Dan is a Creative Director at 草莓视频在线 with over 25 years of experience in the games industry. He鈥檚 worked on a wide range of AAA games, including Hitman, Deus Ex, Tomb Raider and more! In 2015, he founded Thunderbox Entertainment 鈥� pioneering AR and VR technology for tabletop gaming 鈥� before moving on to direct the critically acclaimed,  telekinetic shooter for PlayStation VR2. At 草莓视频在线, Dan has brought his years of experience, immense talent, and fabulous sense of humor into every project he gets his hands on.

Tell us more about what you do at 草莓视频在线.

Sure! I鈥檓 a Creative Director鈥� which sounds pretty fancy, but basically my job is to help the team unleash their full creative potential on whatever wonderful project they might be working on. This usually consists of listening to their collective ideas and distilling them into a shared vision, before providing executional focus to deliver that vision.

You鈥檝e got quite an impressive CV! What made you decide to pursue a career in this field?

Ever since I was young, I鈥檝e always loved two things: entertaining people and technology. Video games, and other forms of immersive entertainment, are the fusion of both those things, so I kind of just did what I loved and took it from there. I鈥檝e been lucky enough to work on some amazing games鈥� but also some downright awful ones. Fortunately, nobody remembers the bad ones, and they were all phenomenal learning experiences.

A little birdie told us you founded your own company. Tell us a bit about that.

I did! That was a lot of fun. I really love board games, and thought there was a cool opportunity to share that passion with a wider audience by bringing the best of them to mobile platforms, so I started Thunderbox to do just that. We made a few great board game apps before shifting focus to AR, which was super new at the time, and then VR, which landed us a coveted for our VR adaptation of . As far as I know, we鈥檙e the only game dev studio to ever win one. Running your own company is amazing from a creative standpoint, and it forces you to step outside of your comfort zone every day鈥� but it鈥檚 certainly not for the faint of heart!

What鈥檚 your favourite thing to do when you鈥檙e not working? 

Playing with my crazy dog, Matilda. She鈥檚 a rescue from Texas. I call her the Treat Mafia because she鈥檚 very good at shaking down other dog owners for biscuits. She鈥檚 a Blueheel / Coonhound / Greyhound cross 鈥� it鈥檚 like somebody tried to genetically engineer the perfect squirrel-seeking missile.

Aside from that, all the musical projects we鈥檝e done recently at 草莓视频在线 have inspired me to get back into music production, so I spend a lot of time in my studio at home creating melodic Drum & Bass under the moniker . 

What values or principles do you consider non-negotiable in both your personal and professional life?

Honesty, compassion, and respect. I try hard to give those every day (not always successfully), and truly appreciate any reciprocation. A sense of humour doesn鈥檛 hurt either.

How do you approach challenges and setbacks?

Pretty much everything is a challenge on some level or another. If it isn鈥檛, then you鈥檙e probably doing something wrong. Very often, adversity can be the mother of invention, so it鈥檚 good to be challenged.

Setbacks are frustrating, but they happen to everyone, so I think it鈥檚 important to be objective, identify what went wrong, and adjust your approach; that way they become positive learning experiences rather than annoyances.

If you didn鈥檛 have to sleep, what would you do with the extra time?

Well, everyone else would be asleep鈥� and it would be dark鈥� so I鈥檇 probably wander around looking at the stars, whistling quietly to myself. And maybe go for a swim in the sea if it was warm. That or become Batman.

If you could have any other job in the world, what would it be?

Waterslide tester.

What鈥檚 something you think everyone should do at least once in their lives?

I lived in Canada for a decade or so, and I highly recommend moving to a foreign country for at least a year. It gives you a totally different perspective on where you come from on a global scale, as well as a deep appreciation for cultural diversity.

Or get a dog. Dogs are the best.

What has been your proudest/standout moment while working at 草莓视频在线?

Every day is a standout moment. I鈥檓 constantly amazed by the work the teams here at 草莓视频在线 do. Every single day, somebody shows an amazing piece of work: from super-tight level design to a small audio tweak that totally transforms the vibe of an experience, and everything in between. It鈥檚 an honour and a delight to work with such a talented bunch of folks.

Have you ever looked at a shot from a game or movie and thought, 鈥淲ow! That looks amazing, but I鈥檓 not sure why鈥�?  Well, that鈥檚 the power of good composition. 

But what is composition? And what is it that makes one particularly good? 

A great scene relies on several key elements: lighting, color, a compelling subject (maybe even a puppy), and crucially, composition. 

As an artist 鈥� whether you work in traditional painting, 2D, or 3D (for gaming, interactive, or film 鈥� you need to understand what makes an image work. We instinctively react to images, sensing whether they feel happy, scary, or calm. It鈥檚 your job to use those cues intentionally.

Composition is the thoughtful selection and arrangement of all the elements in your scene. Understanding this skill is an essential tool for any creative.

In this article, we鈥檒l discuss the importance of composition and the tools you can use to help you create amazing, memorable images!

What do we want to achieve with composition?

Generally, there are three main things composition is trying to achieve:

Firstly, we can use composition as a tool to control readability. We can guide the viewer鈥檚 eye so they focus on the intended elements or actions. This helps with understanding the image and reduces visual clutter. Even the most compelling subject can be lost in an image that鈥檚 not properly composed.

Secondly, the composition can set the mood. Colors, lines, shapes, and textures can all contribute to the overall emotional tone.

 And lastly, the composition should be interesting. There are countless ways to make a scene more appealing or, if the story calls for it, deliberately ugly, cluttered, or chaotic. Creativity often comes from seizing an opportunity to try something original. Rules can be broken, and the same story can be told in many different ways. Having a strong vision or a unique expression can lead to wonderful, unique work.

Understanding the basic rules of appealing composition is a great starting point. Once we know how to structure an image, we can start breaking those rules to create something truly compelling.

Directing attention

In general, our eyes are drawn to high-value contrast. In this image from the game Ori and the Blind Forest, there鈥檚 a lot of visual clutter going on, but our eye is immediately drawn to the characters in the center. This is done by creating a big difference in value between the character in the foreground and the mountain in the background. 

You can check the values of an image by turning it black and white. In this example, the values of the characters at the front range from almost black to almost full white. This contrast draws our eye to the intended focal point of the image. It communicates to the player that this is the most important thing in the scene. If you鈥檙e looking to recreate the value levels in this image, a great way to reduce the contrast of the background is to add fog.

However, something else to consider is that contrast isn鈥檛 just value; it鈥檚 also impacted by color choices. In the first image, we can see that the background is orange and the foreground blue. These colors are complementary 鈥� they contrast each other strongly.

Another good example of this can be seen in the game Hades.

The first thing that stands out in the above image is the orange monsters and our red main character. They achieve a heavy contrast against the dark, muted green background due to their distinct colors. It's important to note that the main elements are very bright and saturated, while the background is deliberately subdued. Since the most saturated part of an image draws focus, the bright green pillars are intended to guide the viewer's eye.

However, the monsters are also bright, saturated, and a complementary color. On top of that, they move, so they'll draw focus even more than the pillars. The player's first read of this area will therefore be the monsters, the second the pillars, and thirdly, everything else. Paying attention to these visual hierarchies makes for a better player experience, as it gives you control over their focus.

Another simple way to direct focus is brightness. If you want the viewer to look at what鈥檚 on the table in a scene, put a light on it! This immediately feels like something important that the viewer (or player) will want to investigate.

Sometimes a subject can stand out just by its shape, particularly when it feels like it doesn鈥檛 belong in the landscape. Take this machine, for example; it stands out as a threatening presence in a peaceful environment.

Lines are another key composition tool, especially those that point at your subject. We can see in this example from Kena: Bridge of Spirits that there are many lines in this environment. The branches pointing at the center are all functioning as arrows pointing at our figure. It鈥檚 making him look bigger and more menacing.

An object with a sharp point, like the sword in this scene, is a strong tool. It functions similarly to a line by directing the viewer's gaze, but the sharp tip introduces an element of tension and focus that demands attention.

Eyes, faces, and even hands have a similar effect. As human beings, we are very attuned to reading facial expressions and body language. If there鈥檚 something even remotely human in an image, our eyes will be drawn to it, follow its line of sight, and interpret the hand gestures.

An interrupted pattern is a powerful artistic tool. When a sequence is broken by an odd element, it immediately draws our attention. A regular pattern can function almost like a solid surface or background in a scene. Therefore, anything that disrupts this pattern will naturally become the focal point.

Lastly, movement. We all know that movement is relative, so if your subject is moving with a background which is standing still, it will stand out. Alternatively, if the background is moving and your subject is the only thing that鈥檚 not, that works too. We can use all of these things to guide our focus to subjects in our work!

Examples of compositions

Now that we know how to direct focus, it鈥檚 time to start playing with composition to tell our stories and set a mood. There are many tools we can use to achieve this, let's take a look! 

Points

One of the simplest compositions involves reducing the detail in a scene to only one point of interest. The eye is naturally pulled towards this focal element because it stands out as the only visual anchor.

Lines

As mentioned earlier, lines can guide a viewer's eyes to a subject.  Beat Saber, a VR rhythm game, uses concentric lines to keep your attention straight on the center of the action. In VR, you have the option to look in any direction, but because of the way it鈥檚 framed, you鈥檙e hypnotized. 

Different sorts of lines will also affect the mood of an image. For example, in this image from Planet of Lana, we can see how horizontal lines can evoke a feeling of calm and serenity. 

Whereas in this image, there is a stark contrast between the serene horizontal line of the landscape and the diagonal way the aliens are invading. Clearly, they don鈥檛 belong there and disturb the peace.

A more vertical line will look more imposing; it makes the subject look small, like the task ahead is daunting. In the case of this image from The Witcher 4, they鈥檝e played with scale, making the character feel very small compared to the vast cave.

Meanwhile, curved lines can look either elegant or chaotic depending on whether they bend in an organized or disorganized way. The curved lines in the first image create a stressful atmosphere, whereas in contrast, the second image has a calm, clean aesthetic.

Camera angles

Depending on the position of your camera, you can communicate different dynamics. Putting the camera at eye height feels pretty neutral, as though the viewer is on the same wavelength as the character in the scene.

However, when we put the camera lower than the character, suddenly they look imposing and scary; an intimidating presence in the scene.

A high camera angle achieves the opposite effect: it diminishes the subject. This perspective makes the character appear less powerful or physically smaller, suggesting they are humbled, not in control, or in immediate danger. This angle can also create the feeling that the subject is being watched.

Space in the frame

The space where the character is looking is known as the 鈥渓ead room鈥� or the 鈥渓ooking room鈥�. Typically, you want to keep the space in front of a character larger than the space behind. This visually prevents the character from feeling confined, and is the standard approach for simple scenes or conversations because the resulting composition feels natural. It just feels nice.

Doing the opposite feels off, like the character isn鈥檛 really there mentally. It creates tension. This imbalance can be used intentionally to suggest a feeling of unease or mystery.

The space taken up by the subject is called positive space; the rest is negative space. Playing with the amount of space around the subject can give different effects. We feel relatively close to characters that are big in the frame.

In contrast, a larger amount of negative space makes our character feel small, and the world more dominant. This can often help a scene to feel more serene.

Making your character smaller in the frame can also help create an establishing shot. It shows the viewer where they are and what the setting is.

We can also fill the frame by getting really close to our character. It can feel intimate, uncomfortable even, placing us in direct connection with the emotion that the character is experiencing.

The space above a character鈥檚 head is called 鈥渉eadspace鈥�. Typically, it鈥檚 kept to a minimum, but in Mr Robot, it was used to emphasize the character鈥檚 isolation. This creates a feeling of imbalance. Just like dissonance in music makes us crave the resolution of consonance, this kind of framing builds tension and drives the story forward.

In gameplay, your camera options are different. The camera positions are mostly determined by gameplay considerations that usually outweigh the artistic sensibilities, but these techniques can still be used, especially in cutscenes or narrative-driven moments.

Depth

Depth of field is a powerful tool when it comes to composition. In film or photography, depth of field can be adjusted by changing the aperture on your camera. Aperture determines how much of the scene stays in focus. In games or other virtual spaces, the same tools are generally available within the renderer or engine you use. 

Adjusting the depth of field can give different effects. Having a narrow depth of field can make the viewer focus on a specific object. For example, in the image below, the depth of field enhances the storytelling by making the viewer focus on the character's phone rather than her face.

On the other hand, a large depth of field can make a scene feel cluttered. In this shot, we see a woman blending into the pet shop, which works narratively, but it can be visually overwhelming.

Another reason to use a large depth of field can be to show the scale of a city or an army. Allowing the viewer to see the large scale of something can create a sense of awe or intimidation, depending on the narrative need! 

Something to note is that establishing shots often have a large depth of field, while the shots with the actual action have a narrower depth of field.

Another fundamental way to enhance visual depth is to establish clear foreground, midground, and background layers within a shot. Giving viewers these distinct layers to explore makes the image feel more dimensional. Generally, a shot with this layered structure will be more visually engaging than one presenting a single, flat layer.

However, sometimes a director will intentionally create an entirely flat set, which gives a very interesting, distinct feel. This demonstrates that there's more than one way to make an image compelling. What works beautifully for one project may not work for another, and seeing that wide variety of creative possibilities is what makes the whole process so engaging.

Overlaying grids

The Fibonacci spiral

Mathematically, the Fibonacci spiral is constructed using squares with side lengths corresponding to the numbers in the (0, 1, 1, 2, 3, 5, 8, ...), where each number is the sum of the two preceding ones. A quarter-circle arc is drawn within each successive square, connecting its corners to form a continuous spiral that expands outwards. The Fibonacci sequence approaches the golden ratio as the numbers increase.

In nature, this is the most efficient way to arrange seeds or petals, which is why we see spirals in things like sunflower heads. Once you start looking, you鈥檒l spot the spiral everywhere!

It turns out our eyes like to follow this direction. It feels pleasing 鈥� dynamic, yet orderly.  For a very long time, the Fibonacci spiral and the golden ratio have been considered aesthetically pleasing and harmonious. 

Leonardo Da Vinci, for example, used them heavily. He even wrote a book, , discussing the golden ratio, its beauty, and its philosophical implications.

The Fibonacci spiral is still used today; people use it as a guide to align elements to create pleasing images, even in games.

Most of the time, it鈥檚 simplified into the rule of thirds, which can be easily applied when photographing, filming, or composing. You just need to align the most important element of the image with one of the guides.

Another tool is a dynamic symmetry grid. Aligning certain elements with its lines and intersection points on the grid can make a complex composition feel balanced, structured, and visually appealing.

