Week Six
Degustation
Research Question
How can I create strangeness using the space between the two-dimensional and three-dimensional forms in a game landscape and space to create new experiences for a player?
Currently, there are a few works that have been the primary influence in how I create my project and the ideas behind it. Dear Esther and The Witness are games that revolve around the concept of a non-euclidean space, and I have been looking at how they use interactive narrative and try to involve the environment in the story. Aesthetic and style play an integral part in how I am attempting to bring 2D into my game. I have been looking at the games Antichamber and Sacramento and how they involve the two-dimensional form with the third-dimensional form. As these are all games that will help me immensely in creating my game, I have also been researching physical works that have played with bringing the two dimensions together, such as the 2D Cafe in Seoul.
I started by creating physical pieces in my initial test phase, primarily using paper and pen in different ways. Optical illusions have been around for a long time, and I wanted to use that as the context behind my physical works. I wanted to experiment in this way, such as the spinners above, as optical illusions have always been around to create a feeling of strange or bring 3d into a 2d space, challenging the perspective.
Dear Esther is a first-person exploration game with minimal gameplay as the only objective is to explore the island while mysteries around his wife's passing. I have always liked to create games involving minimal gameplay where the player is left to their own devices and must figure out what to do themselves. The type of narrative Dear Esther has and how the game explores it is how I would like to test my ideas around involving 2d and 3d in a 'familiar' environment as it can create its own 'strangeness'. Part of the gameplay within Dear Esther and The Witness revolves around unravelling interactive narrative and it is what I have started to trial within my game through the walk-in photo frames and the open world replication in a 3d view and more 2d view.
Dear Esther is a first-person exploration game with minimal gameplay as the only objective is to explore the island while mysteries around his wife's passing. I have always liked to create games involving minimal gameplay where the player is left to their own devices and must figure out what to do themselves. The type of narrative Dear Esther has and how the game explores it is how I would like to test my ideas around involving 2d and 3d in a 'familiar' environment as it can create its own 'strangeness'. Part of the gameplay within Dear Esther and The Witness revolves around unravelling interactive narrative and it is what I have started to trial within my game through the walk-in photo frames and the open world replication in a 3d view and more 2d view.