Frisson | Dev. Notes

Project RE-Laser Dev Log

Frisson is currently in development behind closed doors. It's next major update, along with information on how you back the project to show your suppport is anticipated for Summer, 2025.

2023

HDRP < URP 4FPS = VR

Frisson is switching gears and changing rendering platforms from the high definition render pipeline (HDRP) to the Universal Render Pipeline. There are a considerable amount of differences between the two, especially when it comes to illumination, post processing effects, camera, and features. But the pseudo-formula above only looks as crazy as you may think I am for switching.
Aside from the fake formula above, URP is better for frames per second than HDRP talk, I also just wanna get in-depth with URP, and solidifying knowledge of the pipeline. It's largely on it's way to being considered the standard pipeline for Unity, and is on the roadmap to replace it shortly. And memory optimizations over standard renderer and the reduced resources drain from HDRP means Frisson will run on less powerful devices, and be compatible with untethered virtual reality head mounted displays, and newer mobile phones, meaning more people can play.
HDRP isn't as good for VR compared to URP in terms of Frames Per Second, and on the compatibility side (though the internet will vary on this) HDRP won't work for mobile devices. I'm sure I'll learn more during the process, but it has to do with compute shaders and lighting primarily, them either not being there or not being able to process them adequately.
So the HDRP build for Frisson has wrapped. It earned my "A" a "D"gree and I got to chat with rockstars, build a passion project, coordinate with rockstars and dj's, and stumble sprint and crawl the trial by fire and somehow emerge from the struggle.
Currently, I do not have the ability to develop for iOS. (Though would happily do so, if someone felt inclined to donate an iPhone that has LiDAR.. J/k.. seriously though...:) It's been on my back burner for a bit, so it is still in the realm of possible. The camera and sensor tech for things like facial mapping and real-world environment and 3d object scanning on iPhones far surpasses what is available on Android, and often the apps they share have reduced features and perform worse on droid. It would have made the Day-night Jam I hosted last month produce a much better result, I'm also branching research time into AI-generative storytelling and full web-based 3d interactive environments with mixed media content, so being alble to scan larger environments is becoming necessary.

Dynamic Splash Screen & In-VR Prototyping

I’ve been diving into Meta apps for Rift and Quest 2 to replace a static splash image with an interactive motion scene created entirely with in-VR tools. Gravity Sketch to add depth to the static logo, looped dynamic particle systems, and audio visualization through Particulate, and sound effects with Virtuoso seemed a good starting point.

It’s a lot of tools and files and environments to get even simple scenes together sometimes. Taking a break, I grabbed Dreams off the shelf. The Switch has Mario Maker, PlayStation, and PSVR have Dreams (sadly not PSVR2 compatible), and PC has a nice selection of game creation tools, but what does VR have? Is there an in-VR option for casual gamers to create levels or tell stories with one app?

We have design and single-subject content down, but where are the in-VR development tools?

I’m happy with the preliminary results, though, not everything is compatible with Unity. Workarounds like screen capture would break the interactivity, and while I have other assets available outside of VR, that would defeat the exercise. Thankfully the software itself has a way to remove the drawing patterns of the tools. I reached out the app developer and asked him whether there was an easy way to incorporate the animation points and particles loops into Unity. Though that isn't a current option, it seemed to be an interesting idea.

It took another handful of apps and several recording sessions, but now it's a work in motion and even loops. It's much better than what was placeholding for it and will do until the full interactive version in FrissonVR. New content, authored and updated live.

Main Title Screen Tests

Development of Frisson has changed, taking on URP from HDRP, and a newer version of Unity, to allow for greater device compatibility. Which means VR! Here are some UI/UX designs I made during splash intro and main title screen testing for readability and interactivity. These are running on Quest2 upscaled to 4128x2096 @ 120Hz via Cable and Air Link and native Quest 2 resolution and refresh. Active area, object obscuration during open head tracking, along with player placement and agency for interaction and visual clarity were considered in the compositions. They ranged from open to close, with certain environments maxing out OpenBrush's available particle limit in scenes with low tri-counts.

It's going to be interesting to hit that sweet spot of optimization between airlink and native Quest 2. Especially with the new worlds, enhanced audio visualization, volumetric weather, and vertex displacement targeted in the restored scope. So much fun, though I'm still one guy over here, haha. So feel free to message me with some pointers, and shine a light with some insight, or if you just like these kinds of games.

