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OCTOBO: the interactive storytelling plush octopus

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OCTOBO: the interactive storytelling plush octopus

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Content OCTOBO: The Interactive Storytelling Plush Octopus

By
Yuting Su
Master of Fine Arts
Interactive Media & Games Division
School of Cinematic Arts
University of Southern California
August 2016

OCTOBO: The Interactive Storytelling Plush Octopus
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Table of Contents
1. Introduction ........................................................................................................................................... 4
1.1 Objective of the Project................................................................................................................. 4
1.2 Initial Concept ............................................................................................................................... 4
1.3 Design Goals ................................................................................................................................. 5
1.4 Production Goal ............................................................................................................................ 6
2. Review of Prior Arts ............................................................................................................................. 7
2.1 Hybrid of physical and digital play ............................................................................................... 7
Osmo, 2014 ........................................................................................................................................... 7
Skylanders, 2011 ................................................................................................................................... 8
Fabulous Beast, 2015 ............................................................................................................................ 8
Tiggly, 2013 .......................................................................................................................................... 9
2.2 Freeform storytelling .................................................................................................................. 11
Dixit and Once Upon A Time ............................................................................................................. 11
Life in the Garden, 1999 ..................................................................................................................... 11
2.3 Interactive Plush .......................................................................................................................... 12
Teddy Ruxpin ...................................................................................................................................... 12
Jerry the Bear ...................................................................................................................................... 13
Pluff..................................................................................................................................................... 14
3. Project Plan ......................................................................................................................................... 16
3.1 Project Descriptions and Prototype ............................................................................................. 16
Physical ............................................................................................................................................... 16
Digital ................................................................................................................................................. 16
3.2 Development Timeline ................................................................................................................ 17
Research and Prototype ....................................................................................................................... 17
Preproduction ...................................................................................................................................... 17
Production ........................................................................................................................................... 18
3.3 Playtests ...................................................................................................................................... 18
3.4 Festival Submissions ................................................................................................................... 19

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4. Results ................................................................................................................................................. 20
4.1 Development environment .......................................................................................................... 20
4.2 Platforms ..................................................................................................................................... 21
4.3 Team ........................................................................................................................................... 21
4.4 Physical ....................................................................................................................................... 21
4.5 Digital ......................................................................................................................................... 22
4.6 Playtest ........................................................................................................................................ 23
End of Preproduction – interview, playtest, and observation ............................................................. 23
During Production – playtests ............................................................................................................. 24
Before final deliverable – playtest during festival showing, observation ........................................... 25
5. Article Coverage ................................................................................................................................. 27
6. Conclusions and Future Plans ............................................................................................................. 29
6.1 Bring OCTOBO to market .......................................................................................................... 29
6.2 What I learnt from making OCTOBO ........................................................................................ 29
Actively scoping ................................................................................................................................. 29
Business .............................................................................................................................................. 30
Work-Life balance .............................................................................................................................. 30
7. Appendices .......................................................................................................................................... 31
7.1OCTOBO interview questions ........................................................................................................... 31
8. References ........................................................................................................................................... 33

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1. Introduction
1.1 Objective of the Project
Building and experimenting an interactive stuffed animal gaming platform; using a sensor-
embedded stuffed animal octopus to play a minimalist mobile game. (see fig. 1.)

Fig. 1. OCTOBO’s concept
1.2 Initial Concept
OCTOBO is an experiment to combine physical and digital gameplay. The goal of OCTOBO is
to meaningfully rediscover traditional physical toys in the age of digital entertainment. Unlike
other physical-digital games on the market where the physical components are merely acting as
“non-interactive controllers” for the highly complicated digital game world, OCTOBO would
like to provide its player an innovative and personalized experience by offering the joys of
playing with physical objects and seeing entertaining digital animated feedback.
OCTOBO is a playful octopus stuffed animal that has invisible sensors embedded inside. Using
tech components such as RFID, bluetooth chips, Arduino, and different sensors, I want to make

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puzzle games, matching games, educational games on this platform that bring delight to both
children and adults. (see fig.2.)

