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E-raamat: Extending Virtual Worlds: Advanced Design for Virtual Environments

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  • Formaat: 361 pages
  • Ilmumisaeg: 03-Sep-2018
  • Kirjastus: CRC Press Inc
  • Keel: eng
  • ISBN-13: 9781482261172
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Extending Virtual Worlds: Advanced Design for Virtual EnvironmentsSuurem pilt
  • Formaat: 361 pages
  • Ilmumisaeg: 03-Sep-2018
  • Kirjastus: CRC Press Inc
  • Keel: eng
  • ISBN-13: 9781482261172
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Written as the successor to Virtual World Design: Creating Immersive Virtual Environments, this book carries the ideas brought forward in its predecessor to new levels of virtual world design exploration and experimentation. Written by an Emmy award-winning designer with 22 years of experience creating virtual environments for television and online communities, Extending Virtual Worlds: Advanced Design for Virtual Environments explores advanced topics such as multi-regional design, game-based sims, and narrative structure for environments.

The book provides bedrock knowledge and practical examples of how to leverage design concepts within the intertwined structures of physics engines, level of detail (LOD) systems, and advanced material editors. It also shows designers new ways to influence the experience of virtual world visitors through immersive narrative and storytelling. With over 150 illustrations and 10 step-by-step projects that include the necessary 3D models and modular components, it delivers hours of stimulating creative challenges for people working in public virtual worlds or on private grids.

By using this book, novices and advanced users will deepen their understanding of game design and how it can be applied to creating game-based virtual environments. It also serves as a foundational text for class work in distance learning, simulation, and other learning technologies that use virtual environments.
Preface xvii
Acknowledgments xix
Introduction xxi
Author xxv
Contributors xxvii
Chapter 1 Concepts in Advanced Design for Game-Based Virtual Environments 1(18)
1.1 Overview of Concepts in Advanced Design for Game-Based Virtual Environments
1(2)
1.1.1 Opening Your Understanding of Design
1(1)
1.1.2 Letting Go of the 2D Screen
2(1)
1.1.3 Qualities of a Good Designer
2(1)
1.2 Transrealistic Design, Constructive Imagination, and Virtual Environments
3(2)
1.2.1 Designing for Transrealism; Some Initial Considerations
3(1)
1.2.2 Constructive Imagination and Your Visitors
4(1)
1.2.3 Fitting Transrealism and Constructive Imagination Together by Design
5(1)
1.3 Designing for Games in Your Virtual Environment
5(4)
1.3.1 Major Design Aspects for a Game in a Virtual Environment
5(2)
1.3.1.1 Designing the Game Style
5(2)
1.3.1.2 Designing the Game Structure
7(1)
1.3.2 Designing for Emergent Play
7(2)
1.4 Designing for the Reality-Virtuality Continuum
9(2)
1.4.1 Designing for Reality
9(1)
1.4.2 Designing for Augmented Reality (Mixed Reality)
9(2)
1.4.3 Designing for Augmented Virtuality (Mixed Reality)
11(1)
1.4.4 Designing for Virtual Reality
11(1)
1.5 Designing for the Interconnected Virtual Environment; from a Rhizome to the Vizome
11(2)
1.5.1 Introducing the Concept of a Vizome
11(2)
1.6 Universal Design and Safety in Virtual Environments
13(3)
1.6.1 The Common Principles in Universal Design in Virtual Environments
13(1)
1.6.1.1 Visual Design
13(1)
1.6.1.2 Audible Design
13(1)
1.6.1.3 Tactile Design
13(1)
1.6.2 Designing Safety into a Virtual Environment
14(1)
1.6.3 Working toward a Team Approach in Universal Design
14(2)
1.7 Design with Code for Virtual Environments
16(1)
1.8 Taking a Design Discovery Voyage
16(1)
1.8.1 Course Study Planning with This Book
16(1)
