Lokhorst femke 846049 journal part A&B

J

ournal

Design Studio AIR The Big Game Femke Lokhorst 2016

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Table of Contents

PART A 5 Introduction 7 A1: The influence of the game 9 A2: The aim of the game 11 A3: The rules of the game 13 Reflection PART B 15 B1: Setting up the game 19 B2: Enhancing experience 25 B3: Evoking player behaviour 27 B4: Documenting the game 39 Reflection

3

A

Introduction

Hello, welcome to my journal for Studio AIR at the university of Melbourne.

Throughout this journal I aim to get an insight in the relationship between games, architecture and computational design and develop ideas of how architectural videogames, as a tool for design, would create the best respond to the need of society for complex, high performance and integrated design.

In the past I have been using grasshopper as a tool for architectural design to develop high performance design by generating lots of different outcomes and testing them all in different analyses.

I strongly believe that architects have the power to contribute to

the change of general behaviour of societies and steer them to a future where sustainablitity is the norm.

To create these idealistic societies, you need the people to feel that it is beneficial for them. I as an architect want to step out of the godlike position of the creater of new design that forces them upon society. Instead I want to get involved with the users to create better performing design. Therefore I am very enthousiastic about the aim of this design studio to create an interactive game as a tool for the architect. I feel that in modern times, we as architect should constantly be questioning and find new ways to explore our role towards society.

5

A

.1

Pokémon Go player Non player

Pokémon Go screenshot.

Le Corbusier is a great example of an architect that uses his role as a designer to inventing methods to achieve new kinds of living to shape society. One of his big projects is Unité d’habitation. A design for residental housing that is realized in different cities in Europe.

Le corbusier had visioned this utopia of living where the inhabitants of his building would function accoarding to the ideas of socio-utopianism, something Le Corbusier strongly believed in as a possible future that instigates a change in our idea of ‘the traditional family’.

He translated this utopia in terms of architectural typology by inventing the 5 principles to modern architecture: columns, free floorplan, horizontal windows, pilotes and the roof terrace. A lot of architects copied or used these principles

in designing modern architecture Le Corbusier thereby contributed a great deal to the work field in terms of ideas and methods about form and space resulting in other famous residential buildings such as the Robin Hood Gardens (1972), Gallaratese (1974) and Silodam (2002). In all these buildings you can find some or all of his 5 principles of modern architecture.

These designs further explore his ideas about the relationship between the public and the private domain and communal living. The specific design for Unité d’habitation however did not become the new standard for residential building as Le Corbusier would have wanted. The building nowadays is still in use by middle-upper class families, but all the communal facilities are not in use anymore.

The influence of the game about how it could be, insinuating that the design ideas are more important than the realized design, as the realised design can always only represent one possible future.

I think designers should design the future how they think it should be, because it instigates change and stimulates society to move forward.

Figure 1: Unité d’Habitation. Reprinted from “Veertig jaar Unité d’Habitation, een nieuwe formule voor stedelijk wonen” (p.

32), by H. Engel, 1994, OASE 37/38.

In the new game Pokémon Go, you have to move through the outside world to complete your objective: catching Pokémon. This creates a virtual world to experience within reality that can only be experienced by Pokémon Go players. The link between this virtual world and the real world is created by spots in the game, situated in various location in the real world where there is a ‘special objective’ called ‘Pokéstops’ and ‘gyms’. In these locations, even the non-player can experience the game having an effect on the actual world by seeing large groups of people hording together, all with the same objective. As Fry (2009) mentions about future design: the focus upon how design should change in the future is on the process of redirection rather than of form. Just as Unité d’habitation, this game influences societies living patterns. It changes the way the player moves through space and interacts with others. designed for different users.

Would the utopia behind Unité d’habitation have been as influential if it would never have been build? I do believe that the build environment has the power to steer society in its living patterns.

If Unité d’Habitation would never have been built, the drawings and the ideas would have way less impact and would possibly only reach other architects and experts.