There鈥檚 also the golden triangle, which is based on the golden ratio. It helps with diagonal compositions.

Frames within frames

Another way to add emphasis to an element within your shot is to use a frame within a frame. Here we can see the character framed by the magical spheres, making her appear grand and epic.

This can also be a handy tool for more than just characters. For example, in this image, the window acts as a frame for the statue. It feels orderly, provides a nice rim light, and makes the silhouette stand out clearly.

In this example, the character in the distance is framed by the walls of the tunnel. The light pooling behind her is making her silhouette stand out very clearly, giving the player narrative direction. She would probably be invisible or quite obstructed if she were positioned anywhere else. Element placement in scenes is very important to take into account!

Adding texture

When done correctly, texture added to an image can evoke other senses. For example, a skilled classical painter can make fabric look so real that we almost know what it would be like to touch it. We all know the sensation of grass slipping through our fingers, splashing in a puddle, or feeling the warmth of a campfire. Seeing images of these experiences can unconsciously bring back memories of when we felt them ourselves, creating a more engaging and immersive experience.

The trailer of the 4th Witcher game starts with a series of images just like this, evoking a range of feelings. First flowers floating in water; we can picture how these would feel to touch, can imagine the cool water.

Then a man sitting by the glow of a campfire, feeling it with his hand. Most people will have sat by a fire at least once in their lives, and have felt that same warmth.

And then a lady being washed. We can imagine the softness and warmth of the cloth; perhaps also a chill in the air.

Meanwhile, we hear the sounds of water and a crackling fire. These textures bring us into the world, give us a sense of what it would be like to be there in the room. It鈥檚 a subtle way of worldbuilding that doesn鈥檛 require any words. Texture can be just visual, but it鈥檚 even better when it鈥檚 accompanied by excellent sound design.

Cyberpunk 2077 uses texture but in a techy, futuristic, and psychedelic way. It similarly sells you on the world, even though elements of it are not relatable. We can still get a better sense of what it would be like to experience it. 

This establishing shot immediately conveys how grimy, smelly, polluted and overextended the world is. It doesn鈥檛 just tell you the city has a polluted junkyard 鈥� it shows it, with rich textures that give you a sense of what it feels and smells like, just from looking.

Here we see a completely different side of the city 鈥� way more glamorous. Water adds a strong textural element, feeling cool and fresh. Combined with that crisp sunrise over the city skyline, it creates a beautiful scene that emphasizes the feeling of a cold morning.

In this image, we can see what happens when our character is damaged: a red overlay appears, as if the tech in his head is glitching. Using an overlay like this for a first-person character isn鈥檛 new, but it鈥檚 an effective, immersive way to signal that the player is close to dying. It mimics the loss of vision someone might get from a serious hit. Here, the glitch fits perfectly with the game鈥檚 cyberpunk aesthetic. By establishing a clear setting and reinforcing it with textures wherever possible, you give your game a distinct, recognizable feel 鈥� even in a single frame.

This shot from the trailer feels simultaneously like an old-school computer glitch and a psychedelic experience. It鈥檚 a great example of a distinctive, textured effect that perfectly suits the game鈥檚 setting.

Texture doesn鈥檛 always have to be realistic or something we have felt before. In some cases, you can get away with creating a completely new style of textures, and people still relate to it. Minecraft is a great example of this 鈥� you can almost touch it, like it鈥檚 made of LEGO. Every block has a sound effect, and it has such a distinct feeling. Because of this, it has become completely iconic and timeless.

A big amplifier of texture is lighting. It sets the tone 鈥� selling a scene as a cold, wet morning, or a hot summer day 鈥� and it makes highlights sparkle. It brings out the lushness in foliage and the shapes of your landscape.

Things like lens flares, mist, god rays and particles can add texture 鈥� layers of interest and shine 鈥� to your images in subtle ways. If you imagine the following image without the light filtering through the waves, without the godrays and particles, it would be a dryer, less impressive image.

Lens effects, like bokeh and bloom, will also help you get to where you need to be. In this case, the horizontal flare is a lens effect, and the eyes are super bloomy as well. Bloom is a post-processing effect that adds a bright, hazy glow around a light source, creating drama and intensity that wouldn鈥檛 otherwise be there.

Bokeh is what happens when you use a narrow depth of field and the blurry background light begins to form shapes and blurs together in an aesthetic way. It's not just the blur itself, but the pleasing, soft, and often circular quality that makes a subject stand out. Good bokeh can dissolve distracting clutter, add emotional depth, and transform out-of-focus lights into attractive, creamy tones or glowing highlights. 

As long as photography has existed, people have tried doing all sorts of things to achieve cool effects. They put different kinds of filters on their lenses, they hold up prisms or glass cups and photograph through them. They add a shape to the lens to create a distinct shape in the bokeh. Sometimes people apply Vaseline to a filter to place it on the lens, this gives a soft, dreamy effect. 

People like collecting old, strange cameras that produce fun and unexpected images. Others prefer to shoot on film and use techniques to alter the results at the developing stages. There are loads of possibilities, yielding unique and sometimes very beautiful-looking results. The true fun lies in the unpredictability of the final image.

Director Bertrand Mandico, who likes to be experimental with his imagery in his films, used a variety of filters on his cameras in his film, 鈥溾��. He doesn鈥檛 like to rely on post-production, so he worked together with his director of photography, Pascale Granel, to create these dreamy-looking images straight out of the camera, giving their movie a distinct look and texture.

When we look at digital art created in a game engine, lens effects can be mimicked by post-processing effects. They are usually used in moderation because they can interfere with the playing experience. That doesn鈥檛 mean that experimental games don鈥檛 exist. Dujanah, for example, is a strange-looking Claymation game that has incredible texture and personality.

鈥淟ens effects鈥� or post-processing effects that look like lens effects sometimes get used in mainstream games. Here, Geralt from The Witcher has drunk a little too much. As a result, he waddles around, and the player has to squint through an intense-looking scene.

Finally, we come to patterns and texture. Patterns are visually satisfying and very recognizable.  A great example is Stardew Valley, where part of the fun in designing your farm is creating these visual patterns with your crops. The designers used tiling textures for elements like paths and ground, which creates a very cohesive and pleasing aesthetic throughout the game world.

There are countless ways to add texture to your experience, and it鈥檚 a good idea to keep an eye out for opportunities to enhance it. It just makes for a better, more immersive and memorable experience.

Going for the unexpected

Oftentimes, being creative and doing something weird is just more fun! It surprises the viewer and keeps them on their toes. 

In this case, they could have just filmed the shooter, but showing him reflected in the glasses is a far cooler shot. This choice is highly impactful as it implies we are seeing the last image the victim saw before the bullet hit.

Another example of a creative shot comes from Arcane, where the main character is talking to herself in a broken mirror during a psychotic episode. The fractured mirror immediately sold us on her broken state of mind. The symbolism was lost on no one. It's creative, looks compelling, has great texture, and, most importantly, drives the story forward.

It was also interesting to see the motif come back in a slightly different form with another character.

To conclude鈥�

There are countless ways to craft a compelling composition, with plenty of tricks you can mix and match to tell your own creative stories. In general, it鈥檚 a good idea to be mindful and take a moment to consider how you place your elements and what you add to them. Do the main elements stand out? Are they arranged harmoniously? Could more texture enhance the scene, or bring it closer to the overall mood? Or maybe there鈥檚 room to do something unexpected!

I hope this article has given you a clearer sense of the building blocks behind great composition 鈥� and some fresh ideas to try in your next project.

Thanks for reading until the end!

Alessio is a talented software engineer in love with new technologies, innovation, and research. He moved from Italy to the UK in 2015 to complete his PHD at the University of Hertfordshire, then joined 草莓视频在线 in 2021. He has been with us for four years now, and continues to wow the team every day with his skills, especially when it comes to Gaussian Splats! 

Tell us about your journey and how you got into software engineering! 

Well, I started using computers for 3D animations and writing code from a very young age, and my passion just never extinguished! 

I studied computer science and graduated from Universit脿 di Catania in Italy. During my time there, I competed worldwide at Microsoft鈥檚 Imagine Cup in 2013 with my Italian team, 鈥淭eamNameException鈥�. We even won first place!

In 2015, I  moved from Sicily to the UK to study at the University of Hertfordshire. That鈥檚 where I completed my PhD and published my thesis on 鈥�.

After my PhD, I joined , a company specializing in real-time camera tracking for films and live events. There, I expanded my skills in C++ and Unreal Engine while working on challenging AR pipelines to previsualize movies and live events 鈥� including the !

In 2021, I joined REWIND (now 草莓视频在线), and the journey has been incredible ever since.

What was it that attracted you to 草莓视频在线?

I originally joined REWIND before it was acquired by 草莓视频在线. I was fascinated by the talent in the company and its great portfolio of VR and AR experiences. As mentioned, I have always been passionate about XR throughout my career journey, and joining REWIND felt like a natural continuation of that passion.

Since REWIND became 草莓视频在线, I鈥檝e been even more excited to see how much bigger our reality has become, with colleagues in both the UK and the USA, and with many global projects, ranging from virtual production to XR apps and games.

The culture and the friendly, knowledgeable people that make up our teams are unbeatable. We have lots of opportunities to mentor others and be mentored ourselves. This not only sharpens our skills but also makes learning a key driving force behind our powerful team. I am honored to be part of it!

Tell us more about your current role at 草莓视频在线!

Currently, I am working on our OKO platform as a Senior Specialist Engineer, jumping between Unity and Unreal to improve our implementation and add new features. The fun part for me is to study and integrate brand-new, cutting-edge technologies into our products, especially in the field of digital twins, XR, and radiance fields.

What has been your proudest/standout moment while working with us?

One of my proudest moments has been the success of our core product, OKO, after all the efforts my colleagues and I have put into it. While working on OKO, I got the opportunity to study and integrate new technologies (such as Gaussian Splats), work with a range of different platforms, and expand my knowledge and skills in the process.

Making the Gaussian Splat viewer from scratch for our OKO Unreal plugin and OKO Unity implementation has definitely been another fantastic personal achievement, together with some recent hackathons and proof of concepts I have been involved with.

Last year, I also got the chance to showcase OKO and our team work on stage at the, which was a very rewarding and exciting experience.

What is the biggest lesson you鈥檝e learnt in your career?

Never stop learning and enjoy knowledge sharing with your colleagues. There is always something new to study, research, and turn into innovative solutions. That mindset fuels my passion for innovation, making it nearly impossible to get bored with my job. Throughout my career, my role has always involved challenging engineering problems, rarely explored by other companies. Instead of seeing them as a burden, I see them as a chance to experiment with new things, making them more fun and entertaining. 

Here at 草莓视频在线, our learning is stimulated even more by the number of mentoring sessions, hackathons, and dedicated R&D spikes that we perform every sprint. I really value this aspect of my career, not only because it keeps me motivated, but also because it gives me the opportunity to create things that haven鈥檛 been explored before by the industry. An important lesson I鈥檝e learned is that a team grows together. By building strong relationships with colleagues, tackling challenging problems collaboratively, and being proactive in the interest of our projects, the whole team thrives 鈥� and everyone鈥檚 success naturally grows along with it.

If you could wake up in the body of another person (just for one day) who would it be and why?

If fictional, I would choose Dr. Emmett Brown from Back To The Future, so that for one day I could have his creative genius mind to make crazy inventions, travel in time, and drive the legendary DeLorean.

If I could choose to go back to the 90s, I would say Steven Spielberg, while shooting the first Jurassic Park 鈥� he is just a master filmmaker, plus I would love to see backstage!

What are you reading/listening to right now?

I recently read . It鈥檚 striking how relevant the themes of surveillance and control still feel today. A recommended read for sure.

Tell us something that would surprise us!

I am almost a pro at playing with the Quest 3! I started during the lockdown, and got quite competitive at it 馃檪. Another thing that might be surprising is that apart from coding, I love making 3D animations! And when I鈥檓 inspired, I publish them on my where I also have some video tutorials and showcase . Recently, I also made an for my hobbyistic 3D modelling journey. It鈥檚 something that relaxes me and helps me to express my creative side.

If you could have a superpower, what would it be?

I鈥檓 torn between choosing teleportation or the ability to know the future. But I鈥檇 probably go with teleportation 鈥� it would save so much time and money, and open doors to places you鈥檇 never normally reach (yes, even bank vaults!). Plus, life鈥檚 more exciting when the future still holds surprises.

What is something you think everyone should do at least once in their lives?

Visit Sicily and have an almond & chocolate granita with a brioche while staring at the sea in Catania; you will not regret it!

Apart from that, make your dreams come true and stop postponing, we only live once 鈥� do not waste it. 馃檪

The Gateway is a 3rd-person, non-linear adventure puzzle platformer for PC, developed at 草莓视频在线 during a project transition. With just three weeks and a five-person team of designers, artists, and producers, the challenge demanded focus, creativity, and seamless collaboration.

Here are the seven strategic decisions that guided our development.

1. Defining core objectives & value early

Working under severe time and resource limits, we had to be clear about what "value" meant for this project. For us, it wasn鈥檛 about long playtime or complex features; it was about clear, expressive core mechanics, memorable level variation, and a strong visual identity. This early clarity became our design compass, guiding every decision.

Before diving into ideas, we clarified what the game absolutely needed to achieve. Our key objectives were defined by a high-level brief: to create a short, impactful game that showcased our team's ability to deliver a polished experience within a tight deadline. The team opted for a puzzle platformer set in a brutalist, post-apocalyptic world.

2. Research, ideate, filter

Armed with this understanding, we explored ideas that excited us and fit within our constraints. Our process relied on brainstorming and comparing successful games within the puzzle-platformer genre to find a middle ground between ambitious art direction and fun game design. This led us to prioritize a core magic system that could be visually distinct across three levels (Fire, Gaia, and Phase) while reusing underlying technical logic, balancing creative ambition with our tight schedule.

3. Leveraging team strengths and understanding constraints

Rather than fighting our constraints, we leaned into what our team was great at. In our case, having only a few engineers meant technically complex systems weren鈥檛 possible. We evaluated our timeframe, team composition, tools, and delivery expectations, then focused on maximizing the game鈥檚 artistic, atmospheric, and gameplay value. This approach gave our designers and artists the freedom to create visually distinct levels with minimal custom coding.

4. Design modular, versatile systems

We multiplied gameplay possibilities without multiplying work. A single mechanic used in multiple contexts (puzzles, traversal, challenges) can feel fresh each time, especially when changing the aesthetic context when the system is re-used. 

For The Gateway, we developed a core mechanic that uses magic to trigger various interactive puzzle components. We split the gameplay possibilities across three differently themed levels while using the same underlying mechanic. Splitting the gameplay content in this way allows the player to feel like they are experiencing greater diversity while using familiar inputs. More on this here.

