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[FINAL REPORT] Adam Faldo 10356264

LILITH CREATING A HYBRID IMMERSIVE GAMING EXPERIENCE

BSC(HONS) COMPUTING AND GAME DEVELOPMENT FINAL REPORT

ADAM FALDO 10356264 PRCO303 2012/2013


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CONTENTS PAGE
TABLE OF CONTENTS
Acknowledgements.................................................................................................................... 5 Abstract ...................................................................................................................................... 6 Introduction ............................................................................................................................... 7 Methodology.............................................................................................................................. 8 What is Immersion ................................................................................................................. 8 Immersion Types .................................................................................................................... 8 Kinaesthetic Projection .......................................................................................................... 9 The uncanny Valley .......................................................................................................... 10 Past work in the field ............................................................................................................... 11 Lilith - Overview ....................................................................................................................... 11 Lilith Story ............................................................................................................................. 12 Definition ............................................................................................................................. 12 Platform and Technical Considerations ................................................................................... 12 Game platform ..................................................................................................................... 12 Implementation Languages and Tools ................................................................................. 13 Arduino/Lighting .................................................................................................................. 14 3RD Force Feedback Vest ...................................................................................................... 14 Install .................................................................................................................................... 15 Target Market ...................................................................................................................... 15 Competitors/Inspiration ...................................................................................................... 16 Slenderman ...................................................................................................................... 16 Mental Hospital................................................................................................................ 19 Secure Contain Protect: Containment Breach ..................................................................... 22 TECH ......................................................................................................................................... 24 System Requirement............................................................................................................ 24 Game Logic Design ................................................................................................................... 25 Game Objective.................................................................................................................... 25 Game Flow and Mechanics .................................................................................................. 25 Page | 2

[FINAL REPORT] Adam Faldo 10356264 Lilith AI ................................................................................................................................. 32 Detailed game design............................................................................................................... 35 Gameplay ................................................................................................................................. 35 Game Description ................................................................................................................ 35 Gameplay Overview ............................................................................................................. 35 Game controller ................................................................................................................... 36 Game elements .................................................................................................................... 36 User Interface .......................................................................................................................... 36 Overview .............................................................................................................................. 36 Main menu ........................................................................................................................... 36 Story Scene........................................................................................................................... 37 Forest ................................................................................................................................... 37 Indoor ................................................................................................................................... 37 Level design .......................................................................................................................... 37 Level overview ..................................................................................................................... 37 Level map ............................................................................................................................. 38 Media ................................................................................................................................... 39 Game art/models ................................................................................................................. 39 Project Management ............................................................................................................... 41 Project Timeline ....................................................................................................................... 42 Project Cycle............................................................................................................................. 44 Project Testing ......................................................................................................................... 45 Usability Test 1 ......................................................................................................................... 45 What did you enjoy about the experience? .................................................................... 45 What didn't you enjoy about the experience? ................................................................ 46 What would you add to the demo to make it better? .................................................... 46 Action ................................................................................................................................... 46 Usability Test 2 ......................................................................................................................... 47 Is there anything that stood out as good? ....................................................................... 47 Is there anything that stood out as bad? ......................................................................... 47 What would you change? ................................................................................................ 48 Action ................................................................................................................................... 50 Page | 3

Future Testing ...................................................................................................................... 50 Critical evaluation .................................................................................................................... 50 Cancelled Features ............................................................................................................... 50 Indoor Scene ........................................................................................................................ 52 Front Mounted Fan .............................................................................................................. 52 Difficulties ................................................................................................................................ 52 Arduino ................................................................................................................................ 52 Lilith AI ................................................................................................................................. 52 TN 3RD Force feedback vest ................................................................................................ 53 Conclusion ................................................................................................................................ 53 Future Development ................................................................................................................ 54 References ............................................................................................................................... 55 Bibliography ............................................................................................................................. 55 Ludography .............................................................................................................................. 56

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[FINAL REPORT] Adam Faldo 10356264

ACKNOWLEDGEMENTS
Dan Livingstone for being a great project tutor throughout this project. Marius Varga for giving me focus during the key areas of project development. Gareth Williams for giving me guidance on how to create a more professional product along with guidance on how to professionally sell an idea. Luke Angell for giving me technical assistance throughout the project.

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ABSTRACT
Is it possible to use external influences to heighten an immersive experience when playing computer games? This project aims to not only create a game which is immersive, but to also use external technology to achieve a deeper level of immersion by attempting to break the fourth wall. The project will involve creating a first person horror experience which will be crafted using inspiration from current popular games within the field while also building the game around external technology which will be used in an attempt to create a hybrid immersive experience.

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[FINAL REPORT] Adam Faldo 10356264

INTRODUCTION
Immersion is the future of videogames, graphics are beginning to plateau due in part to hardware limitations and the current generation of gaming is approaching a new era of progression. Rather than just increasing the graphics by a substantial amount per console cycle, the industry is looking towards ways to increase the users interactivity with games in an effort to push the medium forward by using alternative control schemes/motion controlling. Different control schemes have a negative effect on the immersion of the game due to kinaesthetic projection among other factors, my project aims to show just how much immersion is needed to create a rich digital media experience while exploring immersive experiences and their effects on the user. For this project, a first person horror game will be created, designed around being an immersive experience. This will be done by using techniques which are currently employed in modern games in this genre. The project will also explore the use of external influences to attempt to create a more immersive experience. Equipment will be utilised to draw the player into the game to heighten and force the immersion by creating an atmosphere in the room as close to the games atmosphere as possible. The main areas that will be looked at are lighting in the room and a force feedback vest to give the feeling that the game extends out of the screen.

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METHODOLOGY
To help understand what this project is hoping to achieve, here is an overview of immersion and its implications in digital media.

WHAT IS IMMERSION
Immersion is the art of drawing someone into an experience and suspending their perception of the real world. THE WORD IS DERIVED FROM THE PHYSICAL EXPERIENCE OF BEING SUBMERGED IN WATER. WE SEEK THE SAME FEELING FROM A PSYCHOLOGICALLY IMMERSIVE EXPERIENCE THAT WE DO FROM A PLUNGE IN THE OCEAN OR SWIMMING POOL: THE SENSATION OF BEING SURROUNDED BY A COMPLETELY OTHER REALITY, AS DIFFERENT AS WATER IS FROM AIR, THAT TAKES OVER ALL OF OUR ATTENTION, OUR WHOLE PERCEPTUAL APPARATUS.-HTTP://PEOPLE.ICT.USC.EDU/~MORIE/SUPPLEMENTALREADINGS/CH3MCMAHANREV.PDF

IMMERSION TYPES
There are five main types of immersion, here is a quick overview of their definitions; 1. Spatial/Sensory Immersion The type of immersion you would most commonly associate with video gaming. It is purely the sense of being in a different world. There are three conditions which are key to creating a spatial/sensory immersive game. These are; The players expectations of the game world must match the environments conventions fairly closely. (If you are expecting realism and something unrealistic happens in the game, it can be disjoining from an immersion perspective) The users actions or input must have some form of impact on the game world. The conventions of the game world must be consistent, even if they dont match those of real life.

