author’s note: random bits

i’m working away on describing the video game i’m creating for this story.  and it’s so complex and so actively developing that i’ve gone thru all sorts of stages.  i just figure i’ll cut and paste a few paragraphs from the mess it’s currently in now.

so many things to think about.

you travel not by getting in a physical boat and rowing across the sea, because it’s a computer game after all and you can’t get wet. what you do is concentrate and move along a map, so you have this tiny boat icon and it traverses the map with sound effects – gulls and waves and creaking ropes, or horse hoofs and groaning boards, or crunching gravel or swishing grasses, all the sound effects of a varied world. then when you arrive at your destination, there’s a cut-scene showing a zoom into the map, establishment shots of the area you’re arriving in where you can hover and learn about the place, and then you’re down in the street. what powers the boat is your concentration, as well as the horse and cart or flying or whatever. the icon doesn’t move unless you will it.

how about walking around in the landscape? it’s not just a keyboard or joystick move. can we invent a glove that functions as your body, with feet and hands and your pinky for something else, like jumping, or speed? then people playing the game tap and rattle their fingers all the time. so for the mobile gamer, a pair of sunglasses with hud, a glove, and earbuds. and the game console, which is your online connection of choice.

you can walk around using your pointer and middle fingers, but you can also develop the skill of willing movement, which comes from your middle, and is expressed with the glove as a bowing forward, an extension of the wrist, a leading with the knuckles.

in the first two levels the boy and girl are keeping in touch because they’re testing and giving feedback, and their main concern is how the lessons work. they’re not caring about the details in the two levels, the two tutorial levels and they never care how many people understand the real work. their main care is for the real work, and they let everything else be player-driven or leave it up to the new programmer or a team of fans.

so they make it thru the two primer levels together. what diverges them? and what happens in the outside world when they enter antarctica? no, it starts in foggy level 3. as they learn how to shift the fog, there begin to be outgame effects. first seen in the clouds and rain, then in mirrors and glass, dust and wind, smoke and flame.

it’s when they start to learn how to affect the world that they diverge. she wants to use it for all good, he wants to use it for themselves. and when they land in antarctica, they are alone, and separately rescued by seals. they find each other in the settlement, and they could be on peninsula or marie byrd or ellsworth, or any of the small islands in the chain. how they get off is instructive. the boy goes off to fight the aliens in transantarctica, and becomes a pirate. the girl joins the crew of a ship and goes to ronne and the inland seas. then he goes around to martha and works his way down to dronning and becomes a warlord. then he goes to hell and becomes a captain of industry. she goes around to adelie (passing him) and becomes a healer, and to vostok and mary and up to hell thru elizabeth. in hell she helps organize the resistance. they meet again in hell.

someone turns the npcs into fairy characters. someone starts drilling in amery bay. someone builds that big city. was there supposed to be a city? they didn’t design one like what they found, but by the time they get there, the city is an inevitability. the civilization is actually developing as they play the game, altho they’re not directly responsible for building it. but as our attention broadens past the peninsula and archipelago these things appear.

at first there’s only rocks and what people can coax to grow by asking the fairies. they help the settlement grow, and at some crucial point of development they have contact with the outside world, and hear about new things.

the outside world is the next level of development, with farming and trading, or fishing and piracy. they work to build and grow this into networks and spheres of influence. at a crucial point they journey to another part and find new things.

warrior tribes with city-state strongholds and contested resources, versus cooperative farms and shared resources. at a crucial point, they go to the city.

hell city is full of businesses and corporations all out to win, versus masses of downtrodden people helping each other and finding ways to even wealth out.

this is a natural progression – within the plot of the story as well as the development of the game as well as the development of the conflict between the characters.

i’m going to need to describe his path as well as her path thru this level. and perspective from the other two (at least). maybe every character in the outside world has a counterpart in the game.

what’s a society predicated on quantum principles look like? it’s all relative, there’s no center of power. non-locality, interconnectivity, entanglement, discontinuity

players – at first the engine programmer who built the kernel. he’s still in there as an npc. then the boy and girl as creators of the game document. and the replacement programmer / mole. the players show off the features of the game, learn the lessons, practice the quantum exercises, experience the drama. so how many do we need? quantumly speaking we only need to do this once, but since there are multiple outcomes, we need more. both the boy and girl go thru to the end. the spy goes similarly to the boy but gets caught taking the dark side seriously. and we need a fan who is on the girl’s side but gets caught up in it.

antarctica changes over time, from a barren rock to a huge city, developing into all levels of subsistence in all areas of climate from desert to glacier. it develops as we follow the two players around in it.

he takes one route and she takes another. he’s going for power, trading, mineral, then financial and military. she’s going for community, connecting, sharing, healing, growing, song, story, helping, building, resisting. she naturally goes for the underclass, he hobnobs with powerful people. he likes things, she gives things away. the spy wants to conquer antarctica too, but goes around gaming the system. with the knowledge that you’re supposed to learn about quantum things, he invents a church of quantum that keeps quantum a secret and charges to tell people they’re unworthy, spreads intolerance of the open practice of dangerous powers, tries to suppress it. stays in this level of the game as the boss and tries to shut down the quantum stuff, but ends up in his own world as the game antarctica bounces back toward its created version.

you travel not by getting in a physical boat and rowing across the sea, because it’s a computer game after all and you can’t get wet.  what you do is concentrate and move along a map, so you have this tiny boat icon and it traverses the map with sound effects – gulls and waves and creaking roaps, or horse hoofs and groaning boards, or crunching gravel or swishing grasses, all the sound effects of a varied world.  then when you arrive at your destination, there’s a cut-scene showing a zoom into the map, establishment shots of the area you’re arriving in where you can hover and learn about the place, and then you’re down in the street.  what powers the boat is your concentration, as well as the horse and cart or flying or whatever.  the icon doesn’t move unless you will it.

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About jeanne

artist, grandma, alien

Posted on December 12, 2011, in antarctica, author's note, characters, game, occupy, plot, quantum. Bookmark the permalink. Leave a comment.

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