1.8.2 Self-Study with This Book
16(1)
1.9
Chapter Summary and Final Thoughts
17(1)
References
17(2)
Chapter 2 About the Viewers and Content Created for This Book 19(16)
2.1 Overview of about the Viewers and Content Used for This Book
19(1)
2.2 Virtual World Viewers and Game Interfaces Used in This Book
19(1)
2.2.1 Head-Mounted Display Viewers Used in This Book
19(1)
2.3 How the Client Viewer Impacts Virtual World Designing
20(5)
2.3.1 What the Viewer Does for Image Rendering and How to Set Up for It
20(3)
2.3.2 What the Viewer Provides for Building and Editing
23(1)
2.3.3 What the Viewer Provides for Communications and Sound
23(1)
2.3.4 What the Simulator Server Does Compared to the Viewer
23(2)
2.3.5 Project Snowstorm and Viewer Development
25(1)
2.4 Selecting a Viewer for Second Life and OpenSim
25(1)
2.4.1 Viewers for Use with a Head-Mounted Display (HMD)
25(1)
2.4.2 Considering Input Devices for Safety and Universal Access
26(1)
2.5 Viewer Settings to Enhance Your Safety
26(1)
2.6 Viewers, Settings, and Considerations for Universal Access
26(1)
2.7 Some Notes about the Gear
26(4)
2.7.1 Building Your System for Your Design Needs
29(1)
2.7.2 Computer Specifications from the Equipment Used for This Book
29(1)
2.7.3 Some Notes about the Peripheral Gear
29(1)
2.8 How to Get and Upload the Content for This Book into Your Virtual World
30(1)
2.8.1 Where to Get the Content
30(1)
2.9 Settings Guidelines for Uploading This Book's Content into Your Virtual World
30(2)
2.9.1 Level of Detail (LOD) Setting Guidelines
30(2)
2.9.2 Physics Settings Guidelines
32(1)
2.9.3 Upload Options Settings Guidelines
32(1)
2.9.4 Known Problems with Uploads in Second Life and OpenSim
32(1)
2.10 Licensing Information
32(1)
2.11 How to Use the LSL Scripts Provided
33(1)
2.12
Chapter Summary and Thoughts
33(1)
References
33(2)
Chapter 3 The Vizome, Developing Creativity, and Virtual Environmental Design 35(24)
3.1 Overview of the Vizome, Developing Creativity, and Virtual Environmental Design
35(1)
3.2 Discovering the Vizome
36(3)
3.2.1 Early Concepts That Lead to the Vizome
36(1)
3.2.2 Examining Parts of the Vizome: How Things Are Connected
37(1)
3.2.3 Plateaus of the Vizome; the Assemblage of Concepts and Connections
38(1)
3.2.4 A Case Study: Using the "And, And & And" Approach in Designing a Virtual Environment
38(1)
3.2.4.1 Design References and Processes for Inland: Search for the Sy
38(1)
3.2.4.2 Takeaways from This Case Study
39(1)
3.3 Pushing the Design Further by Using Observations within the Vizome
39(8)
3.3.1 The Vizome and Designing for Temporal Location
41(1)
3.3.1.1 Conceptual Elements for Temporal Location Design
41(1)
3.3.2 The Vizome and Designing for Social Interactivity
42(3)
3.3.2.1 When Social Media and Virtual Content Go Wrong: Two Cautionary Anecdotes
44(1)
3.3.3 Social Content with Strong and Weak Ties: Dunbar's Number
45(2)
3.3.4 The Arrival of Social Reality on Virtual Reality Social Sites
47(1)
3.4 Designing with Semiotics, Collective Intelligence, and Perspectivism
47(2)
3.4.1 Collective Intelligence and the Four Spaces
48(1)
3.4.2 Perspectivism: Finding the Point of View for Your Design
49(1)
3.5 Setting Up a Creation System to Develop Ideas Like a Vizome
49(4)
3.5.1 The Vizome and a Creative Frame of Mind
51(1)
3.5.2 Getting the Creative Tools Organized
51(2)
3.5.2.1 Physical/Touchable Tools
52(1)
3.5.2.2 Psychological/Cognitive Tools
52(1)
3.5.2.3 Digital/Computer-Based Tools
52(1)
3.5.3 Using Your Subconscious as a Creative Partner
53(1)
3.6 Spotlight on Deborah Thomas: SillyMonkey Games, Training, and Social Media
53(4)
3.7
Chapter Summary and Final Thoughts
57(1)
References
57(2)
Chapter 4 Planning and Prototyping the Design of a Game-Based Virtual Environment 59(24)
4.1 Overview of Planning and Prototyping the Design of a Game-Based Virtual Environment
59(3)