5. Strategic progress tracking & agile pivoting

We maintained constant vigilance over our progress compared to the ambitious three-week scope. Daily stand-ups and frequent internal playtests allowed us to quickly identify any areas falling behind or exceeding expectations. Our modular foundation, established in pre-production, proved invaluable here; it allowed us to be "pivot-ready." For example, if a particular puzzle iteration proved too technically demanding or time-consuming, we could quickly re-scope it or swap in a simpler, pre-tested modular element without disrupting the entire level's progression. This agility ensured we could make informed scope changes midway through development with minimal disruption, guaranteeing a shippable, polished experience within our tight deadline.

We saved time by avoiding design decisions that required significant amounts of custom code for each power, and instead focused on making the interactive elements behave in different ways, which was simpler to develop and had fewer contingencies.

6. Lightweight processes & the importance of communication

Working with a tight deadline meant that time had to be spent very wisely. Early on, we chose to prioritise speed of implementation over deep planning and tracking. While those might have provided stability later, they offered little benefit given our timeframe.

Instead, we kept momentum through fluid and efficient communication. Key information and blockers were shared during our regular standups, while the team chat was used to raise any collaborative requirements throughout the day. Smaller chat groups were created for detailed communications, allowing information and collaboration to flow without disruption. 

This method relied heavily on individual ownership and autonomy: when every team member does their part, micro management isn鈥檛 needed, and efficiency is improved. The key to making this work was trust in each team member鈥檚 ability and clear alignment on objectives throughout the process.

7. Focus on simplicity

When faced with decisions around systemic or puzzle complexity, our ethos was to favour straightforward implementations and build depth through iteration on the base system. This approach enabled us to quickly validate or discard ideas by testing them early in the game engine. Time was saved by avoiding intricate and intertwined systems that might not ultimately deliver a positive player experience. Instead, we focused on what we could get our hands on early and developed those systems further while fully understanding their value within the experience. 

Final thought 

Working under tight constraints was a profound reminder that clarity, alignment, and modularity are not merely desirable traits; they are force multipliers in game development. By meticulously front-loading smart design decisions in pre-production, balancing creative innovation with technical feasibility, and maintaining an agile, pivot-ready approach throughout production, we successfully delivered a rich gaming experience in an intense timeframe that met all our objectives.

By deconstructing and reusing our core mechanics, we not only met our deadline but also delivered an engaging and polished experience. This article outlines the principles we followed. 

First, what is modular design?

Modular design is an approach that breaks down complex systems into smaller, independent components that can be modified, replaced, or exchanged with others. This enables flexibility, scalability, and easier customization of the overall product. It鈥檚 used across engineering, software, and even fashion 鈥� and in game development, it can be a powerful accelerator.

Why does modular design matter in game development?

Game development is an iterative and costly process, with teams constantly experimenting, testing, and refining. Time saved is value gained. A modular approach helps by:

• Enabling quick iteration 鈥� test and refine mechanics rapidly.

• Reducing dependencies 鈥� disciplines can work in parallel without waiting on blockers.

• Improving efficiency 鈥� core systems can scale without adding overhead.

• Validating ideas faster 鈥� fun (or lack thereof) is surfaced quickly.

In The Gateway, this mindset allowed us to pivot, adapt scope, and still hit a tight three-week window with confidence.

How we used modular design on The Gateway

Modular design in ideation and brainstorming: Early on, it was important not to lock ourselves into costly mechanics or systems before validating the core experience. In our brainstorming sessions, we focused on flexible themes and lightweight ideas that could be quickly integrated and tested.

Modular design in creative direction: Modular thinking wasn鈥檛 limited to mechanics 鈥� it shaped our creative decisions too. At a high level, choices around genre, theme, player progression, and world-building were deliberately expandable and modular. This gave us the freedom later on to pivot quickly without derailing the project.

For example, midway through production, we reduced the scope of a planned level with minimal impact while on the fly. Thanks to our modular gameplay and progression systems, we could remove that section without breaking flow or creating rework elsewhere, all while saving time on art, VFX and fine-tuning. This ultimately allowed us to preserve quality while meeting our targets.

Designing for reusability & parallelization: From the outset, we built our mechanics and systems as reusable modules. This approach allowed different disciplines to work in parallel: artists focused on unique assets, engineers refined the core interaction logic, and designers built levels and cinematics 鈥� all without blocking each other. By prioritizing modular workflows, we accelerated content creation, reduced bottlenecks, and kept production efficient across the board.

Modular mechanics for scalable gameplay: At the gameplay level, this philosophy took shape in a unified magic system. A single framework powered all interactions: objects detected projectile hits, validated the type, and triggered logic like scaling, explosions, or activation states. Designers could fine-tune behaviors with exposed variables and prototype new interactions quickly, while the system itself scaled seamlessly across levels and themes. This consolidated approach expanded gameplay variety without increasing development complexity or requiring new code.

Modular design in level building: Our level pipeline mirrored the same philosophy:

• Quick blockouts to validate puzzle flow, pacing and spatial requirements.

• Swift Handoffs to art once initial layouts were proven fun.

• Iterative refinement of puzzles and polish layered on top to increase quality.

• Prioritizing tasks for parallelization to reduce the amount of time spent waiting on dependencies.

While building out levels, it was important to give each discipline as much time as possible to iterate. This meant reaching a Minimum Viable Product (MVP) state as quickly as possible, while co-ordinating areas of ownership to avoid work duplication and focusing on the intended core experience.

This allowed us to test core gameplay early, develop seamlessly, swap or cut sections quickly, and still hand over a stable foundation for art and VFX to iterate on.

Extending gameplay value through smart reuse: Our modular systems were also used to enrich gameplay. We designed levels so the same mechanics could support multiple progression paths, strategies, and playstyles, giving players agency and replayability.

• In Level 1 (Fire), players might discover hidden torch-lit shortcuts, leap across moving platforms, or trigger physics-based bridges.

• In Level 2 (Gaia), they could progress gradually on vine platforms or test precision with bouncy pads. By layering mechanics in different contexts, each space felt distinct and challenging, while players learned through play.

This approach maximized gameplay variety without bespoke content, proving that smart reuse can deepen player experience as much as it streamlines production.

Modular progression systems and onboarding: We also applied modular thinking to progression and tutorials. Rather than building a linear onboarding flow, we designed systems that supported non-linear progression and discovery-based learning. 

Each level included a lobby area where players could test the magic system and puzzle mechanics featured in the upcoming level. Brief explanations were provided via callouts in each lobby, while the basic control scheme was detailed in a collapsible UI. Cinematic cutscenes introduced the playing field, highlighted the player鈥檚 main objectives, and gave positive feedback when reached.

This approach encouraged exploration and discovery while eliminating the need to account for endless edge cases in player behaviour. Even if a player broke sequence or explored differently, the system still worked. By keeping onboarding modular, we reduced overhead, empowered players with agency, and freed the team to focus on delivering polished mechanics and content.

Final thought

Modular design gave us the agility to build The Gateway in just three weeks without sacrificing much scope or polish. From core mechanics to creative direction, level design to onboarding, the philosophy of modularity created flexibility, enabled parallel work, and let us validate the fun quickly.

For game developers, the takeaway is clear: by breaking your systems into modular, reusable parts, you can move faster, cut waste, and ship ambitious ideas under real-world constraints.

Soojin is a product designer at 草莓视频在线, seamlessly blending design and user experience across our studio and product divisions. Having previously worked in HR, she pivoted to a career in design after discovering a passion for impactful user experiences. Soojin鈥檚 mostly worked in startups, which she really enjoys because of the fast-paced and hands-on nature!

Tell us more about what you do at 草莓视频在线.

I鈥檓 a product designer, and my job is super awesome. I collaborate with a bunch of different teams, dig into the challenges people have for mobile/web/VR/MR, brainstorm ideas, research a ton, and then bring solutions to life through design. I love that I get to be creative in solving all kinds of problems! 

You pivoted from a career in HR to a career in Product Design 鈥� tell us more! 

I spent several years navigating the dynamic world of HR, primarily in fast-paced, start-up environments. While I鈥檝e always had a creative side, it was actually my hands-on experience with HR tools that piqued my interest in design and led me to pivot my career.

As the sole HR person in several companies, I was the primary administrator for many HR tools. I was constantly evaluating, researching, implementing, and training people on various tools and championing different HR solutions. This gave me a really close look at product and user experience from every angle: the good, the bad, and the frustrating. I saw how different people perceived products and how companies solved the same problems with different approaches.

It was fascinating to see the 鈥榳hy鈥� and 鈥榟ow鈥� behind product decisions and what made people feel frustrated when using these tools. I wanted to learn more about it 鈥� actually ALL about it! So I took an introductory UX design course and fell in love, then immersed myself in a full UX/UI design boot camp. 

Now, as a product designer, I'm thrilled to bring that same problem-solving drive and user advocacy to creating truly impactful user experiences. It鈥檚 so cool that I get to do this for work! 

Were there any skills you picked up from working in HR that help you now in your role as Product Designer?

100%! I see my time in HR as an incredibly effective and eye-opening training ground. It broadened my perspectives, deepened my empathy skills, all while honing my core strengths 鈥� thorough research, data analysis, and providing unique insights into product POVs from various user angles. On top of that, it strengthened my flexibility and ability to collaborate effectively with a wide range of teams. 

What has been your proudest/standout moment while working at 草莓视频在线?

Honestly, my proudest moment was committing to my career change. Not just thinking about it, but actually DOING IT! After years in one field, it took a huge amount of mental effort and courage to make that leap. I wrestled with constant second-guessing, fear of regret, imposter syndrome, and wondering if I was making the right decision. There was a lot of uncertainty. But my family, friends, and the 草莓视频在线 team all had my back, and that support gave me the confidence and empowerment to keep going and overcome those fears. And now I鈥檓 writing this as a product designer talking about how much I love it!

Is there an app or tool that you couldn鈥檛 do your job without? (Forget Slack and emails!)

Google Notes and Miro! I鈥檓 a note-taker and a visual person, so these two are my everyday buddies. They help me organize my thoughts and communicate effectively with my teams.

Also, screenshots and screen recordings are great! Having visual references helps me stay focused.

How do you want to leave a mark on the world 鈥� personally or professionally?

One of my life mottos is: Be a learning sponge, and don鈥檛 be afraid to be seen trying. I believe there are learning opportunities in everything we do, and embracing the 鈥渟ponge鈥� mindset can help us soak up those moments. 

This process naturally takes practice; trying new things, learning new things, and getting out of my comfort zone can feel scary. But over the years, I鈥檝e learned that failures are okay too, and the greatest missed opportunity is not trying at all. It鈥檚 totally normal to feel and look awkward when trying something new, making mistakes, or being vulnerable. It doesn鈥檛 have to be perfect. So just go do the thing you want to do! And don鈥檛 be afraid to be seen trying, because the process matters too.

What鈥檚 your favourite thing to do when you鈥檙e not working? 

Spending quality time with Harper, our 7-month-old puppy! Harper is so special to us. Back in January, during the wildfires in LA, my husband and I decided to open our home to a dog in need by fostering. We submitted several foster applications, but most of the dogs required a backyard, which we didn鈥檛 have. Then came Harper! She was a stray puppy (about eight weeks old, just three pounds), rescued by Dogs Without Borders. The day they rescued her, they texted us to see if we鈥檇 be interested in fostering her. We said yes and picked her up the next day. After two weeks, we officially 鈥渇oster-failed鈥� (a term used to describe when someone intends to temporarily foster a dog but ends up falling in love and adopting them instead)! Harper is extra special to us because we didn鈥檛 choose her. It felt more like we were meant to find each other and become a family. Now, we spend a lot of quality time together, exploring new places, showering her with endless love, and making sure she gets all the treats she deserves!

If you were on a game show, what would be your specialist subject?

Describing how perfumes smell! I love perfumes, and when I smell one, the scents come to me in distinct layers and shapes. For a perfume to win my heart, I need to love EVERY aspect of it. Some scents feel round, others like a cylinder, some are sharp, while others are soft. I also find it really interesting how the same perfume can smell differently on different people and how people perceive it uniquely. I just love the versatility and fun of it all! 

What are you reading/listening to right now?

My reading streak is currently on vacation, but there is one book that I often think about:. It鈥檚 a short story (<60 pages) about an impossible connection across two centuries. It鈥檚 a quick read that left a lasting impression, and if you鈥檙e into time travel like me, I recommend it even more.

If you could have any other job in the world, what would it be?

A pilot. In another universe, I think I would have loved being a pilot.

Where is one place you want to travel to in the world?

I鈥檇 love to visit where I grew up in Korea. I have vivid memories of specific alleys and stores, and I鈥檓 curious to see how much it has changed over the years.

What is your go-to comfort dinner?

Jjamppong (Korean spicy noodle soup with seafood, pork, and vegetables). It鈥檚 my FAVORITE food, and it makes me SO happy. If you like spicy food, seafood, and noodles, I鈥檓 100% sure it鈥檒l make you happy too!

Much like our smartphones, Unreal Engine automates exposure to take care of the heavy lifting behind the scenes of virtual worlds. While this can be convenient, it can present challenges when dialing in values for key lighting components and working on multiple projects with different setups. This is why photographers often prefer to shoot in manual mode, setting their aperture, shutter speed and ISO to get predictable exposure (EV) for any given situation.

In this article, we鈥檒l explore how to take a similar hands-on approach to lighting in Unreal Engine 5. We鈥檒l look into setting up a Physically Based Lighting (PBL) workflow, understand how exposure is measured, and configure real-world values for directional light and post-process volumes. We鈥檒l also dive into tone-mapping and local exposure to mimic a similar editing workflow to that of a photograph in Lightroom. 

What is Physically Based Lighting, and why use it?

PBL refers to using real-world, measurable values and units for lighting, such as lux and lumens, to more accurately simulate light sources like the sun, a lamp, or a candle. This allows us to light more predictably with consistent results, similar to being on a film set or production shoot, ultimately removing a lot of the guesswork from the process.

To fully grasp Physically Based Lighting, it's essential to understand some key terms:

• Lumen (lm): This unit measures the total amount of visible light emitted by a source. The higher lumen value means a brighter light source. A 100W incandescent bulb emits about 1600 lumens. 

