Nick Crockett

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<channel>
	<title>Nick Crockett</title>
	<link>https://ncrockett.com</link>
	<description>Nick Crockett</description>
	<pubDate>Mon, 09 Nov 2026 06:00:06 +0000</pubDate>
	<generator>https://ncrockett.com</generator>
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	<item>
		<title>Projects</title>
				
		<link>https://ncrockett.com/Projects-1</link>

		<pubDate>Wed, 26 Jan 2022 06:20:15 +0000</pubDate>

		<dc:creator>Nick Crockett</dc:creator>

		<guid isPermaLink="true">https://ncrockett.com/Projects-1</guid>

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Cinder Ridge


Cinder Ridge is a game about tending to California’s forests in the near future.
Players take on the role of a new recruit working at a rewilding camp in the mountains. The player and their crew work together to manage and restore the forest; planting trees, building trails, clearing firebreaks, tearing up pavement, and more. Players can accomplish many tasks on their own, but it’s usually easier, faster, and more fun to work together with the other characters.
The game was originally imagined as a loving ‘videogame portrait’ of the Sierra Nevada foothill ecosystem where I grew up, and draws on deep research into real forest and land management practices. Inspired by the speculative fiction of Ursula K Le Guin and Kim Stanley Robinson, as well as the poetry and essays of local activist and writer Gary Snyder, the game blends light roleplaying and strategy mechanics to explore meaningful climate work in the future. The gameplay focuses on tending to both human and non-human members of a diverse fictional community, offering a gentle critique of how nature is often represented in games as either a static background for adventuring, or a source of unlimited resources to extract.
With contributions from Genie Ink, Julia Wang, Kenneth Faulkner, Aaron Gray, John Weinrich, Elsie Wang, Mickey Goese, Adeline Ducker, Joule Han, and omniboi.

Website


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Fire Underground


Fire Underground is an animated feature-length fantasy and immersive installation set in a fictional Appalachia, and the Carboniferous swamps which lie below it. It is inspired by natural history, labor history, and Appalachian music and culture, and takes the making and mining of history as its central theme and conflict. 

While a labor conflict escalates into a war, the dead and dying find themselves in a prehistoric carboniferous swamp deep below ground, where strange creatures are stirring in the dark. The story is framed by scenes from a surreal “museum at the end of history'' where heroes from America's past are immortalized forever as animatronic statues and looping dioramas, alongside prehistoric creatures, war machines, and other historical artifacts.


Featuring original music by Sarah Louise Henson, as well as:“Rime,” performed by Sarah Louise, courtesy Thrill Jockey Records,“Thirty Inch Coal,” recorded by Men of the Deeps, with permission.

This project was made possible with support from the Carnegie Mellon School of Art, the Frank-Ratchye Fund for Art at the Frontier, and a Carnegie Mellon Graduate Education GuSH Research Grant.


Video &#38;amp;&#38;nbsp;More


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Vietnam Romance


Vietnam Romance is a tour of nostalgia for romantics and Deathmatch veterans pitting tourists vs. adventurers, history vs. its fantasies, and games vs. cinema. Film critic Ed Halter, described a film version of the project as exploring “a peculiarly American memory-trip, one in which the legacy of a gruesome war has become indistinguishable from pleasurable, if mythic-tragic, entertainments.”


The project takes various forms: computer game, collectable card game, live performance / puppet show/ dinner theatre, and video installation.


Vietnam Romance recreates and interrogates the fictionalized history of the Vietnam War and its culturally commodified remains through a mash-up of cultural artifacts drawn primarily from Hollywood film culture as well as war literature, comic books, popular music, collectable war memorabilia, and adventure tourist packages.


Collaboration lead by Eddo Stern, with 
Steven Amrhein, Jessica Hutchins, Lucas Near-Verbrugge.
More


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Festival Games

During my time at UCLA Game Lab I designed a bunch of whimsical games. Most of these were made for the Game Art Festival at the Hammer Museum, or other popup events around LA. Occasionally, some have traveled along with other Game Lab projects to exhibitions and events like Videogames: Design/Play/Disrupt at the Victoria and Albert Museum in London, and After Dark at the Exploratorium in San Francisco.
In order of appearance:

Tap-Out-Saga — A mobile boxing game for two with a rugged plywood housing to encourage rough-housing.Sneaky Cactus

— Stealthy succulent racing with live cacti in a rotating, motorized controller. Ouch! Adjust difficulty by replacing cacti with split stone, baby toes, and other less prickly plants.Horse Game: A Friend You Can Ride On — A delightfully stupid videogame performance about ridesharing apps designed for the Arcade Backpack, featuring illustrations by Adeline DuckerRunRunRun: Race to the Bottom

— A hectic “tempest-like” arcade game for 2-4 players, designed to be played “in the round” on the Game Lab’s&#38;nbsp; Cocktail Cabinet tables.

