2min chapter

The AIAS Game Maker's Notebook cover image

24th D.I.C.E. Awards Roundtable: Immersive Reality Technical Achievement

The AIAS Game Maker's Notebook

CHAPTER

The Design Process for 'Tempest'

The whole process actually was based on two years a kind of trial an error, an working through the under presents with a pie hole. So there was in the design from the ground up, everything from the actor interface to how to actually think about a modelling merse of theatre behavior. The element of physicality and the element or f being present with each other is something that is really unique to the medium. And nhawe were able to use it.

00:00
Speaker 1
And an, in ways where, having played it, you're just like, i don't know if this would have worked any other way in and it feels like those, those connective tissues are absolutely there. And it makes me think a lot about samatha andnd, in your experience where, you know, i has a big fan of, you know, things like sleep no more, and in experiences like that, having gone an experienced that in real life, ad had a blast with it. You know, tempest is bed as a kind of theatre event in viard. And what can you gind to tell us about the design process around that, and and how you kind of able toin, to bring players together and guide them in such an open experience? And, you know, how shall we think about this game in that way? Am
Speaker 3
ye, actually, the thing you allude to, in sort of gently nudging players for connection and developing intimacy with the anonymous multiplayer, an m and with actors, is actually one of the most important design principles and pillars for us. The whole process actually was based on two years a kind of trial an error, an working through the under presents with a pie hole, which is a new york based, sort of a experiential theatre troop. So there was in the design from the ground up, everything from the actor interface to how to actually think about a modelling merse of theatre behavior, an anonymous multiplayer, was actually baked into kind of the dna of the experience um. And there were a lot of learning from working with the actors alive over the year, so that when we got to tempest, we kind of had this idea of how you assign rolls and how you make players feel like theire being seen, and they have identities, you know, even within their anonymous sino rolls, and that they're part of a community all working towards, like, staging a a greater whole. So i think, you know, that was am important for us. And in vr, you know, the element of physicality and the element or f being present with each other, i think, is something that is really unique to the medium. And nhawe were able to use it.

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