University of Southern California Dissertations and Theses

Within a fold: an exploration of alternative controllers and childhood storytelling

(USC Thesis Other)

Within a fold: an exploration of alternative controllers and childhood storytelling

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Content W i th i n A F old :
A n E xp lo ra ti on of A l ter nat i v e Co nt rol l er s a n d Ch i ld h oo d St o r y t e l l i ng
by
L a u ra Men g
A Th esi s P re sen t e d t o t h e
A F A CU L TY O F T HE U S C SCH O OL O F CI NEM ATI C AR TS
U N I V ERS I T Y OF SO UT H ERN CA LIFORN I A
I n P ar t i a l Fu l fi l lm e n t o f t h e
R eq ui remen ts f or t h e Degr e e
MASTE R O F FIN E A R T S
( IN TERA CTIVE MED I A )
M a y 2 02 3
D e d i c a t i o n s
D e d i c a t e d to ever y ver s io n o f ou r yo un ger se l ve s.
ii
A c k n o w l e d g e m e n t s
T o m y w o n d erf u l t eam : A r iel Li, Jo h C h u ng, Ju l i a W an g, M ari el l e B ra d y , J oh a n Song a nd Joy
M ar t i n e z . T h a nk y ou fo r h el p in g m e b ri n g Bl os som t o l i f e.
T h an k y o u t o m y ad vis or c h air, M art z i Ca m p os , for al l y ou r th ou gh tf u l a dv i c e an d su p p o rt . Y o ur
e n c o u r a g e m ent t h is p as t yea r an d a h al f h as a l lo w ed me to grow lea p s a nd bounds .
T h an k y o u t o m y ad vis or s , J es s e V ig i l a n d J ord a n H al s e y , w h o bot h gra c e fu ll y l e nded th ei r
e x p e r t i s e a n d kn ow l edg e t o B lo s s o m an d h elp e d m e v e n t u re in to a re a s I w a s u nf a mi li ar wi th.
T h an k y o u t o al l th e fa c u lt y at U S C w ho h a v e gi v e n t h e i r su pp ort to th i s p ro jec t: La i r d Mala m e d,
L i s a M an n , S ean B ou ch a rd .
T h an k y o u t o Ch r is t a H ar ya n t o fo r b ei n g my con st an t bu dd y a n d cr ea t i v e sou ndi ng boar d .
T h e re ’ s n o o n e el s e I w o u ld w an t t o s ha r e a c orn er i n t h e si s sp a c e wi th .
T h an k y o u t o m y I M G D c o h ort f or g oi ng on t h i s cr azy j ou rn ey o f gra du a te s c h oo l wi t h me.
S p e c i a l t h a n k yo u t o K B , Y im en g C h en a nd Ch ri s ty Y e f o r a l l t h e gr ea t ti mes a n d gre a t a dvice .
T h an k y o u t o m y b u n ny , T of f ee. Th e ch a os y ou b ro ugh t in t o my l ife w a s grea t l y n eeded.
T h an k y o u t o al l m y fr ien ds b a c k h ome . W i th ou t y ou a l l , I w ou ld n ot b e w h o I am to day .
T h ro u g h a ll t h e up s a nd do w ns , yo u r e n c o ur a gem e n t h a s been un w a v e r i n g. Th a nk y o u.
L as t l y , a n o ver w h el m in g t h ank y ou t o my f a m i l y for p ut ti n g u p w i t h m y sh en a n i gans s i n ce birth.
I t h i n k w e ’r e al l g la d I d id n’t en d up b ecomi n g a doc t o r .
T o m y s i s t er , S h erry . Th a nk y ou fo r h ea l in g an d r e fl ec t i n g on ou r c h i ld h oo d wi th me.
iii
T a b l e o f C o n t e n t s
D e d i c a t i o n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i i
A c k n o w l e d g e m e n t s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i i i
L i s t o f F i g u r e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v
A b s t r a c t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v i
C h a p t e r 1 : T h e P u s h t o E x p l o r e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
C h a p t e r 2 : S t e p p i n g I n t o B l o s s o m . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
2 . 1 A t a G l a n c e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
2 . 2 E x p e r i e n c e G o a l s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
2 . 3 C o r e G a m e L o o p . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
2 . 4 D e s i g n P i l l a r s o f B l o s s o m . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
2 . 4 . 1 L a y e r e d I m m e r s i o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
2 . 4 . 2 A s i a n - A m e r i c a n S t o r y t e l l i n g . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2 . 4 . 3 N a r r a t i v e D r i v e n M e c h a n i c s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2 . 5 I n i t i a l D e s i g n C o n s i d e r a t i o n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2 . 6 I m p a c t T h r o u g h S t o r y a n d A c t i o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1
C h a p t e r 3 : T h e I m p o r t a n c e o f t h e P a g e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3
3 . 1 A M a g i c a l O b j e c t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3
3 . 1 . 1 T h e V i s u a l i z a t i o n o f I m a g i n a t i o n a n d N o s t a l g i c C o n n e c t i o n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3
3 . 1 . 2 U n c h a n g i n g a n d S i m p l e I n t e r a c t i o n C u e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 5
C h a p t e r 4 : T h e S c r e e n a n d T h e S p a c e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 7
4 . 1 A l t e r n a t i v e S c r e e n i n B l o s s o m . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 7
4 . 2 W h y A P h y s i c a l S p a c e ? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 8
4 . 2 . 1 T h e P h y s i c a l i t y o f M e m o r i e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 8
4 . 2 . 2 M o v i n g B e y o n d E s c a p i s m . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 8
C h a p t e r 5 : B l o o m i n g B e y o n d t h e P a g e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 0
5 . 1 R e f l e c t i n g b a c k o n C h i l d h o o d a s a n A d u l t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 0
5 . 2 A l t . c t r l . G D C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 0
C h a p t e r 6 : C o n c l u s i o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 3
B i b l i o g r a p h y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 4
iv
L i s t o f F i g u r e s
F i g u r e 1 : E a r l y D i a g r a m o f t h e E x p e r i e n c e … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … . … … . . … … … … … … … … … . . … … … … . . 3
F i g u r e 2 : D i a g r a m o f t h e C o r e L o o p … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … . . … … … … … … … … … … … … … . . 6
F i g u r e 3 : C u r i o u s e r a n d C u r i o u s e r - M a r t z i C a m p o s a n d Y u t i n g S u … … … … … … … … … … … … … … … … … … … . . … … … … … … … … … … … … … . . 8
F i g u r e 4 : A r d u i n o E x p l o r a t i o n w i t h L E D s , B u t t o n s a n d D i a l s … … … … … … … … … … … … … . … … … … … … … … … … … . . … … … … … … … … … … … … … . . 9
F i g u r e 5 : C o l o r a n d E m o t i o n I n f o g r a p h i c … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … . . … … … … … … … … … … … … … . . 1 0
F i g u r e 6 : F i r s t D r a f t o f t h e P i a n o R o o m T e s t i n g D i f f e r e n t C o l o r P a l e t t e s … … … … … … … … … … … … … … … . … … … … … … … . … … … … . . 1 0
F i g u r e 7 : F l o r e n c e - A n n a p u r n a I n t e r a c t i v e … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … . . … … … … … … … … … … … … … . . 1 1
F i g u r e 8 : A l i c e ’ s A d v e n t u r e i n W o n d e r l a n d - R o b e r t S a b u d a … … … … … … … … … … … … … … … … … … … … . … … … … . . … … … … … … … … … … . … … . . 1 4
F i g u r e 9 : B l o s s o m C h a p t e r 4 P o p - U p A r t w o r k - R e p r e s e n t i n g a n A n x i e t y A t t a c k … … … … … … . … … . … … … … … … … … . … … … . . 1 4