• Lux (lux): While lumens measure the light emitted by a source, lux measures the illuminance on a surface. In simpler terms, it's the amount of light falling on a specific area. One lux is equal to one lumen per square meter. 
  Due to the sheer intensity of the Sun, its value in lumens would roughly be 3.9 x 10^28. This is why it鈥檚 far more practical to measure its value in lux to describe how bright a surface area is 鈥� something that can vary depending on whether it鈥檚 a sunny or cloudy day 鈥� rather than trying to express the sun鈥檚 total power.

• Candelas (cd): Measures the light emitted by a source in a particular direction. Unlike lumens, which measure total light output, candelas focus on the intensity of light within a specific solid angle. This is particularly relevant for spotlights.

• EV100: A standardized exposure value to match real-world lighting and photography principles. It鈥檚 the combination of aperture, shutter speed and ISO 100, allowing us to measure the brightness of a scene in the same way a camera would.

Example of auto-exposure

Below is an example of Unreal Engine鈥檚 auto-exposure. On the left, the directional light is set to 10 lux and on the right 100,000 lux. However, the perceived brightness of the scene remains exactly the same, making it difficult to dial in values or balance light sources accurately. By enabling HDR (Eye Adaptation) debug under Show>Visualize, we can actually see the EV value for each scene.

The left-hand side average scene EV100 is 0.8, and the right is 14 EV. 

It鈥檚 also important to remember that while there are arbitrary values for general lighting conditions, these don鈥檛 take into account weather seasons, atmosphere, location or even cloud formation. Therefore, they should be used as a guide to establish more accurate ratios between lights/exposure rather than a set of defined numbers. 

There are plenty of resources online that can give us EV values for specific scenarios, such as: 

However, we can also calculate EV100 using the formula based on specific reference photographs we choose. 

Note: 鈥婼hutter Speed = (1 / Time) = Fraction of a Second

EV100 = (log2 (Aperture虏 / (Shutter Speed) * 100 / ISO))

Thankfully, we can use this website to calculate this:

Entering the above values for aperture, shutter speed, and ISO, we can get the following value for 10.9 EV:

If we head to Unreal, we can look at how to correctly set up our post-process volume to our desired EV.

As mentioned earlier, Unreal generally enables auto-exposure by default, unless specifically changed in the PPV. Another approach commonly used is to clamp the min/max EV to 1 and adjust the scene brightness using the exposure compensation value. However, this is not physically correct and does not correlate when using real-world values.

Let's put the above into practice using a demo scene from Quixel. First, we'll set the directional light to 100,000 lux 鈥� a value suited for a sunny or slightly cloudy day with midday sun and adjust the Min/Max EV to 13.

This gives a good base to start looking at key/fill ratios and local exposure.

Here鈥檚 a general rule of thumb for key/fill ratios:

• 4:1 direct lighting/shade

• 3:1 sunrise/sunset

• 2:1 overcast 

Using the HDR debug, we can spot meter the EV between the key/fill to get our ratios. Below, I have adjusted directional light Intensity between 100k/50k/10k to illustrate the ratios above.

While EV and lux values provide a solid technical foundation, it's ultimately up to the artist to shape the lighting in a way that supports the desired mood and storytelling. Realism is just a starting point 鈥� artistic intent brings it to life.

We can fine-tune the overall exposure further using local exposure and tone mapping. This is a very similar approach to photography in which a RAW file would be edited by adjusting the shadows and highlights and using a tone curve to set the overall contrast.

I鈥檒l be using the Epic Games Electric Dreams demo to demonstrate a re-light using the PBL method.

I鈥檒l be using the photo reference image on the right to demonstrate the power of tone mapping and local exposure to lift the Unreal scene and get a more realistic result.

Using the EXIF info, I calculated the EV scene value to be 9.5, and since the reference was shot at noon on a fairly bright sunny day, I set the directional light to 100,000 Lux.

While these settings work great in a direct lit environment, we can observe that the lighting in the shadows appears quite dark

The first thought would be to either increase the skylight intensity, which leads to a flat-looking scene that lacks depth or increase the exposure compensation, which instead results in blown-out highlights and far too much lift in the shadow areas of the image.  

As a final resort, keeping the +2EV exposure compensation, we could try reducing the intensity of the sun to 25,000 lux; however, that lands us back at square one again with a dark-looking image.

Hopefully, this illustrates the battle when breaking the PBL approach and trying to light by fighting different variables.

Thankfully, Unreal Engine comes with a host of local exposure and tone-mapping tools in the post process volume, which let us fine-tweak our scene with far greater control than the previous approaches.

We can tone down the highlight contrast to bring some detail back in the brightest areas of the image. If you鈥檝e ever used Lightroom/Adobe Camera Raw, think of this as highlight/shadow sliders.

We can also adjust the overall tone mapping in the scene using the film settings. Again, this is very similar to the tone curve in LR or ACR.

Toe is the bottom-left bend (shadows).
Slope is the middle section (midtones).
Shoulder is the top-right bend (highlights).

For this scene, I lifted the shadows (toe) from the default of 0.55 to 0.38 and added a little more contrast in the midtones by increasing the slope. I also lowered the highlights in the local exposure setting to remove any highlight clipping. 

Although subtle, you can see the difference in the histogram/tone curve in the image below.

Finally, I adjusted the white balance to a slightly warmer temperature as per the reference image, increased the overall global saturation to 1.1, and slightly pushed the gain for the highlights and shadows to a yellow/green hue.

This is a very brief introduction to PBL Lighting, but hopefully, it inspires you to tackle your own scenes or games with a new approach. 

The main benefits are having physically accurate ratios between light sources with correct scene exposure values. While you can easily double your light intensity and half your exposure to maintain the same scene brightness, it quickly becomes confusing the more areas you add, especially if you鈥檙e mixing interior and exterior scenes.  

PBL creates a solid foundation that can be utilised for multiple outputs, such as games, film, and virtual production, and maintains parity, allowing artists to easily jump into projects without any guesswork.

I highly recommend you conduct your own lighting studies using PBL, especially using photos you鈥檝e taken yourself (even on a smartphone), as this will provide an accurate EV scene value for a baseline reference.

Lighting, similar to photography, can be dependent on so many variables; however, being able to control the key fundamentals allows far more freedom for experimentation and creativity.

Or as Picasso famously said, "Learn the rules like a pro, so you can break them like an artist."

James is a passionate and ambitious game designer with eight years of industry experience across AAA and indie games covering a variety of genres, including strategy, platformer, rhythm, and more. At 草莓视频在线, James brings his keen eye for design and collaborative spirit to several projects, many of which are still closely guarded secrets!

Tell us more about your role at 草莓视频在线

I鈥檓 a designer at 草莓视频在线, with a background in game design. My job can differ day-to-day, but generally, I鈥檓 involved with the conception, design, and implementation of certain aspects of the interactive experiences we make. I鈥檝e been involved with several different projects, but the one I can talk about, and am very proud to have had a hand in, is Metallica: Fuel. Fire. Fury. 鈥� a Fortnite concert we created for Epic Games, which you can read more about here!

What made you decide to pursue a career in this field?

Like many people who end up working in games and interactive media, I chose to pursue this career because I love playing games!

I have such vivid, cherished memories of sitting with my dad on the living room floor, playing Hogs of War together, laughing hysterically, and teaming up to try to beat the 鈥渃heating computer,鈥� which always managed to land every shot perfectly. Bathed in the dim light of a television that was so chunky, if it fell forward, it might have ended my career before it even began. Thank goodness my mum was always close by!

What piece of advice would you give to someone wanting to pursue your career?

Start making games now. They don鈥檛 have to be pretty, they don鈥檛 have to be complicated. Heck, they don鈥檛 even have to be good (and trust me, the first few definitely won鈥檛 be). But please, just start making games.

Developing games in your spare time is a great way to find out if you actually enjoy making them or if you just enjoy playing them. And if you find that you do enjoy making games, it鈥檒l help you figure out which parts of the development process you enjoy most, such as art, design, engineering, etc.

Also, if you鈥檙e reading this and the first thing that comes to mind is that it鈥檚 already too late for you, then you鈥檙e wrong! With all the free software, online tutorials, game development communities, and more, it has never been easier or more accessible to get into making games. So please, from one game dev to another potential future game dev; just start making games, and good luck!

A little birdie told us you鈥檝e self-funded, designed, and published two of your very own games. Tell us about that process, and something you learned while doing it.

I moved back in with my parents, sold my car, and then developed a game almost entirely on my own 鈥� just to prove to myself I had what it takes to be my own boss. Once that game was made, I set up my indie studio, including all the wonderful paperwork involved with tax, bank accounts, insurance, etc., and then published my game for free.

Not long after, I began conceptualising the next game, and soon after that, I began scouting for all the people I鈥檇 need to help me create it 鈥� artists, sound designers, musicians, etc. Where we didn鈥檛 have the budget, or if it was an area I felt at least semi-confident tackling, I filled in the gaps.

I spent my days making games, and my nights working in pubs. That then became my days working in restaurants, and my nights making games. Before I knew it, a couple of years had passed, and we鈥檇 made and published another game!

Shortly after, I ended up working full-time for another game studio, and because of the commitment required, I decided to close my own. Don't worry 鈥� I was the only employee. Everyone I鈥檇 worked with previously was a contractor, and their work was already complete. If they had been employees, it would have been a very different situation.

All in all, the entire experience taught me so much, but for the sake of time, I鈥檓 going to share what was perhaps the most important thing that I learned: you must take care of yourself. I was working two full-time jobs, one making games and one tending bars/waiting tables, and all that came of it was a bad case of burnout. So please, if you鈥檙e thinking about making games, put your health and your financial stability first, and remember, it鈥檚 not a race.

What鈥檚 your favourite thing to do when you鈥檙e not working?

This is going to sound so mushy, but, hand-on-heart, my absolute favourite thing to do when I鈥檓 not working is just spending time with my best friend, Katie 鈥� my wife. We could be doing something as exciting as white water rafting, or something as mundane as folding laundry, but as long as we鈥檙e together, we never stop laughing. Our favourite thing to do together is travel鈥nd play co-op games.

If you were on a game show, what would be your specialist subject?

Probably SpongeBob SquarePants quotes. I don鈥檛 even know how you could fashion that into a game show topic, but I know that if you could, I鈥檇 be high up on that leaderboard, without a doubt.

If you had unlimited resources and funding, what project or initiative would you launch?

I would love to start an Indie Game 草莓视频在线 Incubator: an organization that provides new and upcoming indie developers with resources, support, funding, etc.

So many of the best games I鈥檝e played over the past decade have been indie titles. Often titles that failed to garner funding from mainstream publishers because their work was seen as 鈥渢aking too many risks鈥�, ultimately culminating in them self-funding, crowdfunding, or, for the lucky few, pairing with a smaller publisher who was willing to take a chance on them.

Those are the people I want to see flourish and succeed, and if I can help them do that, I will. Because what the world needs now, more than ever, are more games that are just plain weird and unique. Here鈥檚 looking at you, .

How do you approach challenges and setbacks?

I take a step back.

For challenges, it allows me to break down a seemingly insurmountable task into smaller, more manageable, actionable steps to achieving the whole. Remember: any big, complicated thing that does a lot is just a combination of several little things that do one particular thing.

For setbacks, it allows me to frame the setback against the whole and see how serious it really is. More often than not, it鈥檚 far worse in my head than it actually is, helping me to dive right back in. And worst case scenario 鈥� that it is as bad as it seems 鈥� it helps me plan and prioritise the solution, taking into account any other work or features that the setback may affect.

At the end of the day, it鈥檚 important to remember that nothing鈥檚 as bad as it seems, and nothing鈥檚 impossible.

If you could invite three guests (dead or alive) to a dinner party, who would you invite?

Easy: Steve Buscemi, Will Ferrell, and Robin Williams.

Why? Because, beyond their numerous influential acting roles and beyond their incredibly interesting personal lives (which, don鈥檛 get me wrong, I absolutely want to dig into with them), they just seem like nice people.

A highlight of working at 草莓视频在线 is the dedicated time and space engineers receive for R&D and experimentation (read more about that here). This allows us to use our creativity and explore ideas in focused sessions outside our day-to-day work. The following is the journey of a recent R&D session of mine.

The idea

In recent months, you may have seen several articles and social media posts about "MCP servers" (a type of server allowing AI tools to access external systems) and connecting "AI assistants" to applications to automate tasks using Large Language Models (LLMs), which are powerful AI systems trained on vast amounts of data to predict and generate human-like text. Looking at these examples of integrations and the cool things people could do with them, I wanted to explore what integrating with an LLM could do for our platform, OKO, and its users in the future.

Why could this be useful?

One of our aims with OKO is to make 3D experiences available to everyone. This is especially true of the web version, which you can use by simply opening in a web browser. No installation needed!

We want to empower our users to create the cross-reality, connected spaces they imagine with easy-to-use tools, allowing them to express their creativity and share it with others. However, there will always be a learning curve when getting to grips with a new application. As simple as we try to make things, understanding the concepts behind the platform and how to use the tools takes time and can be daunting for some.

So, what if you could simply ask someone more experienced how to get started, or better yet, get them to work alongside you? Integrating an AI assistant into OKO would enable users to take their first steps, create a first draft of a space, or automate unwanted tasks. Beyond that, it creates pathways to improve accessibility for disabled or visually impaired users.

In addition, an AI assistant could also be useful when exploring a space. Imagine a virtual museum experience where an AI guide could take you on a personalised tour, answering your questions along the way. Applied responsibly, AI could unlock a whole new set of possibilities for those who wish to use it. The potential is there, and so begins our journey to a prototype! 

But first, let鈥檚 dive into what an MCP server is.

MCP and MCP servers

is an open-source standard created by Anthropic that enables AI assistants to connect with external data sources and tools in a standardised way. It offers a communication model that allows AI models to interact with various applications, data sources and services in a controlled manner.

The MCP architecture follows a client-server model where a client, for example, an AI assistant, can connect to one or more servers, exposing specific capabilities to the client. An MCP server is typically focused on a specific application or service, such as OKO.

In particular, an MCP server can expose a set of tools performing specific operations within an external system. These are the actions the AI assistant will be able to perform via the server 鈥� in our case, this will be creating or deleting objects inside OKO. 

A tool consists of three parts:

• A name and description giving the AI model some context about what the tool is for.

• A schema that unambiguously describes the data the tool accepts.

• A function with the code to carry out the operation.

Creating the prototype

This work was partly inspired by the efforts of the . We already use the PlayCanvas engine for the web version of OKO, so we're huge fans of their open-source tech and follow them closely.

To get started quickly with a prototype, I leveraged the infrastructure of PlayCanvas鈥� for our implementation. Remember, the goal was to get a prototype up and running, not to get bogged down in the details of getting the components to communicate.  

