I have to get back to Scrivener and keep writing in it. I also need to start putting references in an appropriate way. I will do this. In the end I can copy and paste text from this to the blog no problem.
A couple of things on my mind at the moment. I’d still like to Investigate the Portrait Character Empathiser Screen. Through these interrogations I can probably design the sequence, regardless of how it eventually gets enabled.
Looking at Hundertwasser’s the Big Way will be important again, not sure for what reason - but that’s what I’m thinking at the moment.
Presenting things yesterday made me realise how traditional the game design component of my game is currently. I need to veer off that beaten track, and potentially not refer to it as SOTC + Descent. I guess that thinking came from the Entrepreneurial class, of all places - in a Blue Ocean Strategy, there is really nothing like the product you place in there. I hope the idea gets developed into a blue ocean style end product. (At the moment)
This morning on the drive to work I found myself time-jumped to a further place in the traffic. This is a useful device to employ in dictating an experiential narrative. It’s frequently used in Brendon Chung’s videogames, and is a super useful narrative device.
I think I can see how that would feel for the player if they were in an environment where you could jump around. I think this is how I’ll get around designing large environments, in a certain sense.
The experience of looking through a window is taking apart the layers in that moment - experiencing the multiple focus points in each part of the environment. The reflection in the glass, the movement of things inside and outside. Your own levels of vertigo. The grime on the glass.
What is my unique point of view? How do I look at the world?
I think I need to do that Lotus Diagram.
<Doing lotus diagram>
Got stuck temporarily after doing lotus diagram. Few ideas might pop up, need to probably take it across to Twine to lay out. I also should probably look at the Manning narrative to lay out the key plot points.
Anyway - getting stuck on the diagram made me start a drawing. The drawing informed me to lay out an ‘area’ - then not expand that, but fill it in. Two things can be learned from this. Firstly, the obvious means of transferring to another medium/scene/activity to further investigate, and secondly the university mode. Digging deeper to feel the endlessness of those knowledge holes.
Back and forth and back, but always down into the deep. This is the feeling of descent.
There’s a correlation between the apartment-dream-apartment rhythm of Yume Nikki and graph-dream-graph rhythm of LSD: Dream Emulator. Zizek, in a Guardian Article about Chelsea Manning and the ‘essential art’ of whistleblowing, says when systems become transparent and simple to use, the greater the need for the computation work to be done elsewhere, secret and unknown to the user itself.
Secrets in my game may not necessarily be discovered spatially, but actually in breaking the cycle of this particular rhythm itself.
The conversation between Manning and Lamo probably would be interesting to try and replicate through play. Through dance? Perhaps I also need to get an interpretative dance reading list - to better understand the motion. Or perhaps a better understanding of Madame Butterfly - (Puccini would be a good thing to listen to) Is that dance - holding experience of a tablet much more of the kind of thing I want? I think either that or Kinect.