Prompt 5: Traversing throughout the game deep feels very important to the player. Because it feels like the movement is slow and fragmented, it makes the player feel alone and stranded. This feeling is important to create the eerie and alone tone of the game. The game starts out very bright and vibrant, but quickly changes once random creatures are seen within the depths of the water. Because I didn’t know what those creatures were, I felt scared going forward. However, I wouldn’t feel this tone at all if I were to choose the other ending of the game. This adds to the amount of control the player has when traversing this game. The player has the option to move around the entire screen, so they have a sense of exploration when going through each part of the infested sea. If the player doesn’t take the “light” ending and continues deeper into the water, there are some creatures the player can interact with as well. I think with the ability to explore by swimming and interact with many different objects, the player has many different options to play. I attempted to leave the game from the platform I came in on, and I was not able to until I collected 6 orbs. I also tried moving up a room on the far sides of the screen, and I was unable to. I thought this would be possible because the upcoming room was the same size and layout. Otherwise, this game gives many unique options for interacting with the environment and objects within it.
Deep: Prompt 3: Describe how the rooms are organized.
In Deep, the rooms are organized in such a way that makes the game somewhat of a vertical-scroller (a play on the words “side-scroller” which defines horizontal, left-right, mostly 2D games). In order to do this, each room is somewhat of a similar layout with a background of water and vegetation lining both the left and right sides of the screen. This lining along with the open spaces both on the top and bottom of most rooms, (besides the beginning and ending rooms), allow the player to understand that the exit is either going upward or downward. Some of these open ocean spaces contain vegetation close by, but their exit would be implied by previous rooms that contain more open spaces. The transition that occurs when the player exits a room is the same with the player advancing vertically upward or downward one space and the camera on the player staying on and sliding from one room to the next. This one space advancement seems to be because of the long progression to the bottom of the ocean which is somewhat realistic with the true depth of real oceans. These rooms are also organized by depth, which is alluded to by the color of the ocean in later rooms continually getting darker. Along with getting darker, later rooms are much more open with a lack of vegetation and include more sea creatures. The conversation where the final exit occurs after is instantiated by the player walking vertically upward into the large creature in the last room, overall mimicking the vertical exits of prior rooms which allows the player to easily understand how to talk to the creature. Altogether, the organization of this game’s rooms allow the player to conclude movement and progression, and combined with the one space jumps between exits and a consistent camera without fading during transitions, understand that this game is trying to simulate the downward, vertical progression into the deep depths of the ocean.
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Prompt 5: Traversing throughout the game deep feels very important to the player. Because it feels like the movement is slow and fragmented, it makes the player feel alone and stranded. This feeling is important to create the eerie and alone tone of the game. The game starts out very bright and vibrant, but quickly changes once random creatures are seen within the depths of the water. Because I didn’t know what those creatures were, I felt scared going forward. However, I wouldn’t feel this tone at all if I were to choose the other ending of the game. This adds to the amount of control the player has when traversing this game. The player has the option to move around the entire screen, so they have a sense of exploration when going through each part of the infested sea. If the player doesn’t take the “light” ending and continues deeper into the water, there are some creatures the player can interact with as well. I think with the ability to explore by swimming and interact with many different objects, the player has many different options to play. I attempted to leave the game from the platform I came in on, and I was not able to until I collected 6 orbs. I also tried moving up a room on the far sides of the screen, and I was unable to. I thought this would be possible because the upcoming room was the same size and layout. Otherwise, this game gives many unique options for interacting with the environment and objects within it.
Deep: Prompt 3: Describe how the rooms are organized.
In Deep, the rooms are organized in such a way that makes the game somewhat of a vertical-scroller (a play on the words “side-scroller” which defines horizontal, left-right, mostly 2D games). In order to do this, each room is somewhat of a similar layout with a background of water and vegetation lining both the left and right sides of the screen. This lining along with the open spaces both on the top and bottom of most rooms, (besides the beginning and ending rooms), allow the player to understand that the exit is either going upward or downward. Some of these open ocean spaces contain vegetation close by, but their exit would be implied by previous rooms that contain more open spaces. The transition that occurs when the player exits a room is the same with the player advancing vertically upward or downward one space and the camera on the player staying on and sliding from one room to the next. This one space advancement seems to be because of the long progression to the bottom of the ocean which is somewhat realistic with the true depth of real oceans. These rooms are also organized by depth, which is alluded to by the color of the ocean in later rooms continually getting darker. Along with getting darker, later rooms are much more open with a lack of vegetation and include more sea creatures. The conversation where the final exit occurs after is instantiated by the player walking vertically upward into the large creature in the last room, overall mimicking the vertical exits of prior rooms which allows the player to easily understand how to talk to the creature. Altogether, the organization of this game’s rooms allow the player to conclude movement and progression, and combined with the one space jumps between exits and a consistent camera without fading during transitions, understand that this game is trying to simulate the downward, vertical progression into the deep depths of the ocean.