Platform: Oculus Quest

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Engine: Unity

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enre: Sales Training

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Team: 2 Engineers (me), 1 artist/designer, 1 animator, 1 project manager

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This was a VR game made to familiarize employees at a pet care company about the roles and future vision of product lines in their company. The idea is to show a few interactive scenes of the future of pet care, prominently featuring products only just now in development, and to get marketing and sales specialists acquainted with the vision of the company. This pet care company was a client of RazorEdge LLC, a VR-focused serious games company that I did intermittent contract work with from 2021-2023.

ENGINEERING TASKS:

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Gameplay Systems Programming

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I programmed all of the gameplay in FOP Maria, but it was through the excellent tools development of my engineer colleague that I was able to do so. He had already made a tool pipeline for the team long before I joined, and there were many Unity timeline - based utilities that he created that made my life a lot easier! At the time, I was coming off of a project where we created our own custom realtime event and animation scene sequencer - so going from that, to Unity Timeline WITH additional company-specific dev tools was an immense workflow improvement. Any non- timeline based gameplay in the game, such as the virtual phone screen, I programmed myself as normal.

Unity Timeline Sequencing

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I also set up all the content in the game, manually adjusting all animation and timeline sequences to match VO, and coordinate seamlessly with moments of player-driven pacing in the gameplay. I went over the loose scripts for the scenes and encounters, talked with the vision holders of the project to understand requirements, and created the content ingame using the dev tools.

Editor Scripting

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I extended some of the tools to make my own timeline tasks a bit easier to manage, such as automatically adjusting animation offsets and rootmotion at edit time.

OTHER TASKS:

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Art Pipeline Coordination

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I struggled again on this project to get all the animation I needed in the right format. I made sure to communicate more effectively this time though, and leveraged what I had learned last time about animation rigging and the 3D humanoid workflow in Blender to better understand the problem from the artist’s side. In the end, the artist and I were able to work together much better and get nice-looking animations into the project in less time.