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[SQUEAKING]

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[RUSTLING]

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[CLICKING]

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PROFESSOR: Take it away.

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GWEN EDGAR: All right, we
would like a volunteer.

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And I believe we have someone
who enthusiastically offered.

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RIO LAVIGNE: Yep.

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So we would prefer you not to
look at the computer screen.

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GUEST SPEAKER: OK.

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RIO LAVIGNE: And just stand--

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GWEN EDGAR: --facing
the audience.

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RIO LAVIGNE: Yeah, the audience.

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This will be great.

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Try not to disconnect the wire.

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GUEST SPEAKER: OK.

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RIO LAVIGNE: We apologize.

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This is still very
much a prototype.

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GUEST SPEAKER: Oh, I'm
glad you picked Rondos.

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These fit me better.

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RIO LAVIGNE: Same.

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And this may take a moment to--

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GWEN EDGAR: Should
we plug it in?

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RIO LAVIGNE: Oh, yes.

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Now-- no looking.

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No looking.

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No looking.

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Right, so as you
can tell, this game

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is meant to be played
without any visual input.

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In fact, do you hear
things, by the way?

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GWEN EDGAR: This
is the game view.

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For those that aren't
super familiar,

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this is our scene view.

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Because we wanted you to
see what was going on.

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This is what the
phone would show.

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RIO LAVIGNE: OK, so
wait just a moment.

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You should be-- I'm
going to just check.

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Hold on.

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Face forward.

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OK, great, you're calibrated.

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So I turned off the
screen so you can see what

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our play tester is looking at.

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GWEN EDGAR: Well,
facing towards.

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RIO LAVIGNE: Facing towards.

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Yes, so our play tester
hears a hey over here.

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In this game, you
move using head tilts.

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So you tilt your head forward
or down to move forward.

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You tilt your head
backwards to move backwards.

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GWEN EDGAR: And
this is the player.

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RIO LAVIGNE: So the
teal dot is the player.

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And you can turn to
face the sound source

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and tilt your head down to
move towards the sound source.

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If you hit a wall,
you'll go bonk.

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GUEST SPEAKER: Is that what
that big bonking, knocking sound

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was now?

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RIO LAVIGNE: Yes.

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We still have to
work out the balances

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between all the sounds.

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GUEST SPEAKER: I seem
to have hit a wall.

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But I'm moving backwards.

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RIO LAVIGNE: Tilt
your head back.

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Yep.

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GUEST SPEAKER: Is the
over here spacialized?

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RIO LAVIGNE: Yes.

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Yes.

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GUEST SPEAKER: It's behind me.

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How do I go backwards?

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RIO LAVIGNE: Tilt
your head back.

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GUEST SPEAKER: Oh
no, not that way.

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I like the footsteps.

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RIO LAVIGNE: Yes.

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GUEST SPEAKER: It's
asking me what I'm doing.

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Like, what are you doing?

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OK, this is really hard.

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RIO LAVIGNE: All
right, congratulations,

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you found the first one.

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Now there's another one.

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GUEST SPEAKER:
Oh, more, correct.

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RIO LAVIGNE: Oh great, yeah.

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GUEST SPEAKER: OK,
someone else want to try?

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Or should I keep going?

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RIO LAVIGNE: Keep going
for a little longer.

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GUEST SPEAKER: I'm doing
something else now?

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RIO LAVIGNE: Yeah,
you're going to try

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to find the target again.

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So this is actually
our calibration level.

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So you got it.

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GWEN EDGAR: We found that the
calibration level was really

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useful for giving a frame
of reference for distances

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and how far--

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what the sound is and how
it sounds further away.

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RIO LAVIGNE: Yep.

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Yeah, so maybe try
find one more target.

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And we can move to the next.

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What is going on?

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OK, well, that
happens sometimes.

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GUEST SPEAKER:
[INAUDIBLE] this way.

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Nope, too far.

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Too far.

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I can tell it's over here, but
I don't know how to get there.

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RIO LAVIGNE: If
you-- because the--

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you can turn
yourself, by the way.

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You can rotate.

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And you will now
face that direction.

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GUEST SPEAKER: There's
a wall right here.

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I kept knocking.

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I'm going to go this way.

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Why do I keep hearing
a [INAUDIBLE]??

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There we go.

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No?

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AUDIENCE: Might be
that the sound source

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is very close to a wall.

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RIO LAVIGNE: That's true, yeah.

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Well, we don't want to
take up too much time

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from our presentation.

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No, pff, we anticipated
people to have difficulties.

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Here, do you want to take a look
at what the game looks like?

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So you're the teal player.

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GWEN EDGAR: So the
first one was here.

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And then it moved up here.

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And then it went across.

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GUEST SPEAKER: Oh, it moves.

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RIO LAVIGNE: It did move.

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GUEST SPEAKER: Oh.

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GWEN EDGAR: Surprise.

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OK,

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GUEST SPEAKER: Yep.

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Yep.

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RIO LAVIGNE: And
we actually want

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to showcase one more level.

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This time I'll put it
on, put the glasses on.