Happily, it turns out we can do something very similar. The PlayCanvas version consists of two main parts: the MCP server itself, which plugs into an LLM-powered desktop application (for example, Claude desktop), and a browser extension that runs commands within the editor via an API. These communicate over a WebSocket, effectively allowing Claude desktop to interact with the PlayCanvas editor.

For the OKO version, we can use the same architecture. We'll create:

• An OKO MCP server that Claude will connect to.

• A browser extension that will run commands using an OKO console API.

We don't currently have an OKO console API, so we'll need to create one to interface with the extension. The API is a set of commands we expose on the global window object in the browser that can be accessed within the browser JavaScript console. A console API will also be useful for advanced OKO users, which is another benefit of this work. 

OKO MCP server tools

As mentioned, an MCP server exposes a set of tools to the LLM-powered host application. We need to think about what tools would be useful for the prototype and could produce an interesting demo. 

An OKO space consists of entities and components, concepts that will be familiar to anyone who has worked with a game engine using an entity-component system. In short, an entity is an object that exists at a location in a space and is made of components that give the object an appearance and behaviours.

Entities and components are therefore key to allow the LLM to act within a space. To start with, we'll create the following tools:

• Query what entities and components are in the space.

• List what primitives are available to create in a space.

• Add a new entity to the space.

• Add a new model component to an entity.

Model components in OKO allow you to add a 3D model to an entity. In OKO, users can upload their own 3D models or search Sketchfab for suitable assets. For our prototype, we'll expose OKO's built-in primitive assets (sphere, cube, etc). This minimal set of tools should give us enough to prove the concept.

Creating an MCP server tool

To create a tool for our MCP server, we need to do a few things. Let's take creating a new entity in OKO as an example. An entity has the following properties:

• A name.

• A position, rotation, and scale in 3D space.

• A set of components belonging to the entity.

First, define the shape of the data we expect as a Zod schema. Zod () is a common schema validation library used for exactly this.

import { z } from "zod";

export const EntitySchema = z.object({
  name: z.string().optional().describe("The name of the entity."),
  position: Vec3Schema.describe(
    "The position of the entity in local space (x, y, z)."
),
  rotation: QuaternionSchema.describe(
    "The rotation of the entity in local space (qx, qy, qz, qw as a quaternion)."
  ),
  scale: Vec3Schema.describe(
    "The scale of the entity in local space (sx, sy, sz)."
  ),
  components: z
    .array(ComponentPropsTypesSchema)
    .describe("An array of components belonging to the entity")
});

The descriptions here are important as they will provide information to the LLM about what each property is for.

Secondly, we register a tool that uses our schema.

import { type McpServer } from "@modelcontextprotocol/sdk/server/mcp.js";
import { type WSS } from "../wss";
import { EntitySchema } from "./schemas/entity";

export const register = (server: McpServer, wss: WSS) => {
  server.tool(
    "create_entity",
    "Create a single entity",
    {
      entity: EntitySchema,
    },
    ({ entity }) => {
      return wss.call("entities:create_entity", entity);
    }
  );
};

Here, "create_entity" is our tool鈥檚 name, followed by a short description. This registers a tool that takes input data following our schema and creates a new entity in the space.

The last argument in the server.tool definition is a function that gets executed when the AI assistant invokes the tool. Here we are simply sending a command over a WebSocket with the entity creation data, following a custom protocol. On the other side, our browser extension will receive the command and invoke the appropriate call in OKO.

wsc.method("entities:create_entity", async (entityProps) => {
  console.log(`entities:create_entity`);

  const okoApi = window.okoConsoleApi;

  const entity = await okoApi.createEntity(entityProps);

  if (!entity) {
    return { error: "Failed to create entity" };
  }

  console.log(`Created entity ${entity.id}`);

  return { data: toJson(entity) };
});

This function will be called when the browser extension receives an "entities:create_entity" message. Here we retrieve the OKO console API from the global window object and call an associated function in the OKO console API. I mentioned earlier that we don't have one yet, so we'll also need to create that. Following a similar process, we can implement the remaining tools from our list.

Does it work?

To test our MCP server, we'll use Claude desktop. By using MCP, our prototype will be compatible with many AI assistants and tools, but Claude desktop is the most commonly used and easiest to set up.

Having first installed our browser extension, we open Claude desktop's config file (via File > Settings > Developer > Edit Config) and add our server.

{
  "mcpServers": {
    "oko": {
      "command": "cmd",
      "args": [
        "/c",
        "npx",
        "tsx",
        "C:\\path\\to\\mcp\\server.ts"
      ]
    }
  }
}

Success! We can see our server is running.

Let's try a few examples. First, we try with the prompt: "Create a 3x3 grid of cubes in OKO. Make them different colours".

It's working! You can see it鈥檚 adding each cube into the space one by one. An improvement here would be to implement a tool for batch-creating entities to speed up the process.

Let's try something a bit more ambitious: 鈥淐reate a level with platforms and ramps to jump on using primitive shapes. Add some decoration鈥�. Here鈥檚 what Claude created. We can even try it out!

Going even further: "Make a rendition of the Manhattan skyline using primitive shapes".

I suppose you can only go so far with primitive shapes, but you can see what Claude is trying to do here. Notice how it names all the objects in the space. These examples look quite basic, but we can start to see the possibilities. Not bad for a first go!

Learnings

With R&D and prototyping in general, it's important to focus on the actual creation rather than getting bogged down by time-consuming infrastructure setup or boilerplate work.

By learning from and adapting an existing project, we were able to reduce the setup and get straight into the interesting part: the OKO MCP server itself. Don't be afraid to lean on open-source and build on other projects to try out your idea!

That said, we did end up spending a chunk of time on creating a console API for OKO, which we didn't expect going into the project. In hindsight, perhaps there was a simpler way of achieving the same thing? That time spent also limited the number of tools we ended up creating for our prototype. This mini-project also shows the value of just jumping in sometimes. Do we understand all the ins and outs of MCP servers? No, but we have learnt a lot! By simply doing, we can get far, often further than we think.

What's next?

This made for an interesting prototype, but it remains a prototype. The setup is a little clunky with many moving parts, so we need to consider simplifying it and making it more user-friendly. It's not ideal to need a browser extension, for example, so we need to think of alternatives.

We've exposed only a very minimal subset of OKO's functionality in our MCP server. By exposing more tools, we believe we can exponentially expand possibilities and make it more compelling to use.

Finally, if we did proceed with this as a product feature, we'd need to consider integration. Ideally, we'd want an AI assistant directly inside the OKO UI. Imagine if we could directly chat with the AI assistant within OKO and ask it to create a first draft of a space, or help us figure out a problem we're having. This kind of direct, intelligent assistance would fundamentally transform how users build and explore, unlocking unparalleled creative freedom and efficiency for every user.

Mira Murphy is a management accountant at 草莓视频在线 UK. Originally from Sweden, Mira moved to the UK as a teenager and later earned a Bachelor鈥檚 degree in English Literature from the University of Hertfordshire. Her path to accounting was unconventional 鈥搘hile on maternity leave, she discovered a passion for finance through an entry-level accounting course. What started as a way to stay engaged quickly turned into a full qualification and a career!

Tell us more about your role at 草莓视频在线

I鈥檓 a management accountant on 草莓视频在线's UK side. Most of my time is spent in Excel, handling bills, preparing financial statements, creating reports, and making sure everyone gets paid at the end of the month!

What made you decide to pursue a career in this field?

It鈥檚 a bit of a funny story. Growing up, my passions were literature and creative writing, so a career in numbers never really crossed my mind. When my son was about four months old, I was bored and started looking for online courses. I found a basic accounting course, thinking it might help with admin jobs. I completed most of it while holding a sleeping baby, and by the end, I realized I wanted to go further and pursue a full qualification.

What three skills are essential for anyone in your role?

You don鈥檛 need to be a maths genius, but you should be comfortable with numbers and understand the basics behind Excel formulas. Confidentiality is also crucial because you handle sensitive information. Lastly, strong organizational skills are essential 鈥� there are many processes to follow, some of which are time-sensitive, and people tend to get upset if they don鈥檛 get paid!

What is the biggest lesson you鈥檝e learnt in your career?

If you are like me and have a tendency to tell yourself to keep quiet most of the time, don鈥檛! If you have ideas or opinions, speak up. Even if others are more senior or experienced, your perspective is valuable, and you might be surprised by how receptive are.

What鈥檚 your favourite thing to do when you鈥檙e not working? 

There are so many! I love spending time outside for a bit of "tree therapy," hanging out with my son, knitting, going to the gym (especially Zumba, even with two left feet), and occasionally diving into video games.

If you had unlimited resources and funding, what project or initiative would you launch?

If it were truly unlimited, I鈥檇 aim to solve global poverty. On a more practical level, I鈥檓 very conscious of how difficult it is for people with mental health problems to navigate systems like healthcare, work, benefits, and housing. I鈥檇 love to create an advocacy and advice service to help those people.

What song always puts you in a good mood?

I really love Leonard Cohen. It鈥檚 not exactly cheerful, but it鈥檚 so beautiful that I get completely lost in it.

How do you approach challenges and setbacks?

By panicking, generally! No, but seriously, I often find I overestimate the impact or severity of a challenge or setback, so I find it helpful to talk it through with someone, like a friend, who is not directly involved, to give me an outside perspective.

If you could have a superpower, what would it be?

My first instinct is healing powers, but the pressure of not being able to help everyone would be overwhelming. A more selfish choice? Teleportation 鈥� I hate the hassle of travelling, and public transport takes up way too much time.

Where is one place you want to travel to in the world?

I really want to go to Iceland. I鈥檇 like to go on a long excursion, riding Icelandic horses and bathing in the hot springs.

Over the years, I鈥檝e worked across various genres and platforms 鈥� from cozy exploration spaces to high-intensity combat arenas 鈥� and I鈥檝e developed a personal framework that helps me get started on any new level. I call it the SCOTT Method. Yes, it's named after me. At least it鈥檚 easy to remember. 

Level design shapes a player's journey through a space, balancing mechanics, pacing, and narrative in a way that feels intentional and reactive. It sits at the messy intersection of art, design, storytelling, and systems thinking. That鈥檚 why I created SCOTT: to bring some structure to an inherently chaotic and creative process.

It鈥檚 not a rigid checklist or a one-size-fits-all solution, but it helps me ask the right questions early on, stay focused on the player experience, and make better design decisions with the time and resources available. I鈥檝e found it especially useful when jumping between vastly different types of projects, which is something I get to do a lot of at 草莓视频在线 (one of the perks of working across such varied experiences).  

Let me walk you through what SCOTT stands for and how it鈥檚 shaped some of my recent work.

S  鈥�  Start somewhere

The blank page is always intimidating. It鈥檚 tempting to jump into the editor and start throwing geometry around, especially when you鈥檝e only got a Jira ticket and a deadline. But I鈥檝e learned it鈥檚 better to pause and zoom out.

Before I touch the editor, I try to answer a few key questions:

1. What鈥檚 the goal of this level?

2. What鈥檚 the player doing here?

3. What is the player meant to experience or feel? 

4. Who鈥檚 playing this, and on what platform?

By stopping and taking a second to answer the key questions, it gets you thinking early about potential communication with other departments and gets your creative wheels turning. During some R&D, I decided to apply the SCOTT Method to a custom project in the Unreal Editor for Fortnite (UEFN). Before I even started, I answered the above questions to define the project, which I named 鈥楢A Gun鈥�:

1. What鈥檚 the goal of this level?

   The player鈥檚 goal is to break through enemy defenses and destroy a nearby Anti-Air Gun, which serves as the final objective. It's a key tactical target in the mission, and completing this objective marks the end of the level.

2. What鈥檚 the player doing here?

   The player is navigating through a series of combat encounters, facing multiple enemy types with different tactics. They鈥檒l need to stay mobile, use cover wisely, and choose the right weapons to survive and progress. 

3. What鈥檚 the player meant to experience or feel? 

   The level empowers the player to feel heroic through skill-based progression. The player should feel challenged but capable, under pressure, yet able to overcome it through smart choices. The goal is to create a sense of excitement and achievement as the player pushes through tough encounters to progress. 

4. Who鈥檚 playing this, and on what platform?

   This is a solo experience designed for players of a third-person shooter using Fortnite's mechanics and style, likely on PC or console.

C  鈥�  Clarify your intent

Once I鈥檝e got a basic understanding of what the level needs to accomplish, I distill that into a single, clear statement. This becomes my North Star. If I can鈥檛 explain the level in one or two sentences, I鈥檓 probably not ready to build it yet.

For AA Gun, it was:
The player must break through enemy defences to destroy a nearby Anti-Air Gun, a critical target. The player will be challenged in multiple encounters with defenders who use different tactics against the player. The player should feel vulnerable going head-on and under pressure from enemies, but can overcome this using clever movement, appropriate cover, and smart weapon choices.

These statements help align every decision I make 鈥� whether it鈥檚 layout, pacing, art direction, or interactions 鈥� with the level鈥檚 core purpose.

O  鈥�  Oh god! Hasn鈥檛 someone already done this?

Every designer pulls from references, and there鈥檚 no shame in that. What matters is understanding why something resonates. I always try to gather a wide range of inspiration 鈥� games, movies, real-world locations 鈥� and break them down into useful components.

Relevant references can include:

• Anything with a similar narrative context, art style or environment type.

• Anything with a similar style of gameplay.

• Anything that evokes an emotion you are trying to replicate in your level design.

• Anything that has something cool happen in it that you鈥檇 like to include in your design!
  
  

For AA Gun, I took cues from:

• The gritty, industrial tone of Gears of War

• The pressure-cooker pacing of Modern Warfare

• The simple but engaging gameplay of Halo.  

I also keep a mental list of what not to do. Knowing what to avoid is just as useful as knowing what to chase.

T  鈥�  Try it

At some point, you鈥檝e got to stop planning and just build. Rapid prototyping is essential. I get basic geometry in the engine as quickly as possible so I can walk the space and feel it.

With AA Gun, I learned to prototype combat sequences first 鈥� using placeholder enemies and cover objects to dial in pacing and difficulty 鈥� before fleshing out the environment around them. I separated the combat into three very different arenas.

• The first needed strategic thinking, with a special enemy type, and lots of cover to provide choice.

• The second was a maze of shipping containers, containing powerful close-range enemies, little player control over their path, and high tension.

• The final section was a sniping encounter, where the player is under pressure from multiple enemies, but can still overpower them.

These were all inspired by various sources, but it was through building, testing, changing, and ultimately shaping them together within the level that they truly became my own.  

Trying things early, failing fast, and iterating often is the only way to uncover what actually works.