Fig. 2. Concept art. Using mobile display in OCTOBO’s body and kids interact with him.
1.3 Design Goals
I noticed there is a lack of initiative in the game industry to designing a socio-environment for
children’s games. Nowadays children are attached to screens that are designed only for one-on-
one interaction. Thus the children tend to ignore the environment they are in, and this trend
saddens me. Game should not be a robotic babysitter, but rather something that kids and adults
can enjoy together and learn together.
The project’s goal is to explore a novel hybrid of physical and digital play by combing IoT,
meaningful play and game design. I will accomplish this by creating and exploring different
game control systems and then telling the story with an interactive form. I hope the game can
create a different social dynamic not only in games, but also in the physical space where people
play games together.
The design goals are as follows:

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 Minimalist design. A simple puzzle game involving colors, shapes, alphabets (or
numbers) and different combination of physical elements.
 A game where the base and sensor elements (RFID pieces, tentacles, and other hidden
sensors on the base) interact in exciting and unexpected ways.
 A platform that has a good balance between physical elements and its digital components.
 An experience that creates an emotional relationship between players and game character.
 A game for players to explore alone or with their family and friends.
 A game that is easy to learn and intuitive to play.
 A game that can turn into a consumer product.
1.4 Production Goal
The goal for the thesis production schedule is to build a polished functional prototype by the end
of production that I will put on Kickstarter or reach out to potential business partner companies
for commercialization.

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2. Review of Prior Arts
2.1 Hybrid of physical and digital play
Osmo, 2014
(https://www.playosmo.com/)
Osmo is a set of award-winning educational games system for the iPad. It’s a set of iPad games
played with real-world pieces, and players just need to set up their iPad on Osmo’s stand and
attach the red plastic piece which redirects the iPad’s front-facing camera downwards to the
game pieces on a tabletop or floor. Osmo has three companion apps - Tangram, Words, and
Newton in which players can experience different gameplay from assembling tangram puzzles
with wooden pieces, to flinging letter tiles onto the table to spell a word, to finding solutions to a
physics-based puzzler by drawing on paper or building contraptions with everyday items. The set
of games are super simple but brings out the magical moment of physical objects interacting with
the digital screen to the players. It is educational and requires children to come up solutions
while playing. The downsides to the system is that it only works on the iPad and there is not a lot
of space for creativity or storytelling. (see fig. 3.)

Fig. 3. OSMO

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Skylanders, 2011
(http://www.skylanders.com/)
Games in the Skylander series are played by placing character figures on the "Portal of Power", a
device that reads the figures' tags through NFC and "imports" the character represented by the
figure into the game as a playable character.
The game has multiple collectable figures that players can play with, however the physical
objects don’t control the game or create any gameplay by itself. (see fig. 4.)

Fig. 4. Skylanders

Fabulous Beast, 2015
(http://playfabulousbeasts.com/)
Fabulous Beasts is a physical / digital hybrid game for 2 players. The physical element is a co-
operative stacking game – players take turns adding objects to a tower. The tower rests on a
sensing platform which drives the digital element – a creation game.

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Fabulous Beasts utilize the RFID system and weight sensor to create a gameplay that naturally
blends the physical and digital game. Brilliant and clean design. But the scan-and-play system
doesn’t feel that intuitive for younger players. (see fig. 5.)

Fig. 5. Fabulous Beasts

Tiggly, 2013
(http://tiggly.com/)
Tiggly is a series of interactive toys and iPad learning apps for preschoolers and toddlers. For the
physical element, Tiggly has Tiggly count and Tiggly shape which interact with different apps.
The game aims to teach kids about counting and shape-mapping. The game has great sensitivities
and a fictional world behind the game. Tiggly aims for children ranging from 18 months to 6
years old. (see fig. 6.)

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Fig. 6. Tiggly

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2.2 Freeform storytelling
Dixit and Once Upon A Time
Both Dixit and Once Upon a Time are card games that prompt players with story elements, and
players will need to create stories based on the prompt. Since the cards will be drawn in different
combinations, the story will never be the same. It requires the player to be creative and use their
imagination while playing. (see fig. 7.)