F i g u r e 1 0 : C h a p t e r 1 T u n i n g E a r s M e c h a n i c … … … … … … . . … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … . . … … … … . . … … … … … … … … . . 1 6
F i g u r e 1 1 : P l a y e r T w i s t i n g P o p - U p B o o k E a r s t o T u r n T h e E a r s O n S c r e e n … … … … … … … … … … … … … … … … . . … … … … … … … … … . . 1 6
F i g u r e 1 2 : K e l p F o r e s t - L a u r a M e n g … … … … . . … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … . . … … … … . . … … … … … … … … … … … … … … … … . . 1 8
F i g u r e 1 3 : D a s Z i m m e r ( T h e R o o m ) - P i p i l o t t i R i s t … … … … … … … … … … … … … … … … … … … … … … … … … … … . . … … … … … . . … … … … … … … … … … … … … . . 1 9
F i g u r e 1 4 : B l o s s o m B o o t h a t A l t . C t r l . G D C 2 0 2 3 … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … . … … … . . … … … … … … … … … … … … … . . 2 1
F i g u r e 1 5 : T h e B l o s s o m T e a m a t G D C … … … … … … . . … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … … . . … … … … … . . … … … … … … … . . 2 2
v
A b s t r a c t
V u l n e r ab i l i t y i n a rt is in ti m a tel y c o n n e cte d t o per son a l expe ri en ce a n d m emory . Th i s p ap er
b re a k s do w n a nd ex p l or es t h e ex p er ie n c e of B l oss om , a pop- up book a l ter na ti v e co ntr o ller
g a m e b a s e d on m y o w n m em ori es o f ch il d h ood an d gr ow i n g up. C om p osed of th r e e i m p ortan t
e l e m e n t s : t h e b ook , t h e s c reen an d t h e sp a ce , t h e p ape r w i ll d i v e d eepe r i n t o h o w each
c o n t r i b u t e s to a n s w erin g t h e q u es t io n t h e p r oj ec t i s ex p lor i n g: “H ow ca n a p h y si cally i nterac ti v e
e x p e r i e n c e evo k e c h ild h oo d ref lec t ion an d un d er s ta nd in g?” F in al l y , th i s p a p e r d etai ls t h e
e x p e r i e n c e o f s h o w c a s ing B lo s s om a t Al t. c t rl .G D C a nd w h at i t m e a n s t o co nn ec t w i t h
a u d i e n c e s o n a lar g er s c a le.
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C h a p t e r 1 : T h e P u s h t o E x p l o r e
T h e p u rs u i t o f p ers o na l w o rk is da un ti ng . W h i l e t h e c r e a t i on p r oc es s i s for me, th e work i s
m ad e t o b e inev it ab ly p erc eived b y o th ers . So w h e n I th ou gh t more a bo ut h ow I wa nted to
a p p ro ac h m y th es i s p r ojec t , I a s k ed m ysel f “Ho w w o ul d I get p e o pl e t o con n ect t o sto r i e s
a b o u t m y c h i ldh o o d? ”
I n o rd e r t o cr af t a n ex p er ien ce th a t f elt au th en ti c t o my p ers on , I ex am i n ed my p ri or work
d a t i n g b a c k t o 2 0 1 0 w h en I w a s in m i dd l e sc h ool , an d ga th e red th e com mon th re a ds th at had
u n c o n s c i o u s l y w ov en t h em s el ves i n t o my work. Th r ou gh th i s r eflec ti on pr oc es s, I co ncluded
t h at I o f t e n p u rs u ed co nc ep t s s urr ou nd i ng m e m ori e s p ortr aye d a s t h e m a t i c sn ap s h o ts , a nd
c re a t i n g s e e m i n g ly un rel at ed c ol lag es of expe ri en ce s brou gh t toget h er by a si n gle th eme. I n
f ac t , w h i l e I w as in p re- p ro du c t ion f or th i s v ery p r ojec t, I h a d ju st f i n is h e d a n a lt e r nati v e sc re en
i n s t al la t i o n f or an an im a ti on c las s . T h e p i ece, ti tl ed L ef t Be h i nd , i n vi ted vi ew e r s to p eer i nto the
u n k n o w n d ep t h s o f a s tr an g er’s s u it ca se. In s i d e, th ey d isc overe d a p orta l t o a n e v olv i ng
s k y s c a p e w h ere t h e f o rg o tt en bel on g in gs of t h e o w n er resu rfac ed . Th e p i e c e s er v e s as an
a c k n o w le d g em en t t h at t h e t h in g s w e a cc i d ent al l y a ba n d on s t i l l e xi st an d i s a n op p o r t u ni ty t o
re m i n i s c e o n t h e m em or ies ti ed t o t h es e los t ob j e c t s [1 ].
F u rt h e rm o r e, I n ot ic ed a t r en d w h ere I l ea n ed m o r e t o w a r d s ta ct i le c r e a t i v e me d i ums and
e x p e r i e n c e s th a t ar e c om m on ly m a rk et ed t o w a r d s ch i l dr en a s a w a y t o en ga ge m y i ntended
a u d i e n c e . I n a p revio us p ro du c ti on c lass t a k en a t USC, my p r ojec t p artn er a n d I cre a ted a
d i g i t al e s c a p e ro om s et in a c h il d’ s p l ay room , ti tl ed A P a ge T urn s. P la y er s c o ul d j u mp i nto
d i f f e r e n t p o p - u p bo o ks in th e p la yr oom a n d be c om e a c h a ra c t e r i n th e st ory . T h rough fi ndi ng
c lu e s a n d a n s w eri n g ri dd les , p l ay ers wo ul d ev en t ua l ly com p l et e a l l t h e p uzzl e s and e s cap e t he
p l ay r o o m [ 2 ] . T h is p ro jec t u nk no w in g ly s e rv ed a s an i mp orta nt sta rt i n g p oin t fo r my p r o je ct as
i t s e t m e o n t h e jou rn ey of div ing deepe r i n t o m y a ffi n ity f or p op-u p boo ks, a n d di s c ov er i n g
h o w I c o u l d u t il ize th i s m ediu m t o b ec om e t h e c ore of my th es i s.
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S o w i t h a r ef l ect io n of m y p as t w o rk com p l et e , I lef t w i th a s i ngl e c o nc lu s i on : I f I w a nted
a u d i e n c e s to c on nec t w it h m y s h ared p ers on a l a r c h i v e o f m e m o r i e s, I need ed to defi n e h o w
t h e s e s t o ri es w o ul d af f ect t h em a ft er th ey we re d on e l is t e nin g. In sh ort , I wa n ted t o exp l o r e i f I
c o u ld d e v e lo p a p h y s ic al ly in tera c t ive e x p e r i en c e t h a t ev ok ed ch i l d h ood re f l ect i o n a nd
u n d e r s t an di n g i n t h e p lay er a ft er fi n is hi n g th e p i ece. W i th t h i s re f r am e, B los s om began t o take
s h a p e .
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C h a p t e r 2 : S t e p p i n g I n t o B l o s s o m
2 . 1 A t a G l a n c e
B lo s s o m i s a s l ic e- of - lif e int era c ti ve n ov el th a t c o me s t o li f e i n s i d e a s ma l l p la y roo m. An o pen
b o o k s c u l p t u r e s t an ds at f iv e feet t a ll i n t h e c e nt er of t h e sp a ce d is p la y i n g a p roj e c t i on of
f al li n g f l o w er p et a ls . T h e roo m it s elf h a s m i n ima l be lon gi ngs a n d fu rn itu re , bu t t h e p i e c e s c ome
t o g e t h e r a nd h in t a t w h o t h e o w n er of th is s p ac e m i gh t be . I n f ron t of th e s c u l p tur e , th ere is a
c le a r s e a t f or t h e g ues t o n th e f lo or th a t s i ts in fr on t of a s ma l l t a bl e h old in g a l ar ge
f ab ri c - b o u n d p o p - u p bo o k. T h is b ook op e ns u p to be c om e t h e c on t r ol l er of th e s t ory t h a t
b e g i n s t o p la y o ut o n s cr een.
F i g u r e 1 : E a r l y D i a g r a m o f t h e E x p e r i e n c e
A s i n g l e p l ayer ex p eri en c e, Bl os s om t ak es p l a y e r s th ro ugh fi v e c h a p t e rs of Asp e n ’ s li fe , a y oun g
A s i a n - A m e ri ca n g i rl w h o s t r u g g les w ith be i n g boxed i n to l abe ls ot h ers h a v e gi v e n h e r and
l i v i n g u p t o t h eir ex p ec t at io n s . Th e s t ory of A sp en i s l oosel y ba s e d on m y o w n li fe and e a ch
p a g e o f t h e p op - u p b oo k c on tr ol ler, a nd i n t u rn t h e n a rr a ti v e it sel f, portra y s a d i f f e rent ev ent in
A s p e n ’ s li f e . T h ro u g h i n t era ct in g w it h p h ysi c al mech a ni c s i n si de e ac h p age of th e bo o k, p la y ers
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c o m p l e t e m ini g am es o n s c reen t o m ov e th e s t o r y forw ard . B y p u tt i ng t h e m sel ves i n a p os it ion