Other Work


  &#60;img width="600" height="338" width_o="600" height_o="338" data-src="https://freight.cargo.site/t/original/i/63960ab53e1c3c7d79c2213203c3acdf38d5999295b5d58b03617cb5f166d41e/Final_Fly_Gif.gif" data-mid="254164500" border="0"  src="https://freight.cargo.site/w/600/i/63960ab53e1c3c7d79c2213203c3acdf38d5999295b5d58b03617cb5f166d41e/Final_Fly_Gif.gif" /&#62;
	

Teaching

I’ve been lucky to get to work with a lot of incredible students at Carnegie Mellon University School of Art, UCLA Design Media Art, and USC Games.
More


	&#60;img width="1588" height="886" width_o="1588" height_o="886" data-src="https://freight.cargo.site/t/original/i/36fed286d5a94b74a10b0d636b524712d7095c3e8b2d2d6b2e26b3093550336e/9b095078-a4b3-4d34-8069-770376ad7653.png" data-mid="254167365" border="0"  src="https://freight.cargo.site/w/1000/i/36fed286d5a94b74a10b0d636b524712d7095c3e8b2d2d6b2e26b3093550336e/9b095078-a4b3-4d34-8069-770376ad7653.png" /&#62;
	
NASA Jet Propulsion Laboratory
I had a formative internship at the NASA Jet Propulsion Laboratory, assisting with UX research and prototyping exploring applications for then-emerging consumer grade virtual reality tech for telerobotics and space exploration.More
</description>
		
	</item>
		
		
	<item>
		<title>About</title>
				
		<link>https://ncrockett.com/About</link>

		<pubDate>Wed, 26 Jan 2022 09:36:09 +0000</pubDate>

		<dc:creator>Nick Crockett</dc:creator>

		<guid isPermaLink="true">https://ncrockett.com/About</guid>

		<description>I'm an artist, designer, and educator.&#38;nbsp;
My creative practice revolves around interactive storytelling grounded in specific histories and places; exploring relationships between people, land, and labor through speculative worldbuilding. My current project is Cinder Ridge, a computer game about rewilding and forest stewardship in near-future California.


I am currently Visiting Assisting Professor of Game Art and Design at Carnegie Mellon School of Art.

I have exhibited games and animations internationally, including at VIDEO GAMES: Design/Play/Disrupt, Victoria and Albert Museum, LondonMilan Machinima Festival, Milan, ItalyPersonal Structures, Venice Biennale Satellite Exhibition, Venice, ItalyNorthern Spark Festival, Minneapolis, MNUCLA Game Art Festival, Hammer Museum, Los Angeles, CAPower Without Extraction, Film Screening at Carnegie Museum of Art (Organized by the Carnegie Museum of Natural History)


email&#38;nbsp; &#38;nbsp;&#124; &#38;nbsp;

CV&#38;nbsp; &#38;nbsp;&#124;&#38;nbsp; &#38;nbsp;Why?</description>
		
	</item>
		
		
	<item>
		<title>Why?</title>
				
		<link>https://ncrockett.com/Why</link>

		<pubDate>Mon, 09 Nov 2026 06:00:06 +0000</pubDate>

		<dc:creator>Nick Crockett</dc:creator>

		<guid isPermaLink="true">https://ncrockett.com/Why</guid>

		<description>Why?
	&#60;img width="1541" height="1021" width_o="1541" height_o="1021" data-src="https://freight.cargo.site/t/original/i/532194a05ed77b215e67979653ceb755a9a16ca8e30d880aff24eb683a8b779d/tap-out-improved.png" data-mid="254141539" border="0"  src="https://freight.cargo.site/w/1000/i/532194a05ed77b215e67979653ceb755a9a16ca8e30d880aff24eb683a8b779d/tap-out-improved.png" /&#62;
	

Play is a powerful and personal means by which we probe and erode our usual ways of being in and relating to the world. This is why children put things up their noses, why people put on wingsuits and jump out of airplanes, why people perform in drag. These playful activities involve investigating, reimagining, and expanding the space of what’s possible. 
Making art is play. An artist plays with materials, technology, form, and composition, but also perception, images, narratives. An artist’s play can reveal new ways of seeing, being, and thinking. Making games, I am playing with play. I hope that my work leads leads viewers, players, and participants to inhabit their relationship to space, bodies, technology, and history in unexpected ways. But mostly, I hope they have fun.
When we play, we exert ourselves and our powers (such as they are) just for the sake of it, just for ourselves. Running, puzzling, whirling, leaping, singing. Doing so, we come into full, unselfconscious contact with ourselves and the world we inhabit.When we play together, we create something together; a shared space, a contract, a point of contact, a kind of mutual pleasure that is discovered, negotiated, and refined collaboratively, with and for one another. In a sense, it’s just about enjoying being. And why shouldn’t we?As the late David Graeber asks, “what’s the point if we can’t have fun?”


</description>
		
	</item>
		
		
	<item>
		<title>Teaching</title>
				
		<link>https://ncrockett.com/Teaching</link>

		<pubDate>Thu, 16 Dec 2021 21:11:46 +0000</pubDate>

		<dc:creator>Nick Crockett</dc:creator>

		<guid isPermaLink="true">https://ncrockett.com/Teaching</guid>

		<description>Teaching
Carnegie Mellon University
IDeATe Portal: Real-Time Animation


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Spring 2019Real Time Animation is an introductory animation course for sophomores and freshmen entering the Integrated Design Art and Technology Program (IDeATe) at Carnegie Mellon University. It is a crash course in 3D modeling, animation, coding, and interaction design, designed to prepare students to make games, vr, ar, and other interactive experiences later on in their studies.

Assignments included:
Shader Beings: create 5+ speculative microbiota / microscopic particles / other entities which are primarily animated with shader graph
Weird Creatures: introduction to animation and modeling - model and animate 5+ simple creatures
Physics Playthings: make 5 simple toys / musical instruments using the Unity physics engine
Avatar Game / Zoologies make a game or interactive experience about being a specific creature - building on weird creatures with more programming and using the Character controller.
XR Diorama (Spatiality and the Screen)&#38;nbsp;- create a diorama using either augmented reality or a head-mounted display.
Expressive Environments - adapt one of Italo Calvino’s “Invisible Cities” to an explorable environment in Unity.


