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RESEARCH QUESTIONS
Q1: Can the real time cloth simulation system (Chaos Cloth) in Unreal Engine 5 be used to simulate an outfit made in CLO3D, in result making game outfits much more dynamic?
Q2: Can this technology be leveraged by developers to give players the ability to design and make their own outfits within a game, similar to in-game character customization?
Q3: Can Fashion Brands, Businesses and Educators use such Digital spaces populated with creations of players as an onboarding, collaborative and creative space for the next generation of consumers and creators?
Throughout this report inputs Q1, Q2 and Q3 are used to refer to the three research questions. Example Motivation Q1 and Q2 stands for the motivation behind Questions Q1 and Q2
ABSTRACT:
Video games have always been popular among younger generations. More than any other generation, Gen Alpha is reimagining what video games traditionally do, using them as a social hangout and launchpad for learning. Just like the previous generations used Facebook and TikTok, Gen Alpha is using Minecraft, Roblox and Fortnite for a much more immersive and interactive space.
In addition, instead of massive franchises like the shooting game franchise Call of Duty, it seems gen alpha is more interested in simulation and sandbox type games that has some sort of creative element to it, such as building structures, styling costumes, character customization, music concerts and online social events
When it comes to crafting section of the gameplay, there are plenty of city building games, house building games, survival games where you must harvest resources and use and manage them to build shelter and grow foods etc. But the element of creating outfits seems to be left behind. Yes, some games do provide change of outfits, but not creation of outfits for themselves. Most existing games are more of styling games rather than garment creation games.
But the success of game engines such as Unreal Engine 5, and its real time rendering and simulation technology, developers can develop games that fills this gap of creating custom player outfits.
Unreal Engine has a physics system called Chaos, which is used to solve may physic based problems including cloth. With the already existence and popularity of digital outfit creation tools such as CLO3D, it is possible for game developers to create an integration between CLO3D and Unreal Engine Chaos cloth that will allow players to customize and create their own outfits in Interactive online games that gen alpha is so interested in.
In this project I have shown that an outfit made in CLO3D can be imported into Unreal Engine and be simulated in real-time as a wearable outfit for the player character, showing that Unreal Engine’s chaos cloth system’s capability of simulating externally designed digital outfits. So, the idea of seamless integration of a lighter version of CLO3D in a Video game that uses Unreal Engine is within the realm of possibility
Furthermore, this interest and intersection between crafting, social spaces and simulation sandbox video games, the brands and businesses can use such digital spaces as a “Virtual World” where they can digitally present their own products or create entirely new digital only products. They can also collaborate and onboard the players who are skilled in creating in-game fashion products to design and build a brands digital presence within the game world.
As an example, Nike has enlisted a group of Gen Alphas to build its presence on Roblox, a land called “Airtopia” in honor of its Air Max line. By handing over creative control of their digital presence to the players, it’s proving that a fashion brand could be interested in such ventures and sees potential in advertising, onboarding and winning brand loyalty of Gen Alpha via such digital mediums.
According to GWI, Minecraft players are 27% more likely to say they use online social spaces to interact with brands. They suggest that brands can use world-building games to feed Gen Alpha’s appetite for self-development and creativity, while maintaining the relevancy of the brand within the next generation of consumers.
MOTIVATION: Q1 and Q2
WHY BRING GARMENT CONSTRUCTION AS GAMEPLAY ELEMENT
Exposure to technical details of a craft or a profession at an early age can be a help to master the craft and when combined with their own self-interest in that craft, the results that could be produce can be extraordinary
Some of the world’s best sportsmen are all started very young and got the exposure and had some interests in their practiced sport. As an example, Michael Phelps is the most decorated Olympian of all time, with a total of 28 medals, including 23 golds, Phelps dominated the pool for over a decade, setting numerous world records and redefining the limits of human aquatic performance. At the age of 7, Phelps was introduced to swimming. By age 10, he had already set a national record for his age group in the 100-meter butterfly, signaling the beginning of his extraordinary swimming career. (Source: Wikipedia).
