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VISUALS SHOOT 2

Tom, Alec and I went to Redwood forest to shoot the second set of visuals for the town hall installation –

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PROJECTS UPDATE

Some piccies from helping Hattie with her short film, helping with sound, equipment, dog wrangling and being a telepathic angel of death.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

INSTALLATION

Interviewing people this week, and filming next Thursday/Friday.

Currently have 10 people involved.

Hopefully finding two more, so can cycle through 3 sets of 3 (some are being shot as couples).

 

TOWN HALL 

Working on bringing together all the elements needed for the interactive portion of the installation.

Shooting some more visuals in Redwood forest this Saturday.

 

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GROUP PROJECT UPDATE

Some of the visuals I created to be projected in relation to the sound:

While Tom is working on creating the town, I’m working on sorting out the interactive elements of the project, and how they will be set up. As well as integrating sound with vision by connecting ableton and processing to make the sound and vision react to the interactive elements together.

For further visuals, we will be shooting next Wednesday in Redwood Forest, and later in the older, forgotten rooms of the State Library.

We have also decided to present the interactive elements of our project along a long ‘Last Supper’ style table, which will be decorated with various other objects to create a gothic, but elegant / pretty vibe.

To coordinate everything effectively, we have compiled the following lists, to track what we need to find, and what we need to get done –

 

Things to interact with:

• Conductive foam – wet piece of meat
• Makey makey – complete circuits through body / bubbles blown onto wires to connect circuit and trigger noise
• Xylophone ribcage – using buttons
• Boiling stew – accelerometer attached to spoon
• Plant – touching different leaves triggers different notes
• Spinning head attached to potentiometer

 

Visuals:

• Shooting in Redwood Forest
• Shooting in old library
• Abstract water smoke visuals

 

Things for the table:

• Two trestle tables
• Plates and cutlery
• Table cloth
• Lots of pretty flowers / baby’s breath
• Skulls / antlers
• LEDs to put into different objects
• Spotlight
• Skeleton Mary
• Bread / grapes / fruit
• Candlesticks
• Smoke machine

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SECOND LIGHTING TEST 

This is the final setup, as I’m very happy with how this turned out. I prefer the image included as opposed to the more contrasting film footage, however the still is more true to what will be projected, as projectors dull/fade images to a degree.

Using cling wrap and vaseline on the lens, I altered the image to look hazy/glow, and achieve a softer, more dimensional image than the previous attempts. Also very happy with this lighting scheme, as I feel it works to highlight the subject, whilst creating a dynamic and beautiful image. This was the first test of a three minute run, where I gave the subject direction about the portrait, and we filmed for three minutes with the subject looking into the camera (at the viewer). I am very pleased with how this turned out, and feel it will be effective in conveying my intentions as part of the broader installation.

Next step is to record the interviews and film the subjects, which I plan to do in the week coming.

For the remainder of this week, I am contacting people to be in the project, whilst also gathering material for the soundscape, which I have altered to be composed of discussion of LGBTQIA+ people in the media, as I feel this will create a different kind of soundscape, which best reflects my intentions, and from which the individuals’ interviews will be a reprieve.

 

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TEST SHOOT

working out lighting setup & colour schemes 

 

• using 3 dido lights with coloured gels
• need to decide if all subjects should be shot with same colour scheme, or different ones
  • would it be incongruous to have different colour schemes on each wall?
• need to decide which colour schemes are the best
• the more candid, laughing, moving shots are more engaging and comfortable to look at – as opposed to staring at the camera which appears intimidating and uncomfortable – should foster candid, fun environment so moving portraits are more of a celebration
• consider balms/oils and glitter to make most of lighting setup, as these show up well in this environment 
• some lights are blinding
• make sure each person takes up an equal amount of the frame
• possibly try another test with softer colours (need to find a backdrop for that)
• bring in green cellophane for pink/green coluor scheme
• sort out frame rate for dark room
• why does RMIT not have any backdrops / rooms will pull down backdrops / shoot rooms???? (if tutor reads this and knows of one pls halp)

 

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AUDIO VISUAL PROJECT – IDEA PROGRESSION

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INITIAL IDEA

This project will be an interactive documentary installation.