In Speculative everything, Dunne argues that design should not predict the future, but use possible futures as a tool to shape it (Dunne, 2013). Le Corbusier does use his ideals to give shape to the future, but according to Dunne, designers should not shape the future how it should be, because this is too moralistic. Instead they should shape the future through ideas My experience playing the game

confirmed this. The game makes you move in new directions, gives you a reason to go somewhere new and created a whole new community between humans within a city. However, the fact that Pokémon are randomly spawned in the world proves that they did not think through what kind of an impact the game could have on the whole worldwide build environment. Architects spend centuries thinking and planning use of space that is now being rudely interrupted by the game, whilst the game lacks the knowledge on how to utilize space. An example that embodies this problem is the fact that Pokémon go players sometimes find themselves catching Pokémon in the middle of a crossing or taking hold of public spaces that were designed for different users.

Talking about Le Corbusiers’ Unité d’habitation and Pokémon Go, both as realized conceptual ideas about giving a new purpose to our everyday life, it seems that they both try to provoke new interactions between people and/or space and stimulate our imaginations. Unité d’Habitation is an elaborated ideology made by an expert in relation to urban space. This is something Pokémon Go seems to lack, but it still is a frontier for new game ideologies that break the barrier between the virtual and real world.

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A Figure 2: Courtyard roof - Norman Foster Reprinted from Eye Level,

by D. S. Holloway. 2007.

Retrieved from http:// eyelevel.si.edu/2007/11/ raise-the-roof-.html

method enabled him to create a multiplicity of variation in possible outcomes, which he critically analysed to choose the most interesting, yet best performing one. Before generating these outcomes, he decided upon criteria he thought were important. The result is an innovative and surprising experience for the users of the courtyard. However, the roof serves only one function: the shape creating an interesting experience. The algorithm in my opinion should have As a result of the constant de- included an ecological analysis as velopment of novel technolo- one of the main criteria to come to gies, together with a growing an integrated design society depopulation needing more and mands, serving multiple purposes. more resources, architects are nowadays confronted by more Another way of interpreting ‘comcomplex design problems. The putational design’ is the one of role of the architect as a sole user participation by means of creator of the solution to these nteractive games. A very accudesign problems is changing. rate example of this is the game Block’hood. The game is focussed In ‘Theories of the Digital in Ar- on interdependence between chitecture’ (Oxman, 2014) com- dif iferent resources in the urban putational design is mentioned landscape. The players’ objective as a tool for the architect to pro- is to build an optimal ecological urduce these more complex de- ban structure consisting of ‘blocks’ signs modern society demands. that each have their inputs and An example for using computa- outputs and have synergies with tional design in practise is the other blocks. While trying to maindesign for the courtyard roof of tain the operation of each block, at the American Art Museum by the same time you want to support Norman Foster. What Norman the ecological growth of the whole Foster used computational de- structure. In Block’hood the real sign for is as a tool in service complexity of an urban structure of aesthetic modernistic design in is simplified to a scarce diversity of the age of digital fabrication. His elements with inputs and outputs.

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The aim of the game coop with a lot of existing elements, what might be the biggest challenge for sustainable designers.

Block’Hood gamelplay.

As is said by Jose Sanchez (2015), the developer of the game, the power of the videogame is to educate its user about sustainable structures and the idea of resources in a conditioned sense. He also strongly believes that an engaged community of players is a source for creativity and innovation for the designer. This accounts not only for the designer of the game, but also for the designers of the future urban landscapes. In addition to the experts (the architects) it seems that the users could play an important role in contemporary design process. This crowdsources design approach can lead

to more integrated designs that give a better answer to the need of the user, but the user needs to be educated first through real time simulation in an interactive system, where he is in charge.

In my experience with the game, it gave great insight in the new way we should think about urban development (everything being in balance), it doesn’t lead to concrete solutions at all. When you want to build a few more apartments, but the top of your building is already covered in windmills, you simply delete them without cost, build you apartments and then rebuilt the windmills. In real cities we

Inputs/Resources Output

Inputs/Resources Output

Generic model used in Blcok´Hood and by Norman Foster.

Where Norman Foster used a generic model for his design to create unexpected outcomes, Block’hoods main purpose now is to educate the user. But with the idea of Jose Sanchez of a crowdsourced game where users can give additions to the game to make it resemble real life more, we can see the same thing happening. Users generate possible outcomes for future improvements to the game. In a way computational design methods define the outcomes of the design process, but instead of limiting creativity, technology gives the architect the ability to innovate in ways he would not be able to with just his sheet of paper, his pen and his ideas. In the age of digital fabrication, we might need to redefine our understanding of the word ‘creativity’. Creativity is expressed in the way the designer utilizes his tools.