In the world of fashion, Cristobal Balenciaga who had a reputation as a couturier of uncompromising standards and was referred to as "the master of us all" by Christian Dior and as "the only couturier in the truest sense of the word" by Coco Chanel, began work as the apprentice of a tailor at the age of twelve. When he was a teenager, the Marchioness de Casa Torres, the foremost noblewoman in his town, became his customer and patron. She sent him to Madrid, where he was formally trained in tailoring (Source: Wikipedia).
MOTIVATION: Q3
BRAND INTERACTION AND REMAINING RELEVANT
Gen Alpha, as the next generation of consumers has shown unique behavior compared to previous generations. Because they are born to technology and internet, with much broader options, they are habitually moving away from big brands that were famous and successful for decades.
According to Georgie Walsh from GWI, Gen Alpha are becoming more independent in the way they interact with brands. Since 2021, the number of kids who say they choose which apps they download has increased by 11%, with a 12% rise in kids deciding what they eat. This means they’re taking control of their choices at a younger age. For brands, this growing independence means it’s no longer just about targeting parents – Gen Alpha are becoming important decision-makers in the household, and it’s important to engage with them too. (Walsh, 2024)
As a suggestion, it is strategic for brands to engage with Gen Alpha directly, rather than through their parents. Online spaces such as a game as proposed in this project is a good place for brands to collaborate and engage with their young consumers
According to Georgie Walsh from GWI, Brands should engage Gen Alpha directly: These young consumers are taking charge of their choices, and brands need to speak directly to them, not just their parents. (Walsh, 2024)
RESEARCH: Q1 and Q2
A GAP IN THE CREATIVE ELEMENT
Fortnite is a good example of a video game which ticks almost every demand of Gen Alpha. The game has online interaction, musical festivals, crafting, world building and online events. Fortnite also have a marketplace where players can buy outfits. But one thing it lacks is the ability to create your own skins. This gap can be seen across the entire industry.
Even though there are plenty of fashion games available in both PCs and Mobile, they seem a lot behind, and the gameplay does not involve any actual construction of the garment nor involve any technical thinking like city building or architectural games. For example, Cities Skyline A city-building game, where players act as the overall planner and leader of a city or town, looking down on it from above, and being responsible for its growth and management strategy, whereas Sims 4, a life simulation game has a build mode which is used to edit a lot, including architectural and construction changes, and the addition of objects to the player's house.
Both games loosely follow real world guidelines and simulates a light version of reallife planning and execution of city management and house planning.
Around 2 in 5 Gen Alpha gamers want to play video games that allow them to build or create (GWI) Games designed to facilitate creativity are the top choice for Gen Alpha gamers. 58% report playing Minecraft over the past month, and 43% report the same for Roblox. (Howarth, 2024)
RESEARCH: Q3
HOW TO PREPARE FOR GEN ALPHA? INVEST IN YOUTUBE, GAMING AND LEARNING
When researched on how Gen Alpha uses games and online spaces, and how brands have reacted to these new demands, Minecraft and Fortnite comes to the top.
Famous fashion brands such Balenciaga and Nike has already launched some exclusive digital products that can be either won as a reward in game, or as a purchasable item on that can be worn by the player
Figure 2 Examples of Brands Leveraging online spaces
Figure 1 Cities Skyline (Left) Sims 4 Build Mode (Right)
Agencies and brands continue to study Gen Alpha’s distinction from Gen Z as they prepare to adapt their marketing tactics and strategies to court this even-younger generation. The short answer seems to be: Look to channels like YouTube, influencers and gaming. (Siu, 2024)
A ten-year-old YouTuber, with a subscriber count running in the tens of millions, recently created an interactive world for his fans to hang out in on Roblox. If you want clues into what makes Gen Alpha unique, that’s not a bad place to start. (Moran, 2022)
METHODS OF PRODUCTION: Q1
The process of experimenting on if a CLO3D made outfit can be simulated in real-time with Unreal Engine 5 Chaos physics system is documented below
The below can be explained as a simplified workflow chart that captures the most important parts of the workflow
Figure 3 Ghoul Trooper, most expensive Fortnite skin sold, $5000
Creating an outfit in CLO3D
Exporting as USD (Universal Scene Description) Setting up the real-time simulation
Figure 4 Method of Production flowchart
The outfit creation happens in CLO3D, as an experiment, a small skirt and a top was made with default simulation fabric properties. The file was exported as USD (Universal Scene Description) for Unreal Engine 5.