Electronic Media Studio: Introduction to Electronic Media


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Spring 2019EMS II: Introduction to Interactive Media is a required course for all sophomores in the School of Art. Although it is not a new course, I was encouraged to augment the syllabus to include exercises on Unity. Roughly the first third of the course was devoted to introducing students to programming fundamentals using P5.js. Midway through the course we did exercises using artist made or open source tools for game creation like Twine and Bitsy. Then we transitioned into working with Unity, including a unit on making alternative game controllers using MaKey MaKey.


University of California, Los Angeles
Design Media Art 157: Game Design


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Spring 2020We had to quickly adapt to remote learning during March of 2020. I designed a fairly open-ended class with two major projects: the first a “walking sim” focused on asset production and world building, the second a more coding intensive online multiplayer project. Because we were all adapting to covid, we shifted gears to a much more open ended class, most students produced a single game project over the course of the quarter.
Many students explored networked multiplayer, generative environments, and narrative based games. Some continued developing projects from other classes.


Design Media Art 160 (Special Topics): Game Development


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Fall 2021Game development is a class designed as a followup to DESMA 157: Game Design and DESMA 28: Interactivity, which exposes students to more advanced programming topics. Assignments included a random generator, a physics-based adaptation of a ball sport, and a multiplayer arcade game to be played on the UCLA Game Lab’s cocktail cabinets.


Quinnipiac University


Game Development Studio: Unreal Engine


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Fall 2021I led a remote class that gave students an introduction to the unreal engine, including several short lab assignments and a larger final project. The course compliments other courses on sound and graphics production.


UCLA Game Lab Summer Institute


Character Animation


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Summer 2018A one week crash course on 3D modeling, rigging, and animation for high school students. Each student contributed a creature to a class parade.


Game Programming


&#60;img width="969" height="554" width_o="969" height_o="554" data-src="https://freight.cargo.site/t/original/i/6f255f22b91af6f996d3f21c7694f2816e201449d92bdd2620bdfb2c23616554/leyth.gif" data-mid="131435003" border="0"  src="https://freight.cargo.site/w/969/i/6f255f22b91af6f996d3f21c7694f2816e201449d92bdd2620bdfb2c23616554/leyth.gif" /&#62;
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Summer 2021A one week course introducing programming basics and scripting in unity. Students created top-down adventure games featuring collectable items, simple block-pushing puzzles, and a variety of non-player characters.


more coming soon!
</description>
		
	</item>
		
		
	<item>
		<title>JPL</title>
				
		<link>https://ncrockett.com/JPL</link>

		<pubDate>Mon, 09 Nov 2026 05:04:22 +0000</pubDate>

		<dc:creator>Nick Crockett</dc:creator>

		<guid isPermaLink="true">https://ncrockett.com/JPL</guid>

		<description>
&#60;img width="1588" height="991" width_o="1588" height_o="991" data-src="https://freight.cargo.site/t/original/i/3482d788f37a24b77aec8854671d59e7b997ee65c81a4d27c797aa17c882c15a/9b095078-a4b3-4d34-8069-770376ad7653.png" data-mid="254139989" border="0"  src="https://freight.cargo.site/w/1000/i/3482d788f37a24b77aec8854671d59e7b997ee65c81a4d27c797aa17c882c15a/9b095078-a4b3-4d34-8069-770376ad7653.png" /&#62;
&#60;img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/66725c51279d5b2eb707bb3bfd916752dbaf24ee7ec62bf5497dfb0041a143e1/Screenshot-2026-11-05-160324.png" data-mid="254139990" border="0"  src="https://freight.cargo.site/w/1000/i/66725c51279d5b2eb707bb3bfd916752dbaf24ee7ec62bf5497dfb0041a143e1/Screenshot-2026-11-05-160324.png" /&#62;


NASA Jet Propulsion Laboratory
UX Research &#38;amp; Development: VR for Telerobotics&#38;nbsp;

For around 6 months I was an intern at NASA Jet Propulsion Laboratory’s OpsLab, assisting with UX research around uses for consumer gaming and VR technologies like early Oculus DK1 and Xbox Kinect for telerobotics and space exploration. My role included shadowing and interviewing mission planners and scientists, helping design and run experiments, and prototyping different ways of visualizing and interacting with data from rover missions.


&#38;nbsp;

One of our major projects was about improving control systems for telerobotics at interplanetary distances. The speed of light prohibits direct control; it can take up to 24 minutes for a signal from Earth to reach rovers on Mars, meaning up to a 48-minute round trip for an operator to get any feedback on their actions.
We explored interfaces that displayed a ‘cone of uncertainty’ representing where a rover might end up given a certain command, and tested its effectiveness with a cheap robot and in-room obstacle course driven on a delay of just a few minutes.


We also explored using game like interfaces to control fine manipulation tasks at a distance, including under time delay. The flashiest of these was an experiment using a structured light sensor (xbox kinect) to translate gestures directly, VR goggles to help the user with depth perception, and a similar predictive interface as the rover exploration. A more conventional screen and mouse configuration offered more precision. We tested our ideas using a Kinova JACO robotic arm (an assistive device for mobility issues) to perform fine motor tasks like stacking lego blocks.