2. Tactical/Sensory-Motoric Immersion When playing fast paced action games or games online, to the point of being immersed in the beating of your opponents rather than being immersed in the game world per se. Often referred to as being in the zone. Offline, this type of immersion is expressed through the difficulty of a game. This type of immersion has become popular recently with great examples of using difficulty to make a game more immersive in the form of the Dark Souls Page | 8

[FINAL REPORT] Adam Faldo 10356264 franchise along with the recent emergence of online survival adventure games such as Minecraft, Day Z and War Z. 3. Strategic/Cognitive Immersion Most commonly found in game genres like strategy and Japanese Role-Playing Games. This form of immersion comes from constantly calculating what the opponent is doing and adjusting play style accordingly. In turn based Japanese Role-Playing games, There are strategic elements to beating the game that can sometimes be crucial, thus playing nicely into the strategic and cognitive aspects of immersion. 4. Emotional immersion By experiencing emotions through the games story and by having an emotional connection to your character and the events they are going through. A level of immersion can be achieved which is also vital to most genres, but is a make or break criteria for RPGs and narrative heavy games. (The whole Final Fantasy franchise is built around this form of immersion. They are known to excel at this aspect which players expect when buying a Final Fantasy title) 5. Psychological Immersion Often perceived as the dangerous form of immersion. Closely related to spatial and sensory immersion, psychological immersion is when the player is so consumed by the game world they find it difficult to differentiate from the real world and that of the game. This project is focused on submersing the player in the game world as opposed to creating an emotional connect to the character or creating a sensory-motoric/cognitively immersive experience. This has led to design choices around hardware and scripted events to try and push immersion to a higher level. In essence, immersion is the opacity of the window you are looking through into a different world.

KINAESTHETIC PROJECTION
There is a wide range of techniques which can be used to push the level of immersion of a game to the player, but there are also a few ways which can completely remove the player from the experience. Before diving into what exactly kinaesthetic projection is and why it is a huge problem, there is a concept which really helps to explain how it works.

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THE UNCANNY VALLEY


The uncanny valley is a hypothesis first coined in the 1970s by a robotics professor by the name of Masahiro Mori. The basic premise for the uncanny valley is the more human something looks, feels or acts, the more positive our emotional response to it becomes until a certain point. Once something goes over the threshold of being nearly human, our emotional response quickly becomes negative. However, as the likeliness becomes more and more human after the threshold, our emotional response becomes positive again to a degree that is higher than something the other side of the threshold. The difference between something that is almost human and something that is humanistic is called the uncanny valley. The uncanny valley extends into games in that the more realistic a game tries to be, the less it can get away with which brings it down to the almost human level. Glitches for instance or even game mechanics can bring the game back into the uncanny valley. Likewise, an unrealistic game can get away with a lot more. Jumping as high as a building in a game which isnt trying to be realistic is much easier to accept than doing the same in a game which is trying to push realism.

As humans, we subconsciously allow tools to become an extension of our own body. For example, when riding a bicycle, we dont think that we are going to turn the bike left or right. We simply become one with the bike and see it as Im going left/right. This is projection of proprioceptive information and has been coined kinaesthetic Projection by James Portnow of Extra Credits fame. This principle also applies to control methods used in videogames and hasnt been an issue until the recent rise in popularity of motion control gaming. The reason for this is because when a non-motion controlled controller is used, it is easy for the player to look past the fact that they arent directly controlling the character because the control scheme never tries to force a sense of realism on the player. Pressing a button to punch something doesnt feel disjoining from the experience because the controller isnt trying to be a realistic depiction of what actions are being carried out. Whereas punching using motion controls such as Microsoft Kinect or a Wii remote falls into the uncanny valley. By making the action more realistic, we subconsciously expect more from the action to pass it off as normal. The punch will lack feedback from contacting with

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[FINAL REPORT] Adam Faldo 10356264 anything which will force the player into thinking that something just isnt right with that action. This is the sort of thing that pulls the player out of an immersive experience and has been the reason why motion controls havent taken off as well as they could have among a more hard-core audience.

PAST WORK IN THE FIELD


There are many reasons why this project has gone forward. In the past, I have personally worked on projects regarding motion controls based in a horror environment. The aim for this project was the same for this one, to try to push what is possible with immersion in games. The project involved using a Wii Remote/Wii nun chuck attached to a handheld projector which would render the game world onto the surface in the room you are stood in. This breaks the mantra of getting caught in the uncanny valley when it comes to utilising motion controls by using the controls in a realistic way. Essentially the controller became the players torch which avoided kinaesthetic projection completely, but the options for using motion controls to this level of realism are very small. This project was aimed at proving that creating an immersive environment inside and outside of the game will create a far richer experience for the player than standard motion control paradigms.

LILITH - OVERVIEW
Lilith is a horror game played from a first person perspective. The player plays a ghost hunter, who must navigate through a forest after crashing into a tree on their way to a supposedly haunted house. Once the player has been caught, they must get to the bottom of why the house (and indeed the forest) is haunted. Lilith also serves as an experiment regarding immersion. Alongside the game, hardware implementation is being developed to extend the game world into reality in subtle ways.

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LILITH STORY
DEFINITION
Lilith
1. An evil female spirit in ancient Semitic legend, alleged to haunt deserted places and attack children.

You play as a ghost hunter that has decided to report on a supposedly haunted house. While driving for what seems like a lifetime through a dark forest, you see a flash of a small girl in the middle of the road and then black out. You awake and find yourself lying on the ground outside of your burning car. You fight the flames to try to pick up your mobile phone to call for help but it has gone, the only things you managed to grab were your torch and your camera before the car was completely engulfed in flames. Knowing that you were close to where the house was supposed to be, you decide to go on foot through the forest, but you are not alone.

PLATFORM AND TECHNICAL CONSIDERATIONS


GAME PLATFORM
The platform for Lilith is PC. Anything else would involve a complete overhaul of the game regarding external technology. Aside from technical limitations, PC is also the best platform for rapid development and playability. Compared to other platforms, the PC is relatively limitless.