The imported outfit, in this case named as Frock, needs to be registered as a Chaos Cloth Asset and which areas need to be simulated should be marked as a weight paint mask.
Figure 5 Simple CLO3D Outfit Creation
Figure 6 Imported Outfit in Unreal
And the outfit should be put on the playable character to simulate the garment in real time. The garment uses the Unreal Engine’s Chaos cloth physics system. The physics system uses data from CLO3D to simulate the cloth. Even though the simulation is not exact as CLO3D, it makes the process more approachable and doable, compared to setting up cloth physics manually
Figure 7 Setting up cloth physics simulation in Unreal
Figure 8 Outfit on the playable character, that will simulate in real-time
METHODS OF PRODUCTION: Q2
SETTING UP A COSTUME CUSTOMIZATION OPTION IN A VIDEO GAME THAT USES UNREAL ENGINE – SUGGESTED
EXAMPLE APPLIED: INZOI – A LIFE SIMULATION GAME
"Every life becomes a story" Create your unique story by controlling and observing the lives of 'Zois'. Customize characters and build houses using inZOI's easy-to-use tools to live the life of your dreams and experience the different emotions of life created by its deep and detailed simulation.
RELEASE DATE: Coming soon
DEVELOPER: KRAFTON, Inc.
PUBLISHER: KRAFTON, Inc.
Figure 9 inZOI Game Poster
The game does have a character creation section, which uses Unreal Engine Meta Human with very realistic looking outfits, which the player can mix and match.
The game has also have integrated selected CLO3D outfits from CLO3D/ Marvelous Designer Connect marketplace and above contest winners. But only the preapproved items are available, most likely due to technical limitations
It also has some customization freedom for the outfits, more than other games, but still lack the proper garment construction approach.
Figure 10 inZOI Character Menu
Figure 11 Garment customization option of inZOI
CLO3D also has a simpler version of their software called JINNY. The customization options in inZOI are very similar to JINNY, but with limitations
The process of getting the custom CLO outfit to work and simulate in Unreal Engine is a long, technical and troublesome process.
By making a lighter version of a garment creation tool, such as JINNY, run in Unreal Engine, the developers can introduce digital garment creation to the gameplay, as a result making the player outfits in the game world much more vivid and lively while also creating a digital economy around those creations
Figure 12 Jinny by CLO
CLO3D Light - Create custom outfit for your ZOI andothertechnicaltools
Figure 13 Suggestion for a possible in-game garment creation tool
WHAT IS SHOWCASED: FROM Q1 TO Q2
In Q1 section it was shown that selected parts of a CLO3D created outfit can be simulated outfit in Unreal Engine. This shows that Unreal Engine’s Chaos physics system is capable of simulating CLO3D designed outfits in real-time as wearables of the player character
Because the garment was designed in CLO3D and imported directly to Unreal without any fine tuning or involvement with other software, it could be possible to integrate the two software seamlessly so that the player can create custom outfits for their characters
By making a lighter version of a garment creation tool, such as JINNY run in Unreal Engine, the developers can introduce digital garment creation to the gameplay, as a result making the player outfits in the game world much more vivid and lively while also creating a digital economy around those creations
Furthermore, similar to house building games spark interest in Gen Alpha players regarding architecture, having a simple technical garment creation element in a game can result in similar outcomes
METHODS OF PRODUCTION: Q3
VIRTUAL SPACE FOR COLLOBORATION, ADVERTISING AND ONBOARDING
The environment for the Virtual Space was built by taking AUB as inspiration While experimenting with some layouts, it was decided to expand the map to have multiple areas and rooms such as a playground where players can move jump etc. to see how an outfit made in CLO3D move in real time in Unreal Engine(Q1)
The Virtual Space was also expanded to have a digital fashion art gallery and Digital lots that showcase advertisements, to onboard players who will see these advertisements (Q3)
It was decided to only showcase the design I made for this project, but the idea was making it an online space where other players and creators can showcase their works in the gallery and players being able to try out the displayed outfits.
