Phase 2 Reflection
With Phase 2 coming to a close, it's a good idea to do a bit of reflection before moving on to Phase 3.
I used Phase 2 to try and wrap my head around the worlds created in different forms of media that use simulation theory as a basis, which I found really helpful. I had a difficulty trying to figure out the motives behind creating a universal-level simulation, but interacting with the relevant media helped me to ascertain different motives, while finding a commonality between each. I found that most forms of media containing these simulations revolves around a specific group 'flying too close to the sun', creating a scenario where a simulation is necessary for recovering/surviving said scenario. The motivations specifically I found were escapism, recovery, grief, control, observation, and problem solving - with each carrying a lot of weight and potential for furthering my ideas and research, which I'm really happy about.
I'm really glad it clicked in me to research dreams, as I completely blanked on it for the first half of phase 2. I'm especially happy since looking into dreams has massively developed the visuals I've got floating around in my head currently - I love the idea of using neural pathways as a visual component, as well as using dreams specifically as a basis for driving a plot.
Whilst I'm very happy with the research I looked into regarding different media, I wish I had more time to develop visual and auditory moodboards. I was only able to touch on them and could not really flesh them out.
So, what should I take forward?
With a large amount of research carried out, I think it's important to spend some time really narrowing down the aspects of said research which I genuinely want to push forward with. This could be from themes to soundscapes.
1. A 'Universal Code'
The Unown and the runes from Norse mythos have been massively inspiring to me due to their incomprehensible nature and portrayal as a language above our understanding - I love the existentialism and cosmic horror that arises from these two concepts and I am incredibly interested in implementing something similar into my game, should it fit appropriately.
2. Darker themes
Each and every step of my research has taken a plunge into darker territory, exploring themes of existentialism, determinism, free will, and apocalyptic scenarios, all of which elicit a gloomy and negative atmosphere that carries a lot of potential weight in terms of worldbuilding and narrative options. I think it's important to play into these themes, as simulation theory intrinsically carries these themes with it should it be a component within media - the futurist and dark feelings it has are packaged innately with it.
3. Body modification (powers and abilities)
Looking into Prey and The Matrix heavily inspired me to look deeper into body modification as a means of 'upgrading' ourselves. I think the concept of body modification ties deeply into the concept of hacking and manipulating a simulation. I feel as though body modification has immense potential when developing mechanics, as well as potential in regards to worldbuilding and narratives. I can easily imagine a world in which hacking ones body is a commodity, causing issues within society.
Reality manipulation has always been a superpower I've loved above all others, so hacking and modifying ties in very well with that.
4. A godly concept
God within the context of simulation theory is difficult to wrap your head around, but I think the concept of a god has a lot of potential here. It wouldn't necessarily have to be an 'absolute' god, but rather someone who simply controls things or manipulates the code so to speak. I really enjoy the concept of someone or something being 'in control' over elements of our universe, and I think it has potential. we_are_dust was heavily inspirational to me in this sense - the final track Particles comes across to me as an encounter between the protagonist and a God, where it entirely flips from a dark sound to one that is emphatic and overwhelmingly emotional, so an emphasis on a spiritual journey could serve as a strong basis for a narrative.
5. A futurist aesthetic
I have been an avid listener of underground bass music for quite some time now, and in recent years there has been a particular surge in the amount of artists adopting the use of a sort of 'neo-futurist' aesthetic, using a lot of biomechanical and UI elements within their work, with a large emphasis on darker, grottier colour schemes. This has been of great inspiration to me, as I feel like this general aesthetic hits very close to some of the ideas I have in my head. I am yet to do much visual research into it, but I'm going to deep-dive different aesthetics in phase 3, so this futurist style is of the most priority to look into.
What's next?
With these five topics/concepts in mind, the next logical step is to spend some time making some loose ideas that try to utilise these topics in different ways. The best way to do this, in my opinion, is to base specific ideas around emphasising each topic specifically. I could develop an idea solely around a futurist aesthetic with an audio-visual experience as a priority, or make a deep, complex narrative with an emphasis on existentialism as a theme. Doing this should help me to figure out which topic inspires the most within me in terms of game design. Since I struggle to work through low-motivation, I need to really focus in on developing an idea that I can foresee myself continually enjoying, not just one that is 'objectively best'.
In terms of research, it will be good to go back over the games I looked into from the perspective of game design this time. Rather than how they utilise simulation to build their worlds, I need to ascertain how different games utilise simulation theory within their gameplay.
At this stage, it is suggested we start looking for links between us and peers since this could assist in making potential teams. If I'm being completely honest, I don't really feel as though working in a team would benefit me in terms of my portfolio. My peers all have great ideas are amazing within their different specialisms, but I feel like my ideas are so deeply personal and unique to myself that I am desperate to realise it individually - I feel like I need to prove to myself that I can realise my ideas and turn them into something that is definitively me. Working with someone else outside of just feedback runs the risk of sacrificing the vision of what is effectively an extension of myself here. I am fully aware we can't operate like this in the industry, but I have the chance to do so here, so, as it stands, I want to go alone.