Elements include:

 

• Audio interviews with refugees (5)
• Photographic portraits (5)
  • overlayed with text excerpts of the legislation that was in place when they came to Australia
  • this legislation could be screen printed with thermo-chromatic paint, allowing it to change colour when touched in reaction to human heat.
• Arduino based interactive system either based upon
  • motion sensors, reacting to the amount of people in the room to raise the level of intensity / volume / audio layers – if one person, or minimal movement, it will be quiet, with just one track (comprised of an interview excerpt) playing at a time, and vice versa;
  • pressure sensors (FDRs), which trigger particular interview excerpts to sound when particular sections of the portraits are touched

possible extras / alternatives could include filmed moving portraits projected within the space – could be more adaptive to different spaces, or used an addition to the portraits to create a focus for the soundscape, whilst viewers could look at the individual photographs when listening to specific clear interviews (<3mins in length) – could be too busy and detract from immersion, or could aid in immersion by setting tone of the space, instead of it just being set in a bare room.

Aim: 

This project features a series of black and white portrait photographs, altered with thermo-chromatic paint, situated within an interactive soundscape which changes in accordance to the actions of its audience.

 

The aim of this project is to share the stories of refugees, showing a diversity of experience, whilst simultaneously illustrating to the impact of the Australian public upon these experiences. The work is reactive to the viewers through sound and through touch. The more people are listening to the voices, the more voices are heard, and the louder these voices become. The viewer is made aware of their own impact upon legislation and the people this legislation effects.

 

The work could potentially feature individual listening stations, wherein viewers may stand in front of a piece and, using headphones, listen solely to the story of the person in front of them. In this way, the installation creates an encompassing immersive environment within the space, which reflects the environment of the room, whilst also allowing for individual immersion within specific portraits through focussed listening upon a clear narrative.

 

Very rough examples of text / photograph integration, and graphic HDR photographic style to be used.

 

Some paints are, for example, red or black, at room temperature, and clear when touched – this can be used over the top of things to hide them, and reveal them when touched – many possibilities here.

 

 

 

 

 

 

 

 

 

 

 

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REVISION 1: 

• 3 – 4 interviewees
• moving portraits as floor to ceiling projections, faces projected over three walls of a room, possible projection on ceiling & floor of another face and ocean respectively
• speakers placed around the room, in the corners – speakers near each of their projections, so when you go into the room it sounds like a million voices at once, but when u go closer to the one image, you can hear them more clearly and listen to their story

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REVISION 2

Floor to ceiling projections on three walls of a room.

Projections are a series of three:

• three lgbtqia+ youth
• three asylum seekers
• three environments – desert, ocean, forest

 

The room will rotate between these three series, which illustrate the three most prominent issues in the Australian public consciousness today: lgbt+ rights, asylum seeker policy, and climate change.

 

The projections will be moving portraits of their subjects, with each series being set to a particular colour scheme (red/pink for lgbt+, blue/yellow for asylum seekers, and fade to brown/bleached for the environments).

 

In addition to the moving portraits there will be a soundscape comprised of layered excerpts from the interviews; creating an encompassing wash of sound within the room.

 

The full, properly coherent interviews may also be listened to through headphones, as viewers may sit facing a particular portrait and listen to their individual story. In the case of the environment projection, this may be scientists speaking about how that particular environment will be affected by climate change.

 

The runtime of each series will be approximately 5 minutes, at the end of which, the projections and audio will switch to the next series – changing the colour and soundscape of the room and creating a different atmosphere.

 

The project’s intention is for the audience to come, literally, face to face with these issues, and importantly, hear personal, individual stories, instead of simply hearing these people and issues spoken about it broad terms like ‘they,’ instead this piece shows the individuality of the situations and impresses with empathy why they are important.

 

While this is the full installation, it is sectioned, so it can be built upon or lessened depending on time allowances.