4.1.1 What Are the Key Ideas about Designing for Gameplay in a Virtual Environment?
61(1)
4.2 Emergent Gameplay in Virtual Worlds
62(1)
4.3 Types of Games Found in Virtual Environments, and the Mechanics, Dynamics, and Aesthetics (MDA) Framework
62(5)
4.3.1 Exploration Game
62(2)
4.3.1.1 Style of Gameplay
62(2)
4.3.1.2 Design Aspects
64(1)
4.3.2 Experiential Art Game
64(1)
4.3.2.1 Style of Gameplay
64(1)
4.3.2.2 Design Aspects
64(1)
4.3.3 Hunt Game (Idea Based or Shopping Based)
64(1)
4.3.3.1 Style of Gameplay
64(1)
4.3.3.2 Design Aspects
65(1)
4.3.4 Vehicle-Based Game (Driving, Flying, or Boating in Competition)
65(1)
4.3.4.1 Style of Gameplay
65(1)
4.3.4.2 Design Aspects
65(1)
4.3.5 Gun-/Weapon-Based Game (Push-Activated Regions)
65(1)
4.3.5.1 Style of Gameplay
65(1)
4.3.5.2 Design Aspects
66(1)
4.3.6 Using the MDA Framework to Define Your Design Approach
66(1)
4.4 Designing for Game Player Types
67(2)
4.4.1 Dr. Bartle, Dr. Yee, and Classifications of Game Player Types
67(1)
4.4.2 How to Give Your Audience What It Wants While You Design What Interests You
68(1)
4.4.3 Making the "Grind" Work for You and Your Game-Based Sim Design
69(1)
4.5 Documents, Prototypes, and Game-Based Virtual Environments
69(8)
4.5.1 How to Create Game Documents Specifically for Game-Based Virtual Environments
69(4)
4.5.1.1 Textual Game Design Document
70(1)
4.5.1.2 Image-Based/Storyboard Type Game Design Documents
70(3)
4.5.1.3 Wiki-Based Game Document Organization
73(1)
4.5.2 Prototypes for Game-Based Sims
73(4)
4.5.2.1 Popsicle Sticks, Paper, and Pipe Cleaners
75(2)
4.5.3 Virtual Prototypes for Game-Based Sims
77(1)
4.6 Playtesting the Prototype and Game Jamming for Game Design Development
77(2)
4.6.1 Design Development and the Game Jam Approach
78(1)
4.6.2 The Real Game Jam Experience
78(1)
4.6.3 Holding a Virtual Game Jam
78(1)
4.7 Project: Creating Four Development Documents for a Game-Based Sim
79(2)
4.7.1 Decide on the Scope of Your Game-Based Sim
79(1)
4.7.2 Document 1: The Concept Outline
79(1)
4.7.3 Document 2: The Image-Based/Storyboard Document: Planning Your Game
80(1)
4.7.4 Document 3: Paper or Digital Prototype of Game-Based Sim
81(1)
4.7.5 Document 4: Building a Project Wiki for Your Game-Based Sim
81(1)
4.7.6 Project Conclusion
81(1)
4.8
Chapter Summary and Final Thoughts
81(1)
References
82(1)
Chapter 5 Designing for Social Interaction in Virtual Spaces 83(22)
5.1 Overview of Designing for Social Interaction in Virtual Spaces
