Yesterday, I had the chance to visit the CoSA – Center of Science Activities in Graz, a hub of interactive learning designed to make science and technology engaging for all. Among its many features, one area stood out to me: the CoSA_Energy section. This part of the exhibition focuses on sustainability, energy, and how our daily choices impact the environment. Given my interest in creating a sustainability-focused app, I found this visit incredibly inspiring. Here’s a detailed account of my experience and reflections on how these ideas could be integrated into my project.
The CoSA_Energy area is brilliantly designed to encourage self-exploration. Upon entering, I took a lanyard with a token shaped like a lightbulb—my personalized key to activate the exhibits. At each of the seven interactive stations, covering topics like energy, mobility, clothing, and food, I could absorb information and later test my understanding with a quiz question. My answers were saved to my token, which added a playful, competitive element to the experience.
Each station was not only highly informative but also incredibly engaging. For instance:
Food: The Information like videos of street surveys and information was displayed in digital cooking pots, with an emphasis on the carbon footprint of different diets.
Shopping: A real shopping cart, extended and enhanced with a digital overlay, allowed me to learn about product sustainability through putting items that were talked about into my shopping cart. In a way it was designed to see different opinions and habits of people in a street survey without them being judged for their decisions, which allowed me to form my own picture of which actions I see critically and in which I possibly recognize myself.
Clothing: By scanning price tags of different items, I discovered whether garments were produced sustainably, second-hand or simply overpriced for branding. This activity can be eye-opening to people who don’t put that much thought into their shopping-decisions, as it showed the hidden environmental costs behind fast fashion.
Mobility: A bicycle-powered video station showed the different mobility needs of different groups. E.g. cyclists want safer cycle paths and no obstacles like parking cars in their way. Store owners need charging zones and car drivers say public transport is much slower than if they just drive to their workplace etc.
The mix of physical interaction and digital feedback kept me fully engaged, demonstrating how well gamified learning can work.
As I moved through the exhibits, I already thought about how some of these concepts could be adapted to a digital app. The idea of a personalized token, for example, could translate into a digital profile within the app, where users track their progress through challenges. Similarly, the interactive elements, like scanning clothing tags or generating power to reveal insights, could inspire app features that use augmented reality or motion sensors to create immersive experiences.
Additionally, CoSA’s quiz system at the end of each activity provided a great model for reinforcing knowledge while keeping it playful. In my app, I could integrate similar quiz-like rewards that help users retain information while earning points or badges.
Learning Through Play
What made the CoSA_Energy area so effective was its balance between education and fun. Each exhibit was meticulously designed to make complex topics accessible and interesting. For example, the cooking pots and shopping cart stations added a tangible aspect to abstract ideas like food miles and sustainable consumption. These interactions weren’t just entertaining – they made the information stick.
This approach aligns perfectly with my goal of motivating people to adopt more sustainable habits through an app. By incorporating game mechanics, such as unlocking content or comparing scores with friends, I could replicate CoSA’s ability to make sustainability both personal and engaging.
My takeaways
Visiting CoSA was an inspiring reminder of how powerful gamification can be in driving behavioral change. The exhibition succeeded in taking complex topics and breaking them into fun, bite-sized, interactive experiences.
For my app, I aim to achieve the same balance of education and entertainment. Features like augmented reality challenges, scannable items for instant feedback, and personal progress tracking could motivate users to reflect on their habits while learning how to make more sustainable choices.
The CoSA_Energy area also emphasized the importance of visual and tactile engagement, something I’ll prioritize in my app’s design. Whether through a digital garden that grows as users complete tasks or a sustainability leaderboard, the goal is to create a tool that is not only educational but also genuinely enjoyable to use.
Visiting the Zotter Chocolate Factory and Museum was a good opportunity to witness how sustainable and ethical values can be woven into a business model that engages consumers on multiple levels. Zotter’s dedication to fair trade, environmental responsibility, and innovative production methods provides a practical example of how sustainable practices can flourish in a commercial setting.
Given my thesis focus, the visit offered interesting insights into how a similar model could function within a digital application. By bridging ethical principles with interactive experiences, Zotter creates a great environment to learn in a „gamified“ and fun way more about their philosophy.