T  鈥�  Team up

Finally, level design doesn鈥檛 happen in a vacuum. The sooner I bring others into the process, the better the result.

Whether it鈥檚 grabbing a gameplay engineer to sanity-check an idea, asking another designer to run through a blockout, or watching someone playtest without giving them any context, it always surfaces blind spots I missed.

At 草莓视频在线, I鈥檓 lucky to work with a collaborative team that values early feedback. That kind of openness is essential, especially when building ambitious projects on tight timelines.

There were four key bits of feedback from my prototypes:

1. The player attacks and pushes through enemy positions, and gets to destroy the Anti-Air Gun, which meets the project objective.

2. The player is challenged across multiple encounters, but not to the desired extent. Enemies don鈥檛 feel threatening. 

3. The player is only under minor pressure if not using cover or skilful movement during encounters.

4. There are a few different weapons in the level, but not really enough to make the player think about their choices. Adding a bit more variety would help make weapon selection feel smarter and more rewarding.

Why it stuck

The SCOTT Method isn鈥檛 some revolutionary technique, it鈥檚 a simple framework that helps me keep my head straight during the early, often messy stages of level design. It encourages clarity, experimentation, and collaboration, which are all vital no matter what you鈥檙e building.

So if you鈥檙e ever staring at a blank editor window, unsure where to begin, maybe give SCOTT a try鈥� start somewhere.

These terms aren't interchangeable, and mixing them up can create confusion, especially when you're aiming to build something that genuinely bridges the digital and physical worlds. A static digital copy, a predictive simulation, and a responsive digital twin all serve different purposes, have different behaviors, and understanding the difference isn鈥檛 just a technical detail 鈥� it鈥檚 key to setting the right expectations, choosing the right tools, and building something that solves the problems you need it to.

In this article, I鈥檒l break it down simply: what each one actually is, where they鈥檙e useful, and why getting this right matters as we work toward a more connected, spatial web.

What鈥檚 a digital copy?

A digital copy is essentially a static replica 鈥� a one-off snapshot of a physical object or environment. Once created, it doesn鈥檛 update or interact with the real world. It鈥檚 perfect for things like showcasing a space, documenting how something looked at a certain point in time, or creating a visual for a pitch.

Think of it like the shopping mall directory map you see when you walk in the door: useful, but only accurate at the time it was printed. If shops move, close, or open, it quickly becomes out of date unless manually updated.

Or, imagine you鈥檙e creating a virtual tour of a museum. You鈥檇 take 3D scans of the exhibits and put them together into a polished virtual space. That virtual tour is a digital copy 鈥� it reflects the exhibits as they were, but unless you update the tour, it won鈥檛 change as new exhibits are added or old ones are moved around.

When you don鈥檛 need real-time data or live interaction, digital copies are very useful. They鈥檙e easier to produce, less complex, and serve a purpose in everything from marketing materials to archival documentation.

What鈥檚 a digital simulation? 

A digital simulation is all about behavior. Instead of just showing what something looks like, it also shows how it acts 鈥� under different conditions, over time, or in response to change. It鈥檚 not necessarily linked to the real world, but it helps you understand how something might perform.

Imagine you鈥檙e designing a new lighting system for a building. A digital copy could show where the fixtures are placed, but a simulation would let you test brightness levels, energy usage, and how natural light changes throughout the day. It鈥檚 like running a dress rehearsal for your physical system or environment, so you can spot issues, test ideas, and make improvements.

Or think about traffic planning. You could simulate how cars would flow through a new intersection design, try out different light timings, and even model rush hour conditions, all without ever pouring concrete.

Digital simulations are powerful tools for prototyping, testing, and decision-making. While they don鈥檛 always need real-world data, they can become even more valuable when connected to live inputs. And that鈥檚 where they start to blend into the world of digital twins.

What鈥檚 a digital twin?

A digital twin is a living, breathing version of whatever it鈥檚 mirroring. It鈥檚 always on, always updating, and always in sync with the real world. 

Whether it's a building, a machine, a city, or even an event, a digital twin monitors real-time data from sensors, IoT devices, and other inputs to reflect the state of its real-world counterpart.

With this data, you can not only allow digital and physical users to be truly copresent with one another, but also optimize performance, predict maintenance and make other improvements, whether it's reducing energy use in a building, managing crowd flow at a concert, improving production efficiency in a factory, or fine-tuning the operation of a machine. It鈥檚 all about making things work smarter, more efficiently, and be more accessible remotely in real-time.

Digital twins can be closed or open

Not all digital twins are created equal 鈥� and one of the biggest differences is whether they鈥檙e open or closed.

A closed digital twin locks you into a single ecosystem. It might work well 鈥� as long as everything else you use comes from the same provider. But the moment you need to connect to another system, tool, or platform you鈥檙e stuck doing extra work to make things fit, often with limited flexibility or expensive custom solutions.

On the other hand, an open digital twin is designed to integrate. It can exchange data across platforms, work with your existing tools, and evolve as your systems do 鈥� without forcing you into a specific stack.

At 草莓视频在线, we build interoperable digital twins that are open by default. Our tech is built from the ground up to integrate with all systems, with minimal effort. No walled gardens, just open, platform agnostic technology that will work with however you work best. This means teams can work with the tools they already use, avoid duplication, and adapt systems over time as needs evolve.

Why does this matter?

Choosing the right digital approach can have a direct impact on business efficiency, resilience, and growth. The table below compares a digital copy, a simulation, a closed digital twin, and an open digital twin. Each supports goals in different ways, from basic data access to system-wide optimization and collaboration.

Where our technology fits in

Our OKO platform and Connected Spaces Platform (CSP) provide the underlying infrastructure to support persistent, interoperable real-time digital twins that are accurate, interactive, collaborative, and scalable.

Here are a few ways this could play out:

1. Accelerating collaborative previs for production

   For live events and location-based entertainment, producers can use digital twins of real-world spaces to plan layouts, test different setups, and make collaborative decisions in real-time. This kind of previsualization makes productions faster and more efficient, without sacrificing creativity. Read more about how we used OKO to take over Times Square for a cross-reality music event.

2. Simulating & enhancing the customer journey

   By simulating customer interactions, a digital twin allows designers to visualize how customers navigate and engage with a space, and respond to stimuli. This helps identify pain points, optimize layout, and personalize experiences. A digital twin also enables testing and predicting outcomes before making changes in the physical space, ensuring a seamless and engaging customer journey.

3. Giving digital reach to the physical

   By creating a real-time digital twin of a venue, gallery, or installation, you can expand its reach far beyond its physical location. Remote users can interact with the space just as on-site visitors do, thanks to live integrations with spatial data, video, audio, and environmental feedback. It鈥檚 a new way of thinking about access and connection, especially for events with global audiences. We created the world鈥檚 largest digital twin for the World Expo in Dubai.

Where to start

This table breaks down a 鈥済ood, better, best鈥� progression from a basic closed digital twin to a fully interoperable one, giving a rough sense of the time, investment, and complexity involved.

To recap鈥�

A digital copy is like a snapshot; useful for storing or sharing information, like a 3D model or a scanned document. It鈥檚 simple and static. 

A digital simulation is a theoretical model built to explore how a system or process might behave under certain conditions. A simulation isn鈥檛 connected to a physical thing so it鈥檚 ideal for exploring what-if scenarios without real-world consequences.

While digital twins can run simulations too, they also incorporate live data and two-way interaction, making them broader in scope and more dynamic in application.

But when systems need to talk to each other 鈥� across departments, factories, or even companies 鈥� that鈥檚 where the open digital twin comes in. It connects beyond its own boundaries, enabling smarter decisions across entire networks, whether you're managing a supply chain, optimizing energy across a smart city, or integrating systems from multiple vendors.

Choosing the right one isn鈥檛 just about technology. It鈥檚 about what your business needs to see, do, and achieve.

Ian Palmer has been working in and around the video games industry for most of his professional life, working for (among others) EA, Codemasters, and Supermassive Games. A keen musician and bike enthusiast, he spends his spare time gigging, recording, or riding around the Alps.

Tell us more about your role at 草莓视频在线.

I鈥檓 the Director of Art for the UK studio, which basically means I鈥檓 responsible for anything art or animation-related! There鈥檚 a lot of management and project planning involved, but I still find time to 鈥済et the crayons out鈥� and do some proper work every now and again!

What attracted you to 草莓视频在线?

I love the diversity of projects as well as having something I can apply my games-related experiences to, which doesn鈥檛 involve making games! Also, I鈥檝e always been someone who enjoys working with like-minded people who know their stuff and 草莓视频在线 is full of people like that. I feel like I鈥檓 in my element and part of the family!

What made you decide to pursue a career in this field?

I鈥檝e been working in and around computer graphics since the mid-1990s, when I happened across some 3D modelling software while studying modelmaking at University. I鈥檇 always been arty and always been into computers (particularly during my school days when I was regarded as a proper nerd, 鈥榗ause I knew about computers and stuff!) Sufficed to say, I was hooked and never went back to the workshop again.

After graduating I worked as a technical illustrator before falling into a job in the games industry. And I guess that鈥檚 where things really took off. I joined as an artist and 20+ years later became a Senior Art Director, with some fun/interesting/challenging projects along the way. 

What鈥檚 your favorite thing to do when you鈥檙e not working? 

Music. If I hadn鈥檛 studied art, it鈥檚 likely I would have been in or around the music business in some capacity or another. I鈥檝e been playing in bands for 40 years now (!!!) and still find making music as rewarding now as it鈥檚 ever been. More recently I鈥檝e got back into recording, so I have a room at home decked out as a studio with all the gear in it. I also have a very understanding wife!

If you could go back and give your 18-year-old self some advice, what would you say?

Enjoy it鈥� it goes by too quickly.

How do you approach challenges and setbacks?

I think you just have to roll with the punches sometimes. I don鈥檛 think I鈥檝e ever worked on a project where everything has gone as initially planned. 鈥淣o plan survives first contact with the enemy鈥� tends to be my mantra, so I guess I鈥檓 always expecting everything from a hiccup to major course correction. The best advice is to stay positive and professional while adapting accordingly. And use what鈥檚 happened as a learning experience.

If you had unlimited resources and funding, what project or initiative would you launch?

Capture that big asteroid that鈥檚 worth mine it, and unlock resources that could transform our world. Imagine what we could achieve if scarcity and competition for wealth were no longer driving forces.

What鈥檚 your power anthem for when you need to get in the zone to get stuff done?

Something heavy. There鈥檚 something about double bass drum patterns and detuned guitars that get me fired up!

If you could wake up in the body of another person (just for one day) who would it be and why?

Probably someone who lives on a remote island in the middle of nowhere, has no connection to the outside world, hunts for food, and lives in a self-built hut with no TV, internet, or idea of what a completely crazy place the world is! And could I have a couple of days, please?

What would your tactic be for surviving a zombie apocalypse?

I鈥檝e seen , so probably my first priority would be to lose some weight!

鈥淭he Wizard of Oz鈥� may not be the first film shot in color, but many people remember it that way because of how director Victor Fleming cleverly used black-and-white film for the scenes set in Kansas.

Likewise, 鈥淭he Wizard of Oz鈥� may not be the first film to be reconceptualized with AI, but it may soon be known for that, too.

Permalink

]]>The AI magic behind Sphere鈥檚 upcoming 'The Wizard of Oz' experienceMilo BygraveTue, 08 Apr 2025 10:27:07 +0000/blog/designing-xr-games-and-experiences-for-long-term-engagement618131cf8cd8e779321e9666:6256e7c502af7b62119329a0:67e2b7de7c71e3193ac8750d

At 草莓视频在线, we鈥檙e fortunate to have a team that includes talent from the AAA games industry. Many of our developers, designers, and engineers have contributed to some of the most successful and immersive games, bringing with them a deep understanding of what makes interactive experiences engaging, dynamic, and rewarding.

Our team applies their experience in game mechanics, player psychology, and content longevity to ensure that our XR experiences are not just fun, but designed for long-term engagement (LTE). Long-term engagement isn't just about getting people to download and play a game 鈥� it鈥檚 about crafting experiences that keep them coming back. 

In this post, we鈥檒l explore the importance of LTE, how to measure it, and actionable strategies for designing engaging experiences. We鈥檒l also dive into how we used all of our knowledge of LTE to craft The Office World experience for Meta Horizon.

What is long-term engagement?

Long-term engagement refers to the ability of a game to retain players over an extended period. Players expect continuous innovation, seamless interactions, and evolving dynamic environments. This has the benefit of building a thriving community, strengthening brand loyalty, and ultimately lowering acquisition costs 鈥� keeping an existing player is far more cost-effective than acquiring a new one. Whether it's through compelling gameplay, social features, or consistent content updates, maintaining engagement separates successful games from those that don鈥檛 stand the test of time.

Key features of successful games: how and why they work

LTE can be implemented in various ways, but the same feature won鈥檛 deliver identical results across different genres and platforms. Factors like product strategy, development scope (indie, AA, AAA), and target audience should shape the approach.

For instance, a 40-minute dungeon with valuable rewards might work well on PC but be less effective in VR, where sessions average 30 minutes, or on mobile, where players prefer shorter, on-the-go experiences. Similarly, challenge levels must align with audience expectations 鈥� casual players gravitate toward accessible, narrative-driven, or light-strategy mechanics, while hardcore gamers seek skill-based challenges and competition.

To sustain engagement, it's essential to identify features that fit both thematically and gameplay-wise. Successful games strike this balance by refining popular mechanics and consistently introducing fresh content.

XR and LTE

In XR gaming, LTE becomes even more critical due to the immersive nature of the experience. Take Beat Saber, for example, which is designed for long-term engagement by combining intuitive interaction-driven gameplay, social elements, and smart retention strategies. Its rhythmic, hands-on mechanics keep players immersed, while responsive in-game objects encourage exploration and develop skills. Multiplayer modes and leaderboards create natural social hotspots, fostering competition and collaboration that incentivize players to return. Live events, custom song packs, and ongoing updates keep the experience fresh, while well-timed notifications remind players of challenges, rewards, and limited-time content. All this ensures that Beat Saber remains engaging long after the first playthrough. 

• Interaction-driven gameplay to keep players engaged with the environment and other players. 

• Live events & social spaces to encourage collaboration and/or competition and increase the incentive to return.

• Push notifications to remind players to return, whether for a special event, a daily reward, or a limited-time challenge.

Case study: The Office World, Meta Horizon

In partnership with Meta and NBC Universal, we brought the beloved IP The Office to life in VR on the Meta Quest 3 via the Meta Horizon platform. We were tasked with creating a virtual experience that captured the awkward, cringe-worthy humor and lovable chaos of The Office, while giving Horizon players a reason to keep coming back. We leveraged all of our knowledge on LTE to craft an experience that blended nostalgia and innovative gameplay to give fans plenty to discover over time. 