As suggested before brands can also use these digital spaces advertise their services and products in this space It was decided to add Kate’s Design in VR as an advertisement to serve as proof of concept, where people can reach out to Kate to sign up for her VR courses. So, the Virtual Space for Kate acts as an onboarding platform for her VR Courses (Q3)
PROBLEM SOLVING: Q1
When it comes to video games, as shown in the below image, certain costumes and weapon skins are exclusively given away for players who either pre-order a certain game or purchase a certain DLC pack ormight be a reward for completing some secret mission.
The research shows that costumes in video games does have a significant perceived value to the player both in-game and real world. Furthermore, some Fortnite accounts that contain original player skins, and some very rare skins gets sold online for thousands of dollars, which again signifying the importance of the character costume for gamers
Furthermore, it is also seen that gamers do care about cloth physics in Video Games. They like to see the clothes of their characters move and react to the character movements and environments
Figure 14 A costume and weapons kit exclusively for pre-order
Figure 15 Discussion on cloth physics of GTA 6 in a forum
It is also rumored that the highly anticipated game GTA 6 from rockstar might have real-time cloth physics, at least on main playable characters. The rumor says the cloth might also react to weather such as wind. A leaked footage of GTA 6 game development does show some test of cloth physics
It clearly shows that there is an interest in having better more realistic, dynamic and live cloth simulations in video games among both the players and developers.
By experimenting with Unreal Engine’s chaos cloth and CLO3D garment creation, that interest was addressed and was shown that the real-time cloth simulation does add fun, more dynamic gameplay compared to stiff clothes in video games.
Figure 16 Leaked footage of GTA 6 development, testing cloth physics on playable character
PROBLEM SOLVING: Q2
Many video games have character customization, and some outfit customization as mentioned before, but not truly customizable outfits, where players can create an outfit for themselves. By having such option in a video game will allow players to truly customize and express themselves and their cultural identities through their outfits
In addition to that, players will also be able to get a glimpse into technical garment creation and become more familiar with such processes and those interest could be developed towards a career equipped with digital skills and a sustainable mindset
Figure 17 Cyberpunk 2077 outfit menu
Figure 18 inZOI without custom outfits (Left) VS inZOI with custom outfits (Right)
PROBLEM SOLVING: Q3
As per the research, it was mentioned that Gen Alpha, as the next generation of consumers are slowly moving away from big major brands, and their consumer habits does not come from their parents. They make those decisions independently at a much younger age, which makes them not to admire the brands their parents do.
This can be a tricky situation for established brands that has dominated the markets for decades, it can be food, clothing and anything else. For these brands to be relevant and talked about among Gen Alpha, the suggested strategy is to engage with Gen Alpha directly, rather than going through their parents.
Digital spaces, which Gen Alpha sometimes spends time socializing can be a great space for brands to spread their existence. Brands can even collaborate with Gen Alpha players to create digital presence of the brand in the game world. Nike Airtopia is an example.
By making the Real Cloth Sim Experience environment inspired by AUB and AUB Gallery it takes a similar approach to what Nike did with Airtopia. The addition of digital advertising spaces for Kate and Laji, it serves as a execution of concept of using such spaces for advertising, education, collaboration and onboarding among players and creators who create for these spaces.
Figure 19 Nike Airtopia
OUTCOMES: Q1
The final outfit, where some parts are simulated in real-time was successfully completed and the outfit looks presentable and works as expected. It does add some fun dynamic elements to the player character and the cloth simulation indirectly interactive with the player, through player-controlled character. For example, if the player wants to see how the skirt behaves when jumped, the player cannot directly interact with the skirt, but the player can make the player-controlled character jump, which will show how the skirt behaves when jumped
OUTCOMES: Q2
The suggestion of having a custom outfit creation menu, as explained earlier in this report it will allow players to express themselves and their culture and identities with their own outfits, and it will also encourage creativity and introduce some technical skills and thinking.
As outcome of this Q2 section, the suggested custom outfit menu and the following flowgraph that shows the overall idea can be presented
Figure 20 Real Cloth Sim final outfit
Gen Alpha Interests in video games - % of players wants following in their game
• Adventure 55%
• Building/Creating 43%
• Racing 36%
• Fighting 36%
Character costumes act as an essential part of a video game, some rare outfits sell as DLCs, Pre-order bonuses and even traded among players
Importance of character costumes in video games + Gen Alpha expecting more Building/Creating gameplay in their video games
Gen Alphas want to contribute to the online spaces they inhabit and have faith in their ideas.
A video game populated with player created outfits which showcases the creativity, identity and technical knowledge of the players
Brands can engage, advertise, collaborate and even hire players from the video game to build their presence inside the video game, to engage with Gen Alpha
Stiff clothing of the characters in games– example inZOI
Unreal Engine 5 capability of realtime cloth simulation according to CLO3D creations
Testing of real-time cloth simulation from CLO3D to Unreal Engine 5
Suggested addition of true garment creation option to the character customization option in video games
Gen Alpha consumer behavior is much more making established brands need to engage with Gen Alpha directly
OUTCOMES: Q3
As the outcome of Q3, the virtual space that the player can explore the creations of other creators and educators can be presented.
The Gallery showcases some of digital fashion designs and advertises some educational courses which players can sign up
OUTCOMES: Q1, Q2 AND Q3 TOTAL
As the combined outcome of Q1, Q2 and Q3 the complete Real Cloth Sim Experience shows real-time cloth simulation in a playable character, which was achieved on a custom-made outfit in CLO3D, simulated with Unreal Engine’s chaos cloth physics system, while also having a virtual space which advertises creative outputs of designers and virtual spaces acting as onboarding routes for educational courses
Figure 21 Real Cloth Sim Virtual Space
Figure 22 Real Cloth Sim Experience Splash Screen
LOOKING FORWARD
I believe that this project and its idea gives a unique angle on real-time cloth simulation, virtual spaces, gen-alpha consumer habits and gamification
While this project shows most of the discussed ideas in practice, making the Real Cloth Sim Experience online would make it much more collaborative. Even though it is very technical and probably will demand much more powerful hardware to run multiple real-time cloth simulation in an online world populated with multiple players, which all wearing outfits that simulated in real-time it can be worth a try.
Furthermore, this project brought my attention to the idea of with some type of real time cloth simulation technology, will it be possible to test garment behavior, for example pressure areas of a body-hugging garment, during certain movements, in real-time
As an example, in CLO3D, you can design a body-hugging digital garment such as a legging and see which areas have pressure when the avatar is in a certain still pose. There is no option to control the avatar, like a video game character, to see how the pressure map changes during a certain activity, such as crouching or squatting. If the avatar can be controlled like a video game character, but with much more precise and human movement, may be through a motion captured system, it can be used to collect pressure, stretch and similar data of a digital garment before any physical sample production, making less waste and being time efficient.
This project opens the possibility entertaining such idea, which can be very beneficial for the apparel production industry. From a career perspective it can be a good opportunity for research and development of such technology, on behalf of a production company.
Figure 23 Browzwear pressure map
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