The tools that are relevant to my own game design are trial and error serving the educational purpose used to raise awareness, the clear objective making the user believe in the ideal of the game and the algorithmic approach of having a crowdsourced game leading to different outcomes by different players.

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A

.3

Rosario Habitat is a city planning project that achieves to overcome the barrier between the design experts and the wants and needs of the inhabitants as Lerner (2010) mentions in his research on the functioning of the project. A big part of the design task is in the hands of the civilians that work together and compete with each other in a workshop that is designed to be one big game. The game provides a way of not only experiencing but also interacting with the problems the city planners face evoking engagement. Through the democracy within the game, people seem to be satisfied with its outcome since they collectively agreed upon the way in which the game works.

To set up the game, they used colourful instruments, sounds and visuals explaining the pre-set rules to help the inhabitants understand them without losing their focus.

The game works like an algorithm.

Data map generated with Grasshopper.

The rules and the tools are the input for the game, the rules and discussion that the ‘players’ invent themselves are the process and the outcome is a new city map.

An algorithm can provide inspiration and go beyond the expertise of the architect, because it generates unexpected results. (Peters, 2013). On the downside, this way of city planning where the algorithm has only one chance (during the workshop) to be successful completely excludes the architect from making the final decision.

In fact, the game wouldn’t work if the architect did. To make the inhabitants trust that the game will give a beneficial outcome for everyone, it is important that no one overrules the collective judgement of the inhabitants.

The rules of the game

User

Player

Architect

Developer

Spectator

So what is the job of the architect?

The only way for the architect to have an impact on the game is in the way the boundaries of what the player can and cannot do is defined before the inhabitants enter the workshop. The architect uses his expertise to make the rules. This is a very hard but important job, because after the workshop, there is no denying the outcome or the changes have to be so small that nobody will notice.

Something that can be questioned is whether the inhabitants gain enough knowledge in the workshop to be the ones to make the final call. The balance between the power of the inhabitants and the trust they have in the outcomes of the game is a very delicate one. I do think that inhabitants can get it wrong, but likewise, without the engagement of the inhabitants, the architect can also get it wrong.

The role for the architect is somewhere between the developer and the spectator and the role of the user is somewhere between the player and the developer.

The Role of the Architect and the User.

n the next two weeks I will be creating a geo-located game. The objective is to avoid security camera exposure. The camera needs some time to recognise you, so

when you are within a certain distance, you will start getting neg ative points. The closer you are to the camera, the more points you get per second. After a cer Itain amount of points, the camera has recognised you and you are game over. When you are inside a building, you are safe. When you are with another or multiple other players walking together, each additional player will reduce the amount of negative points you get per second in camera sight by a certain amount. In grasshopper I will use ‘Closest Point’ to find the distance from a location to the cameras and then use a ‘Boundry’ and a ‘Domain’ to ‘Remap’ which creates an intensity map with a certain scope to which distances to the cameras are relevant. Besides the intensity map with the security cameras I will need a map of the buildings in which you are safe, therefore some areas need to have negative points so the map will not draw a circle (if you don’t select ‘Clipped’ using ‘Remap’).

This game will make people move through campus carefully, making the experience exciting. People will also recognise other players because they will be walking in stealth mode. If they join forces, they have a higher success rate.

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A

.4&5

References Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Lerner, J. (2010) What Games Can Teach Us about Community Participation: Participatory Urban Development in Rosario’s Villas, Places We Live: Slums and Urban Poverty in the Developing World.

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Sanchez, J. (2015) Block’hood - Developing an Architectural Simulation Video Game, edited by B. Martens, G. Wurzer, T. Grasl, W. Lorenz and R. Schaffranek, Vienna, 89-97

ILLUSTRATIONS Figure 1: Unité d’Habitation. Reprinted from “Veertig jaar Unité d’Habitation, een nieuwe formule voor stedelijk wonen” (p. 32), by H. Engel, 1994, OASE 37/38.

Figure 2: Courtyard roof - Norman Foster Reprinted from Eye Level, by D. S. Holloway. 2007. Retrieved from http:// eyelevel.si.edu/2007/11/raise-the-roof-.htmlstitution.