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[FINAL REPORT] Adam Faldo 10356264

IMPLEMENTATION LANGUAGES AND TOOLS


The main languages which are used within this project are C# Script and JavaScript. This was a design choice based on the flexibility of c# script compared to JavaScript versus the ease of JavaScript. Design choices for the implementation language followed these simple rules; For classes which did not require interfacing with the Arduino, JavaScript was used. For classes which required to interface with the Arduino, c# script was used.

The reason behind this decision was due to limitations in unity when cross referencing classes in two separate languages. For the low level tasks such as talking to serial ports, C# script had to be used and because other gameplay orientated classes required to speak to them, they were also made in C# script. In regards to the force feedback vest, a c# wrapper was used in order to get functionality into the main artificial intelligence class (which is Javascript based). Below is a list of the main classes and their functions with this project.

Script Name PlayerHealth

Language JavaScript

Scene Forest

LightningCSharp

C#

Forest

RainPosition

Javascript

Forest

FlashlightManager

JavaScript

Forest and

Description This class deals with the astatic screen effect by using a value for the players health. When the players health decreases, the alpha channel of the static screen increases. Once the player dies, the script loads the next level. This class also deals with making the static texture animated by using a random offset position. This script was initially written in JavaScript but was switched over to c# due to difficulty accessing methods inside the Arduino c# class from JavaScript. This script controls the lightning in the game. This script repositions the rain particle effect to follow the player around the map rather than attempting to blanket the whole terrain with separate particle effects. The flashlight manager class handles all code related to the torch. The flashlight Page | 13

Indoor FootstepAudioPlayer JavaScript Forest and Indoor

NPCMovement

JavaScript

Forest

manager uses a state machine to allow for other scripts to reference it easily. The Footstep audio player class deals with creating audio source components on the selected game object. It then uses 5 audio clips and plays them randomly with set intervals. This is to create a more realistic footstep sound rather than repeating the same step audio. This class houses everything to do with the AI of Lilith. The Ai has been explained more in-depth on page 34. The class partially derived from a tutorial available online at http://youtu.be/3Ny9CvliHNA/. The script has been heavily edited to include more functionality such as random jump scares and interfacing code in conjunction with the force feedback vest.

ARDUINO/LIGHTING
SerialPortTest C# Forest and Indoor This class was used when developing content around the Arduino light. Enabling this script created a basic GUI which could be used to test whether the Arduino is communicating properly.

3RD FORCE FEEDBACK VEST


TNGamesVest C# Forest and Indoor This script was initially a c# wrapper which would extract the methods needed for the force feedback vest to function from a dynamic linked library of the official SDK. The program was written by somebody called Tim (Full name is not on his website) found here http://waterhobo.com/?p=28. The program was imported into Unity and referenced in other scripts.

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INSTALL
This is a diagram to show the schematics of the install. It shows how the technology is connected to everything and also the ideal layout for the room that the game is being played in.

The lights are located out of sight of the player so they do not become distracting. There is also a light located behind the monitor which acts as an ambient light akin to technologies used in Ambilight televisions.

TARGET MARKET
The technology which is used in the Lilith project makes it difficult to pinpoint a specific market for the product. Commercially, its viability lies in the enthusiast market regarding purchasing the technology to experience the game as it should be, but as a standalone product the game would cater to the low end pc market such as Steam. Similar games to Lilith come from the independent developer section of the games industry. These games give a good indication as to where and how the game could be marketed. Page | 15

COMPETITORS/INSPIRATION
As stated before, Lilith is a horror game created for the purposes of being able to take advantage of technologies such as the Arduino lighting and force feedback. The project was kicked off by researching many of the independently developed horror games to work out how the technology could fit into a game scenario. The game itself has taken inspiration from many of these games along with some assets from the games which will be discussed later. Below are some of the games which Lilith has taken inspiration from and also serves as the main competition for if Lilith was to be taken to a commercial market.

SLENDERMAN
Slenderman originated from a competition hosted by forum members on a website called SomethingAweful in 2009. The competition was to create paranormal pictures and give a backstory on them. A user called Victor Surge uploaded two pictures (below) along with brief descriptions which told the story of how a lot of children disappeared the same day from the same school.

From the pictures posted, users constructed a story about the monster dubbed Slenderman. This was then picked up in 2012 by an independent game company called Parsec studios who created Slender the game. Slender is based in a woods, the player must collect 8 pieces of paper in order to win the game. The twist is that the Slenderman is in the woods and will chase the player down.

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Above is a screenshot of the game being played. Slender was created using the Unity3D engine and was offered online for free as both a standalone version and a web based version. Below is a screenshot of the Slenderman in the game, this screen shows the player when they are about to die. The screen fills with static along with sound effects and then the game resets.

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T HINGS S LENDER DOES WELL


The atmosphere in the game is perfect for the horror genre. The sandbox nature of the game is executed well, the game doesnt feel too big or too small. The artificial intelligence in the game is simple yet works well with the game. The player feels like they are being chased and stalked.

T HINGS S LENDER DOESN T DO WELL


Visuals are very basic and unpolished. Slenderman model is also very basic and low poly. Can be frustrating when the player is caught towards the end of the game due to the AI mechanics.

A lot of inspiration was taken from slender when it came to creating Lilith, the atmosphere of the game creates a very immersive experience in such an open environment. Lilith was scoped to have an outdoor scene to set an immersive mood/atmosphere and would then progress onto a more linear, scripted indoor scene. This made slender the perfect game to inspire the gameplay and atmosphere of the outdoor section which Lilith reflects.

A CTIONS / STUFF TO TAKE FORWARD


The parts of Lilith that were inspired by Slender are as follows. Design around the ambience of the outside portion of Lilith was inspired by Slender. The AI behind Slender inspired the AI behind Lilith in the outdoor portion of Lilith. Visuals were given more thought to push the game above what has been achieved by Slender. An in-depth backstory for Lilith was created.

In regards to competition, Slender has been picked up by a publisher and a AA version of the game has been created as a sequel to the first game. Slender the original is free to download but the new game costs around 7.00, this shows what business model other key players in the industry are following and gives the game a route to monetisation should development take a more commercial direction.

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MENTAL HOSPITAL
Mental hospital is a first person horror game created by an independent developer who goes by the moniker MrLuckyLord in 2012. The game is a heavily scripted experience based inside a building in which the player must navigate hallways visiting each room and eventually escaping.

The game is confined to the building and its rooms which are all housing a scripted event. The player starts off with a torch and a gun which has 3 bullets. The player makes their way through the building until a corridor in the basement in which the game ends. The player is free to explore as many rooms as the want, but the game will end with a you lose screen if the player doesnt explore every room. There is also a twist regarding the gun, there is nothing to shoot at throughout the game. The gun is used as a play on the psychology of the player by making them both feel empowered and also in danger of something running at them.