 

Equipment required:

• empty room with three blank white walls
• 3 projectors
• speakers (enough to fill the space)
• >3 sets of headphones
• chairs/benches/couches for audience to sit and watch/listen if they choose
• for creation
  • recording device for interviews
  • 3 lights & corresponding gels & stands
  • camera
  • 7 interviewees (3 for lgbt+, 3 for asylum seeker, >1 for climate change + field recordings of environments)

 

Timeline:

Week 8:

• Clarify ideas & work out equipment setup (what headphones will be connected to, what speakers are necessary, any other logistical issues)
• Purchase / source equipment necessary & source space

Week 9:

• Do lighting tests
• Contact people for interviews
• Shoot environments
• Shoot environment interview

Week 10:

• Conduct and edit interviews
• Edit soundscape

Week 11:

• Conduct and edit interviews
• Edit soundscape

Week 12:

• Finishing touches to soundscapes
• Finalise setup

Soundscape reflects the chatter of the media / speaking in broad terms, not looking at impact on the individual – it showcases the impact of focusing in on one story.

 

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REVISION 3

PITCH PRESENTATION 

FEEDBACK:

Notes from presentation:

• how immersive can interviews be?
• focus on one area, instead of the three areas under the theme of issues in the social consciousness
  • would this be able to hold attention?
  • how long would this be?
• how to make second project enticing for participants – remove self consciousness – make it look fun

Clarification: the moving portraits are like the ones in Harry Potter – no sound, and just a portrait of a person, but filmed so they blink, change expression slightly etc

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REVISION 4

• chosen issue to focus on: lgbt+ youth – most easily accessible, and relatable to the interviewer – allowing authentic, empathetic and informed content to be created.
• floor to ceiling projections of stylised moving portraits of LGBTQIA+ youth, with interviews layered to create a soundscape within the space. Individual interviews may be listened to coherently by the audience sitting before a portrait and putting on the headphones provided.
• this reflects the broad, lump terms that are used when looking at / speaking about lgbt+ people in the media, vs the real, individual people that such chatter effects.

possible change: create the soundscape out of found media – sound taken from discussion of current lgbt+ issues, protests etc within the media. 

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Interactive film: 360, interactive, 3D, 4D.

 

Problematic elements in crafting an immersive, interactive film.

• lack of agency, the viewer is positioned as a character within the film, yet has no or limited agency over the action.
• inability for film to adapt to the individual viewer
• usual cinematic techniques (close ups, scene cuts etc), do not work in this type of film, as they remove the viewer from immersion because of their implausible nature. Such films necessitate realism in order to be believable – as is the intention.
• action on screen does not correlate with the action of the individual in interactive film – e.g. when running in the film, the viewer themselves does not move, hence it is immersive as it is not believable movement (interestingly, when the vehicle of acton – eg car, bike, elevator – is evident on screen, the movement is more believable, and thus more immersive).
• live action film is not reactive enough to be believable, whilst generated images are not visually realistic enough to be believable.

 

3 Key areas

1. the poetic space of sensory denial v the potential introduction of newly constructed uncanny valley

2. the questionable efficacy of a sound design approach to motion-coding.

• sound provides a snapshot of the world around
• sound affirms action
• sound manipulates to evoke emotion
• sound acts upon physical, psychological and structural levels

SD vs MFX

two problems

1. sensory fidelity and temporal acuity
   – segregate / integrate          resolution       – sound functions at a higher level than vision
2. you pay attention to physical movement – if something suddenly changes, you pay attention to it – in 4D, chairs providing movement have the ability to enhance the film if movement is clear and
3. the unintended effects of the inevitable compromises to retrofitting.
   – low level
   • sudden attention at re-activication of the chair – immersion break
   • chair resetting position at sequence shifts / scene changes.

 

Film, unlike rides (agency free), or games (agency) are not built for interactivity – instead it is an add on, and this is why it often remains unconvincing.