Reflection

Conclusion

Learning outcomes

My intended design approach is to make a game with a factor of trial and error serving the educational purpose used to raise awareness about the importance of the objective. The inted objective should be clear and should have a relation to important issues in real life as is the case in Block’hood, but in order to use the game as a tool for design it should be less abstract and more accurate. Another important thing is that the player should trust the game and it’s outcome by giving the player some power over the rules of the game as I’ve seen in Rosario Habitat. The power over these rules should be set within very clear boundaries. It will be a challenge to implement this and still have the game still answer to the objectives of me as an architect. have the game still answer to the objectives of me as an architect.

The understanding I have of using digital tools for Architectural design has developed since the beginning of the semester by learning new ways of using grasshopper and being introduced to game design, but primarily by reading about how new techniques are implemented in modern design projects and thinking about the role of the architect in relation to design in the future.

I am confident that the new skills that I have learned will help me to not only make better designs, but also construct better arguments to prove their value by using tools that will let people experience and interact with my conceptual ideas and designs.

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B

.1

game basics ai m

cameras

amount of Points relates to

position

Time

Cooperation

when reaching 100 points

mode

Survival

Setting up the game

Cameras on campus

1:5000 Game location on university of Melbourne campus

Score: 15

Camera

10 -5

Player Other player

Danger zone: 10 points Other player zone: -5 points Player gets 5 points per second

Example of player’s score

To understand how human behaviour can be determined by a game, we designed a game ourselves containing a hidden system on our

Camera reach

University Campus. Our hidden system being the security cameras. In our game, the user must avoid the security cameras. Being too close to them will affect their score negatively, leading to a game over. Because the score is added per second, the user will constantly be moving around, evaluating the amount of exposure of his position.

A feature of the game that reduces your score when moving around with other players evokes the realisation that crowds reduce exposure. The games aim is to change your perception of safety in different surroundings and situations.

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1. Small boundary, low vallues culled

2. Flipped boundary, no cull

3. Very large boundary, no cull

4. Large boundary, high valued culled

Intensity map number 2 is most suitable for our game. It shows higher intensities close to the cameras and covers the whole map with points so that we can use them to spawn “empty“ pickups so that the player will not know which pickups will affect his score.

Setting up the game To increase the amount of suspicion regarding the players’ exposure, it is not possible to see where the cameras are in the game. Wandering around the area using GPS, you walk through a field of pickups that all look the same, but according to their value on the intensity map, do something different with your score. Every second, pickups respawn, so staying near a camera will increase your score by the second. There are 5 intervals pickup values: 0,1,2,3 or 4 points. The feature of time makes the player feel excitement and determines the players pace, making him sneak or sometimes run around campus.

Testing the game led to the conclusion that the game could be more exciting. Running around and seeing what happens to your score is fun, but the game can be more engaging when other things change in the world on the screen as well.

Another thing is that the colours of Field of unidentifyable pickups the pickups and the player makes it hard to differentiate them from the ground surface. It was necessary to tweak the game a little by adjusting the score gained by each pickup to make it more challanging. Players now have to behave in a way that they someSuspenseful realistic challenging times have to run across camera sight in order to not get exposed. Game criteria

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B

.2

By enlarging the cubes and changing their opacity, the game experience is more suspensufull. The player walks around in a world that does not show the eyes that are watching him, but by looking at his score he knows how close he is and by walking around he can sense in what direction they are.

Enhancing experience

Sight The crowd The presence of a crowd A limited scope of what you makes the player less excan see in the game enposed in the game. hances suspense, because it gives you less time to prepare for what will happen.

Spotlights Beams of light can control player behaviour. It will make him feel there is a higher chance he will be seen and try to hide in the dark as it will make him feel more safe, but is it?

Precedents 19

1:1250

The blind spot of the camera

The blind spot of the camera

The player can be safe inside, as there will be no points added to his score. He can use the buildings as safe spots to effectively avoid the cameras.

Camera position Main road

Enhancing experience

1.

Score: 87

Score: 0 4.

2.

Score: 44

You have lost... try avoiding the cameras

3.

Score: 106

Using the created intensity map of our camera exposure, we can play with our game rules. As can be seen in the map, places with a low camera exposure appear in open spaces, while high camera exposure is found close to buildings, in alleys and in corners. This is because the cameras are all put up on walls in the real world.

