BRANE

PROJECT “BRANE”

BRANE GRADEX Trailer  

BRANE Gameplay

EXPERIENCE BRANE HERE!!!!

In-Game Music Credits:

two out of the four songs used in the game were made by my friend Haker. Please check out more of his music in the link below:

https://haker.bandcamp.com/

1]Haker - AJ://01_explore

2]Haker- AJ://02_cubes

3]Oscuro - Chasing Time

4]Veil44 - Pulse

Artist Statement

“Brane” is a project that seeks to push the boundaries of the gaming experience by creating a unique, immersive virtual world that combines the worlds of photogrammetry and 3D art. As the sole creator of this project,I wanted to create an explorable space that allows users to explore and discover a world that is not constrained by physical boundaries or cultural barriers, and that encourages collaboration and community among users.

The inspiration for “Brane” comes from the concept of hypothetical higher-dimensional objects from String theory. By creating an alternate dimension that is coupled with our reality, the project allows users to preserve objects indefinitely in a virtual world. This idea is based on the Stick and Rope theory incorporated by Hideo Kojima in his game ‘Death Stranding’, which is based on the works of Japanese writer Kobo Abe. “Brane” takes this concept a step further by allowing users to submit their own 3D assets, which are randomly placed within the world for players to discover and place in the game world.

The use of photogrammetry technology is a key aspect of “Brane,” as it allows for the creation of realistic and detailed 3D models of objects and environments. By combining these models with 3D art, the project creates a visually stunning and immersive gaming experience. However, the focus of the project is not just on aesthetics. By incorporating objects from different cultures and places, “Brane” aims to create a collaborative space that celebrates diversity and promotes the preservation of cultural heritage.

One of the key features of “Brane” is its community-driven approach. By allowing users to submit their own 3D assets, the project encourages collaboration and community among users. This creates a shared experience of exploring and discovering objects in the virtual world, which fosters a sense of belonging and connectedness among users. This collaborative approach also allows for the creation of a grand city that combines objects from all cultures and places, making them accessible to people worldwide.

“Brane” is a project that combines technology, art, and collaboration to create a space that transcends physical boundaries and cultural barriers. By focusing on the preservation of cultural heritage and its community-driven approach, the project aims to inspire a new wave of artistic and creative video games that are inclusive and collaborative. Through “Brane,” I hope to create a space that brings people together to appreciate the beauty of different cultures and places, and that encourages collaboration and community among users.

Project Statement

The Brane project exists in the world because I wanted to create a unique and innovative virtual experience that would offer players an immersive gaming experience. I knew that combining photogrammetry and 3D art could create a one-of-a-kind virtual world that would be unlike anything else out there. My main objective for Brane was to preserve objects that hold cultural significance in a virtual world and make them accessible to people worldwide. By creating a collaborative space that combines objects from different cultures and places, Brane aims to promote cultural diversity and encourage community-driven exploration and discovery.

To bring this project to life, I used Unreal Engine 5.1 and photogrammetry technology to create an immersive and visually stunning virtual world. During the development of Brane, I learned so many things in Unreal Engine 5.1. For example, I learned how to create and texture landscapes, build foliage and collision, add water bodies, prepare photogrammetry scans, and use the blueprint system. I was able to use this knowledge to create a beautiful and immersive world for players to explore.

One of the unique aspects of Brane is that it allows users to submit their photogrammetry assets, which are randomly placed within the world for other players to discover. This collaborative aspect of the project was important to me because it allows users to contribute to the world and create a space that is diverse and inclusive. By involving users in the creation of the world, I was able to create a space that encourages the exploration and discovery of objects from different cultures and places.

During the development of Brane, I also learned the significance of preserving cultural heritage and the potential of technology to make cultural objects accessible to people worldwide. By using photogrammetry technology, I’m able to preserve objects indefinitely in a virtual world, ensuring that they’re accessible to future generations. This is important because it allows us to preserve cultural objects that might otherwise be lost or destroyed.

Finally, I learned that artistic and creative video games have the potential to promote cultural diversity and encourage collaboration and exploration. By combining technology and art, we can create immersive experiences that bring people together and promote cultural understanding. I believe that Brane has the potential to do just that.

Furthermore, I am currently working on a new system that will allow users to upload photogrammetry assets during runtime. This new system will make the collaborative aspect of Brane even more accessible and dynamic. Players will be able to contribute to the world in real time, adding new objects and helping to shape the virtual world as they explore it. I’m excited to see how this new system will change the experience of playing Brane and how it will allow us to continue to promote cultural diversity and collaboration.

Literature Review

The creation of “Brane” was influenced by a range of artistic and digital movements, including the digital art movement and the photogrammetry movement. The digital art movement is characterized by the use of digital technologies to create interactive and immersive works of art. The movement has been influenced by the evolution of digital technology and its use in art, as well as the exploration of new forms of expression in the digital space (Dieter, 2009). [1]The photogrammetry movement, on the other hand, is based on the use of photographs to create highly detailed and realistic 3D models of objects and environments. This technology has been used in a variety of applications, including video game development and digital art installations.

One of the main sources of inspiration for “Brane” is the Stick and Rope theory, which was introduced in the video game ‘Death Stranding’ developed by Hideo Kojima.[2] The theory is based on the works of Japanese writer Kobo Abe, who explored the idea of a “rope” that connects people and a “stick” that keeps them apart.[3] In ‘Death Stranding’, the theory is used to create a connection between players, who are tasked with delivering packages and connecting isolated communities in a post-apocalyptic world. [4]In the context of “Brane,” the Stick and Rope theory provides a framework for exploring the relationship between technology and society, as well as the role of art in bridging cultural barriers. The use of photogrammetry and 3D art allows for the creation of a shared virtual space where users can collaborate and interact with objects from different cultures and places. This expands upon the concept of connection and interdependence by emphasizing the potential for mutual learning and appreciation.

The use of photogrammetry technology in “Brane” was made possible by the work of several researchers and developers like Paul Debevec, a computer graphics researcher at the University of Southern California who is known for his work on photogrammetry and image-based lighting. He has been involved in the development of techniques for capturing and modelling realistic human faces and environments, including the creation of a digital model of the Notre Dame Cathedral in Paris using photogrammetry. [5]The technology has been used in a range of applications, including architectural design and engineering, and has been a source of inspiration for many artists and designers. For example, the digital artist Geoffrey Lillemon has used photogrammetry to create highly detailed and realistic 3D models of human faces, which he has incorporated into his digital art installations (Lillemon, 2020).[6]

The project also expands upon the digital art movement by creating a collaborative asynchronous space that combines objects from different cultures and places, encouraging community and collaboration among users. An asynchronous collaborative 3D digital space is a virtual environment where multiple users can contribute to a project at different times and locations. This type of space allows for asynchronous communication and collaboration, where users can work on the project at their own pace and contribute their ideas and assets without the need for real-time interaction. An example of an art project that utilizes an asynchronous collaborative 3D digital space is the “Museum of Symmetry” by artist and filmmaker Paloma Dawkins. The Museum of Symmetry is a digital art installation that allows users to explore a whimsical world filled with surreal landscapes and characters. Users can contribute to the project by submitting their own artwork, which is then incorporated into the installation and can be discovered by other users.[7]

“Brane” draws inspiration from a range of artistic and digital movements and builds upon the works of many artists and designers. The Stick and Rope theory, which served as the seed for the project, inspired the concept of creating a virtual world that transcends physical boundaries and cultural barriers, allowing for the exploration and discovery of objects from different cultures and places. The use of photogrammetry technology and the collaborative approach in the project were influenced by the evolution of digital technology and its use in art, as well as the exploration of new forms of expression in the digital space.

References:

[1]Dieter, M. (2009). Digital art. Thames & Hudson. Eliasson, O. (2004). 

 [2]Kojima, H. (2019). Death Stranding [Video game]. Kojima Productions. 

 [3]Abe, K. (2013). The rope. Vintage. Boudreau, C. (2020).

 [4]Death Stranding’s “Stick and Rope” Theory: An Analysis of Social Connection in a Fractured World. Game Studies, 20(1). Retrieved from http://gamestudies.org/2001/articles/boudreau

[5]Debevec, P. (2000). Paul Debevec and the art of photogrammetry. VFXPro.com. Retrieved from http://pauldebevec.com/Items/VFXPro-20001120/vfxpro-debevec-photogrammetry-20001120a.pdf 

[6]Geoffrey Lillemon: 3D scanning & photogrammetry. Retrieved from https://www.geoffreylillemon.com [6]

[7]Dawkins, P., Casa Rara Studio, & National Film Board of Canada. (2018). Museum of Symmetry [VR experience]. Retrieved from https://store.steampowered.com/app/870890/Museum_of_Symmetry/