The chocolate theater
The Zotter experience began with a tour of their “Chocolate Theater“. This tour is designed to familiarize visitors with the chocolate-making process, beginning with a documentary titled “A Cocoa Journey Around the World.” The film traces the path of cocoa beans from sustainable, fair-trade farms to their transformation into Zotter’s signature chocolate. This journey reflects Zotter’s emphasis on fair compensation and transparency within their supply chain, which helps understanding the ethics behind their chocolate.
The narrative structure of the documentary, paired with Zotter’s commitment to ethical sourcing, highlighted the potential of storytelling to communicate important values to consumers/users. For example, sharing short narratives about sustainably sourced products could help users make informed, ethical choices. The focus on education through storytelling demonstrated that people are more likely to engage with and support sustainable practices when they understand the positive impact of their choices, a principle I hope to integrate into my own project.
Interactive tasting stations
The tour continued with a series of interactive tasting stations. Visitors are invited to sample a wide range of chocolate ingredients, from raw cocoa beans to various types of milk and sugar, exploring how each ingredient influences the final product. Unique tasting experiences, such as the vegan chocolate fountains or the „CHOCOshot Station“ with liquid praline, encourage visitors to directly engage with the diversity of flavors and ingredients.
This hands-on, sensory approach to learning emphasizes Zotter’s commitment to consumer awareness. By linking enjoyment with education, Zotter makes learning about sustainable production engaging and memorable. For instance, interactive tasks or “missions” within my app could reward users for learning about sustainable choices or trying new ethical products, helping to foster engagement and repeat participation.
The edible animal garden
One of the most surprising aspects of the Zotter visit was the „edible animal garden“, an on-site bio-agricultural farm that emphasizes organic, local food production. The garden is home to rare animal breeds, local fruit and vegetable crops, and eco-friendly installations, which allow visitors to explore various aspects of organic farming and sustainable agriculture. Through this agricultural experience, Zotter extends their commitment to sustainability beyond chocolate, creating a tangible example of environmental stewardship.
For my research, this experience reinforced the concept of fostering environmental connections to inspire sustainable action. Zotter’s approach demonstrates that firsthand interactions with nature and sustainable agriculture can profoundly influence people’s understanding of environmental issues. In terms of app design, this could translate into virtual elements that connect users with nature, such as gamified gardens or interactive animal care tasks that reward users for sustainable choices made in the real world. Zotter’s bio-agricultural garden suggests that combining education with real-world relevance can significantly impact user engagement and motivation to adopt sustainable habits.
Commitment to fair trade and the role of transparency
A core tenet of Zotter’s business philosophy is their commitment to fair trade practices. Every ingredient used is 100% organic, and Zotter meticulously ensures that farmers within their supply chain are compensated fairly. This transparency, embedded within the company’s identity, fosters trust among consumers and creates a model of ethical production that benefits both the community and the environment.
This emphasis on fair trade and transparency highlighted the value of incorporating similar principles into my app design. Users could be encouraged to support brands with ethical supply chains, receiving in-app or even real-life rewards for choosing fair-trade products or for participating in educational content about sustainable sourcing. Zotter’s commitment to fair trade shows how these ethical standards can attract and retain customers while promoting positive social and environmental impacts. For my thesis, it underscores the importance of integrating features that not only inform but reward users for making conscious choices aligned with sustainable practices.
Concrete takeaways on how to apply Zotter’s model to digital sustainability initiatives
Experiencing Zotter Chocolate Factory’s approach firsthand provided several insights that could translate effectively into the digital domain. My master’s thesis aims to design an app that motivates users to adopt more sustainable habits through rewards and interactive content. Observing Zotter’s methods of engaging consumers with sustainability offered valuable perspectives on how to structure a digital platform that encourages positive actions:
Gamification of Education Zotter’s use of tasting stations and sensory experiences to educate visitors demonstrated the effectiveness of gamification in fostering engagement. This aligns closely with the vision for my app, where users could complete tasks or missions that educate them about sustainable practices and reward them with points or badges for their engagement.