Fig. 7. Dixit (left), Once Upon a Time (right)

Life in the Garden, 1999
My favorite example of a recombinant storybook is Eric Zimmerman’s Life in the Garden. Life
in the Garden is a paper interactive story. It consists of a small box that contains a tiny book
cover and a deck of 52 pages. To interact with Life in the Garden, the player will shuffle the
pages, draw 5 to 7 cards, put them between the covers, and then read the resulting story. (see fig.
8.)

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Fig. 8. Life in the Garden
2.3 Interactive Plush
Teddy Ruxpin
Teddy Ruxpin is a very classic example for interactive plush, he’s also a shared memory for
people born in the ‘80s. The bear’s mouth and eyes move while he “read” story with children.
The stories are played on a tape cassette deck built into his back. (see fig. 9.)
The bear was a major hit in the past, however, the interaction design is out of date for the digital
age we are in now. According to CNET’s article, "The toy is not as common as we think today,"
Benny Fine told Crave. Because these kids have been exposed to so much technology their
whole lives, "it makes the experience of Teddy an odd one since he is so limited, yet still is
something they can understand.". Kids nowadays react to the animatronic as “weird” and “evil”.

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Fig. 9. Teddy Ruxpin

Jerry the Bear
(https://www.jerrythebear.com/)
Jerry the Bear is a plush companion for children with type 1 diabetes. It has a display on its
tummy and kids can practice taking care of themselves by interact with Jerry. Kids take care of
Jerry, who too has diabetes, by feeding him a healthy diet and keeping his blood sugar level in a
good range by counting carbs and matching insulin doses.
It is a neat idea, however the execution is still very intentional. The display located on Jerry’s
tummy is also not a very organic design. (See fig. 10.)

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Fig. 10. Jerry the Bear
Pluff
(http://www.dihughes.com/pluff/)
Pluff is a stuff animal controller that links to a separate screen. While players hug, pat, interact
with Pluff, they will control the Pluff character in a Flash game. The game is now adapt to be a
game for children with autism spectrum disorders. (see fig.11.)
The soft and cuddly plush is a better solution for kid’s interactive companion, compares to both
examples above. However, having a separate screen still isn’t the best design, which children’s
attention will be distracted between the physical and digital component.

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Fig. 11. Pluff @E3

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3. Project Plan
3.1 Project Descriptions and Prototype
Physical
The physical compartment of OCTOBO is a sensor-embedded octopus stuffed animal. The core
electronics we utilized are flex sensors (which will be built into the octopus tentacles) and RFID
sensors (which will be integrated in the octopus along with other interactive physical game
pieces). (see fig. 12.)

Fig.12. OCTOBO design, physical
We have a storybook that comes with the plush. The story book act as action prompt and holder
for the RFID pieces.
Digital
On OCTOBO’s head/body, I have a slide-in pocket for the tablet positioning. And the tablet is
connected to the sensors to display the digital component of the game.

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The game is following an overarching storyline. The storybook will guide the players and
prompt them what kind of interaction they can perform to OCTOBO, which includes feeding
him fishes, collect treasures for him, hug him, shake his hands, wiggle his arms…etc. And utilize
the convenience of digital technology to create personalized story like Lost My Name.
The games is very simple but rich in animation and audio and visual feedbacks. Good examples
will be the game Metamorphabet, OSMO, and Tiggly Safari. (see fig. 13)

Fig. 13. Game art examples. From left to right – Metamorphabet, OSMO, Tiggly Safari
3.2 Development Timeline
Deliverables for the end of the month:
Research and Prototype
 April to July (2015): Team formation, brainstorm ideas, methodology research.
 August: Gameplay mechanics design. Concept arts and hardware (sensors and
microcontroller boards research)
Preproduction
 September: Second recruiting. Rapid prototyping for the game mechanic.