Finally, we used VR to visualize point cloud data from the Curiosity Rover, as an alternative to the panoramic views and conventional 3D viewer available in ArcGIS. We did user studies with a mix real mission planners and scientists as well as laypeople, asking them to draw maps of the martian surface based on what they saw in the headset, and again based on conventional panoramic views. The VR experience afforded significant improvement for laypeople, less so for the scientists who already used the panoramic software on a day-to-day basis.</description>
		
	</item>
		
		
	<item>
		<title>Overview - VR</title>
				
		<link>https://ncrockett.com/Overview-VR</link>

		<pubDate>Thu, 16 Dec 2021 04:26:06 +0000</pubDate>

		<dc:creator>Nick Crockett</dc:creator>

		<guid isPermaLink="true">https://ncrockett.com/Overview-VR</guid>

		<description>

Vietnam Romance is produced by a small, rotating team; many people with different backgrounds and skill sets have touched this project over the years. Eddo Stern has been working on this project since around 2012 or 2013. He works primarily as a producer and director, collaborating with current and former students like myself.


I joined the project as a programmer in 2014, and worked on it off-and-on until beginning work on Cinder Ridge full time in 2022. Over that time my role expanded to include production tasks like character animation, UI design, techincal art, and designing and prototyping many of the game's core game systems.&#38;nbsp;
 
For our shows at Postmasters, Babycastles, and Dundee Contemporary Arts, I traveled with Eddo to the venues, and built in-engine tools for projection mapping the game onto custom built screens. For our performances at Babycastles NYC and the Hammer Museum, I built tools to control non-player-characters and trigger gameplay events during a live theatrical perforance of the game as well as working on the electronics for a rambo puppet controller for player-participants to use. For our installation at Northern Spark Festival, I integrated HappyFunTimes, a tool by Gregg Tavares that allowed participants to join the game using their smartphones as game controllers by connecting to our wifi network.


roles: 
programmer
animation
design

tools: 
unity&#38;nbsp;
blender&#38;nbsp;
photoshop&#38;nbsp;
c#


funding / awards:Vietnam Romance has been generously supported by the Beall Center for Art And Technology through an Andy Warhol Foundation grant, and by The University of California Institute for Research in the Arts and by the UCLA Council On Research.

exhibited:Dundee Contemporary Arts (Dundee, Scotland) , July 2016Cirrus Gallery (LA), Feb 2016UCLA Game Art Festival/The Hammer Museum (LA), Nov 2015Northern Spark Festival (MN), July 2015Postmasters Gallery (NYC) June 2015Babycastles (NYC) June 2015Angeles Gate (LA), April, 2015Indiecade East/Museum of the Moving Image (NYC), April, 2015
-Amaze Festival (Berlin, Germany), April 2015Royal Ontario Museum (Toronto, Canada) March, 2015Beall Center (Irvine, CA) Jan 2015Beit Ha’ir Museum (Tel Aviv, Israel), May 2014


