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Emerging Practices Evidence
These are some more of the things I modeled for our game The Raven Blight, painted in random colours so theyâre easier to see. Itâs kind of hard to blog about 3D modelling because most of it is watching YouTube videos of people modelling and incorporating some of their techniques into your own workflow. Especially when I was creating all of the trees and the more organic models, I had to watch a lot of tutorials and time lapses to get an idea of how these kinds of models are usually created and got my hands on a lot of useful shortcuts and techniques doing so. Overall, Iâm pretty happy with how everything has turned out.Â
And then there was the wall. The wall that I built, which is going to wrap around the central town of the game, took me forever to finish. The biggest issue I had with it is that it is simply so big and has so many repeating modules. The initial building of it didnât actually take very long, but once all the modules were in place, I realised that there were a lot of issues with the model. Vertices in place they donât belong, internal face, faces that turned around a corner without any edges to actually create that corner, holes in the model, random bits of wall that had normals facing the wrong way, even after recalculating the normals for the whole model. And after I fixed all of these issues I had to UV unwrap the who thing which took a couple of days on its own. While working on this wall, I would constantly look up or figure out how to automate what I was doing and I feel like after going through all of that I have a much better understanding of blender, but it really wasnât a pleasant experience.Â
Building a Building
One of the main buildings in the town of The Raven Blight, the game weâre working on at the moment, is a tower that makes up the townâs centre and the central hub of the game. Because of its importance in the game, we decided that it should be one of the first things to be modeled.
In the very first week of uni, I decided to give a go and picked a random tower I liked from the internet and built it. Shortly after, I was informed that everyone in the group would rather have a round tower and so we put Samy onto designing a new tower that would balance looking cool with looking like it could actually be in a relatively poor town. While the first drawing he did was pretty neat in terms looks, when it came to modelling it, it turned out that it was kind of unclear what was happening in the reference picture. Samy redid the drawing to make it more obvious what was going on and even labeled it for me and from there it was pretty easy to model the tower. I also made a minor change to the design by adding crenelations to the lower level because it looked like it should be possible to walk on the wider ledge.Â
Robots are still boring
Our task this week was to select a social robot or other emerging practice that we will be centre our project around. After looking at the robots suggested to us and doing some research of my own I came to the conclusion that I do, in fact, find robots boring. Current technical limitations dictate that most robots currently available for sale (which was sadly the criteria, sci-fi robots would have been really interesting to do) are really limited in what they can do and end up being gimmicks rather than technologies that will seriously change the way we approach different aspects of life.
Because of this I have decided that instead of looking at social robots, I will be looking at VR as an emerging practice. It meets the criteria of being an emerging practice in that it is relatively new, especially in its current form, and is currently breaking into the mainstream. It is not uncommon for people to have a VR headset at home, but it hasnât fully emerged yet, since the applications available for VR are still very patchy, and there are major technological hurdles yet to overcome, namely the bulky nature of the headset and the cord connecting it to the computer and the fact that you can only walk in a 3x3m area. It also makes sense for me to look at VR because I have a Vive at home so first hand testing should be relatively simple. I also think that VR is interesting and has a lot of potential and I already spend a fair bit of time talking about the future applications of VR with my flatmates as is.Â
The Raven Blight as allegory for real environmental problems
Within the first week of starting the project, we decided that The Raven Blight would serve as an extended metaphor for the damage humans inflict on the planet. In accordance with this, when I came up with the backstory of our game, I tried my best to connect individual events to real world issues.
In a macro sense, the magic system, which makes up the core mechanic of the game, is a metaphor for humanâs relationship with nature. Humans need the resources that nature has to offer and they will use any technology (or magic) at their disposal to obtain what they consider necessary. The issue of this approach is that most people put their own comfort over the effect theyâre having on nature, until nature becomes inhospitable. This is where the raven blight comes in, the Blighted Forest being the result of humans continuously exploiting the perfectly welcoming Radiant Forest until it was destroyed, and in turn started to negatively effect humans. There are countless examples of this destructive progression happening in the real world. From the issue of overfishing, to deforestation of the worldâs rain forests, humans everywhere inadvertently destroy their own resources. When coming up with the backstory of our game world, I drew inspiration from real world issues to make the game simultaneously more realistic and more relevant.
The game starts with the blight already spreading through the forest, originally being created by a former inhabitant of the region. This parallels the face that in our own world we often inherit the sins of the father when it comes to environmental degradation. For example, people in New Zealand and Australia still have to face the ozone depletion largely caused by CFCs, even though CFCs were phased out starting in 1985 and most people my age never knew times when CFCs were very common in refrigerators, aerosol cans, and more. ("Is There a Connection Between the Ozone Hole and Global Warming?", 2017)
Another aspect in which I have drawn inspiration from the real world is that the inciting incident that caused the townâs need to leave was the blight spreading to the nearby crops, making them inedible and causing a famine. This was based on the effect that monoculture, and non-diverse rotations have on the production of food. While monocultures allow farming to be automatised, it also makes the plants vulnerable to insects, weeds and disease. (Kniss, 2017) One particularly destructive incident of monoculture backfiring was the Great Famine, during which potatoes that were farmed in monoculture throughout the country were infected with late blight, leading to the starvation and emigration of much of the Irish population. (Mokyr, 2017)
Throughout the course of the semester, my group will try to add more of these references to different aspects of the gameâs design, including for example the design of the creatures in the game and the spells the player can use to further exploit the environment.