83(2)
5.1.1 Going beyond the Rhizome, the Vizome, and into Spheres and Foam
84(1)
5.2 Designing for the "I," "You," and "Us" in a Virtual Environment
85(3)
5.2.1 Supporting Eye Contact and Body Language
85(3)
5.3 The Face, the Voice, and Social Interaction
88(2)
5.3.1 Design and Facial Tracking
88(1)
5.3.2 Design and Vocal Shifting
89(1)
5.3.3 Designing with the Built-In Audible Communication Formats
89(1)
5.4 Designing for Social Media Interaction
90(4)
5.4.1 Three Design Challenges in Social Spaces
90(1)
5.4.2 Public Space Design
90(1)
5.4.3 Personal Space Design
91(3)
5.4.4 Exchange (Marketplace) Space Design
94(1)
5.5 Designing for Social Collaboration and Competition
94(2)
5.6 Project: Building a Collection of Related Content for Your Game-Based Sim
96(6)
5.6.1 Creating "Content in Common"
96(1)
5.6.2 Your Game-Based "Logo"
96(5)
5.6.3 Setting Up Your Channels
101(4)
5.6.3.1 Making a Channel for 2D Still Media
101(1)
5.6.3.2 Making a Channel for Video Streaming Media
101(1)
5.6.3.3 Making a Channel for 3D Content Exchange
102(1)
5.7
Chapter Summary and Final Thoughts
102(1)
References
103(2)
Chapter 6 Developing the Designer-Scripter Collaboration 105(22)
6.1 Overview of Developing the Designer-Scripter Collaboration
105(1)
6.2 Collaborating Guidelines for Working Together on an Advanced Design
105(8)
6.2.1 Designer-Scripter Collaboration: Understanding Each Other's Job
108(1)
6.2.2 Learn the Key Vocabularies and Symbols for Each Other's Work
109(2)
6.2.2.1 Learning a Designer's Vocabulary
109(1)
6.2.2.2 Learning a Scripter's Vocabulary for Linden Scripting Language (LSL)
109(2)
6.2.3 Learning to Think Alike and Getting Organized on a Project
111(2)
6.3 Case Study: Scripted Trees and Emergent Play on Sundial, the Season Changing Sim
113(2)
6.3.1 The Concept That Started with a Few Trees
113(2)
6.3.2 How It Grew into an Entire Environment That Worked under Limited Conditions
115(1)
6.3.3 Our Discovery of Emergent Play
115(1)
6.4 Case Study: Creating a Game-Based Sim Called "Inland: Search for the Sy"
115(6)
6.4.1 Building "Inland: Search for the Sy" for the IBM Exhibit Program
117(1)
6.4.2 Collaborative Creation on a Game-Based Sim
117(3)
6.4.3 Putting It All Together Onsite
120(1)
6.4.4 Playtesting and Learning about Gamers
121(1)
6.5 Top 10 List of Scripts That You Should Have
121(1)
6.6 Other Scripting Languages Used in Virtual Worlds
121(3)
6.6.1 The Big Picture
121(1)