 

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Immersion Audit 

 

The augmented reality game of laser tag is a free range motion interface wherein players are placed within a physical arena. Working individually or in teams, players compete to ‘shoot’ one another with virtual laser blasts which interact with various targets, both on the players, and throughout the arena, in a point scoring system marked by reactive lights and sounds. This essay proposes that, manipulated by various audial, physical, and psychological means, the arena induces immersion as players are directed towards a suspension of belief characterised by intellectual absorption and an emotionality directly correspondent to gameplay. For the purposes of this audit, the laser tag arenas Strike, and Darkzone were examined across six rounds.

 

Sound is used as a manipulative tool of immersion, enhancing suspension of belief by setting the tone and crafting the constructed representation of reality presented by the space. Both arenas featured surround sound speaker systems, and speakers on each player’s laser pack. The former played responsive, voice of god narration, alerting players during base attacks;[1] utilising the spatialized sound system to play audio in specific parts of the arena where players belonging to the attacked base were most likely to be. As noted in the studies of military simulation academics, Shilling, Wardynski and Zyda, such responsive audio enhances player engagement by crafting a sense of realism and eliciting a manipulated emotional response (Shilling, Wardynski, & Zyda 2002). The arena’s speaker system also projected ambient music. Similar to the subliminal use of film scores, music was utilised in the arena to manipulate the tone and pacing of gameplay. Whilst Strike’s customised dark ambient music set an appropriately serious tone, Darkzone’s use of sound effects with an underlying soundtrack of high tempo pop and rock hits encouraged faster, more actively engaged gameplay as players mimicked the soundscape’s pacing. While both arenas featured high volume, the comparatively high arousal of Darkzone’s sound design enabled players to experience greater attention, increased engagement, boosted emotionality, and therefore, increased immersion within the arena (Shilling, Wardynski, & Zyda, 2002; Serafin & Serafin, 2004). Due to the subliminal role of music in this arena, differences in musical content (instrumental or vocal) appear to make nominal difference to user engagement; with immersion instead relying upon an absence of repetitions within the soundscape (Serafin & Serafin, 2004). Exemplified by one particular round at Darkzone, loops are likely to be detected by the user and break immersion. Only after one song was played recurrently did the music become a noticed part of this arena, previously having been completely undetected by some players. The speakers on players’ personal laser packs also performed an important role; ensuring individualized engagement. Audible when shooting, and upon being shot, the packs provide over-the-top sound effects, which work towards immersion, through a concept propounded by Michel Chion, by providing a sense of realism, as opposed to presenting true reality (Chion, 1994). Here, the synchronization of sound (e.g. gunshot) with action (e.g. pulling the trigger) ensures sustained suspension of belief and engagement with the environment, as in this arena, sound fidelity is the product of synchresis (Chion, 1994). The gun’s reactiveness to individual gameplay through the constant signaling and affirmation of action by sound is an important factor in player absorption and the creation of a believable augmented reality. Though largely subliminal, the role of sound within the laser tag arena is fundamental in crafting the engrossment, and suspension of belief necessary for an immersive experience.

 

To ensure a sustainably engaging environment, laser tag arenas must also craft physically immersive spaces. Darkzone and Strike achieve this (to varying degrees) through the use of lights, obstacles, multiple storeys, and the employment of physically interactive stimuli to provide player agency: a crucial element to immersion within augmented reality games. Darkzone and Strike were both lacking in light. As noted by theme park designer Don Carson, a darkened arena functions to set its tone, allowing for a more believable game world as unrealistic elements are disguised in darkness, and fear and awareness are consequently heightened (Carson, 2000). Notably, the absence of light was one of the largest contributing factors to immersion, as the illusion of the world created within the arena was immediately broken, and suspension of disbelief instantly shattered, when overhead lights were turned on at the end of a game. The smaller LEDs situated within the arenas, upon the players’ packs, and on the walls, were all elements of possible interaction within the game, which dimmed when shot. The smaller light targets on the walls provided tactical focus points, allowing for deepened engagement by demanding accuracy and focus, accompanied by fear – the consequence of leaving oneself vulnerable to attack. As vulnerable moving targets, the player packs elicited an alertness, heightened fear and consequently, engagement. The diversity of light targets, demanding varying levels of engagement, and prompting varied emotional responses, allows for the creation of an interactive, dynamic, and responsive world within the laser tag arena. Through such environmental design, the user experiences sustained engagement and is afforded a deeper immersive experience (Serafin & Serafin, 2004). Another element of physical interaction was created through the existence of different levels and obstacles within the arenas. While Strike contained just one raised platform, Darkzone featured four stories and an abundance of obstacles, hiding positions, and vantage points. The existence of such within Darkzone exponentially increased the level of immersion present during gameplay, heightening the players’ awareness of their environment due to increased risk of attack from an unknown position. These physically interactive elements all culminate to provide player agency (Grimshaw, 2008). Instead of a passive soundtrack, a bare room, or series of lights that play out in sequence, the arena’s elements function in direct and immediate response to the gameplay at hand. As Carson asserts, the player should maintain at least the illusion of control, as this is vital to immersion within user-centric augmented realities (Carson, 2000). Allowing players express control over gameplay ensures that they become active players, immersed within the game as they are directly implicated in its narrative.