Storytelling and Transparency Zotter’s transparent communication about their sourcing and fair trade practices underlines the impact of sharing stories that connect consumers to the origins of their products. Similarly, my app could incorporate stories about sustainable businesses, making ethical consumption more personal and relatable for users.
Nature and Community Connection Zotter’s bio-garden emphasizes the power of reconnecting with nature to inspire sustainable choices. This principle could be applied virtually by allowing users to develop their own digital “gardens” or virtual environments that grow and evolve as they make more eco-friendly choices. These digital spaces would function both as rewards and as reminders of the positive environmental impacts of their actions.
Rewarding Positive Behaviors Zotter’s model demonstrates that sustainability and profitability can go hand-in-hand. In my app, users could be rewarded for purchasing fair-trade or organic items, thereby encouraging eco-friendly habits in a way that also supports ethical brands. Such incentives can create a feedback loop that continuously reinforces sustainable decision-making.
As the gaming industry continues to grow, so does its potential to inspire real-world change. This blog post is about two talks that were held at the Game Developers Conference (GDC) 2022.
Hunter Bulkeley from Tilting Point and Arnaud Fayolle from Ubisoft – showcased how the gaming world can effectively address climate issues. Bulkeley’s talk, Good Deeds Through Games: Integrating Features to Address Climate Change, and Fayolle’s presentation, Climate Game Toolkit for Content Creators, present compelling strategies for how games can help combat climate change, from embedding eco-friendly features directly into gameplay to influencing players‘ real-world actions. This blogpost explores how games can integrate climate-friendly initiatives and why doing so is beneficial not only to our environment but also to the gaming industry itself.
Bulkeley’s approach at Tilting Point demonstrates a practical and innovative way to integrate climate action directly into gameplay. Focusing on TerraGenesis, a mobile game themed around planetary development, Bulkeley describes how the team introduced a feature allowing players to contribute to reforestation efforts. Since the feature’s launch, TerraGenesis has enabled the planting of over 500,000 trees across several countries, proving that a well-aligned game feature can make a tangible environmental impact.
This concept is a step beyond simple in-game donations, it’s about embedding purpose into the gameplay itself. Players get to experience a sense of agency, knowing that their actions in-game have a real-world effect. Bulkeley stresses that choosing the right cause and a trustworthy partner, such as Tilting Point’s partner Ecology, is essential. Ecology’s role ensures that each player-driven contribution is fully traceable and impactful, aligning player actions with measurable environmental change. By pairing thematic elements of TerraGenesis with a reforestation initiative, the game creates a unique bridge between virtual and real worlds.
Arnaud Fayolle’s insights into how games can inspire cultural shifts underscore the potential of game narratives to build a sustainable mindset. Fayolle discusses games that use storytelling to raise awareness, such as Never Alone, which highlights the struggles of Indigenous peoples, or Horizon Zero Dawn, where environmental themes are central to the story. These narratives allow players to grapple with environmental challenges in a context that fosters empathy and understanding.
Through their ability to visualize potential futures, games can drive meaningful change in players’ attitudes toward the environment. For example, games like Plasticity showcase the devastating impacts of pollution, while Stardew Valley reconnects players with nature and promotes sustainable living. By immersing players in such narratives, developers can inspire players to adopt real-world eco-conscious behaviors.
Making a real-world impact with in-game actions
Both Bulkeley and Fayolle recognize that games can do more than just tell stories about climate change – they can encourage players to take direct actions. In TerraGenesis, Bulkeley’s team found that players responded positively to opportunities to support reforestation simply by engaging with the game’s ecosystem. This engagement not only promoted environmental good but also increased ad engagement within the app, suggesting that players are more likely to participate in charitable actions when they involve time, rather than direct monetary contributions.
Similarly, Fayolle emphasizes the power of repeated in-game calls to action. In The Sims 4: Eco Lifestyle, players can build eco-friendly homes and see their neighborhoods transform based on their decisions, effectively modeling how individual actions contribute to larger environmental outcomes. This game mechanic primes players to consider similar actions in their own lives, fostering behavioral change that transcends the virtual world.