References
Is There a Connection Between the Ozone Hole and Global Warming?. (2017). Retrieved from https://www.ucsusa.org/global-warming/science-and-impacts/science/ozone-hole-and-gw-faq.html
Kniss, A. (2017). The Problem With Monoculture - Food and Farm Discussion Lab. Retrieved from http://fafdl.org/blog/2017/01/26/the-problem-with-monoculture/
Mokyr, J. (2017). Great Famine | History, Causes, & Facts. Retrieved from https://www.britannica.com/event/Great-Famine-Irish-history
Robots are boring
According to Rodney Brooks, robots are boring. More specifically, he thinks that the AI currently used in robots is âsimple and un-sexy.â What he is referring to in this instance is the fact that thereâs quite a large difference between the flashy videos shared around the internet of âedge-of-just-possibleâ demonstrations as he calls them and the AI found in the roomba your cat is currently sitting on. Those demonstrations are almost completely staged and the robots wouldnât be able to do the things theyâre doing under any other circumstances. While this is surely a good thing to point out to the uninitiated, to anyone who knows anything about robots, or marketing for that matter, this will not come as much of a surprise. When youâre trying to promote a product like a robot, the rule of cool applies. Robots need to look more intelligent than they are to be considered cool (or at least they need to have a cat sitting on top of them). I think this is due to the fact that robots have been a part of the public conscience for such a long time. In 1977, Star Wars, one of the most popular franchises ever, showed us the fully sentient robots C-3PO and R2D2. Before then, all the way back in 1921, Karel Äapek coined the term ârobotâ in his play R.U.R., which featured a machine take-over by service robots. And all the way in the classical period around 600BC, authors like Homer wrote about artificial humans made of clay and bronze, which would serve different gods and humans. Everyone expects robots to eventually have at least near human intelligence, so being able to get up after falling over doesnât quite make the cut when it comes to being cool.Â
Personally, I fall more on the side of the research robots that Brooks seems to dislike so much when he yells âThey are all fake!â at no one in particular. After all, Iâm doing Creative Technologies, and if thereâs one degree that appreciates the rule of cool, itâs us. We are encouraged to sell ourselves to potential employers at open studio and so most of us veer towards small, polished projects as opposed to an un-sexy project with an extensive conceptual basis. Thinking that robots wonât move past their current stage for some decades yet, is frankly just depressing and stifles progress. If everyone thought it canât be done, nobody would try to do it, and that is simply against the spirit of the degree Iâm doing. The approach should always be aware of current limitations and then find ways to move beyond them. Mr. Brooks however, seems to be perfectly content with the current state of AI. And who wouldnât be after working with robots so much you can literally write a whole paragraph listing all the robot things youâve done, as Brooks was so kind to do in his 5000+ word essay about himself. I mean, at least the whole country of Japan âhas been consistency grateful,â for his help in Fukushima. What a swell dude he is.Â
At this point, I would like to take a moment to criticise choosing social robots as an example of an emerging practice. In class, we defined âemergingâ as meaning something that is somewhat new and currently breaking into the mainstream. Robots arenât really emerging. As I pointed out a couple of paragraphs ago, the concept of artificial intelligences helping people, which is the most basic concept of a service robot, dates back to the classic period. While 600 BC is in fact basically yesterday looking at the age of the earth, with the human-centric view that defines our language, 2600 years ago is what we cool kids would call âold news.â If we let this slide and just look at the âcurrently breaking into the mainstreamâ aspect of emerging, well, as Brooks points out âRight now I believe we are in an AI bubble. [...] The existence of this bubble makes it hard for all sorts of people to know what to believe about the near term for AI and robotics.â If robots were in fact breaking into the mainstream, the level of sophistication of their AI would be common knowledge not something commonly misunderstood. For example, for VR, which I would consider an actual emerging practice, everyone knows that you put on massive chunky glasses and wave your hands around like an idiot. While for those who have never given any thought to VR that is the full extend of knowledge they have, they still know these basics. People that never really engaged with robots, think of C-3PO while the reality is closer to a door that knows how to open when a humans approaches. This dissonance is evidence that robots arenât a proper emerging practice and itâs a shame that we have to focus on them instead of something more appropriate. Or maybe we donât. It was said to us multiple times that we can talk about anything we want to talk about, while we were also told that we would only be discussing robots. Itâs kind of unclear what our options are in this class.Â
Lastly I would like to draw attention to the irony that Ricardo went on a tangent about the naĂŻvetĂŠ of believing that robots are good or evil depending on the intentions of the people using them, saying multiple times that thatâs something only a primary school child would believe, and then giving us an article that read âInstead we will need to worry about people using technology, including AI, for malevolent purposes, and we should encourage the use of technology, including AI, for benevolent purposes.â In conclusion, Rodney Brooks has opinions appropriate for a primary schooler and his world view is kind of depressing and stifles progress. He also spends a lot of time bragging about his own achievements and if the essay we were given was unedited, he makes a lot of typos. I do however agree with him in that the robots used in the real world are in fact boring.Â
Exposition Dump
In any medium that deals with narrative, one of the main challenges a writer will face is how to get across exposition in a way that isnât so obvious it will take the audience out of the experience. Video games especially have an issue in this regard. The vast majority of games with an actual story Iâve played fall very hard on the tell donât show scale. Because of this, games like The Witcher 3 stand out because they employ actual story telling techniques to show, not tell, the backstory of their characters and explain to the audience why theyâre there and what theyâre trying to do.Â
In this vain, being in charge of our gameâs story this semester, Iâll try my best to get across all the exposition without an NPC coming around the corner saying âWe used to be such good friends, but you were never the same after your mother died six months ago.âÂ
First of all it would be good to establish what information needs to be conveyed for the audience to understand the game.Â
Who are you?