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 October: Build up the game system structure, have a production stage ready prototype for
all project elements. Includes: Plush, storybook illustration, writings, animation draft, and
video storyboard. Start making all art assets. Arrange first playtest and video-shooting.
Production
 November: Prepare for Winter Show. Have the project reach a proof of concept level.
Finish making plush version three, print board book, test unity remote.
 December: Winter Show. Finish editing play through video. Submitting to GDC
Experimental Gameplay Workshop and Alt.Ctrl.GDC Showcase.
 January (2016): Working with children’s book writer for a new book. Start researching
wireless options, rewrite the code to make the game system more secure.
 February: Keep working on the system, play test, getting ready for the shows in March.
Alpha milestone.
 March: Beta milestone. Show OCTOBO in GDC, LA ZineFest. Post-conference
followups. Start thinking different business options. Submit to IndieCade.
 April: Final deliverable. Getting ready for thesis show.
3.3 Playtests
We brought in parents and kids together to see how they play with OCTOBO in our
interview study during November, 2015 and rapid playtests during production, and with
families during our show in LA Zine Fest and GDC in the end of production. Interview
questions see Appendices 7.1.

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3.4 Festival Submissions
This is the list of festivals I submitted OCTOBO to:
 Game Developers Conference – Experimental Gameplay Workshop
 Game Developers Conference – alt.ctrl.GDC showcase
 LA ZineFest PlayDate game showcase
 IndieCade
 EMERGE 2016: The Future of Sport
 IndiePrize

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4. Results
4.1 Development environment
We've used many different tools to make OCTOBO a reality. The most useful ones have been
custom one-off creations my technical director Julian made using node.js and various third party
libraries to do things like configure/test Bluetooth communications and graphically inspect
what's happening with OCTOBO's sensors over time. (see fig. 14.)

Figure. 14. OCTOBO oscilloscope, shake hand counter

OCTOBO's software is distributed between an Arduino microcontroller and a tablet, which we
program using the Arduino development environment and the Unity game engine. Neither
environment has a particularly good text editor, so we use Sublime Text with the "OmniSharp"
and "Arduino like IDE" plugins.

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4.2 Platforms
Currently we are using iPad mini as the device, running an iOS build. But I plan to release an
Android version in the near future.
4.3 Team
I, as the Creative Director and Project Lead for OCTOBO, came up with the core idea/design of
OCTOBO and created the first few prototypes. I'm working on everything related to the project
producing, designing, and crafting the OCTOBO plush. Julian Ceipek joined the team as a
technical consultant to help optimize the whole game system and Xian Lu joined as the graphic
designer in charge digital assets for OCTOBO. We also worked with several very talented USC
students – Nami Melumad and Jacques Brautbar, who scored for OCTOBO; Justin Bortnick,
who wrote the OCTOBO story; And Stacy Shi, who drew the concept art. OCTOBO also found
collaborators outside of USC, including Liwen Lin, who illustrated OCTOBO’s storybook, and
Vivian Lin, who consulted on the physical plush toy.
4.4 Physical
The fundamental idea of OCTOBO is to redesign traditional media in the digital age while
preserving all of the things that make traditional media awesome. On the outside, OCTOBO is
soft and cuddly and made from kid- friendly materials, just like other plush toys. He has a pocket
on his body for players to slide a tablet into. (see fig. 15.)

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Figure. 15. OCTOBO final deliverable. Put tablet in the pocket for animation display (right).

The storybook that comes with OCTOBO is made out of traditional materials but also contains
removable tokens outfitted with electronic tags.
4.5 Digital
The game is run on iPad mini. We created multiple animation to pair with physical triggers,
when players interact with OCTOBO, he will show different emotions according to their
interaction. (see fig. 16.)

Figure. 16. OCTOBO’s facial expressions

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4.6 Playtest
 End of Preproduction – interview, playtest, and observation
 During Production – rapid playtest
 Before final deliverable – informal playtest during festival showing and observation

End of Preproduction – interview, playtest, and observation
We conducted an interview with a mom and son team at the end of preproduction, to better
understand the direction for our production.
Here are a summary of the questions and answers we get from the interview:
OCTOBO Interview Questions – Date: 11/05/2015 Name: Lincoln and Stephanie Age: 4.5
Before the playtest
1. How often do you read story books together? When in the day do you normally read stories?
A: Everyday, mostly during bedtime.
2. (Mom and kid) Which book is your favorite? Why?
A: Frog and Toad – A lost button. Like the story. Lincoln: Frustrated at first, a lot of other button.
3. Do you play games together? What game? For how long?
a. Digital (What platform)–
A: Minecraft, tutorial mode. Plants vs. Zombies.
b. Physical –
A: Board games – Robot Turtles.
4. (Kid) What is your favorite toy? Why do you like it so much?
A: Grover (a plush). It’s a blue monster. Pink Winnie the Pooh

