CONCRETE GENIE VR
ROLE : INTERACTION DESIGNER /PROTOTYPER | DESIGN TEAM SIZE - 2 | TOTAL TEAM - 10
SONY INTERACTIVE ENTERTAINMENT, JUNE 2017 - OCTOBER 2019
Concrete Genie is a Sony first party title about making everyone feel like an artist. Instead of painting on a wall, the player grows objects and brings a world to life. What is it like to shape a tree, command a gust of wind and hurl a trail of shooting stars through the sky? As interaction designer my role was to transform gestural motion to make player's feel powerful and create something beautiful with ease.
Listed below are some high level learnings and design process involved in the creation of what we called "3D Painting"
IN THE MEDIA
Since launch Concrete Genie VR has received numerous award nominations for interaction design and received critical praise, particularly for it's interaction design.
NAVGTR - Best Control Design
INPUT SCHEMA AND HAND REPRESENTATION
RESOLVING INPUT SCHEMAS
- For some brushes, it was not immediately clear what input schema would be best.
- Flowers could either be individually grown or spread in clusters.
- Originally, we attempted to support both modalities. This caused confusion in the hand off point from one modality to the other.
- A high level learning here is to keep the player’s mental model for an input schema as simple as possible.
LEVERAGING REAL WORLD MENTAL MODEL TO MINIMIZE TUTORIALIZATION
- The wind brush is an instance of a complex sweeping input schema where the player can manipulate an object in three dimensions
- The imaginary plane discussed above becomes an imaginary sphere whose radius the player controls based on how far they “push”.
- However, despite the abstraction it leverages an existing mental model of “push = further away” and “pull = closer”.
- This meant that no additional tutorialization was required to get player's comfortable with the input schema.