More sustainable designs across the Gaming Ecosystem
One key aspect of Fayolle’s Climate Game Toolkit is a focus on sustainable game production itself. Game studios, marketing teams, and hardware manufacturers all have a role to play in reducing the environmental footprint of games. Fayolle points out that by optimizing code and offering power-saving modes, games like Subway Surfers and Genshin Impact minimize energy consumption, reducing their environmental impact. These optimizations, though behind the scenes, can make a significant difference when scaled across millions of players.
Fayolle’s insights into graphic sobriety are also critical here. Games like Breath of the Wild and Team Fortress 2 achieve beautiful aesthetics with minimal resource use, demonstrating that impressive visuals don’t need to be energy-intensive. By optimizing textures and educating players on the environmental impact of high graphic settings, developers can help create a more sustainable gaming experience. This approach not only reduces power consumption but can also educate players on making eco-friendly choices in their gaming settings.
Motivating change and building resilience
Both Bulkeley and Fayolle highlight that games can foster emotional resilience, another essential component in the face of climate challenges. Games like Spiritfarer and A Short Hike create narratives that normalize sustainable behaviors and emotional resilience, reinforcing these habits in players’ lives. Fayolle points out that behavioral transference from game to reality is a powerful tool. Dishonored, for example, promotes non-violent conflict resolution, while 80 Days subtly critiques consumerism, challenging players to think more critically about their real-world habits.
The idea is that by repeatedly experiencing these scenarios in games, players may adopt similar habits in real life. This principle is further exemplified by simulation games like Plague Inc. and Fate of the World, which use real-world science to model complex systems and long-term environmental consequences. By interacting with these systems in a virtual space, players gain an understanding of the interconnectedness of human actions and the natural world, potentially fostering a more climate-conscious mindset.
As both Bulkeley and Fayolle conclude, the gaming industry holds immense potential for influencing positive environmental change. Bulkeley urges developers to consider features that align with players’ interests and values, emphasizing that such initiatives can remain profitable when integrated thoughtfully. Meanwhile, Fayolle stresses that each facet of game development – from studio operations to game design – has a role to play in creating a sustainable industry.
By designing games that not only entertain but also educate and inspire, developers have the chance to engage players in meaningful climate action. The Climate Game Toolkit provides a robust framework for implementing these principles, empowering developers to leverage the cultural power of games to promote environmental sustainability.
Having watched the documentary “Zu viel Konsum? Zu viele Menschen? – Die Erde am Limit” by Arte, I felt a real sense of urgency about the issues it explored. The film dives into two powerful themes that are tightly intertwined: population growth and resource consumption. It shines a light on the challenging question of whether our planet can support its current trajectory of population growth and ever-increasing consumer demand. For those of us in the global north, this film is a wake-up call—a reminder of how deeply our lifestyles impact the environment and others across the globe. And as I watched, I realized just how closely this topic aligns with my own thesis project, which seeks to encourage climate-friendly actions in everyday life through gamification.
Population Growth on a Limited Planet
The documentary opened by tackling population growth, examining the differences between a couple in Italy and a large family in Ethiopia. This contrast was big: while in Sub-Saharan Africa, families are often large because children provide labor and support, in Italy, the birth rate has dwindled, with only 1.2 children per woman, one of Europe’s lowest rates. The film points out that while population growth in regions like Sub-Saharan Africa continues to soar, other parts of the world face their own problem: high resource consumption.
Ethiopia, for instance, currently has a population of 120 million people, projected to double in the next three decades. Here, lack of education and family planning often contribute to high birth rates. Many rural women, often married young, work up to 16 hours daily, and societal norms give men the say on family size. Meanwhile, limited education and health services mean fewer opportunities for family planning. The film shows the efforts of organizations like Menschen für Menschen, founded by Austrian Karlheinz Böhm, to integrate family planning into broader socio-economic initiatives. By improving access to healthcare, education, and clean water, they empower families to make informed decisions about their family size and overall well-being.
Projects like these illustrate that sustainable development doesn’t have to follow the path of overconsumption seen in wealthier countries. They are not only reducing immediate poverty but are also considering long-term sustainability. Watching these initiatives in action, I felt motivated to integrate similar ideas into my app, such as creating community-focused challenges or reward systems for local environmental contributions, like tree planting or waste reduction.