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Because it's-- unless--
do you want to try?

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GUEST SPEAKER: No.

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RIO LAVIGNE: Nobody's
very good at it,

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by the way, when they start out.

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But people do get used to it.

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GUEST SPEAKER: Yes.

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RIO LAVIGNE: Oh, I'm
bonking into a well.

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Fun times.

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So we also want to showcase a
little bit of level 2, maybe.

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AUDIENCE: So you've had
people go through this?

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GWEN EDGAR: Yes.

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People--

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AUDIENCE: Do they recognize
the sound behind them

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versus in front of them OK?

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GWEN EDGAR: So this
is one of the points

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we were going to
bring up before.

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It's very difficult to
tell in front or behind.

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But as you move, you
can hear whether you're

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getting closer or further away.

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AUDIENCE: And is that
done with louder?

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Or is that done with
some other sound effect?

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GWEN EDGAR: That's done--

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so we actually were
wanting to do something

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where, when you're
facing it, it actually

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gets a little bit louder.

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So you know you're looking
in the correct direction.

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Right now that's
not very dynamic.

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RIO LAVIGNE: Yeah, I'm having
technical difficulties.

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We'll show off level 2 later.

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AUDIENCE: Are you using
any particular spacializer

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for the sound?

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Or is this just like panning?

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RIO LAVIGNE: Well, it's--

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GWEN EDGAR: We have
a different rolloff,

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but we're just using
what Unity afforded us.

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RIO LAVIGNE: Well,
Unity plus Bose AR.

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So as you noticed, later on,
you can turn yourself and then

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move.

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AUDIENCE: Right.

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GWEN EDGAR: Yes.

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Thank you all for being here.

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This is our presentation
for going in blind.

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I'm Gwen Edgar, and
this is my teammate.

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RIO LAVIGNE: Rio Levine.

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GWEN EDGAR: And welcome.

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So first, we're going
to start you off

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with the background
on blind gaming.

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RIO LAVIGNE: Right.

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So actually, blind gaming
has been around basically

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since video gaming was a thing.

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When I'm talking
about blind gaming,

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I mean electronic gaming.

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So starting in the
'70s, Atari came out

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with this game called Touch Me.

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And it had flashing lights.

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And it made noises.

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So it was actually accessible
to people who couldn't see.

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Also, all of these
text-based role-playing games

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were getting popular.

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And if you had a text
to speech software,

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a visually impaired player
could play those as well.

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But console games, action
games were very limited.

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But gamers are going to game.

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So blind gamers played
video games anyway.

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So they could use
text to speech,

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and just based
off of sound cues,

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navigate through
very complex levels,

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completing games like 2D
Punch Out, Super Mario 64.

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A blind gamer has even
completed Ocarina of Time,

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if you've ever played that game,
it's crazy without visuals.

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Even Resident Evil 4 was
accidentally accessible.

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Because if you pressed
pause, your character

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would reorient themselves
to face towards the goal

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that they were trying to get to.

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Fighting games, like
2D fighting games,

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are actually pretty
accessible, because they

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have binaural sound.

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00:07:22,930 --> 00:07:25,870
You can tell which side
your opponent is on.

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So Mortal Kombat, Street
Fighter-- both pretty

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00:07:28,990 --> 00:07:29,890
accessible.

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And blind players
have even been known

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00:07:32,140 --> 00:07:35,170
to play first-person shooters.

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00:07:35,170 --> 00:07:37,660
So as long as there
are enough sound cues,

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it seems like blind players
can play these games.

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00:07:41,140 --> 00:07:42,670
And that brings us to--

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00:07:42,670 --> 00:07:44,500
GWEN EDGAR: --our
audio-only platformer,

217
00:07:44,500 --> 00:07:48,055
which, as you can
see, you see nothing.

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00:07:50,970 --> 00:07:54,700
You have to use only
audio cues to navigate

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00:07:54,700 --> 00:07:56,200
throughout the
space, because it's

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00:07:56,200 --> 00:07:58,120
using a lot of binaural inputs.

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00:07:58,120 --> 00:08:01,950
So you're able to tell in what
direction different things are.

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00:08:01,950 --> 00:08:05,730
As you all know, we're using the
Bose glasses for this project.

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00:08:05,730 --> 00:08:07,163
And there are a
couple of gestures

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00:08:07,163 --> 00:08:08,580
that are automatically
integrated,

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00:08:08,580 --> 00:08:11,340
such as nodding your
head, shaking your head,

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00:08:11,340 --> 00:08:13,410
and double-tapping.

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00:08:13,410 --> 00:08:16,000
We were exploring
these different things.

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00:08:16,000 --> 00:08:18,480
And so first, we were trying
to do movement with head

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00:08:18,480 --> 00:08:22,710
nods-- so step,
step, step, step.

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00:08:22,710 --> 00:08:25,320
And we found this
got really tiring.

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00:08:25,320 --> 00:08:28,290
And it was hard to know,
were you taking a small step?

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00:08:28,290 --> 00:08:29,940
Were you taking a big step?