OCTOBO: The Interactive Storytelling Plush Octopus
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Show OCTOBO
1. What do you expect OCTOBO can do?
(Failed to ask the kid started playing)
After the playtest
1. What do you think of the experience? Anything caught your eye? Anything that feels weird?
Good, nothing feels weird. Like placing items and the look of OCTOBO. Like the heart eyes the best.
2. What do you think of this platform?
Book and iPad together are fun!
3. How do you feel about the balance between different components of the project?
Balance was good, wish there were more placing components would be fun.
4. (Mom) Any concerns related to the design? Like and dislike?
Components inside to allow for sleeping comfort. Want OCTOBO to be something the kid can sleep with,
no hard surfaces.
5. (Kid) Do you like OCTOBO? Which page and action do you like the best?
YES!
Other notes
Front hands can be closer, now on the side is harder to shake.
More indicators for action. Sometimes it’s confusing what the correct interaction is.

During Production – playtests
We have playtests every two weeks during production, mostly during thesis class to help
development iterations.

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Before final deliverable – playtest during festival showing, observation
OCTOBO is selected into LA ZineFest 2016’s PlayDate Game showcase, and alt.ctrl.GDC 2016.
Taking advantage of both shows, we had the opportunity to playtest and observe how people in
different age group and backgrounds react with OCTOBO.
LA ZineFest is a more casual occasion. There were a lot of families with kids came to our table.
We are delighted to get this chance to finally see how kids will interact with OCTOBO.
We learnt how to demo the project, what is a great intro, how to guide them through the
experience. We also gave OCTOBO baby socks to wear so we can wash after every showing to
keep him clean. Surprisingly, kids who played OCTOBO are all pretty gentle to him, except they
try to poke his eyes on the tablet. Therefore, we then added in an eye-poking feature after the
show.
For the technical side, we re-write the method for Bluetooth connection so the whole system
won’t be interfered by the huge amount of wireless device around the show floor. (see fig. 17.)

Figure. 17. OCTOBO at LA ZineFest 2016

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Compares to LA ZineFest, alt.ctrl.GDC has more gamers came to our booth. The respond to the
show is fantastic (see fig. 18.). We started to think about the business potentiality for OCTOBO
after the show. One interesting observation is that gamers tend to stare at the separate screen we
have beside OCTOBO. The screen on the side is for display our playthrough video, but a lot of
them thought they will be playing the game on it. We also found a problem related to our sensor
choice. The sensitivity of the FSR sensor we are using will degrade over time. So in the future,
we might need to find another type of sensor as trigger. Some of the idea we are thinking is
accelerometer or halo sensor that is triggered by magnet.

Figure. 18. OCTOBO at alt.ctrl.GDC16

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5. Article Coverage
After our showing in GDC. We got some nice coverage in Gamasutra and other articles (see fig.
19.).

Figure. 19. OCTOBO article coverages

Listing a few quote form the articles here:

"iPads are nice," one said, "but being able to physically play with and hug a stuffed animal, and
have it react to your input is incredible.“
- Daniel Starkey, ZAM

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“I was left with the impression that a swarm of octopodes would make their way into toy stores
around the world.”
- Katherine Cross, Gamasutra

“What if your controller could play games along with you?”
-Alex Warwo, Gamasutra

“This direct interaction (with OCTOBO)…..might have the greatest potential for a true
emotional and empathetic experience.”
- Chris Bennett, Stanford University Game Design Thinking Research Group

