author: midnight_heist
location: right of Australia
Monday, June 15, 2009
Friday, June 12, 2009
presentation
my presentation:
The character is Calvin from Calvin + Hobbes because he represents the fourth dimension of play spaces, creating something from nothing. Like converting a plain box into a Transmogrifier, or playing hot lava with the carpet.
I needed a tutorial to introduce any new player to the mechanics and controls of the game.
This first environment is designed to feel organic, mimicking the real world. I gave it some light hearted music to give the player a feel for the mood of the game.
I have sound effects placed around the tutorial, like and audience cheer for when you pass an obstacle.
I have also added a number of extra interactive elements, such as the bear. When your character grabs him, he growls.
You need to interact with the environment in order to progress, like pushing a block to create a step.
When you reach the end of the tutorial/organic section, you drop down to...
the construction zone.
This is a conceptual game play element. Because the of the urban development, real world physical play spaces are shrinking, and the player can do nothing about it.
In the end it is the new virtual play space that saves the player.
As the player goes deeper into the virtual space, the organic curves fade and the user is greeted by an increasingly square environment with limited colours.
The beeping sounds that play is meant to represent one of the first virtual play spaces of Pong.
The player slides down deeper as his movement activates sounds that hint at virtual music.
At the first part of the blind course a bat (as they rely on sound) appears gives you directions. These are short because there is limited space you can type in.
For the blind run, you have to close your eyes, and only guided by the audio cues, to avoid tons of obstacles and finish the level.
boing = jump (x)
ding = grab (tap R1)
chimp = change direction (L3)
If you press the wrong action, the character loses a life by getting electrocuted. I chose the electric hazard because it gives off a faint sound, which while playing only by sound makes it seem more dangerous that it actually is.
The course is divided up into 3 sections: easy (green), medium (blue) and hard (red). The player knows when they have reached the next section, as a checkpoint activates playing a distinct sound.
As the course progresses, the obstacles get harder. The sound cues get quicker, the sections get longer, and the sound cues become more varied, for example having change direction while in the air.
I also added a part where a few sound effects are played, but have no effect on the game play. This is just designed to disorientate the player.
Success depends on the player's reaction time to complete the level.
I chose the show the blind run course's visuals for presentation purposes. If this was made for competitive players, I would cover up the course so they aren't tempted to cheat.
I would also lock the shortcuts and give the player the keys as they progress.
Play testing the blind course was hard because I couldn't see what was happening.
So for the most part, I played with my eyes open and purposely slowed my reaction time.
I played a games designed for the blind (like Metris - musical tetris), but they were too hard. One reason was that the instructions weren't layed out visually (with formatting or symbols) like usual games.
It is easier for sighted players to play these games if they can relate the spaces of sight and sound to one another.
If my level was made to be competitive, I would introduce the blind run mechanic with visuals, then cover the rest of the course.
The character is Calvin from Calvin + Hobbes because he represents the fourth dimension of play spaces, creating something from nothing. Like converting a plain box into a Transmogrifier, or playing hot lava with the carpet.
I needed a tutorial to introduce any new player to the mechanics and controls of the game.
This first environment is designed to feel organic, mimicking the real world. I gave it some light hearted music to give the player a feel for the mood of the game.
I have sound effects placed around the tutorial, like and audience cheer for when you pass an obstacle.
I have also added a number of extra interactive elements, such as the bear. When your character grabs him, he growls.
You need to interact with the environment in order to progress, like pushing a block to create a step.
When you reach the end of the tutorial/organic section, you drop down to...
the construction zone.
This is a conceptual game play element. Because the of the urban development, real world physical play spaces are shrinking, and the player can do nothing about it.
In the end it is the new virtual play space that saves the player.
As the player goes deeper into the virtual space, the organic curves fade and the user is greeted by an increasingly square environment with limited colours.
The beeping sounds that play is meant to represent one of the first virtual play spaces of Pong.
The player slides down deeper as his movement activates sounds that hint at virtual music.
At the first part of the blind course a bat (as they rely on sound) appears gives you directions. These are short because there is limited space you can type in.
For the blind run, you have to close your eyes, and only guided by the audio cues, to avoid tons of obstacles and finish the level.
boing = jump (x)
ding = grab (tap R1)
chimp = change direction (L3)
If you press the wrong action, the character loses a life by getting electrocuted. I chose the electric hazard because it gives off a faint sound, which while playing only by sound makes it seem more dangerous that it actually is.
The course is divided up into 3 sections: easy (green), medium (blue) and hard (red). The player knows when they have reached the next section, as a checkpoint activates playing a distinct sound.
As the course progresses, the obstacles get harder. The sound cues get quicker, the sections get longer, and the sound cues become more varied, for example having change direction while in the air.
I also added a part where a few sound effects are played, but have no effect on the game play. This is just designed to disorientate the player.
Success depends on the player's reaction time to complete the level.
I chose the show the blind run course's visuals for presentation purposes. If this was made for competitive players, I would cover up the course so they aren't tempted to cheat.
I would also lock the shortcuts and give the player the keys as they progress.
Play testing the blind course was hard because I couldn't see what was happening.
So for the most part, I played with my eyes open and purposely slowed my reaction time.
I played a games designed for the blind (like Metris - musical tetris), but they were too hard. One reason was that the instructions weren't layed out visually (with formatting or symbols) like usual games.
It is easier for sighted players to play these games if they can relate the spaces of sight and sound to one another.
If my level was made to be competitive, I would introduce the blind run mechanic with visuals, then cover the rest of the course.
highlights/lowlights
highlights:
-Experimenting further with the editor
-Basing game play elements on conceptual ideas
-Reading about critical gaming (navigation/paths, shapes, layers, folded level design)
-Making sound the primary element
-designing the spaces in the level
-learning about game design!
lowlights
-levels are easily broken, easy to mess up in the editor
-would have liked more time to work on the level + blog
-having to redo entire sections
-LBP editor not able to zoom out and see all of the level (I would have taken images, sketched paths/etc). Much more unnecessary space planning is involved because of this.
-Experimenting further with the editor
-Basing game play elements on conceptual ideas
-Reading about critical gaming (navigation/paths, shapes, layers, folded level design)
-Making sound the primary element
-designing the spaces in the level
-learning about game design!
lowlights
-levels are easily broken, easy to mess up in the editor
-would have liked more time to work on the level + blog
-having to redo entire sections
-LBP editor not able to zoom out and see all of the level (I would have taken images, sketched paths/etc). Much more unnecessary space planning is involved because of this.
gallery installation
Originally I was going to have the fatter TV outside, but the game looks so much better on the wide screen, so I think I'll just have it inside.
I'll run through the level explaining it, then people can play for themselves and attempt the blind run course to realise that they are hopelessly dependable on sight.
I'll run through the level explaining it, then people can play for themselves and attempt the blind run course to realise that they are hopelessly dependable on sight.
LBP programming: pros and cons
pros:
-visual language
-easier to find your mistakes (a missing comma/bracket would stop normal typed languages)
-fun! much more engaging because you use the character/avatar to fly around your level making things
-music player. This has been added to the game recently, before this was added, there was a constant humming sound that was rather annoying. With access to your own music this encourages you to keep working on your level
cons:
-not enough detail in in-game tutorials
-not enough kinds of simple switches (you need to make your own if/and/or switches, which is time consuming)
-a level editor for the computer/mouse would be a LOT faster. This is how the creators made their levels, so it is harder to make levels up to their high standard
I think a combination of the two would be a winning design. Basically what the creators had access to.
-visual language
-easier to find your mistakes (a missing comma/bracket would stop normal typed languages)
-fun! much more engaging because you use the character/avatar to fly around your level making things
-music player. This has been added to the game recently, before this was added, there was a constant humming sound that was rather annoying. With access to your own music this encourages you to keep working on your level
cons:
-not enough detail in in-game tutorials
-not enough kinds of simple switches (you need to make your own if/and/or switches, which is time consuming)
-a level editor for the computer/mouse would be a LOT faster. This is how the creators made their levels, so it is harder to make levels up to their high standard
I think a combination of the two would be a winning design. Basically what the creators had access to.
competitive version
competitive version would contain:
-change tutorial into obstacles course with race(as most players already know how to play)
-shortcuts require keys
-would finish at the end of the "hard" section
-blind run compacted into one layer (to hide obstacles from sight)
-visual blind run tutorial (so players can easily match sound with buttons)
-score bubbles (first player to finish each section gets bonus points)
-take out echolocation (too long and avoidable), but keep in door + puzzle
-change tutorial into obstacles course with race(as most players already know how to play)
-shortcuts require keys
-would finish at the end of the "hard" section
-blind run compacted into one layer (to hide obstacles from sight)
-visual blind run tutorial (so players can easily match sound with buttons)
-score bubbles (first player to finish each section gets bonus points)
-take out echolocation (too long and avoidable), but keep in door + puzzle
video games as art
"Into the Pixel" is "An Exhibition of the Art of the Video Game", and features 16 pieces chosen by artists.
The goal of the Exhibition is to inform the public and the critics that games can display emotional elements, something that is said to be absent from interactive entertainment. The exhibition is now in its fifth year.
By actively interacting with the media, players can get a great sense of accomplishment by completing a goal. Viewers of a painting simply cannot experience this emotion easily by being a passive viewer. Evoking emotion is one of the major goals in art, and video games can do this very well. Wether it's pride, enjoyment or even unintentional frustration, actively engaging with the character and settings can guide the player to experience emotional responses, perhaps even at a greater level than traditional art.
==
From Roger Ebert, Answer Man
Challenging video games as art.
"Yours is the most civil of countless messages I have received after writing that I did indeed consider video games inherently inferior to film and literature. There is a structural reason for that: Video games by their nature require player choices, which is the opposite of the strategy of serious film and literature, which requires authorial control.
I am prepared to believe that video games can be elegant, subtle, sophisticated, challenging and visually wonderful. But I believe the nature of the medium prevents it from moving beyond craftsmanship to the stature of art. To my knowledge, no one in or out of the field has ever been able to cite a game worthy of comparison with the great dramatists, poets, filmmakers, novelists and composers. That a game can aspire to artistic importance as a visual experience, I accept. But for most gamers, video games represent a loss of those precious hours we have available to make ourselves more cultured, civilized and empathetic."
I feel that "player choice" is an important direction art will follow. Interactive art is gaining popularity and increasing in number as the technology gets better.
Just because something is interactive doesn't mean the creator cannot create a emotional impact. For example, "Shadow of Colossus" has very little dialog, but you feel dwarfed by the landscape, and feel even smaller when you take on the giant creatures. You feel loss when you bring down the majestic creatures and (spoiler!) when you lose your horse in the final battle.
Art with interactive elements is one of my favorite things in the the world. However it takes extensive time and programming knowledge to create something with interactivity. I hope with the constantly improving technology these kinds of projects become easier to create so ever more interesting and visually appealing interactive art (like mimetic starfish) become more common in the art world. It's a crimethat interactive art isn't considered "art" by the majority of critics.
The potential of video games as an art form is there, but the developers need to take more risks in order to produce worthwhile artistic pieces. This is becoming more popular as smaller companies (who takes risks) use the ps3/xbox online stores to share their games. Some excellent examples include Flower and Braid.
When asked "Are video games art?", Denis Dyack, president of Silicon Knights responded: “Even asking such a question is an indication that our industry is maturing and games are becoming a dominant form of entertainment...The most popular forms of entertainment—TV, music, poetry, books—went through the same perception evolution.”
I hope this will become true for video games/interactive art. :)
The goal of the Exhibition is to inform the public and the critics that games can display emotional elements, something that is said to be absent from interactive entertainment. The exhibition is now in its fifth year.
By actively interacting with the media, players can get a great sense of accomplishment by completing a goal. Viewers of a painting simply cannot experience this emotion easily by being a passive viewer. Evoking emotion is one of the major goals in art, and video games can do this very well. Wether it's pride, enjoyment or even unintentional frustration, actively engaging with the character and settings can guide the player to experience emotional responses, perhaps even at a greater level than traditional art.
==
From Roger Ebert, Answer Man
Challenging video games as art.
"Yours is the most civil of countless messages I have received after writing that I did indeed consider video games inherently inferior to film and literature. There is a structural reason for that: Video games by their nature require player choices, which is the opposite of the strategy of serious film and literature, which requires authorial control.
I am prepared to believe that video games can be elegant, subtle, sophisticated, challenging and visually wonderful. But I believe the nature of the medium prevents it from moving beyond craftsmanship to the stature of art. To my knowledge, no one in or out of the field has ever been able to cite a game worthy of comparison with the great dramatists, poets, filmmakers, novelists and composers. That a game can aspire to artistic importance as a visual experience, I accept. But for most gamers, video games represent a loss of those precious hours we have available to make ourselves more cultured, civilized and empathetic."
I feel that "player choice" is an important direction art will follow. Interactive art is gaining popularity and increasing in number as the technology gets better.
Just because something is interactive doesn't mean the creator cannot create a emotional impact. For example, "Shadow of Colossus" has very little dialog, but you feel dwarfed by the landscape, and feel even smaller when you take on the giant creatures. You feel loss when you bring down the majestic creatures and (spoiler!) when you lose your horse in the final battle.
Art with interactive elements is one of my favorite things in the the world. However it takes extensive time and programming knowledge to create something with interactivity. I hope with the constantly improving technology these kinds of projects become easier to create so ever more interesting and visually appealing interactive art (like mimetic starfish) become more common in the art world. It's a crimethat interactive art isn't considered "art" by the majority of critics.
The potential of video games as an art form is there, but the developers need to take more risks in order to produce worthwhile artistic pieces. This is becoming more popular as smaller companies (who takes risks) use the ps3/xbox online stores to share their games. Some excellent examples include Flower and Braid.
When asked "Are video games art?", Denis Dyack, president of Silicon Knights responded: “Even asking such a question is an indication that our industry is maturing and games are becoming a dominant form of entertainment...The most popular forms of entertainment—TV, music, poetry, books—went through the same perception evolution.”
I hope this will become true for video games/interactive art. :)
2 player considerations
While play testing with Shannon, I thought about how the level works with two players. While it is primarily designed for one player, beating the level with two players is possible.
I added a grab switch at the start which activates race gates at the start and finish of the tutorial, which makes playing 2 player makes it more fun. I still want the level to be playable as well as conceptual. This required some LBP programming.
This worked nicely and the level didn't break at any stage. 2 players can also race through the blind section and the winner gets a moral victory (as ticking from another race is too distracting). Of course because two players are activating the sound effects, players cannot tell which sounds are for their character. So 2 players need to race through the blind run with their eyes open.
While this level is designed to be played and presented with one player, I feel the multiplayer aspect should be at least thought about. If I were to design a similar course for 2 players, I would permanently have the tutorial race open, as well as add co-op elements focused on sound design.
I added a grab switch at the start which activates race gates at the start and finish of the tutorial, which makes playing 2 player makes it more fun. I still want the level to be playable as well as conceptual. This required some LBP programming.
This worked nicely and the level didn't break at any stage. 2 players can also race through the blind section and the winner gets a moral victory (as ticking from another race is too distracting). Of course because two players are activating the sound effects, players cannot tell which sounds are for their character. So 2 players need to race through the blind run with their eyes open.
While this level is designed to be played and presented with one player, I feel the multiplayer aspect should be at least thought about. If I were to design a similar course for 2 players, I would permanently have the tutorial race open, as well as add co-op elements focused on sound design.
Necessary shortcuts
I changed the layout of the level so you can take shortcuts to the different parts of the level. This is simply to make presentation easier. I have no access to the infinite checkpoint, so if the player dies the maximum of times (around 8-10) in my level they fail the level.
As the main part of the audio experiment (blind run) is at the bottom half of the level, it is possible to only have a few remaining lives when you reach it. With the added shortcuts, if players reach the blind run and fail the level, by clicking the "restart" pop up, and using the shortcut players can go back to the point where they died and skip the time consuming conceptual organic to virtual transition/tutorial. This saves both time and frustration from the player.
Once again if this was made specifically for the community, I would add a sticker switch (which acts like a lock and key). When the player reaches the blind run, they would get a key. When they restart the level, they can use the key (which stays in their inventory forever) and "unlock" the shortcut by using the key with the lock near the entrance.
As the main part of the audio experiment (blind run) is at the bottom half of the level, it is possible to only have a few remaining lives when you reach it. With the added shortcuts, if players reach the blind run and fail the level, by clicking the "restart" pop up, and using the shortcut players can go back to the point where they died and skip the time consuming conceptual organic to virtual transition/tutorial. This saves both time and frustration from the player.
Once again if this was made specifically for the community, I would add a sticker switch (which acts like a lock and key). When the player reaches the blind run, they would get a key. When they restart the level, they can use the key (which stays in their inventory forever) and "unlock" the shortcut by using the key with the lock near the entrance.
Thursday, June 11, 2009
Days of work later...
It has taken a bit of time to get the majority of the level finished. Since the level is based and the audio cues, I needed to do tons more play testing than for a usual level.
Fortunately since I used emitters to create one time destructible elements, I could do rough play testing while in create mode.
I added an extra part in the "hard" section. A bunch of the sound cues close together, (jump, jump, grab, jump, change direction). This part is sort of a red herring as you don't need to execute them at all. This part is all straight, with no obstacles. But the blind player doesn't know that.
Fortunately since I used emitters to create one time destructible elements, I could do rough play testing while in create mode.
I added an extra part in the "hard" section. A bunch of the sound cues close together, (jump, jump, grab, jump, change direction). This part is sort of a red herring as you don't need to execute them at all. This part is all straight, with no obstacles. But the blind player doesn't know that.
Wednesday, June 10, 2009
blind run post 2
controls:
- jump (x)
- grab (R1)
- change direction (L3/stick)
elements to consider
- length of course
- number of checkpoints
- reaction time of each obstacle
- amount of different SFX
- pacing of the different obstacles
A blog that helped me: mr boss' design lair
Some rules/elements don't apply to LBP, but most of general rules are useful.
Update
I added more to the course, and split it up into 3 sections(easy, medium, hard). The sound of the checkpoint activates at the beginning of each section.
I added a shortcut to the hard section for convenience.
I separated each section with a different colour.
Originally I was going to obscure the whole course for the player, and have them wear headphones.
However if I hid the course from view (+ player wore headphones), no one else would be able to see or hear what is going on in the game during the presentation.
Because there won't be enough time for everyone to have a go, I feel being able to see the course is necessary. During the presentation, the player will have to just close their eyes. While play testing I found that playing with your eyes closed was easier than watching a blank screen. So if players will close their eyes anyway, I may as well make it visually appealing for the other people in the audience.
If I was making this level for the LBP community as a shared level, I would obscure the view to prevent people from cheating by just playing with their eyes open.
In LBP you can also add race gates (start + finish) which gives you more points the faster you finish the course. While this adds replay value to the level, while racing, there is a constant ticking sound, too distracting for a player navigating from sound cues.
- jump (x)
- grab (R1)
- change direction (L3/stick)
elements to consider
- length of course
- number of checkpoints
- reaction time of each obstacle
- amount of different SFX
- pacing of the different obstacles
A blog that helped me: mr boss' design lair
Some rules/elements don't apply to LBP, but most of general rules are useful.
Update
I added more to the course, and split it up into 3 sections(easy, medium, hard). The sound of the checkpoint activates at the beginning of each section.
I added a shortcut to the hard section for convenience.
I separated each section with a different colour.
Originally I was going to obscure the whole course for the player, and have them wear headphones.
However if I hid the course from view (+ player wore headphones), no one else would be able to see or hear what is going on in the game during the presentation.
Because there won't be enough time for everyone to have a go, I feel being able to see the course is necessary. During the presentation, the player will have to just close their eyes. While play testing I found that playing with your eyes closed was easier than watching a blank screen. So if players will close their eyes anyway, I may as well make it visually appealing for the other people in the audience.
If I was making this level for the LBP community as a shared level, I would obscure the view to prevent people from cheating by just playing with their eyes open.
In LBP you can also add race gates (start + finish) which gives you more points the faster you finish the course. While this adds replay value to the level, while racing, there is a constant ticking sound, too distracting for a player navigating from sound cues.
level progress
I have built some of my level. Including:
-quick tutorial introducing controls
-conceptual real world space that shrinks
-real world -> virtual transition
-sound puzzle
-sound door
To do:
-echolocation
-finish blind run course
After these functional elements are done, I will work on the "look" of the level.
If I have time, I will attempt the following (in priority order):
- scary sound scape (convey mood with sound)
- a variety of square spaces that experiment with sound/space, not sure how/when to incorporate them into the level.
- comic panels playing with time in space
===
After a few hours work + playtesting.
I think the blind run course is enough in itself. I extending my original course, and added a few checkpoints. It is HARD. There are only 3 sound cues to remember.
- Jump
- Grab
- Change direction
After play testing the course with my eyes closed, I found it really difficult to beat the course.
I am thinking of having 2-3 different courses using the same sound effects.
easy, medium, and hard.
I realised I needed to introduce the elements (different sfx + reaction time) a lot slower.
Easy course will have jump and grab, with the hard obstacle being jump + grab together.
Medium will be the same, but introduce the "change direction" sfx.
Hard will contain everything.
The three levels can easily fit inside the same level (as there is a space limit), so I will try to have an area where the player can choose the difficulty.
Not sure whether to include the other sound based elements (puzzle/door/echolocation)
I need to draw up some layouts. Unfortunately the level editor cannot zoom out to the edges of the template.
-quick tutorial introducing controls
-conceptual real world space that shrinks
-real world -> virtual transition
-sound puzzle
-sound door
To do:
-echolocation
-finish blind run course
After these functional elements are done, I will work on the "look" of the level.
If I have time, I will attempt the following (in priority order):
- scary sound scape (convey mood with sound)
- a variety of square spaces that experiment with sound/space, not sure how/when to incorporate them into the level.
- comic panels playing with time in space
===
After a few hours work + playtesting.
I think the blind run course is enough in itself. I extending my original course, and added a few checkpoints. It is HARD. There are only 3 sound cues to remember.
- Jump
- Grab
- Change direction
After play testing the course with my eyes closed, I found it really difficult to beat the course.
I am thinking of having 2-3 different courses using the same sound effects.
easy, medium, and hard.
I realised I needed to introduce the elements (different sfx + reaction time) a lot slower.
Easy course will have jump and grab, with the hard obstacle being jump + grab together.
Medium will be the same, but introduce the "change direction" sfx.
Hard will contain everything.
The three levels can easily fit inside the same level (as there is a space limit), so I will try to have an area where the player can choose the difficulty.
Not sure whether to include the other sound based elements (puzzle/door/echolocation)
I need to draw up some layouts. Unfortunately the level editor cannot zoom out to the edges of the template.
Tuesday, June 9, 2009
Manipulating time, space and sound
There are lot of limitations with the sound in LBP.
I am finding it harder and harder to come up with ways to navigate by sound.
I will also explore how the player can manipulate time and space if I can get the sound mechanics done (+ polished) in time.
Below are some examples of manipulating space and time in games.
"Shadow physics"
Uses light and 3D space for your shadow character to man
Uses a character (who is only visible in the shadows) who can manipulate 3D objects, and can use their shadows as platforms to get from A to B.
"Braid"
Game based around the ability to rewind time. For example you need to collect all the puzzle pieces, you fall down a tunnel, but you miss a piece. You can rewind time to when you are dropping, and navigate toward the puzzle piece.
I am finding it harder and harder to come up with ways to navigate by sound.
I will also explore how the player can manipulate time and space if I can get the sound mechanics done (+ polished) in time.
Below are some examples of manipulating space and time in games.
"Shadow physics"
Uses light and 3D space for your shadow character to man
Uses a character (who is only visible in the shadows) who can manipulate 3D objects, and can use their shadows as platforms to get from A to B.
"Braid"
Game based around the ability to rewind time. For example you need to collect all the puzzle pieces, you fall down a tunnel, but you miss a piece. You can rewind time to when you are dropping, and navigate toward the puzzle piece.
Sunday, June 7, 2009
1st person game engine mods
"Blind Monk's Society". Experiments with navigating in darkness, using only audio cues like continuous talking or whistling. A mod using the half-life game engine.
Playing by ear: Documents an experiment using the old Quake engine to create a playable environment for the blind.
One of the most interesting parts I read, was that they used different types of footsteps depending on the location.
"A carpeted study has quiet footsteps, while a kitchen has sharp, echoing footsteps"
This is a common element to add with any platforming/first person game.
It's amazing how much players don't think about the audio. I'm sure the different sounds of footsteps help visual players, even if it's only on a subliminal level.
That blind kid sure plays a mean ... Soul Calibur 2
An article about a blind kid who can play some visual games successfully, because of the audio cues.
METRIS!
Musical tetris for the blind! This game is hard. Totally reliant on audio cues, and the unclear instructions didn't help. I got 50 points, which I assume is one line. I found that I would be able to play the game better if I could match the audio cues with visual ones. If there was a version with image and sound, I feel I could match the two spaces, and after learning the audio cues, could advance into the audio only version.
Monday, June 1, 2009
recreating echolocation
Expanding on John Wynne's Wireframe (audio drawing) idea, I could "shrink" the size of the space, or maybe an enemy's sound could get quicker as it bounces back?
It would use the same LBP model from the drum kit, but I don't know how to make it playable...maybe having an enemy coming at you. In the dark so you cant see and have to rely on audio.
I fix the drum kit dynamic, and make the main piston automatic. When the enemy comes closer to the player the frequency of the sound gets quicker, like echolocation. When it's close, avoid it by jumping. I would have to put the mechanic on the front most layer.
I also need to play around with the pitch of the sounds. You can't make a gradient of a sound effect (one sound going high to low, or changing the volume from high to low).
The change in the same sound effect's volume/pitch could indicate height of the player. Would not work for depth on the z axis. How do I make this playable?
Unfortunately the player can estimate his height from the camera view.