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00:08:29,940 --> 00:08:31,170
How far am I going?

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00:08:31,170 --> 00:08:35,590
Like, how do I get through these
different types of movements?

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00:08:35,590 --> 00:08:38,460
So we decided to look at
something else, which,

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00:08:38,460 --> 00:08:41,250
as you saw, you tilt your
head down to move forward.

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00:08:41,250 --> 00:08:43,710
If you're looking this
way, you go this way.

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00:08:43,710 --> 00:08:46,080
You tilt your head
back to go back.

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00:08:46,080 --> 00:08:48,780
And this allowed for a
certain smoothness of walking.

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00:08:48,780 --> 00:08:50,850
And the foot--
you hear footsteps

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00:08:50,850 --> 00:08:54,720
as you move forward, which
gives a sense of you being

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00:08:54,720 --> 00:08:57,360
in the place and a
sense of that movement

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00:08:57,360 --> 00:08:59,440
that you're playing towards.

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00:08:59,440 --> 00:09:02,478
And as you turn your head,
your direction will change.

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00:09:02,478 --> 00:09:04,020
You might have seen
a couple of times

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00:09:04,020 --> 00:09:07,655
that there was a curve happening
because of motions like this.

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00:09:11,620 --> 00:09:14,780
So that brings us back
to the Bose glasses.

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00:09:14,780 --> 00:09:16,477
We were using the
gyroscopes a lot,

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00:09:16,477 --> 00:09:18,560
which meant we couldn't
use the head nod or shake,

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00:09:18,560 --> 00:09:20,370
because they were kind
of using the same thing.

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00:09:20,370 --> 00:09:22,703
And if you're trying to move
forward, you can't do this.

252
00:09:25,470 --> 00:09:26,970
And those were the sensors.

253
00:09:26,970 --> 00:09:29,250
So that left us with one
thing, the double-tap.

254
00:09:29,250 --> 00:09:31,860
Now what does any
platformer need?

255
00:09:31,860 --> 00:09:34,597
RIO LAVIGNE: Well, Gwen, I
think it needs platforms.

256
00:09:34,597 --> 00:09:35,430
GWEN EDGAR: Exactly.

257
00:09:35,430 --> 00:09:36,990
What do you need for platforms?

258
00:09:36,990 --> 00:09:39,030
Jumping.

259
00:09:39,030 --> 00:09:42,000
So we decided to move that
double-tap towards jumping.

260
00:09:42,000 --> 00:09:43,608
And so we were
thinking about, OK,

261
00:09:43,608 --> 00:09:45,150
so we're going to
double-tap to jump.

262
00:09:45,150 --> 00:09:47,940
But we want to
follow the platform.

263
00:09:47,940 --> 00:09:50,010
But if we're looking
at a platform up here,

264
00:09:50,010 --> 00:09:51,705
we might start
walking backwards.

265
00:09:51,705 --> 00:09:53,580
And if we're looking at
a platform down here,

266
00:09:53,580 --> 00:09:55,130
we might start walking forwards.

267
00:09:55,130 --> 00:09:56,880
So we were thinking,
all right, all right,

268
00:09:56,880 --> 00:09:57,885
we'll have a jump mode.

269
00:09:57,885 --> 00:09:59,760
So you double-tap first,
you enter jump mode,

270
00:09:59,760 --> 00:10:01,110
and then you don't move around.

271
00:10:01,110 --> 00:10:02,610
So you can look at
all your targets

272
00:10:02,610 --> 00:10:04,277
and not worry about
falling over an edge

273
00:10:04,277 --> 00:10:07,410
or going out of the zone.

274
00:10:07,410 --> 00:10:09,780
But this got really confusing.

275
00:10:09,780 --> 00:10:13,470
We had it such that three
missed jumps, you'd exit.

276
00:10:13,470 --> 00:10:14,990
It wasn't integrated very well.

277
00:10:14,990 --> 00:10:16,120
It didn't feel very smooth.

278
00:10:16,120 --> 00:10:17,640
It was kind of clunky.

279
00:10:17,640 --> 00:10:21,090
People were like, why
did I stop moving?

280
00:10:21,090 --> 00:10:26,920
So we decided to move away from
that, and instead, just jumped.

281
00:10:26,920 --> 00:10:29,110
And what this really meant
was that we could only

282
00:10:29,110 --> 00:10:32,440
design levels in certain ways
that looking at the platforms

283
00:10:32,440 --> 00:10:34,720
would be within
your range of motion

284
00:10:34,720 --> 00:10:37,450
without trying to go
outside of it any way.

285
00:10:37,450 --> 00:10:39,130
RIO LAVIGNE: Without,
like, moving.

286
00:10:39,130 --> 00:10:41,410
GWEN EDGAR: Along with the
jumping though, even more,

287
00:10:41,410 --> 00:10:43,870
was that if we just
tried to apply a force,

288
00:10:43,870 --> 00:10:45,880
the player could go
spiraling off into space.