The Role of the Global North
The documentary highlights that the global north is just as responsible for the current ecological strain as areas with high birth rates. The issue isn’t just about “too many people” but also “too much consumption.” Take the Italian couple in the documentary, who use more resources before breakfast than an Ethiopian family might use in an entire year. The wealthiest billion people worldwide consume 72% of global resources, whereas the poorest 1.2 billion consume just 1%.
Our way of life in the global north, with frequent air travel and a consumption-heavy lifestyle, is a significant factor in pushing the Earth to its limits. Climate compensation schemes – where travelers pay extra to offset emissions—are mentioned in the documentary as symbolic, even superficial solutions. They offer a “greenwashed” way to soothe our conscience without addressing the core problem: a mindset of consumption that treats Earth’s resources as endless.
One of my main reflections after watching this documentary was how crucial it is to inspire climate-friendly choices within our own lives. The app I want to develop shall be designed to encourage and reward people for making sustainable choices, from simple actions like reducing energy consumption to bigger ones like rethinking travel or food choices. By creating a system that rewards users for climate-conscious decisions, I hope to make sustainability feel achievable and engaging, not like a burden.
The documentary illustrated how infrastructure can support sustainable behaviors. For instance, Copenhagen has made biking the norm by implementing bike-friendly infrastructure and by making it easier for people to get around without cars. In the app, I envision features that will allow users to see the impact of their actions, whether it’s tracking how many resources they’ve saved or learning about the carbon reduction tied to their choices. Just like Copenhagen’s motivational billboards that display CO2 savings from public transport usage, this app shall help users stay aware of their positive impact.
Bridging the Gap Between Aspiration and Action
As a final thought, the documentary emphasizes the gap between the climate goals of industrialized nations and their current actions. For example, the G20 countries are responsible for 75% of global emissions and, without more drastic changes, we’re still on track for more than a 2.5°C increase in global temperatures. While some progress has been made – such as the EU’s Green Deal aimed at making Europe climate-neutral by 2050 – the documentary makes it clear that much more needs to happen.
The documentary showed me why an app that encourages small, daily changes might be of essential value. By combining incentives and accessible resources, I hope my app can empower individuals to make a difference. The film’s message is urgent: it’s time to address overpopulation through smarter consumption and by fostering sustainable choices. And in the Global North, that means facing our consumption habits head-on and making changes that can lead to a more sustainable future.
Gamification refers to the use of game design elements in non-game contexts to increase user engagement and motivation. This involves integrating concepts such as scoring points, earning badges, completing quests, and competing in challenges into lesson plans and educational activities. The goal is to leverage the natural human desire for play, achievement, and social interaction to make learning more enjoyable and effective.
Children with cognitive disabilities often face unique challenges in traditional learning environments, such as difficulties with attention, memory, and social interactions. Gamification can address these challenges by:
Enhancing Engagement and Motivation – Game elements like points, rewards, and progress tracking can make learning more engaging and motivating for children who may struggle with traditional teaching methods.
Providing Personalized Learning Paths – Gamified activities can be tailored to meet the individual needs and abilities of each student, allowing for differentiated instruction and personalized learning experiences.
Encouraging Social Interaction – Games often involve teamwork and competition, which can help children with cognitive disabilities develop social skills and build relationships with their peers.
Creating Safe Learning Environments – Gamification provides a safe space for children to take risks, make mistakes, and learn from them without fear of failure, fostering a growth mindset.
Improving Retention and Recall – Interactive and immersive gamified activities can enhance memory and retention of information, making it easier for children to recall what they have learned.
References:
Mubin, Siti Azreena, et al., Gamification Design Framework to Support Autism Children Interaction Skills: A Systematic Review, January 2020. https://ijcrr.com/uploads/3096_pdf.pdf.