t o a ct i ve ly c ho o s e t o lea rn m ore ab ou t A sp en ’ s l i fe , pl a y ers c an n ow s ee h ow th ese c ollecti v e
e x p e r i e n c e s p la yed a d ef ini n g r ol e in h ow s h e c h a n ges t h rou gh ou t h er y ou th .
T h e i n s t al la t ion a n d th e co nt en t s o f t he n a r r a ti v e i tse lf ca n be e nj oy ed by a u di e n ces o f a ny
a g e , b u t t h e p o p - up b oo k al ter na ti ve co nt rol l er i s ge ared t o w a r d s a u di e n c es a ge s 8 and u p wi th
p a re n t a l g u id an c e as n eed ed. T h e r eas on b ei n g, th e gam e c on t r ol s wi th i n th e p o p -up boo k
re q u i re a l e vel of m o to r s k il l s t h at m a y n ot be p ossi bl e f or y ou n ger au d ien c e s . My h o p e i s that
a n y p e rs o n w h o en jo ys th e n o s t al g ia of r e v i s i ti n g c h i ld h oo d sp a ce s an d st ory t e l li ng, o r a re fans
o f t h e p o p - u p b oo k m ediu m c an im m ers e t h e m sel ves in to Asp e n’s st o r y a n d ap p r eci ate th e
p a rt s o f h e r l if e t h at s h e is n ow s h ar ing w i th t h em.
2 . 2 E x p e r i e n c e G o a l s
T h e m ai n o vera rc h ing ex p eri en c e g o a l I a i m e d to a ch i ev e w i t h B l os som wa s e m p a th y .
H o w e v e r, e m p a t h y is a n i n t im at el y s u bj ect i v e ex p e r i en c e th a t f eel s d iffe r en t f o r ev er y p er so n ,
s o I c h o s e t o f ur t h er b rea k do w n w h at e mp a th y mea nt t o Bl os som i nt o fou r s e c ondary
e x p e r i e n c e g o al s : no s t a lg ia , jo y, u nd erst a n di ng a n d r e f l ect i on .
T h e O x f o r d Di ct io na ry def in es n os t a lgi a as “a sen ti m e n t a l lo ng o r w i s t fu l a ffecti o n f or t h e pas t. ”
[ 3 ] . N o s t al g ia is a p o w erf ul t oo l in evok i ng a s e n se of emp a t h y . I n a s t u d y c o mp l eted i n 2011,
F i li p p o C o rd ar o ex a m i n ed t h e rel at io ns h ip betwe e n n ost al gi a a nd e m p a t h y . One s e t o f
p a rt i c i p a n t s w er e t as k ed w i th w rit ing an ess a y of a n au tob i ogra ph i ca l e x p er i e n c e and ano ther
s e t o f p a r t i c ip a n t s w ere a s k ed to rea d t h ese e ssa y s. T h e y f o un d th a t p arti ci p a nt s wh o h ad
p r e v i o u s l y rec a ll ed a n os ta lg ic ex p erienc e r ep orted h igh er leve ls of em p at h y t h a n th o s e who
h a d r e c a ll e d a n or din ar y even t [ 4 ] . B y s e t t i n g B l o sso m i n th e p a s t , m y go al w as to a p p eal to
a u d i e n c e s w h o ex p er ienc ed g row i n g u p fro m ch i l d h ood in t h e ear l y 2 000s a nd h i gh l i gh t t he
s i m p l e j o y s t h a t def in ed ou r yo ut h . I s pen t cop i ou s a mo un t s of ti me n a rro w i n g do wn t h e art
d i re c t i o n a n d na rra ti ve d ial og u e t o p ai n t a p i ctu re o f t h e t i me pe ri od i n w h i c h A s p e n gro ws up .
4
M y h o p e w a s f or au dien c es t h at g r ew u p i n a si mi l a r t i me p e r i od t o r emember w h at l i f e w as like
w h e n t h e y w ere c h ild ren , a nd ref lec t o n w h o th ey w e r e t h en . P la y er s a re abl e t o recall w h o they
w e re a s c h i l dr en a n d f orm a r elat io ns h ip w i t h As p e n by r el at i ng t h e i r ow n exp e r i ences a nd
m e m o ri e s . Fu rt h erm ore, b y p l a ci n g t h e ga m e i nsi d e a pl ay r oo m s p a c e , m y h op e w as th at
a u d i e n c e s w o u l d be m o re i n t rin s ic al l y mot i v a t e d t o n ot on l y en te r t h e s p a c e a nd p lay th e
g a m e , b u t a ls o in ter ac t m ean in g fu ll y w i th bot h .
D e s i g n i n g u n der s t an di n g a n d ref l ect io n in t o a gam e i s d iffi c u l t. I t requ ir e s a l evel o f
v u ln e ra b i l i t y th a t p us h es p eop l e t o b r i ng a p a rt of a n e x p er i e n c e wi th th em. T o a ttemp t to pu ll
t h i s v u l n e r a b ili ty o u t o f m y au di en c e, I ch ose to en d th e st ory of B los s om on a bi tters w e e t n ot e
b y o n l y s h o w ca s i n g a s n ap s h ot o f A s p en ’s grow t h af t e r a d vers i ty . L e a v i ng o ut d etai ls a nd a
p e r f e c t re s o lu t ion f elt p erf ect w i th th e th e m a t i c m emory v i gn ett e s I h ad c h osen to base t he
n a rr a t i v e o n an d i t al s o fel t rem in is c en t of l ife i ts e l f : i t ’s n ever p e rfe c t l y t i e d t og eth er i n a bo w .
M y h o p e w a s t h at p l a yers w o ul d t h en be a b le t o u se t h e o p e n e n d i n g of Asp e n a nd h er s to ry a s
a s t ar t i n g p o in t t o r efl ec t on t h eir o w n ch i l dh o od ex p e r i en c e s , a n d w h a t mi gh t h av e i mp act e d
t h e m t o b e c om e t h e p eo p l e t h ey a re tod a y.
2 . 3 C o r e G a m e L o o p
T h e c o r e g am e l oo p o f B lo s s om b eg in s w i th t h e pl a y er w a t c h i n g A s p en ex peri e n ce l i fe o n
s c re e n a t a s p eci f ic ag e, an d recei vin g c on t e xt surr ou nd i n g a pa rt i c ul a r ev en t i n Asp e n ’ s
c h i l d h o o d . W h il e no t p h ys ic all y i n t era ct i v e, th i s p h a s e of ga mep l a y se r v es a s a n i mp o rt a nt
p r e l u d e t o th e m a in m in ig am es o f ea ch ch a p t e r. Fol l ow i n g t h e “L ea r n ” ph a s e , p lay er s are t he n
p r o m p t e d t o c om p l et e a m i n ig a m e by p h y s i ca l ly i n t e r a ct i ng w i th t h e p op-u p boo k co ntr o ller.
T h e s e i n t e rac t io n s are co m p let el y n arra t i v e - dri v en mea n i ng t h e a c ti on s p l a y e r s are p e r f orm ing
a n d t h e s t o r yt elli n g o n s c reen h ave a d i r e c t r el at i on sh i p . E a c h m i niga m e w a s des i gn ed to give
p l ay e r s a g l i m p s e i n t o A s p en’ s s t r u g g les a s s h e d ea ls w i t h h er o w n a n xi eti es a n d ex p e c t a tio n s
o f h e r s e l f . F ol lo w ing th e co m p let io n of t h e se mi n iga m e s , p l ay e rs w at ch th e i mp act o f t h e i r
a c t i o n s t a k e ef f ect .
5
F i g u r e 2 : D i a g r a m o f t h e C o r e L o o p
2 . 4 D e s i g n P i l l a r s o f B l o s s o m
T h e re w e re t h r ee m ain des ig n p il la rs th at guid ed Bl o sso m.
2.4.1 Layered Immersion
A s s o m e o n e w it h a b ac k g rou n d i n U X d esi gn, my ma in ph i l oso ph y w as a lw a ys i n clusi on. I
d e s i g n e d f o r t h e t ert ia ry u s er w it h a s mu c h foc u s a s I d id f or th e p r i m a ry u ser. But w h en
d e s i g n i n g i n t era ct iv e ent er ta inm en t , th a t’ s no t a l wa y s th e sm artest c ou rs e of a cti o n. H o w eve r, I
d e c i d e d e ar ly on in p re- p ro du c t ion of B l os som t h a t I w a n ted to a c kno wl ed ge t h e l ev els o f
i n t e r ac t i v i t y w it h in th e exp erien c e t h at c o ul d d r a w i n di f f e ren t p l a y ers a nd v i ewe rs . Th e f i r st
t y p e o f p l ay er is m y id eal p l ay er: th ey e n t er th e s p ac e, s i t do w n a n d ac ti v el y en g age i n th e
n a rr a t i v e . T h e s eco nd t yp e is a vi ew er : t h e y en t e r t h e sp a ce an d ob s e r v e a s a n oth er p e rs o n
p l ay s t h e g am e. T h ey are a b le to l earn a ll t h e i n fo r m at i on , bu t a re n ot a c t i v e ly e ngagi ng with
t h e n a rr a t i ve. T h e l as t t yp e is a w a n d e re r , wh o i s dra w n i n to th e s p ac e, bu t l e a v e s bef ore bein g
a b l e t o e n g ag e w it h t h e na rra ti ve a t all . E a c h t y p e , h o w ev er , i s i m p o r t an t beca u se th ey