</description>
		
	</item>
		
		
	<item>
		<title>Video + Images - VR</title>
				
		<link>https://ncrockett.com/Video-Images-VR</link>

		<pubDate>Wed, 26 Jan 2022 19:40:28 +0000</pubDate>

		<dc:creator>Nick Crockett</dc:creator>

		<guid isPermaLink="true">https://ncrockett.com/Video-Images-VR</guid>

		<description>

Cirrus Gallery Excerpts


Dundee Contemporary Arts


&#60;img width="1204" height="800" width_o="1204" height_o="800" data-src="https://freight.cargo.site/t/original/i/14a1f1c2549ff7517838c2b191bb520c4d12f78d374e37a549990cc6835a9ae0/game-art-fest-2.JPG" data-mid="131547991" border="0"  src="https://freight.cargo.site/w/1000/i/14a1f1c2549ff7517838c2b191bb520c4d12f78d374e37a549990cc6835a9ae0/game-art-fest-2.JPG" /&#62;
&#60;img width="1561" height="915" width_o="1561" height_o="915" data-src="https://freight.cargo.site/t/original/i/b7cd8093601bd92ff2d806ec3e8b291b51e343b4132d576b110ce94528591d5a/Dundee.JPG" data-mid="131547997" border="0"  src="https://freight.cargo.site/w/1000/i/b7cd8093601bd92ff2d806ec3e8b291b51e343b4132d576b110ce94528591d5a/Dundee.JPG" /&#62;
&#60;img width="1200" height="799" width_o="1200" height_o="799" data-src="https://freight.cargo.site/t/original/i/5d0ae527a05b4a3af86f4e2b79e1d5d5e580f5f5d836d8011e36b59f7df627e3/Computer-Model.JPG" data-mid="131547992" border="0"  src="https://freight.cargo.site/w/1000/i/5d0ae527a05b4a3af86f4e2b79e1d5d5e580f5f5d836d8011e36b59f7df627e3/Computer-Model.JPG" /&#62;
&#60;img width="750" height="421" width_o="750" height_o="421" data-src="https://freight.cargo.site/t/original/i/f6d1bcff0792be0d8d04b20775de368415edb5b925322a972ddd63fea2358768/still3_1200.jpg" data-mid="131548008" border="0"  src="https://freight.cargo.site/w/750/i/f6d1bcff0792be0d8d04b20775de368415edb5b925322a972ddd63fea2358768/still3_1200.jpg" /&#62;
&#60;img width="760" height="315" width_o="760" height_o="315" data-src="https://freight.cargo.site/t/original/i/4e1a4c90628dd5082fbc03350eb0f2e53adc339fc796af63da824e1edede8e97/boat-small-short.gif" data-mid="254139123" border="0"  src="https://freight.cargo.site/w/760/i/4e1a4c90628dd5082fbc03350eb0f2e53adc339fc796af63da824e1edede8e97/boat-small-short.gif" /&#62;
&#60;img width="1200" height="675" width_o="1200" height_o="675" data-src="https://freight.cargo.site/t/original/i/10629fd808d3299a380fe78b11cd088f0af836309a112d7315b122b5f11d0823/still4_1200.jpg" data-mid="131548002" border="0"  src="https://freight.cargo.site/w/1000/i/10629fd808d3299a380fe78b11cd088f0af836309a112d7315b122b5f11d0823/still4_1200.jpg" /&#62;
&#60;img width="1103" height="449" width_o="1103" height_o="449" data-src="https://freight.cargo.site/t/original/i/4f0f08edf9475691a50e9cdc09dd6e7924694145b2b61c07999241e90c3e95d9/monkey.gif" data-mid="254139125" border="0"  src="https://freight.cargo.site/w/1000/i/4f0f08edf9475691a50e9cdc09dd6e7924694145b2b61c07999241e90c3e95d9/monkey.gif" /&#62;
&#60;img width="447" height="234" width_o="447" height_o="234" data-src="https://freight.cargo.site/t/original/i/7cf5ea31206d59783e08d5fccea69b5f5154314e2e9ffa872ac25c6103e72f97/vietrom-chopper-rescue-4.gif" data-mid="254139119" border="0"  src="https://freight.cargo.site/w/447/i/7cf5ea31206d59783e08d5fccea69b5f5154314e2e9ffa872ac25c6103e72f97/vietrom-chopper-rescue-4.gif" /&#62;
&#60;img width="700" height="391" width_o="700" height_o="391" data-src="https://freight.cargo.site/t/original/i/0b7755caabcd243d5ef8ea901bec235dabffb301bd8e2b6d9c0731d3e440d286/shopping-categories-3.gif" data-mid="254139124" border="0"  src="https://freight.cargo.site/w/700/i/0b7755caabcd243d5ef8ea901bec235dabffb301bd8e2b6d9c0731d3e440d286/shopping-categories-3.gif" /&#62;
&#60;img width="910" height="360" width_o="910" height_o="360" data-src="https://freight.cargo.site/t/original/i/e90246f9b70f1b0f321e2ef14856101c5817af50230e3d8f8d66ccbcb1b89467/refueling-2.gif" data-mid="254139120" border="0"  src="https://freight.cargo.site/w/910/i/e90246f9b70f1b0f321e2ef14856101c5817af50230e3d8f8d66ccbcb1b89467/refueling-2.gif" /&#62;
&#60;img width="1200" height="676" width_o="1200" height_o="676" data-src="https://freight.cargo.site/t/original/i/4d08bffe20d911c9cef03561da8aa7343bd165891811321e9c9fcc2dba0f4d69/still1_1200.jpg" data-mid="131548000" border="0"  src="https://freight.cargo.site/w/1000/i/4d08bffe20d911c9cef03561da8aa7343bd165891811321e9c9fcc2dba0f4d69/still1_1200.jpg" /&#62;
&#60;img width="769" height="493" width_o="769" height_o="493" data-src="https://freight.cargo.site/t/original/i/49d212b09d16b823eeaee681c1226a7c2ece413685ad7db7d297ccc0aaf9a792/Healing-2.gif" data-mid="254139121" border="0"  src="https://freight.cargo.site/w/769/i/49d212b09d16b823eeaee681c1226a7c2ece413685ad7db7d297ccc0aaf9a792/Healing-2.gif" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Demos - VR</title>
				
		<link>https://ncrockett.com/Demos-VR</link>

		<pubDate>Thu, 16 Dec 2021 04:15:16 +0000</pubDate>

		<dc:creator>Nick Crockett</dc:creator>

		<guid isPermaLink="true">https://ncrockett.com/Demos-VR</guid>

		<description>


	&#60;img width="803" height="452" width_o="803" height_o="452" data-src="https://freight.cargo.site/t/original/i/f2dc431fd39d6a490f400176a0458fd037284d1f89cc4ee783cd0ab573ee3edf/driving-circle-3.gif" data-mid="131443471" border="0"  src="https://freight.cargo.site/w/803/i/f2dc431fd39d6a490f400176a0458fd037284d1f89cc4ee783cd0ab573ee3edf/driving-circle-3.gif" /&#62;
	
    Stationwagon and Bus Controls
One unusual feature of Vietnam Romance is that the tour bus and stationwagon are able to drive in full 3D from a side-on perspective.The heading from the joystick always corresponds to the vehicle’s apparent motion on screen. To put the vehicle in reverse, players simply tilt the joystick opposite the way the vehicle is facing. Worldspace directional input is mapped to engine torque and steering angles on the wheel colliders.


    &#60;img width="767" height="428" width_o="767" height_o="428" data-src="https://freight.cargo.site/t/original/i/a8a4f9a761877af87457532de6eda77aeb0b7e17dde0ed7b22de959221c9f67c/APC.gif" data-mid="131454679" border="0"  src="https://freight.cargo.site/w/767/i/a8a4f9a761877af87457532de6eda77aeb0b7e17dde0ed7b22de959221c9f67c/APC.gif" /&#62;&#60;img width="769" height="493" width_o="769" height_o="493" data-src="https://freight.cargo.site/t/original/i/49d212b09d16b823eeaee681c1226a7c2ece413685ad7db7d297ccc0aaf9a792/Healing-2.gif" data-mid="131455347" border="0"  src="https://freight.cargo.site/w/769/i/49d212b09d16b823eeaee681c1226a7c2ece413685ad7db7d297ccc0aaf9a792/Healing-2.gif" /&#62;

	
		Combat

The armored personnel carrier (APC) is outfitted with a huge variety of weapons including mortars, grenades, machine guns, battering rams, and an animatronic rambo that shoots a variety of arrows. 

