http://takebackkean.blogspot.com
Monday, November 8, 2010
Saturday, April 3, 2010
Finalizing Project 2
I must begin this blog with the unfortunate report that, as far as I can tell, there is NO way to put my video up on the internet. iWeb doesn't allow any movie files except quicktime, and I don't have 500mb of space on my website. Google Sites only allows you to post youtube or Google videos. I even tried to upload it to my old old old DeviantArt site—no luck. Apparently there a member must submit two flash videos and fill out some bogus forms to be able to post flash to the site...
To post the video on blogger, I'd have to cut down 400+ megabytes of my file AND it would key up in a window the size of an ant. To post the video on youtube I have to convert it from a .swf to a .flv, which is *surprisingly* something that Adobe Flash CS4 does not allow you to do. Even Adobe Media Encoder, which is the Adobe program that natively exports a .flv file, does not read the .swf or .html files that Flash produces.
I think this program is giving me more of 'the runaround' than the Kean Bureaucracy.
At any rate... I suppose that I'll just have to bring my file in on my computer =(
I did some neat things with this movie though. I did about 150 screencaptures of Google Map's road-view, then animated a dodge charger squad car so that it's strobes flash, then did the same thing to a picture of a cigarette...
Then comes the best part: Remember how, in the very beginning, I wanted to make the poems scroll across a video of a moving roadway? Well, now the poems themselves become the roadway. It's way cool—and I think everyone will enjoy it.
Here is the text of the four poems inside the piece in order of their appearance:
Quicker than Coffee at 6 A.M.
One Thousand and Sixty-two
automobiles climbed the weathered
junction ramp between
the Garden State Parkway and I-78
on Saturday, November Fifteenth.
The line of cars stretched four miles;
a bronze Cadillac,
(car number Nine Hundred and Seventy)
dove into the left lane,
its rear end skidding sideways as an
Eighteen-wheeler flipped it on its back,
Like a dolphin lost in its pod’s
gang rape game.
The Cadillac’s roof screamed against
pavement,
collision force wrenched its hood away
and flung it into the air.
The hood, carried by the breeze,
swayed forward and back as it floated down,
a fiberglass dandelion fluff,
and came to a rest
buckled in the passenger seat of an
off-white convertible.
I saw all this from my parking space in line,
high up the off-ramp overpass,
while my car slurped the last sip of
gasoline in its tank
and became as silent as the highway below.
Newark, Red Light, Ahead of a Cop
City lamp-lights
gleam zig-
zag
across the windshield.
My eyes tick to the rearview mirror—
flick, flick—
Occular lapping like
Jesus’ footprints on the lake…
My prayers invisible like the
Darkened strobes behind me…
My eyes ticking like
Holy toes tapping Lucite,
Or windshield wipers—
flick, flick—
Insomniacs, Estranged Lovers
You answered your phone this time—
it startled me,
as if the cigarette I was smoking
yelped a greeting and not
the cold plastic pressed to my ear.
Under your words,
buried beneath two blankets,
the crystal ashtray and the cigarette I read fortunes by—
under your words I hear a thin crackle,
the static-rustle of breaths breathed
in anticipation.
Of Sunsets and Armageddon
The nights creep forward now, like traffic in New Jersey.
the sky has turned a murky yellow: today,
if one longs for a starscape
he must crawl a lifetime into Pennsylvania
to pour the Milky Way across the black.
I coast down twisting paths illuminated
by eerie twilight on a worn tandem bicycle.
the leather seats are dried and cracked,
padding escapes in wisps out of seams—
a pedal is missing.
I see concrete turn to dust
and wait for every bridge in America to moan
a weary, grinding cry
before collapsing into waterways;
All roads to the shore are vacant.
When the world ends,
there will be a picture in my back pocket,
A photograph that I fold carefully;
A young woman on the beach,
One pale hand raised between her eyes and the sun.
To post the video on blogger, I'd have to cut down 400+ megabytes of my file AND it would key up in a window the size of an ant. To post the video on youtube I have to convert it from a .swf to a .flv, which is *surprisingly* something that Adobe Flash CS4 does not allow you to do. Even Adobe Media Encoder, which is the Adobe program that natively exports a .flv file, does not read the .swf or .html files that Flash produces.
I think this program is giving me more of 'the runaround' than the Kean Bureaucracy.
At any rate... I suppose that I'll just have to bring my file in on my computer =(
I did some neat things with this movie though. I did about 150 screencaptures of Google Map's road-view, then animated a dodge charger squad car so that it's strobes flash, then did the same thing to a picture of a cigarette...
Then comes the best part: Remember how, in the very beginning, I wanted to make the poems scroll across a video of a moving roadway? Well, now the poems themselves become the roadway. It's way cool—and I think everyone will enjoy it.
Here is the text of the four poems inside the piece in order of their appearance:
Quicker than Coffee at 6 A.M.
One Thousand and Sixty-two
automobiles climbed the weathered
junction ramp between
the Garden State Parkway and I-78
on Saturday, November Fifteenth.
The line of cars stretched four miles;
a bronze Cadillac,
(car number Nine Hundred and Seventy)
dove into the left lane,
its rear end skidding sideways as an
Eighteen-wheeler flipped it on its back,
Like a dolphin lost in its pod’s
gang rape game.
The Cadillac’s roof screamed against
pavement,
collision force wrenched its hood away
and flung it into the air.