 

Perhaps the most crucial element in crafting an immersive experience within augmented reality gaming, is the gameplay’s ability to elicit an emotional response. The story, motivations interactions, and patterns of laser tag are all factors which contribute to gameplay emotionality. Story establishment begins in the laser tag briefing room. While both Darkzone and Strike have backstories for their laser tag arenas, these are lacking in conviction and do little to engross the player in the game world. Their function is however to prime the user for gameplay; addressing the participant in second person, and situating them within the game world (Grimshaw, 2008). In this way, the player is already more willing to engage, and thus more susceptible to the emotionally manipulative devices within. A user-centric experience, laser tag’s true story is produced by the players themselves (Carson, 2000).  Competition is created through a point system. This promotes engagement by allowing the players to become goal oriented, and establishes the user-driven narrative, which persists and grows throughout gameplay, as players rise to the top becoming targets or threats to the other players (Wang & Sun, 2011). With the ability to check their ranking throughout gameplay, users are provided with consistent motivation to rank up or hold their position. This allows for more active and engaged gameplay, in addition to emotional investment. The establishment of a user-centric narrative is most evident within free-for-all rounds. These are generally highly dramatic. Alliances are made and betrayed, and players at their most alert due to the increased risk of being shot, as compared to team rounds. To foster success in both individual and team settings, the game demands group coordination – strategising, instruction, defence, attack – gameplay demands intellectual engagement and through this, establishes player immersion within the game world. The story and effort commanded by the game increases the likelihood of players developing an emotional investment in the gameplay, educing responses such as anger, sadness, joy, and frustration to experiences within the game world. As concluded by film academics Valentijn Visch, Ed Tan, and Dylan Molenaar, ‘stronger immersion [leads] to more intense emotions’ (Visch, Tan, Molenaar, 2010). In augmented realities such as laser tag, the arena’s immersive abilities are directly reflected in the intensity of the player’s emotions; their emotional states becoming barometers of their own immersion. Through the culmination of all the immersive devices used by laser tag arenas, the test of their immersive abilities, is found in the emotional engagement of the user.

 

Through the implementation of emotive and responsive audio, effective laser tag arenas create a soundscape that permits and promotes the suspension of belief. Through the creation of physically interactive environments, they allow player agency. Through competition and user-centric story, they foster intellectual, and crucially, emotional engagement. While the individual user experience may vary depending on skill level, game role, age, temperament, or experience, the laser tag arena’s multitude of stimuli, and adaptive, user-driven nature permits and encourages unique game play. The culmination of the arena’s purposefully manipulative engagement strategies is to create an environment of immersion; wherein an augmented reality may be temporarily believed.

 

 

Reference List

 

Carson, D 2000, Environmental Storytelling: Creating Immersive 3D Worlds Using Lessons Learned from the Theme Park industry, Gamasutra.com, accessed 1 Sep 2017.

http://www.primitive-eye.com/pdf_files/Enviromental_storytelling_pt1.pdf

 

Chion, M 1994, Audio-Vision: Sound on Screen, Columbia University Press, USA.

 

Grimshaw, M 2008, Sound and immersion in the first-person shooter, Games Computing and Creative Technologies, no. 3, University of Bolton Institutional Repository, UK.

 

Lipscomb, S & Zehnder, S 2004, Immersion in the Virtual Environment: The Effect of a Musical Score on the Video Gaming Experience, Journal of Physiological Anthropology and Applied Human Science, no. 23, 337 – 343, JPN.

Serafin, S & Serafin, G 2004, Sound Design to Enhance Presence in Photorealistic Virtual Reality, ICAD, Aus, accessed, 1 Sep 2017.

https://smartech.gatech.edu/bitstream/handle/1853/50913/SerafinSerafin2004.pdf

 

Shilling, R; Wardynski, E; & Zyda, M 2002, Introducing Emotion into Military Simulation and Videogame Design: America’s Army Operations and VIRTE, Calhoun, USA, accessed 30 August 2017.

https://calhoun.nps.edu/bitstream/handle/10945/41580/ShillingGameon2002.pdf?sequence=1

 

Ulate, S 2002, The Impact of Emotional Arousal on Learning in Virtual Environments, MOVES Institute, CA.

 

Visch, V; Tan, E; Molenaar, D 2010, The emotional and cognitive effect of immersion in film viewing, Cognition and Emotion, vol. 24, no. 8, p. 1439 – 1445, Taylor and Francis, UK.

 

Wang, H & Sun, C 2011, Game Reward Systems: Gaming Experiences and Social Meanings, Digital Games and Research Association, Fi.

 

Yim, J & Graham, N 2007, Using Games to Increase Exercise Motivation, ACM, USA.

http://delivery.acm.org/10.1145/1330000/1328232/p166-yim.pdf?ip=131.170.239.14&id=1328232&acc=ACTIVE%20SERVICE&key=65D80644F295BC0D%2E124032AC6F25F239%2E4D4702B0C3E38B35%2E4D4702B0C3E38B35&CFID=800374800&CFTOKEN=99091791&__acm__=1504475473_ca9b20304fcbfc17ab844a33580cce94

[1] Each team is assigned a coloured base to defend, which the other team may attack for points.

 

I declare that in submitting all work for this assessment I have read, understood and agree to the content and expectations of the assessment declaration.

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APPENDIX A: IMMERSION AUDIT – STIMULUS LIST

Stimuli	Effect
Surround sound speakers	Hidden within the arena, these provide realism to the sound within the space as they are not immediately obvious to the player, who suspends disbelief to believe these are diegetic sounds, emanating from within the arena – not prerecorded audio files.
Music	This sets the tone for game, immersing the players within the world of the arena – used similarly to the soundtracks in film, it is not immediately noticeable, but controls the tone and pace of the arena.   Perhaps it was due to the other aspects of higher immersive quality in the darkzone arena, but despite strike having a customized, sountrack specifically built for the arena, whilst darkzone had sound effects, with an underlying soundtrack of rock and pop music hits, the darkzone soundscape was the more immersive of the two. Perhaps this can be attributed to the use of darkzone’s music soundtrack to situate the game world within the real world, instead of attempting to create a world that is entirely separate. By positioning some elements of the game world in the real, the space becomes more believable as it has elements of shared reality with the world outside the game. Further, the music in darkzone had a considerably higher tempo, which enhances gameplay, as it’s participants mimic the tempo, resulting in faster, more active gameplay.
Sound effects	These come from both the gun and the speakers.   By having noises emanate from the player’s gun, the player feels personally implicated within the game, and is immersed on an individual level, as the gun reacts to being hit as well as shooting.   Having sound effects play from the surround sound speakers, which target particular parts of the arena in response to what is occurring within the space, contributes to the arena’s ability to immerse the player, as it mimics the outside world, as the space alerts the players in such instances as when different bases are under attack, playing this audio in the parts of the arena where the players belonging to the attacked base are most likely to be. Due to their active engagement with the events occurring in the arena, the sound effects and voices played from these speakers are accepted by the players as part of the world of the arena, as they respond to them accordingly – running to protect bases etc.   Unlike video games, in laser tag, which exists in a built environment, such sound elements are not necessarily as important here, and may be less prevalent or less truthful. As long as they are synchronous with movements in the arena, they are believed, as they are just simply reaffirm what is happening within the physical space.   While in video games, sound must compensate for a lack of true, physical engagement, this is not the case in laser tag – here, tactility and physical response is more important. As long as responses are synchronized, they will be accepted despite their unrealistic sounds.   engagement is mostly subliminal, the best engagement works when you are so caught up in gameplay that you don’t notice the immersive devices, and simply accept them as part of the ‘world’ that you are in. This was noticeable as within the darkzone arena, I did not even notice the soundtrack of upbeat songs that were playing over the speakers until someone else had pointed it out afterwards. I had instead just accept this as part of the game world and hence it had not stood out to me as it would if I believed it did not belong there. This is how many of the immersive devices functioned within the space.
Player Agency	Direct control over their gameplay tools re: aiming, shooting, etc.   Interactive elements are responsive to the individual players and the gameplay at work, instead of being a passive soundtrack or series of lights that play out within the arena on a loop, the stimuli work in direct response to the gameplay at hand, thereby immersing the player in the arena by directly implicating them and ensuring that they are active players within the game.
Lights	Lights on gun and vest, and within the arena. Lights on the gun functioned The darkened arena sets the tone of the space, and allows for a more believable ‘world’ as unrealistic elements are disguised in the dark, and fear and awareness are heightened in the darkened arena, as it becomes hard to see. Notably, this is one of the largest contributing factors, as the illusion of the world created within the arena is immediately broken, and suspension of disbelief instantly shattered, when the lights are turned on at the end of a game.
Interactive elements	The guns, the bases, the target lights   The guns had were interactive on multiple levels, not only did they allow gameplay, as they were the source of shooting etc, as the player pulled the trigger, but they also lit up depending on whether the played had been hit (turning the colour of the shooter and then going out to signify a fatal hit), was shooting (blinking when the trigger was pulled), or was in active gameplay (lit up steadily). The guns would furthermore vibrate and sound off when the player was hit, allowing the player to see and feel a physical response to gameplay, allowing immersion through the ability to feel physically the results of being hit in the game.   The bases and target lights worked in a similar way, being lit when protected, and going out when hit, furthermore eliciting a sound response in the form of the arena’s voice of god announcing that the base was under attack to the other side of the arena. Target lights worked in a similar way, stationed around different parts of the arena, these provided small tactical focus points which could be hit for damage against the opposing team. The accuracy and focus required to hit these targets allows for further immersion, which is contributed to by the corresponding fear which accompanies focusing on one object, and leaving oneself vulnerable to attack from other players within the arena.
Obstacles and levels	The more levels and obstacles, the more immersive the gameplay, as it heightens the players’ awareness of the environment due to the increased risk of attack from an unknown position. This enhancement of fear ensures further immersion within the space, and was demonstrated when strike and darkzone were compared, the latter featuring multiple levels, many interactive elements and hiding spaces, as well as holes through which to shoot, and mesh walkways which can be shot through from below.   Darkzone had far more obstacles, interactive elements, targets and multiple levels, which increased engagement, through the heightened fear and awareness that this created.