re p r e s e n t , on s o m e level , th e ty p es o f pe opl e th a t c om e a n d go i n o ur l iv es . So me acti v ely
e n t e r an d l i s t en a n d bec o m e a p ar t of o ur story , som e s ta y on th e s i del i n es, an d some
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d i s a p p e a r i n a n i n s t a n c e. So b y crea t in g th i s l a y ere d au d i en c e i mmers i on , th e s t ory t e l li ng
o u t s i d e o f B l os s om a ls o b ec om es m uc h more m e a n i n gfu l to t h e p la y er ( an d to me).
2.4.2 Asian-American Storytelling
T h e s e c o n d des i g n p ill a r I f oc u s ed o n w as h igh l igh t i ng a n au t h en ti c Asi a n -Ameri c a n
e x p e r i e n c e . A s an A s ia n- A m eric a n w om a n , I kn ew I c ou ld n ’t t el l a s tory a bou t my y o uth wi tho ut
a d d r e s s i n g h o w m y id ent it y and c u lt u r e s h ape d m y e xp eri e nc es . D uri n g p re - p r o ducti o n o f
B lo s s o m , I c lo s el y ex am in ed m y ow n li fe a n d h ow my eth n ici ty a ffe c t e d my c h i ldh o o d and
s p o k e t o f r i en d s a n d f am il y a b ou t th ei r e xp eri e nc es grow i ng u p i n t h e U n i ted States. Th i s
p r o c e s s w a s d au n t in g a s I w as , a n d s t il l am , p a in fu ll y a w a re of th e l ac k of a c c u rate
re p r e s e n t a ti on o f A s ia n - A m er ic an s in Western en ter t a i nm en t m e di a.
“S o m e t i m es I w o nd er if th e A s ian - A m eri c a n exp e ri en ce i s w h at i t’ s li ke w h en y o u’ re th i nk i ng
a bou t ev eryo n e el s e, b u t n ob od y el se is t h i n k i n g a bou t you .” S tev en Ye u n [ 5 ]
R e p re s e n t a t ion in p o p u la r c ul t ure is n ’t a m i r r or wh ere w e o nl y see gl owi n g, i d e al v e rs i o ns of
o u rs e l v e s . S o m eti m es it ’s a d is t or t ed mi r a ge cre at ed by o t h e rs an d p r ojec ted o n to p e o p le o f
c o l o r , a n d t h e g am e i n du s t ry al l t oo often st i l l p re sen t s th a t m i ra ge [ 5 ]. T h e imp o r t a nce o f t his
s u b j e c t m a tt er en c ou ra g ed m e t o s p ot li gh t t h e nu a nc e d i s s ue of m i c r oa ggr e s s i o ns a nd
c h i l d h o o d i g n ora n c e h ea d on w h i le a l so s h o w ca s i n g t h a t th es e e xp eri e nc es a r e n ’t th e o nly
d e f i n i n g m em ori es t h at a ff ec t ed A s p en th r ou gh h e r c h i l d h ood .
2.4.3 Narrative Driven Mechanics
T h e l a s t o f m y des ig n p il la rs fo cu s ed o n d ev e l o p i ng n a rr a ti v e - d ri v en m e c h a n i cs. Because my
s t o r y i s t o l d t h r ou g h a p op - u p b oo k an d v i d eo pr oj ec t i o ns i n a ph y s i ca l sp ac e, I wa nted e v e ry
i n t e r ac t i o n t o s erv e a n ar rat iv e p u rp o se a nd p u sh th e st ory forwa rd . T h ese m e c h a ni cs w o uld be
re s e r v e d f o r a c t ion s t h at h u m an ize th e c h ara ct e r s, l ike f o l di ng d um p li ngs a s fami ly , as w e l l a s
c o r e e m o t i on a l b eat s t h at di rec t ly im pa c t t h e m ain ch a rac ter . A n e xa mp l e of t h i s ty p e o f
7
n a rr a t i v e - d r iven m ec h ani c w ou ld be tw i s t i ng a d ia l t o tu ne t h e m a i n ch a r a c ter’ s ears i nto a
c o n v e rs a t i on b et w een h er p a ren t s .
2 . 5 I n i t i a l D e s i g n C o n s i d e r a t i o n s
W h e n I b e g an id eat io n f o r m y th es i s , I d ove d eeper i nt o t h e h ist ory of a l t e r n at i v e co ntr o llers t o
g e t a b e t t e r b a c kg ro un d on t h e t ec h n olo gy I wa s try i n g t o cr ea t e . B y m e t o ny m y , th e ter m
“ a l t e r n a t i v e c on t rol ler s ” ref ers b ot h t o no n- tra d i ti on a l con tr oll ers an d t o th e games t h e y a llow
t o p la y . T h ey a re d es ig n ed t o m ak e u s p la y di f f e ren tl y, n ot on l y wi t h ou r f i ngers but wi th o ur
w h o l e b o d y, t o m ak e u s ex p er ien ce n e w f e e l in gs re gu l a r c on t r ol l ers ca n ’t p ro vi de [6 ] . But in
o r de r t o c rea t e a s u c c es s f ul a lt ern at iv e con tr oll er, I h a d to a s ses s h ow I wou l d c reate p h y s i c al
i n t e r ac t i o n s th a t co rr elat ed t o n a rra ti ve el em e n t s i n s i d e a p o p-u p b ook. I re ac h ed o ut to Ma rt z i
C am p o s , a p r of es s or at U S C w h o la ter a ls o be c am e my th esi s c h air a d v i sor, a b o ut m y di lemma.
T h ro u g h w h at I c a n on ly ca ll a s t rok e o f f a t e, s h e sh ow e d m e h e r p r oj ec t Cu ri ou s e r a nd
C u r i o u s e r.
F i g u r e 3 : C u r i o u s e r a n d C u r i o u s e r - M a r t z i C a m p o s a n d Y u t i n g S u
8
C u r i o u s e r a nd C u rio u s er is an int er ac ti ve p op-u p st ory book exp e ri en ce ba s e d o n Le wi s Carr oll’s
A l i c e 's A d v en tu re in W o nd erl an d [ 7] . Con si st i ng o f th re e s t ory p ages, e ac h p age o f th e p o p up
b o o k re p r e s en t s a d if fer ent s c en e on s c reen wi t h i t s o w n s e t of m ech a ni c s t h a t af fect th e
d i g i t al e v e n ts . C u rio us er a n d C uri ou s er c om bi ned t h e p la y ful ta ngi bi l it y of p o p up bo o ks with
t h e d i g i t al f eedb ac k a nd s t or yt ell ing an d per f ectl y e n c a psu l a te d w h a t I h a d e nvi s i o ned
B lo s s o m t o b ec om e. K n ow ing th a t s t o ryt e l l i n g a nd in t er ac ti v e m e di a l ike th i s e xi s ted and wa s
f e as i b l e t o m ak e in t h e rea l w o rl d g a ve m e t h e bo ost of c on f i d enc e I n eed ed t o p us h a s i d e my
w o r r i e s a n d p u rs u e c rea ti n g a p o p - up bo ok a l t e rn a t i v e c o nt rol l er h e ad on . I con ti nued t o wor k
w i t h M ar t z i t h ro u g h a s em es t er of d irec ted r e sea rc h , d iv i n g d eeper i n t o Ardu i n o and
e x p e r i m e n t in g w i th U n it y G am e E ng i n e . Ov er ti me, I be ga n to ge t a b etter gra s p o n wh a t I
c o u ld a c h i ev e w it h t h e h a rdw ar e a n d sof t w a re a v ail a bl e t o m e , a l l ow i n g me to be m o r e
i n t e n t i o n a l l y ex p eri m en t al w h en it c am e t o d e s i gn in g my i n te ra c t i o ns a r o un d th e nar rati v e .
F i g u r e 4 : A r d u i n o E x p l o r a t i o n w i t h L E D s , B u t t o n s a n d D i a l s
A n o t h e r i m p ort an t f ac t or I h ad t o co nsid er i n th e i n iti a l sta ges of d ev el op men t wa s th e art
d i re c t i o n o f B l os s om . W it h c h il d ren ’ s st ory books , t h e art s t y l in g aim s to gr ab a n d keep th e
a t t e n t i o n o f yo un g k id s , o f t en w it h b ri gh t co l ors a n d s i mp l e sh a pes an d f i gu res. I w anted to
s t a y t ru e t o t h e “ ki dd ie l it ” a es t h et ic , bu t I al so w a n ted th e a rt w ork t o p la y a m e a ni ngfu l ro le in
s h o w c a s i n g A s p en ’s em o t io n s t h r ou g h ou t t h e s t ory . T h rou gh a d i sc uss i on w i t h m y a rt lead, w e
9
d e v e lo p e d a co lo r p alet t e t h a t u t ili zed th e p s y c h o l ogy b eh i n d col or a nd emot i o ns and a s signe d
c o l o r t h e m es to ea ch ch a p t er’s a rtw o r k.
F i g u r e 5 : C o l o r a n d E m o t i o n I n f o g r a p h i c [ 8 ]
F i g u r e 6 : F i r s t D r a f t o f t h e P i a n o R o o m T e s t i n g D i f f e r e n t C o l o r P a l e t t e s
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2 . 6 I m p a c t T h r o u g h S t o r y a n d A c t i o n