289
00:10:45,880 --> 00:10:48,422
Because they didn't know that
there wasn't something for them

290
00:10:48,422 --> 00:10:49,010
to land on.

291
00:10:49,010 --> 00:10:50,843
And if we allowed them
to jump at any point,

292
00:10:50,843 --> 00:10:53,560
they might jump onto
a wall, and then fall,

293
00:10:53,560 --> 00:10:55,270
or go through the
wall, or fall down.

294
00:10:55,270 --> 00:10:58,300
And they don't know
why they failed.

295
00:10:58,300 --> 00:11:00,610
So instead, what we
did is we allowed

296
00:11:00,610 --> 00:11:01,790
jumping onto a platform.

297
00:11:01,790 --> 00:11:02,620
So if you're looking
at a platform,

298
00:11:02,620 --> 00:11:04,270
you just jump,
and it's all good.

299
00:11:04,270 --> 00:11:08,518
And if you don't, it's like,
nope, and doesn't let you.

300
00:11:08,518 --> 00:11:10,060
And we found that
worked pretty well.

301
00:11:10,060 --> 00:11:11,720
And it didn't upset players.

302
00:11:11,720 --> 00:11:12,970
That was very important to us.

303
00:11:12,970 --> 00:11:15,140
RIO LAVIGNE: Yes.

304
00:11:15,140 --> 00:11:18,680
So OK, we've gone over what
you can do within our game.

305
00:11:18,680 --> 00:11:20,390
Here are some of the
challenge we faced--

306
00:11:20,390 --> 00:11:24,470
challenges we've faced
when developing it so far.

307
00:11:24,470 --> 00:11:27,650
First challenge--
player orientation.

308
00:11:27,650 --> 00:11:31,430
Fortunately, it worked right off
the bat when we did our demo.

309
00:11:31,430 --> 00:11:32,280
That's good.

310
00:11:32,280 --> 00:11:35,210
But in general, if you
just start the game

311
00:11:35,210 --> 00:11:37,160
without doing any
kind of calibration,

312
00:11:37,160 --> 00:11:39,630
you're looking in
some random direction.

313
00:11:39,630 --> 00:11:42,817
So you need to make sure
to face the player forward.

314
00:11:42,817 --> 00:11:44,900
And since the last time
we gave this presentation,

315
00:11:44,900 --> 00:11:49,050
we found a method that faces
you forward towards the z-axis.

316
00:11:49,050 --> 00:11:51,260
But there's no way
to face and make

317
00:11:51,260 --> 00:11:53,638
the default any other
direction, which is fine.

318
00:11:53,638 --> 00:11:55,430
GWEN EDGAR: We just
built all of our levels

319
00:11:55,430 --> 00:11:58,590
along the positive z-axis.

320
00:11:58,590 --> 00:12:00,350
RIO LAVIGNE: Yep.

321
00:12:00,350 --> 00:12:01,803
Next challenge--

322
00:12:01,803 --> 00:12:04,220
GWEN EDGAR: Properties of audio
sources and the placements

323
00:12:04,220 --> 00:12:07,110
where we put them-- this was
discussed in some of the Bose

324
00:12:07,110 --> 00:12:09,260
lectures and in some
of the psychoacoustics

325
00:12:09,260 --> 00:12:10,740
lectures that we're
talking about.

326
00:12:10,740 --> 00:12:13,940
But yes, forward and behind,
you can't really differentiate.

327
00:12:13,940 --> 00:12:15,650
So if you're on a
platform and there's

328
00:12:15,650 --> 00:12:17,443
something moving
behind you, there's

329
00:12:17,443 --> 00:12:18,860
a platform moving
in front of you,

330
00:12:18,860 --> 00:12:21,020
you can't really
follow either platform.

331
00:12:21,020 --> 00:12:23,600
Because there's the-- you
can't focus on either source.

332
00:12:23,600 --> 00:12:25,955
They get very
muddled in your head.

333
00:12:25,955 --> 00:12:28,580
RIO LAVIGNE: If it's not clear,
the platforms are making sound.

334
00:12:28,580 --> 00:12:30,200
GWEN EDGAR: Yes, I'm sorry,
I forgot to mention that.

335
00:12:30,200 --> 00:12:32,242
The platforms make sounds
so you can follow them.

336
00:12:32,242 --> 00:12:33,770
So you'll get on a platform.

337
00:12:33,770 --> 00:12:35,750
We turn the volume
down on that platform,

338
00:12:35,750 --> 00:12:37,400
or else it's just overpowering.

339
00:12:37,400 --> 00:12:40,430
And when you leave it we turn
it off such that you can always

340
00:12:40,430 --> 00:12:42,665
detect what's in front of you.

341
00:12:42,665 --> 00:12:43,790
And that works really well.

342
00:12:43,790 --> 00:12:46,790
Because the audio
that is moving with

343
00:12:46,790 --> 00:12:51,237
you doesn't bother at all
with the other moving sources.

344
00:12:51,237 --> 00:12:53,570
So if you're on a platform,
it can still make its noise.

345
00:12:53,570 --> 00:12:55,712
And you can follow
one in front of you.

