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Design Brief Create an immersive Virtual Reality music video experience that reveals the dichotomous experiences of drugs, to encourage awareness of drug-related risks.
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Design Concept Trouble Cruise VR aims to educate users in the age range of 16 to 25 years on the positive and negative aspects that may be found in illicit substance use. Our goal is to take a subliminal approach in educating on the possibilities that may occur when taking drugs. The potential user will put on a headset and be taken on a trip synced to a song. They will be given the choice of traveling between two alternative worlds depicting positive and negative trips. The positive environment will have vivid, neon-like, and highly saturated colours along with models of the vapourwave-aesthetic. The negative environment will show the opposite renders of these same models with dull and dark colours, and distorted sounds.
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Positive Computing After having performed preliminary ideation, the assessment of a number of positive computing attributes were undertaken to see how the concept could be developed so that all four factors including autonomy, competence, social relatedness, and positive emotions could be achieved in harmony (see Figure 1). Furthermore, Positive Design Framework (Desmet & Pohlmeyer, 2013) was also visited to ensure additional focus was given to the concept, which is based on three design perspectives in virtue, pleasure, and personal significance. These four factors may also be intertwined with the Positive Design Framework and there is a mixture of concepts with Autonomy and Design for Virtue, Competence and Design for Personal Significance, Positive Emotions and Design for Pleasure. Social Relatedness, although stands out, has a small part in each triangle. The middle triangle is the concept of Flourish which aims for a user to live out their full potential, and achieve greater life satisfaction (Desmet & Pohlmeyer, 2013).
Figure 1. Positive Design Framework. (n.d.). Retrieved September 4, 2017 from http://seveninnovation.com/wp-content/uploads/2016/04/Positive-Design-Logo-no-names-07.png
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Autonomy & Design for Virtue Trouble Cruise VR will focus on interactions to ensure that the user feels in control. By adopting Nudge Theory the user is able to experience an environment without judgment or formulated bias by the designer. On a conceptual level ‘Autonomy’ fit in perfectly with our user group who are males between the ages of 16-25. Freedom and choices, separation from parental guidance, independence is being experienced for the first time. Reeves argues that the need to design for autonomy requires a look into the user’s self-identity, the way they see themselves in society, and the development of personal potentials (Zhang, 2007). The need to design for autonomy requires a look into the user’s self-identity, the way they see themselves in society, and the development of personal potentials. One issue with this age group is the frequent use of drugs. Research was conducted along with drug users’ surveys to really understand the issue and empathise with our users. Furthermore, we did extensive user testing on existing drug awareness programs and research centres. We found that they all failed to design for virtue. The campaigns, and even a gamification app centred on drug education are not virtuous as they don’t see the good in people. Instead of being designed for autonomy, they are created with negative connotations which imposes on the users feelings of shame, guilt, and loss of dignity. (Desmet & Pohlmeyer, 2013) regard the loss of dignity as bad exposure to the user and a departure from altruism which is a favourable trait in virtuosity.
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Autonomy & Design for Virtue Rather than judge our target audience, we aim to provide awareness through autonomy by standing back and allowing free choice for the user to decide for themselves on the meaning behind the VR drug awareness experience. The application features a user traveling through a world that is akin to a drug trip. However, two perspectives are provided, and negative sides presented. We will offer insights into positive and negative ‘trip outlook’. Theory of Nudge, greater persuasion is created when the user is allowed to keep their freedom of choice (Thaler & Sunstein, 2008). In addition, Nudge Theory can program an individual’s automatic decision making ability by altering the user environment (Lee, Kiesler, & Forlizzi, 2001). Attempting to formulate thought process for our target user will only do the opposite and drive them away, much like the Government and Research applications. We instead aim to “nudge” our user to approach drug awareness in a non-judgemental way through the powerful medium of music.
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Music & Immersion From a 2015 study on how background music creates immersion in games (see Figure 2), participants’ immersion to background music was measured with a questionnaire that assessed basic attention, temporal dissociation, emotional involvement, and enjoyment. Through analysing the results, the study observed roughly a 40% increase in immersion for those that experienced the game with in-game music as opposed to those who did not. The overall soundscape contributes to a sense of presence or even immersion in a game by creating an illusion of the game world as an actual space. (Xiaoqing Fu, 2015).
Figure 2. Xiaoqing Fu, J. (2015). The Influence of Background Music of Video Games on Immersion [online Image]. Retrieved 31 August, 2017 from https:// www.omicsonline.org/open-access/the-influence-of-background-music-of-video-games-on-immersion-2161-0487-1000191.php?aid=58693#18
In addition, when translated into the context of VR, audio supports overcoming the two-dimensionality of the image, and helps the player feel immersed in a three-dimensional space. (Collins K, 2008)
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Positive Emotions & Design for Pleasure Our stakeholders Trouble Cruise, have a target market aimed at youth aged between 16 and 25. This corresponds closely to the data gathered regarding drug use survey, the most prominent age spanned through 22-25. An ongoing area of interest with youth submerged in technological trends is meme culture, and within that area is a musical genre and design style called, respectively, Vaporwave and Aesthetic. In terms of music, Vaporwave is modelled off electronic dance music (EDM), indie dance music, the 1980s, and comprises of songs that are time stretched and its pitch shifted. The aesthetic “A E S T H E T I C” is an ongoing meme that was born from the Vaporwave movement. Aesthetic includes retro-art concentrating on the 80s, old windows technology, retro gaming, Japanese lettering, and gives off a “Warhol-esque critique on uber-consumerist society via a separation of product and commercialisation”.