T h e d r i v i n g f o rce beh i n d B lo s s o m is th e s t ory , so i t f e lt n a tu ra l t o wa n t t o cre at e mech ani cs
t h at w e re a ls o d ri ven by t h e na rra ti ve. I t ook i n s p i r a ti o n f r om t h e gam e Fl oren ce w h i c h h ad
p l ay e r s i n t erac t w it h t h e n ar rat ive th r ou gh s h ort m i niga m es t h at m i m i c ke d or r e v e a led
F l o r e n c e ’ s t h ou g h ts an d ac ti on s [ 9] . Wh at m a k es t h e se m om en t s sp eci a l i s h ow t h e ga me
a l l o w s p l a y ers to b ec om e a p a rt of F lo ren ce 's st ory an d better e m p at h i ze a n d u nders tand her
e m o t i o n s . A ddi ti on al ly , t h e m ini g am es a nd p u z zl es r e i n fo r c e d p i e c e s of Fl oren ce ’s li f e a s
p l ay e r s p r o g r es s ed t h rou g h h er s t ory . I w a nt e d t o be ab l e to buil d th i s ki n d of p lay er- ga me
re l at i o n s h i p w it h in B lo s s o m w h ere p l ay ers fel t co nn ec ted to Asp en th r ou gh t h e i r acti o ns.
F i g u r e 7 : F l o r e n c e - A n n a p u r n a I n t e r a c t i v e
B e f o re p ro d uc t io n b eg a n, I s p en t a cou p le m o nt h s i d eat i ng a n d d evel op i n g th e narr ati v e
f o l lo w i n g a c la s s i c f ive a c t s tr uc t u r e, w hi ch l en t i t sel f t o be c om i ng a f i v e ch a pter s to ry . T h ro u gh
t h i s i de a t i o n an d revi s io n p roc es s , I na t u ra ll y fou n d m y th eme of “ l ab el s ' ' th a t w o uld d efi n e
A s p e n i n e a ch ch a p t er. I w or k ed w it h m y n a r r a ti v e d es i gn er, c on sta n t l y i t e r a ti n g o n th e s t ory to
d i s t i l l e a c h c h ap t er d ow n t o ju s t t h e c o r e m o me nt s, w h i ttl in g a w a y as mu ch ex tra neo us
i n f o rm a t i o n as p o s s ib l e. Th es e m om e nts b eca m e w h a t I l ike to ca l l m emory s n ap sh ots: an
e x p e r i e n c e t h a t co m es t o you in a fl a sh, w h e r e em ot i on s a re fel t fi r st, oft e n i n a v i scer a l
11
m an n e r . T h is d efin it io n o f ou r s to ryt el li n g t e c h n i que a l so l ed t o t h e dec i si o n of no t r e v e a li n g
t h e o v e ra r ch i n g l a bel o f ea c h c h ap ter u n t i l th e ch a p t e r i s com p l ete .
A f t e r d e f i n i n g ou r n ar rat iv e an d p in p oi n ti n g th e i mp orta n t c h ara ct e r -d efi n in g m oments within
e a c h c h a p t er, I bra in s t orm ed h ow I cou l d t u r n t h e se mom en t s i nt o m i niga m es and mech an i cs .
M y m a i n f o cu s w a s t o reim ag i n e c o m m on t a c t i l e ac ti on s , li ke t urn in g, p u s h i n g a nd p ulli ng, in to
s t o r y t e ll i n g m om ent s w h ere p la yer s wo u l d un d er s ta nd t h e a cti on s t h e y w er e p erfo r m i n g a nd
h o w i t af f e ct ed A s p en a lm os t im m edia tel y . In d oi n g so , t h e e x p er i e n c e wou l d be m ore
i m m e rs i v e w it h in t h e p op -u p b o ok i ts el f a n d th e a c t u a l na rra t i v e.
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C h a p t e r 3 : T h e I m p o r t a n c e o f t h e P a g e
3 . 1 A M a g i c a l O b j e c t
A n i m p o r t a nt q u es t io n I as k ed m ys elf w h en begi n n i ng p r e-p r odu c ti on f or Bl o ssom wa s “ Why
d o I w a n t t o m a k e a p op - u p b oo k in to a n a l t e r n at i v e con tr oll er a n y wa ys ?”. T h e e xp eri e n ce its elf
i s de e p l y r oo t ed i n t h e p ers on a l n ar rati ve, so h ow c ou ld i nt egra t i n g t h e m ech a n i c s i nto a
p h y s i c al b o o k enh a n c e t h e g a m ep la y.
I n s h o r t , I ’m f u lf i lli n g a c h il dh o od d ream .
3.1.1 The Visualization of Imagination and Nostalgic Connections
A s a c h i l d, b ook s w er e a lw ay s m y f a vor ite toy. No t re a l l y th e cl as s i c p i c t u re boo ks, but m o r e s o
t h e t ac t i l e on es : f rom f el t p la ys et bo ok s to fi nger p u pp et boo ks, a nd of cou rs e p o p -up boo k s .
E a c h o f t h e s e bo o ks al lo w ed m e t o im a gi n e a nd v i s u a li z e s tori es th a t qu i t e li t e rally came from
m y f i n g e rt i p s . For m an y p eop l e, t h ere i s a p osi ti v e a sso ci a t i on w h en it com es t o i ntera cti ng
a g a i n w i t h c h il dh o od ob j ec ts , es p eci all y w i t h c h i ld r e n ’s bo oks w h i ch p r e s en t t h e worl d i n the
e a s i e s t w a y . T h ey rem in d a d u lt s t h at th e w orl d i s t h ei r oy ster [10 ]. B u t expe ri enci ng th es e
o b j e c t s a g ai n a s a du lt s , th er e is a level of m a gic th a t i s na tu ral l y l os t be c au se o ur i magi nat i ons
a r e n o w u n av oi dab l y t a int ed w it h real it y . W e kno w re ga rd l e s s of h o w ma n y ti m e s w e p ull a ta b
o r w i g g l e ar ou n d a f i n g er p u p p et, t h e sto r y c on t i n u es on wi t h ou t u s. Th e i n t e r acti o ns no lo n ger
h o l d t h e s a m e f eel ing s of adv en t u re an d ma gic as th ey d i d w h e n w e w ere y ou nger. But t h is
d o s e o f re a li ty h as n o t s t op p ed m e f ro m w a n t i n g t o rel iv e t h ose ma gica l m om e n ts , so I f o c u s ed
m y e f f o r t s on do in g ju s t th a t .
B e f o re d i v i ng int o t h e h ard w ar e an d m ech a n i c s , I a imed t o r e di scov e r wh a t v i s u al st y l e o f
p o p - u p b o o ks m a d e m e feel t h e s am e m a gi c a l w on d er no w th a t I fel t a s a c h i l d . R o bert
S ab u d a ’s f ai ryt a le s er ies s erved a s an i n tr i c a t e p i e c e o f p ri or a rt t h at sh o w ed m e h o w f a r pa p er
e n g i n e e r i n g c o u l d ac tu a lly g o [ 11] . I n t h is seri e s, Sab u da t ook c la s si c fa ir y t a l es , su ch a s Ali ce ’s
A d v e n t u r e in W o n d erla n d a n d P eter P a n, an d tu rned th em in t o i n tr i ca t e p op- up boo ks.
13
F i g u r e 8 : A l i c e ’ s A d v e n t u r e i n W o n d e r l a n d - R o b e r t S a b u d a
W h a t m a d e th es e p iec es s t an d ou t to me w as h ow Sa b u d a ke y e d i n on a s p eci fi c i m a ger y fo r
e a c h p ag e to em p h a s ize an im p o rt an t o r i m p ac tful n a rra t i v e mo me nt . A nd th en by to uch i ng
t h e i m a g e s , yo u f eel t h at y ou ’re ins i de t h e story , af f ecti n g t h e w orl d wi th i n th e p ages [ 1 2] . The
e x p e r i e n c e o f p l ayi n g w it h s om e of Sa bu d a’ s w ork i n sp i red m e t o p ursu e a si mi lar v i sual
i m a g e r y a n d m ec h ani s m f or B lo s s om ’s p o p-u p book. Be c a u s e t h e m e c h an i cs serv e d as
n a rr a t i v e c a ta l ys t s f o r A s p en , it m ade sen se t o a lso sp ot l igh t th ese m o me nt s o n p ap er w h ere
t h e s t o r y w ou l d b e c ap tu red as s c enes f r ozen i n ti me.
F i g u r e 9 : B l o s s o m C h a p t e r 4 P o p - U p A r t w o r k - R e p r e s e n t i n g a n A n x i e t y A t t a c k [ 1 3 ]
14
3.1.2 Unchanging and Simple Interaction Cues
P o p - u p b o o k s a re in h eren tl y a n arr at iv e ga me , so t h e in t egr at i on i nt o a di gi t a l i nterface felt
s e a m l e s s . As m ent io ned ear li er, t h e in ter ac ti v e af f ord a nc es t h a t ex ist i n p o p-u p bo o ks h ave a
l e v e l o f f am il iar it y w it h m o s t p eo p le. T h ey w e r e, a n d sti l l are, a c om m o n form o f e n ter t a i nm en t
f o r k i ds an d a d u lt s , s o vi s u a l int era c ti on cu es , s uc h a s ta b s a nd fl ap s , in h er e nt l y lend
t h e m s e lv e s t o ex p lo rin g o th er m et h o ds th a t bri n g th e p a per to l ife . T h i s i s a n i mp o rt a nt fa c tor
