(These dates are subject to change and will be formalized by the beginning of the fall semester.)
Classes begin Aug 27
I. Proposal Confirmation
Week of 9/10-9/14/08, Student must meet with advisor(s) to present re-evaluated proposal and plan (timeline).
II. Prototype/Draft Presentation
Week of November 26-30th
III. Formal Presentation / Paper Due
Week of March 24th - 28th
IV. Show
Week of May 7th - 14th
Thursday, April 12, 2007
Sonia's Proposal: Take Sixteen (just kidding...)
Thesis Proposal- Full Cut, Take One
I. Title
The title of this project is Theory or Theology: The Search for Truth in Science.
II. Abstract
Has science become more of a religion than a science? For years, scientists have been studying new theories, hoping to uncover some proof to guide them. Without proof, though, we are relying on faith in our own beliefs, discrediting other theories in favor of our own, and distancing ourselves from anyone who does not believe us. In this project, I will study the historical connections between science and religion, and how each has been an integral foundation for the other. I will also explore the recent movement of science into a non-innovative and quasi-religious realm (especially in education), accepting the current philosophy without considering new possibilities. By detailing how scientific study has evolved, we can discuss whether our beliefs are leading us on some misguided race, and how this change is affecting the job market and the future expansion of the scientific field.
III. Description
1) Definition of Project
This project is going to be somewhere between a documentary and an argumentative documentary, detailing the history of science and religion and its recent merge into “scientific religion” and the educational and economical ramifications of this merge. I will first present some interesting facts about the history of science and religion, and show instances in which it is clear that religion has influenced scientific theory. I will then present examples of current scientific studies that have become dogmatic, such as string theory(this will be my primary example).
I will begin with my own difficulty in understanding concepts of string theory, and then I will go on to explain the basis for string theory. I will include logic games or games in deductive reasoning so that the audience can come to this conclusion themselves and understand its supports. I will then use common logic to show the exclusivity and limitations of the theory and how we have curbed our imagination and innovation in keeping this theory.
The next step is to show the reader other examples of how science is losing its empirical basis. I will include interviews with prominent scientists as well as journalists, on both sides of the argument. I will present the fact that many scientists who reject string theory cannot find jobs, and therefore we are effectively blocking the progress of science. From here, I will move to address science education, and why students are turning away from scientific study due to the stagnation of scientific research. In term of scientific education, I would like to interview students and various age levels to find out how they respond to scientific study and why many of them are turning away from it.
The media format of this project will be a series of videos, possibly put side by side to demonstrate certain liaisons between science and religion. There will also be several video interviews with researchers, professors, and students of varying ages about their own experiences, with hot links to various explanations, such as string theory. In order to demonstrate certain scientific theories, it might be useful to put together animations to illustrate the concepts. I would also like to use animations to possibly introduce some of the historical topics, in order to make them more interesting or fun. All in all, there will be a series of videos or animations with various links that make it navigable to the viewer, who can choose to view the project in whichever order they would like. I would also like to make the project editable, or to have a forum that would allow viewers to upload their own videos or interviews, etc. to the project, which can be accessible to each viewer at the end of the main presentation.
2) Articulation of project goals
This project does not, by any means, have to be realized in media. But media does make it a more personal undertaking, and it allows the viewer to understand that this is no “scientist” that is talking down to them. The project is meant for everyone, not just scholars, and the video format showing real people as well as visually stimulating graphics that make the subject more accessible to the everyday person. An important message of this project is that innovation and imagination are necessary to science, and that everyone, not just scientists, can be involved in this process. Writing a pedantic research paper is not inviting to anyone, not even a scientist.
I would like the viewer of this project, especially students, to take away an understanding that science is moving in a difficult direction, and new minds and fresh ideas are what we need to move forward. All great scientists were disregarded in their time, scorned and discredited for being over-imaginative. But they were able to break barriers by opening their minds outside of conventions, and consider the improbable. I want my viewer to feel empowered, to feel that they have the ability to do just that. The project is valuable academically because it not only stresses the importance of free thought, but it encourages students that being a scientist means more than just research in a lab. Giving my audience to responsibility to stop scientific religion and rekindle the Einsteinian era is just what the scientific world needs.
3) Significance
The project does not investigate a specific current issue per se, but it does address a greater problem within the realm of science as a whole which society has been struggling with since the advent of string theory. It allows for the average person to understand what’s going and actively participate in a scientific pursuit, whether or not they are actually a scientist. As important as science is, it is more important that society understands and benefits for the work of the scientists. In recent year, we seem to have lost sight of this goal, and it is important that we revive the public interest in scientific study. I hope that the project will be used as an educational tool to show students how to look differently at science, and how they can make a difference in the scientific world without being a stereotypical “researcher.” I also hope that the general public will see this project as an effort to involve them in scientific study and encourage them to be a part of it.
IV. Timeline
Summer ’07- Research. Have a generic map/outline for the navigation of the project.
October-November ’07- Complete all interviews and cut footage into appropriate movies. Begin working on animations to go with other pieces of project.
December ’07- Complete all voice-overs and soundtracking
January ’07- Begin putting project all together and linking individual blocks.
V. Budget
I will be borrowing most equipment from friends as well as the IML. Budget will be mostly software purchases, if needed, as well pictures and music if copyrighted. I do not intend to spend more that $500 on the project as a whole.
VI. Advisors
IML- Peggy Weil
Physics- Doug Burke
Possible other advisors: Clifford Johnson, KC Cole
VII. Presentation and/or distribution plans/venues
I would like the project to be released online, possibly on Revver or on its own website. This is the easiest way to make it an editable entity, so that other viewer can post videos and comments as needed. Otherwise, the project will be released on DVD. I would prefer Internet so that it reaches more people quickly.
VIII. Production Resources
Software needed: DVD Studio Pro, FinalCut Pro, AfterEffects, Korsakow, Dreamweaver
Hardware: Camera, Tripod, Primary and secondary lights.
Collaborators: Possible help needed with animations and video linkage.
Presentation Needs: Computer based, no extra resources needed.
IX. Prior Related Work-none
X. Research Bibliography
Brian Greene’s Elegant Universe
Greene’s Fabric of the Cosmos
Einstein’s Relativity
The Dark Prophet, Doug Burke
Stephen Hawking’s A Brief History of Time
Darwin’s Origin of Species
The Trouble with Physics, Lee Smolin
Not Even Wrong, Peter Woit
Science and Religion: A Historical Introduction, Gary Ferngren
When Science Meets Religion, Ian Barbour
Religion and Science, Ian Barbour
Science and Religion: Some Historical Perspectives, John Brooke
I. Title
The title of this project is Theory or Theology: The Search for Truth in Science.