Why would player need to know his height, as opposed to simply guessing?
The sound effect from the point bubbles get higher the more you collect.
Also some birds use echolocation to navigate caves. :o
The level will be impossible to beat if the player cannot hear the audio.
It would use the same LBP model from the drum kit, but I don't know how to make it playable...maybe having an enemy coming at you. In the dark so you cant see and have to rely on audio.
I fix the drum kit dynamic, and make the main piston automatic. When the enemy comes closer to the player the frequency of the sound gets quicker, like echolocation. When it's close, avoid it by jumping. I would have to put the mechanic on the front most layer.
I also need to play around with the pitch of the sounds. You can't make a gradient of a sound effect (one sound going high to low, or changing the volume from high to low).
The change in the same sound effect's volume/pitch could indicate height of the player. Would not work for depth on the z axis. How do I make this playable?
Unfortunately the player can estimate his height from the camera view.
Why would player need to know his height, as opposed to simply guessing?
The sound effect from the point bubbles get higher the more you collect.
Also some birds use echolocation to navigate caves. :o
The level will be impossible to beat if the player cannot hear the audio.
drum kit test
Tried making the drum kit.
The sound effects (ex.symbol) didn't activate every time like I wanted. It may be just a case of inverting the key switch.
The sound effects (ex.symbol) didn't activate every time like I wanted. It may be just a case of inverting the key switch.
Monday, May 25, 2009
Blind test run
I made a test course for the blind run, and it worked out pretty well. I had to add sensor switches to set off the audio cues (because the audio cue sensor range is too large) but that just takes time. I also had to add emitters to generate the grab obstacles, so the same obstacles are in the same places if you need to try again.
For the "change direction" sound I used a "chimp" sound because it is instantly recognisable, and completely different from the other sounds.
I am still trying to find different ways to put the sounds together, for instance needing to jump right after you use grab.
I shall attempt the drum kit today sometime.
For the "change direction" sound I used a "chimp" sound because it is instantly recognisable, and completely different from the other sounds.
I am still trying to find different ways to put the sounds together, for instance needing to jump right after you use grab.
I shall attempt the drum kit today sometime.
Sunday, May 24, 2009
Level editor experimentation.
I spend a night experimenting with the LittleBigPlanet level editor, trying to focusing on space and sound.
I used the following sound effects:
Jump - boing
Grab - ding (might change)
Danger - buzzer
Safety - angelic choirs
Change direction - ?
While jumping on a audio cue works nicely, the grab function is much less tricky to configure for blind platforming.
This means the player could only move down the enviroment, and not up.
When the grab function is used in an upward motion, it is much more difficult to control the player.
From this I gathered that a "blind run" would be limited in the way you could move through the space.
The only way I can guide the player through a blind run would be to have the player run left and right (which I need a "change direction" sound effect), and have them desend through the space. Like the opposite to a game of Donkey Kong. You can still jump obstacles, but instead of climbing ladders, you fall through the ground by using "grab".
I also came up with an idea of a symplistic drum kit. Because LBP contain three layers on the Z axis, I could have three different instrument parts.
It's a little hard to explain the programming without having some knowledge of the LBP editor, but basically there would be three 2-way switches which would move the drum kit part (ex. symbols) towards the player. As the that moves closer, the speed between the repeating symbols would increase.
So by the player interacting with the space, they can create and listen to their three part drum beat.
I would imagine if that works correctly, I could copy and horizontally flip the drum kit, and change the sound effects to create a 6-part drum kit.
My other concept of the safe/hazardous door works nicely, but it looks best if it is confined to the foreground z layer. I just need to refine the timing of the sound effects.
This is a direct conceptualistion of the classic example of listening for cars before you cross the street. I still think the "safe" sound effect is needed for clarity.
I used the following sound effects:
Jump - boing
Grab - ding (might change)
Danger - buzzer
Safety - angelic choirs
Change direction - ?
While jumping on a audio cue works nicely, the grab function is much less tricky to configure for blind platforming.
This means the player could only move down the enviroment, and not up.
When the grab function is used in an upward motion, it is much more difficult to control the player.
From this I gathered that a "blind run" would be limited in the way you could move through the space.
The only way I can guide the player through a blind run would be to have the player run left and right (which I need a "change direction" sound effect), and have them desend through the space. Like the opposite to a game of Donkey Kong. You can still jump obstacles, but instead of climbing ladders, you fall through the ground by using "grab".
I also came up with an idea of a symplistic drum kit. Because LBP contain three layers on the Z axis, I could have three different instrument parts.
It's a little hard to explain the programming without having some knowledge of the LBP editor, but basically there would be three 2-way switches which would move the drum kit part (ex. symbols) towards the player. As the that moves closer, the speed between the repeating symbols would increase.
So by the player interacting with the space, they can create and listen to their three part drum beat.
I would imagine if that works correctly, I could copy and horizontally flip the drum kit, and change the sound effects to create a 6-part drum kit.
My other concept of the safe/hazardous door works nicely, but it looks best if it is confined to the foreground z layer. I just need to refine the timing of the sound effects.
This is a direct conceptualistion of the classic example of listening for cars before you cross the street. I still think the "safe" sound effect is needed for clarity.
Using the game engine in a different way
While LBP is essentially a tool for creating platforming style levels, the following videos show that the game engine can be much more.
Music recreated using LBP sounds (Guns N Roses - Sweet Child Of Mine)
2 digit calculator made from LBP tools
Sidescrolling shooter
Music recreated using LBP sounds (Guns N Roses - Sweet Child Of Mine)
2 digit calculator made from LBP tools
Sidescrolling shooter
Friday, May 22, 2009
Level research
I played through the story mode which contains professional levels made by the games creators.
I could not find one instance where sound was the primary dynamic.
The sound effects are only used to enhance the visuals. For example when you "grab" a cow, a "moo" sound is played.
EDIT: Found one. Off screen a dangerous ball appears, because it is off screen, an audio cue sounded. I am not sure if they would have used sound if the player could see the dangerous ball appearing on screen.
I could not find one instance where sound was the primary dynamic.
The sound effects are only used to enhance the visuals. For example when you "grab" a cow, a "moo" sound is played.
EDIT: Found one. Off screen a dangerous ball appears, because it is off screen, an audio cue sounded. I am not sure if they would have used sound if the player could see the dangerous ball appearing on screen.
Art inspired LittleBigPlanet (LBP) levels.
1) Kandinsky-inspired Level
Video shown below.
A highly detailed conceptual description can be found here.
As the level progresses, the sounds starts matching the players tempo.