346
00:12:55,712 --> 00:12:56,420
RIO LAVIGNE: Yes.

347
00:12:56,420 --> 00:12:58,950
GWEN EDGAR: And ambient
noise also is fine to use.

348
00:12:58,950 --> 00:12:59,792
RIO LAVIGNE: Mm-hmm.

349
00:12:59,792 --> 00:13:01,250
GWEN EDGAR: But
also, as discussed,

350
00:13:01,250 --> 00:13:03,410
you can tell something's
left or right.

351
00:13:03,410 --> 00:13:05,270
And you're able to
turn towards those.

352
00:13:05,270 --> 00:13:07,402
RIO LAVIGNE: Yep.

353
00:13:07,402 --> 00:13:08,860
GWEN EDGAR: Limited
inputs, we were

354
00:13:08,860 --> 00:13:10,282
talking about this earlier.

355
00:13:10,282 --> 00:13:11,865
In a lot of games,
you have keyboards.

356
00:13:11,865 --> 00:13:13,750
So you can have
special abilities,

357
00:13:13,750 --> 00:13:15,430
and different modes
you can enter,

358
00:13:15,430 --> 00:13:17,080
and a bunch of
menus and whatnot.

359
00:13:17,080 --> 00:13:18,503
And with this, we had the two.

360
00:13:18,503 --> 00:13:20,170
And so we were working
a lot with those.

361
00:13:20,170 --> 00:13:22,450
And that was just one of
the challenges we faced.

362
00:13:22,450 --> 00:13:24,580
RIO LAVIGNE: Yep.

363
00:13:24,580 --> 00:13:27,910
Also, as you might have
noticed, your method of movement

364
00:13:27,910 --> 00:13:28,660
is imprecise.

365
00:13:28,660 --> 00:13:30,377
You don't know
where you're going.

366
00:13:30,377 --> 00:13:32,710
You're not really sure if
you're going straight forward.

367
00:13:32,710 --> 00:13:34,750
You don't know where exactly--

368
00:13:34,750 --> 00:13:36,460
how far things
are away from you.

369
00:13:36,460 --> 00:13:37,630
GWEN EDGAR: You might
think you're going forward,

370
00:13:37,630 --> 00:13:39,380
but your head is tilted
to the side a bit.

371
00:13:39,380 --> 00:13:41,802
So you're actually
going in this direction.

372
00:13:41,802 --> 00:13:43,510
RIO LAVIGNE: Fun
problems to think about.

373
00:13:43,510 --> 00:13:44,560
GWEN EDGAR: So one of the
first things with this

374
00:13:44,560 --> 00:13:45,700
was the platforms.

375
00:13:45,700 --> 00:13:47,950
Because players had a
lot of trouble locating

376
00:13:47,950 --> 00:13:51,940
exactly where the platform was,
we had to make a huge collider.

377
00:13:51,940 --> 00:13:54,910
So this entire green
box, if you hit--

378
00:13:54,910 --> 00:13:56,800
if you're gazing
anywhere inside of it,

379
00:13:56,800 --> 00:13:59,500
you'll go to the
platform on your jump.

380
00:13:59,500 --> 00:14:01,900
It was almost impossible
to hit this even when

381
00:14:01,900 --> 00:14:03,940
looking at the screen.

382
00:14:03,940 --> 00:14:05,403
RIO LAVIGNE: Yes.

383
00:14:05,403 --> 00:14:07,570
GWEN EDGAR: And in graphic
games, it's also lenient.

384
00:14:07,570 --> 00:14:09,400
Because you jump, and
you can fall onto it.

385
00:14:09,400 --> 00:14:12,370
You don't have to jump
exactly to where it is.

386
00:14:12,370 --> 00:14:13,330
So it follows.

387
00:14:13,330 --> 00:14:16,720
RIO LAVIGNE: And to
help with the imprecise,

388
00:14:16,720 --> 00:14:18,460
like, I think I'm
moving forward,

389
00:14:18,460 --> 00:14:21,130
but maybe I'm listing
to the left or right,

390
00:14:21,130 --> 00:14:23,350
we made it so that if you
were going fast enough

391
00:14:23,350 --> 00:14:26,240
and you're within 15
degrees of forward,

392
00:14:26,240 --> 00:14:28,720
you will go straight
forward on the z-axis.

393
00:14:28,720 --> 00:14:30,880
This made one of our levels,
which was essentially

394
00:14:30,880 --> 00:14:33,850
a very long hallway, much more--

395
00:14:33,850 --> 00:14:36,790
much less frustrating-- I
won't say easier, but less

396
00:14:36,790 --> 00:14:37,930
frustrating-- for players.

397
00:14:37,930 --> 00:14:40,597
Because then they could be like,
oh, I'm actually going forward.

398
00:14:43,950 --> 00:14:47,920
As mentioned, don't
use different heights.