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6. Conclusions and Future Plans
6.1 Bring OCTOBO to market
Currently we are looking for like-minded partners to help develop OCTOBO and bring him to
children and families all over the world. Our ideal partner has experience producing high quality
children’s toys with integrated electronics and understands the potential of a content rich
platform that OCTOBO represents.
I’m now working with my business mentor Jordan Weisman to build up a business plan, and my
legal mentor James Roberts III for legal questions. Some of the questions I’m still trying to
figure out is should I have my own startup or should I work with publishers? How many
companies out there will be interested in working with us?
If I decide to start my own startup, should I find investors or go on Kickstarter?
6.2 What I learnt from making OCTOBO
Actively scoping
Scoping is not a one-time thing. It’s a continuous decision making. Especially for an all-student
team like us, it really depends on the size of team, the time our team members can commit to the
project, and what are the important deadline is.
Another thing is to keep our design goals in mind, keep thinking of what we want to achieve.
Dissect the whole project into small chunks, and finish them one after another. Once the core
mechanic is done, all other features will become nice add-ons.

OCTOBO: The Interactive Storytelling Plush Octopus
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Team building, let everyone find their contribution in the project. Let everyone in the team feel
satisfying working on the project.
Business
Three years ago, when I enter the program, I have no idea what I want to make, what I want to
do after I graduate. Not to say even thinking about creating my own business. But now, with
OCTOBO, I started to network with like-minded developers, I’m thinking of legal issues –
trademark, copyright, the difference between company types. I learnt so much about how to
present my project, how to show it to the public and get the most out of it. OCTOBO just
brought me a lot of opportunities I never thought about in the past.
Work-Life balance
Having a kids while developing thesis project is not easy. I was struggling a lot to find a work-
life balance between my two babies. I truly believe the old saying - when there is a will, there is
a way. Time management, or I will call life management is similar to production. What is the
goal, and how do I achieve it. I’m still learning how to get more quality family time while I can
still work hard on the things I love. From the past year of making OCTOBO, I learnt to
communicate more with people around me, and don’t be shy to ask for help when you need.

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7. Appendices

7.1OCTOBO interview questions

OCTOBO Interview Questions – Date: Name: Age:
Before the playtest
1. How often do you read story books together? When in the day do you normally read
stories?

2. (Mom and kid) Which book is your favorite? Why?

3. Do you play games together? What game? For how long?
a. Digital (What platform)–
b. Physical –

4. (Kid) What is your favorite toy? Why do you like it so much?

Show OCTOBO
1. What do you expect OCTOBO can do?

After the playtest
1. What do you think of the experience? Anything caught your eye? Anything that feels
weird?

OCTOBO: The Interactive Storytelling Plush Octopus
32

2. What do you think of this platform?

3. How do you feel about the balance between different components of the project?

4. (Mom) Any concerns related to the design? Like and dislike?

5. (Kid) Do you like OCTOBO? Which page and action do you like the best?

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8. References
Burton, Bonnie. “'It's evil!' Kids react to Teddy Ruxpin the talking bear” CNET. CBS Interactive.
19, Jan, 2015. Web. 29, March, 2016
Cross, Katherine. “Yuting Su's Octobo: A 21st Century Teddy Ruxpin” Gamasutra. UBM. 17,
March, 2016. Web. 29, March, 2016.
Wawro, Alex. “Alt.Ctrl.GDC Showcase: Octobo” Gamasutra. UBM. 10, March, 2016. Web. 29,
March, 2016.
Bennett, Chris. “What Can an Octopus Teach Us About Emotion?” Game Design Thinking
Research Group. Stanford University. 21, March, 2016. Web. 29, March, 2016.

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Creator Su, Yuting (author)

Core Title OCTOBO: the interactive storytelling plush octopus

School School of Cinematic Arts

Degree Master of Fine Arts

Degree Program Interactive Media

Publication Date 07/26/2018

Defense Date 05/13/2016

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Games,interactive toys,OAI-PMH Harvest,Storytelling

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Wixon, Dennis (committee chair), Lemarchand, Richard (committee member), Watson, Jeff (committee member)

Creator Email suyuting.c@gmail.com,suyuting@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c40-286637

Unique identifier UC11281270

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Legacy Identifier etd-SuYuting-4674.pdf

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Document Type Thesis

Format application/pdf (imt)

Rights Su, Yuting

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA