The Wrath of the AlpaGod

Alexis: “I did a lot of blueprints and conducted a lot of user testing. I would currently consider myself a blueprint connoisseur. I contributed my knowledge in programming and previous knowledge in unreal engine projects to help reach the final product. I also helped a lot with moral support, which definitely helped the job get done. I implemented the physically demanding arm-swing locamotion, collisions, and worked on the sound for the project. I also created and edited the trailer for the game. I would like to continue learning more intermediate and advanced blueprints, such as casting and multiplayer networking.”


Linda: “I built the world and created all the environment. I also worked on the concept design, and took the lead on character design. Interaction design was something that I also helped out on. I love 3D now. I also helped a lot with moral support, which definitely helped the job get done. For the show, I put together the promotional material to advertise the experience. I would like to learn more blueprints and further dive into interaction. I’d also like to learn about other applications for VR besides games and work on those. ”


Link to the step-by-step documentation and screenshots:

Link to Game: SOON (Waiting for the fast internet)


Back Home – Final Group Project Documentation

Project Name: Back Home

Group Members: Jiayi and Nora

Synopsis: Back Home is a first-person decision making game in VR. The protagonist revisits her hometown 30 years after a nuclear accident, in which her best friend lost her life. While exploring the surroundings, the protagonist realizes that by interacting with certain objects she could return to the past and remake some decisions.  Can she thus change the future and save her friend’s life?

For more details please see our updated design document

Play the game here!


Originally both of us want to do a level transferring game which focuses a lot on storytelling but different in mechanisms. We decided to adopt Jiayi’s idea since it is more practical and the mechanisms are clearer.  ‘Back Home’ has a lot of Japanese elements. The story is set in a Japanese town, with a back story which replicates a Japanese historical event (Fukushima nuclear accident). The game mechanism and the concept of converging world lines also origin from Japanese video games. We tried to make the assets in our game as Japanese style as possible (with the content packs we have), and hopefully the player will be able to experience the Japanese elements we embedded in Back Home.

Our game, as it develops in the production process, focuses a lot on the story. There are around 7 storylines in total that the player can explore by making different decisions. Although they ultimately lead to the same result, the development of each storyline varies. We hope that by interacting with the surroundings and selecting different decision,  the player will be better engaged in the story.


Stage 1

Deciding on game idea, general mechanism, interaction, and basic story line (how different world lines converge into one result).

Drafting design document.

Stage 2

White boxing the first level (level 2: home)

Discussing the rough storyline (roughly what kind of decisions to make, the sequence of level jumping, etc)

Find sound effects

Stage 3

White boxing all of the levels, adding textures and light sources, game testing the levels

Finalizing the details of the storylines, including the detailed development of each story line, the conversations and the decision options

Stage 4

Figuring out interactions (picking up objects, flash back and switching levels), game testing the interactions

Simplify storylines and change some of the details according to techniques issues and time issues

Stage 5

Adding storytelling and decision making functions (widget), game testing

Modifying ideas (storytelling methods – from text display to audio)

Writing documentation

Game Screenshots

(The Town)

(Level 2: Home, before the accident)

(Level 2: Home, after the accident)

Reflection – Jiayi

Role: responsible for white boxing, interactions and teleporting in Unreal Engine


While structuring the blueprint, I started with the key mechanism of our game, which is the teleportation between current and the past. The first approach was starting and ending the level stream. However, I wasn’t able to call the pickup event that’s within the BP_Pickup cube in a child level from the persistent level. Therefore, we decided to go with a trigger box that will activate the teleportation once the player starts to overlap with it.
We tried to give the player the ability to move around with the face buttons/joystick. It did work (see motioncontrollerpwan2 in VR BP folder). However, the pawn does not come with a collision. It’s walking through everything and the trigger box isn’t working anymore. Therefore, we have to remove that and stick with the lamer but functional one.
Everything took much longer than we expected. We wish we could have more time to match the location while teleporting and most importantly, to finish the story.

Reflection – Nora

Role: responsible for storylines, audio editing and documentation


Since Jiayi is more experienced in 3-D modeling and using Unreal engine, I mainly took up the responsibilities for developing storylines of the game, editing audio/sound effects for the game and documenting our works (writing design document, sound map documentation and final documentation. I think I contributed most to the development of the story of the game. As Back Home is a heavily story-based game, we thought it would be important to development a sophisticated storyline – how different choices can be in a rich variety but still develop into the same result in the end logically. After me and Jiayi roughly talked about our idea, I drafted seven storylines with the choices. I made sure that at each level the player get to make at least one decision. And different decisions lead to a different storyline which gives a different reason why the friend finally died. Then I constructed the detailed story with specific conversations which we later recorded to uses as our storytelling. I edited the each piece of audio in Audacity and labelled them with specific categories for easier uses (you can listen to them here. ) And along the way I collected the files and materials and organized in our project drive. However I think that I could do more in terms of actually building the game world in real engine. As Jiayi is very good at it, I kind of let her take over (I also can’t run UE on my mac). So it came into the late production period, I couldn’t help Jiayi much other than searching tutorials online and got the professor for help. I hope I could be more involved in the UE construction part and continue learning the skills of actually building games in VR. Although I learned how to whitebox and how to apply sould and lighting, I wish I could further improve my skills at building more complex interactions in VR.

As we started a little too ambitious considering the limited time we have, we didn’t really finish all we plan to do. At the very last period we realized that using widget to display our storyline and the decisions are way more time consuming than we thought. So we changed our original idea of storyline visualization to audio display, but we didn’t have time to figure our the actual decision making. If we had more time, I would take more initiative in figuring out the decision making functions.