399
00:14:47,920 --> 00:14:50,130
So right, like--

400
00:14:50,130 --> 00:14:52,620
GWEN EDGAR: Yes, so as players
were playing more and more,

401
00:14:52,620 --> 00:14:53,880
they were able to
tell-- they were

402
00:14:53,880 --> 00:14:56,255
able to learn more about the
sound and tell where it was.

403
00:14:56,255 --> 00:14:57,720
But when you're
starting the play,

404
00:14:57,720 --> 00:15:00,270
it's really difficult
to try to detect

405
00:15:00,270 --> 00:15:02,050
where anything is in this axis.

406
00:15:02,050 --> 00:15:04,140
And I think that, based
on all our play tests,

407
00:15:04,140 --> 00:15:06,630
many players were in a
kind of restful position

408
00:15:06,630 --> 00:15:09,210
when trying to follow
it, which meant

409
00:15:09,210 --> 00:15:12,090
that they couldn't see anything
above them, first of all.

410
00:15:12,090 --> 00:15:14,340
Because restful is apparently
tilted down a little bit

411
00:15:14,340 --> 00:15:18,240
and not looking
forward, and also that--

412
00:15:21,095 --> 00:15:22,470
I'm sorry, that
the-- we couldn't

413
00:15:22,470 --> 00:15:24,120
build levels upwards right now.

414
00:15:24,120 --> 00:15:25,902
So we were trying
to build them more

415
00:15:25,902 --> 00:15:27,360
straightforward so
the players were

416
00:15:27,360 --> 00:15:28,650
able to jump back and forth.

417
00:15:31,470 --> 00:15:32,340
RIO LAVIGNE: So--

418
00:15:32,340 --> 00:15:33,510
GWEN EDGAR: --playtests.

419
00:15:33,510 --> 00:15:34,650
RIO LAVIGNE: Yeah.

420
00:15:34,650 --> 00:15:38,550
So on Monday, I got 11
players to playtest the game.

421
00:15:38,550 --> 00:15:41,190
On Wednesday, I
got one more player

422
00:15:41,190 --> 00:15:46,410
to playtest based on some
of the feedback we got.

423
00:15:46,410 --> 00:15:49,290
And oh, by the way,
everyone said that it

424
00:15:49,290 --> 00:15:50,790
was an interesting experience.

425
00:15:50,790 --> 00:15:52,650
And some of them even
said that it was fun.

426
00:15:55,530 --> 00:15:58,827
A lot of them did say it
was fun, so that's good.

427
00:15:58,827 --> 00:16:00,660
GWEN EDGAR: Yeah, so
one of the first things

428
00:16:00,660 --> 00:16:03,450
that popped up a lot was
distance detection or radar.

429
00:16:03,450 --> 00:16:05,760
So you have no idea how
close you are to the wall.

430
00:16:05,760 --> 00:16:06,640
You experienced that.

431
00:16:06,640 --> 00:16:09,138
Or you don't know how close
or far something might be.

432
00:16:09,138 --> 00:16:10,680
We were thinking of
adding something.

433
00:16:10,680 --> 00:16:13,320
Like, perhaps you could have
something like a cane tapping,

434
00:16:13,320 --> 00:16:14,730
and you'll hear
different noises.

435
00:16:14,730 --> 00:16:16,380
Or oh, there's a gap here.

436
00:16:16,380 --> 00:16:18,450
And we could take away
barriers around edges

437
00:16:18,450 --> 00:16:20,850
with something like
this, or something

438
00:16:20,850 --> 00:16:22,020
like rear assist parking.

439
00:16:22,020 --> 00:16:24,603
So as you get close to walls,
it goes, beep, beep, beep, beep,

440
00:16:24,603 --> 00:16:26,490
beep, beep, beep, beep.

441
00:16:26,490 --> 00:16:28,100
RIO LAVIGNE: Yep.

442
00:16:28,100 --> 00:16:29,450
GWEN EDGAR: Frame of reference.

443
00:16:29,450 --> 00:16:30,325
RIO LAVIGNE: Oh yeah.

444
00:16:30,325 --> 00:16:32,750
So the first level went
through a couple of iterations.

445
00:16:32,750 --> 00:16:34,460
In our most recent
iteration, you

446
00:16:34,460 --> 00:16:36,350
have to find multiple
targets before you

447
00:16:36,350 --> 00:16:37,860
progress to the next level.

448
00:16:37,860 --> 00:16:39,710
And this is to give
the player a chance

449
00:16:39,710 --> 00:16:44,760
to really get more in the game,
understand, this is the target.

450
00:16:44,760 --> 00:16:46,560
This is the sound
the target makes.

451
00:16:46,560 --> 00:16:48,720
This is how I locate that sound.

452
00:16:48,720 --> 00:16:50,190
This is how I move forward.

453
00:16:50,190 --> 00:16:54,050
And moving backwards
is also an option.

454
00:16:54,050 --> 00:16:56,110
GWEN EDGAR: The target
after the one that you saw

455
00:16:56,110 --> 00:16:58,540
was directly behind.

456
00:16:58,540 --> 00:17:01,330
So the idea was trying to give
players that range of motion

457
00:17:01,330 --> 00:17:02,230
and the noises.