t o c o n s i de r w h en c rea t ing alt er n at iv e inp u t m eth od s as t h ey c an on l y i n cr ea s e th e i mmer s i o n
a n d f u n p l a yer s p erc eiv e if t h e in p u t m eth o d us ed f i t s th e ga me mech a ni c s [1 4 ] . J i e Q i a nd Le ah
B u e c h l e y e x p l ored ex a ct l y t h is w i th th eir i n te ra c t i v e p o p-u p b ook El ectr on i c P o p ables. Th e
b o o k t h e y c rea ted in teg r at ed tr ad it io na l p op- up m e c h an i sm s wi t h t h i n , p a per - ba se d
e l e c t ro n i c s an d t h e r es ul t w as an ar t ifa ct th a t loo k e d a n d fun cti on ed m u c h l ike an ord i nary
p o p - u p , b u t w it h a dd ed el em ent s o f d yn a m i c i nt era c ti v i ty [ 1 5 ] . B y k eep i n g t o t h e se co mmo n
a n d re c o g n iz ab le p ap er m ec h ani s m s , b ut re def i nin g h ow t h ey t ra n sl a t e on scre e n a nd
n a rr a t i v e l y , I w a s a b le t o h ig h l ig h t t h ei r na r ra t i v e p urp ose i n Asp e n’s s t o r y a n d better i mmer s e
p l ay e r s i n t o t h e t h em in g b eh in d ea ch ch a p ter .
A n e x am p l e of th e fir s t m ech a n ic I deci de d on f or t h e ga m e i s i n Ch a p t e r 1 wh ere A s p en i s
t ry i n g t o o ver h ear a c o n ver s at io n ab ou t h er be t w een h er p a ren ts be h i nd a cl ose d do o r . Pl a y ers
a r e p r o m p t ed t o t u r n A s p en ’ s ear s i n th e p op-u p boo k t o “t un e i n ” t o th e con v ers ati o n and can
s e e t h e i r p h y s ic al in t erac t ion s rep res ent e d o n s cr e e n. B y wo r ki n g to v i su al l y c le ar u p w o r ds on
s c re e n , p l a y ers , an d A s p en, c an o verh e ar bi ts an d p i eces of t h e p a ren t’ s con v ers ati o n
d i s c u s s i n g th ei r c on c erns a bo ut A s p en ’s ab i l ity t o ke e p up a n d p er f orm w e l l i n sc h o o l. F r o m
t h i s i n t e ra c ti on , p l ayer s g et a deep er un d ers t a n d in g of A s p en ’s rel a t i o ns h i p w i th h er p are nt s
a n d h o w s h e res p o nd s af t er lea rn ing th i s i n forma t i on . Th e se n a rra t i v e me c h a n i cs th en p a int a
f u l l p i c t u re a f ter t h e rev eal of t h e l ab el for th e ch a p t e r, w h i ch is “P e rfe c t ” .
15
F i g u r e 1 0 : C h a p t e r 1 T u n i n g E a r M e c h a n i c s
F i g u r e 1 1 : P l a y e r T w i s t i n g P o p - U p B o o k E a r s t o T u r n T h e E a r s O n S c r e e n
16
C h a p t e r 4 : T h e S c r e e n a n d T h e S p a c e
4 . 1 A l t e r n a t i v e S c r e e n i n B l o s s o m
P ar t o f w h at m ak es s t ory tel l ing s o co m pel l i ng i s h o w i t ca n be e n ga ged wi t h i n m a ny di f fer en t
w ay s . W e s e e t h is i n p h en o m en a s uc h a s on -s c r een a da p t a t i on s of bo oks i n t o f i lms a nd TV
s h o w s . S o w h en des ig ni n g t h e ex p er ien ce of B l oss om , I wa n ted t o ta k e t h at ex t r a s t e p and
p h y s i c al ly p ul l t h e s t ory o u t o f t h e p aper boo k. B ut I d id n ’t wa nt t h e ga me to j us t p lay o ut o n
a n y T V m o n it o r o r l ap to p . I w an t ed a ud i en c e s t o s ee t h e bo ok its e l f c o me to l ife i n a n enti re l y
d i f f e r e n t w ay, s o I c reat ed a fi ve f oo t bo ok sc ul p tu r e t h a t w ou ld h ou se a p r oj ec t i on o f th e game
i t s e l f t h a t s a t a co up le f eet a w a y f ro m th e p la y er . Si m i la r to h ow s e e i ng a m o vi e i n th eater s
f e e ls di f f e ren t t o w at c h in g on e o n a c om p u t e r , I w an ted to d ist an ce th e p l a y e r f r o m th e bo ok
t o a d d a l a yer of m ag i c. W h en p la yers see th ei r a c t i o ns in on e l o c a t i on a ffe c t t h i n gs h ap p eni ng
i n a n o t h e r , it b ri n g s a t ou c h of th e im p os si bl e in t o rea l i t y .
T h e c h o i c e to m ak e a w h im s ic al l y l arge b ook s cu l p t u re to h ou se my p roj ect i on s stemmed f r om
t h e e x p e r i e n c e o f w o rk in g on a p r eviou s pro jec t of mi n e ca l l ed Kel p Forest [16 ] . I n th i s
o n e - c h a n n el ( vid eo, s ou n d ) in s ta l lat io n, I p ro jec ted a n u nd er wa te r s ea sc a p e o f a s way i ng k elp
f o r e s t o n t o a 2 0f t w ide, 10 ft t a ll s h ip pi n g c o nt ain er. A l t h ou gh t h e p i e c e w a s s i mp le i n co nc ept ,
s e e i n g t h e s c en e c om e t o lif e at s u c h a la rge sc al e p r ovok ed v i scer al em ot i on al r e s p o ns e s
w h e re I , a l o ng w it h ot h er aud ien c es wh o sp ok e t o m e , we re su cke d i nt o t h e p i e c e . W e all fe l t
l i k e w e w e r e s l ow ly m ov ing alo ng w it h t h e kel p a nd becom i n g a p a rt o f th e se a . E x p e r i encin g
t h i s k i n d o f c on n ect io n, I kn ew t h e b est w ay I c o ul d h i gh l igh t th e st ory of B los s o m o n s c r ee n
w as t o s h o w ca s e it as a s t ory bo ok c ome t o l ife, w h er e p l a y ers c ou ld i m a gi ne st e p p i n g i nto the
b o o k t h e m s elves .
17
F i g u r e 1 2 : K e l p F o r e s t - L a u r a M e n g
4 . 2 W h y A P h y s i c a l S p a c e ?
4.2.1 The Physicality of Memories
P e o p l e h a v e a n ea s i er t im e im m ers i n g t h e m sel ves i n t o a s tory w h e n t h e y a re su r ro unded by
t h e o b j e c t s a nd s p a c e t h at ex is t w i th i n t h e n a r r a ti v e . It pr ovi d es a l ev e l of f a m i li ar i t y , p romp t in g
t h e m t o d i ve d eep er t o s ee h ow t h e f a m i li ar ca n be c om e u n fam i l ia r . To grou n d t h e e x p er i enc e
i n A s p e n ’ s s t ory , I m a de t h e p h ys ic al s pa c e m i rro r th e p l a y room , wh ere t h e gam e s t a r t s and
e n d s , s o w h en p l a yers f i n is h th e g am e, th e y a re s ti l l s u rrou n de d by As p e n’s sp ace. Th i s
p r o v i d e s p la yers a s p ac e t o s t il l exi s t in s i d e A s p en ’s worl d w h e r e t h e y c an r e fl ec t on th ems el ve s
a n d o n B lo s s o m , even a ft er th e g am e h as en d e d .
4.2.2 Moving Beyond Escapism
T h e re ’ s an in na te cu ri os i ty t o s ee h ow oth er p e opl e l iv e th ei r l i v e s a t h o m e . W e a ll wa nt to
k n o w h o w o th er p eo p le liv e. P eop l e a re e xci ted to be a v oy e u r a n d t o loo k at a no th er’ s s p ac e in
t o t a l a m a z e m en t, b ut t h ey’r e a ls o lo o ki n g t o s e e t h e m s el ves [17 ] . By m od el in g a s p a ce as a
ro o m i n s i d e s o m eon e els e’s h o m e, w e b ri n g p l a y e r s i nt o t h e m os t i n ti m at e s etti ng th ey can be
i n w h e n l e a r n in g a b ou t ano t h er p er s o n’ s l ife . Bu t w h at h app e ns w h e n y ou be gi n to m a ni p ula t e
t h e s e i n t i m at e s p ac es i n u n co nv en t io na l wa y s?
18
F i g u r e 1 3 : D a s Z i m m e r ( T h e R o o m ) - P i p i l o t t i R i s t
A n i n s t a l l a t io n p iec e t h at s erved as a fo c a l i n sp i ra t i on w h e n i m a gi nin g th e p h y si c a l s p ace o f
B lo s s o m w a s Pip ilo t ti R is t ’s int era c ti on s i ngl e c h a n nel i nsta l la ti on Da s Z i mmer (Th e R o o m) [ 18 ] .
I n t h i s p i e c e, Ri s t u s es c ol or, s c al e a nd t a c ti l ity w i t h i n t h e sp a ce to p u s h vi ew e r s o ut o f t h e ir
re a li t y an d i nt o redi s c over in g h ow t o in te ra c t wi t h e v e ry d ay ob j e c t s . Th i s pi e c e e n gages the
a u d i e n c e b y s ub c on s c iou s l y ev ok in g pl ay fu ln ess an d n ost al gi a .