The main idea I took away from this, was that a good level doesn't need to have an excess of enemies or complicated programming. A nice result can be achieved by simply thinking critically about the limitations of the game, breaking the elements down (ex. space) and expanding them as much as possible.
2) Interactive space focusing on shapes and motion.
Conceptual description here. A video of the interaction can be seen in the second half of the video below.
Both created by critical-gaming.squarespace.com.
Pushes space, the three layers, and how the character switches between them.
Very interesting stuff. I know this much thought doesn't get put into the standard player's levels.
Shows you could experiment with one just element forever.
Video shown below.
A highly detailed conceptual description can be found here.
As the level progresses, the sounds starts matching the players tempo.
The main idea I took away from this, was that a good level doesn't need to have an excess of enemies or complicated programming. A nice result can be achieved by simply thinking critically about the limitations of the game, breaking the elements down (ex. space) and expanding them as much as possible.
2) Interactive space focusing on shapes and motion.
Conceptual description here. A video of the interaction can be seen in the second half of the video below.
Both created by critical-gaming.squarespace.com.
Pushes space, the three layers, and how the character switches between them.
Very interesting stuff. I know this much thought doesn't get put into the standard player's levels.
Shows you could experiment with one just element forever.
LittleBigPlanet 101
"LittleBigPlanet" is a platform game with basic controls.
With only the ability to "move" "jump" and "grab", the gameplay controls are very simplified conpared to other current generation games which ultilise almost every button on a controller.
move: Left analog stick
jump: X button
grab: R1 button
There is also a game mode in which it lets you create your own level to play and share.
My first attempt, like 99% of others, was to create a classic platforming level.
I played around with the tools, and you can pretty much make anything you want. My level was fairly simple as I was just learning how things worked.
Experienced level creators have taken the default tools from the game and extended them. For example, putting together a key/lock switch with a dissolvable block, they created a permanent switch that only goes off once.
Here are some of the more complicated switches players with programming experience have come up with.
With only the ability to "move" "jump" and "grab", the gameplay controls are very simplified conpared to other current generation games which ultilise almost every button on a controller.
move: Left analog stick
jump: X button
grab: R1 button
There is also a game mode in which it lets you create your own level to play and share.
My first attempt, like 99% of others, was to create a classic platforming level.
I played around with the tools, and you can pretty much make anything you want. My level was fairly simple as I was just learning how things worked.
Experienced level creators have taken the default tools from the game and extended them. For example, putting together a key/lock switch with a dissolvable block, they created a permanent switch that only goes off once.
Here are some of the more complicated switches players with programming experience have come up with.
Thursday, May 21, 2009
navigating space from sounds
-listen for cars before crossing the street
-new email audio alert
-computer error sound
-video game sounds (jumping = "boing" sound)
-cut off from real world sounds by MP3 = more reliant on visual cues
-blind = reliant on audio cues
-train station/airport announcements
-enhance website navigation
-echolocation
sight vs sound
If I made a space that worked around sound cues, I should be able to navigate the space with my eyes closed. Could be sounds for direction changes. Half way through the space, I could mix it up. A sound could play (ordering the user switch to visual). The user would have to rely on sight (not sound) and there could be sound effects to try an disorientate them.
Wireframe (audio drawing) - John Wynne
With many speakers he uses sound in a darkened room to "show" the space to the viewer. There is nothing to see and the audio is site specific so it is impossible to document. I wonder if he could make the space feel smaller or larger by modifing the volume of the speaker sounds? The sounds would have to get louder/higher as they come closer.
-new email audio alert
-computer error sound
-video game sounds (jumping = "boing" sound)
-cut off from real world sounds by MP3 = more reliant on visual cues
-blind = reliant on audio cues
-train station/airport announcements
-enhance website navigation
-echolocation
sight vs sound
If I made a space that worked around sound cues, I should be able to navigate the space with my eyes closed. Could be sounds for direction changes. Half way through the space, I could mix it up. A sound could play (ordering the user switch to visual). The user would have to rely on sight (not sound) and there could be sound effects to try an disorientate them.
Wireframe (audio drawing) - John Wynne
With many speakers he uses sound in a darkened room to "show" the space to the viewer. There is nothing to see and the audio is site specific so it is impossible to document. I wonder if he could make the space feel smaller or larger by modifing the volume of the speaker sounds? The sounds would have to get louder/higher as they come closer.
virtual space.
I found a great essay about comparing physical space to 3D virtual space, titled "complete freedom of movement: video games as gendered play spaces"
Some ideas I took away from it:
-extend reach, explore, manipulate, interact
-how virtual games mimic physical games both have similar struggles. Compare space invaders to dodgeball.
-child gamers respond more towards more 3D like spaces and quicker more flexible interactions
-physical bodies reactively sway from virtual movement
-wii controllers/six-axis/guitar hero respond from physical movement + convert into virtual movement
-physical play spaces are diminising (due to expansion) + virtual play spaces are increasing (due to improving technology)
-childen create spaces "forth enviroment", they are in their own world (like calvin + hobbes)
-children make play spaces from nothing (jumping on the white stripes on zebra crossings, balancing on gutters and pathway divisions)
-boys have outdoor orientated toys, girls have indoor orientated toys
-virtual worlds reward daring activities (climbing a tree) as opposed to the physical world
-a goal of creating a virtual space that as is engaging for girls as it is for boys
direct quote/s:
"A child playing a video game, searching for the path around obstacles, or looking for an advantage over imaginary opponents, engages in many of the same “mapping” activities as children searching for affordances in their real-world environments."
"One of the limitations of the contemporary video game is that it provides only pre-structured forms of interactivity, and in that sense, video games are more like playgrounds and city parks rather than wild-spaces. For the most part, video game players can only exploit built-in affordances and pre-programed pathways. “Secret codes,” “Easter Eggs,” and “Warp zones” function in digital space like secret paths do in physical space and are eagerly sought by gamers who want to go places and see things others can’t find. "
"Girls may compete more directly and aggressively with boys in the video game arena than would ever have been possible in the real-world of backyard play, since differences in actual size, strength, and agility have no effect on the outcome of the game."
sandbox vs linear
ideas:
-goal of creating a virtual space with focus on virtual rewards from physical activities + playing around with sense of space
-open, exploratory paths
-user generated goals (players can create their own goals)
-converting physical motion to virtual motion
-interactive elements created purely for interaction (no goals)
-reward daring activities / solving puzzles
-two versions of the level, one for play, one for explanation
-warnings coupled with rewards
-several similar sized spaces with different spatial ideas/concepts
-filled vs empty
-soundspaces (empty space with busy noise, busy space with empty noise)
-getting a physical reaction from a virtual action (scare)
-break up the three layer planes (flat plane with virtual elements, all 3 for -physical representation)
-time based travel, fast turtle, slow cheetah
-object's speed based on player proximity
-horizontal/vertical
-upside down
-empty space (hollow cubes, Sol Lewit)
-navigating invisible barriers from sound cues
-reoccuring motif to play around with size and perspective
Some ideas I took away from it:
-extend reach, explore, manipulate, interact
-how virtual games mimic physical games both have similar struggles. Compare space invaders to dodgeball.
-child gamers respond more towards more 3D like spaces and quicker more flexible interactions
-physical bodies reactively sway from virtual movement
-wii controllers/six-axis/guitar hero respond from physical movement + convert into virtual movement
-physical play spaces are diminising (due to expansion) + virtual play spaces are increasing (due to improving technology)
-childen create spaces "forth enviroment", they are in their own world (like calvin + hobbes)
-children make play spaces from nothing (jumping on the white stripes on zebra crossings, balancing on gutters and pathway divisions)
-boys have outdoor orientated toys, girls have indoor orientated toys
-virtual worlds reward daring activities (climbing a tree) as opposed to the physical world
-a goal of creating a virtual space that as is engaging for girls as it is for boys
direct quote/s:
"A child playing a video game, searching for the path around obstacles, or looking for an advantage over imaginary opponents, engages in many of the same “mapping” activities as children searching for affordances in their real-world environments."
"One of the limitations of the contemporary video game is that it provides only pre-structured forms of interactivity, and in that sense, video games are more like playgrounds and city parks rather than wild-spaces. For the most part, video game players can only exploit built-in affordances and pre-programed pathways. “Secret codes,” “Easter Eggs,” and “Warp zones” function in digital space like secret paths do in physical space and are eagerly sought by gamers who want to go places and see things others can’t find. "
"Girls may compete more directly and aggressively with boys in the video game arena than would ever have been possible in the real-world of backyard play, since differences in actual size, strength, and agility have no effect on the outcome of the game."
sandbox vs linear
ideas:
-goal of creating a virtual space with focus on virtual rewards from physical activities + playing around with sense of space
-open, exploratory paths
-user generated goals (players can create their own goals)
-converting physical motion to virtual motion
-interactive elements created purely for interaction (no goals)
-reward daring activities / solving puzzles
-two versions of the level, one for play, one for explanation
-warnings coupled with rewards
-several similar sized spaces with different spatial ideas/concepts
-filled vs empty
-soundspaces (empty space with busy noise, busy space with empty noise)
-getting a physical reaction from a virtual action (scare)
-break up the three layer planes (flat plane with virtual elements, all 3 for -physical representation)
-time based travel, fast turtle, slow cheetah
-object's speed based on player proximity
-horizontal/vertical
-upside down
-empty space (hollow cubes, Sol Lewit)
-navigating invisible barriers from sound cues
-reoccuring motif to play around with size and perspective
Tuesday, May 19, 2009
revision.
final project / presentation = 25%
all blogs = 20%
"15 minute discussion of motivations, key references, and final resolution of the work." + plans for final project.
"focus on digital enviroment as it relates to mapped and constructed space and/or geography...explore broad social politcal and conceptual implications of mapping."
"mapping involves the tracing of movement of time and space, through the mediations of technology."
"explore both physical + virtual space"
"application of notions of space as a metaphor, place, location or setting within digital media."
all blogs = 20%
"15 minute discussion of motivations, key references, and final resolution of the work." + plans for final project.
"focus on digital enviroment as it relates to mapped and constructed space and/or geography...explore broad social politcal and conceptual implications of mapping."
"mapping involves the tracing of movement of time and space, through the mediations of technology."
"explore both physical + virtual space"
"application of notions of space as a metaphor, place, location or setting within digital media."
artist research
Patricia Piccinini
A little disturbing for my tastes, but the combination of the two spaces certainly has an impact.
Richard Brown
Mimetic Lighting Controller: The spikes glow a different colour when you touch them. I don't see why you would want to patent it. :/
Lyre Bird: Interactive Sound Space using motion detectors to output sound patterns according to "movement, speed and direction".
The video game one was my favourite. It would be cool if somehow when you jumped in the real world you would hear a classic mario jump sound.
mimesia: uses a game engine and motion technology to explore a virtual world by moving your head in the real world. Pretty cool. A great example of games as art.
This is a nice play on space, as a person in real space controls a 2D screen, by using 3D motion, 3D space is diplayed on the 2D screen.
"Mimesia is not a painting though at first glance looks like one, it is not a film, for there is no story, it is not a game, there is no quest - it is an evocation of a dream, an unfolding memory."
The Mimetic Starfish: My favourite work from this guy. I watched all the videos I could find on it. Pretty cool. It moves very realistically. People of all ages loved it, entertaining watching the kids interact with it. I would love to create something like this. I remember seeing an interactive flash character on a website once. You could move the mouse from left to right over him and he would react differently depending on the speed. I have been looking for that site since but I haven't found it.
David Rokeby
Shock Absorber: Takes a video clip from televsion and filters out everything apart from the motion. I find it makes you more aware of how 3D television actually is.
Cloud: Plays around with space and though minimalism+light+perspective the work transitions between solid, liquids and gas.
ponoko
A website where people can submit 2D (or 3D) drawings and have them made into real 3D objects.
Motion capture technology. Transforming physical movement into virtual mapping data. Used in a variety of current generation console games such as "Uncharted: Drake's Fortune." I have the game and feel that the mo-cap brings more believeability to the virtual character's motions.
Survival horror video games.
With dark lighting, games like Resident Evil and Silent Hill rely heavily on sound effects and music to instil fear in the player. While slowly walking down a hallway you hear sound effects like creaking doors and growling monsters.
Stargate dart ship sounds
The most memorable part of watching this sci-fi series was the creepy sound effect the enemy ships made. I feel it is effective because it sounds completely new, somewhat similar to a robotic swarm of bees.
Scary movies
-Hitchcock's Psycho high pitched stab sounds
-T-rex's roar in Jurassic Park
-Low bass sounds getting quicker in succession in Jaws
A little disturbing for my tastes, but the combination of the two spaces certainly has an impact.
Richard Brown
Mimetic Lighting Controller: The spikes glow a different colour when you touch them. I don't see why you would want to patent it. :/
Lyre Bird: Interactive Sound Space using motion detectors to output sound patterns according to "movement, speed and direction".
The video game one was my favourite. It would be cool if somehow when you jumped in the real world you would hear a classic mario jump sound.
mimesia: uses a game engine and motion technology to explore a virtual world by moving your head in the real world. Pretty cool. A great example of games as art.