1. Optimisation of production workflows in Western and Japanese animation: Rotoscoping, Motion Capture and other Hybrid 2D/3D Techniques
This topic deals with the question of how Western and Japanese animators and animation studios try to optimise their production workflows and how they incorporate technologies such as Rotoscoping, Motion Capture as well as other Hybrid 2D and 3D techniques into their pipeline. The aim is to provide accurate insight into different 2D and 3D production workflows and compare them along with the results they achieve. The main interest will therefore be the practical applications of such techniques and the comparison of the different results they achieve within their cultural, narrative and genre-specific context. To summarise, after an in-depth study of the material, which will hopefully show both the advantages and the disadvantages of the different approaches, the next step will be to look for ways to incorporate the learned into my own design. This will be done via different case studies and short projects, such as short animations, character models or even a short movie.
1. Agarwala, A. / Hertzmann, A. / Salesin, D. / Seitz, S.: Keyframe based tracking for rotoscoping and animation . In: “ACM transactions on graphics, 2004, Vol.23 (3)”, ACM, New York 2004 , DOI: https://www.doi.org/10.1145/1015706.101576 2. Bratt, B: Rotoscoping, Routledge, 2021, ISBN: 9780240817040. 3. Davison, A. / Deutscher, J. / Reid, I.D.: Markerless Motion Capture of Complex Full-Body Movement for Character Animation, in: “Computer animation and simulation 2001”, Springer, Vienna 2001, ISBN: 3211837116. 4. Dunlop, R.: Production pipeline fundamentals for film and game. Focal Press, Burlington 2014, ISBN: 1-317-93622-1. 5. Kitagawa, M. / Windsor, B.: MoCap for artists: workflow and techniques for motion capture. Elsevier / Focal Press, Amsterdam / Boston 2008, ISBN: 9786611307301. 6. Menach, A.: Understanding motion capture for computer animation, Morgan Kaufmann, Amsterdam 2011, ISBN: 9780123814968. 7. Lanier, L.: Professional digital compositing: essential tools and techniques. Wiley Pub, Indianapolis 2010, ISBN: 9786612471834. 8. Lin, Z.: Research on film animation design based on inertial motion capture algorithm, in: “Soft computing (Berlin, Germany), 2021, Vol.25 (18)”, Springer, Berlin 2021, DOI: https://www.doi.org/10.1007/s00500-021-06001-y. 9. Miyakoshi, M.: Correcting whole-body motion capture data using rigid body transformation, in: “The European journal of neuroscience, 2021, Vol.54”, Wiley Subscription Services, France 2021, DOI: https://www.doi.org/10.1111/ejn.15531. 10. Roberts, S.: Character Animation Fundamentals: Developing Skills for 2D and 3D Character Animation. Routledge, London 2017, ISBN: 9786613267436. 11. So, Clifford, K.F. / Baciu, G.: Entropy-based motion extraction for motion capture animation, in: “Computer animation and virtual worlds, 2005, Vol.16 (3-4)”, John Wiley & Sons Ltd., Chichester 2005, DOI: https://www.doi.org/10.1002/cav.107´.
2. Gamification and Exploration in a VR environment
The goal of this topic would be to explore the different possibilities to work, play and design within a VR environment. With a very experimental approach, the final outcome of this topic can not yet be defined, but would very likely be some form of VR environment that allows for a playful and creative exploration of different applications and possibilities that such a digital space provides. Since VR can be seen as a completely different entity from our real world allowing for the addition of a second reality right within our lived-in one, with different rules, options and limitations, the current possibilities seem almost endless and are only restricted by our imagination as designers. As such and to set a boundary for the planned thesis, the exploration of two very particular topics is of special interest to me. These are:
2.1 An integrated approach to an interactive digital VR museum Based on the current research project I am working on at the Graz University of Technology, funded by the FWF, the possibility of building a completely interactive, decentralised virtual museum within Virtual Reality could be researched. Possible topics to look into include but are not limited to: user interaction and how to increase engagements, tools to allow exploration, interfaces and information design, accessibility, visual narration and perception of space and many, many more. As such, more in-depth research of this topic could prove to be worthwhile.
2.2 Gaming and designing in / for VR Another topic that seems quite promising is inquiring how gaming and exploration can even work in a virtual reality environment, both from a design standpoint and from the view of a user. To explore the different possible playful experiences that can be created and how to create them would be the main focus of this research. By looking into existing examples, such as VR games and the user-driven and collaboratively designed environment of VR chat, a deeper understanding of the topic could be achieved, which then in turn would be used to inform the design decisions shaping the new environment created as part of this research.