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Positive Emotions & Design for Pleasure As design of an environment itself can be the source of user pleasure, Trouble Cruise VR aims to properly empathise with both its stakeholders and users by creating a unique and interesting environment that is in the current spotlight of youth culture. By providing unique imagery that a user wouldn’t otherwise get the chance to experience in VR, and by providing accompanying sounds that focus on a drug experience, a user may feel strong visceral and cognitive belief which increases presence in virtual reality. However, Design for Pleasure encourages the use of presence through positive effect only (Desmet & Pohlmeyer, 2013). Although our experience aims to create positive emotions, we will also be showcasing a negative trip opportunity. The aesthetic/vaporwave style will decrease the likelihood of negative emotions, however, it’s premature to say that negative behavioural effect will be generated until a working prototype is ready for user testing.
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Competence & Design for Personal Significance Personal Significance is said to be the happiness attributed from having a personal meaning, and the setting of long and shortterm goals rather than being in the moment (Desmet & Polhmeyer, 2013). Desmet & Polhmeyer’s point may be argued against as competence and personal significance that arise from a user’s intrinsic motivation which aims to fulfil basic satisfaction needs. A challenge for the creation of Trouble Cruise VR is gauge what constraints and difficulty level is needed for the player to feel complete presence. Deterding (2005) argues that the use of gamification increased intrinsic motivation by being purposely built for enjoyment and engagement. Ryan & Rigby (2011), Seaborn & Fels (2015) believe that by providing instantaneous and continuous feedback with points, leaderboards, or challenges, and even customisable environments, the user is more motivated to complete something that is good for themselves. Though opposed by Desmet & Polhmeyer (2013), if a user is able to complete a relatively new activity and be excited by it without the need for extrinsic motivators, it may be argued that both competence and personal significance can be attributed to mindfulness. The choice to continue to participate and in turn receive instantaneous feedback may also be regarded as the first stage of Nudge Theory (Thaler & Sunstein, 2008) as it is the momentary altering of thought through the freedom of choice.
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Competence & Design for Personal Significance There is an ongoing debate on the level of control which will be given to the user in terms of actual VR functionality. The most prominent concepts that are on the table currently include the user flying through environments where they are able to use the gaze action to look at items and also the ability to enter a negative drug experience using items as either portals, or morphing the items themselves to the opposite of the current state (eg a multicoloured cube turning into grey spiked cube). However, to achieve personal significance, gamification might have to be merged with the current design so that the user is being driven towards something. Additional concepts include the user being able to take drugs that fly past them. The more drugs will be taken, the higher the chance of a descent into a negative trip. Once the idea is taken further, different drugs may provide ranging experiences such as: Cannabis could slow down the visuals, and LSD could allow the visuals to turn highly abstract. Building a leader board with this experience however isn’t a good idea because there shouldn’t be any encouragement that drug taking is a good thing. The experience aims to be judgement free, and neutral, so as to provide the best chance of drug awareness using Nudge Theory (Thaler & Sunstein, 2008) to work. If the experience is either pro drugs or against drugs it will turn away users that fit into either of those categories.
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Drug Awareness Campaign The main government drug campaign in Australia is the ‘National Drugs Campaign’ which is run by the Department of Health. It was implemented in 2001 with the focus on education youth about drugs, the abuse of drugs, and decision making towards drug use. The website is skewed in a negative light as the majority of facts are aimed at deterring a young person to use substances. For example, twenty-four negative facts are listed for Marijuana use with only four positives. Furthermore, on each drug main image there are negative consequences only. The website fails to empathise with its user by educating in a nonjudgmental way. The vast majority of survey applicants couldn’t name any government campaigns regarding drug education. As a whole, the design of the website is very sterile and has a corporate feel rather than being created with youth in mind. It is also very formal and serious with the use of black, white, and grey colouring along with. Figure 3. Australian Government, Department of Health. (2012). About the National Drugs Campaign [Online]. Retrieved September 4, 2017 from http://www.drugs.health.gov.au/internet/drugs/publishing.nsf/ content/campaign
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Drug Use Research The Australian Secondary School Students’ Alcohol and Drug Survey (ASSAD) survey a total of 24,052 students in years 7 to 12 from schools nationwide in 2014. The survey showed that Cannabis was the most likely used illicit substance, and the proportion of students using the drug increased with age (see Figure 4). Furthermore 16% of students aged between 12-17 years used Cannabis once or more times, and 7% of those same students used Cannabis in the month before the survey. It was also found that 5% of students tried hallucinogens, 2% used Cocaine, and 3% used Ecstasy. Though that last figure of Ecstasy use increased to 7% by the time students reached 17 s. Though drinking was initially covered in the drug awareness concept, user feedback from the drug survey advised us not that including alcohol in as drug option was a double standard, so further research was done in this area. From the same survey, it was estimated that almost 50% of all Australian secondary students aged between 12 and 17 years had consumed alcohol. Types of alcohol were also covered with 35% preferring premixed spirits, and 21% with non-premixed spirits. Furthermore, 29% of males consumed beer with females only at 5%.