458
00:17:02,230 --> 00:17:03,370
GUEST SPEAKER: Was I
listening to more than one

459
00:17:03,370 --> 00:17:04,069
target at a time?

460
00:17:04,069 --> 00:17:04,280
GWEN EDGAR: No.

461
00:17:04,280 --> 00:17:04,947
RIO LAVIGNE: No.

462
00:17:04,947 --> 00:17:05,830
GUEST SPEAKER: OK.

463
00:17:05,830 --> 00:17:07,200
There were two voices.

464
00:17:07,200 --> 00:17:08,700
But that was just
one target, right?

465
00:17:08,700 --> 00:17:10,158
GWEN EDGAR: It was
one target, yes.

466
00:17:10,158 --> 00:17:13,410
The target would spawn after
the next one was destroyed,

467
00:17:13,410 --> 00:17:16,410
last one was destroyed, yep.

468
00:17:16,410 --> 00:17:20,310
RIO LAVIGNE: Yeah, so front or
behind versus left or right.

469
00:17:20,310 --> 00:17:23,339
Damage, death, and
other punishments--

470
00:17:23,339 --> 00:17:26,369
so we talked about players
spiraling into the void

471
00:17:26,369 --> 00:17:27,803
after they jump.

472
00:17:27,803 --> 00:17:29,220
What do you do
when a player dies?

473
00:17:29,220 --> 00:17:31,430
You put them at the beginning
of the level, right?

474
00:17:31,430 --> 00:17:31,710
GWEN EDGAR: Obviously.

475
00:17:31,710 --> 00:17:32,970
RIO LAVIGNE: They failed.

476
00:17:32,970 --> 00:17:35,040
Well, this is confusing.

477
00:17:35,040 --> 00:17:37,660
Because players don't
really know why they failed.

478
00:17:37,660 --> 00:17:38,160
They--

479
00:17:38,160 --> 00:17:39,300
GWEN EDGAR: Or
where they are now.

480
00:17:39,300 --> 00:17:40,050
RIO LAVIGNE: Yeah.

481
00:17:40,050 --> 00:17:41,490
Because now you've
just moved them

482
00:17:41,490 --> 00:17:43,260
without them moving themselves.

483
00:17:43,260 --> 00:17:46,950
So they've completely
lost where they are.

484
00:17:46,950 --> 00:17:51,190
So we decided to take
out damage, and dying,

485
00:17:51,190 --> 00:17:54,300
and all of that.

486
00:17:54,300 --> 00:17:55,920
We have a level with
obstacles in it.

487
00:17:55,920 --> 00:17:58,170
If you hit the
obstacle, you say ouch.

488
00:17:58,170 --> 00:17:59,880
You get pushed
back a little bit.

489
00:17:59,880 --> 00:18:01,830
And this doesn't
disorient players.

490
00:18:01,830 --> 00:18:03,690
If players are
worried about dying,

491
00:18:03,690 --> 00:18:06,450
they're much more afraid
to move and explore

492
00:18:06,450 --> 00:18:07,600
their world as well.

493
00:18:07,600 --> 00:18:09,150
So we took that out.

494
00:18:13,040 --> 00:18:15,200
GWEN EDGAR: Level complexity--

495
00:18:15,200 --> 00:18:16,933
as I mentioned,
during the playtest,

496
00:18:16,933 --> 00:18:19,100
players were saying that
as they were going through,

497
00:18:19,100 --> 00:18:20,270
they were getting
better at navigating.

498
00:18:20,270 --> 00:18:21,230
They were feeling
more confident.

499
00:18:21,230 --> 00:18:23,105
And they were getting
more used to the sounds

500
00:18:23,105 --> 00:18:24,050
they were hearing.

501
00:18:24,050 --> 00:18:26,600
So they're able to detect
different noises better

502
00:18:26,600 --> 00:18:27,798
and the patterns.

503
00:18:27,798 --> 00:18:29,840
So we were wondering how
far we can go with this.

504
00:18:29,840 --> 00:18:32,490
If we have people that
know how to play the game,

505
00:18:32,490 --> 00:18:34,610
how many levels of
complexity can we add?

506
00:18:34,610 --> 00:18:37,310
Can we have a
staircase of platforms?

507
00:18:37,310 --> 00:18:39,260
Can we make it so
you need to navigate

508
00:18:39,260 --> 00:18:41,540
almost kind of-- platforms
almost like a maze?

509
00:18:41,540 --> 00:18:43,010
What can we do with this?

510
00:18:43,010 --> 00:18:43,940
Can we have enemies?

511
00:18:43,940 --> 00:18:44,810
How many enemies?

512
00:18:44,810 --> 00:18:47,430
What kind of things can be used?

513
00:18:47,430 --> 00:18:49,250
So the idea is,
really, how complex

514
00:18:49,250 --> 00:18:50,600
can these end up being made?

515
00:18:50,600 --> 00:18:51,620
And this was not
something that we

516
00:18:51,620 --> 00:18:53,287
could follow in the
scope of this class,

517
00:18:53,287 --> 00:18:55,970
but that we would like-- be
very interested in pursuing.