6.6.2 What Scripting Language Should I Learn?
121(3)
6.7 Project: "Script Roulette"-A Collaborative Game of Chance
124(1)
6.7.1 Setting Up to Play
124(1)
6.7.2 Playing
124(1)
6.7.3 Scoring
125(1)
6.7.4 Adding Collaboration Incentives
125(1)
6.8
Chapter Summary and Final Thoughts
125(1)
References
126(1)
Chapter 7 Designing with Level of Detail (LOD) 127(24)
7.1 Overview of Designing with Level of Detail (LOD)
127(2)
7.2 Fundamentals of LOD Systems for Designers
129(3)
7.2.1 The Beginnings of LOD Systems
129(1)
7.2.2 A Brief Overview of the Kinds of LOD Used in Virtual Worlds
130(2)
7.2.2.1 LOD and Sound in a Virtual Environment
131(1)
7.2.2.2 LOD Systems for Polygons
131(1)
7.2.2.3 LOD Systems for Graphics/Textures: MIP Mapping
132(1)
7.2.2.4 LOD Systems Using Culling, Draw Distance, and Fog
132(1)
7.3 Perception and LOD: The Basics
132(4)
7.3.1 General Aspects about Our Visual Perception and How We See LOD
134(2)
7.4 Making LOD Work for You
136(3)
7.4.1 Geometry and Managing the Levels of Detail
136(1)
7.4.2 Graphic/Textures and LOD
136(2)
7.4.3 Physics and LOD
138(1)
7.5 Client Viewer Settings, Imports, and LOD
139(3)
7.5.1 Uploading Geometry with LOD
139(1)
7.5.2 Uploading 3D Models and Setting the Physics LOD
140(1)
7.5.3 Uploading 3D Models with Scaling and Graphic/Texture Parameters
141(1)
7.6 Project: Creating Mesh Content from Photogrammetry; Working with LOD
142(6)
7.6.1 Capturing Meshes with Photogrammetry
142(3)
7.6.2 Reducing the LOD in Autodesk Memento
145(1)
7.6.3 Converting the 3D and Graphics/Textures for Use in a Game-Based Sim
145(1)
7.6.4 Bringing the Content into the Virtual Environment
146(2)
7.7
Chapter Summary and Final Thoughts
148(1)
References
148(3)
Chapter 8 Designing with Virtual Physics in Mind 151(30)
8.1 Overview of Designing with Virtual Physics in Mind
151(1)
8.2 Spotlight on Professor Vicki Robinson: Teaching Real-World Physics in a Virtual World
152(1)
8.3 The Basic Elements of Physics in a Virtual World
152(14)
8.3.1 Rigid Body and Soft Body Dynamics
154(2)
8.3.2 Collision Detection and Design
156(1)
8.3.3 Designing with the Client Viewer Physics Material Settings
156(3)
8.3.3.1 Viewer Physics Material Settings Tests
157(2)
8.3.4 Physics Materials Tests on a Cube, Sphere, Sculpted, and Irregular Mesh
159(2)
8.3.5 Collision Sounds, Physical Materials, and Design
161(1)
8.3.5.1 Using the Statistics Menu as a Physics Performance Gauge
162(1)
8.3.6 Physics Shapes and Best Practices for Building for a Low Physics Demand
162(2)
8.3.7 Kinematics, the Geometry of Motion: Yaw, Roll, and Pitch
164(2)
8.4 Basic Vehicles and Their Functionality
166(2)
8.4.1 Basic Types of Vehicles, Deflection, Timescale, and Where to Get Test Scripts
166(1)
8.4.2 Moving the Vehicle: Linear Movement versus Angular Movement
166(2)
8.4.3 Vertical Attraction and Banking
168(1)
8.4.4 Buoyancy and Hover
168(1)
8.4.5 Reference Frame
168(1)
8.5 Important Considerations of a Vehicle Design
168(2)
8.6 Universal Design for Vehicles
170(1)
8.7 Design Planning for Vehicle Usage
170(3)
8.7.1 Avatar Character and Vehicle Design Considerations
171(1)
8.7.2 Designing Vehicles with Region Crossings in Mind
171(2)
8.8 Project: Creating a Fae (Fairy) Boat Vehicle for Your Game-Based Sim
173(5)
8.8.1 Getting the Content for Creating the Fae Boat
173(1)
8.8.2 Organizing and Customizing the Content
173(1)
8.8.3 Making the Engine and Particle Generators
174(4)
8.8.4 Connecting It All Together and Making a Maiden Voyage
178(1)
8.8.5 Additional Steps to Consider
178(1)
8.9
Chapter Summary and Final Thoughts
178(1)
References
179(2)
Chapter 9 Landscape and Terrain Design in Virtual Environments 181(16)
9.1 Overview of Landscape and Terrain Design in Virtual Environments
181(1)
9.2 Landscape Personality and Social Relationships to the Virtual Terrain
181(2)