Role-playing as a core engagement driver

We designed The Office World to encourage roleplaying, drawing inspiration from games that let players create their own fun. In Meta Horizons, for example, a supermarket setting naturally leads to cashier and customer roles, similar to pretend play in childhood.

To foster this, we recreated iconic office locations with interactive props that encourage playful, immersive experiences. Sitting at reception provides an obvious role, enhanced by elements like sweets, a pretend-call phone, and a red button that broadcasts 鈥淵ou鈥檙e late!鈥� to all players. Michael鈥檚 office and other familiar spaces support similar engagement 鈥� one player even reenacted the iconic 鈥淚 DECLARE BANKRUPTCY鈥� scene.

Progression systems and currency-based rewards

Players earn in-game currency through activities and can spend it on vending machine items, encouraging repeat play. To deepen engagement, we introduced mini-games, leaderboards, and rank-based progression 鈥� from temp to general manager. Currency multipliers reward high performance, while desk customization serves as both a personal touch and a status symbol.

Continuous content updates

We provided seasonal updates for Christmas and Halloween, featuring visual changes and themed decorations, which kept active players engaged and helped rekindle interest with both long-time or inactive players.

A solid LiveOps (Live Operations) plan ensures a game stays fresh and engaging for years. These days, players expect games to deliver more valuable content over time. Depending on the success of a game, it may grow to multiples of its original scope as years of development continue. By employing the method of LiveOps development in many cases, teams can replace the need to create sequels and optimise the lifetime value of their existing audience.

A successful live ops strategy may include:

• Regular content updates: New characters, levels, storylines, and mechanics.

• Seasonal events & challenges: Time-limited modes that drive periodic spikes in engagement.

• Dynamic in-game economy & rewards: Games can use in-game currency earned through play to unlock exclusive items, cosmetic skins, or badges, creating an ongoing reward loop.

Competitive and replayable mini-games

Within the world, dynamic mini-games drive replayability and social interaction. Games like The Floor is Lava feature randomized start and end points, while PvP matches remain unpredictable. Other games, like Bats, Bats, Bats, and Angela鈥檚 Cats, randomize object spawns 鈥� leading to both competition and spontaneous roleplay.

Meta Portal integration

To further incentivize engagement, we integrated Meta Portal rewards, including stickers and exclusive outfits. These collectables encourage ongoing participation and provide tangible goals for players to pursue.

A note on measurement 

To design for long-term engagement, tracking key metrics and using A/B testing is essential. Retention rates (D1, D7, D30) help measure how well a game keeps players engaged over time, while churn rates and 鈥渟tickiness鈥� metrics like DAU-to-MAU ratios provide insight into player habits. A/B testing allows developers to experiment with different features and optimize gameplay based on real player behavior, while data segmentation helps tailor experiences to specific audiences. By continuously analyzing and refining based on these insights, developers can create games that keep players coming back.

Final thoughts

At the heart of designing for long-term engagement is the principle of creating a meaningful exchange between a player鈥檚 time and the value they receive. Games that succeed in retaining players do so by offering rich, rewarding, and socially engaging experiences that evolve over time.

By leveraging data, understanding different player types, and implementing proven retention mechanics, developers can craft experiences that stand the test of time, whether on mobile, console, or XR environments.

At 草莓视频在线, we apply these principles to design immersive XR experiences that keep players coming back. We hope this post provides valuable insights for your own projects and look forward to seeing how you create experiences that engage your audience for the long haul!

Bridging the gap between physical and digital spaces has always been a challenge. It requires technology that simplifies complexity rather than adding to it. Using insights from every mixed reality project we鈥檝e worked on, we鈥檝e built OKO, a suite of apps built on The Connected Spaces Platform (CSP). OKO breaks down the barriers between physical and digital spaces and enables creators to build things like digital twins. Typically, digital twins are pretty hard to create, tough to deliver, and even harder to anchor to their real-world counterparts. But this is something OKO does really well.

The OKO and CSP story began at the World Expo in Dubai, where we were challenged to share the experience of the physical site with a global audience in real-time. With no off-the-shelf tech available, we created a social, interactive digital twin of the 4.38km虏 site from the ground up to enable on-site and off-site visitors to experience the same digital layer in sync. We鈥檝e since evolved that technology into a flexible open-source platform that can easily build and maintain digital twins, allowing teams to explore and plan accurate digital environments before anything is built, streamlining workflows like previs for production.

Exploring the role of digital twins in live event pre-production

This capability was put to the test in a groundbreaking project: planning and executing a cross-reality concert in the heart of Times Square, synchronized with a virtual gaming world. By using OKO鈥檚 digital twin technology, we efficiently coordinated a complex event in a way that would have been impossible using traditional methods.

Key considerations unique to the project dictated the use of a digital twin:

1. No live rehearsal was possible: Times Square鈥檚 dense foot traffic made live rehearsals logistically unfeasible. The concert鈥檚 secrecy also meant we couldn鈥檛 rehearse with the talent.

2. Independently controlled screens in Times Square: Each screen in Times Square had unique technical specifications, requiring meticulous planning to synchronize content across them all while preserving creative integrity. Exporting to multiple endpoints added further complexity 鈥� challenges best solved with a digital twin.

3. Camera and stage setup previsualization: The team needed to previsualize camera placements, movements, and stage layouts to optimize the live broadcast.

Screen synchronization and content management

Managing Times Square鈥檚 vast array of independently controlled screens (we used 48 on this project, the most ever utilized for one event) was a complex challenge. Visualizing the digital twin in OKO streamlined this process by:

Screen Identification

Every screen in Times Square has different labels e.g. the vendor鈥檚 name, the screen鈥檚 name, and its technical details. The OKO space incorporated a feature to display this data on the screens, allowing the team to make informed decisions about which screens to activate while balancing the needs for the creative vision. The team efficiently coordinated content delivery and playback by visualizing which screens belonged to which vendors.

Content Previews

The digital twin displayed previews of the content that had been UV-mapped to each screen, enabling the team to ensure creative consistency across all displays.

Camera Placement and Zoning

Using the digital twin allowed the team to visualize equipment placement in relation to screen content and broadcast camera movements in Times Square

Key highlights included:

• Overhead Map Views

  The OKO Web client鈥檚 overhead view feature allowed the team to suggest placements using a map underlay of Times Square. This enabled the sharing of 3D plans that helped identify key camera and equipment positions.

• Interactive Control Panel

  A client-facing control panel brought everything together, letting stakeholders interact with LED screen content, overhead maps, and camera views to plan and adjust broadcasts.

Stage Layout Setup

Previsualizing the stage setup was essential for both creative and logistical purposes. OKO supported this effort. 

Stage Modeling

Using a Gaussian Splat model of the stage, the team replicated the stage鈥檚 dimensions as accurately as possible within the digital twin. This allowed the creative team to consider sizing and placement of stage elements like risers, lighting, and equipment. 

Iterative Design

The platform enabled iterative testing of stage designs, ensuring a balance between creative vision and functional needs. By previsualizing stage components, the team could explore and refine configurations that best supported the experience.

Immersive Stakeholder Collaboration

To ensure alignment among stakeholders, OKO鈥檚 Web Desktop client was employed for: 

Spatial Realism and Collaborative Reviews

The creative directors could immerse themselves in a realistic simulation of Times Square with the content mapped and placed spatially. The web-based experience made it easy for stakeholders in different locations to collaborate.

Informed Decision-Making

Viewing the setup allowed stakeholders to make informed decisions regarding screen content and selection, stage design, and camera placements.

How OKO improved the pre-production process

From content planning to on-site execution, OKO played a crucial role in streamlining pre-production. By enabling easy collaboration, real-time adjustments, and precise digital visualization, the platform helped teams work more efficiently and effectively, wherever they were. 

Key takeaways:

• Efficiency: By creating a detailed digital twin of Times Square, OKO streamlined coordination across creative and technical teams, allowing them to make quick, informed content decisions.

• Adaptability: Real-time iterations enabled the team to adjust plans dynamically, ensuring that the creative vision was preserved while accounting for any impact on the event's physical layout.

• Collaboration: The ability to collaborate effectively across distances 鈥� through OKO鈥檚 Web Desktop Client 鈥� resulted in a cohesive content vision and execution, regardless of team location.

Beyond Times Square

The success of the Times Square digital twin is just one example of how OKO can transform live event production. While this project presented unique challenges due to its high-profile location, the potential applications for OKO extend far beyond iconic spaces. Whether planning large-scale global events, designing complex installations, or managing production workflows remotely, creators can bring their visions to life more efficiently, effectively, and collaboratively through the use of a digital twin. 

Jo Murayama is a visual artist at 草莓视频在线. Since joining the team in June 2024, Jo has been crafting immersive visual experiences. Before 草莓视频在线, Jo built a diverse career as a video editor and growth marketer for e-commerce brands, and VFX artist/supervisor for commercials, music videos, and indie films. His passion for VFX and filmmaking began in junior high school, where his YouTube videos gained attention and kickstarted his career as a freelancer at just 15. Jo studied film and television direction at the Art Center College of Design in Pasadena before fully immersing himself in video production and VFX. Born in Tokyo, Jo has called Los Angeles home since the age of eight, drawing inspiration from both cultures to fuel his creativity.

Tell us more about your role at 草莓视频在线

As a visual artist at 草莓视频在线, I get to engage in some of the most exciting, cutting-edge technologies that bridge the gap between physical and digital experiences. These technologies complement my speciality in compositing, which means combining different visual elements 鈥� such as live-action footage, CGI, and effects 鈥� into a seamlessly combined image. Visual artists here are similar to generalists in the VFX industry, which involves multiple different skills within the field of visual effects. However, at 草莓视频在线, this role involves a lot more creative and technical depth as we鈥檙e constantly pushing the boundaries of what鈥檚 possible.

What attracted you to 草莓视频在线?

Having spent a lot of time in growth marketing and freelance visual effects, I found myself often wanting to work on projects that push my creative boundaries. Unlocking ways to do that through rigorously researching, experimenting, and collaborating has always been the way I鈥檝e grown as an artist. 草莓视频在线鈥� innovative ways of connecting physical and digital worlds aligned perfectly with my passion for creative innovation. Before joining 草莓视频在线, I primarily worked on personal projects and small independent ventures. So being part of an environment that鈥檚 more structured has been a significant career milestone for me. On top of that, the opportunity to work alongside some of the most forward-thinking, genuinely kind, and top-of-the-class artists and producers, who bring incredible experiences from AR/VR and VFX industries, was an offer I couldn鈥檛 pass up. I鈥檓 very glad to have joined 鈥� every day is exciting and rewarding.

Tell us how you got into VFX

Growing up, I was always fascinated by movies and constantly engaged in artistic expression. In my early childhood, I spent countless hours building cardboard houses, doodling in notebooks, and bringing new creations to life with LEGO. 

In middle school, I got into watching YouTubers making creative content. My friend and I decided to make videos inspired by them. Eventually, we met another group of friends doing the same thing, but they specialized in visual effects. Being fascinated by their skills, I eventually learned how to use the same tools they were using 鈥� Adobe After Effects. Since the 7th grade, I would spend my after school hours watching YouTube tutorials to learn new visual effects skills, so that I can make my videos more advanced. Inevitably, I fell in love with filmmaking, the process, and the vast history of cinema. Through high school, I experimented with 3D tools and learned how to create photorealistic assets, utilizing programs like and . It was the early exposure to both art and technology that ultimately led me to pursue a career in VFX, where I could bring the same kind of experiences to others that I felt as a child.

What鈥檚 your favorite thing to do when you鈥檙e not working?

When I鈥檓 not working, I like spending time with my friends; I often try new food spots, have group dinner/movie nights, and explore hiking trails with them. We also travel once or twice a year, either on a road trip to a nearby city we haven鈥檛 explored, or a new country. Around New Year, I fly back to Tokyo to spend the holidays with my parents, the rest of my family, and some of my childhood friends. I typically don鈥檛 work during this time of the year, so I can recharge and spend quality time with them. It鈥檚 one of my favorite things to look forward to throughout the year as I only get to see them once a year.

What's a unique tradition or ritual you have in your life that brings you joy or fulfillment?

One of my hobbies is making specialty coffee; sourcing whole beans from different roasters, and dialing in flavour profiles using different grind settings, brewing tools, and techniques. I got into this a few years ago when I came across videos about coffee on YouTube made by , an award-winning barista from the UK. Now, it鈥檚 a crucial part of my morning routine, making and drinking the perfect cup of coffee to start the day.

If you had unlimited resources and funding, what project or initiative would you launch?

I would like to pursue some of my personal passion projects in narrative films!

What is something you think everyone should do at least once in their lives?

Traveling and meeting new people in different parts of the world.

What would you consider to be your 鈥榮uperpower鈥�?

Being able to organize my dishwasher in the most optimal way possible, without missing a single dish.

As part of our ongoing R&D, we continuously explore ways to push the limits of real-time rendering on the web. In this article, I鈥檒l walk through how we use a customized build alongside our 草莓视频在线 Web Renderer to achieve high-fidelity visuals, focusing on one of our most exciting advancements: volumetric lighting.

PlayCanvas and the 草莓视频在线 Web Renderer

When you browse to a Connected Space via OKO, you are using our web engine, even if the space itself was built in Unreal Engine or Unity. To maintain visual fidelity across all platforms, we wrote a library called 草莓视频在线 Web Renderer (send catchy names on a postcard please!). This backend-neutral rendering framework reduces the large API scope of PlayCanvas and ensures that we are not too dependent on any particular engine. If we want, we could just as easily write another backend in another engine, e.g., Three.js, without having to rewrite the whole application.

Why PlayCanvas? 

We started out using , but found that the performance and features of PlayCanvas, particularly its lighting engine, were a better fit for our needs. PlayCanvas uses what's known as a 鈥淐lustered Forward鈥� rendering engine, which allows for lots of real-time lights in the scene without a heavy cost to performance, and without the downsides and complexity of deferred rendering.

Types of rendering

• Forward rendering: This is considered the most straightforward way to render an object. Each mesh and material is drawn to the screen in its final form, complete with textures, normals (direction light bounces off a surface), and lighting. However, this method doesn鈥檛 scale well on its own, as the complexity increases with the number of lights multiplied by the number of meshes.  