I ’ v e a l w a y s en j o yed A lic e i n W on derl an d -esqu e p i e c e s wh ere arti s t s p l ay wi t h scale a nd tacti li t y
t o i m m e r s e vi ew er s in to a s p a c e. I t’s su ch a fu n a n d p la y ful w a y t o get a ud ie nc es to re f lect o n
t h e i r o w n e x p erien ces a n d m em o ries and pe rh a ps e v e n t r y t o rel iv e t h e m . Ex per i e n ci ng Das
Z i m m e r s e rv ed a s a s t a rt ing p o int f or me a s I d is ti l le d t h e p h y si ca l sp a c e t o t h e m os t i m p ort ant
e l e m e n t s o f A s p en’ s l if e. By o n ly s h a rin g bi t s a nd p i e c e s of Asp e n t h rou gh t h e s p ace, p l ay ers
o n l y re c e i v e a s n a p s h o t of w h o s h e c ou l d be , m i r rori n g h ow th e n a rra t i v e i s sh o wc a s e d th r o ugh
m e m o ry s n a p s h ot s a s w ell . N ot o nl y d o th e se o b jects e v o k e th e p l a y f u l ness a n d no s t a lgi a t hat
n a t u r a l l y c o m es w it h c h ild h oo d s p a c es, th e mi n ima l d esi gn gi v es p l a y e r s th e opp ort u ni ty to be
c u r i o u s a s t o w h o A s p en m ig h t b e a n d be c o me na tu ral l y i n ves t e d i n h er s t o r y .
19
C h a p t e r 5 : B l o o m i n g B e y o n d t h e P a g e
5 . 1 R e f l e c t i n g b a c k o n C h i l d h o o d a s a n A d u l t
I t ’s n e ar l y i m p os s ib le to t al k ab ou t c h il dh o od wi t h ou t l ooki n g at i t t h r ou gh a le n s o f r e flect i on.
T h e re ’ s al w a ys t h ing s w e w i s h w e c o ul d d o d i f fer e n t l y or a ga i n. Bu t w h en w e s h ar e t h e s e
e x p e r i e n c e s w it h o t h ers , it b eco m es e a s i e r t o a c kn ow led ge a nd u n d ersta n d t h e p ath s we h a ve
t ak e n an d h ow t h ey w ere int eg ra l in s h a p i n g t h e pe rs on w e’ v e becom e. W e d isc o v er w h o we
a r e a s p e o p le in th e s t or ies w e t el l [ 1 9] . T h ro ugh o ut t h e story of Bl o sso m, A sp en h ers elf r efl ec t s
a n d n o t i c e s h ow h er ex p er ienc es i m p a cted h er . Th i s a c kn ow led gemen t i s p i v o ta l be c a use it
a l l o w e d h e r t o ac cep t every p ar t of h ersel f a n d m o ve f o r w a rd t o th e n ext c h a pter o f h e r li fe. I t
i s al s o w h y I req u ired p l ay ers t o s it d ow n a n d st a y sea t e d t o p l a y Bl os som . M y h o p e i s th at by
e n c o u r a g i n g p l ay ers t o s t ay fo r t h e en t ir e exp e r i en c e , t h e y fol l ow t h e sa me re f lecti v e jour ney
A s p e n g o e s o n and l eav e t h e ex p erien ce th i n ki n g m o r e t h o ugh t f u l ly a b ou t h ow t h e i r ch i ld ho o d
e x p e r i e n c e s h ave s h ap ed t h em .
5 . 2 A l t . c t r l . G D C
D u r i n g p ro du ct io n f or Bl os s om , I c h o se to s u bm i t t o th e a l t . c t rl .G D C e xh i bi t a t th e Game
D e v e l o p e r s C on f eren ce. A l t. c t rl. G D C is a sh o w ca s e of a l ter na ti v e c on tr oll ers cr eated by
i n de p e n d e n t d evelo p ers th a t s p eci fic al l y loo k s f or ga me s t h a t u s e al tern a te/cust o m h ard ware
i n i n t e r e s t i n g , un iq u e, o r g ro un d brea k in g w ays , p ush i n g th e bou n d ari es an d i mp rov i ng
a c c e s s i b i li t y fo r g a m ers a n d t h e i n du st ry a t l ar ge [ 20 ].
T ru t h f u l l y , I n ever th o ug h t i t w o u l d g o b ey on d th e G oogl e For m, bu t wh a t be ga n as a s tr e tch
g o a l t u rn e d int o real it y. T h e ex p er ien ce itse lf w a s a wh i r lw i n d . B los s om w as p u t to th e ulti mate
s t re s s t e s t a n d th r ou g h t h e m an y a u d ien c e re a c ti on s I w i tn essed a n d c o nv e rs a ti o ns I h ad, I not
o n l y e x t ra c t ed a l ot o f l earn in g s o n h ow t o i m p r ove th e exp e ri en ce movi n g fo r w ar d , but
e x p e r i e n c e d up -c lo s e t h e em o ti on al im p a c t t h e pr ojec t h a d .
2 0
F i rs t l y , a u d i enc es w er e c on s is t en t ly in a we of a nd s urp r i sed t h at Bl o sso m n ot o nly h ad
n a rr a t i v e - d r iven m ec h ani cs , b ut t h a t e a c h p a ge a n d ch a pter h a d i ts own d efi nin g mech anic .
T h e i r w o rd s n ot on l y va li dat ed t h e c om p l exi t y o f ou r p ro jec t, bu t sh ow ed u s t h a t th ere i s a
d e f i n i t i v e w a nt f o r m o re na rra t ive f o c us ed mech a n i sms i n ga m i n g. Fu r t h e rmore, th e exp e rie n c e
o f s h o w c as i n g a t a fa s t - p ac ed c on fer e n c e al l owe d m e t o f i n d my n ich e. I di scov e r ed a go od
s u m o f p l a y ers h a d an ur g e t o s p eed ru n th e ga me b e c au se a m aj or i t y of t h e ot h e r a ltern ati v e
c o n t r o l le r g am es t h a t s ur ro u nd ed m e were ma de t o b e 3- 5 m i n u te mi n iga m e s . Th e y were
o f t e n c a u g h t of f g ua rd w h en I t ol d t h em th a t m y gam e it sel f wa s a 1 5 - 2 0 mi n ut e n arr ati v e. T his
c av e a t l e d t o s om e a u dien ces w al k ing aw a y f r om th e ex p e r i en c e , bu t a l so h a d oth ers ch o os in g
t o w a i t t h at 15 , o r even 3 0, m in u t es t o ge t a t u r n t o p la y .
F i g u r e 1 4 : B l o s s o m B o o t h a t A l t . C t r l . G D C 2 0 2 3
T h e c o n v e rs at io n s I h a d w i th th es e p l ay ers a fter th ey fi nis h ed p l a y i ng w er e t h e h i gh li gh t of the
e x p e r i e n c e . I k new h o w im p or t ant t h e story of Bl os som wa s t o m e , a n d t o so me ext e n t I kne w
i t w o u l d s t r i ke a c h o rd w i th ot h ers , b u t I w as ca ugh t off gua r d by h ow d eepl y it a ff ected s o me
p e o p l e . T h ere w ere m u l t ip l e c as es w h ere p l ay e rs w ou ld tu rn t o m e a ft e r fi n i sh i ng w i t h tears in
21
t h e i r e y e s , th a nk in g m e f or m ak ing B lo ssom . Ma ny pl a y e r s ex p ress ed t h ei r gra t i tude f or
s p o t li g h t i n g a n A s ia n - A m er ic an s t or y a b ou t c h i ld h oo d an d th e i ss u es w e o ften fa ced i n our
y o u t h . I w as al s o g ra tef u l t o s ee t h at th e ga me sp o k e to a u di e nc es of a ll a ges , w i t h many
p a re n t s e x p res s ing to m e t h e i m p ort an ce of s u c h s t o r i e s, sp e ak i n g ab ou t th ei r ki ds and h ow
t h e y w o u l d l ove to h a ve s o m eth i n g l ik e Bl o sso m ex i st o n t h e m arket for th em.
O v e r al l, b e i n g a b le to s h a re m y p ers o na l w o r k a t G DC w a s o ne of t h e sca r i e st th i ngs I h a v e
p r o f e s s i o n a ll y d on e. P rio r t o at t end ing G D C, I str uggl ed w i th fi n d i n g va l u e in my o w n w o r k and
a r t i s t ry b e c au s e I did n ’ t h ave th e co nfi den ce t o s h are th em p u b li c l y. G etti n g c a tap ulted i n to t he
c h ao s o f s h ow c as in g at a c on f eren c e forc e d me to p ush a s i d e m y fea r s a n d f oc us o n m y
p r o j e c t , m y s to ry, an d m y t eam . In t h e book o f B l o sso m f o r m y arti s t ’ s j ou rn ey, a lt.Ctr l .GDC now
h a s a p a g e ; it rep res ent s a t u rn in g p o in t wh ere I n o l o nger a m cr i p p li e d by t h e fear of my wor k
b e i n g s e e n an d I’m ex ci ted t o lear n w ha t wi l l be on th e n ext p age.
F i g u r e 1 5 : T h e B l o s s o m T e a m a t G D C
22
C h a p t e r 6 : C o n c l u s i o n
W h a t do e s i t m ea n t o " fin d you r voic e ?" It m e an s le arn in g h o w t o e x p re ss y ou rs e l f and learning
h o w t o t h i n k ab ou t w h at h as h a p p en ed i n y o ur li f e i n a w a y th a t m ak es se nse [2 1] . Th r o ugh t he
