually stimulating. When you pressed the pedal, the racer on the side of the screen you are sitting on would begin to move. The kiosk was game like in that it set itself up to be a competition. Two people would test each other’s reflexes and see who can press the pedal the fastest.
Refining the pedal as well as the button that starts the kiosk is the biggest issue. They feel delayed and with the start button especially, feels unresponsive at times. The lights at the top are very small, as well as being almost unnoticeable based on their position. It would be easier to have them be made bigger or to have them positioned in a better place. The winner sign could have a noise to it as well, giving the user more of a sense of reward rather than just a light that pops up on their side’s sign. The entire piece feels old and unchecked upon. The video that plays on the screen does not seem like it has been updated for a few years, and the cars are beginning to see the wear of hundreds of people sitting in them.
Substance Painter MAT was a 3D character that was used for a contest held by Allegorithmic studios. This contest involved taking MAT into the program
For this game the group decided to go for an 80’s retro styled game, which involves lots of bright colors, while we mainly focus violet tones.
For this project, most of the critique came from the box colliders that kept players within the play area, as well as the enemies hitboxes seeming unfair.
To counteract this, I redid a majority of the boundary colliders, adding more so the players cannot escape the play area, as well as moving them around so the player feels like they can move throughout the entire room without being too limited. As for the hitboxes on the enemies, I lowered them, so that the hitbox is deep within the enemy, while at the same time, I increased the player hitbox by a small amount, which therefore allows the player to go within a better distance of the enemies without feeling cheated out of passing by the enemy.
For this, the goal was to create a house that belonged in a fantasy setting. During the process of designing the house, I decided upon pixies that have taken hold of living inside of a dead rat. Taking the organic and turning it into something that is generally an inorganic structure.
A Game I Could Play Forever- Cookie Clicker (Android)
This game is a mobile phone game, which means that it is touch based. There are no buttons, just a screen display that is interact able by touch.
Physically you can tap your fingers on the screen. When you tap, you make cookies, which adds to the cookie total at the top. As you get more cookies, you can buy upgrades that allows for the creation of cookies automatically, so tapping the actual device becomes more of a means to multiply the automatic cookie creation. When you tap to create cookies, it usually makes either some sort of dinging noise, or a satisfying crunch noise, as well as dropping cookies from the top of the screen as they are made.
The time between tapping on the screen and the cookies appearing is almost instant. Once you do a physical action on the screen, you get a visual and audible response.
When simply tapping, you are treated to different enjoyable noises and cookies falling from the top of the screen. There truthfully isn’t a “complex” action when it comes to Cookie Clicker, a majority of your actions are just tapping. You never slide your finger or make any motions, it is generally tapping. The most complex action to it is how fast you have to tap. The faster you tap the higher amount of cookies you gain due to the multiplier.
A Game That Frustrates Me- Castlevania (NES)
In order to interact with the game, I need to use my hands to press the buttons on the controller in order to move and use my player character in different ways.
I use my fingers to press buttons, pressing the movement pad makes me move left or right, pressing A makes me jump, pressing B uses my weapons. When I press UP and B at the same time, I use a special weapon I have picked up throughout the game.
Movement is quick to react in the game, you can hit left and right as fast as you can and the player character will respond almost immediately. However, when it comes to Jumping and attacking, it is more limited than that. Jumping is not nearly as quick, and you are exposed in the air for an incredibly long time, just waiting for an enemy to hit you. The jump has two different states in the game. There is a jump where you are standing still, and there is a jump where you are moving. You have no control of the jump. You do not control how far it goes at it goes at a set distance. You have no control of how high you jump with the extent of your button press. It will most always be the same jump, whether you are standing or moving. Attacking doesn’t have the exposure that jumping does since you are able to defend yourself when using an attack, however it still has some windup to it, making you have to react slightly before you need to.
The most frustrating parts of Castlevania is the clunky movement and the archaic system to use the items you pick up. Your movement speed is set to such a slow speed that it sometimes feels like a drag when you are walking down a corridor. It is even worse when you are being chased by an enemy, you cannot outrun them, so therefore you are forced to either used you terribly gimped jump to get over them, or be quick enough to attack them.
The games difficulty is fairly hard from the beginning, and gets harder as it goes. The game leads you into most obstacles as combinations. You are introduced to staircases at the same time a ghoul enemy appears on screen. You are introduced to bottomless pits at the same time Swamp monsters appear. The game will always showcase a new enemy type at times that a new mechanic is introduced. The game doesn’t really lead the player through any of the difficulty. Castlevania will not hold your hand, even if you need it. The game throws you into the mosh pit and then sprinkles a couple of steroids every once in a while, to the other people in the pit.
For this project, we are tasked with creating a video game level that presides to a certain aesthetic/ metaphor/ story that we have applied to it.
This video was created by a group of students including myself over the course of a 5 month period.
I was involved with every aspect of the video, from pre-production with helping to develop the script to being involved with storyboarding.
In the production phase of the video, I was involved with aiding in the recording of the voice over, getting the actor set up and prepared for the reading. I animated two portions of this video, one was the bicycle scene, the other being the doctor’s office scene. I was also there to compile all of the scenes together as well as fixing errors that were found during peer and client critiques.
This was an interesting experience, as I was exclusively working in a group rarely ever working alone. The biggest thing to take from this project is that communication is key. If the group isn’t communicating effectively, everything begins to fall apart.
With this piece, I wanted to create something that exudes the amount of stress that is created in the artistic process. This piece is a representation of stress in the process of art, through its creation, its presentation, and its interpretation.