II. Abstract
Has science become more of a religion than a science? For years, scientists have been studying new theories, hoping to uncover some proof to guide them. Without proof, though, we are relying on faith in our own beliefs, discrediting other theories in favor of our own, and distancing ourselves from anyone who does not believe us. In this project, I will study the historical connections between science and religion, and how each has been an integral foundation for the other. I will also explore the recent movement of science into a non-innovative and quasi-religious realm (especially in education), accepting the current philosophy without considering new possibilities. By detailing how scientific study has evolved, we can discuss whether our beliefs are leading us on some misguided race, and how this change is affecting the job market and the future expansion of the scientific field.
III. Description
1) Definition of Project
This project is going to be somewhere between a documentary and an argumentative documentary, detailing the history of science and religion and its recent merge into “scientific religion” and the educational and economical ramifications of this merge. I will first present some interesting facts about the history of science and religion, and show instances in which it is clear that religion has influenced scientific theory. I will then present examples of current scientific studies that have become dogmatic, such as string theory(this will be my primary example).
I will begin with my own difficulty in understanding concepts of string theory, and then I will go on to explain the basis for string theory. I will include logic games or games in deductive reasoning so that the audience can come to this conclusion themselves and understand its supports. I will then use common logic to show the exclusivity and limitations of the theory and how we have curbed our imagination and innovation in keeping this theory.
The next step is to show the reader other examples of how science is losing its empirical basis. I will include interviews with prominent scientists as well as journalists, on both sides of the argument. I will present the fact that many scientists who reject string theory cannot find jobs, and therefore we are effectively blocking the progress of science. From here, I will move to address science education, and why students are turning away from scientific study due to the stagnation of scientific research. In term of scientific education, I would like to interview students and various age levels to find out how they respond to scientific study and why many of them are turning away from it.
The media format of this project will be a series of videos, possibly put side by side to demonstrate certain liaisons between science and religion. There will also be several video interviews with researchers, professors, and students of varying ages about their own experiences, with hot links to various explanations, such as string theory. In order to demonstrate certain scientific theories, it might be useful to put together animations to illustrate the concepts. I would also like to use animations to possibly introduce some of the historical topics, in order to make them more interesting or fun. All in all, there will be a series of videos or animations with various links that make it navigable to the viewer, who can choose to view the project in whichever order they would like. I would also like to make the project editable, or to have a forum that would allow viewers to upload their own videos or interviews, etc. to the project, which can be accessible to each viewer at the end of the main presentation.
2) Articulation of project goals
This project does not, by any means, have to be realized in media. But media does make it a more personal undertaking, and it allows the viewer to understand that this is no “scientist” that is talking down to them. The project is meant for everyone, not just scholars, and the video format showing real people as well as visually stimulating graphics that make the subject more accessible to the everyday person. An important message of this project is that innovation and imagination are necessary to science, and that everyone, not just scientists, can be involved in this process. Writing a pedantic research paper is not inviting to anyone, not even a scientist.
I would like the viewer of this project, especially students, to take away an understanding that science is moving in a difficult direction, and new minds and fresh ideas are what we need to move forward. All great scientists were disregarded in their time, scorned and discredited for being over-imaginative. But they were able to break barriers by opening their minds outside of conventions, and consider the improbable. I want my viewer to feel empowered, to feel that they have the ability to do just that. The project is valuable academically because it not only stresses the importance of free thought, but it encourages students that being a scientist means more than just research in a lab. Giving my audience to responsibility to stop scientific religion and rekindle the Einsteinian era is just what the scientific world needs.
3) Significance
The project does not investigate a specific current issue per se, but it does address a greater problem within the realm of science as a whole which society has been struggling with since the advent of string theory. It allows for the average person to understand what’s going and actively participate in a scientific pursuit, whether or not they are actually a scientist. As important as science is, it is more important that society understands and benefits for the work of the scientists. In recent year, we seem to have lost sight of this goal, and it is important that we revive the public interest in scientific study. I hope that the project will be used as an educational tool to show students how to look differently at science, and how they can make a difference in the scientific world without being a stereotypical “researcher.” I also hope that the general public will see this project as an effort to involve them in scientific study and encourage them to be a part of it.
IV. Timeline
Summer ’07- Research. Have a generic map/outline for the navigation of the project.
October-November ’07- Complete all interviews and cut footage into appropriate movies. Begin working on animations to go with other pieces of project.
December ’07- Complete all voice-overs and soundtracking
January ’07- Begin putting project all together and linking individual blocks.
V. Budget
I will be borrowing most equipment from friends as well as the IML. Budget will be mostly software purchases, if needed, as well pictures and music if copyrighted. I do not intend to spend more that $500 on the project as a whole.
VI. Advisors
IML- Peggy Weil
Physics- Doug Burke
Possible other advisors: Clifford Johnson, KC Cole
VII. Presentation and/or distribution plans/venues
I would like the project to be released online, possibly on Revver or on its own website. This is the easiest way to make it an editable entity, so that other viewer can post videos and comments as needed. Otherwise, the project will be released on DVD. I would prefer Internet so that it reaches more people quickly.
VIII. Production Resources
Software needed: DVD Studio Pro, FinalCut Pro, AfterEffects, Korsakow, Dreamweaver
Hardware: Camera, Tripod, Primary and secondary lights.
Collaborators: Possible help needed with animations and video linkage.
Presentation Needs: Computer based, no extra resources needed.
IX. Prior Related Work-none
X. Research Bibliography
Brian Greene’s Elegant Universe
Greene’s Fabric of the Cosmos
Einstein’s Relativity
The Dark Prophet, Doug Burke
Stephen Hawking’s A Brief History of Time
Darwin’s Origin of Species
The Trouble with Physics, Lee Smolin
Not Even Wrong, Peter Woit
Science and Religion: A Historical Introduction, Gary Ferngren
When Science Meets Religion, Ian Barbour
Religion and Science, Ian Barbour
Science and Religion: Some Historical Perspectives, John Brooke
Matt Jung Draft Proposal
a) Title: “Let’s Go To Jail! The Mashup and the Future of Music”
b) Abstract
Topic: The Mashup Genre of Music (e.g. Danger Mouse's "The Grey Album")
Interface: Flash
Genre: Interactive Game with components being Essayistic and Encyclopedic
Main Message/ Thesis: The mashup genre is important to music's future in our modern remix culture, as it becomes easier for the average person to become a participant. However, the genre will only be allowed to flourish so much as copyright enforcers allow it.
c) Methodology
The project will have two sections.
-An expository presentation of the evolution of the mashup. The presentation will be a timeline where the user could click on certain works and learn more. It would cover the mashup’s roots in jazz and hip-hop to its emergence as an independent genre. This collection will be an introduction to the genre, and will also show that its popularity is rapidly increasing.