9.3 What World Are You From?
183(2)
9.3.1 Understanding Believable Terrain by Designing an Alien World
183(2)
9.3.1.1 Mini-Challenge: Defining and Designing an Alien Environment
183(2)
9.4 Using Your Worldview and Storytelling to Create a Landscape/Terrain Design
185(4)
9.4.1 Landscape/Terrain Design and How It Defines Game Play: Creating the Journey
185(4)
9.4.1.1 Using Visitor Experience Pathways on Your Landscape/Terrain
187(1)
9.4.1.2 Balancing Journey versus Experience Event Frequency: Designing in a Narrative
187(2)
9.4.2 Creating Terrain That Explores Other Planes of Existence
189(1)
9.5 Exploring Terrain Methodologies: Heightmaps, Polygons, and Voxels
189(1)
9.5.1 Overview of Building Multiregion Terrain with Heightmaps and Meshes
189(1)
9.5.1.1 Using Mesh Elements in Your Terrain
190(1)
9.5.2 Working with Voxel-Based Terrain
190(1)
9.6 Project: Creating a Four-Region, Game-Based Terrain
190(6)
9.6.1 Step 1: Decide on Overall Concepts and Usage of the Game-Based Terrain
192(1)
9.6.2 Step 2: Creating the Regions in 3D with SketchUp: Alternative Method
192(1)
9.6.3 Step 3: Developing Heightmaps for the Terrain in Photoshop
193(2)
9.6.4 Step 4: Testing the Terrain in OpenSim
195(1)
9.7
Chapter Summary and Final Thoughts
196(1)
References
196(1)
Chapter 10 Design Considerations and Mesh Usage in Virtual Environments 197(34)
10.1 Overview of Design Considerations and Mesh Usage in Virtual Environments
197(2)
10.2 Sources for Mesh in a Virtual Environment
199(7)
10.2.1 Some Considerations regarding the Standard 8 Inworld Mesh Objects
200(1)
10.2.2 Some Considerations regarding Meshes Created in 3D Modelers
200(2)
10.2.3 Some Considerations regarding Mesh and Procedural Generation
202(3)
10.2.4 Some Considerations regarding Meshes Derived from Digital Sculpting
205(1)
10.2.5 Some Considerations regarding Scanning and Mesh Creation for Virtual Environments
205(1)
10.3 Overview of Rigged Meshes; Moving Avatars and Their Clothing
206(5)
10.3.1 Overview of Rigged and Fitted Mesh Clothing
211(1)
10.3.2 Tools and Plugins for Creating Rigged Meshes
211(1)
10.4 Comparison of 3D Mesh-Making Programs; Some Thoughts on Choosing One
211(1)
10.5 Project: Building a Game-Based Environment with Component Meshes
211(17)
10.5.1 Loading in the Castle
213(6)
10.5.2 Loading in the Quay and Village
219(6)
10.5.3 Adding the Buttercross, Forge, and Stables Outbuildings
225(1)
10.5.4 Smoothing the Terrain for a Perfect Fit
225(1)
10.5.5 Detailing the Environment with Landscaping
225(3)
10.6
Chapter Summary and Final Thoughts
228(1)
References
228(3)
Chapter 11 Designing with Advanced Materials and Animated Graphic/Textures 231(24)
11.1 Overview of Designing with Advanced Materials and Animated Graphic/Textures
231(1)
11.2 The Structure of an Advanced Material Used in Virtual Environments
232(2)
11.3 Designing with Advanced Materials in Mind
234(1)
11.4 UV Unwrapping and Uploads of Meshes with Advanced Materials
234(3)
11.4.1 Overview of the Workflows and Software
234(1)
11.4.2 The Reflective Teapot Scene: A Breakdown
234(3)
11.4.3 Build Your Knowledge, Develop the Art of UV Unwrapping and UV Maps
237(1)
11.5 Virtual World Viewers and Advanced Materials
237(1)
11.5.1 Mini-Project: Test Your Viewer for Advanced Materials
237(1)
11.6 Understanding Bumpiness (Normal) Graphics and What They Contribute to a Material