All in all, this topic is sure to be the most ambiguous and open among the presented, but also the one with the most potential for playful exploration and development. As such, VR and the inquiry of possible applications, is currently my favourite.
1. Jerald, J.: The VR book: human-centered design for virtual reality, Association for Computing Machinery (pub.), Morgan & Claypool, San Rafael 2016, ISBN: 9781970001129. 2. Sherman, W.R. / Craig, A.B.: Understanding Virtual Reality: Interface, Application, and Design, Elsevier Science, Burlington 2002, ISBN: 9780080520094. 3. Caarrozzino, M. / Bergamasco, M.: Beyond virtual museums: Experiencing immersive virtual reality in real museums, in: “Journal of cultural heritage, 2010, Vol.11 (4)”, Elsevier SAS, 2010, DOI: https://www.doi.org/10.1016/j.culher.2010.04.001. 4. Lengua, D. / Lengua, M.: Moving Towards Digital Lands: on Processes of Interaction in Museum’s Virtual Spaces, in: “Meta space”, DISTANZ Verlag, Berlin 2022. 5. Plowman, J.: Unreal engine virtual reality quick start guide: design and develop immersive virtual reality experiences with unreal engine 4, Packt Publishing Ltd, Birmingham / Mumbai 2019, ISBN: 1-78961-504-6. 6. Mitsea, E. / Drigas, A. / Skianis, C.: VR Gaming for Meta-Skills Training in Special Education: The Role of Metacognition, Motivations, and Emotional Intelligence, in: “Education sciences, 2023, Vol.13 (7)”, MDPI AG, Basel 2023, DOI: https://www.doi.org/10.3390/educsci13070639. 7. Evans, L. / Rzeszewski, M.: Hermeneutic Relations in VR: Immersion, Embodiment, Presence and HCI in VR Gaming, in: “HCI in Games”, Springer International Publishing, Cham 2020, DOI: https://www.doi.org/10.1007/978-3-030-50164-8_2. 8. Yildirim, C.: Cybersickness during VR gaming undermines game enjoyment: A mediation model, in: “Displays, 2019, Vol.59”, Elsevier B.V, 2019, DOI: https://www.doi.org/10.1016/j.displa.2019.07.002.
3. 3D character modelling and narration in Virtual YouTubing / the V-Tuber-community: How to make your character engaging via VFX and animations to underline your narration
Virtual YouTubing (V-tubing) has evolved over the recent years from a small niche community into an active and dynamic format of online content creation, where content creators interact with their audiences through animated 3D avatars. This topic delves into V-Tubing as a form of content creation, focusing on its combination of 3D character modelling and rigging and the narration and storytelling behind the characters of different creators. The main inquiry will be, how content creators use visual effects (VFX) and animations to create engaging characters that line up with their created narratives.
V-tubers, in this context, balance different skillsets, between technology and its capabilities to entertain and the storytelling aspect of their character. It is not surprising then, that some creators instead already opt to outsource one or the other, sometimes even both, to a digital artist, since the skillset required is expansive and the quality of many models in the competition is on the rise. Nonetheless, there is also still those that do everything themselves. The research aims explores the intricacies of character creation, using 2D character designs in combination with 3D modelling and rigging to craft distinct personas and then employing advanced animations and VFX to enhance their narrative expressiveness. By doing so, a deeper understanding of the complexity these creators are faced with, can be achieved.
The proposed research will then go on to explore the possibilities of viewers developing emotional attachment towards these digital personas, examining how the interplay of animations and VFX may enrich the viewer experience and engage the viewer. It will include studies into collaborations and manners of fan engagement – for example, fan art – that acts as the foundation of this community.
Finally, this topic aims to create one such V-Tuber model from scratch, going through all the most common steps from first draft to finished character. By doing so and by documenting the process, it will hopefully act as an investigation into the role of technology in facilitating the creation of these characters, including the software and hardware used to bring V-Tubers to life.