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Figure 4. Centre for Behavioural Research in Cancer Cancer Council Victoria. (2016). Australian secondary school students’ use of tobacco, alcohol, and over-the-counter and illicit substances in 2014 [Online]. Retrieved September 4, 2017 from http://www.nationaldrugstrategy.gov.au/internet/ drugstrategy/Publishing.nsf/content/E9E2B337CF94143CCA25804B0005BEAA/%24File/National-report_ASSAD_2014.pdf
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Drug Use Research It was found that the most prominent consumption of alcohol occurred at parties with 40% surveyed within the 16-17-year group. However, for younger students, 40% were more likely to consume alcohol at home. The ASSAD survey also researched the negative experiences students had after consuming alcohol. The report details that 61% of all 12 to 17 year old students had at least one negative outcome from drinking, and which applied to both sexes. The four most common negative experiences associated with alcohol consumption are vomiting at 37%, trying a cigarette at 35%, having an argument at 24%, and trying drugs at 21%. The following diagram shows further negative experiences following alcohol consumption (see Figure 5). Mission Australia also conducted a Youth Survey in 2016, and it was found that of the top three national issues including alcohol & drugs, discrimination & equity, and mental health, alcohol & drugs came in as the highest issues. Out of the 21,846 youth surveyed and aged between 15-19 years, 28.7% said alcohol and drugs were the most serious nationwide issue amongst youth.
Youth Survey 2016
21,846
respondents aged 15-19 years
Top 3 personal concerns: stress (44.4%) highly concerned
school (37.8%) highly concerned
body image (30.6%)
The % of young people indicating mental health as a top national concern has
DOUBLED in the last 6 years
highly concerned
Young people need: Skills to cope with stress Support in times of need Mental health and drug and alcohol awareness programs
Top 3 national issues: alcohol and drugs
28.7% discrimination and equity
27.0% mental health
20.6%
Access to mental health and drug and alcohol services Access to detoxification and rehabilitation services Figure 5. Mission Australia. (2016). Mission Australia Youth Survey infographic 2016 [Online]. Retrieved September 4, 2017 from https://www.missionaustralia.com.au/documents/research/ young-people-research/678-mission-australia-youth-survey-infographic-2016
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Drug Use Research The Australian Institute of Health and Welfare completed the National Drug Strategy Household Survey in 2016 which included drug use percentages for people aged 14 and older in the years from 1993 to 2016 (see Figures 6 & 7). The following drug use percentages are as follows: • • • • • • • • • • •
Marijuana and Cannabis – 34% Ecstasy – 11.2% Meth/amphetamine – 6.3% Cocaine – 9% Hallucinogens – 9.4% Inhalants – 4.2% Heroin – 1.3% Ketamine – 1.9% GHB – 1% Synthetic Cannabinoids – 2.8% New and emerging psychoactive substances – 1%
Figure 6. National Drug Strategy Household Survey (NDSHS) 2016—key findings [Online Image]. (2017). Retrieved September 4, 2017 from https://www.aihw.gov.au/getmedia/78d673a6-81e9-4111-a1e3-aa3887292c40/ndshs-2016-fig11-recentdrug.png.aspx
Furthermore, for both sexes, the greatest illicit drug use age group was from 20-29 years old with a breakdown of: • •
Males – 31.7% Females – 24.7%
Figure 7. National Drug Strategy Household Survey (NDSHS) 2016—key findings [Online Image]. (2017). Retrieved September 4, 2017 from https://www.aihw.gov.au/getmedia/118fcb1e-3030-4617-bf6a-f857ef751722/ndshs-2016fig12-recentdrug-age.png.aspx Fuad Soudah (fsou4085), Richard Wang (rwan0897), Stjepan Huljev (shul7173); P. 15
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Interactivity Icons From looking into Google Expeditions, the use of the hollow circle icon is an intuitive indication that the object is able to be interacted with. As of this, the hollow circle icon will be the main way to indicate to the user which objects in the environment are interactive (see Figure 8).
Figure 8. Google Expeditions screenshot
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Survey Poster
Figure 9. Drug Awareness Survey Poster
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Drug Awareness Survey 58 surveyed, main age group: 22-25 years 61.4% relied on friends and general websites for drug information 60.38% would stop taking drugs if they had a bad experience Only 27% were knew of drug awareness apps No users could name any government drug awareness campaigns
Figure 10. Drug Awareness Survey, Question: Where do you seek information regarding drug taking?
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Persona - Frankie, 22 “I enjoy the use of drugs, it’s a personal choice which doesn’t hurt anyone. If I could take drugs and still be seen as a productive member of society rather than a stoner, I could be myself.”
Frustrations Being bullied by his workmates when he talks about drugs Judgement he receives by non-drug takers. The lack of awareness of drug use compared to the social acceptance of drinking and smoking.
Bio:
Figure 11. Frankie, Persona
Frankie is a day labourer based in inner Sydney. He frequently attends new gigs and he and his friends smoke marijuana once a week or so to wind down and reduce stress Frankie is on occasion ridiculed for his recreational use of drugs by his workmates. He is frustrated by their attitude since they all either drink or smoke, and he finds that their choices are no different to his own.
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Stakeholders & Target User Group Trouble Cruise - Triple J Unearthed Local Sydney Band Genre: Alt/pop Target market: 16-23 year olds Drug Awareness Survey main user age: 22-25 Trouble Cruise VR user group: 18-24 The Band was interviewed, based on which the song Abachbida was chosen for our project Figure 12. Trouble Cruise Band
Link to the song Abachbida: https://soundcloud.com/troublecruise/abach-bida
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Communicating through Music “Music energizes, surprises, soothes, delights, and otherwise shapes out emotional states” (Thompson & Quinto, 2013) Music has the capability of altering emotions by activating “pleasure centres” in the brain (Blood & Zatorre, 2001). Throughout history, music has been used in tribal and modern societies as a medium for expression and to raise important issues.
Figure 13. Woodstock 3 Days of Peace & Music. (1969). [Online image]. Retrieved September 4, 2017 from http://www.buffablog.com/wp-content/uploads/2016/08/Woodstock2.jpg
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Existing Applications Pure Rush is a game created by researches from the Centre of Research Excellence in Mental Health and Substance Use (CREMS), UNSW in conjunction with the Australian Government Department of Health. The goal of the game is to educate schools’ students in the targeted year 8 to 10 age range on what the effects of drugs could be to a user who decides to take them. The user can play as either a girl or boy and then given a goal of getting to a music festival. It’s interesting to note that the researchers acknowledged the use of music, and festivals as a place where drug use is found, however the environment built in Pure Rush is very out of touch with trends, especially considering that age range is going through puberty. The game design suits students who are in year 6, as opposed to years 8 to 10. The player is constantly running with the sole input from the user being to jump over obstacles which include bins, boxes, and drugs. Once a player runs through drugs, in this case a cannabis leaf, they are given the effect of the drug. In this case cannabis has slowed down the player and has triggered a smokey effect along with a huge title as shown above. Running through drugs also takes away a heart and running through two cannabis leaves kills the player. The player is then taken to another screen which tells them that ‘Cannabis slows you down.’ (see Figure 14). Figure 14. Centre of Research Excellence in Mental Health and Substance Use. (2014). Pure Rush [Screenshot]
The researchers would have achieved a greater affect if they designed the drugs to just cause effects rather than to kill the player, since the aim of the game is to run through a suburban street dodging cats and garbage bins which take a heart away. It would have been interesting if the more drugs the player took, the slower and slower they were able to move, however, that isn’t the case as only two hearts are given and the second drug take kills the user. It would have also been more effective if they had chosen the location the player runs through to be a music festival, rather than running towards a music festival.
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Existing Applications Grand Theft Auto continues to be a be a popular game amongst youth and is centred around completing missions involving a large amount of violence, gangs, money, sex, and drug themes. Though the games are developed and released as uncensored versions, they have been banned on numerous occasions due to the above themes. Grand Theft Auto: San Andreas allowed the player to smoke cannabis which would make the camera wobble making the player difficult to control the character. Although, Grand Theft Auto isn’t created to be an educational game series, is does allow a user to experience a digital version of the act of taking drugs and the consequences of their actions.
Figure 15. Centre of Research Excellence in Mental Health and Substance Use. (2014). Pure Rush [Screenshot]
Figure 16. Rockstar Games. (2013). Grand Theft Auto V [Online Image]. Retrieved September 4, 2017 from https://images.vice.com/vice/images/articles/meta/2014/11/05/drugs-in-video-gameskeza-macdonald-949-1415192884.jpg
Another game exploring the use of drugs is ‘LSD’ for the Playstation One released in 1998. Although it was never stated to emulate a drug trip, the themes and references inside the game gave a user the impression that they were on an actual LSD trip. The user was given the simple task of walking around the environment and looking at the different sites. If they walked into objects they would be transported to other, more surreal environments (see Figure 17).
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Existing Applications An interesting feature of the game was the implementation of objects for a player to touch that were positive and negative. If a positive item was touched, the player would be teleported to a vivid environment, however if a negative item was touched the played would soon be faced with a bleak environment with faceless corpses and other morbid imagery. Alt-J, a well-known English indie rock band used artworks from the LSD game to promote one of their albums. A more recent video game which merges the idea of drug themes and music is Playstation 4 title Rez Infinite.
Figure 17. Asmik Ace Entertainment. (1998). LSD [Video Game Online Image]. Retrieved September 4, 2017 from https://vignette2.wikia.nocookie.net/dreamemulator/images/7/7b/Headmendowner.PNG/revision/latest?cb=20121125211235
Figure 18. United Game Artists. (1998). Rez [Screenshot]
The aim is for the player to destroy enemies that appear as simple geometry objects using laser beams which emit from the player’s body. The moment an enemy is destroyed, a sound is emitted, and along with enemy sounds the game is also synched perfectly with an electronic soundtrack. The visuals are very vivid and fast paced, and the environment is often called a ‘LSD trip’ by its followers (see Figure 18). Although both LSD and Rez Infinite don’t readily state they any connection to drug use like Grand Theft Auto for instance, they do allow a player to simulate a similar experience to one with the use of drugs.
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Inspiration
Figure 19. Ubisoft. (2013). Far Cry 3: Blood Dragon [Online Image]. Retrieved September 4, 2017 from https://i.ytimg.com/vi/32z8pGCAEbU/ maxresdefault.jpg
Figure 21. [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://theeckleburgprojectblog.files.wordpress.com/2017/03/vaporwave.