Unlike the bus and stationwagon, this vehicle travels in a 2D plane to simplify aiming in combat.

Each weapon is manned by a passenger on the tour. Passengers each have their own health meter, so if they die, the weapon they operate becomes unavailable. In earlier versions, healing items had to be used on one character at a time, but this made healing during a heated moment in combat too cumbersome.


	&#60;img width="760" height="315" width_o="760" height_o="315" data-src="https://freight.cargo.site/t/original/i/4e1a4c90628dd5082fbc03350eb0f2e53adc339fc796af63da824e1edede8e97/boat-small-short.gif" data-mid="131449880" border="0"  src="https://freight.cargo.site/w/760/i/4e1a4c90628dd5082fbc03350eb0f2e53adc339fc796af63da824e1edede8e97/boat-small-short.gif" /&#62;
	
    Boating

The PT boat is similar to the APC except that it always travels down river. The player is able to accelerate or slow down, but never stop or reverse. In addition to the vehicle controls, I did the texture mapping for the boat, particle systems, and animation.


&#60;img width="910" height="360" width_o="910" height_o="360" data-src="https://freight.cargo.site/t/original/i/e90246f9b70f1b0f321e2ef14856101c5817af50230e3d8f8d66ccbcb1b89467/refueling-2.gif" data-mid="131456393" border="0"  src="https://freight.cargo.site/w/910/i/e90246f9b70f1b0f321e2ef14856101c5817af50230e3d8f8d66ccbcb1b89467/refueling-2.gif" /&#62;


	&#60;img width="793" height="638" width_o="793" height_o="638" data-src="https://freight.cargo.site/t/original/i/07e8d8459228734486ce479872a4c4e7f1e21869a9d8a1733daa6bd882876e6c/chopper-with-leaflets.gif" data-mid="131451268" border="0"  src="https://freight.cargo.site/w/793/i/07e8d8459228734486ce479872a4c4e7f1e21869a9d8a1733daa6bd882876e6c/chopper-with-leaflets.gif" /&#62; 
	

Flight

The player begins their adventure by flying a small plane across the pacific. Along the way, the refuel over Hawaii and must avoid seabirds. I did a lot of the technical art for this scene, and  designed and developed the plane’s flying mechanics, including a brief midair refueling mission.

The helicopter can fly vertically for a limited distance, and automatically avoids colliding into the ground. It is armed with a machine gun like the APC, but has a missile launcher which fires rockets in a straight line (as opposed to the mortars which fire in arcs). We also prototyped other interactions like dropping “Psyops” propaganda leaflets and dropping a swinging rope for rescue missions.

This clip shows a prototype for a reenactment of the “ride of the valkyries” scene from Apocalypse Now. The player controls one helicopter, and the others fly in formation matching it’s altitude, while the camera cuts between different angles at random.


	&#60;img width="1621" height="904" width_o="1621" height_o="904" data-src="https://freight.cargo.site/t/original/i/6c5295fd5f5e17b7686504a8c3e637dd41cffdc4ed7e031181411b7fcaef1de6/combat-tutorial-idle.gif" data-mid="131444468" border="0"  src="https://freight.cargo.site/w/1000/i/6c5295fd5f5e17b7686504a8c3e637dd41cffdc4ed7e031181411b7fcaef1de6/combat-tutorial-idle.gif" /&#62;
	

Attract Modes

Every scene includes a short title screen (attract mode) to set the tone for the level. Almost all of these involve a ‘self-driving’ version of the vehicle, which drives forward for a limited time, and then rewinds back to the start.


&#60;img width="700" height="391" width_o="700" height_o="391" data-src="https://freight.cargo.site/t/original/i/0b7755caabcd243d5ef8ea901bec235dabffb301bd8e2b6d9c0731d3e440d286/shopping-categories-3.gif" data-mid="131452866" border="0"  src="https://freight.cargo.site/w/700/i/0b7755caabcd243d5ef8ea901bec235dabffb301bd8e2b6d9c0731d3e440d286/shopping-categories-3.gif" /&#62;

	
Ebay Shopping

An ironic computer-within a computer interface controlled with the joystick or WASD keys. This clip demonstrates browsing by item typeThe interface also features the ability to buy and sell items on your own ebay store and read emails from other characters.This is effectively also the “loadout” and “level select” menu - players purchase their next tour through this interface, and then print out a receipt including items that are required and recommended for each tour.

   
&#60;img width="1200" height="675" width_o="1200" height_o="675" data-src="https://freight.cargo.site/t/original/i/1b2cf0d5abbc7563e0f5f68e5cb2bfde58ef25d0443972452e74a5fd67bd3ba5/old-combat.JPG" data-mid="131443155" border="0"  src="https://freight.cargo.site/w/1000/i/1b2cf0d5abbc7563e0f5f68e5cb2bfde58ef25d0443972452e74a5fd67bd3ba5/old-combat.JPG" /&#62;

UI Mockups

We went through many iterations on vehicle status overlays. Our first pass at these features, Eddo wanted to explore a line diagram design with white text with solid lines connecting information to its relative position on the vehicle. This was basically functional, but as we built out more features and started to test combat mechanics, a more legible, streamlined solution became necessary.