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T HINGS M ENTAL H OSPITAL DOES WELL


The player is given a gun with 3 bullets at the beginning of the game, this is clever because there arent any monsters in the game to shoot at. The gun acts as a play on the psychology of the game, making the player believe that something is going to come at them but leaving them in suspense. The atmosphere in the game is perfect for the horror genre. The scripted events are very jumpy.

T HINGS M ENTAL H OSPITAL DOESN T DO WELL


The scripted events are slightly out of context and feel slightly cheap. Looks very unpolished, not much care has gone into presentation. The end to the game is slightly unsatisfying. There is no replay value even if you fail.

Inspiration has been taken from Mental Hospital in regards to the indoor section or Lilith. The model of using the rooms to house events plays into Liliths aim of using scripted events to measure stress changes. This model would also make consuming the Biomet API much more effective. The one thing which has stood out as something to avoid is the cheap feeling of the jump scares. Walking to a room and having a bed flip up for no reason is scary

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[FINAL REPORT] Adam Faldo 10356264 from a jump point of view, but in the context of the room it didnt feel like it was thought about.

A CTIONS / STUFF TO TAKE FORWARD


The parts of Lilith that were inspired by Mental Hospital are as follows. House layout design based around gameplay rather than realistic dimensions of a house is beneficial to the game. Scripted events being used in a way that is not repetitive or cheap is important to a game in this genre. The lack of back story took away from the experience of Mental Hospital which shows its importance. Atmospheric lighting in an indoor environment is very important, what you cannot see is as important as what you can see.

Mental Hospital is a free download which falls in line with similar games in the genre. For this reason the competition between itself and Lilith would purely be on an opinion level rather than a market level.

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SECURE CONTAIN PROTECT: CONTAINMENT BREACH


Secure Contain Protect (or SCP) is another first person horror game which is based in an abandoned facility. Much like Slenderman earlier, SCP is based off of myths which people have posted online. The difference with SCP is that the myths are all viewable on an editable wiki page located here (http://scp-wiki.wikidot.com/). SCP: Containment Breach was created by a Finnish independent developer called Regalis in 2012.

Above shows the monster called SCP -173 Euclid (http://scp-wiki.wikidot.com/scp-173), who remains completely still when anyone is looking at him. When no one is looking at him he will kill everyone. The mechanic that makes this interesting is that there is a blink meter which constantly depletes. When it reaches 0, the player will automatically blink and the bar will be refilled, the player also has the ability to blink without the bar running out. While the player is blinking, they are prone to being killed if SCP-173 is within eyesight. Another monster called SCP 096 Euclid (http://scp-wiki.wikidot.com/scp-096) is completely docile towards players until they make eye contact with its face through any means. There are cameras in the game which can be viewed from security rooms. If the player looks at the monitors in a security room and see SCP-096s face, he will chase the player down until he is killed. There is no way to get away from SCP-096, once you make eye contact you have more or less died. These monsters roam the game and are randomly placed which gives the game some unpredictability. The aim of the game is to escape the facility which means walking through confined corridors and dark rooms. There are also some small puzzle elements to SCP: Containment Breach which the player must complete to progress. Page | 22

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SCP: Containment breach was made in the Blitz3D engine which gives it a very definitive feel compared to other engines. The visuals of the game are basic but effective and the atmosphere created by the audio along with the visuals is a good example of atmospherics making a game much more effective.

T HINGS SCP: C ONTAINMENT B REACH DOES WELL


The unpredictability of when a monster is coming for you gives the game a very tense atmosphere. The game is constantly being updated with new monsters that people have posted online. There are no cheap jump scares, everything is mechanic based.

T HINGS SCP: C ONTAINMENT B REACH DOESN T DO WELL


The monsters are controllable to a certain extent. For instance you can use the mechanics against the bosses to gain an unfair advantage like staggering your blinks to draw SCP-173 into a room. The engine looks a bit dated The difficulty for the game is very high and is mostly a trial and error type affair.

Inspiration has been drawn from SCP: Containment breach in regards to the lack of scripted events and the atmosphere. It does a good job of creating a tense atmosphere by using monsters that have an AI rather than relying on nothing but jump scares akin to Mental Hospital. This was taken into consideration when designing the indoor section of Lilith.

A CTIONS / STUFF TO TAKE FORWARD


The parts of Lilith that were inspired by SCP: Containment Breach are as follows. Indoor atmospherics. Page | 23

Scripted events pushing away from being predictable/making them less cheap.

The competition between SCP: Containment Protocol and Lilith follow the same trend as Mental Hospital. The game is currently free to download.

TECH
SYSTEM REQUIREMENT
Lilith was created using the Unity3D Game engine which is based on PC and Mac. For this project, the game will be deployed on the PC platform, but there are options for future releases to be built for a whole host of other platforms such as game consoles. The system specifications for a Unity3D based game are below.

Operating System: Processor: Memory: Hard Disk Space: CD-ROM/DVD-ROM Drive Video:

Windows XP or later/Mac OS X 2.4GHz Processor or faster 1gb Ram

10.0 GB of available hard-disk space


DVD-ROM not required

A graphics

card that supports DirectX 9.0c and Shader Model

2.0 support
Sound: Windows XP or later/Mac OSX compatible sound card (Dolby Digital Interactive Content Encoder required for Dolby Digital audio) DirectX: DirectX version 9.0c or higher

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GAME LOGIC DESIGN


GAME OBJECTIVE
The objective of Lilith is to try to survive. The player must attempt to make their way to the house to seek help but essentially this is a bad idea. The game is played from the perspective of a video camera which plays into the ending of the game. The camera overlay displays the play sign rather than record. This is because at the end of the game it is revealed that the events of the game were found on a videotape in a forest, and that the player was just watching what was recorded on the tape.

GAME FLOW AND MECHANICS


M AIN M ENU
The game starts off on the main menu. This scene uses 3D text along with some tweaks to the main camera to create a unique type of menu. The player can actually look around the room with the mouse with the options to exit and play game to the side. To start the game or exit, the player must click the text respectively. The room in the background is actually the last room of the game.

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M AIN M ENU F EATURE S ET


3D GUI which the player can look around Uses a scene from the game to create a slick user interface.

S TORY S CREEN
The next screen displayed to the player is the story screen. This screen is a static GUI scene which gives context to the game. It is a brief run through of the games story and what the player must do.

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F OREST S CENE
The player is then dropped into the game. The forest scene consists of a sandbox AI type experience where the player must make their way to the house while being chased/stalked. The forest scene features volumetric clouds, a particle effect in the form of rain, ambient music and of course the enemy which will be discussed in depth in the next section.

