project lead—Nikkei Cultural Society
VR Game on Japanese-Canadian Labour Camps
I was hired as Project Lead for a VR game developed in partnership with the Nikkei Cultural Society, focusing on the history of Japanese-Canadian labour camps during World War II.
My primary role involved research and project planning—ensuring the timeline was met, coordinating team efforts, and maintaining smooth development. I also contributed creatively, assisting with one of the storyboards, making concept art, and providing input on narrative concepts to support the historical storytelling.
Game
The game follows The Painter—the player—whose goal is to create paintings that tell the stories of individuals affected by the Japanese-Canadian labour camps during WWII. Set in The Garden, each narrative unfolds through different NPCs, offering unique personal perspectives on this historical experience.
Designed as an educational VR experience, the player explores a 3D environment, discovering NPCs at specific landmarks. Upon meeting an NPC, the player performs a painting motion that brings their story to life through animation—each rendered in a distinct art style. After each painting is completed, the player returns to the central map to continue their journey.
The game concludes once all stories have been discovered and painted. Its aim is to educate and inform by offering an immersive, interactive approach to history—allowing players to experience these narratives rather than simply observe them.
The game featured five NPCs and one hidden character, each sharing a personal story from the labour camps. While I focused on project conception, research, and planning, I also storyboarded an animation about a teenage girl who lived in the camps with her mother. Her story highlighted moments of joy—dancing in kimono at the community hall—capturing a sense of colour and connection.
Concept Storyboard
Concept Sketches
The initial sketches served as concept ideas, with plans to develop the final designs in the style of traditional Japanese paintings. These would’ve cross-faded into one another, creating a slow-moving animatic.
Based on team feedback, I adjusted the animation to blend together with a faster pace. This adjustment was crucial for the VR environment, where prolonged viewing can cause dizziness and nausea. The faster pace helps maintain player comfort while allowing more time for active engagement within the game.