What does this change to the playess feeling of safety? In the game, the safest place for him to be is in an open space. It will be smart to just stay there. The game needs a way to change this behaviour during the game itself.

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The game allows for single and multiplayer game modes, Multiplayer allows for collaboration with other players or competition based on highscores. single player

multiplayer

CLANDESTINE

play

survival mode

challenge mode

game over you were seen you seen

try again?

quit

Survival mode requires the player to move around freely and avoid cameras for as long as possible. Challenge mode sets an objective that the player needs to get to in as less time a possible without being noticed by the cameras.

yes no

When the player is noticed by one or various cameras long enough, the game finishes, and the player is given the option to start again. The game tries to make people think about the thin line between the feeling of safety and being watched.

Enhancing experience

Disguises

Bad Agents

Good Agents

Will make you invisable for 30 seconds

Act like moving cameras

Give you false identities that reset your score

New features in the game, called disguises and agents, give the player objectives that evoke him to engage more with the whole playfield in the game. The user interface gives a clue to where the new game objects are by estimating their direction and your distance to them in colour indicated lines with a thickness.

The closer the object, the thicker the line on your indicater. When you pick up a disguise, the player turns yellow and, during the 30 seconds that you are in disguise, slowely returns to his original colour.

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B

.3

To create interesting agent behaviour, we added specific intensity maps for them into unity. They behave according to the values of the map they read in the game. The bad agents’ map shows low camera exposure areas where he will move towards. In his map, building offsets locate alleys that are given a high value so that he will not move towards.

The behaviour we evoke with this is the bad agent chasing away players that try to stay in open spaces. The good agents’ map uses the building offsets that exist of negative values that he will only move to. These building offsets are alleys in the real world. It gives an interesting addition to the players objective. Approaching an alley is dangerous, but once your in, you can meet the good agent and have your score reset.

Evoking player behaviour 5 Agents trails

Good Agent - Moving Fast - Large Decay

Bad Agent - Moving Fast - Large Decay

Good Agent - Moving Slow - Small Decay

Bad Agent - Moving Slow - Small Decay

Bad Agent - Moving Slow - Large Decay

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B

.4

Documenting the game The game Clandestine invites you to the world of hidden cameras on Melbourne University campus. Dare to question your concept of safety in a virtual world that shows your exposure to the cameras. Clandestine is a survival game where you have to move around campus without being too exposed. When cameras are depicted as the eyes that watch and even follow you everywhere on campus, what does that change to your feeling of safety?

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“False identification obtained“

Game features

the bad agent Acts like a moving camera that always moves to points on the map where the camera exposure is low.

The presence of the bad agent makes open spaces dangerous to go to.

The Good agent Give you a false identity that will reset your score. The good agent looks like a moving bush that will always move to points on the map that are not exposed at all. You can find him in the alleys. Whenever he meets the wall of a building, he will respawn randomly.

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By using different tools for visualising our intensity map in grasshopper, different things can be learned about areas and their interrelation on the map.

Visualising intensities C LO S E S T P O I N T S - M OVE - C LO S E S T P O I N T - R AD IU S R E M AP M OVE

0 10 20 55

C LO S E S T P O I N T - R A D IU S M OVE - R E MA P

0 10 20 55

0 10 20 55

Inside

High intensity

High

buildings

c l o s e r t o c a m e ra s

a re a s

points

fo r

n o n -v i g i l a t e d

Intensity ze ro

Playfield

Lo w i n t e n s i t y a wa y fro m

Va r i o u s i n t e n s i t i e s

c a m e ra s

A l l e y s, b l i n d s p o t s, Lo w intensity

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V O RO N O I - AR EA - M OVE

P O P U L AT E 2 D - V O RO N O I - D E L AU NAY S U R FAC E S C LO S E S T P O I N T V O RO N O I - AR E A

0 10 20 55 0 10 20 55 0 10 20 55

M e d i u m s i ze

M o re c e l l s c l o s e t o

p r i va t e a re a s

c a m e ra s

S m a l l p r i va t e a re a s

B i g p r i va t e a re a s

L a n d s c a p e va r i a t i o n s d u e t o d e n s i t y a n d c o v e ra g e