Figure 20. Sandberg D. (2015). Kung Fury [Online Image]. Retrieved September 4, 2017 from https://postimg.org/image/omb4kp1jf/
Figure 22. Perturbator. [Untitled musical band art]. Retrieved September 4, 2017 from https://creators-images.vice.com/content-images/contentimage/ no-slug/b145262d95e18cce155abe79b0ed0d8f.jpg
To empathise with our target user group we decided to approach drug awareness as youth. The Vaporwave music & A E S T H E T I C meme design style was chosen as it worked well with creating a drug induced environment whilst injecting humour and satire at the same time. Fuad Soudah (fsou4085), Richard Wang (rwan0897), Stjepan Huljev (shul7173); P. 25
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Inspiration Youtube channel - Unreality Journeys was researched to start ideating on layout options for the VR experience. Upon initial viewing of their videos, especially ‘S T I N G V I B E S‘, the concept of having a moving linear path means that user movement is restricted, and although that may be seen as ‘counter-immersive’, it allows users to focus more on interacting nearby surroundings within their current space. Furthermore, the constant motion also allows for a more vast, yet, effortless exploration of space which helps create an immersive world. Examples are listed in Figures 23, 24 and 25. Figure 23. [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://i.ytimg.com/vi/WtDn3lSUKeU/maxresdefault.jpg
Figure 24. [Untitled image of a Frog]. Retrieved September 4, 2017 from https://ih0.redbubble.net/image.213682998.8341/flat,800x800,075,f.u1.jpg Fuad Soudah (fsou4085), Richard Wang (rwan0897), Stjepan Huljev (shul7173); P. 26
Figure 25. Unreality Journeys. (2016). SADPOSTINGVIBES - Feat. Music by FrankJavCee (360 VR Version) [Online Video]. Retrieved September 4, 2017 from https://www.youtube.com/watch?v=M7YBnznuBAg
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VR Critique Solutions In order to better comprehend the potential and limitations of what Virtual Reality has to offer, a throwback to our VR Critiques was made, subsequently we have found a number of crucial insights that will help our vision come to life. First of all, one element that came across in each application was the minimal interface, which increased immersion immensely, as the user could focus only on the experience itself. On the other hand, the applications were designed to throttle the internet connection, resulting in buffered in better quality imagery. The experience started at this point to feel inconsistent, therefore ruining the level of immersion once achieved with the minimal interface.
Figure 26. Google Inc. (1998). Streetview [Screenshot] Fuad Soudah (fsou4085), Richard Wang (rwan0897), Stjepan Huljev (shul7173); P. 27
Figure 27. Google Inc. (1998). Cardboard [Screenshot]
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Additional Interviews We decided to seek further answers in regards to how the users perceives VR applications, especially in regards to productions considered as music videos. For this, we created a 360 music video made of our own 360 recorded materials and researched our potential users on a variety of angles related to the experience itself (see Figure 28). ‘How does the audience react to 360 music videos?’ 11 people were interviewed, most were aged between 22-25. In regards to music videos, the most important features were: Flawless Music Quality, Cross-platform compatibility the video being original as itself (see Figure 29). Emotions elicited were rather balanced, leaning towards positive values. Figure 28. Soudah F. (1998). Untitled [Screenshot]
Shaky camera and varied quality of sequences were noticed (see Figure 30). Most people experienced the video on their computers. Nevertheless, a few intriguing insights were brought to light: First of all, the music linked with the video itself is capable of increasing the immersion on user’s side radically, even overcoming existing problems such as shaky camera, which is proven to induce motion sickness and other notorious problems in case of VR apps. Secondly, all the users expressed curiosity and interest in regards to these productions, meaning that if we manage to properly create a compelling experience, people will be very likely to stay and keep on experiencing our application for longer.
Figure 29. 360 Music Video Interview, Question: What are the most important features of a music video?
Figure 30. 360 Music Video Interview, Question: Which problems did you find in relation to the video (highly noticeable)?
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Link to the 360 video: https://www.youtube.com/watch?v=iXaaTIZA608
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Procedural Measures As part of our project we will try blending in procedurally generated content, if possible, tailored by measures that may be considered as an AI enhanced system. As a concept, it will generate appropriate contents in relation to the progression of song’s lyrics. Its purpose is to entice the user’s, support the atmosphere and introduce features that may constitute as unexpectedness, potentially keeping the game fresh and interesting on each launch. The system, if properly introduced, does work as proven in a variety of games such as Left4Dead which featured just 4-5 campaigns with a total of around 20 maps (see Figure 31). Despite the aforementioned, people played the game for years to come as the game provided a great and refreshing experience on each playthrough. Audiosurf is a game operating on songs that are at your disposal, analyzing its pace and creating a journey accommodating the song’s features, slowing down when it’s slow and speeding up at faster parts (see Figure 32).
Figure 31 . Valve Corporation. (2008). Left 4 Dead [Online Image]. Retrieved September 4, 2017 from https://vignette4.wikia.nocookie.net/left4dead/images/2/26/Left4dead.jpg/ revision/latest?cb=20100325040337 Fuad Soudah (fsou4085), Richard Wang (rwan0897), Stjepan Huljev (shul7173); P. 29
Figure 32 . Fitterer D. (2008). Audiosurf [Online Image]. Retrieved September 4, 2017 from
https://i.ytimg.com/vi/OGgvAAF76TU/maxresdefault.jpg
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Design Concept 1 ICE The concept involves the idea of cold environments, as the world is frozen and the player roams what is left of it. The question remains, what’s my purpose of exploring such environments? There is none. As what’s the purpose of taking ICE, considering how well documented the drug is, how destructive and harmful it is? The world functions as a metaphor. The game takes some inspiration from Proteus, which lacked narrational devices and focused on ludological perspective, making it controversial, yet, intriguing. Eventually, we decided that the idea was too farfetched, despite how compelling the world was, there is no room for enticing replayability and our goal of raising drug-awareness did not work well with ‘ICE’.