-A display of my new creative work. I will create a mashup album and document my process. Since I am a music performance major, I feel this creative musical process will be a valuable learning experience in my academic field. This will also show how technology is allowing more people (like me) to become participants in our remix culture.
d) Media Presentation & Justification
-The whole experience will be a game, in which every copyright infringement is counted in a video game type counter. Every time a copyrighted piece of music is heard, every time a copyrighted image is shown, and every time an instance of my new work’s infringement is displayed, the game will keep track in terms of a jail sentence. The more the game is used, the higher the jail sentence. This will hopefully show how limiting copyrights are to the genre. With all the creativity by myself and others showcased in this game, it will show how copyrights are hurting that creativity.
-The presentation of the timeline will center around a Monopoly board. Each colored section of Monopoly housing will represent a different era of the timeline. Furthermore, the Monopoly jailer will be the character who alerts the user of their infringement. I choose a Monopoly board for two reasons. 1) The inclusion of a jail and the jailer character to represent the unlawfulness of the actions. 2) By using a Monopoly board in the project, that action itself is infringing.
Hopefully, this project will:
-Introduce and explore a new and rapidly growing form of music
-Allow me to create musically in the form of a new art piece (as musical creation is central to my major)
-Have a meaningful message and give a meaningful warning to society about the future of music
e) Timeline
Spring 2007 - Collect mashup examples.
Summer 2007 - Learn how to create mashups. Choose which albums I will mash-up. Storyboard the project.
August 10, 2007 - Proposal Confirmation
Fall Semester 2007 - Create a 6-song mash-up album. Choose which songs by other people will be included.
Spring Semester 2007 - Assemble interface in Flash.
March 24, 2008 - Project due.
f) Budget
Other mashups: Free (they are not sold)
My albums for mashing-up: $25 (I guess I should be legal)
Monopoly board to photograph for inclusion in project: $25
Completing my IML Thesis: Priceless
Total Cost: $50
g) Advisors
-John Daversa - DMA Candidate in Jazz Studies
-Peggy Weil - IML
h) Presentation
Flash presentation posted on the Internet
i) Resources
Flash, Logic (or something similar), Photoshop
-----------------------------------------------------
Matt Jung
b) Abstract
Topic: The Mashup Genre of Music (e.g. Danger Mouse's "The Grey Album")
Interface: Flash
Genre: Interactive Game with components being Essayistic and Encyclopedic
Main Message/ Thesis: The mashup genre is important to music's future in our modern remix culture, as it becomes easier for the average person to become a participant. However, the genre will only be allowed to flourish so much as copyright enforcers allow it.
c) Methodology
The project will have two sections.
-An expository presentation of the evolution of the mashup. The presentation will be a timeline where the user could click on certain works and learn more. It would cover the mashup’s roots in jazz and hip-hop to its emergence as an independent genre. This collection will be an introduction to the genre, and will also show that its popularity is rapidly increasing.
-A display of my new creative work. I will create a mashup album and document my process. Since I am a music performance major, I feel this creative musical process will be a valuable learning experience in my academic field. This will also show how technology is allowing more people (like me) to become participants in our remix culture.
d) Media Presentation & Justification
-The whole experience will be a game, in which every copyright infringement is counted in a video game type counter. Every time a copyrighted piece of music is heard, every time a copyrighted image is shown, and every time an instance of my new work’s infringement is displayed, the game will keep track in terms of a jail sentence. The more the game is used, the higher the jail sentence. This will hopefully show how limiting copyrights are to the genre. With all the creativity by myself and others showcased in this game, it will show how copyrights are hurting that creativity.
-The presentation of the timeline will center around a Monopoly board. Each colored section of Monopoly housing will represent a different era of the timeline. Furthermore, the Monopoly jailer will be the character who alerts the user of their infringement. I choose a Monopoly board for two reasons. 1) The inclusion of a jail and the jailer character to represent the unlawfulness of the actions. 2) By using a Monopoly board in the project, that action itself is infringing.
Hopefully, this project will:
-Introduce and explore a new and rapidly growing form of music
-Allow me to create musically in the form of a new art piece (as musical creation is central to my major)
-Have a meaningful message and give a meaningful warning to society about the future of music
e) Timeline
Spring 2007 - Collect mashup examples.
Summer 2007 - Learn how to create mashups. Choose which albums I will mash-up. Storyboard the project.
August 10, 2007 - Proposal Confirmation
Fall Semester 2007 - Create a 6-song mash-up album. Choose which songs by other people will be included.
Spring Semester 2007 - Assemble interface in Flash.
March 24, 2008 - Project due.
f) Budget
Other mashups: Free (they are not sold)
My albums for mashing-up: $25 (I guess I should be legal)
Monopoly board to photograph for inclusion in project: $25
Completing my IML Thesis: Priceless
Total Cost: $50
g) Advisors
-John Daversa - DMA Candidate in Jazz Studies
-Peggy Weil - IML
h) Presentation
Flash presentation posted on the Internet
i) Resources
Flash, Logic (or something similar), Photoshop
-----------------------------------------------------
Matt Jung
Erik's draft proposal
Title: Player Agency vs. System in Game Design: Sliding Agency
Abstract: This project explores the delicate balance between player agency and system in the world of game design. It is intended for anyone who is interested in game design and has access to the sliding wal screen in the IML.
Methodology: The project will be run on the sliding wall screen with a proprietary control attachment. Depending on the availability of bluetooth wireless technology in conjunction with the wall screen, the control device will connect with the wall screen with either a bluetooth wireless connection, or via a usb drive. The wall screen will be split up into 2 parts, the lower portion will contain directions on how to interact with the project, and the top portion, which will be significantly larger, will contain the playing space. In the playing space, A simple platformer game will be running. along the wall space behind the screen will be visual cues, informing the player that sliding the wall screen will change the balance between player agency and system. As the player slides the screen along the wall, the play experience in the playing space will change. As the player slides the screen toward the agency end, the player will become more and more able to effect the play space, but the system defining that play space will become more lax. As the player reaches the maximum agency, their avatar will be able to freely navigate the play space, losing rules on what they may or not do with the control, losing gravity, losing the play world itself, allowing the player to affect the avatar as he/she chooses on a blank white background. At maximum agency, the avatar itself will disappear, leaving the player with complete agency over the game, but losing any mean as would be defined by a system. As the player moves more towards the system end, the screen would push the player forwards, then the player would lose the ability to move backwards, then to move at all except to jump. As maximum system is reached, the game plays itself, resulting in a perfect system without any player agency whatsoever.