p r o c e s s o f c reat in g B lo s s om , I f ou n d my voic e . I w as a bl e t o sh are my st ory wi th h undre d s of
p e o p l e an d g ot a n a n s w er t o t h e q u est i on I h a d a s ke d m y sel f a t th e begi n n i ng of th i s p roj ec t .
T o d e s i g n a p h ys ic al ly int er ac ti ve ex p eri en ce th a t e v oke s c h i l d h ood reflec ti on , e v e ry d eci s ion
n e e d s t o s t em f rom a u th en ti ci ty , f ro m th e n a rr a ti v e to t h e m e c h an i cs t o t h e t e a m I fo und. O r
m o r e ap t l y , t o t h e t eam t h a t fo u n d m e. W h e n p i t c h i ng B l oss om , I f o l low ed t h e sa me
p h i l o s o p h y o f a u th en ti ci ty b y d ril li n g d ow n on th e p a r t s of th e exp e ri en ce th a t c a me fro m m e.
A s a r e s u l t , ea ch of m y t eam m em b ers c ou l d fi n d p a r t s of th e m s el ves in B l oss o m, maki ng i t
t h e i r m o t i v a ti on t o m a ke th e exp erien ce a ut h e n t i c to t h em a s w el l. Th i s a ut h enti ci ty i s w h at
h a s a l l o w e d o t h ers to s t ep int o t h e s t ory of B los s om s e a m l es s l y a n d b ri n g a p ar t of i t w i th them
a s t h e y r e f l ect o n th ei r o w n ex p er ien ces a ft e r .
R e f l e c t i n g b a ck o n Bl os s om n ow , I bel i e v e th e l ab or th a t w en t i n to bu il di n g t h e ex p e r i ence
m i rr o rs t h e s t ory it s el f. W h en m a k ing ph y s i c a l a rt , i t feel s so m u ch sc ari er t o cre a te s o methin g
“ u g l y ” . T h e re’ s a p erm a n enc y th a t ex ist s i n th ese c r ea t i on s as th ey w i ll a l w a ys ta ke u p sp ace ,
w h e t h e r i t b e in a w ork s p ac e o r i n t h e tr a sh . I n t h a t r e ga rd , t h e an xi e t i e s of my o w n
e x p e c t at i o n s t o m a ke eac h p ro t ot yp e a ma ster p i e c e s l o wl y ov er wh el me d m e . I t r each ed a
p o i n t w h e r e I co ul d n ’t g et m ys elf t o b ui l d t h e e x p er i e n c e in its e n t i re t y , fea r i n g t h a t th e
m o m e n t I p ut a ll t h e p iec es t og et h er, t h e en d r e s u lt wou l d feel l ike a stra n ger . Sh o w c a si n g at
G D C f o rc e d m e t o b rea k th ro ug h th a t w al l . L i ke th e ch a pter s I con n ec t e d t o c r eate Bl o ss o m, I
w as ab l e t o rec o g n iz e h o w eac h p h ys ic al p i ece c a m e toget h er t o cre at e a com p lete st o r y of
w h o I w a s a s a n art is t. T h ere w il l al w ays be p a rts t o m y w ork th a t I be li e v e ca n be i mp rov ed , b u t
I h a v e t ru s t in t h e au th en t ic it y o f m y v oi c e an d my a bi l it y to u s e i t n ow . Th e sto r y o f Bl o ss o m
b e g an 2 0 y ear s ag o b ut c o n t in ues on , ev en a fter th e l as t p a ge i s tu rned .
23
B i b l i o g r a p h y
[ 1] M e n g , L . L ef t B eh ind ; 20 2 2.
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[ 3 ] N o s t a l g ia - D ef ini ti on . O x f or d D ic t io n a ri e s .
[ 4 ] C o r d a r o , F. T h e R ela t ion s h ip b etw een No st a l gi a , Soc i a l Ex cl u si o n, a n d Em p ath y . P h D,
U n i v e r s i t y o f S ou t h am p t on , 2 0 1 1 .
[ 5 ] K i m , M . A s ian A m eric a n G am e D ev elo per s Are Dr ea m i ng of Th ei r Own M i n a ri Mo ment . I G N.
h t t p s : / / w w w . ig n. c om /a rt ic les /as ia n -a meri ca n- gam e-d evel op er s-exp e ri en ce - m i n ar i .
[ 6 ] A b o u t A lt ern at ive Co nt r ol lers . Sh a ke T h a t Bu tt on .
h t t p : / / s h ak et h at b u t t on . co m /ab ou t- a lt e r n at i v e - c o nt rol l er s /.
[ 7 ] C a m p o s , M .; S u , Y . C u rio us er a n d C urio us er !; 2 014.
[ 8 ] A l b e r , D . A Lit t l e S PO T a n d C o lo r Ps y c h o l ogy Po st e r.
[ 9 ] A n n a p u rn a I n t era ct iv e. Fl oren ce; 20 18 .
[ 10 ] S e t i a , T . 6 R eas on s W h y A du lt s Sh ou ld R e a d Ch i l dr en ’ s B ooks On c e I n A W h i le. Boo ki sh
S an t a .
[ 11] S a b u d a, R. ; C ar rol l, L. A l ic e’s A dven tu r e i n Wo nd erl an d ; L i ttl e Si m on , 2 003 .
[ 12 ] M i n s k e r, M . H ow P op -U p B o ok s Ca n B oos t Rea d i ng Ski l l s . Sc h ola sti c.
[ 13 ] GD C O ff ic ia l. F li ck r. G D C2 0 23 .0 3 .2 3_ _F2_ 56 5 1; 20 2 3 .
[ 14 ] T h o r p e , A . ; M a M . ; O ik o n o m o u A . H i story a n d al tern a ti v e ga m e i n pu t meth o ds . . 16 t h
I n t e rn at i o n a l C o n f eren c e on C om p u t er Ga mes (CGAM ES ): L ou i sv i l le , K Y, USA . 2 0 1 1; p p . 7 6 -9 3 .
d o i : 10 . 110 9/C G A M E S .2 01 1 . 60 0 03 2 1.
24
[ 15 ] Q i , J. ; B uec h ley , L . E lec tr on ic P op abl es : Exp l o ri n g P a p e r -B ased Co mp u t i n g t h r o ugh an
I n t e ra c t i v e P op -u p B oo k . In P ro ceed ings of t h e fou rt h i nt ern a ti on a l con f e ren ce o n Tangi ble,
e m b e d d e d , and em b od ied in tera c t ion; T EI ’ 10; Ass oc i a t i on f or Com p ut i n g M ac h i ner y : N ew Y ork,
N Y , U S A , 2 0 10; p p 12 1– 1 2 8 . h tt p s : //do i. or g/ 1 0. 1 14 5 /1 709 8 86 . 1709 9 0 9.
[ 16 ] M e n g , L . K elp For es t ; 20 2 2.
[ 17 ] T a r di f f , S . T h ere’ s A R eas o n Y ou Ca n’t Stop Lo oki n g In to O t h e r Pe opl e’s H o mes.
A rc h i t e c t u ra l D ig es t .
h t t p s : / / w w w . ar ch i tec t u r ald ig es t. c om / s t ory /th e-re ason -y ou -l ov e-h ou se - t ou rs .
[ 18 ] R i s t , P . D a s Z im m er ( T h e Ro o m ) ; 1 99 4-2 000.
[ 19 ] B la n d , T . S h ar ing Yo u r Per s o n al S t ory wi t h Oth ers Ca n B e H e a l i n g a n d Li bera ti ng. T h e D a ily
A z t e c , 2 0 19.
[ 2 0 ] A l t . C t r l. GD C. G D C . h tt p s : //g d c on f.co m/a l t - c t rl -gd c .
[ 2 1] H am b y , S. R es il ienc e a n d 4 Ben ef i ts to Sh a ri n g You r S t o r y . Psy c h olo gy T oda y .
h t t p s : / / w w w . p s yc h o lo g yt od ay. c om /u s/ blog/ t h e - w eb-v i ol en c e / 201 30 9 / r es i li e n c e-and-4 -bene f it
s - s h a ri n g - y ou r- s t ory .
25

Abstract (if available)

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Lake Minnewaska | uplifting a Black narrative in an underrepresented industry | exploring grief themes in a fishing video game

Asset Metadata

Creator Meng, Laura (author)

Core Title Within a fold: an exploration of alternative controllers and childhood storytelling

School School of Cinematic Arts

Degree Master of Fine Arts

Degree Program Interactive Media

Degree Conferral Date 2023-05

Publication Date 04/26/2023

Defense Date 04/25/2023

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

Tag alternative controller,alternative screen,Arduino,Asian American,childhood storytelling,game developers conference,installation,interactive narrative,OAI-PMH Harvest,physical design,pop up book,projection mapping

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Bolas, Mark (committee chair), Campos, Martzi (committee member), Halsey, Jordan (committee member), Lemarchand, Richard (committee member), Nealen, Andy (committee member), Vigil, Jesse (committee member)

Creator Email lauramen@usc.edu,lauraxmeng@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113078053

Unique identifier UC113078053

Identifier etd-MengLaura-11715.pdf (filename)

Legacy Identifier etd-MengLaura-11715.pdf

Document Type Thesis

Format theses (aat)

Rights Meng, Laura

Internet Media Type application/pdf

Type texts

Source 20230426-usctheses-batch-1031 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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