518
00:18:55,970 --> 00:18:59,000
RIO LAVIGNE: And on average, it
took players about 10 minutes

519
00:18:59,000 --> 00:19:01,002
to get through all of
the levels that we had.

520
00:19:01,002 --> 00:19:02,210
GWEN EDGAR: The three levels.

521
00:19:02,210 --> 00:19:03,877
We only saw the first
one in this round.

522
00:19:03,877 --> 00:19:06,260
But there's a level with the
platform and a long hallway

523
00:19:06,260 --> 00:19:07,820
with swinging blades.

524
00:19:07,820 --> 00:19:09,620
RIO LAVIGNE: Yep.

525
00:19:09,620 --> 00:19:10,840
Yes.

526
00:19:10,840 --> 00:19:13,550
GWEN EDGAR: And last, level
guidelines-- these are-- we

527
00:19:13,550 --> 00:19:16,280
have three main level
guidelines that we want--

528
00:19:16,280 --> 00:19:17,792
that we take as
our contributions

529
00:19:17,792 --> 00:19:20,000
and we want to give to you
as main takeaways from one

530
00:19:20,000 --> 00:19:23,420
project, the first one
being to offer the player

531
00:19:23,420 --> 00:19:25,490
one audio target at a time.

532
00:19:25,490 --> 00:19:28,310
That can be trying to
navigate, looking for a source.

533
00:19:28,310 --> 00:19:30,710
That can be trying to
jump on the platform.

534
00:19:30,710 --> 00:19:33,410
That can be trying to
find the swinging blade.

535
00:19:33,410 --> 00:19:35,330
After you have
gotten past that, you

536
00:19:35,330 --> 00:19:37,758
can present a new target
as long as the old one has

537
00:19:37,758 --> 00:19:38,300
been removed.

538
00:19:41,360 --> 00:19:43,370
Second--

539
00:19:43,370 --> 00:19:46,310
RIO LAVIGNE: Always have a
linear and flat path to follow,

540
00:19:46,310 --> 00:19:47,960
at least especially
in the beginning.

541
00:19:47,960 --> 00:19:49,760
Because you can't
really detect when

542
00:19:49,760 --> 00:19:52,040
something is above or below
you, especially if you

543
00:19:52,040 --> 00:19:53,660
haven't heard the sound before.

544
00:19:53,660 --> 00:19:55,670
So especially with
these beginning levels,

545
00:19:55,670 --> 00:19:58,295
make sure things are just
in front of the player.

546
00:19:58,295 --> 00:20:00,920
GWEN EDGAR: So this doesn't mean
that you can only move forward

547
00:20:00,920 --> 00:20:01,370
in the level.

548
00:20:01,370 --> 00:20:03,703
But it means you need to have
a linear progression path.

549
00:20:03,703 --> 00:20:05,300
So you can-- you
can go backwards.

550
00:20:05,300 --> 00:20:06,170
You can move around.

551
00:20:06,170 --> 00:20:07,880
But if you've used
an element that

552
00:20:07,880 --> 00:20:12,920
needs to go away, or else
be specifically brought back

553
00:20:12,920 --> 00:20:14,450
for reuse--

554
00:20:14,450 --> 00:20:16,340
RIO LAVIGNE: Yep.

555
00:20:16,340 --> 00:20:19,670
GWEN EDGAR: And third, give
clear and immediate feedback.

556
00:20:19,670 --> 00:20:22,080
When you're looking at
something, you're able to see,

557
00:20:22,080 --> 00:20:25,250
oh, I missed the platform, or
oh, I got hit by something,

558
00:20:25,250 --> 00:20:28,230
or oh, I didn't make the jump,
or oh, I ran into a wall.

559
00:20:28,230 --> 00:20:31,040
But if you don't have that
immediate feedback here,

560
00:20:31,040 --> 00:20:32,943
people are just
like, what happened?

561
00:20:32,943 --> 00:20:34,610
It doesn't sound like
anything happened.

562
00:20:34,610 --> 00:20:37,012
Or oh, things sound
further away now.

563
00:20:37,012 --> 00:20:38,720
They don't have a good
orientation point.

564
00:20:38,720 --> 00:20:41,420
So footsteps when
you're actually walking,

565
00:20:41,420 --> 00:20:44,180
the nope when you
can't jump, the bump

566
00:20:44,180 --> 00:20:46,040
against the wall when
you hit it-- we're

567
00:20:46,040 --> 00:20:49,602
very clear in good ways
to give that feedback.

568
00:20:49,602 --> 00:20:50,310
RIO LAVIGNE: Yep.

569
00:20:50,310 --> 00:20:52,080
And OK, well, that's
our presentation.

570
00:20:52,080 --> 00:20:54,162
GWEN EDGAR: That's our
game, Going in Blind.

571
00:20:54,162 --> 00:20:54,870
RIO LAVIGNE: Yes.

572
00:20:54,870 --> 00:20:58,220
[APPLAUSE]