Significance: Sliding Agency will demonstrate the balance of system and agency that goes into making a game. Players will see that complete agency is not a fun thing, as their completely free actions lose all meaning. They will also see that having all system is not fun either, as a complete system also removes the importance of user input by effectively turning the game into a movie, nullifying any of the interactivity that makes a game. The players will find that the most enjoyable adn rewarding gaming experience comes from a mixture of the two.
Media Presentation and Justification: Sliding Agency will be displayed on the wall screen in the IML in addition to an attached control device. It deserves to be presented in a multimedia form because a game is inherently an interactive multimedia experience, and simply explaining the importance of agency and system in a game will not illustrate the point as effectively as making the player experience it for themselves.
Timeline: I plan to learn the ins and outs of how the wall screen works over the summer, so that I may be able to fully start implementing my game by the time fall semester starts.
During the fall semester, I hope to make a computer prototype using Torque 2D, so I can tweak the gameplay before having to transfer it to the wall screen.
During the spring semester I will move my prototype onto the wall screen and redesign the banner behind it to reflect its (then) current purpose.
Budget: A subscription to Torque 2D is provided by the school through the CTIN department, and I hope I won't need to pay for use of the wall screen.
The proprietary control device, however, might range anywhere from $20 to $200, depending on the level of technology needed. Other than that, it's just a matter of labor, which I will be providing for free
Final budget: $20-$200
Advisors: Steve Anderson from the IML and Peter Brinson(unconfirmed) from the CTIN department.
Presentation: The project will be presented on the sliding wall screen in the IML.
Resources: Torque 2D, the wall screen, control device.
Abstract: This project explores the delicate balance between player agency and system in the world of game design. It is intended for anyone who is interested in game design and has access to the sliding wal screen in the IML.
Methodology: The project will be run on the sliding wall screen with a proprietary control attachment. Depending on the availability of bluetooth wireless technology in conjunction with the wall screen, the control device will connect with the wall screen with either a bluetooth wireless connection, or via a usb drive. The wall screen will be split up into 2 parts, the lower portion will contain directions on how to interact with the project, and the top portion, which will be significantly larger, will contain the playing space. In the playing space, A simple platformer game will be running. along the wall space behind the screen will be visual cues, informing the player that sliding the wall screen will change the balance between player agency and system. As the player slides the screen along the wall, the play experience in the playing space will change. As the player slides the screen toward the agency end, the player will become more and more able to effect the play space, but the system defining that play space will become more lax. As the player reaches the maximum agency, their avatar will be able to freely navigate the play space, losing rules on what they may or not do with the control, losing gravity, losing the play world itself, allowing the player to affect the avatar as he/she chooses on a blank white background. At maximum agency, the avatar itself will disappear, leaving the player with complete agency over the game, but losing any mean as would be defined by a system. As the player moves more towards the system end, the screen would push the player forwards, then the player would lose the ability to move backwards, then to move at all except to jump. As maximum system is reached, the game plays itself, resulting in a perfect system without any player agency whatsoever.
Significance: Sliding Agency will demonstrate the balance of system and agency that goes into making a game. Players will see that complete agency is not a fun thing, as their completely free actions lose all meaning. They will also see that having all system is not fun either, as a complete system also removes the importance of user input by effectively turning the game into a movie, nullifying any of the interactivity that makes a game. The players will find that the most enjoyable adn rewarding gaming experience comes from a mixture of the two.
Media Presentation and Justification: Sliding Agency will be displayed on the wall screen in the IML in addition to an attached control device. It deserves to be presented in a multimedia form because a game is inherently an interactive multimedia experience, and simply explaining the importance of agency and system in a game will not illustrate the point as effectively as making the player experience it for themselves.
Timeline: I plan to learn the ins and outs of how the wall screen works over the summer, so that I may be able to fully start implementing my game by the time fall semester starts.
During the fall semester, I hope to make a computer prototype using Torque 2D, so I can tweak the gameplay before having to transfer it to the wall screen.
During the spring semester I will move my prototype onto the wall screen and redesign the banner behind it to reflect its (then) current purpose.
Budget: A subscription to Torque 2D is provided by the school through the CTIN department, and I hope I won't need to pay for use of the wall screen.
The proprietary control device, however, might range anywhere from $20 to $200, depending on the level of technology needed. Other than that, it's just a matter of labor, which I will be providing for free
Final budget: $20-$200
Advisors: Steve Anderson from the IML and Peter Brinson(unconfirmed) from the CTIN department.
Presentation: The project will be presented on the sliding wall screen in the IML.
Resources: Torque 2D, the wall screen, control device.
Wednesday, April 11, 2007
Alexis's Draft Proposal
alindquistFD346.doc
Title: The Language We Don't Talk About: Hearing Time and Place in Film Scores
Abstract: This project delves into the world of musical color specifically in relation to the creation of the sensation of a time and place in cinema. It is targeted for any film listener (even the blind). A pedagogical website will launch a multi-layered, interactive game.
Methodology: The project will be accessed via the internet through a flash site. The flash site will explain the purpose of the project, give directions for the game both through literature and audibly, and will have teaching tools in regards to musical color in film scores. The game will be accessible via the flash site and will also be created in Flash. The game is completely audio based. The user will be assigned missions, for example “Go to Scotland.” The user will hear a score; if it does not implicate Scotland, then the user may left click and a new score will play. It is as though the user is digging forward in search of Scotland. When the user finds the assigned time or destination, then they may right click and sounds will notify them of their correct or incorrect answer. There are no points and the game loops; it literally could go on forever. It is just a simple exercise to allow the user to become aware of their personal interpretation of musical color.
Significance: As a whole, this project will effectively argue that musical color has become a language across cinema and American culture. The user’s experience will leave them with a greater awareness of the power of the film score in their film experiences and its significance in American culture.
Media Presentation & Justification: This thesis will include a flash website with film clips, sound clips, visual images, and game devices to allow decision making in order to let the user to declare their own connotations when they hear score motifs. This project should be in multimedia because film scores are a language that is heard, not written. Also, this project requires the allowance of users to make decisions in a way that cannot be done in an essay.
Timeline: Over the summer I plan to learn the fundamentals I will use in Flash. First semester, I hope to create a site map for the website in September and build the framework by December. I will also sketch out the framework and programming stats for the game in the same respective time frame. I will be researching scores the entire semester and hope to have all of my research done by the end of the semester (how many scores that will be will be clearer after I do my sketches). Basically, by finals time at the end of semester one I would like to have all the Flash skills to build my project, have all of the 'blue printing' done, have all of my research done, and have collected all of the materials I will need to put everything together (pictures, music downloads, etc.).
Semester two will be my building phase where I will put everything I have collected together and then polish. I am giving myself an entire semester for this part because technology hates me and I am already preparing for some mass troubleshooting. I want what I "think" is my final project completely constructed by the end of March. Then I will have testing, feedback, and polishing for a presentation at the end of April/beginning of May.