• Deferred rendering: The most commonly used technique in AAA game engines, deferred rendering leverages multiple render targets (MRTs) to separate different aspects of a mesh into individual buffers. These buffers store data such as normals, base color, and metallic roughness. Instead of calculating lighting per mesh, deferred rendering applies it per pixel after the initial rendering pass. This decouples the mesh complexity from the lighting complexity entirely, allowing for an unlimited number of lights in a scene at a more linear fixed cost.

• Clustered rendering: An optimisation technique that divides the scene into areas in 3D space called clusters. Lights are assigned only to the relevant clusters, eliminating the need to check every light against every mesh during rendering. This significantly improves performance, allowing for many more lights in a scene. If a light doesn鈥檛 affect a particular area, it鈥檚 simply ignored, reducing unnecessary calculations.

New features

Over the last couple of years, we鈥檝e added several new features over the baseline PlayCanvas engine:

• LOD (level of detail) System, including an automated LOD generation pipeline system

• LOD Animation System to reduce animations

• Reflection Probe Volumes, allow for the baking of reflections into a sphere or box for lighting and reflections

• Light Probes, capture directional lighting inside of a volume, allowing for dynamic objects in the scene to be lit correctly even when light maps are used

• It also allows for baked bounce lighting global illumination without a lightmap

• Jolt Physics Engine, for a more modern and performant physics engine

• Unreal Engine baked lightmaps

• Optimised per-pixel picking and selection for fast and accurate object selection

• Better tolerance for GLTF files that contain errors

• In progress experiments

• Hardware instanced Grass

• Navigation meshes for AI agents

• Ground fog

• Terrain

• Last but not least, the subject of today's blog, volumetric lighting!

Volumetric lighting, it鈥檚 just fog right?

Not quite, but they are similar. Let's start from the beginning.

Classic 鈥渇og鈥�

A classic technique to reduce draw distance and improve performance involves coloring every pixel on screen based on its distance from the camera 鈥� literally adding more "atmosphere" to a scene. Enhancements to this method include factoring in height, limiting fog to specific areas, applying different distance functions (e.g., exponential fog), or adjusting the color near light sources like the sun for expansive outdoor environments.

Ground fog

Building on exponential height fog, this technique adds noise 鈥� a key to making visuals more interesting and realistic by introducing imperfections. Noise refers to a set of algorithms that create natural, varied patterns. Instead of coloring based purely on distance, the fog is now defined by a "fog density" formula, which samples fBm (fractional Brownian motion) noise. This simulates the random movement of particles in a volume, causing some areas of the fog to appear denser than others, just like real fog.

Fog cards

"Fog cards" are a simple technique where a video or animated texture of real smoke is placed on a translucent surface. Using a specialized shader, you can enhance the effect with various techniques:

• Fresnel effect: Adjust visibility based on the viewing angle 鈥� fully visible when viewed head-on and gradually fading at sharper angles.

• Depth softening: Fade the effect where the plane intersects with geometry to avoid harsh clipping edges.

• Camera distance fade: Gradually fade the fog as the camera approaches to maintain a natural appearance.

Volumetric lighting

As the name suggests, this technique samples the "fog" based on the lighting in a scene. This allows for more precise control over fog placement and a more realistic depiction of how fog interacts with light. In reality, fog appears denser when illuminated by strong light sources, as the light scatters off particles in the air 鈥� an effect accurately reproduced with volumetric lighting.  

鈥淐heat鈥� method

This approach uses cone-shaped geometry matching the light source, combined with translucency and the Fresnel effect to soften the edges. It鈥檚 computationally inexpensive to render but comes with limitations: the effect disappears when the viewer is inside the volume, doesn鈥檛 hold up from all angles, and cannot account for light occlusion (e.g., shadows).

Volume rendering

To draw real volumetrics, we use a technique called volume rendering, which relies on raycasting. This involves tracing a ray from the camera into the scene and sampling points along its path. At each point, we determine how much light is present. The process continues until the ray either reaches its endpoint or hits an object.

By combining these samples, we can calculate the density of the volume along the ray. We can also factor in properties like light color, height falloff, and noise to enhance realism. Most excitingly, if the light source casts shadows, we can sample its shadow map to determine whether the light volume at our current world position is illuminated. We do this by converting our position from world space into the light's shadow space (This is the view of the world from the point of view of the light source). This gives us the corresponding location on the shadow texture, allowing us to multiply the light's power by the shadow map value to reduce or remove its contribution at that point.

This is run inside of a post processing effect after the scene is drawn into as small an image as we can get away with for performance reasons. This is then upsampled to the final resolution, smoothing out the final image.

What's next?

While the results and performance of the raycasting effect exceeded expectations, it remains a basic approach compared to cutting-edge techniques. Next, we鈥檙e experimenting with WebGPU Compute shaders to handle complex lighting calculations, storing the results in 鈥渇roxels鈥� 鈥� a frustum-aligned voxel grid. This approach enhances detail for nearby lights while reducing complexity for those farther away. By utilising compute shaders here we can also more efficiently utilise our GPU resources. 

By combining the power of the Connected Spaces Platform and PlayCanvas, we can make experiences accessible to everyone on any device, wherever they are. We鈥檙e committed to pushing the boundaries of web-based experiences and can鈥檛 wait to share more with you in the future.

Sarah Hudson-Semple is a lead artist at 草莓视频在线, and has worked on groundbreaking projects like Expo 2020, virtual production for Westworld and Fallout, and the Fortnite Remix cross-reality concert. With a Fine Art degree and experience studying sculpture in Florence, Italy, Sarah blends artistic finesse with technical expertise. Before joining 草莓视频在线, she honed her skills as a 3D generalist in the VR department at Method 草莓视频在线s.

Tell us more about your role at 草莓视频在线

I鈥檓 a lead artist on the US side of 草莓视频在线 where I鈥檓 currently working on a virtual production project. In addition to contributing art to the project, I also manage and mentor the artists on my team.

What has been your proudest/standout moment while working at 草莓视频在线?

Each time we successfully complete a project, it鈥檚 an incredibly rewarding moment for me. I truly enjoy seeing the reactions from my team and the rest of 草莓视频在线 to the experiences we鈥檝e created. It's such a supportive environment and everyone is super enthusiastic about the work we do. 

What attracted you to 草莓视频在线?

I had heard through colleagues and friends about the excellent culture at 草莓视频在线 and was also interested in the wide variety of projects worked on. I was and still am really inspired by the way that 草莓视频在线 tackles the intersection of art and cutting edge tech.

What made you decide to pursue a career in this field?

I have a background in Fine Art but struggled to find a way to support myself with my sculpture (the starving artist life is no joke!). My friend who works at ILM suggested that I could try to translate my physical sculpting skills into digital, so I rolled up my sleeves and taught myself how to 3D model. This decision has been one of the most fulfilling I've ever made!

What鈥檚 your favorite thing to do when you鈥檙e not working? 

I love to curl up with a cup of tea, good book and Dragon (my cat)! Or when the weather is warm here on the East Coast, I love to take my kids on new adventures outdoors!

What would be your specialist subject if you were on a game show?

My husband likes to joke that I have approximate knowledge of many things, which is very useful for pub trivia! But if I have to pick just one subject, I bet I would be pretty good at questions about sci-fi books/movies/tv. 

How do you want to leave a mark on the world 鈥� personally or professionally?

Professionally, I want to be able to pay it forward to the next-gen of artists. I got a good start in this industry because I had some really great mentors and friends and I really hope to be able to fill that role for others someday! 

How do you approach challenges and setbacks?

During tough times, I remind myself that everything is solvable. There鈥檚 always a way through or, sometimes, around any obstacle in production. I鈥檝e found it helpful to approach a project with the mindset that the trajectory may shift or something might break鈥攁nd that鈥檚 not always a bad thing!

If you had unlimited resources and funding, what project or initiative would you launch?

I would love to create a mentorship program for new 3D artists and introduce this amazing career to more people. If I had unlimited funding, I'd include free access to the tools of the trade, programs that we use daily, as sometimes they can have a steep price tag which may be a barrier to entry to many aspiring artists. 

What is something you think everyone should do at least once in their lives?

I think everyone should travel somewhere new, whether that is somewhere they've never been local to their home or to a far-away country. Exploration and curiosity are so important to being open minded and creative!

We鈥檙e fortunate to have an incredible team of engineers building the future of connected spaces through OKO and the Connected Spaces Platform (CSP). As a Product Manager, I鈥檓 responsible for defining and prioritising the features we want to build, and then overseeing their development to ensure we鈥檙e meeting users' needs.

Working closely with the engineering team every day, I get to see their passion for experimenting, problem-solving, and pushing boundaries firsthand. That鈥檚 why I鈥檓 a big advocate for creating opportunities for innovation 鈥� not just to advance our products, but to give our engineers the space to explore new ideas. We enable this continuous innovation through dedicated R&D time and annual Hackathons. In this article, I鈥檒l dive into why both are essential to our culture of creativity and share insights from the engineers who make it happen. 

Research & Development

R&D is the lifeblood of innovation 鈥� it's where we discover solutions to problems we didn't even know we had! This is why during each sprint - a two week cycle focused on completing a set amount of development tasks - we allocate 10% (equivalent to one day) for developers to tackle an R&D project of their choosing. The project must satisfy at least one of the following:

• It relates to the advancement of OKO or CSP in some way.

• It allows engineers to upskill on their own or other clients' codebase/tech stack (we have multiple client teams working on Unreal Engine, Unity, Web, and Cloud Hosted Services).

Each engineer has full control over the scope of their R&D work 鈥� there鈥檚 no product manager hovering over their shoulder asking for estimates or tracking deliverables. If they ever need inspiration, they can turn to our dedicated R&D Slack channel, where team members share project ideas, collaborate on challenges, and give behind-the-scenes sneak peeks of their progress. 

Hackathons 

Hackathons have been a driving force for innovation since their inception in the late 1990s. The first-ever hackathon, organized by the project in 1999, was designed to bring developers together to collaborate on technical challenges. What began as a niche event quickly grew in popularity, and today, hackathons have become a cornerstone of creative problem-solving and innovation across industries. 

These events offer a structured, yet flexible environment where participants can tackle problems without the constraints of day-to-day work. By breaking down silos, accelerating development, and sparking breakthroughs, hackathons encourage experimentation and the kind of creative thinking that traditional settings often can鈥檛 provide. 

Understanding just how valuable they are for innovation and engagement, we host an annual themed hackathon. Over five days, participants can team up or work solo to build a working prototype that aligns with the given theme. As I write, we鈥檙e gearing up for one of these hackathons, and I鈥檓 excited to see the fresh ideas and solutions that will emerge from it!

While we keep the atmosphere relaxed, we do have some key criteria for the projects. They must either extend an existing feature, demonstrate a new feature, or showcase how our current features can be used in innovative ways. This ensures that the outcomes remain relevant to our broader product goals, while still leaving plenty of room for experimentation.

Once the five days are up, participants present their project to the wider product organisation, discussing any setbacks they may have experienced, learnings they have made, and ideas for iterating on it in the future. Although hackathons are often seen as being engineer-focused, we make a point to include people from all disciplines at 草莓视频在线 鈥� from QA to the art team. This diversity of skills and perspectives creates a unique collaborative space, offering employees the chance to work with people they wouldn鈥檛 typically interact with on a day-to-day basis.

Initiatives like R&D and Hackathons cultivate a culture of innovation and creativity, giving our engineers the autonomy to own a piece of work from ideation to implementation while incorporating their own personal development goals. It might seem counterintuitive to reallocate time from scoped product work to experiment uncharted territory, but it鈥檚 an investment that continues to pay off. Learnings from these projects have led to faster and more confident feature execution and completed projects can also find their way into OKO once they鈥檝e been officially signed off. 

But don鈥檛 just take my word for it, let鈥檚 find out straight from the source!

Tom Yehya - Engineer, OKO Unreal Engine Client Team 

鈥淚 really enjoy my R&D time as it allows me to get creative and explore technologies I don't typically work with. My first complete R&D project was adding a simple right-click context menu in the Unreal Editor Extensions to speed up the creation of Space Entities 鈥� the core of OKO spaces. It had been a big pain point for me having to swap tabs, drag & drop actors, and then convert them.

Although the project was relatively simple, it had a big impact on the user experience. Seeing it be well-received and successfully integrated into OKO felt like a major accomplishment.鈥�  

As part of Tom's R&D time, he added a right-click context menu in the Unreal Editor Extensions, streamlining the creation of Space Entities in OKO and improving workflow efficiency.

Adrian Meredith - Specialist Engineer, OKO Web Client Team

鈥淪ome of the most pivotal features I鈥檝e worked on started as R&D experiments, with some taking up to five years to find their perfect application. For me, R&D is about pushing boundaries, challenging assumptions, and acting as insurance against stagnation. 

As a rendering lead, most of my projects have often been graphics-related, with my goal being to push the product in ways it鈥檚 never been done before in relation to 鈥済ameplay鈥�. During the first hackathon, my team created a game where users would have to roll through an obstacle course in a giant ball and get to the top first! It was such a success that the following year we took it to the next level. Players would navigate a creepy forest in the mountains, trying to avoid being caught by zombies hunting them down.

The key to successful R&D is creating an environment where 'bad' ideas are not just acceptable, but necessary. Every revolutionary product started as someone's 'terrible' idea and in my experience, the only true failure isn't in pursuing an idea that doesn't work; it's in being too afraid to try. When you free yourself from the pressure of immediate success and embrace the joy of exploration, that's where the real fun begins鈥�

Adrian鈥檚 2024 hackthon project 鈥楨scape The Dark Forest鈥� was a fan favourite!

Michelle Shyr - Engineer, OKO Unity Client Team

鈥淚n my last hackathon, I explored AR development and created an interactive experience where hand tracking and gesture recognition in AR could detect user gestures and translate them to display hand emojis in the OKO space. This year I hope to take it one step further by adding support for full-body pose recognition!

I enjoy R&D time and hackathons because they provide the freedom to explore new ideas without the usual constraints, often leading to innovative breakthroughs that wouldn鈥檛 emerge in a structured environment. The fast-paced nature of a hackathon makes problem-solving exhilarating, pushing me to think quickly, adapt, and iterate in real-time.鈥�

We know that the path to technical innovation isn鈥檛 linear and doesn鈥檛 happen by accident 鈥� it happens when people are given the freedom to explore and experiment. R&D and hackathons aren鈥檛 just side projects at 草莓视频在线; they鈥檙e a vital part of how we stay ahead, challenge assumptions, and unlock new possibilities. The true success of a project is measured by the learnings made along the way, irrespective of whether it leads to a working prototype. Whether it鈥檚 refining existing tools, discovering unexpected solutions, or chasing a 鈥渢errible鈥� idea that turns out to be brilliant, this culture of continuous learning fuels everything we do.