&#60;img width="789" height="314" width_o="789" height_o="314" data-src="https://freight.cargo.site/t/original/i/002f2789cdd122267ef5b568593dcaa3133054b6b9797767e552edaeca49d11a/ignition.png" data-mid="131453379" border="0"  src="https://freight.cargo.site/w/789/i/002f2789cdd122267ef5b568593dcaa3133054b6b9797767e552edaeca49d11a/ignition.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/9184c0ea246eb129f8a6f6243cfb049c6ad251526114823db76180058fc6ee98/gages-mockup-light.png" data-mid="131453387" border="0"  src="https://freight.cargo.site/w/1000/i/9184c0ea246eb129f8a6f6243cfb049c6ad251526114823db76180058fc6ee98/gages-mockup-light.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/13573c22f20e9127900cf2a6f9fe3b42cfc74543013a0b96667545c0baa9e89c/gauges-light-darkscene.png" data-mid="131453389" border="0"  src="https://freight.cargo.site/w/1000/i/13573c22f20e9127900cf2a6f9fe3b42cfc74543013a0b96667545c0baa9e89c/gauges-light-darkscene.png" /&#62;


We had gone through many iterations by actually building things in Unity first, which was very time intensive. I realised I needed to push for more design process with Eddo, and decided to spend some time mocking up ideas in illustrator to explore ideas instead. These iterations were focused on legibility, using familiar icons and color coded radial meters to indicate vehicle status in a legible, flavorful way. 
I wanted to try a dark transparent background, thinking it might reduce visual clutter but still help the icons read on various backgrounds. I like our environments a lot, and wanted to avoid overwhelming them with UI overlays.


&#60;img width="951" height="730" width_o="951" height_o="730" data-src="https://freight.cargo.site/t/original/i/7699b3a29d32510da7c6226682e8642a5b6c8e223719c3a5182032c5ac0a2184/grouped-overlay-APC-header.PNG" data-mid="131453381" border="0"  src="https://freight.cargo.site/w/951/i/7699b3a29d32510da7c6226682e8642a5b6c8e223719c3a5182032c5ac0a2184/grouped-overlay-APC-header.PNG" /&#62;
&#60;img width="812" height="522" width_o="812" height_o="522" data-src="https://freight.cargo.site/t/original/i/3975239a4fdbfec0a350939b012884c887e242c6acee94b08be886cf0a4ad89e/nested-overlay-elements---apc-below.PNG" data-mid="131453384" border="0"  src="https://freight.cargo.site/w/812/i/3975239a4fdbfec0a350939b012884c887e242c6acee94b08be886cf0a4ad89e/nested-overlay-elements---apc-below.PNG" /&#62;


Going back and forth with Eddo, it became clear the visual ‘data overwhelm’ of the original design was a really important part of his aesthetic vision for the game. Geeking out about Vietnam, seeing the names of the M113 APC, or characters and actors from Vietnam Movies visible on screen all the time, was really the point of all this.

Colorful meters still give an instant read on critical information like engine status and health, and neutral gray bounding boxes keep the names legible. 

Relevant information is grouped together with more considered spatial relationships: weapons can’t be used unless the operator of that weapon is alive, so each weapon is ‘nested’ inside that character’s status box. The status bubbles have a robust placement system that prevents them from overlapping eachother, but they only appear when they’re relevant, for instance when the machine gunner runs out of ammo, or when the tank is running low on fuel.


Modular Building Generator

&#60;img width="1200" height="879" width_o="1200" height_o="879" data-src="https://freight.cargo.site/t/original/i/00a04cd6cfc67496b4aee01d703b59ab8d3c500cf5cbbcc386fbcf96245ab307/building-parts.JPG" data-mid="131457198" border="0"  src="https://freight.cargo.site/w/1000/i/00a04cd6cfc67496b4aee01d703b59ab8d3c500cf5cbbcc386fbcf96245ab307/building-parts.JPG" /&#62;
&#60;img width="980" height="583" width_o="980" height_o="583" data-src="https://freight.cargo.site/t/original/i/ab3a03d6a90eaa59bab46dd17ced1656bbb161729ea6696df81a3ace76c5ca80/City-Generator.JPG" data-mid="131457147" border="0"  src="https://freight.cargo.site/w/980/i/ab3a03d6a90eaa59bab46dd17ced1656bbb161729ea6696df81a3ace76c5ca80/City-Generator.JPG" /&#62;


To help with environment design, I created a modular building generator, which assembles a variety of buildings out of prefab pieces.&#38;nbsp; There is a complex system that attaches various awnings and balconies to the sides of buildings. Balconies can spawn additional decorations like potted plants and clothes at predetermined positions.


&#60;img width="1103" height="449" width_o="1103" height_o="449" data-src="https://freight.cargo.site/t/original/i/4f0f08edf9475691a50e9cdc09dd6e7924694145b2b61c07999241e90c3e95d9/monkey.gif" data-mid="131453213" border="0"  src="https://freight.cargo.site/w/1000/i/4f0f08edf9475691a50e9cdc09dd6e7924694145b2b61c07999241e90c3e95d9/monkey.gif" /&#62;

	
 &#60;img width="622" height="384" width_o="622" height_o="384" data-src="https://freight.cargo.site/t/original/i/cd53917a70da2668a771cde49d7af5b55ac3cc4e8ee5a5102c7deeec0f4c5918/Tiger-Walk.gif" data-mid="131450770" border="0"  src="https://freight.cargo.site/w/622/i/cd53917a70da2668a771cde49d7af5b55ac3cc4e8ee5a5102c7deeec0f4c5918/Tiger-Walk.gif" /&#62;
    
	Animal Minesweepers
    
We had plans for having human as well as elephant, a monkey, and a tiger minesweepers. I rigged and animated these characters myself, and did some trickery with animation playback speed to allow them to stop mid-stride. Longer animals like the tiger and elephant rotate to match the slope they are standing on.
Human minsweepers use the word bubble system to indicate when they are in danger, but it seemed silly to do the same for animals that can’t speak. Instead, I used a woodblock sound effect that increases tempo with proximity, borrowing a dramatic sound cue from kabuki theater.