There is also a UI element which appears when the player attempts to run out of the forest via the road they had travelled on which is displayed as 3D text.

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There are a couple of points of interest which are in the forest. A graveyard where when stood near plays an audio track of a girl crying, it also alerts the enemy. There is also a swing which has an audio track of a girl laughing. Aside from alerting the enemy, these are just cosmetic.

Finally, there is the house in the forest which the player must try to get to. The house itself is not enterable, it instead causes the enemy to teleport near the player to kill them and teleport them inside. The house is surrounded by red grass, this is to give the player a hint that they are nearby because without any indication, players were having difficulty locating it.

After the player dies in the forest, they are taken to the indoor scene. Page | 28

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F OREST F EATURE S ET
Atmospheric lighting in the form of the torch Thunder and lightning combined with volumetric clouds to create a realistic weather system. The scene has elements which follow the backstory to the game (the broken down car, the house, the camera ETC.). Enemy AI to create a more open experience rather than relying on scripted events. Realistic and immersive audio provided by both the sound effects and the ambient music.

I NDOOR S CENE
The indoor section of the game is still under construction and is something that will be completed in future iterations of the project. There are a few elements currently in the game which are displayed below, these include models for three of the four rooms. The rooms which currently contain models are the Childrens Room, the Toilet and the final basement room. Below is a screenshot of the layout of the indoor section.

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Below shows some screenshots of the game in action for the rooms which have models implemented. The first two screenshots show the childrens bedroom. This room will have a scripted event implemented in future revisions of the project. As the project stands there is no scripted event for this room.

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[FINAL REPORT] Adam Faldo 10356264 Below is a screenshot showing the toilet models implemented. Like with the Childrens bedroom, the toilet doesnt currently have any scripted events implemented other than the flashlight flickers when the player approaches the final toilet stall.

And finally, below is an in game screenshot of the final room. This room does not have any scripted events in this current build.

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I NDOOR F EATURE S ET
Atmospheric lighting in the form of the torch House geometry designed around a better experience. Scripted events that will break away from convention once implemented A modular approach to the rooms which allows for future expansion Realistic and immersive audio provided by both the sound effects and the ambient music.

LILITH AI
The paradigm behind Liliths AI was to create an entity within the game world and allow it the freedom it needed to push away from being scripted. Lilith was given a set of rules she must follow and is then dropped in the world. Essentially, the AI is implemented in a way that the game will never play the same way twice. She will come at you from different directions and will use different effects on the player. Teleporting Lilith will teleport if she fails to come into contact with the player after a specified amount of time. She will calculate a random direction from the player and will teleport to a specified distance. The distance can be altered in code to allow for difficulty tweaks along with game balancing. Lilith will also teleport if the player stares at her for an allotted amount of time. The amount of times this will work can be limited so after a few encounters, instead of teleporting away from the player she will actually teleport right behind them/in the players face. Liliths States The AI for Lilith is written in a way that she has states which are used to distinguish her behaviour. These states are; Run Away Free Roam Chasing Idle

The main state which is currently used is the chasing state. This is because of the style of gameplay currently in the game. The AI script is written in a way that is scalable depending on what future iterations of the project might require. Lilith will use her idle state when she is too close to the player to avoid clipping through the players camera.

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[FINAL REPORT] Adam Faldo 10356264 Distance Calculations The square distance from the player to Lilith is calculated and is used to drive the state changes along with other events. There is a max range and a minimum range. The maximum range is used for calculating whether Lilith is in the chasing state or the free roam state. This value is also used to determine when she should teleport. The minimum range is used to calculate when she is within range to kill the player. The square distance is also used to fire the random scripted events which can sometimes give the player a small warning as to when she is near. This works by using a state machine to house three different scripted events in which is contained in a method. Then, when it is calculated that an event is to be fired, the method is called and passed a random integer which is used to determine which event should play. On the next page is a flow diagram detailing the way Lilith moves between her states. This is the rule set which makes up the AI.

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DETAILED GAME DESIGN


This chapter gives a detailed overview of the game design along with design choices made. For reference, there is also a copy of the game design document which was written for this project which gives an overview of the design.

GAMEPLAY
GAME DESCRIPTION
Lilith is a first person horror game based in both a forest and a house. The player must navigate their way through a forest while being stalked and chased by a demon. The player must then navigate their way through a creepy house to try to stop the demon.

The game also controls external technology depending on events within the game. For example, when lightning flashes in the forest, a light flickers in the room they are playing the game in. When Lilith is behind the player, there will be a slight jolt on the players shoulder using a force feedback vest.

The game is played as if it is a recording of previous events (camera overlay), but the player is actually controlling the character. This plays into the story of the game which is revealed at the end.

GAMEPLAY OVERVIEW
The player must walk through a forest after having a car accident on their way to a haunted house. The player controls a ghost hunter which has set out to get footage of a haunted house which is nearby. The game is based around getting to the house to call for help and collecting footage along the way. Once inside the house, the player must navigate through the house looking for help, inevitably the player dies in the last room of the house and the game ends.

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GAME CONTROLLER
The game is played with the standard input scheme for a first person game. The game can be played with either an Xbox360 control pad or standard first person controls for PC. The only other elements to the controls are sprinting which is done using the A Button on the Xbox Controller or the shift key on the PC version and also turning the torch on and off using the B button on the Xbox Controller or the X key on the keyboard.

GAME ELEMENTS
Lilith consists of the main menu scene, a story scene, a forest scene and then finally the indoor scene.

USER INTERFACE
OVERVIEW
The main menu will consist of two options, start game or quit.

Once the player is past the main menu and into the game, there is no user interface with which the player interacts with, this was a design choice to make the game reflect a movie style.

The only popups that will appear are for instructions and elements of the story.

MAIN MENU
The main menu consists of two options; Play Game and Exit. When the player picks Play Game, they are taken to the story screen which gives a brief overview of the story of the game and gives the player a reason as to what they are doing. Page | 36

[FINAL REPORT] Adam Faldo 10356264 If the player clicks on exit, the game will quit.

STORY SCENE
The story scene consists of a UI which tells the player the story of the game. The story reads: Id been travelling through this forest for hours when something jumped in front of the car. I swerved to avoid it but ended up crashing into a tree. I woke up lying on the ground with the car on fire next to me. I went to grab my phone but for some reason it was missing. The only things I could pick up were my camera and my torch before the car was engulfed in flames. I couldnt have been far from the house, Im going to try and make it on foot to ride out this storm til morning. This haunted house better be worth it. This screen acts as the context for the game.