Story	While both arenas had backstories, these did not function at all within the gameplay, but merely set the tone going in, but really not playing any function within the arena. Building of story and formation of alliances increases likelihood of players developing emotional investment within gameplay, and having emotional responses such as anger, sadness, joy and frustration to experiences within the game world. This increases the player’s immersion within the space through emotional engagement with its environment and the story that is produced through the gameplay.   An element that enhances the space’s immersive qualities, as built through story, is   – they are prepped with instructions and primed with a video or instructional, as well as primed for the arena through the preliminary area where the laser packs are stored – which is themed accordingly to prime the participants for the arena. This sets the tone and amps the players up, getting them ready to dive straight in. – they are have come to laser tag willingly, and are therefore willing to engage with the arena, and therefore more susceptible to the manipulative immersion devices in place.
Teams	The real way that story functioned within the arena was built by the players themselves. Whether playing on set teams with designated colours, or within a free for all setup, the player’s control of the story within the arena allowed for deeper immersion within the space, as they were actively engaged with building their own story within it. This story was most evident within the seemingly more immersive, highly dramatic, free for all rounds, wherein alliances were made and betrayed, and players were more alert to their surrounds due to the increased risk of being shot. Creation of story, heightened awareness and engagement was further built within both team and free for all rounds through the players’ coordination with each other. Through strategising, and instruction, as well as defence and coordinated attack, the level of engagement and immersion was heightened dramatically through interaction and coordinated strategizing with other members within the arena. Although there is heightened attention when working alone, the story built through coordinating with other players within the arena ensured deeper engagement and immersion within the built world of the laser tag arena.
Point scoring	The laser tag arenas feature three types of points / ranking – including a score for accuracy, a score for hits, and an overall ranking. This furthers the establishment of story, especially when multiple games are played and particular players consistently rise to the top and becomes targets or elements of threat to the other players. Engagement within the story is further established through the point scoring system as it is enables the players to become goal oriented. With the ability to check their ranking throughout the game by looking at the screen on their laser gun, the player is provided with consistent motivation to either rank up or maintain their position. This allows for a more active and engaged gameplay.   between arenas, there were some differences which allowed darkzone to be better. These included faster recovery times for players between being shot, which allowed them to re-engage with gameplay more quickly, and also kept them more engaged as they were provided limited time to run away or hide before they were susceptible to being shot again. Longer offline times after being shot means that the player may become removed from the ‘world’, as they are disconnected, and unable to interact or engage fully with it. Shorter recovery times allows the player to retain engagement with the game, as they remain alert, rather than removed from the world as they wait to be able to reenter gameplay. – CONTINUAL ENGAGEMENT WITH SUSPENSION OF BELIEF
Objectives	Heightens coordinated efforts by providing goals to work towards.
Patterns and Reward Systems	POSITIVE AND NEGATIVE REINFORCEMENT   The system created by the pattern of lights, sounds and vibrations which change in response to the player’s life status (generally, on if alive, off if shot), in combination with ranking and point scoring,  establish a system of reward and response, which, functioning in a similar way to those patterns established in gambling, create a reward based system which enables a form of addiction to be established within the player, as well as (similar to pavlov’s dog) automatic responses to stimuli which are built up throughout gameplay and enhance immersion as the player becomes more involved and responsive to the world of the arena.   Through the special power-ups able to be accessed throughout the game through interaction with touch screen interfaces and shoot-able lights, special abilities such as stealth mode are able to be accessed. These further immerse the players through increased engagement as power-ups such as rapid fire or stealth mode, which turns all lights off on a player’s pack (making all players think that they are inactive), breaks the established stimuli-response pattern, heightening the player’s awareness within the arena. They are not permitted to be passive players, but must actively engage with the sights, sounds and strategy of the arena’s world in order to be successful. The pattern of reward-response established throughout through lights, sounds, points etc, ensures the player’s want for success.
Subjective Variability	Everyone’s experience of the arena will be different. This in many ways would largely depend upon the individual’s skill level, and therefore their role within the game, whether they were on top, shooting or in a defensive position, whether they were good at the game, and therefore more engaged, or were not good, and either therefore more passive and less engaged, or heightened in awareness created through fear because of their increased likelihood of getting caught. The Darkzone arena is targeted at many ages, as a g rated space that is engaging on many different levels regardless of age, it generally attracts a large age bracket, from around 8 to 35. Strike, though less engaging physically, smaller etc, attracts an 18 and over audience as it is a licenced bar venue. This makes comment on the effect of alcohol in upping engagement?

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LASER TAG ROUND ONE – STRIKE 

• took many audio notes
• sweated lots
• played rounds in teams, but also free for all rounds
• free for all rounds were more immersive – potentially related to the higher level of awareness required – relating to the immersive qualities of fear
• Great sounds, lighting and set with lots of places to hide, allowed us to become more engaged with the environment