Budget: I am "borrowing" music for academic reasons, using IML's programs, and mooching FLASH knowledge off of friends, books, and IML tutors, so this is a true poor college student's project: $0.
Worst case scenario, I will have to shell out a couple hundred dollars to have a kind programmer help me figure some tricky things out.
Advisors: Steve Anderson from IML and Bill Whittington from the Critical Studies Department
Presentation: It's going to accessible to everyone via the web.
Resources: FLASH, Photoshop, Logic, and the Music Library at USC.
Title: The Language We Don't Talk About: Hearing Time and Place in Film Scores
Abstract: This project delves into the world of musical color specifically in relation to the creation of the sensation of a time and place in cinema. It is targeted for any film listener (even the blind). A pedagogical website will launch a multi-layered, interactive game.
Methodology: The project will be accessed via the internet through a flash site. The flash site will explain the purpose of the project, give directions for the game both through literature and audibly, and will have teaching tools in regards to musical color in film scores. The game will be accessible via the flash site and will also be created in Flash. The game is completely audio based. The user will be assigned missions, for example “Go to Scotland.” The user will hear a score; if it does not implicate Scotland, then the user may left click and a new score will play. It is as though the user is digging forward in search of Scotland. When the user finds the assigned time or destination, then they may right click and sounds will notify them of their correct or incorrect answer. There are no points and the game loops; it literally could go on forever. It is just a simple exercise to allow the user to become aware of their personal interpretation of musical color.
Significance: As a whole, this project will effectively argue that musical color has become a language across cinema and American culture. The user’s experience will leave them with a greater awareness of the power of the film score in their film experiences and its significance in American culture.
Media Presentation & Justification: This thesis will include a flash website with film clips, sound clips, visual images, and game devices to allow decision making in order to let the user to declare their own connotations when they hear score motifs. This project should be in multimedia because film scores are a language that is heard, not written. Also, this project requires the allowance of users to make decisions in a way that cannot be done in an essay.
Timeline: Over the summer I plan to learn the fundamentals I will use in Flash. First semester, I hope to create a site map for the website in September and build the framework by December. I will also sketch out the framework and programming stats for the game in the same respective time frame. I will be researching scores the entire semester and hope to have all of my research done by the end of the semester (how many scores that will be will be clearer after I do my sketches). Basically, by finals time at the end of semester one I would like to have all the Flash skills to build my project, have all of the 'blue printing' done, have all of my research done, and have collected all of the materials I will need to put everything together (pictures, music downloads, etc.).
Semester two will be my building phase where I will put everything I have collected together and then polish. I am giving myself an entire semester for this part because technology hates me and I am already preparing for some mass troubleshooting. I want what I "think" is my final project completely constructed by the end of March. Then I will have testing, feedback, and polishing for a presentation at the end of April/beginning of May.
Budget: I am "borrowing" music for academic reasons, using IML's programs, and mooching FLASH knowledge off of friends, books, and IML tutors, so this is a true poor college student's project: $0.
Worst case scenario, I will have to shell out a couple hundred dollars to have a kind programmer help me figure some tricky things out.
Advisors: Steve Anderson from IML and Bill Whittington from the Critical Studies Department
Presentation: It's going to accessible to everyone via the web.
Resources: FLASH, Photoshop, Logic, and the Music Library at USC.
Matt Lee's Draft Proposal
07IML346 Draft Proposal - Matthew Lee
April 11, 2007
a) Title: "The Tempest: Shadows of Society"
b) Abstract:
What is reality? How do we move through it, and how do games in themselves affect us in real life? For that matter, how do our expectations in these settings lead us to how our actions will affect us? To explore this, I will be creating a virtual experiential environment, possibly within the world of Second Life, itself a 3D World with many realms within.
c) Description:
1. Definition of Project:
Based upon the world of Shakespeare’s “The Tempest”, the island world will allow exploration of levels of reality and connections between present and past, as there is greater effectiveness in experiential exploration of a topic, not simply hearing about it. As such, some of the various “worlds” a character will find themselves in will be those completely of illusion, requiring puzzles to get out or to realize that there is something abnormal going on. The line between reality and fantasy is very thin sometimes, and in this sense, text alone is inadequate to describe it, just as it is in theatre or the world itself in which we live.
Thus, this project is an attempt to visualize and explore the world of “The Tempest”, using the environment of Second Life or Active Worlds as a starting point. Different artifacts will be put into the game that reference both the play and the worlds of present and past to show linkages, and allow travel between various points on the island, from the central jumping off point of the Destiny Spire, a museum of sorts which serves as the unifying locale of the disparate realms of this world. A rich visualization of what that world might be like, it is an attempt to draw others to learn about and appreciate the layers of experience behind everyday life.
Without a doubt, much of the problems that I will be facing here lie in presentation, and how I am going to be able to address the questions of “what is reality” through what is, to some, dated material. Since I have somewhat of an amalgamated audience, knowing a great deal about the standard dynamics of a MMO environment, I will likely have to begin with something to draw them into the world I am creating. Of necessity will be the use of images and references to Alchemy and Old Magic, where many more arcane symbols can be found, as well as many of the concepts that we find in life today (and many motifs in movies).
Since, balance, unity, and almost breaching the fourth wall are so central to the project, woven into the foundation of this environment itself (music derived from the music of the spheres, resonances, etc), there will have to be some areas where their presence is obvious (the Forest of Illusion comes to mind).
As one continues deeper into the world structure that has been created, one will be able to revisit the worlds of the past, and also to unlock information there that is built into each item. Each bit of “magic” acquired, each area cleared, unlocks certain elements in the accompanying database of information, which would not be too hard to access.
With this, the viewer would have to work at revealing information, but since in “games”, players are accustomed to sometimes doing repetitive or difficult tasks that they would not do in real life simply to get to the next level, why not take advantage of that? The user would already be immersed in the world (which is based on the play), and much could be done to build upon that.
2. Project Goals:
The exploration of a world cannot be undertaken simply with text, as detailed as that may be. Granted, some scholars can do this well enough, and teasing unwritten details from the pages of a script is something that is done regularly in the theatre, but for the layperson, this is impractical. Recreating the environment of “The Tempest” in real life would also be quite difficult, as property tends to be expensive, and land rather limited. Thus, a virtual environment, infinitely expandable to deal with traffic and future growth, is much more suited for this.
A viewer would ideally get a taste for how complex and how interconnected this world is, as well as how it draws from reality to construct itself. In going through this environment, one might hope to get a taste of what it is like to be an explorer or even a creator of a place, defining their experience by their own actions.