Figure 33. Screenshot from CryEngine 2, World covered in Ice
The environments were shaped in CryEngine 2, based on models available via ‘Crysis’ video game (2007) (see Figures 33 & 34).
Figure 34. Screenshot from CryEngine 2, World covered in Ice
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Design Concept 2 Nature World Nature World is a concept which targetted pleasure as the main reason for playing. Many people, including drug addicts may lack a proper environment, which often leads to bad life choices, including the choice of taking hard drugs. One idea is to redirect the thoughts or habits, from drug intake to world exploration, a soothing experience. Grasslands, Hills, Lakes, deserts and a sphere, controlled by the player, with the ludological perspective of exploration and relaxation. Unfortunately, we decided that the idea lacked in promoting drug awareness, it also felt relatively generic as many similar apps exist, featuring the aforementioned idea. The concept was generated in Unity (2017), using its basic resources (see Figure 35).
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Figure 35. Screenshot from Unity, Nature World with Grasslands, Lakes, Hills and Trees
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Design Concept 3 Trouble Cruise Trouble Cruise is an idea based strictly on the vaporwave aesthetics. Highly inspired by the 360 trips existing on youtube and crafted closely in relation to how they play out. The concept takes the user through a tailored journey, through a variety of rooms, closely in connection with the music’s atmosphere and lyrics. The aesthetics are executed in the vaporwave style, which has been researched. We decided to choose this concept as it is the most novel and comprehensive idea for tackling the drug-awareness problem. The application will be crafted in Unity (2017), using its basic and external resources, extra models will be made in 3DS Max and our creation process enriched by existing tutorials. The render was made in Unity (see Figure 36).
Figure 36. Screenshot from Unity, Trouble Cruise World in Vaporwave style
Design for Virtue and Automation play a significant role in the major concept since Trouble Crusie VR aims to promote drug awareness in a non-judgemental way. The experience has a user travel through a world build with the Vaporwave & Aesthetic styles. Furthermore, many users will experience a fresh journey as such style might have never been adapted to Virtual Reality. The design alone will be unique and original enough to raise curiosity and drug-awareness in the community.
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Design Concept 3 Trouble Cruise The user will be faced with a menu that says ‘play’ or ‘credits’ which was taken from the Squarepusher VR app. Once they enter they will move forward continuously through an a e s t h e t i c world which is timed to go with the band’s song. Although the movement is constrained, the user will be able to use the gaze interaction with the items surrounding them. The idea is that the user is presented with two alternate realities. They may experience a positive and a negative trip. The majority of the 3D models will be related to the style, design area, for example, microwaves strapped to rocket engines, water planets with dolphins, huge Windows 95 error messages with orbiting icons etc. Figure 37. Trouble Cruise VR Concept Art
Every model will have a negative cousin. For example, a basic model in a positive space would be a psychedelic cube. However, in the negative trip the colour would change to a dull shade and the cube become spiked. A multitude of various illicit drugs will fly past the user, and different scenarios will be tested, possibly involving gamification. The user might be able to take the drugs and experience the desired effect, or the effect could just be implemented on the models. Similarly, the more drugs the user takes, the more likely they would head into a negative trip. Various options are still on the table, and the stakeholders will need to be interviewed again for their preferences. The journey will continue until the song ends at four minutes and twenty seconds. The song will be timed to correspond with traditional drug trips, with the sound also being distorted by the use of synths to accomodate bad trips. Fuad Soudah (fsou4085), Richard Wang (rwan0897), Stjepan Huljev (shul7173); P. 33
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Storyboard
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Trouble Cruise VR Experience Sketch The idea involves a journey over which the user has limited influence. The player will move automatically, placed on a linear path, allowing the user to focus on the interaction with surroundings. That will entice deeper exploration of the space, increasing overall immersion, the connection with the world (see Figure 38). Variety of sections of the environments are synchronized with specific parts of the song. The magnetic strip interaction will emulate the experience of a bad trip, distorting the actual experience in numerous ways.
Figure 38. Trouble Cruise VR Interaction Sketch
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Mockups Alternate Realities After having triggered the magnetic strip, the world will be invoked with higher saturated colors, distorted imagery, glowing objects and skewed vision, even the interaction and navigation will work differently now (see Figure 39). We may introduce a variety of realities, however, for now we foresee the introduction of two alternate realities.
Figure 39. Trouble Cruise VR Alternate Realities Mockups
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It is our belief that the start menu ought to be as straightforward as possible. Just jump into the game by the use of gaze interaction, why complicate things and derive from the actual experience? Additionally, we may introduce the option for custom songs and dynamically changing, procedural environments. Depending on how difficult the construction of the game will turn out to be, we will stick with the idea, as presented (see Figure 40).
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Figure 40. Trouble Cruise VR Main Menu Mockup
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Mockups Main Menu
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Project Management Week 1 Building 3D Models Coding (environment) Coding (interaction) Environment Design Troubleshooting
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Week 2
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References - Images
[Untitled animated image of vaporwave style]. Retrieved September 4, 2017 from http://vaporwave.co/wp-content/uploads/2016/04/vaporwave-door.gif [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://www.rafaeldejongh.com/wp-content/uploads/2016/10/Vaporwave-Right.jpg [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://theeckleburgprojectblog.files.wordpress.com/2017/03/vaporwave.jpg?w=1440 [Untitled image of vaporwave/cyberpunk art]. Retrieved September 4, 2017 from http://imgur.com/XXI3y4g [Untitled image of vaporwave style]. Retrieved September 4, 2017 from http://vaporwave.co/wp-content/uploads/2016/04/vaporwave-city-skyline.png [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://i.redd.it/1iwcit1gidyy.jpg [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://i.ytimg.com/vi/PBxWrC7FTQs/maxresdefault.jpg [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://i.redd.it/009r3g5yidqx.jpg [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://i.pinimg.com/originals/46/5f/34/465f34c9f38e15a7d8639de9b674438c.jpg [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://ugc.kn3.net/i/origin/http://www.hipsthetic.com/wp-content/uploads/2016/03/Aaron-Campbell-Hotel.png [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://i.pinimg.com/originals/81/21/1f/81211f1a096594be0a762715e8dc6e38.png [Untitled image of vaporwave style]. Retrieved September 4, 2017 from http://imgur.com/lTO9Plf [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://i.pinimg.com/originals/a3/31/3f/a3313fd46b657745a956e35b0570a53d.jpg [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://i.ytimg.com/vi/AmfAl-Ik5no/maxresdefault.jpg [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://i.pinimg.com/originals/2c/b3/9a/2cb39ad85a5efcf6e7157247bbe1687b.jpg [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://thump-images.vice.com/images/tracks/meta/2015/09/15/prepare-to-get-deliriously-dreamy-with-vaporwave-sensation-2814s-beyond-blissful-shinjitsu-no-koi-1442324234.png [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://mir-s3-cdn-cf.behance.net/project_modules/max_1200/45563229856031.5611fc1811e24.png [Untitled image of vaporwave style]. Retrieved September 4, 2017 from http://imgur.com/OunajOQ [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://az616578.vo.msecnd.net/files/responsive/embedded/any/desktop/2015/11/30/635844632811668548-110012419_IZTpcV7.png [Untitled image of vaporwave style]. Retrieved September 4, 2017 from http://www.meh.ro/wp-content/uploads/2016/02/meh.ro12355.jpg [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://i.pinimg.com/originals/b1/7c/63/b17c63d2bc0fc98796ce674dd5788972.jpg [Untitled image of vaporwave style]. Retrieved September 4, 2017 from http://imgur.com/DghtdPd [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://theeckleburgprojectblog.files.wordpress.com/2017/03/vaporwave.jpg [Untitled image of vaporwave style]. Retrieved September 4, 2017 from https://i.ytimg.com/vi/WtDn3lSUKeU/maxresdefault.jpg [Untitled image of Mario]. Retrieved September 4, 2017 from http://24.media.tumblr.com/tumblr_lzrqnxtHSV1r3t255o1_500.jpg [Untitled image of Mr Burns]. Retrieved September 4, 2017 from https://i.pinimg.com/originals/b4/f1/47/b4f1473e9ee39ebba40da284971fdbb0.gif [Untitled image of a Frog]. Retrieved September 4, 2017 from https://ih0.redbubble.net/image.213682998.8341/flat,800x800,075,f.u1.jpg [Untitled image of a Dolphin]. Retrieved September 4, 2017 from http://37.media.tumblr.com/742aa63a02bc9670c5a71b7602094455/tumblr_ms3439BB7X1s3hncbo1_500.gif [Untitled image of a Bong]. Retrieved September 4, 2017 from https://68.media.tumblr.com/fa837c7edd6968cd8d3022aca21d4001/tumblr_on1al9L5is1umof4oo1_500.gif Asmik Ace Entertainment (1998). LSD [Video Game Online Image]. Retrieved September 4, 2017 from https://vignette2.wikia.nocookie.net/dreamemulator/images/7/7b/Headmendowner.PNG/revision/latest?cb=20121125211235 Australian secondary school students’ use of tobacco, alcohol, and over-the-counter and illicit substances in 2014 [Online Image]. (2016). Retrieved September 4, 2017 from http://www.nationaldrugstrategy.gov.au/internet/drugstrategy/Publishing. nsf/content/E9E2B337CF94143CCA25804B0005BEAA/%24File/National-report_ASSAD_2014.pdf Fitterer D. (2008). Audiosurf [Online Image]. Retrieved September 4, 2017 from https://i.ytimg.com/vi/OGgvAAF76TU/maxresdefault.jpg Mission Australia. (2016). Mission Australia Youth Survey infographic 2016 [Online Image]. Retrieved September 4, 2017 from https://www.missionaustralia.com.au/documents/research/young-people-research/678-mission-australia-youth-survey-infographic-2016 National Drug Strategy Household Survey (NDSHS) 2016—key findings [Online Image]. (2017). Retrieved September 4, 2017 from https://www.aihw.gov.au/getmedia/118fcb1e-3030-4617-bf6a-f857ef751722/ndshs-2016-fig12-recentdrug-age.png. aspx National Drug Strategy Household Survey (NDSHS) 2016—key findings [Online Image]. (2017). Retrieved September 4, 2017 from https://www.aihw.gov.au/getmedia/78d673a6-81e9-4111-a1e3-aa3887292c40/ndshs-2016-fig11-recentdrug.png.aspx Perturbator. [Untitled musical band art]. Retrieved September 4, 2017 from https://creators-images.vice.com/content-images/contentimage/no-slug/b145262d95e18cce155abe79b0ed0d8f.jpg Positive Design Framework [Online Image]. Retrieved September 4, 2017 from http://seveninnovation.com/wp-content/uploads/2016/04/Positive-Design-Logo-no-names-07.png Rockstar Games. (2013). Grand Theft Auto V [Online Image]. Retrieved September 4, 2017 from https://images.vice.com/vice/images/articles/meta/2014/11/05/drugs-in-video-games-keza-macdonald-949-1415192884.jpg Sandberg D. (2015). Kung Fury [Online Image]. Retrieved September 4, 2017 from https://postimg.org/image/omb4kp1jf/ Simon D. (2002). The Wire [Online Image depicting Omar Little portrayed by Michael K. Williams]. Retrieved September 4, 2017 from http://www.slate.com/content/dam/slate/articles/arts/culturebox/2012/05/120514_CB_OmarWire.jpg.CROP.promo-mediumlarge.jpg Simon D. (2002). The Wire [Online Image depicting Omar Little portrayed by Michael K. Williams]. Retrieved September 4, 2017 from https://static01.nyt.com/images/2017/07/02/nyregion/02jpWILLIAMS3/02jpWILLIAMS3-master675-v2.jpg Simon D. (2002). The Wire [Online Image depicting Omar Little portrayed by Michael K. Williams]. Retrieved September 4, 2017 from https://vignette1.wikia.nocookie.net/thewire/images/4/46/Omar.jpg/revision/latest?cb=20080312182119 Simon D. (2002). The Wire [Online Image depicting Omar Little portrayed by Michael K. Williams]. Retrieved September 4, 2017 from http://esq.h-cdn.co/assets/15/24/980x490/landscape-1433956938-omar.jpg Ubisoft. (2013). Far Cry 3: Blood Dragon [Online Image]. Retrieved September 4, 2017 from https://i.ytimg.com/vi/32z8pGCAEbU/maxresdefault.jpg Valve Corporation. (2008). Left 4 Dead [Online Image]. Retrieved September 4, 2017 from https://vignette4.wikia.nocookie.net/left4dead/images/2/26/Left4dead.jpg/revision/latest?cb=20100325040337 Woodstock 3 Days of Peace & Music. (1969). [Online image]. Retrieved September 4, 2017 from http://www.buffablog.com/wp-content/uploads/2016/08/Woodstock2.jpg
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References - Bibliography Australian Government, Department of Health. (2012). About the National Drugs Campaign [Online]. Retrieved September 4, 2017 from http://www.drugs.health.gov.au/internet/drugs/publishing.nsf/content/campaign Australian secondary school students’ use of tobacco, alcohol, and over-the-counter and illicit substances in 2014 [Online Image]. (2016). Retrieved September 4, 2017 from http://www.nationaldrugstrategy.gov.au/ internet/drugstrategy/Publishing.nsf/content/australian-secondary-students-alcohol-drug-survey Blood, A. J., & Zatorre, R. J. (2001). Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. Proceedings of the National Academy of Sciences of the United States of America, 98(20), 11818-11823. doi:10.1073/pnas.191355898 Brooks K. (2003). There is Nothing Virtual About Immersion: Narrative Immersion for VR and other Interfaces Centre for Behavioural Research in Cancer Cancer Council Victoria. (2016). Australian secondary school students’ use of tobacco, alcohol, and over-the-counter and illicit substances in 2014 [Online]. Retrieved September 4, 2017 from http://www.nationaldrugstrategy.gov.au/internet/drugstrategy/Publishing.nsf/content/E9E2B337CF94143CCA25804B0005BEAA/%24File/National-report_ASSAD_2014.pdf Collins, K. (2008). Game sound: An introduction to the history, theory, and practice of video game music and sound design. Cambridge, Mass: MIT Press. Desmet, P. M. A., & Pohlmeyer, A. E. (2013). Positive design: An introduction to design for subjective well-being. International Journal of Design, 7(3), 5-19. Lee, M. K., Kiesler, S., & Forlizzi, J. (2011). Mining behavioral economics to design persuasive technology for healthy choices. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (pp. 325334). New York, NY: ACM Press. Mission Australia. (2016). Mission Australia Youth Survey infographic 2016 [Online]. Retrieved September 4, 2017 from https://www.missionaustralia.com.au/documents/research/young-people-research/678-mission-australia-youth-survey-infographic-2016 Nacke, L. E., & Deterding, S. (2017). The maturing of gamification research. Computers in Human Behavior, 71, 450. doi:10.1016/j.chb.2016.11.062 Quinto, L., & Thompson, W. F. (2013). Composers and performers have different capacities to manipulate arousal and valence. Psychomusicology, 23(3), 137 Thaler, R. H., & Sunstein, C. R. (2008). Nudge: Improving decisions about health, wealth, and happiness. New Haven: Yale University Press. Unreality Journeys. (2016). SADPOSTINGVIBES - Feat. Music by FrankJavCee (360 VR Version) [Online Video]. Retrieved September 4, 2017 from https://www.youtube.com/watch?v=M7YBnznuBAg Xiaoqing Fu, J. (2015). The Influence of Background Music of Video Games on Immersion [online Image]. Retrieved 31 August, 2017 from https://www.omicsonline.org/open-access/the-influence-of-background-musicof-video-games-on-immersion-2161-0487-1000191.php?aid=58693#18 Zhang, P. (2007). Toward a positive design theory: Principles for designing motivating information and communication technology. (pp. 45-74) Emerald Group Publishing Limited. doi:10.1016/S1475-9152(07)00204-9
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