FOREST
The forest doesnt have any gameplay based UI elements. The only UI which is displayed is when the player tries to leave the forest by going back the way they had come. Text appears on the screen which just says Ill never make it back on foot. This is used to give the illusion that the game isnt completely gated off from the outside world. The game features a camera overlay which contains the UI which would be found on an only style camcorder. These UI features are a static image and have no functionality attached to them.

INDOOR
The indoor section doesnt have any UI elements other than the camera overlay.

LEVEL DESIGN LEVEL OVERVIEW


The game is split up into two main levels, the forest and the house.

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The forest consists of an open field which the player can navigate nonlinearly. This portion of the game is essentially a sandbox. The indoor section consists of a series of corridors which links up multiple rooms in a linear fashion. This was a design choice to give the scene more focus which would allow for more involved scripted events.

LEVEL MAP
Below is an overview of the Forest map. It shows the paths along with the points of interest.

Below is an overview of the house layout. It shows the corridor paths along with the stairs which go down to the final room.

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The layout of the house was initially planned to be more of a standard house layout, but a design decision was made to focus on creating a linear experience tailored for the game. For this reason there are no windows which makes the indoor scene feel much more closed in. Another feature is that the corridors were designed around having blind spots rather than having a traditional layout. This was to give the house more blind spots when the player is navigating the corridors which would allow for more scripted sequences. Using this layout also allowed for spacing the rooms accordingly rather than having all of the room entrances in close proximity to each other.

MEDIA GAME ART/MODELS


The art for the game is split into three categories. Textures, models and audio.

T EXTURES
For most of the models that were used for the game, they had their own textures which were imported with the model. The only textures which required editing were mainly on the inside of the house. Wall textures were created using textures found online (Links available in the references) and then editing them to be fit for purpose with things such as saturation levels, editing the actual image and making them tile properly. All textures that were edited were done so in Adobe Photoshop cs5. The decals in the interior section of the game were also created in Adobe Photoshop cs5. Page | 39

The texturing in the forest portion of the game uses the built in textures from Unity as they are fit for purpose.

M ODELS
For the exterior section of the game, the main models which were used were the swing, gravestones, Lilith and the house. These models were collected from websites such as http://thefree3dmodels.com/ and http://archive3d.net/. The model for Lilith is actually the model of a girl from a game called F.E.A.R. The model comes in the standard T pose so for animations to be used, the model had to be rigged. To rig a biped to the model, 3DS MAX 2012 was used. This was then exported to unity which was then animated using Unitys inbuilt animation engine called Mechanim. As for the interior of the game, the models were collected from both the websites mentioned earlier.

A UDIO
The audio used within the game was collected from many sources. For things like the footstep audio, thunder, static, ambience and jump scare sounds, they were collected from online sources and then edited in Audacity. Audio assets were created for parts of the project such as the whispers for one of the jump events also using Audacity.

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PROJECT MANAGEMENT
To manage this project, an agile development platform called Trello was used. The screenshot below shows the state of the project management towards the end of the development lifecycle. The labels are to help keep track of what exactly each card is about and to make the project management more readable.

At the beginning of the project, Pivotal tracker was considered as a project management tool because of familiarity from other projects. But after researching other tools, Trello was more tailored towards solo projects which made it much better to use than Pivotal Tracker which is more focused at group project management. The project had an initial timeline which scheduled when parts of the project were required to be complete. This was used in conjunction with Trello to keep this ambitious project on track and manageable. When working on sections of the project timeline, tasks would be broken down into smaller chunks and then added as cards to Trello. This also served as a notepad for the project, if anything was to come up that needed to be done, a card would be added to the To Do list.

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PROJECT TIMELINE
Below is the final project timeline which indicates the dates of completion for the sections of the project. The initial project timeline took into account contingencies for deadline slipping which in practice has kept the project on track. The initial project timeline can be found at page 8 in the appendices along with the first and second progress reports which can be located at page 12 and page 17 respectively.

Terrain Completion Atmospheric Lighting Mesh Construction

Software 5/1/2012 7/1/2012 17/2/2012

Texture Completion

15/2/2012

Sound Assets Created

23/1/2012

AI Scripted Events Creation

20/3/2013 20/1/2013

Complete the terrain of the game Implemented lighting Complete fabrication/collection of 3d meshes needed for the game Created textures for the meshes implemented Sound assets created including atmospheric binaural recordings The enemy behaviour created Scripted events to be completed

COMPLETE COMPLETE COMPLETE

COMPLETE

COMPLETE NO BINAURAL RECORDINGS COMPLETE INCOMPLETE

External Lighting

Hardware 15/3/2013

Heart rate monitor/Video Capture Force feedback Vest Rigging Page | 42

1/3/2013

28/3/2013

Research into Arduino COMPLETE NO boards/possible NEED FOR outsourcing of OUTSOURCING computer controlled power relays complete along with lighting Data collection set up API created but ready for not implemented implementation with due to technical user testing constraints. Force feedback rigged to COMPLETE in game triggered events

[FINAL REPORT] Adam Faldo 10356264 Documentation 11/10/2012 5/11/2012 5/11/2012

Initiation Game Design Document Technical Design Document

Project Initiation Document GDD for the project TDD for the project, This will include speculative sections due to the hardware coming later on in the development cycle. Due to be updated. Report into the positive/negative effects of immersion along with current technology analysis Report into the results from the user testing and what information can be extracted from the project User feedback given through a feedback form is extracted into a testing document. Evaluation of the project as a whole.

COMPLETE COMPLETE COMPLETE

Immersion in Digital Media Report

15/11/2012

COMPLETE

User Testing Results (Quantitative)

25/3/2013

User Testing Results (Qualitative)

5/4/2013

INCOMPLETE BASED ON QUANTITIVE DATA FROM HEARTRATE MONITOR COMPLETE

Evaluative and Final Report

21/4/2013

COMPLETE

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PROJECT CYCLE
For this project, a development cycle was used to create a better end product. The time between each testing is classed as a development cycle iteration. This allows for testing throughout the project lifecycle in key stages to help shape the product. The cycle that was used for this project is shown in this diagram.

This cycle would move from designing and building the project to a specification which will be outlined from the previous testing iteration. Once this has been completed into a proof of concept, it is tested. Once the testing phase is done the project moves back into the design/build phase. This cycle repeats until the initial specification has been met.

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PROJECT TESTING
Due to the restraints on the quantitative testing, qualitative testing was conducted in two cycles. One test was conducted in January 2013 which was based on the atmospheric aspect of the game. Another test was conducted in April 2013 which was focused on the project as a whole.