238(2)
11.6.1 Bumpiness (Normal) Graphic Creation Methodologies
238(2)
11.7 Understanding the Shininess (Specular) Layer and What It Contributes to a Material
240(2)
11.7.1 Shininess (Specular) Graphic Creation Methodologies
240(2)
11.8 Notes regarding Bumpiness (Normal), Shininess (Specular), and Alpha Mode Usage
242(1)
11.8.1 A Few Notes about Alpha Mode Options in the Virtual Environment
243(1)
11.9 Scripting for Animated Graphic Textures in a Virtual Environment
243(2)
11.9.1 Scripting an Animated Graphic from Still Images
243(1)
11.9.2 Creating Animated Graphics from GIF Animations and Video Media
244(1)
11.9.2.1 Tip: How to Play Media from YouTube on the Face of Your Objects
245(1)
11.10 Project: Adding Advanced Materials to the Fairy Bridge
245(8)
11.10.1 Adding Bumpiness and Shininess Graphic/Textures to the Fairy Bridge
246(2)
11.10.2 Making an Animated Graphic/Texture: Step by Step
248(4)
11.10.2.1 Step 1: Setting Up the Story Your Animation Will Tell
248(2)
11.10.2.2 Step 2: Plan for the Number of Key Frames Your Animation Will Need
250(1)
11.10.2.3 Step 3: Creating the Images for the Animation-The Process
250(2)
11.10.2.4 Step 4: Layout the Animation Frames on the Graphic in Photoshop
252(1)
11.10.3 Scripting and Applying the Animated Graphic Inworld
252(4)
11.10.3.1 Step 5: Upload the Graphic-First Test on a Primitive
253(1)
11.10.3.2 Step 6: Tuning the Animated Graphic and Incorporating It into a Build
253(1)
11.11
Chapter Summary and Final Thoughts
253(1)
Reference
254(1)
Chapter 12 World Building and Design with Procedural Techniques 255(18)
12.1 Overview of World Building and Design with Procedural Techniques
255(1)
12.2 World Building and the Creation Myth
256(2)
12.2.1 Mini-Game Learning Block: Developing Your Own Creation Myth
257(1)
12.3 Overview of Procedural Techniques and Design
258(4)
12.3.1 The Key Aspects of a Procedural Technique
259(1)
12.3.2 Procedural Theories and Techniques Fundamental to Building a Game-Based Sim
259(2)
12.3.2.1 Common Mechanisms of Procedural Techniques for Terrain or Environmental Levels
259(2)
12.3.2.2 Common Mechanisms of Procedural Graphic/Texture Generators
261(1)
12.3.2.3 Common Mechanisms of Procedural 3D Geometry Generators
261(1)
12.3.3 Everyday Examples of How You Use Procedural Techniques
261(1)
12.4 Procedural Techniques Used in Game-Based Virtual Environments
262(1)
12.4.1 Building with Fractals in Second Life
262(1)
12.4.2 Non-Player Characters (NPCs) and Clones as Procedural Content
262(1)
12.4.3 Using Particle Systems as Procedural Content Generators
263(1)
12.4.4 Software and Plugins That Will Help You Work Procedurally
263(1)
12.5 Project: Utilizing a Procedural Script to Make a Fairy Tree
263(7)
12.5.1 Designing with a Procedural Generator: Cautions and Downloads
263(1)
12.5.1.1 Cautions
263(1)
12.5.1.2 Getting the Content for Creating the Tree
264(1)
12.5.2 Creating the Trunk and Branches
264(2)
12.5.3 Running the Fractal Tree Controls
266(3)
12.5.4 Further Development
269(1)
12.6
Chapter Summary and Final Thoughts
270(1)
References
271(2)
Chapter 13 Designing Virtual Environments for Head-Mounted Displays 273(24)
13.1 Overview of Designing Virtual Environments for Head-Mounted Displays (HMDs)
273(1)
13.1.1 The Challenge of HMD Acceptance and Designing for Social Virtual Reality (VR)
