GETAWAY: DESIGN
University Year 3 Project Proposal - 2022
ROLES
Game Designer
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TEAM
2
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PROJECT DURATION
13 weeks
TAKEAWAYS​
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Pitching ideas to a live audience.
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Competitive and critical analysis.
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Using online collaborative tools - Miro, Trello, Asana.
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Rapid prototyping methods - Figma, paper and digital.
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Rapid brainstorming techniques - Lotus, Crazy 8 etc.
BRIEF
Produce a Project Proposal for an original game idea, to be developed in Semester Two. This project involved 13 weeks of intense research, ideation, prototyping and testing - translated into a professional Project Proposal document during the final phase of the project.
SUMMARY
During the first six weeks of the project, I worked independently to research into four topics of interest, eventually focusing on one subject area to research in more detail - music psychology. At the end of this phase, I was required to present my findings and establish potential game avenues, to be further refined during the next phase.
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The 'create' phase involved brainstorming and prototyping a series of game concepts, as well as combining common themes with my peer(s). My peer (Kiera Walton) and I, found a prominent link between music psychology and safe spaces - understanding how music can be used to benefit others. This involved establishing our project goals and target audience before refining an idea.
We gained inspiration from sensory rooms, immersive technology and self-care techniques, which we translated into interactions and game elements using the technique of gamification. We knew our experience revolved around visuals and sound, aimed to have a positive impact on users.
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Our final Project Proposal was a combination of research and design, taking into consideration accessibility, functional specifics and an appropriate project structure for Semester Two.
RESEARCH
Primary and secondary research into Music Psychology and relevant themes surrounding this topic. I found the benefits of music therapy and music on the brain particularly interesting. This also involved an experiment to evaluate how mood was effected by different genres of music.
PROJECT AIMS, ESSENTIAL EXPERIENCE & DESIGN PURPOSE
We used Miro to collaboratively brainstorm and mind-map ideas rapidly.
At this stage, we had established our project aims and began thinking about how we might translate them into game elements. It was essential for our design to provide people with a private space for reflection and relaxation.
TARGET AUDIENCE
User research methods included User-Centred Design, The Design Hierarchy and The Hierarchy of Needs. From our research and personal experiences, we were certain that students aged 16-24 would benefit most from the essence of our experience, in terms of needs and desirability. Journey mapping and persona's allowed us to target our design to be something that was both accessible and supportive during the life of a student.
THE TECHNIQUE OF GAMIFICATION
I applied the technique of 'gamification' to self-care techniques and regulation mechanisms to identify how players might interact in the game world. I also used the Lotus Flower method to expand our most significant themes to begin thinking about potential game elements.
The use of a physical environment to observe and explore was a reflection of the anxiety-reducing method - to practice mindfulness and grounding.
IDEA GENERATION & EXPERIENCE MAPPING
The Crazy 8 method: To rapidly generate eight concepts in eight minutes.
These ideas were a result of our design choices and intensive research into immersion, sensory rooms and technology.
Experience Mapping enabled me to identify the opportunities, needs and pain points within each phase of our game ideas to encourage further development.
PROTOTYPING & TESTING
A series of physical and digital prototypes to demonstrate gameplay and highlight key game elements. Experimentation involved immersive technologies, projections, abstract visuals and sound.
Prototyping, testing and discussing limitations allowed us to narrow down our concepts into one.
VISUAL AND SOUND DIRECTION
I was able to identify the most soothing environments and sound/visual preferences through research and student surveys. This had a huge impact on our art and sound direction, as user needs matter most.
THE PHYSICAL SPACE: FUNCTIONAL SPECIFICS
The design of our own sustainable safe space.
We visited existing immersive spaces consisting of 360 degree visuals and sound systems, but believed we could design our own product, to feature only what was most necessary. We took into consideration scale for comfort, accessibility and sustainability.
GAME OVERVIEW
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THE BEAT CHART / FOUR PERSPECTIVES OF GAME DESIGN / SWOT ANALYSIS
Industry processes helped to refine gameplay and make our intentions clearer.
These simple methods became especially useful during the initial development stages, to distribute tasks and identify weaknesses sooner rather than later.
THE PROJECT PROPOSAL
To conclude this project, Kiera Walton and I produced and presented our Project Proposal, gathered feedback and began project management for Semester Two - The development.