In an academic context, this is valuable because it is different from traditional methods of teaching and exploring a text, being a project where the written word might literally come to life. Like works such as the visualization of the Temple Mount, or the visualization of Troy, it gives viewers a new tool to experience what was only known in text.
c) Project’s Significance
In schools today, there is an educational crisis, particularly when it comes to appreciation of theatre and history. Texts, while being covered in standard classes through literary analysis and learning to critique a novel, hold no real interest for many, older works and literature especially, as they are more difficult to grasp conceptually. There is little interactivity, though this one of the most effective ways to impart information (problem based models are often more successful than simply essays and tests based on the analysis of quotes). And when one does manage to be interested, one usually only scratches the surface of what is possible, most references to the world contemporary to the text are lost.
This project hopes to address this as a teaching tool primarily directed towards the high school and college age audience, as well as a tool to inspire alternate modes of thought about a text.
d) Timeline: Deliverables
Acquiring island/private world
Constructing realm locations
Creating artifacts to travel about the world
Programming the “bot” characters (guides)
Destiny Spire and Vault of the Fates Constructed
Creating artifacts to alter appearance, for tourism purposes
Open for Beta
Refining and Testing
Open to the Public
e) Budget
(assuming Second Life):
Costs of Island: $980
Monthly maintenance: $150/month = $1800/year
Misc (software and such) $500
Total: ~$3280
(if Active World)
Citizenship $7/month = $84/year
Private World Cost $230
Annual Registration Fee $190
Tourist Accessibility Fee $60/year
World Hosting Fee $200
FTP Server Fee $500/year
Misc (software) $500
Total: ~$1764
f) Confirmed advisors:
IML – Professor Steve Anderson
Department – Associate Professor Paul Backer
g) Presentation/distribution plans
As a part of Second Life or Active Worlds, it will be accessible to anyone who uses either of these two mediums, for free. In the future, migrating it to another platform as a standalone environment is an option to allow it to reach a larger audience.
h) Production Resources:
Autodesk Gmax
Photoshop
i) Prior related work
j) Research bibliography
Appendix:
Chosen Medium: MMO Virtual Environment, based in either Active Worlds or Second Life
Guides (characters treated more like artifacts, with predefined speeches, each one makes an imprinture of a sort into the passport):
Miranda: Miranda is the daughter of Prospero, brought to the island at an early age. Thus, she is quite innocent about the outside world, and has never seen any men other than her father and Caliban, but she is not exactly sheltered either. She begins as naïve and non-judgmental, though this changes through the course of the game, when Prospero gets out of hand. Normally compassionate, and gentle, she can be surprisingly firm at times, especially when it is necessary for the greater good. She wields a long spear engraved with runes and is a spellcaster of element water, having grown up on the island.
Prospero: Twelve years before the events of the game, Prospero was the duke of Milan. Overthrown by his brother, Antonio, in concert with Alonso, king of Naples, he as forced to flee in a boat with his daughter. He arrived on the island and co-existed for a time with the witch Sycorax before a falling out in which he destroyed her utterly. Since then, he has spent his time on the island refining the magic that gives him the power he needs to punish his enemies. A very arrogant and vindictive individual, who can stoop to extremes of pettiness to show off his power. . .rather like a Sith Lord. As an Archmagus, he controls all elements equally and wields a twisted staff.
Caliban: A twisted beast, Caliban is the son of Sycorax (and of Prospero in this adaptation), who was born human, but had his memory erased and form twisted by Prospero in a fit of pique after Sycorax betrayed him. At present, he is treated as Prospero’s slave and seen as a monster by many other characters. Defiant and often unyielding, he desires freedom and the power that Prospero has over the island, as well as Miranda. In combat, he is extremely powerful physically, but has a weakness to magic, especially wind magic (and to a lesser degree water), as he is of the Earth Element.
Ariel: The “airy spirit” who serves Prospero, Ariel was “rescued” from a long imprisonment at the hands of the witch Sycorax by the magus. In return for this, he promised to be Prospero’s servant until Prospero decides to release him, but as Prospero has grown increasingly autocratic and defensive over the past 12 years, Ariel has become increasingly resentful and filled with a barely suppressed rage. While he cannot confront Prospero directly, he seeks a way that he might be able to overthrow his authority and obtain his freedom. Other than that, he is mischievous and ubiquitous, able to traverse the length of the island in an instant and to change shapes at will.
Sycorax: A witch and mother of Caliban, she is long dead by the time the game begins, though like the others, she holds a grudge against Prospero. Of course, she doesn’t much care for Ariel either, having been the one to imprison him in a pine tree for disobedience. She ruled the island alone before Prospero, and for a time, alongside him when he arrived, but after having a child by him, they had a falling out, resulting in her death. She is still quite powerful, even in death, though she has been sealed into the area that her old hut used to be in.
Ship’s Captain: Unnamed and bitter over the loss of his ship, he is now a powerful spirit who swears his allegiance only to the sea. He wishes to find out why his ship was sunk, and he is now bitter and angry, waiting for someone from the island to step aboard so he can question them. (gained after death)
Ferdinand: The Son and heir of the King of Naples, this is the comic relief character, a prime example of a fool in love, who alternates between being hypermasculine and emasculated, trying to impress her and failing. Miranda, not having seen any other men but her father and Caliban, completely misunderstands his intent and manages to show him up, thinking he needs her help.
Setting:
All the action takes place on or around the island physically, though some will occur on the spirit plane. So here are some of the various locations:
· Vault of the Fates: Entry point to the island, where one gains an initial passport item in the form of a staff, recording where one has visited and what puzzles on has solved. A map of the island is located here, as well as statues of the “guides” on the island, each of which holds a piece of the story. One can buy souvenirs of one’s stay here, as well as transform one’s avatar appearance to be more suited for the world and acquire skills to navigate the island more effectively
o “Guide” = Miranda, daughter of Prospero
· Shipwreck (water elemental area): Accessible by painting’s “warping” function or “Waterwalking” granted by a water staff
o Half-sunken remains of vessel run aground on a reef, hull is rotting
o Presence of ghosts and vengeful sea sprites
o “Guide” = Ghost of Captain, whose restless spirit is tied to his ship
o Contains items/knowledge from mainland in the armory and captain’s quarters, as well as the shades of those who knew Prospero as he once was.
o Sounds: BGM possibly a mournful cello piece, with the sound of waves
· Forest of Illusion (created by Ariel to hide himself away when he finally grows too tired of Prospero’s constant orders. A user must pass through here to the pine tree at its center to find out why he is so discontent):
o A forest of mists and shadows, where nothing is quite as it seems
o Creatures drawn from legendary beasts, from humanity’s fears
o Items may be found there that exist nowhere else on the island
o While passing through the forest, one will hear sound slips from “The Tempest”
o “Guide” = Ariel: The enslaved sprite, pass through the forest, and will tell you his story.
· Sycorax’s hut (to where the spirit of the witch is now bound):
o Shadowy area where dark impressions of the past remain
o Contains several powerful fire-magic items
o Touching items will reveal traces of past memories
o Eventually, one will encounter a “Keeper of Memory”, a ghost of the witch will appear in a burst of shadow and flame, presenting to you a series of puzzles for you to solve before vanishing. Each one you solve will unlock more of her memories and secret places around the island
o “Guide” = Sycorax, the Witch
· Caliban’s Cave (Earth Elemental area, where Caliban has gone to ground after one of Prospero’s fits of anger)
o Golems may rise from the ground to do his bidding (physically resistant and physically powerful in melee attacks, weak to magic).
o While waking along, clips of “The Tempest” can be heard, specifically those relating to Caliban and his relationship with Prospero
o “Guide” = Caliban, son of the witch, no stranger to oppression, a native
· Beach and Woods
o The general areas where one can go to train/level up, gaining experience by fighting rogue sprites.
o Also, beach is where you will encounter the shipwrecked people for the first time after leaving the Forest of Illusion.
o “Guide” = Ferdinand, Price of Naples
· Destiny Spire:
o Magically neutral, Austere, adorned only by the books of sorcery that he studies and by a curious magical symbol traversing the room
o Contains, on higher levels of the tower, pieces of the text (old scrolls and such) and paintings from the text that if interacted with, can transport one to places about the island
o Resembles a cross section of a triton shell
o “Guide” on ground level = Prospero, the lord of the island
April 11, 2007
a) Title: "The Tempest: Shadows of Society"
b) Abstract:
What is reality? How do we move through it, and how do games in themselves affect us in real life? For that matter, how do our expectations in these settings lead us to how our actions will affect us? To explore this, I will be creating a virtual experiential environment, possibly within the world of Second Life, itself a 3D World with many realms within.
c) Description:
1. Definition of Project:
Based upon the world of Shakespeare’s “The Tempest”, the island world will allow exploration of levels of reality and connections between present and past, as there is greater effectiveness in experiential exploration of a topic, not simply hearing about it. As such, some of the various “worlds” a character will find themselves in will be those completely of illusion, requiring puzzles to get out or to realize that there is something abnormal going on. The line between reality and fantasy is very thin sometimes, and in this sense, text alone is inadequate to describe it, just as it is in theatre or the world itself in which we live.
Thus, this project is an attempt to visualize and explore the world of “The Tempest”, using the environment of Second Life or Active Worlds as a starting point. Different artifacts will be put into the game that reference both the play and the worlds of present and past to show linkages, and allow travel between various points on the island, from the central jumping off point of the Destiny Spire, a museum of sorts which serves as the unifying locale of the disparate realms of this world. A rich visualization of what that world might be like, it is an attempt to draw others to learn about and appreciate the layers of experience behind everyday life.
Without a doubt, much of the problems that I will be facing here lie in presentation, and how I am going to be able to address the questions of “what is reality” through what is, to some, dated material. Since I have somewhat of an amalgamated audience, knowing a great deal about the standard dynamics of a MMO environment, I will likely have to begin with something to draw them into the world I am creating. Of necessity will be the use of images and references to Alchemy and Old Magic, where many more arcane symbols can be found, as well as many of the concepts that we find in life today (and many motifs in movies).
Since, balance, unity, and almost breaching the fourth wall are so central to the project, woven into the foundation of this environment itself (music derived from the music of the spheres, resonances, etc), there will have to be some areas where their presence is obvious (the Forest of Illusion comes to mind).
As one continues deeper into the world structure that has been created, one will be able to revisit the worlds of the past, and also to unlock information there that is built into each item. Each bit of “magic” acquired, each area cleared, unlocks certain elements in the accompanying database of information, which would not be too hard to access.
With this, the viewer would have to work at revealing information, but since in “games”, players are accustomed to sometimes doing repetitive or difficult tasks that they would not do in real life simply to get to the next level, why not take advantage of that? The user would already be immersed in the world (which is based on the play), and much could be done to build upon that.
2. Project Goals:
The exploration of a world cannot be undertaken simply with text, as detailed as that may be. Granted, some scholars can do this well enough, and teasing unwritten details from the pages of a script is something that is done regularly in the theatre, but for the layperson, this is impractical. Recreating the environment of “The Tempest” in real life would also be quite difficult, as property tends to be expensive, and land rather limited. Thus, a virtual environment, infinitely expandable to deal with traffic and future growth, is much more suited for this.
A viewer would ideally get a taste for how complex and how interconnected this world is, as well as how it draws from reality to construct itself. In going through this environment, one might hope to get a taste of what it is like to be an explorer or even a creator of a place, defining their experience by their own actions.
In an academic context, this is valuable because it is different from traditional methods of teaching and exploring a text, being a project where the written word might literally come to life. Like works such as the visualization of the Temple Mount, or the visualization of Troy, it gives viewers a new tool to experience what was only known in text.
c) Project’s Significance
In schools today, there is an educational crisis, particularly when it comes to appreciation of theatre and history. Texts, while being covered in standard classes through literary analysis and learning to critique a novel, hold no real interest for many, older works and literature especially, as they are more difficult to grasp conceptually. There is little interactivity, though this one of the most effective ways to impart information (problem based models are often more successful than simply essays and tests based on the analysis of quotes). And when one does manage to be interested, one usually only scratches the surface of what is possible, most references to the world contemporary to the text are lost.
This project hopes to address this as a teaching tool primarily directed towards the high school and college age audience, as well as a tool to inspire alternate modes of thought about a text.
d) Timeline: Deliverables
Acquiring island/private world
Constructing realm locations
Creating artifacts to travel about the world
Programming the “bot” characters (guides)
Destiny Spire and Vault of the Fates Constructed
Creating artifacts to alter appearance, for tourism purposes
Open for Beta
Refining and Testing
Open to the Public
e) Budget
(assuming Second Life):
Costs of Island: $980
Monthly maintenance: $150/month = $1800/year
Misc (software and such) $500
Total: ~$3280
(if Active World)
Citizenship $7/month = $84/year
Private World Cost $230
Annual Registration Fee $190
Tourist Accessibility Fee $60/year
World Hosting Fee $200
FTP Server Fee $500/year
Misc (software) $500
Total: ~$1764
f) Confirmed advisors:
IML – Professor Steve Anderson
Department – Associate Professor Paul Backer
g) Presentation/distribution plans
As a part of Second Life or Active Worlds, it will be accessible to anyone who uses either of these two mediums, for free. In the future, migrating it to another platform as a standalone environment is an option to allow it to reach a larger audience.
h) Production Resources:
Autodesk Gmax
Photoshop
i) Prior related work
j) Research bibliography
Appendix:
Chosen Medium: MMO Virtual Environment, based in either Active Worlds or Second Life
Guides (characters treated more like artifacts, with predefined speeches, each one makes an imprinture of a sort into the passport):
Miranda: Miranda is the daughter of Prospero, brought to the island at an early age. Thus, she is quite innocent about the outside world, and has never seen any men other than her father and Caliban, but she is not exactly sheltered either. She begins as naïve and non-judgmental, though this changes through the course of the game, when Prospero gets out of hand. Normally compassionate, and gentle, she can be surprisingly firm at times, especially when it is necessary for the greater good. She wields a long spear engraved with runes and is a spellcaster of element water, having grown up on the island.
Prospero: Twelve years before the events of the game, Prospero was the duke of Milan. Overthrown by his brother, Antonio, in concert with Alonso, king of Naples, he as forced to flee in a boat with his daughter. He arrived on the island and co-existed for a time with the witch Sycorax before a falling out in which he destroyed her utterly. Since then, he has spent his time on the island refining the magic that gives him the power he needs to punish his enemies. A very arrogant and vindictive individual, who can stoop to extremes of pettiness to show off his power. . .rather like a Sith Lord. As an Archmagus, he controls all elements equally and wields a twisted staff.
Caliban: A twisted beast, Caliban is the son of Sycorax (and of Prospero in this adaptation), who was born human, but had his memory erased and form twisted by Prospero in a fit of pique after Sycorax betrayed him. At present, he is treated as Prospero’s slave and seen as a monster by many other characters. Defiant and often unyielding, he desires freedom and the power that Prospero has over the island, as well as Miranda. In combat, he is extremely powerful physically, but has a weakness to magic, especially wind magic (and to a lesser degree water), as he is of the Earth Element.
Ariel: The “airy spirit” who serves Prospero, Ariel was “rescued” from a long imprisonment at the hands of the witch Sycorax by the magus. In return for this, he promised to be Prospero’s servant until Prospero decides to release him, but as Prospero has grown increasingly autocratic and defensive over the past 12 years, Ariel has become increasingly resentful and filled with a barely suppressed rage. While he cannot confront Prospero directly, he seeks a way that he might be able to overthrow his authority and obtain his freedom. Other than that, he is mischievous and ubiquitous, able to traverse the length of the island in an instant and to change shapes at will.
Sycorax: A witch and mother of Caliban, she is long dead by the time the game begins, though like the others, she holds a grudge against Prospero. Of course, she doesn’t much care for Ariel either, having been the one to imprison him in a pine tree for disobedience. She ruled the island alone before Prospero, and for a time, alongside him when he arrived, but after having a child by him, they had a falling out, resulting in her death. She is still quite powerful, even in death, though she has been sealed into the area that her old hut used to be in.
Ship’s Captain: Unnamed and bitter over the loss of his ship, he is now a powerful spirit who swears his allegiance only to the sea. He wishes to find out why his ship was sunk, and he is now bitter and angry, waiting for someone from the island to step aboard so he can question them. (gained after death)
Ferdinand: The Son and heir of the King of Naples, this is the comic relief character, a prime example of a fool in love, who alternates between being hypermasculine and emasculated, trying to impress her and failing. Miranda, not having seen any other men but her father and Caliban, completely misunderstands his intent and manages to show him up, thinking he needs her help.
Setting:
All the action takes place on or around the island physically, though some will occur on the spirit plane. So here are some of the various locations:
· Vault of the Fates: Entry point to the island, where one gains an initial passport item in the form of a staff, recording where one has visited and what puzzles on has solved. A map of the island is located here, as well as statues of the “guides” on the island, each of which holds a piece of the story. One can buy souvenirs of one’s stay here, as well as transform one’s avatar appearance to be more suited for the world and acquire skills to navigate the island more effectively
o “Guide” = Miranda, daughter of Prospero
· Shipwreck (water elemental area): Accessible by painting’s “warping” function or “Waterwalking” granted by a water staff
o Half-sunken remains of vessel run aground on a reef, hull is rotting
o Presence of ghosts and vengeful sea sprites
o “Guide” = Ghost of Captain, whose restless spirit is tied to his ship
o Contains items/knowledge from mainland in the armory and captain’s quarters, as well as the shades of those who knew Prospero as he once was.
o Sounds: BGM possibly a mournful cello piece, with the sound of waves
· Forest of Illusion (created by Ariel to hide himself away when he finally grows too tired of Prospero’s constant orders. A user must pass through here to the pine tree at its center to find out why he is so discontent):
o A forest of mists and shadows, where nothing is quite as it seems
o Creatures drawn from legendary beasts, from humanity’s fears
o Items may be found there that exist nowhere else on the island
o While passing through the forest, one will hear sound slips from “The Tempest”
o “Guide” = Ariel: The enslaved sprite, pass through the forest, and will tell you his story.
· Sycorax’s hut (to where the spirit of the witch is now bound):
o Shadowy area where dark impressions of the past remain
o Contains several powerful fire-magic items
o Touching items will reveal traces of past memories
o Eventually, one will encounter a “Keeper of Memory”, a ghost of the witch will appear in a burst of shadow and flame, presenting to you a series of puzzles for you to solve before vanishing. Each one you solve will unlock more of her memories and secret places around the island
o “Guide” = Sycorax, the Witch
· Caliban’s Cave (Earth Elemental area, where Caliban has gone to ground after one of Prospero’s fits of anger)
o Golems may rise from the ground to do his bidding (physically resistant and physically powerful in melee attacks, weak to magic).
o While waking along, clips of “The Tempest” can be heard, specifically those relating to Caliban and his relationship with Prospero
o “Guide” = Caliban, son of the witch, no stranger to oppression, a native
· Beach and Woods
o The general areas where one can go to train/level up, gaining experience by fighting rogue sprites.
o Also, beach is where you will encounter the shipwrecked people for the first time after leaving the Forest of Illusion.
o “Guide” = Ferdinand, Price of Naples
· Destiny Spire:
o Magically neutral, Austere, adorned only by the books of sorcery that he studies and by a curious magical symbol traversing the room
o Contains, on higher levels of the tower, pieces of the text (old scrolls and such) and paintings from the text that if interacted with, can transport one to places about the island
o Resembles a cross section of a triton shell
o “Guide” on ground level = Prospero, the lord of the island
Monday, April 9, 2007
Web 2.0
Hey all,
Lindsay found this cool thing on YouTube about Web 2.0. I thought it was worth sharing.
Lindsay found this cool thing on YouTube about Web 2.0. I thought it was worth sharing.
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