</description>
		
	</item>
		
		
	<item>
		<title>Exhibitions-VR</title>
				
		<link>https://ncrockett.com/Exhibitions-VR</link>

		<pubDate>Mon, 09 Nov 2026 02:59:18 +0000</pubDate>

		<dc:creator>Nick Crockett</dc:creator>

		<guid isPermaLink="true">https://ncrockett.com/Exhibitions-VR</guid>

		<description>&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/ebc8b8348f2bcc489e8141d6e3b5a9fec28ff6aa4a8e74f5c3fdf667d50fa679/instal3_1200.jpg" data-mid="254138967" border="0"  src="https://freight.cargo.site/w/1000/i/ebc8b8348f2bcc489e8141d6e3b5a9fec28ff6aa4a8e74f5c3fdf667d50fa679/instal3_1200.jpg" /&#62;

Postmasters Gallery (NYC)The show at postmasters had the most complex projection setup of any of our installations. Four projectors were used together to show the game in 48:9 “extreme wide mode”, on a plywood projection surface, with several “popup” details mapped onto separate floating objects. I built an in-game UI editor to allow us to modify the precise position of each floating popup from a wireless keyboard. 
The extreme wide mode necessitated support for adjusting the in-game camera view on the fly. The camera system now supports preconfigured several “camera modes” corresponding to our various installations and performances, as well as an in-game editor.

The Postmasters&#38;nbsp; show is also the only time we exhibited the Vietnam countryside generator, which spawned a continuously scrolling environment with various biomes and random enemy encounters. We realised the game would need scenes like this to work as self-playing attract modes that allow players to pick up and play the game at any point, to prevent awkward “dead air.”


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Dundee Contemporary Arts, Scotland

The main game installation was composed of two overlapping projections: one for the main game and hand of cards, and another for the four excerpted “popup windows”, which show details of objects in game.
This installation required the tutorials and shopping scenes to be excerpted into their own build for a second projection on a giant sculptural computer monitor.


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UCLA Game Art Festival (Los Angeles)This installation had two projections: a main screen and a second projection displaying the player’s inventory as a hand of cards.
For the live performance version, players sat on stage and interacted with Lucas Near-Verbrugge, who also provided the voice and likeness of the in-game tour guide. To facilitate “game show mode”, I included a variety of audio cues that told us the state of the game (a distant bird call when the deer was scared off-screen, for instance) to signal how we should advise players, as well as a system to trigger certain game events using a wireless keyboard.
This version also included a large, physical Rambo puppet, which players manually held and rotated to aim. I helped with the electronics inside the puppet: an arduino reads a rotary encoder and converts the data to mouse movement on the vertical axis, which maps to the character’s rotation in the game.


</description>
		
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	<item>
		<title>Screenshots and Video</title>
				
		<link>https://ncrockett.com/Screenshots-and-Video</link>

		<pubDate>Thu, 20 Jan 2022 04:19:07 +0000</pubDate>

		<dc:creator>Nick Crockett</dc:creator>

		<guid isPermaLink="true">https://ncrockett.com/Screenshots-and-Video</guid>

		<description>

	
Trailer
1:45 mins
	
Short 15 mins
	

Full Video&#38;nbsp;
1 hr


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Fire Underground is an animation which presents a fantasy loosely based on the events of the West Virginia Mine Wars, the Homestead Steel Strike, and other labor conflicts in US history. While a labor conflict escalates into a war, the dead and dying find themselves in a prehistoric carboniferous swamp deep below ground, where strange creatures are stirring in the dark. The story is framed by scenes from a surreal “museum at the end of history'' where heroes from America's past are immortalized forever as animatronic statues and looping dioramas, alongside prehistoric creatures, war machines, and other historical artifacts.

The piece was made with Unity 2017. Most of the props and characters were made out of physical materials like clay and tinfoil, and captured with photogrammetry.


The project has been exhibited as software, as a multichannel video installation, and as a feature-length film.

The project features original music by Sarah Louise Henson, as well as:


“Rime,” performed by Sarah Louise, courtesy Thrill Jockey Records,
“Thirty Inch Coal,” recorded by Men of the Deeps, with permission.

This project was made possible with support from the Carnegie Mellon School of Art, the Frank-Ratchye Fund for Art at the Frontier, and a Carnegie Mellon Graduate Education GuSH Research Grant.


context
MFA Thesis Project

toolsUnity 2017 C# Blender Agisoft Metashape


exhibited2021 Milan Machinima Festival, Milan, Italy2020 Culver City Film Festival, Culver City CA2020 Press Play Festival, Dallas, TX2020 Oceanside Film Festival, Oceanside CA2020 Poe Film Festival, Richmond, VA2020 Indie Short Fest, Los Angeles Film Festival, Los Angeles, CA2019 Power Without Extraction, Carnegie Museum of Art, Pittsburgh, PA2019 Personal Structures, Venice Biennale Satellite Exhibition, European Cultural Commission, Venice, Italy2019 Above Below After Until, MFA Thesis Exhibition, Miller Institute for Contemporary Art, Pittsburgh, PA


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