USABILITY TEST 1
The first test was conducted with a number of non-game development minded people and was aimed at finding out about how the users found the direction of the game. The project at that iteration was very basic, the only things in the game was some basic audio, an old version of the terrain and the lighting effects along with a very basic enemy script. The enemy would just follow the player while playing a whisper audio track. You could tell how close the enemy was by listening out for her. The enemy did not have any of the kill code in it and was completely stateless. Below is a summary of the test.

WHAT DID YOU ENJOY ABOUT THE EXPERIENCE ?


The atmosphere was good. The torch made the game very creepy. not being able to see what was around me and just hearing whispers was scary and i swear the enemy sneaked up on me at one point The atmosphere is good but the game needs more. It feels empty. I like the concept behind the game (we talked about what will be in the game in the future) Page | 45

The game was very spooky and creepy. It has inspired me to think what i would create in a similar setting. Hmmm The atmosphere just worked. It felt very creepy It was very creepy, the setting worked well The graphics were good and the sounds were really creepy. The atmosphere was good but horror games aren't my thing really.

WHAT DIDN'T YOU ENJOY ABOUT THE EXPERIENCE?


why was i there? how do i win? can i die? it was a tech demo aimed at getting feedback so to that extent it worked, but its not a game yet For what it was, nothing .The game felt empty and unfinished. Not enough game. it was more of a demonstration of creepyness rather than a game There wasn't much to it. just a forest with a model that floats towards the player. no animation. though i think it was more of a test on the atmosphere of the game .it was a test on the atmosphere and not gameplay so there wasn't much i didnt enjoy it was creepy :( Just different taste to what i like.

WHAT WOULD YOU ADD TO THE DEMO TO MAKE IT BETTER?


make it a game :) possible AI and scary bits based on proximity to the player which we talked about. Keep me posted! More things in the forest. i didn't see anything but trees, there was no roads or paths. alma needs work. I would create zombie type game where the player would attack zombies. Or add more enemies since the one in the game didnt do anything. Make a proper game out of it. The atmosphere is good which is important. now just add gameplay to match the atmosphere MOAR less creepyness :( Or perhaps on a serious note add more gameplay. it has a great feel to the environment. Make it an experience rather than a game. im interested in the concept of using stuff outside the game but treat it as an experience rather than a game. also tell a story rather than dropping the player in the woods and saying "go"

ACTION
From this feedback I learned that the atmosphere was on the right track and that people were generally positive about the look and feel of the demo. The only negative sides were Page | 46

[FINAL REPORT] Adam Faldo 10356264 that it wasnt a game and that the AI wasnt fully implemented. This was expected as the game wasnt at that stage at this test cycle.

USABILITY TEST 2
Test 2 was conducted in April when the game was in a near completed state. The test was aimed at seeing reaction to the overall game as opposed to a single area. The test was conducted with the force feedback vest implemented but the external lights were implemented in a smaller way. This was because of technical limitations at the time with not having the equipment to build a complete install. The light was just a small Led light which was situated in front of the monitor. Here is a summary of the results.

IS THERE ANYTHING THAT STOOD OUT AS GOOD ?


The atmosphere was really good along with the camera effect. I have played similar games before which use a static effect but it never really made sense when its just the characters eyes doing it. I liked the enemy. The scary aspect of the game was there but i felt a bit disorientated with the amount of trees. It took me a while to find the path again after straying off of it and by the time i had got back Lillith had found me. The vest really adds to the experience. Lilith was also well done, i felt like she was unpredictable. i tried to control her but failed. When i thought i knew where the enemy was i ran away. turned around to see if she was following me and i got tapped on the back and started hearing whispers. Turned around and she was stood right behind me. caught me off guard! The girl was really creepy! I liked the way the game told me not to turn back, most games would overlook little details like that. nice touch. The game as a whole was a really good experience.

IS THERE ANYTHING THAT STOOD OUT AS BAD ?


She didn't make me jump but she almost caught me off guard at one point. A little confusing to navigate, It was also a little barren as all i could see was trees. The light being in front of the tv was distracting but the effect was good. maybe move the light out of eyesight of the player? No Not at all. I would love to play it again when the indoor section is finished. (is that a bad point?) The light was a slight issue but i know that was down to technical problems or something.

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WHAT WOULD YOU CHANGE ?


make it more jumpy. Just add to the simplicity of the level design and make it a little easier. For the light see previous. Other than that i would just add to the game in the form of another level (ie the unfinished indoor level) No Add more to the game and look at releasing it in some way. Even without the external tech it was a good game.

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ACTION
From the second usability test it was focused on the overall experience. The general feeling was that the game was good and that the vest really added another dimension to the game (although the written responses dont really reflect that). The main thing people wanted to see change was the amount of content. Out of the people who played this version of the game, 3 asked to let them play it in the future. From this test I was planning on using the analysis on the points of interest to work out which one was being missed but the statistics say that they were all found equally. There has been some slight tweaks to the AI since this test due to the times at which people were found. The rate at which Lilith killed players was a bit too fast so the game has been made slightly more forgiving.

FUTURE TESTING
The value of qualitative testing is high because of the detailed feedback which is given. But for raw data purposes, quantitative testing is needed. In the future, once improvements have been made and the game enters a new development cycle, there would be the possibility of consuming the API for the heart rate monitor giving the project some quantitative data feedback. There would also be a chance to do qualitative feedback at the same time.

CRITICAL EVALUATION
CANCELLED FEATURES
Most of the features which were specified in the project initiation document have made it into the final game. There have been a few instances of features being altered or cancelled due to time and technical restraints. Here is an overview of the features which did not make it fully into the game.

H EART RATE M ONITOR


The initial plan was to use a heart rate monitor as a way of collecting data for the player. The project currently includes an API which was developed to be consumed by the game which would automatically post heart rate variables for scripted events to a database hosted on a server. This API was created in another module for the sole purpose of giving the project a way of collecting quantitative data regarding the users stress levels. Because of technical problems regarding the monitor, there is currently no way of passing the API a variable from the heart rate since the heart rate monitor doesnt seem to be working. For future iterations of the project, once the heart rate monitor has been implemented properly, everything is in place to implement a solution for quantitative data collection.

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[FINAL REPORT] Adam Faldo 10356264 The API code can be found in the appendices on page 34. The script which posts data to the database is currently in the project but not attached to any game objects. Here are a couple of screenshots of the API posting data within the project. The data posted is not related to a players heart rate, it just shows the posting functionality.