What are you?
Whatâs your problem?
How will you fix it?
In The Raven Blight as we have named our game, you will be playing the leader of a small town. You live on land previously inhabited by a nobleman and gifted siphonist, siphony being the magic of drawing power from nature. After performing a particularly challenging spell, the siphonist drew so much from the local forest, parts of it became inflicted with what your people have come to call the raven blight, which corrupts plants and animals, and has been spreading through the forest over the course of centuries, slowly corrupting more and more of it. Finally, long after the siphonist that used to rule these lands has died and your people have come to live at the border of the radience, the magical forest that offers many resources and powers to local people, the blight has spread to the local crops, killing off many of the domesticated plants and creating a food shortage. Once people started dying from hunger, political uproar followed. The feudalistic government was overthrown and in the power vacuum that resulted, people turned to you. Being the most skilled siphonist of your people, as well as a charismatic person who deeply cares for his people, the town put its trust in you that you will save them. You are trying to help your people as best as you can using your magic, however you know that the blight is spreading and that the only thing you can do to save your people is to find them a new place to live.Â
Obviously the smaller details of this backstory arenât really necessary for the audience to know, for example, itâs very unlikely that weâll get into the original nobleman who lived in these lands, or the revolution that put you in charge within the 10 minutes or less of gameplay weâll be preparing for open studio. However, it is important to have an idea of how to provide the audience with all the necessary information, which is what Iâll do now. I will be working under the assumption that we wonât have any dialogue in the opening sequence, but that other than that we can be as cinematic as I would like. Because of this, everything is object to change as Iâll have to check with Claudia if everything Iâm imagining is possible and with the entire group if they like it. But here goes my hopefully subtle exposition.
The game will start with a cinematic of your pet raven flying. First it will fly over the radience, then it will fly over the ruins of the old siphonistâs castle, then it will fly over the blighted forest, where it is attacked by a blighted trix, which from a distance also looks like a raven, but much bigger. The point of this is to give the audience a kind of linear narrative to follow: first there was perfect nature, then humans came and corrupted the nature, and now the nature is out to getthenm. This last point is enhanced when the raven escapes the trix and flies across the largely empty crop fields around your land, introducing the audience to the main challenge your people are currently facing.Â
The raven then flies to you, landing on the tower you are standing on. It has a note tied to its foot. The note reads:Â â[allied town] cannot help you. You will have to leave your lands.â This tells the player what he/she needs to do.Â
Next the player will be given full control. Presumably they will start walking around the tower. We could use this bit to maybe give a bit of a tutorial and introduce them to the fact that they have magic and how to use it.
Eventually you will come to the stairs leading down, triggering you to be teleported to the bottom of the tower. Down in the village, your raven will leave your shoulder and fly a way from you, toward the ruin, flying so far and then making sure that youâre following. As you go through the town you may see people bowing to you and maybe someone burying their relative to hammer home the dire situation of your people and the fact that you are in fact their leader.Â
Your raven guides you to the centre of the ruins, where you find a large chalice type object filled with bright blue flames. When you look into the flame, your surroundings evaporate and show you a beautiful alternative world. Telling you where you will want to go. The chalice is also covered in markings that turn out to be the instructions for the spell you need to do. Maybe you need to go home and translate them, maybe you just have objectives pop up on your screen, someone who knows more about games than I do should make that decision.
Most importantly, you know that you are the leader of your town. You are also a siphonist. Your problem is that your people donât have enough food and are dying. And you will fix this problem by doing a spell that will transport you to a different place.Â
So, on the Studio hand-in day, I found out that Shaun took it upon himself to write some fanfiction. By that I mean he created this abomination.
Now, first of all I would like to say that despite me managing 3 Way Glass, Shaun at no point thought it was necessary to check in with me if it was all good for him to rework the cosmology I created for our game. Finding out about what he did in retrospect, I have to say that non of it, absolutely nothing, is part of our game. It is not the backstory of our game. It is not the world or cosmos our game is set in. It is not in line with the themes and style of our game. It is pure fanfiction created by someone who doesnât understand the source material.
