Up is Down and Down is Up

The unlimited possibilities of VR turn out to be a problem from me rather than a liberation. As times passes and I have to come up with more and more ideas about VR I am realizing how limited my mental space has become. Although, I have always been on the creative side in writing, coding, creating in any possible way, my brain has become limited by the limited resources that I have (I guess that is just growing up and facing reality does). And now this new VR opportunity presents a mind-bothering issue.

I mentally went through any superpower and magical thing that I can think of and then on my own found them all to be already existent in one video game or another, not necessarily in VR. So, I set out to think of something which would engage more senses in VR and would thus make use of how real it all seems once you put the headset on. Seeing and hearing have been engaged for decades now, movement is engaged in HTC VIVE as well. But I wanted to dig deeper, engage the unseeable – our sense of spacial position and balance.

Readily in my mind came the movie Inception and how by manipulating spacial position the characters were able to do many things. And then into mind came the concept of the impossible staircase.

July 1953

The only way to go through this maze is if you are able to rotate your space according to the position of the next staircase. “Up” and “down” become not something set, but something you have control over. In this manner one becomes more aware of their vestibular sense. In real life almost no one (except of aeronauts and people using fly machines) pays much attention to this sense because special equipment is needed in order to affect it. For us the sky is always up and the Earth is down. However, like everything these concepts are subjective and not set, but for evolutionary purposes we have gotten used to calibrate according to these two big objects that are always in sight.

Thus, a game that makes you break the tradition of up and down can cause some trouble for most people. It is incredibly important for coordination and balance to know which is where, so when this certainty is removed many people might feel sick. But just like any other sense or muscle you have to go through the pain and trouble in order to improve. So, I feel like this has an application in body training and also poses a challenge.

It is also a challenge to make. For the past week I have been trying to create a level of impossible staircases and it is very hard for me to imagine everything in 3D while imagining to change my spatial rotation. Using other softwares like TiltBrush allows me to better imagine how it might look like, but it is still a struggle to open up my mindset to remove the usual concepts of up and down. Which makes me believe even further that having a way to learn it (like in such a game) will bring us closer to unravelling our full human potential.

As a second interaction me and my group discussed scaling of the world, similar to the beginning of Alice in Wonderland. This makes the design of the level even harder; however, it also works very well to present an “out-of-the-box” way of thinking. It is an interaction that again messes with one’s mind-set about position and control over the world that they are in.

Fire All Mighty


My idea behind the creation of my first project for Cardboard had many dimensions – social, humanitarian, and pure joy of creation. I portrayed a calm night in a forest, with a full moon in the distance and peaceful background of night bugs singing. This whole utopia was extended by a not-so-utopian factor – it was all on fire. There were fires burning everywhere around the player, their sounds blazing and covering the peaceful melody of the night. The only possible interaction with the environment was to shoot out more fireballs, thus making the player unable to prevent the disaster from happening, she could only make it worse.

In the social context lays the first interpretation of my project. It is about the literal destruction that humans cause in Nature. It is our involvement that only makes it worse, as we are unable to turn back time and prevent the disaster from happening in the first place.

The second interpretation of my project is a little bit more subtle. I imagined this forest as a mind map of human brain and consciousness with its sulci and gyrus as the terrain, a mountain, on which ideas, trees, grow. When destruction, or depression, or any other mental condition takes over – the fires – often times the individual cannot stop it from happening by rushing to take some action, shooting fireballs in my example, and should stay calm and just take it all in; let it flow through them. To me this is a very important issue, both because of my own recent and not so recent struggles, but also because I have come to realise that many people suffer in their everyday lives because they are not willing to stay calm and let go. I wanted to show this struggle and also give a way out of it – listening to the peaceful sounds, looking around and enjoying what one has. This works in the context of NYUAD because we live in a desert so such forests are not present but they are still highly appreciated by many here.
Of course, it can be interpreted also as the inability for humans to prevent entropy and a metaphor for our ongoing struggle. This is a more dark interpretation, but still a valid one.

Lastly, I enjoy forests and fire, and I wanted to experience it. Virtual reality allows to interact with fire like never before, like a superpower, and to be able to manipulate it in previously impossible ways. It empowers people, which makes them feel good.

On the topic of creation I will now say a few words about the actual code behind the project. For the fires spread around the forest I used a free asset available in Unity Store, which had the fires and their sounds already prepared for me. The background, the terrain, the forests and the moon I made using already existing in Unity options. For the realistic forest sounds I used a free recording from a forest I found online.

Shooting the fire, my interaction, was naturally the hardest one to make. At first I wanted to use the Fire Assets’s options; however, I learned that reading someone else’s code and being able to understand, and use it, is not always the most straightforward thing and I was unable to do it. So, I did what my professor recommend me – “Why not make it yourself?”

Thus, I created a particle system that I connected to the Cardboard trigger with an if function, so that only when you press the trigger it fires. Then I got the position of the player’s view in order to make the particles shoot in the right field of view. Using the position and rotation of the camera I told the particle system to go in that direction with the Instantiate function.

My biggest problem was making the particles move uniformly in the direction in which they were shot, because by default they spread around. In the update function of their script I added a transform.forward function multiplies by the time it takes them to travel, which I could control. Then I used a material and sound effect from the Fire Asset to attach to my particles so that they look like little fireballs.

If I had to work more on this project I would do the following:

  • make the fires in the forest appear gradually for the purpose of player immersion
  • make a single particle when triggering the button
  • make the particle induce fire where it lands – this would be made by checking if there is anything on the way of the particle with a Raycast function and then triggering a fire asset or particle system on a spot, defined by the location of the original particle, when the raycast function returns a small distance 0.4f(for example)