I reworked the Frisson logo for a more visceral and active appearance. It definitely gives the appearance of motion and danger in a unique way. Since this was made from a 2d image modified from a screenshot of the VR footage, it's final appearance will likely change a bit at some point. That way it will be visible in VR the way it was originally made, and for these intents and purposes, will look much better being a flat image floating in 3d space.

Continued Production

While some will inevitably extend to the realm of stretch goals, restoring the original scope of Frisson has always been at the top of the list. Here are some early concepts of the people, places, and things bringing Frisson to life.

Summer 2021, PAX West

Frisson made its first public appearance at Pax West 2021, simultaneously presenting myself as a game designer/developer and Neon Pomegranate as a game studio. It drew an impressive line of eager attendees and provided another crucial chance to hear what worked, what needed work, and what players wanted to see in a full release.

Greenlit For Production:

Having once again proven its concept, I'll continue to produce Frisson into a full-featured game. Currently, it's anticipated as my first independent title, and the first title shipped in collaboration with Neon Pomegranate. As with anything under development, the gameplay is subject to change, and it's release date is TBD.

Minimum Requirements: Windows PC, Keyboard/Mouse, 1920x1080 resolution.

Some monitor resolutions or aspect ratios may not be supported. If the menus are bugged, please try setting your monitor to 1920x1080.

Post B.A.Sc., Pre-PAX

Assignment: Complete

My solo senior project was submitted on time, but there were still a few weeks until PAX. Next up was polishing small details, and ironing out last-minute bugs. In this build, the most visible changes I made were to the title screen, "Distance" level (background, barriers, spawning), and Neon Pomegranate Logo (So it didn't look like a tomato. I 100% agree, and thanks for the feedback!).

Additionally, we were treated to a showcase panel review and critique by current industry professionals.

Private Industry Critique:

After submissions were finalized, Frisson received a private critique by industry veterans Justin Truman (Bungie) and Forrest Soderlind (Endeavor One, Inc.). Thank you both so much for reviewing our games, and for spending time out of your weekend to provide your feedback directly. It was positively received and delivered solid feedback to improve both its current build, and for building further in the future.

In the time counting down to PAX, we were encouraged to make changes based on the critique, as long as they didn't break anything. I heard back from roughly 10% of the musicians, DJs, composers, and bands I reached out to and was finally able to gather a small group of approved tracks. Getting the thumbs up was great news, though it did come with the level of re-working I expected, and I continued development until the last minute. Literally, loading the audio-approved update to the booth computers as the lights turned up and attendees poured into the exhibition hall. It felt worth it. And it was a nice feeling to present something I could take directly into continued production. For me, in hindsight, it's actual frisson to recall my game being the only title with audible music playing.

Shout out to the bands: Saber, Witchseeker, and Starlight Ritual. You guys are studs!

Frisson, PAX West 2021 (alpha build)

Soundtrack:

"Without Warning" - Saber
"The Riddle Of Steel" - Starlight Ritual
"Be Quick Or Be Dead" - Witchseeker

Spring, 2021

Finding the right music for Frisson become unexpectedly difficult. Synth-wave wasn't translating well to the fast-paced nature of the intended design, and I found myself constantly bored and uninspired to race for survival while listening to royalty-free retro tracks. There were also licensing rights and permissions issues to consider if using commercial audio. Slower audio gave me a chance to better understand object spawning, and time to design interactivity to audio, but this method of design means re-working content if I am not able to use audio outside of for educational use. For a game with audio-visualized stages, having an awesome soundtrack was a must. I had the audio visualizer working, and found myself creating levels using the song's tonalities to determine the color palette and visuals. Its tempo or story structure guided the instantiation of object spawning groups, and test run after run helped me feel balance. I wanted to avoid substituting edge for effects and to ensure an overall high-speed nature to Frisson. With an infinite horizon mode on the roadmap, I need to find a way to automate these in real-time with a player's own device or custom playlist, but this would work for now.

Thinking it is better to avoid licensing restrictions sooner rather than later, I began reaching out on social media to artists of interest. It was a good opportunity to branch out of the 100% dedication to retro synth-wave, and into other genres. Filling out a soundtrack without excessive cost, and without legal issues, will likely continue to be a struggle. On that note, I've opened up audio submissions for anyone with a track to contribute for recognition in the credits and the potential to be heard in greater volume. Though as it sits, the project is still being developed for educational use, and is not for sale, so the current track list is:

Frisson Soundtrack:

"For The People" - Juche
"Find Your Way" - David Guetta feat. Sia, Senkya Re-mix
"Be Quick Or Be Dead" - Witchseeker

The next build was the final project submission for the quarter. I tied the title screen UI and gameplay loop together visually by adding neon rails and a particle system I created which also served to keep the screen in motion so it didn't get stale.

Feedback from player testing let me know there was too much bloom, causing uncertainty on the barrier location and hit detection. Hit detection was off, so I corrected a couple of prefab triggers and reduced the bloom.

Experiments with alternatives to ship and barrier dimensions, as well as mouse clicking for movement were great. Tiny barriers were shelved along with player sway and barrier directional change until all primary features are complete. Mouse click movement was disabled, though touch support is available and a mobile build is in the original scope.

Dev Notes: This build is closest to the version that received the industry critique, though prior to visual and gameplay changes from the panel version. The largest changes were to the "Distance: Spacious Solar Eclipse" stage, specifically the side barriers destroying the player, and a safe space hugging from spawning patterns toward the right most barrier, as well as the inclusion of sun haze and a color change to the grid and planets below. This also contains previously unreleased music tracks, as well as one stage "Hypercolor: And Flashing Lights" that was not shown at PAX. It also incorrectly attributes the song Find your Way. It should read: "Find Your Way" - David Guetta feat. Sia, Senkya Re-mix.

Winter, 2020

Early VR Build

Re-Laser re-branded Frisson

Frisson:

"Also known as aesthetic chills or psychogenic shivers is a psychophysiological response to rewarding stimuli (including music, films, stories, and rituals) that often induces a pleasurable or otherwise positively-valenced affective state and transient paresthesia (skin tingling or chills), sometimes along with piloerection (goose bumps) and mydriasis (pupil dilation)."

~Wikipedia

Leaving the primary concept stage and entering production, the title Frisson found shape, and the project was rebranded. I also began learning the More Mountains Infinite Runner Engine instead of coding everything manually by hand. It helped free up much-needed time, is built on the Corgi Engine which is popular in the industry, and is extendable for adding new features and game modes.

Fall, 2020

Project Re-Laser

About:

The first questions asked were: What is the game called, what kind of game is it, what is it similar to, what inspired you, what audience is the game for, what art style does it have, what kind of market is that, how much will you charge for it (if any).

The title will have a cyberpunk aesthetic with high contrast color and lots of neon elements. The approach will be low poly. The goal is to beat your record for how long you are able to drive without being destroyed. Elements of the environment will come into play and cause hazards as the stage progresses and the player reaches new distances. The controls will be simple, left and right, with possible power-ups like extra lives or ways to avoid damage.

With the low poly aesthetic, it will be possible to port the game to any device. There is definitely a market for infinite runners/driving games and the cyber/neon/80’s themes are very popular now. I see this game being something that can be picked up and put down. It won’t involve a lot of time investment and will be entertaining. The mechanics of driving and relating well to a cool car/fast environment with randomly generating terrain is admirable. I would price the title for crowd backing, and the content will be for all ages.

Racing inspiration comes from San Francisco Rush, F-Zero, Rad Racer, and Race the Sun. Simple, fast, colorful, and easily adoptable are the gameplay pillars to hit.

Assignment: B.A.Sc. Senior Project:

Working alone or with a group, create the vertical slice of an interactive 2D/3D/AR or VR game suitable for presentation at PAX2021. The timeframe for completion spanned the three consecutive quarters of senior year. The submission deadline was set for the final week of class as a completion requirement for Lake Washington Institute of Technology's "Digital Gaming and Interactive Media" B.A.Sc. undergraduate program.

Solo Development:

Created through solo development, I opted out of team projects in order to create a game with a pacing and aesthetic that I actually wanted to play. This placed me solely responsible to make a playable PAX-ready demo, under the same production schedule and deadline as the groups. Thankfully, the exponential spike in difficulty came with the added benefit of reviewing and refining skills covering the entire process of functional prototype creation. I brought Frisson to live through several rebrands and iterations and presented it publicly for the first time at PAX West 2021.

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