-

Visualising intensities D E L AU NAY - D I VI D E LI N E

LI N E LE N GTH - R E MAP - C I RC LE S - P O P 2 D - D I S M OVE E X TR U D E

0 10 20 0 10 20

D e n s e c a m e ra a re a s

55

0 10 20

-

55

55

High points

S m a l l ra n g e

w h e re c a m e ra s

fo r i n d i v i d u a l

a re c l o s e t o

c a m e ra s

each other

Lo w e r p o i n t s fo r i s o l a t e d c a m e ra s

Range of a combination of c a m e ra s

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the Disguise

Score: 98

Yellow hats that are hidden on the map can be picked up and will give you a disguise. When you are in disguise, your score won’t be affected for 30 seconds.

Game screenshot nearby a bad agent. A slight fish eye lens view is used to create a disturbing feeling and to enhance the idea of being watched.

“You are in disguise“

Game environment The buildings look like a grid of hexagonal poles that accentuate verticallity. It gives the world a feel of being trapped between bars. They also fool the players vision as you might try to look through the dense “forest“ of poles, but you still won’t see very far.

The disguises are located near areas with high values of camera exposure.

The colours in the game are very dark to create a suspensefull virtual world that heightens the players feeling of being watched or followed and that will challenge him to detect and react quickly to changes in his environment.

The good agent moves around in small alleys where the camera exposure values are below zero.

The bad agent moves around in open spaces where the camera exposure is really low.

According to values of camera exposure, a terrain is created.

To confuse the player, every 30 seconds the landscape changes showing true intensities according to height, or false ones.

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Measuring success How many cameras are there in the game?

Where you aware of the cameras before playing the game?

How do you feel about the cameras after playing the game?

What feature of the game made you feel this way?

What places made you feel most exposed?

What places made you feel least exposed?

5-10

<5

10-15

Yes

Safe

>15

No

Neutral

Exposed

How many cameras are there in the game?

Key findings 2

We tested our game on two people so far. Each time it took them about 3 minutes before they died in the game. To make real assumptions, it needs to be tested a lot more. The testing showed that the game works quite differently on the phone than on the computer. Computer testing could also give usefull feedback. Complaints were often about the GPS being not very accurate. Something we tried to make the best of the capacities of GPS we had to work with, is to change the camera viewpoint from close-up to birds-eye.

However, this solution made the game loose some of its unpredictabillity.

None of the people who played our game were able to guess

how many cameras there were in total, which is sixteen. People did feel more aware of the cameras because of our game and they even made them feel more exposed. Both participants mentioned that they were really focussed on looking for cameras in their real environment and that the appearence of the bad agent made them feel most scared to be exposed to, so they avoided open spaces. The safest place they mentioned was just outside of a cameras reach.

This is quite interesting because this is according to the map a very safe spot as well! The bad agent wonâ&#x20AC;&#x2122;t go there, so nothing unexpected can happen. This is a very good game strategy!

1

0

<5

5-10

10-15

>15

Where you aware of the cameras before playing the game?

2

Yes

No

How do you feel about the cameras after playing the game?

1

0

Safe

Neutral

Exposed

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B

Reflection

The game mechanics of using the agent as a part of your game that works according to a few rules can be a very usefull tool for part C as the concept can be used to simulate ecological systems by adding gameobjects that live by a certain behaviour.

Because the GPS was quite a limitation, I think we should try and use top down views for the game in part C as Iâ&#x20AC;&#x2122;ve learned that this works better with the GPS. As the GPS gives a proximity to your actual location. This might be something we can account for in the part C game.

Something about our world that could have been improved is the ramdomly changing terrain.

It gave our game an element of unexpected events, which heightens the game sensation, but it

came to my understanding that a player wants to make sense of a game. The randomized map could have had an even bigger value to the game if it would give you information about something else and not just wrong information.

I think our hidden system game was a great succes as we achieved the player to behave differently through the space while playing our game. When we asked them about their experiene afterwards, they were quite astonished of how unsafe they felt in open spaces becuse of our agent and on how they werenâ&#x20AC;&#x2122;t aware of all those cameras recording them all day. It seemed that our game changed peoples feeling about being kept safe by the cameras when they are depicyed as the things that will expose you.

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