Future Improvement

As mentioned in the reflection section, we are still to figure out the decision making function to make it a complete game. But we are quiet happy that we managed to figure out the flashback (level jumping) function. In the future, we would like to:

  1. Complete all three levels of flashbacks
  2. Figure out how to push forward storylines with the use of widget (decision making function)
  3. Try to improve the storytelling function. As we now use audio record to tell the story, we do think visualization will be easier and more engaging for the player. So it would be good to spend some time to program the visualization and make it aesthetic.

Creating Immersive Worlds|FINAL|Asiya and Sara

  1. Updated Design Document: Design-Document-Asiya-and-Sara,
  2. A few screenshots from our world,

  3. A paragraph from each team member detailing (1) your role on the project, (2) what you felt you contributed to the most, and (3) an area you would like to continue learning.
    • Asiya:
      It’s hard to say what my role was exactly since we mostly have done everything together. We both were researching and collecting the assets, both had a fair share of white boxing and editing the scene, creating new textures, placed sounds and played with the lights.  I’d say, the only thing I had to do by myself was recording and editing the audio clip of the poem about Oyster Boy. I also worked on a few blueprints, which we didn’t end up using. In the future, I would love to explore the AI section of UE4 as well as learn as much as I can about possible interactions.
    • Sara:

      Since Asiya and I were only two people in the team we worked together most of the time. We both placed elements in the scene, worked on the lighting and developed the idea from the original Oyster Boy plan to the one we have today. We both created textures and we both placed sounds in the scene.  I built the blueprint of throwing the toys that I am really proud of and I feel like I contributed the most. Oh and the pictures. I used the window frame to make the pictures on the wall. But I would say we didn’t really have specific roles.  In the future, I want to learn how to use more blueprints in order to create more interactive games.

Homework 3- Alexis and Linda



Leaves rustle:



Drums (2sec):

General junge:

Jungle bird:


Stones hit each other:

Stick break:


Three rooms of the Cargo airplane

Room One, outside the plane

Thing may appear onsite:

  1. Sunshine, mostly quiet, with wind blowing and some sounds of engines.
  2. The alarm rings when the plane start moving.
  3. An airport surrounded by mountains.
  4. One military base near the departing track.
  5. A few planes in the hangar.

Interaction in this stage:

  1. Use the tablet provided in the backpack and find the correct plane.
  2. Find the handle near the door and open.
  3. User has to avoid being discovered by the guards.


  1. Tablet has the key tone.
  2. Footsteps.
  3. Open sound of the door.
  4. Sound of the handle.
  5. Alarm from the hanger if discovered.

Transition from room one to room two:

  • Find the plane in the hangar
  • Open the door on the side by pushing the handle
  • Kill the soldiers in the plane


Room 2

Thing may appear onsite:

  1. Outside: a special handle on shell the for the user to open the gate.
  2. Inside: many facilities, one bomb in the middle, two pilot seats.
  3. Very noisy.
  4. Sunlight coming into the windows.
  5. Radios plays the voices of the enemy.
  6. There might also be some soldiers.

Interactions in this stage:

  1. Kill the soldier inside the plane. Take out the pistol by pressing 1.
  2. Turn on the autopilot by press a random button.
  3. Deactivate the bomb with the tool. Press one random button on keyboard to use the tool, like the C4 in CS.


  1. Gunfire sound.
  2. People yelling voice.
  3. A click sound when the bomb is deactivated.
  4. Plane noise.
  5. Terrorists radio.

Transition from room two to room three:

  • Deactivate the bomb
  • Find the parachute chamber and jump.

Room 3

Thing may appear onsite:

  1. A very dark room with no lights in it.
  2. A parachute nearby the gate.

Interactions in this stage: find the parachute, grab it and press the open exist door button.

Sound: open door sound.

HW3: Group project sound map _by Shi Zeng, Ruihan Yang, Sunny Pu

  1. Water: The water flows at the center of the sewer. As long as the player is walking on the aisle (beside the water), he will always hear the sound of the water.
  2. Wind: The player can always hear the wind. But wind sound is lower that the water sound.
  3. The person/player’s footsteps: The sewer is humid and with water. The player’s footsteps indicate that he steps into puddles. The play will hear his footsteps when he moves, and when he stops his footstep sound will also stop.

4. Zombie approaching: Heavy steps with echo. The speed can be slower, or randomized later to create a scary feeling of unknown creature movement.

5. Zombie roar: Play when Zombie approaches. (Loop every a few seconds?) The closer the zombie approaches the player, the louder the roaring is.

6. Gun reload and gunshot: Play when the player shoots.

7. The flashlight switch: Play when the player turn on / off the flashlight.

8. Trigger (?):

Week 3: Design

The level I build is a burning church with the following layout

The level is a two-storey church, with a window to the ceiling and enter the attic.

The first floor will be two rooms. The first room where the player enters will have a burning flame sound effect. There’s a window on the ceiling so that you can reach the second floor. I havn’t build the ladder yet. On the second floor there is an attic where the player can enter after climbing the ladder.

I added HRTF effect to the flame sound effect in the first room. However, I could not find the occlusion customization setting in the editor, so I didn’t add occlusion effect for the sound.

I could not build the project due to the computer I used in the 9th floor lab is not installed with Visual Studio and my account does not have the permission to install visual studio on the computer.

I put my project zip on IMA NAS:


HW3 Individual: Room of Things Make You Wake Up

For this assignment I build a 3-room model where the player can find saxophone, toaster and toilet these 3 things which make huge noise in the morning when someone is trying to stay in the bed for more sleep.

The first room has the sound of a saxophone.

The second room contains a toaster.

The third room contains funny sound of a toilet flushing.

To decorate the floor, I added some materials to 3 pieces of them.

Each object could be grabed and touched.

The link: