According to Nathan Shedroff’s Framework for experience Value/Significance is needed when catering for the user experience, ‘The key is in providing meaningful customer experiences.’ (Diller, Shedroff and Rhea, 2019), this emphasises how I wanted my customers to experience something they might never get to experience. ‘Great customer journeys are the result of great relationships that are enabled by great experiences’ (WebVisions, 2019), this helped me envisage the emotions I wanted my audience to experience when playing my experience. My aim was to make them feel captured within the walls of the mountains during some parts of the video, resulting in a sense of panic.
For me, breadth was paramount as I needed to have the right amount of space/proxemics between each mountain to create the feeling of being trapped but on the other hand, have enough space so that it doesn’t become familiar and overdone which gives me the chance to create other events within the experience. I choose a mainstream audience for my experience rather than a niche audience as its a larger demographic. The audience I chose is children/teenagers as the majority of this demographic wouldn’t have experienced much of the world at this point in their lives, making them naive and leaving them wondering and fantasizing about what is out there.
In the experience I created, you come across a small hut enclosed by hills. I made it so you could interact with this as if you were there in real life, for example, you can explore both in and around the hut. ‘Interactivity is a spectrum from passive to interactive and there’s no distinct point along the spectrum where an experience switches from passive to interactive’ (Shedroff, 2019). Another way in how you can interact is by climbing the mountains, this gives you a bird’s eye view of the experience, again reinforcing the message that there is no way out. Across the whole of my experience, there are multiple ground levels, for example; some parts are below the ground whereas other parts are above the ground. This creates more interaction for the user as it gives them the freedom to explore the experience.
My experience isn’t based around a narrative or a storyline however the intensity of my experience changes throughout the experience. For example, some parts of my experience are simply just following the path whereas other parts are more exciting such as finding a small hut or being trapped between the walls of the mountains. On the other hand, you could say that the path I created does tell a narrative as it gives the user the imagination to create a story, such as; another character is living there or maybe lived there before they arrived. Even though the hut doesn’t tell you a certain storyline it creates an enigma for the user leaving it up to their imagination.
Personally, duration was important to me as I wanted the audience to feel fully immersed within my experience I created. ‘At the very least, think of an experience as requiring an attraction, an engagement, and a conclusion.’ (Shedroff, 2019). To achieve this I created a path the user could follow helping them find their way around the experience, keeping them on track ensuring that they don’t miss any parts of the experience. My experience ends when all you can see is mountains, this leaves the user feeling trapped and that there is no escape which is what I wanted to achieve as these are the emotions you would go through if this happened in real life.
‘sensorial design is simply the employment of all the techniques we use to communicate to others through senses’ (Jacobson, 2019), this inspired me to make the surrounding mountains visible and not make the lighting dark, where the user would have had to use a torch to see. This is because I wanted the user to experience the full surroundings and truly feel enclosed as there is no way to escape. Another reason is that I wanted the user to feel the heat and humidity coming from the sun making them feel even more trapped and panicked. I used multiple layers to trigger touch such as; gravel, rock and grass to create the realistic aesthetic of mountains, helping the user become lost in the experience. During the middle of my experience, the user would fall down a hole which is surrounded but mud and dirt and look up, which triggers the sense of smell as it creates the aroma of a bog.
Diller, S., Shedroff, N. and Rhea, D. (2019). Making Meaning – Nathan.com. [online] Nathan.com. Available at: http://nathan.com/making-meaning/ [Accessed 17 Jan. 2019].
Jacobson, R. (2019). Information Design. [online] Google Books. Available at: https://books.google.co.uk/books?hl=en&lr=&id=vnax4nN4Ws4C&oi=fnd&pg=PA267&dq=interaction+nathan+shedroff&ots=PaH745kvDd&sig=CXyYNcFdxU-EJgpQSGtHoNyLw3w#v=onepage&q=interaction%20nathan%20shedroff&f=false [Accessed 17 Jan. 2019].
Shedroff, N. (2019). Elements of Experience Design | Framework | Peachpit. [online] Peachpit.com. Available at: http://www.peachpit.com/articles/article.aspx?p=23343 [Accessed 17 Jan. 2019].
Shedroff, N. (2019). Interactivity | Elements of Experience Design | Peachpit. [online] Peachpit.com. Available at: http://www.peachpit.com/articles/article.aspx?p=23343&seqNum=6 [Accessed 17 Jan. 2019].
WebVisions. (2019). Understanding the Journey: A Discussion With Nathan Shedroff. [online] Available at: http://www.webvisionsevent.com/2016/02/understanding-the-journey-a-discussion-with-nathan-shedroff/ [Accessed 17 Jan. 2019].