SYREN is a VR survival horror game.
A scientist obsessed with eugenics builds an underwater research facility above an ancient lost city, in which he conducts horrific experiments in an attempt to recreate the lost species of ‘Syrens’ – the legendary inhabitants of the civilisation, that once existed in the ruins below.
You awaken into chaos. The lab in ruins; creaking under the immense pressure of the sea.
With the station reactor about to go critical, you have limited time to navigate out of the lab and evacuate the facility. With death everywhere, you soon learn that you are not alone. Some of the experiments have gotten loose.
In this stealth and survival game, you must solve puzzles to progress through a series of room scale scenes and always remain alert for the deadly Syrens who are hiding in the shadows.
SYREN is available on SteamVR for HTC Vive and Oculus, and Playstation VR in March 2017.
For press enquiries or further information please email Yush Kalia at email@example.com.
Concept art is an important part of any game development cycle. In the first few weeks of SYREN whilst making the Rec Room one of our environment artists created this image highlighting the need to break up the room into segments but still have a large open window on one side. You’ll now see a lot of similarities in the game.
Hair can be a challenge when developing in VR. In SYREN we tackled this problem in 3DSMax using it’s different physics systems. We started by optimising the hair mesh, then rigging each chunk of hair, then we simulated in 3DSMax the movement of the hair. We had to do this for each hair style for each bit of animation on all of the types of hair. It was a lengthy process but we learnt an awful lot!
When creating animation for humanoid bipedal characters like the Syren’s we follow a fairly traditional pipeline for setting up rigs. Here is a video showing our facial rig tests as well as the different morph targets we created during this project for our generic syrens.
Our character artists use substance designer to build complex shader networks. Here are some images on how our eel skin was created for one of the Syren’s. This is then all bought into unreal engine where our PBR (physically based render) textures really start to look more realistic.
We went through many different concept’s searching for the look and feel of the SYREN’s. Here is one of the early concepts used to determine how far we wanted to push the mechanical feel.
Here are some early UI tests. We initially went for a very futuristic interface, but this was then dialled back. The buttons at the bottom were originally to open the doors, but these also ended up going through multiple iterations. However you might still be able to spot some parts where these initial tests end up being used!
Once everything is placed in the scene we can start on our polish phases and getting the lighting to give a sense of ambience. Here is a look at one part of the medbay in its finished state.