For the first maybe six weeks of the semester, Shaun decided to create some names for our game, something that I was pretty happy to let him do as long as he still helped out in more important areas of the game. When he got back with his ideas for names it became obvious very quickly that Shaun doesnât have a gift for languages. And while Iâm not all that good at creating them myself, I understand how theyâre supposed to work. And so I tried to provide him with some feedback:
If you want to continue working on names you should probably have a look at how real languages work, how the words are constructed and stuff. Also you shouldnât use english as the origin for words because english is a clusterfuck consisting of a mix of germanic and latin, mostly french, origin words and shouldnât be used for this kind of stuff for that reason. It would be better if you used Old Norse, Latin, or Ancient Greek. They are languages that havenât been altered through globalisation and are therefore much more consistent and better to work with. I donât really think the suffixes work. -ovia is way too long to create words that sound in any way believable, especially since itâs just a suffix and not a word on its own, so the âgerman has ridiculously long words tooâ argument doesnât work. And the -ze while being kind of less alien than the -x is a lot more confusing. Itâs unclear if its meant to be pronounced -z or -z-ee and you canât tell what part of the word is meant to be emphasised. If people canât pronounce it, itâs not memorable and thatâs no good for a game.
In his responses he didnât really seem to understand what I was getting at so I told him that they werenât that important anyway, as this was all backstory and wouldnât be in the actual game, and he should just get back to making particle effects. Imagine my joy when I found out that Shaun proclaimed himself the authority to make the same names I called âthe stumbling first attempts of a first time sci-fi writerâ the actual names of the worlds I created. Really, it seemed like instead of fixing that all of it sounded very alien and sci-fi, he just full on doubled down on it and decided that apparently all the worlds, which are meant to be (with one exception) all physically connected to one another and function in largely the same way as they do in Norse mythology, should just be planets. They are not planets. And on top of the names and the whole planet thing, he also decided to completely change the characterisation of the different worlds. If he decided that he wanted to do some extra world building based on what Iâd already done, that would have been cool. Matthew created a whole eco-system for the cave our game is set in that was really cool and perfectly in line with the game. If Shaun would have come to me and told me about some issues he was having with what I created, we could have come to a solution together and found something that was to his liking while also being in line with the game. However, to just go behind all our backs to change something we were all happy with to some sci-fi post-human mess, then put up a massive QR code next to our game and pretend that what he did accurately represents our game world, I literally just canât even.
So yeah, this video he created is fanfiction and not part of our game and should in all instances be viewed separately.
I did this three months ago, but why would that matter if the game is multiple thousands of years old?
A few months back when our studio project was still in its baby shoes I created a cosmology for our in game world. At this stage I have kept the norse names for the places I created.
Niflheim: The World of Forms
Ethereal space where the essence of everything is floating, including the essence of individual humans.
After spending some time in either Asgard or Helheim, human souls return to Niflheim before being reborn to the human realm.
Accessed through meditation as a spirit.
Asgard: Home of the Deva
Beautiful golden place where certain deities, called Deva live.
The Deva take care of humans at large. Unlike the Devi, the deities of Alfheim, they don't take care of individuals but rather about humanity at large. They include gods of fertility, knowledge, the arts, philosophy, love, and other such things.
Located on top of a mountain.
People who worshipped these gods spend their death here before returning to Niflheim.
The Deva are eternal. They cannot die or reproduce and they never leave Asgard.
Alfheim: Home of the Devi
Located next to Asgard.
Devi are a lower cast of deities. While the Deva and Asyra make sure that the world keeps turning, the Devi are more concerned with individuals. They look after families and those who don't have a family.
Like the Deva, they are more concerned with conceptual ideas, such as making sure that their humans follow a righteous path and keeping everyone happy and healthy, they are not concerned with material things like shelter or food.
Midgard: Home of the Humans
Humans live here.
Vanaheim: Home of the Varina
Normally when those who have been sacrificed die after they have returned to Midgard, they go back to Niflheim. However, if they have been sacrificed to both the Deva and Asyra, and completed their training and lived as their representative both times, they enter Vanaheim as a sort of demigod. Because of their exceptional knowledge and understanding of the universe they have developed a kind of magic that they are able to teach others which they deem worthy.
Svartalfheim: Home of the Asyri
Home to Asyri, deities of the same rank as the Devi.
While the Devi gods are exclusively concerned with theoretical ideas, the Asyri are their counterpoint - they take care of everything physical. They are master smithies who create everything from weapons to tools to art objects. They are also associated with fertility and are said to be able to get things to grow just about anywhere. So even though they live underground, their caves are filled with lush greenery and crops that don't need sunlight to grow.
The Asyri will sometimes inspire humans to build things when prayed to, or gift a person with an especially green thumb if they find them worthy.
They have a more direct relationship with the other deities in that they actively trade their goods with them and even give away the occasional gift.
Helheim: Home of the Asyra
Beautiful silver black place where the Asyra live.
The Asyra are concerned with the universe at large and keeping everything in balance. They make sure that crops grow and water flows and animals live in balance. They represent things like the sky, the earth, water, stone, metals, animals, crops and other natural things of the physical world.
Located at the bottom of a cave, the perceived centre of the earth, you travel through Svartalfheim to get there.
People who worshipped the Asyra spend their death here before returning to Niflheim.
Like the Deva, the Asyra are immortal, unable to reproduce and stationary.
Video Game Production Notes
Basic Principles Character Control
With a 2D world interactively speaking, the player outside of special conditions moves in a Left or Right, Up or Down sort of control scheme following basic gravity mechanics outside of situational conditions such as water.
[A] Key will allow the avatar on screen to move Left across the screen.
[D] Key will allow the avatar on screen to move Right across the screen.
[W] Key will perform a jump or ascension tool relative to the function of the environment. (Air you jump, Water you swim up, etc)
[S] Key will only perform a function in conditional states such as water for moving downward.
Land movement should be sharp with little to no drift. Non grounded movement should follow effects such as momentum and drag.
Projectile (or melee) weapon must be Equipped/Unequipped with the [Q] Key. Unequipped weapons allow the player to (maybe) move faster and interact with the world (such as opening doors or talking to npcs).
Weapons Equipped will cause the mouse cursor to function as a targeting direction. Limitations of projectile function Pending.
Conversation between Avatar and npcs will require weapons to be unequipped and pressing the [E] or âuseâ key to begin conversation.
Conversations will follow a similar style to Fallout 4 where a brief description of 4 optional texts can be said and will result in the npc responding to each choice, branching as complex as the interaction needs to be with that particular npc.
* Another game that uses these near universal 2D controls: Outland *
Trial Trial Mechanics
The Trial we will be building follows some very distinct and possibly tight constants.
Entering a boat (E) will allow the player to guide said Boat across the otherworldly chasm using the [A] and [D] Keys. Pressing [E] will eject the player at the boats location. Opening a door on the other side will have the player step through and appear back at the beginning. (This may be optional).
Entering the chasm will result in the avatar entering a swimming state, and will cause movement to be affected in a similar manner. Naturally since the âparticle fieldâ will not actually be water, there is no oxygen resource.
Destroyed boats/ships pepper the players view as they are ominously suspended in the Particle Air. These serve as hard objects that block both player and serpent from moving, however they need to be capable of breaking as well.(Possibly slightly movable with only large impacts moving them?)
Finally we have the Serpent, who moves primarily with his Head and the body follows almost lagging behind in location, for some examples of worm like enemies, I can think of no better game than Terraria and its corruption enemies
https://www.youtube.com/watch?v=rpwhaEIfhcE âBegining at 1:55 showing off worm like movementâ
The Serpent would follow a reactive pattern of movements, responding to player actions in a macro scale. Your position and movements are not as important as how you are dealing with the serpent. These will be further explained in the completion methods.
COMPLETION METHOD 1: Aggression
This method is blindingly straight forward, the beast blocks your way, so remove it. In this we challenge the serpent directly, equipping your weapon and using the aforementioned aiming methods to fire/stab at the serpent.
Whilst numbers can of course be juggled, a simple baseline for this battle would be, head-shots are the only attack that hurts our enormous adversary and dealing a total of 25 direct hits will cause our enemy to submit/die/be defeated.
On the flip side of things, the player can die in a measly 10 hits from any source, the serpent will try to lower the players hp by either firing contact damage projectiles from its mouth or by biting (ramming) the player.
Should the Serpent be 10 shots from death, his attacks will now shatter boats.
Defeating the monster this way will fast forward the player to the bottom of the chasm.
COMPLETION METHOD 2: Avoidance
The goal of this method is self explanatory, to get past the serpent without being spotted.
The best way to go about this method is to have the player âuseâ [E] key them self into a ship/boat to âhideâ. Hidden players cannot fire, move, or even really do much of anything. Pressing [E] Key again will eject the player from hiding.
The Serpent will often make a warning sound when it is coming as it patrols the chasm vertically, meaning movement outside of these moments is the key to descending.
Once Âź of the way down the chasm, the player will find less boats to hide in and the serpent will arrive more frequently.
Being outside a hiding place while the serpent is patrolling will cause the serpent to attack, failing the Avoidance method. Once aggressive the player will no longer be able to hide in boats.
COMPLETION METHOD 3: Dive
Perhaps the most risky and challenging method though also the fastest and most rewarding. A player with an unequipped weapon may attempt to enter a full dive by holding/pressing the [Space] Key, this will cause them to lose the ability to move up or down however they retain the ability to move Left and Right.
Should a player begin a Dive, the Serpent will (possibly change entity) begin chasing the player mostly off-screen with just itâs head visible in pursuit.
While in the upper 50% of the Chasm, the players boat/ship saviors are now your biggest threat, diving into a boat/ship will cause it to break but damage the player for 1hp (out of 10).
After entering the lower 50% of the Chasm, the Serpent will add to your challenges by attacking with indicated/telegraphed cone-like bite attacks. (or projectiles).
Reaching the bottom will result in the Serpent pulling up to avoid hitting the ground, and the player will simply land.
COMPLETION METHOD 4: Ride
One of the more quirky ways to complete the trial, the player must as the name suggests, ride the serpent to the bottom (like a badass).
Firstly, the player must initiate combat with the serpent, forfeiting other less confrontational methods. Then when the player is about to be rammed by the serpent they may unequip their weapon and attempt to press the [E] Key right before impact. This will enter a âGod of Warâ style quick time event where the player must press a sequence of pop-up buttons correctly and quickly to stay on, the more you get right, the faster and harder they get. The number of correctly pressed buttons will take you a related distance down the Chasm on the head of the serpent, once that distance is reached, the serpent will smash you off (perhaps by ramming a chasm wall).
Reaching the bottom (or near it) will cause the serpent to retreat up the Chasm, and the player to safely drop down to the bottom.
COMPLETION METHOD 5: Pacifist
Easily the safest option though by far not the easiest, the player attempts to confront the serpent verbally and surpass it without the need for violence.
Borrowing from the previously mentioned method of communication with NPCs, the player will navigate a conversational path with the great creature in order to trick/convince/win-over the serpent and allow the player to descend uncontested.
This method is initiated by the player entering the Particle Field with their weapon unequipped. The player must then (not dive) move down towards the serpent, upon contact they must stop moving down past the serpent and wait for it to speak to them.
Initial contact is rough, threatening, and indicative of possible combat. However the golden rule is the player must ignore these threats, not equip their weapon, and wait for the serpent to decide to talk to you.
COMPLETION METHOD 6: Unorthodox
Still being worked on
Sadly some additional art work refused to upload.
As I forgot to talk to you properly about it today Iâll just give you feedback like this.
A general questions first:Â
Do unequipped weapons lie around on the ground or are they in an inventory? I know that I previously said that Iâm not too keen on the idea of having an inventory but after thinking about it a bit, I think Iâd prefer it to the different items necessary for a trail to just be lying around. The way that Iâm imagining it, every time a new trail starts your inventory refreshes and you get given new stuff and by going through your inventory you can get some ideas of how you can complete the trail. The inventory would only every have relatively small items in it like for example weapons. So for this first trail the boat wouldnât be in the inventory. Thoughts?
Aggression Method:
I think that after fighting the serpent the player shouldnât be fast forwarded to the bottom of the chasm, they should still have to figure out that they need to get to the bottom but can now swim down easily. Maybe we could even arrange it that you can dive without hitting boats but I feel like it would almost be too straight forward to just have to fight without engaging your brains before or after.
Avoidance Method:
We already talked about this a bit today but we didnât really end up making any decisions. Will the serpent patrol constantly or will it take âbreaks?â Is it always at the same level or moving down with the player? How do you know when itâs patrolling if it it takes breaks or if it stays close to the top of the chasm?
I, too, wish I was Sir David Attenborough but we canât all be the god of nature documentaries
As part of my recent Creative Technologies projects I was required to shoot some footage of New Zealand wildlife and there are no words that could possibly describe that experience as well as the following video.Â
However, as this is a blog post, I should probably attempt to put my experience into words.
Preparation
The first thing that had to happen before we could go to Zealandia was to decide that we were going to go to Zealandia. Zealandia is an ecosanctuary in Wellington that I was previously aware of after visiting it with my biology class in high school. After a bit of research it turned out that Zealandia was in fact the best option for us. The two other significant ecosanctuaries in New Zealand are Orokonui in Dunedin, and Mount Tutu Eco-Sanctuary in Tauranga. While these other two no doubt would have been great to visit as well, the fact that I my ties to Wellington allowed for a much cheaper trip, made the decision very easy.Â
After knowing where we would go to shoot the footage, I then had to research how to actually get good footage. After all, one of the main aspirations for our installation was to look aesthetically pleasing. So I did what any sensible person would do and watched the entirety of Planet Earth II. I had seen Planet Earth II once before that and as someone who watches quite a lot of nature documentaries, I have to say that it is probably one of if not the most beautiful documentary out there. But what is it about this particular documentary that makes it so great?
Looking at the video above, you can clearly make out several of the things that make Planet Earth so successful. While a lot of it can be contributed to David Attenboroughâs insightful narration and the way they created a clear narrative around the bird, that isnât really relevant for my own practice since my videos are limited to 20 seconds and donât include cuts or narration. When looking at the shots by themselves, some things stand out anyway. Some of those are quite obvious, like the fact that the camera tries to keep the birds in frame, as well as general rules of cinematography like the rule of thirds. Other than that the most important things to take away from the documentary are they way they shoot the birds. Most notable are the close ups on the birdâs face, and the feet as it is jumping and landing. Even when it is not a close up, the bird always takes up a significant portion of the screen. Other than that there seems to be a focus on movement. There are no shots of the birds being motionless, and those with minimal movement as usually accented by at least a head turn or something similar. From other parts of the documentary I also took away that it is often nice to end shots with the animal leaving the frame. Tracking shots are also implemented quite frequently. (Planet Earth II, 2016)
Filming
As I mentioned before, the video at the top of this post is very much a summary of my filming experience. For every usable 5 seconds of film you got, you had to walk for half an hour and delete 10 minutes of useless material. And that doesnât even take into account the number of times the bird had already left by the time I put down my tripod, or my camera had focused on it. The only exception to this rule was the Tuatara, which didnât move at all. I went to Zealandia two weeks apart form each other and one of the Tuataras they had there was still sitting in exactly the same location. Not exactly the most engaging video material.Â
It wasnât all bad though. I really wanted to film the takahe since theyâre probably one of the more high profile endangered birds but couldnât find them where they were supposed to be. Because of this I asked one of the people working at Zealandia what was up there. She explained that T2, the male of their breeding pair, had died recently so his female had moved and the new breeding pair they introduced wasnât familiar enough with their new home yet and couldnât really be seen by the public because of that. After she explained this she actually went on to help us find a few of the other birds, namely the robin, saddleback, and kakariki.Â
Aftermath
There are no words that could possibly describe the experience of editing as well as the following video.
I should really turn of my laptop a bit more often so that stabilising footage doesnât take hours. Really most of my editing experience was just incredibly repetitive and involved a lot of waiting. I would go through the videos I took, pick out the usable ones, and chop them up into 20 second clips. We decided to go with 20 second after we realised that there wouldnât really be a progression in the distortion effect we were using. 20 seconds are long enough for an audience to get a feel for what theyâre watching, but not so long that they would get bored.Â
When picking which parts of the videos would make it into the installation, I went back to what I had noticed when studying Planet Earth and picked the footage that fit that criteria. Really, it was a matter of âdoes this look good.â As it turns out some of them actually did.Â
References
Planet Earth II. (2016). United Kingdom.
Interactive Art as an Engaging Medium
When Claudia and I started the semester, we knew nearly straight away that we wanted to create an interactive art installation, the question was about what. There was something about the medium of interactive art that somehow just seemed to say âthis is a powerful tool, use it wisely.â And so we decided to make our installation about the conservation of wildlife in New Zealand, an important topic that needed more attention brought to itself. But what is it about this form of art that makes it so powerful? And why is it the correct tool to convey our message?
One of the things that make interactive art so powerful is its ability to engage people. Interactive art doesnât hang on a wall to be admired, it draws people in, making them âact enthusiastically and actively engage with the art installation.â (Her and Hamlyn, 2010) Especially in places where people donât expect to find art, an interactive installation can draw them in and engage them through sheer novelty. Its interactivity is key. While the average person who sees a piece of static art in an unexpected place might be intrigued by it at first, this more traditional art form doesnât draw any attention to itself and thus the person might not even notice it or quickly lose interest. Interactive art, in contrast with that, appeals to the natural playfulness in people. Every passing movement might trigger a reaction from the artwork, drawing attention to itself and encouraging the audience to interact with it more. The audience members then âquestion, explore and test the possibility of the art installations.â (Her and Hamlyn, 2010) - they are engaged. As the video above demonstrates, the presence of the interactive art work draws people in. They enjoy playing with the clownâs mask and encourage the people around them to play with it as well. The experience is engaging because it is fun.Â
The video above shows that interactive art transcends the monotone restrictions of classic art. It shows how people interact with the art work. They play on it like itâs a playground. They engage with the art work, simply by having fun. However, thatâs not the only way they interact with it. They also film it and add their own twist to it using Snapchat and the text functions and audio recording it provides. The art work is more than itself, it is a literal playground for creativity. The little something about interactive art that makes it so compelling that it is unpretentious and happy to be played with. While you expect to find most art in some place of art worship (museums, art galleries, etc.) often on a literal pedestal, interactive art has a tendency of being more down to earth; closer to the audience and less demanding to be worshiped. If classic, static art is your stuck-up grandpa, interactive art is your older sibling who buys you alcohol and helps you through your relationship drama.Â
What I mean when I say that the older sibling that is interactive art helps you through your relationship drama, is that interactive art is actually incredibly good at making you think and convey meaning as well as being fun and engaging. âAesthetics in general encourage viewers to think about authorâs intention.â (Her and Hamlyn, 2010) Since interactive art is seen as less pretentious and more accessible than traditional art, audiences approach it differently and people who might not normally be drawn to art and any âhigher purposeâ it might try to convey, could find that this more playful approach actually appeals to them. This different approach from the side of the audience is part of why interactive art is so successful; they see it as something unfamiliar, as something that needs to be explored, the questions âwhat does this mean?â and âwhat is the points of this?â come naturally out of the unexpected appearance of the artwork. (Her and Hamlyn, 2010)
This ability to convey meaning is the main reason why the medium of interactive art is so suitable for a topic like nature conservation. Beyond that, itâs human interaction itself that makes it such a good fit. After all, humans are the main reason why so much wildlife is endangered in New Zealand. It seems only natural to use the advantages of interactive art to convey this fact. In theory, people who will encounter Vis, will first be drawn to it simply by its presence, then they will be engaged by the playful interactivity it offers, which will hopefully make them wonder what weâre trying to say with the artwork. For that instance we will use a didactic panel to explain the meaning of the art work. This sequence of interactions with the artwork is designed to create a shift in emotion experienced by the audience, they will go from the initial joy experienced through playful interaction and appealing aesthetics to sadness and maybe even regret as they find out the actual topic of the artwork. The purpose of this emotional contrast is to be memorable for the audience. They should come away from the experience, remembering the installation and maybe talking about it to people around them. We are trying to raise awareness with our project and using the medium of interactive art seems quite appropriate in that regard.
References:
Her, J. and Hamlyn, J. (2010). Meaningful Engagement: Computer-Based Interactive Media Art in Public Space. Springer.
Malhotra, S. (2016). Interactive art installation that makes people laugh - The Common Link. [online] YouTube. Available at: https://www.youtube.com/watch?v=Eu9ehAp__EE&feature=share [Accessed 12 Oct. 2017].
PalmBeachPost (2016). Art in public places: #LosTromposWPB. [online] YouTube. Available at: https://www.youtube.com/watch?v=zx5NCUuxtiM&feature=share [Accessed 12 Oct. 2017].
Extinction, Endangerment and Conservation
Extinction
Ever since humans first started arriving in New Zealand between 1250 and 1300, native species have been dying. While in places like North America and Australia the causes for extinction remain ambiguous, there is almost no doubt that humans are directly and indirectly responsible for recent extinctions in New Zealand. Since humans settlers first arrived in New Zealand, the countryâs wildlife has been reduced by one bat, at least 51 birds, three frogs, three lizards, one freshwater fish, four plant species, and a number of invertebrates.Â
When Polynesian settlers first arrived, they hunted down large bird species like the moa, and the rats, or kiore, they brought with them killed many smaller bird species, frogs and lizards. However, this was only a small price payed, compared with the death that European settlers brought with them. Like the Polynesians before them, they hunted larger bird species, however the biggest threat to native wildlife came in the form of mammalian predators, like cats and stoats, and other land dwellers that introduced previously non-existent competition. Most New Zealand species, specifically birds, simply werenât adapted to deal with the threats posed by mammals. They were hunted for their meat and their eggs opened for an easy meal, while species like the deer trampled the grass they would normally eat. The previous lack of competition meant that many bird species had developed strategies like mating for life and only producing one chick at a time, so that when mammals arrived, they were killed more quickly than they could reproduce, resulting in the extinction of many species.Â
Humans hunted native animals, brought mammalian competition to New Zealand, and changed the habitat of many animals, driving them out. The change of wild live impacted the ecology and even whole ecosystems. However, not all native species have gone extinct, yet. (Holdaway, 2007)
Endangerment and Conservation
There are currently 2788 species officially classified as endangered in New Zealand. ("Endangered Species of New Zealand", 2012) The same factors that caused the extinction of so many species, are now responsible for the endangerment of even more. The question is: Should humans intervene?
When I was in year 12, my Biology class was studying the takahÄ, a native bird that was thought to be extinct before being rediscovered in the 1980s. After learning about its characteristics and the causes for its âextinctionâ, seemingly my entire class came to the conclusion that the takahÄ should just be allowed to die already. After all, the government spends a large amount of money to keep the species alive, despite the fact that the takahÄ is obviously not adapted to survive in modern day New Zealand, and it even has a much better adapted cousin, the pĹŤkeko. ("TakahÄ", 2016)
Since then, I had a bit of a change of heart. While I recognise that extinction is a normal part of life, after all over 99% of all species that have ever existed are extinct. (Gaston & Kunin, 1994) I do think there is an argument to be made that natural extinction doesnât give humans a get-out-of-jail-free card when it comes to conserving wild life.Â
It is really a question of personal philosophy and perception. Looking at it from a purely biological point of view, humans are the dominant species in the world. Every species has the innate drive to continue existing, genes have an innate drive to continue existing. Most human behaviour (on a big scale) can be explained through this simple concept. It is normal for species to spread over time, and it is normal for species to do what is in their power to make their lives as easy as possible. It was only to be expected that humans would bring their own sources of food with them as they moved to a new island, as well as hunting existing animals already present on the island. Humans won the competition they themselves brought due to being better adapted, and better adaptable.Â
However, itâs not as simple as that. Despite being animals just like all other mammals, we are reasonable. We can study the remains of the moa, realise that it was reproducing more slowly than it was killed, and transfer this knowledge to similar animals to prevent their extinction. We know that species are dying and we have the ability to figure out whys to prevent it. Doesnât this mean that we should do our very best to keep as many species as possible alive? Doesnât this mean that the individuals who know about such issues should try to educate others? As a great, fictional, man once said âWith great power comes great responsibility.â It is our responsibility, as a reasonable species, to conserve other species.
References:
Endangered Species of New Zealand. (2012). Nhc.net.nz. Retrieved 1 September 2017, from http://www.nhc.net.nz/index.html
Gaston, K., & Kunin, W. (1994). The Biology of Rarity. London: Chapman & Hall.
Holdaway, R. (2007). Extinctions. Te Ara - the Encyclopedia of New Zealand. Retrieved 1 September 2017, from https://teara.govt.nz/en/extinctions/
TakahÄ. (2016). Doc.govt.nz. Retrieved 1 September 2017, from http://www.doc.govt.nz/nature/native-animals/birds/birds-a-z/takahe/
The Blog Has Moved
The Blog Has Moved
This is just a quick notifier to let you know that this blog has moved to http://caranajar.weebly.com/blog.
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Week 3: 13/03/2017 - 19/03/2017
Week 3: 13/03/2017 â 19/03/2017
Things Are Slowly Taking Shape After coming up with the races in their most basic form, this week was about fleshing them out a bit more by coming up with their physical properties and how these would influence their interaction with the controls of the cockpit the player will get to see. Iâm quite used to coming up with the physicality of non existent races of humans so itâs kind of challengingâŚ
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Week 2: 06/03/2017 - 12/03/2017
Week 2: 06/03/2017 â 12/03/2017
Why I Write Fantasy And Not Science Fiction Itâs a bit after the second week now, but I didnât get around actually writing down anything about it yet so here we go. First of all, the week started with me finding out that all the worries we had at the end of last week about needing a new project without a new programmer were redundant. After our manager Aldo spoke with some people, we found outâŚ
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Week 1: 27/02/1017 - 05/03/2017
Week 1: 27/02/1017 â 05/03/2017
What A Great Start To The Year, We Actually Know What Weâre Doing⌠Never Mind. After a very long and largely eventless summer, everyone has crawled out of their little caves to start a new year at uni. And since Iâm still in BCT, I am required to blog at least once a week. Truly thrilling. There is nothing I would rather do on a Sunday night. So what has been happening over the last week? See theâŚ
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