274(1)
13.2 Overview of a VR HMD and How It Works
274(2)
13.2.1 HMD: Major Parts and Their Functions
274(2)
13.2.2 Future Developments for VR
276(1)
13.3 Five Dimensions of Design in HMD Virtual Environments
276(10)
13.3.1 Agency
276(1)
13.3.2 Presence
277(1)
13.3.2.1 Presence, Artificial Intelligence, and Henry the Hedgehog
278(1)
13.3.3 Affordance
278(1)
13.3.4 Story
279(5)
13.3.4.1 Realistic Environment/Changing Point of View in Perspective;
Chapter 1: The Party
281(1)
13.3.4.2 Experiential-Narrative Hybrid Filmmaking in Way to Go
281(1)
13.3.4.3 Artificial Intelligence-Based Character Interaction in a Wild HMD-VR Spinoff
281(3)
13.3.5 Safety
284(1)
13.3.5.1 Read the Manual and Be Aware of the Safety Guidelines
284(1)
13.3.5.2 Designing for Safety and Comfort: Some Beginning Steps
284(1)
13.3.6 Spotlight on Jamie Thalman: A Q&A about Production Design for VR Films
285(1)
13.4 Experiencing the Virtual Environment with a Real Body
286(2)
13.4.1 Design Challenges Specific to HMDs
287(1)
13.4.2 The Problem of Latency
287(1)
13.4.3 When Objects and Settings Start to Drift
287(1)
13.4.4 The Judder Problem
288(1)
13.5 Project: Developing a HMD-VR Narrative Environment for Storytelling
288(5)
13.5.1 Step 1: Finding a Concept to "Hang Your Design Hat On"
288(1)
13.5.2 Step 2: Choosing a Location for Your Storytelling
289(1)
13.5.3 Step 3: Adding in the Five Dimensions of Design
289(1)
13.5.4 Step 4: Adding Agency with a "Character" Avatar
289(2)
13.5.5 Step 5: Adding Presence-The Sound of the Environment
291(1)
13.5.6 Step 6: Adding Affordance-Storytelling Elements That Are Easy to Use
291(1)
13.5.7 Step 7: Adding Story with Additional Characters
292(1)
13.5.8 Step 8: Adding Safety and Accessibility to VR Narrative Environment
292(1)
13.5.9 Step 9: Keep Adding Depth to the Experience
293(1)
13.6 Conclusion: Building the Last Platform?
293(1)
References
294(3)
Chapter 14 The Multiple Dimensions of Game-Based Virtual Environments 297(10)
14.1 Overview on Multiple Dimensions of Game-Based Virtual Environments
297(1)
14.2 Developing Game-Based Environments for the Future Player
298(4)
14.2.1 Virtual Reality Technology
298(1)
14.2.2 Society
299(1)
14.2.3 The Basic Human Need to Play
299(1)
14.2.4 Finding Inspiration for Virtual Games
300(1)
14.2.5 Skill-Based Games and Gambling
300(2)
14.3 Spotlight on Jacquelyn Ford Morie-Art, Virtual Reality, and Education
302(3)
14.4
Chapter Summary: The Multiple Dimensions of Game-Based Virtual Environments
305(1)
References
306(1)
Glossary 307(4)
Important Links and Resources 311(2)
Bibliography 313(2)
Appendix A: Game-Based Sim Design Document 315(6)
Appendix B: Exhibit C-The Journal of Dr. Aubrey Wynn 321(4)
Index 325
Ann Latham Cudworth is a two-time Emmy award winner who designs virtual and physical scenery for network television. She inspires people to engage with the message embodied in her virtual environments. A transplanted Bostonian thriving in New York City, she has shared her knowledge as a teacher of design and visualization at New York University, and at workshops and conferences worldwide for 16 years. Her weapons of choice are SketchUp, 3DSMax, and Photoshop. More information about her numerous projects is available on her website: www.anncudworthprojects.com.
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