This is a nice play on space, as a person in real space controls a 2D screen, by using 3D motion, 3D space is diplayed on the 2D screen.
"Mimesia is not a painting though at first glance looks like one, it is not a film, for there is no story, it is not a game, there is no quest - it is an evocation of a dream, an unfolding memory."
The Mimetic Starfish: My favourite work from this guy. I watched all the videos I could find on it. Pretty cool. It moves very realistically. People of all ages loved it, entertaining watching the kids interact with it. I would love to create something like this. I remember seeing an interactive flash character on a website once. You could move the mouse from left to right over him and he would react differently depending on the speed. I have been looking for that site since but I haven't found it.
David Rokeby
Shock Absorber: Takes a video clip from televsion and filters out everything apart from the motion. I find it makes you more aware of how 3D television actually is.
Cloud: Plays around with space and though minimalism+light+perspective the work transitions between solid, liquids and gas.
ponoko
A website where people can submit 2D (or 3D) drawings and have them made into real 3D objects.
Motion capture technology. Transforming physical movement into virtual mapping data. Used in a variety of current generation console games such as "Uncharted: Drake's Fortune." I have the game and feel that the mo-cap brings more believeability to the virtual character's motions.
Survival horror video games.
With dark lighting, games like Resident Evil and Silent Hill rely heavily on sound effects and music to instil fear in the player. While slowly walking down a hallway you hear sound effects like creaking doors and growling monsters.
Stargate dart ship sounds
The most memorable part of watching this sci-fi series was the creepy sound effect the enemy ships made. I feel it is effective because it sounds completely new, somewhat similar to a robotic swarm of bees.
Scary movies
-Hitchcock's Psycho high pitched stab sounds
-T-rex's roar in Jurassic Park
-Low bass sounds getting quicker in succession in Jaws
storyboard
drew up the storyboard for camera views and such.
was full of fail. Thinking of scrapping it now. Not enough time to pull it off.
update: scrapped. will look into virtual spaces instead
was full of fail. Thinking of scrapping it now. Not enough time to pull it off.
update: scrapped. will look into virtual spaces instead
Monday, May 18, 2009
rough storyline
b = blob
s = me
s notices b
s prods b
no reaction
s prods b again
b expression
s goes to prod b
b attempts to bite
s reacts (pulls hand back)
s slams down fist to squish it
b roll dodges
b springs onto hand
s waves to try get it off
s goes grr
b climbs up arm to shoulder
s notices b is gone
s checks behind
s slowly checks up
b is on head
b eats s
b jumps on bench again
I think it will be around 40 seconds or so.
Not sure about sound effects and music.
s = me
s notices b
s prods b
no reaction
s prods b again
b expression
s goes to prod b
b attempts to bite
s reacts (pulls hand back)
s slams down fist to squish it
b roll dodges
b springs onto hand
s waves to try get it off
s goes grr
b climbs up arm to shoulder
s notices b is gone
s checks behind
s slowly checks up
b is on head
b eats s
b jumps on bench again
I think it will be around 40 seconds or so.
Not sure about sound effects and music.
concept
live action + animation:
Perhaps me interacting with a blob creature. :)
In a kitchen, on the bench.
I find this blob, and bites and jumps and kills me.
Perhaps me interacting with a blob creature. :)
In a kitchen, on the bench.
I find this blob, and bites and jumps and kills me.
Monday, May 11, 2009
live action + animation
Mechanical Death Spider: One of my favourite live action/animation videos, mostly because of the humor/parody. The creators can get away with the two formats not syncing correctly because it is a parody. For example the very delayed reaction when the missiles are fired.
Mapping project ideas
Due in less than five weeks.
Must be based on one of the following:
- public space
- experimental video
- sampling
- modelling
ideas:
Spatial patterns of panicked people in a mall enviroment. Like how/where would people scatter/move/run if there was an immediate danger. Like a man eating monster or something.
Or how a pack of raptors would hunt in that enviroment. and by enviroment I mean how they would navigate the mall's spatial relationship rather than focusing on how velociraptors would act in present time.
Maybe I could look into herding techniques with using the mouse in flash. I made a simple image where a still polar bear's eyes are focused on where the mouse is postitioned. I modified the image so a insect would follow the mouse around. However I cant find them on my laptop. Here is an example of how it works though.
You should be able to reverse it and the mouse postion could be a "raptor", and the "people" could move away from it. But it would only work like a pack of raptors, if there were more than one mouse position. Which you can't do. I like how animals work together in a pack to catch their prey so I'll try to think of a way around it.
If I did this, it would require more coding than anything else, and that can become incredibly frustrating.
Some sort of live action video mixed with animation.
I saw a short piece like this which I can't find at the moment. It was a animated character interacting with a light up globe. Maybe I should start using my delicious account.
Found it. I don't really like the idea of me acting though. :P
Making a 3D model of a village would be fun, but I don't think I could get it done in <5 weeks. One thing I could experiment with would be the camera angles, perhaps the camera would weave through the village giving a sense of flight. I suppose I could just use simple shapes for the town, but even then the time limit would be cutting close and I like to have a finished project.
Must be based on one of the following:
- public space
- experimental video
- sampling
- modelling
ideas:
Spatial patterns of panicked people in a mall enviroment. Like how/where would people scatter/move/run if there was an immediate danger. Like a man eating monster or something.
Or how a pack of raptors would hunt in that enviroment. and by enviroment I mean how they would navigate the mall's spatial relationship rather than focusing on how velociraptors would act in present time.
Maybe I could look into herding techniques with using the mouse in flash. I made a simple image where a still polar bear's eyes are focused on where the mouse is postitioned. I modified the image so a insect would follow the mouse around. However I cant find them on my laptop. Here is an example of how it works though.
You should be able to reverse it and the mouse postion could be a "raptor", and the "people" could move away from it. But it would only work like a pack of raptors, if there were more than one mouse position. Which you can't do. I like how animals work together in a pack to catch their prey so I'll try to think of a way around it.
If I did this, it would require more coding than anything else, and that can become incredibly frustrating.
Some sort of live action video mixed with animation.
I saw a short piece like this which I can't find at the moment. It was a animated character interacting with a light up globe. Maybe I should start using my delicious account.
Found it. I don't really like the idea of me acting though. :P
Making a 3D model of a village would be fun, but I don't think I could get it done in <5 weeks. One thing I could experiment with would be the camera angles, perhaps the camera would weave through the village giving a sense of flight. I suppose I could just use simple shapes for the town, but even then the time limit would be cutting close and I like to have a finished project.
Subscribe to:
Posts (Atom)