The screenshot above shows confirmation that data has been set to the database via JSON format. Here is the link to the project website for the API: http://fostvm.fost.plymouth.ac.uk/soft338/afaldo/ Page | 51

INDOOR SCENE
The indoor scene is still in development and is not in a finished state. Currently there are multiple rooms which have been fleshed out with models but the scripted events have yet to be implemented. This was a decision to create a more robust project using the forest scene rather than having two less polished scenes. The indoor scene will be fully implemented in future versions of the project.

FRONT MOUNTED FAN


Initial concepts for the project included a fan which would blow into the players face when events happen such as a scripted jump scare. This feature was thrown out due to design choices about how the game was to be made. After the research into the key players of the field, using standard in your face jump scares was not desirable. The only other option for some form of fan would be to simulate wind in the forest scene. Because half of the game takes place indoors, it didnt seem justifiable to spend time working on something that could not be utilised by the whole project.

DIFFICULTIES
As was expected with a project as ambitious as Lilith, there were some difficulties with parts of the development.

ARDUINO
Having never really done anything in regards to electronics, scripting an Arduino to interface with Unity was relatively difficult. The process was an unknown when developing the project which in terms of project management can become troublesome. I class unknowns are parts of a project which I dont currently have any experience in and therefore do not know how long it will take to implement or what problems I am likely to face.

LILITH AI
Creating an AI that would mimic similar games in the genre such as Slender was difficult when starting the project. It was something which I did not have very much experience in programming. Up until around 4-5 months into development, the AI for the enemy consisted of moving towards the player with no animations, no rules, no killing, and no teleporting. It was a very basic script. But after following a very helpful tutorial, I was able to implement a clever and effective AI which could also handle events for the 3 RD Space Force Feedback Vest.

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TN 3RD FORCE FEEDBACK VEST


Implementing the tactile feedback vest was difficult due to how the SDK for the vest is written. The official SDK is written in C++ which is unsupported by Unity3D. The way I have managed to implement the vest SDK was to compile a dynamic linked library (or .dll) and then use a wrapper which used interoperability to extract methods from the SDK in c#. Once the C# wrapper was able to extract the methods, it was then a case of calling these methods to communicate with the vest.

CONCLUSION
In conclusion, the final project has had the majority of features implemented. The only features which have not made the game due to technical difficulties, design choices or time constraints are the indoor section, the front mounted fan and the quantitative testing. This project is a culmination of modules I have studied over my university career. I have applied what I have learned into an ambitious project with success. The game delivers what it set out to in the project initiation document with exception to the things mentioned before. This project has given me extensive knowledge in transferrable skills which can be applied to a professional place of work. Things such as: Creating interesting menu systems Professional document writing Experience in multiple agile development platforms Professional practice in regards to project management Using hardware in environments which it wasnt meant for Interfacing with a game through external technology A greater understand of immersion and its effects on digital media Working on a large project in an environment such as Unity3D and keeping it manageable. AI based on a state machine and rules. Creating environments Rigging Biped models and animations. Creating interesting GUI components inside of a game. Creating detailed scripted events Applying knowledge of a concept to a practical implementation level (Immersion) Testing practices

From this project I have gained the confidence to not only work as a part of a team on a project, but also to lead one. The practices I have applied for this project are transferrable to a professional workplace. Page | 53

I have also started a business with a colleague from the university and our early prototypes are based around immersive experiences. This project could be taken up by our company to explore the possibilities of future development along with implementing the technology into other projects we have created.

FUTURE DEVELOPMENT
This project will be taken forward by finishing the interior section of the game. Testing of the game in its current state has given the project motivation to continue past its current iteration and to see how far this concept can be taken. Currently, only qualitative feedback is available for the game, I have created an API which allows for Unity to use a HttpRequest to post data to a database through a web packet but due to difficulties with the heart rate monitor, it didnt make it into the project. For future testing of the game, quantitative data would be collected with the resources already created to attempt to get more useful data from its players.

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REFERENCES
BIBLIOGRAPHY
Archive3d.net (2007) Free 35 000+ 3D models. Download without registration - Archive3D.net. [online] Available at: http://archive3d.net/ [Accessed: 23 Apr 2013]. Forum.unity3d.com (2013) Slender Guide by alucardj. [online] Available at: http://forum.unity3d.com/threads/172415-Slender-Guide-by-alucardj [Accessed: 23 Apr 2013]. Forum.unity3d.com (2012) UniStorm v1.6- Dynamic Day & Night Weather System [RELEASED]. [online] Available at: http://forum.unity3d.com/threads/121021-UniStorm-v1-6-Dynamic-Day-amp-NightWeather-System-RELEASED [Accessed: 23 Apr 2013]. Fostvm.fost.plymouth.ac.uk (n.d.) Biomet API Adam Faldo 10356264. [online] Available at: http://fostvm.fost.plymouth.ac.uk/soft338/afaldo/ [Accessed: 23 Apr 2013]. Ladyada.net (2007) Arduino Tutorial - Lesson 1 - Let there be blink!. [online] Available at: http://www.ladyada.net/learn/arduino/lesson1.html [Accessed: 23 Apr 2013]. Technologies, U. (n.d.) Unity Script Reference Scripting Overview. [online] Available at: http://docs.unity3d.com/Documentation/ScriptReference/ [Accessed: 23 Apr 2013]. The WaterHobo (2011) TN Games Vest Get Shot in C#. [online] Available at: http://waterhobo.com/?p=28 [Accessed: 23 Apr 2013]. Thefree3dmodels.com (1961) Free 3D Models - free 3ds, max, c4d 3d model. [online] Available at: http://thefree3dmodels.com/ [Accessed: 23 Apr 2013].

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LUDOGRAPHY
Amnesiagame.com (2012) Amnesia: The Dark Descent. [online] Available at: http://www.amnesiagame.com/#main [Accessed: 23 Apr 2013]. Lith.com (n.d.) Monolith - F.E.A.R. 2: Project Origin. [online] Available at: http://www.lith.com/Games/F-E-A-R--2--Project-Origin [Accessed: 23 Apr 2013]. Mod DB (2012) Mental Hospital: Eastern bloc Windows game. [online] Available at: http://www.moddb.com/games/mental-hospital-eastern-bloc [Accessed: 23 Apr 2013]. Parsecproductions.net (n.d.) Slender: The Eight Pages. [online] Available at: http://www.parsecproductions.net/slender/ [Accessed: 23 Apr 2013]. Scpcbgame.com (n.d.) SCP - Containment Breach. [online] Available at: http://www.scpcbgame.com/ [Accessed: 23 Apr 2013]. Thefuntastic.com (n.d.) Toward The Light (a 7dfps challenge entry). [online] Available at: http://www.thefuntastic.com/demo/toward-the-light/ [Accessed: 23 Apr 2013].

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