The hood, carried by the breeze,
swayed forward and back as it floated down,
a fiberglass dandelion fluff,
and came to a rest
buckled in the passenger seat of an
off-white convertible.
I saw all this from my parking space in line,
high up the off-ramp overpass,
while my car slurped the last sip of
gasoline in its tank
and became as silent as the highway below.
Newark, Red Light, Ahead of a Cop
City lamp-lights
gleam zig-
zag
across the windshield.
My eyes tick to the rearview mirror—
flick, flick—
Occular lapping like
Jesus’ footprints on the lake…
My prayers invisible like the
Darkened strobes behind me…
My eyes ticking like
Holy toes tapping Lucite,
Or windshield wipers—
flick, flick—
Insomniacs, Estranged Lovers
You answered your phone this time—
it startled me,
as if the cigarette I was smoking
yelped a greeting and not
the cold plastic pressed to my ear.
Under your words,
buried beneath two blankets,
the crystal ashtray and the cigarette I read fortunes by—
under your words I hear a thin crackle,
the static-rustle of breaths breathed
in anticipation.
Of Sunsets and Armageddon
The nights creep forward now, like traffic in New Jersey.
the sky has turned a murky yellow: today,
if one longs for a starscape
he must crawl a lifetime into Pennsylvania
to pour the Milky Way across the black.
I coast down twisting paths illuminated
by eerie twilight on a worn tandem bicycle.
the leather seats are dried and cracked,
padding escapes in wisps out of seams—
a pedal is missing.
I see concrete turn to dust
and wait for every bridge in America to moan
a weary, grinding cry
before collapsing into waterways;
All roads to the shore are vacant.
When the world ends,
there will be a picture in my back pocket,
A photograph that I fold carefully;
A young woman on the beach,
One pale hand raised between her eyes and the sun.
Monday, March 29, 2010
Bad Machine
Bad Machine is an interactive text adventure, much like All Roads which we saw last week. Upon opening and exploring the Bad Machine world, we see some immediate and confounding differences between the two. First off, this one puts you into the mind of a robot that is supposed to be doing some kind of work, but has instead become a 'Bad Machine,' a robot that has become self-aware. The status readout that the game delivers the player about his character reads 'Compliance 0.00%' which I was excited about. It's symbolic, both because the character is not doing its job, and the player is completely ignorant to any means of compliance.
I liked how Bad Machine twists the traditional text-based RPG. This is a format that was the forerunner to games like WOW and Fallout and Mass Effect—a sort of textual maze that required the player to both translate a text-only interface into the perception of an imagined three-dimensional world, and be familiar with necessary commands in order to manipulate this imagined environment accurately.
Bad Machine uses this ancient interface to its advantage, producing a believable, code-like appearance that adds to the realism of the work rather than detracting from it. The player must adjust his character's internal systems to correct errors and avoid detection. He must 'scan' the environment instead of looking around. He can retrieve information about other units, items, and boundaries present in the environment. We can index other machines and see their serial numbers, proposed actions, and intent. We even get information about the parts that make up their bodies. We can even exchange our parts for theirs.
What is most interesting, however, is the cohesive syntax that the Bad Machine interface uses. Phrases like "good machine" and "bad machine" and "compliance" permeate the work. Everything comes down to whether or not these working robots are doing their tasks without question; ironically, Bad Machine does not allow the player to pretend to do work, or even describe the task that the character is supposed to be doing. This means that there is no tricking the Drones that come searching for you, and beyond that, it means that this whole game is about searching for purpose and meaning. The concept itself plays with an existential thematic that provides a fantastic foundation for this work.
Supposedly, there are ways to both interfere with the goings-on of the factory the game is set in, though I am not sure how to do any of that. Supposedly it is possible to hunt down the 'queen' robot, kill her and become the directing authority of the factory, too. But I haven't pulled that off either. I did get myself to one ending though, but only with the help of a walkthrough attached to hint forums.
I would suggest checking this out for yourselves, too, if you intend to play through this some more:
It proved very helpful to me.
Another tool that might not have appeared useful at first is the help command. Typing 'help' will bring you to a list of menus that identify the more confusing commands needed to interface with bad machine, i.e. a list of binary strings that make up the syntax of language that the machines use. 000, for instance is 'NO' and 001 is 'YES.'
We also are introduced to a bunch system commands that seem to effect the game, but only behind the scenes. System Aware_Level (Low Medium High) is an example. System Entry_Ping (True False) is another. We will discuss these in greater detail in class though. For now, I'm signing off.
I liked how Bad Machine twists the traditional text-based RPG. This is a format that was the forerunner to games like WOW and Fallout and Mass Effect—a sort of textual maze that required the player to both translate a text-only interface into the perception of an imagined three-dimensional world, and be familiar with necessary commands in order to manipulate this imagined environment accurately.
Bad Machine uses this ancient interface to its advantage, producing a believable, code-like appearance that adds to the realism of the work rather than detracting from it. The player must adjust his character's internal systems to correct errors and avoid detection. He must 'scan' the environment instead of looking around. He can retrieve information about other units, items, and boundaries present in the environment. We can index other machines and see their serial numbers, proposed actions, and intent. We even get information about the parts that make up their bodies. We can even exchange our parts for theirs.
What is most interesting, however, is the cohesive syntax that the Bad Machine interface uses. Phrases like "good machine" and "bad machine" and "compliance" permeate the work. Everything comes down to whether or not these working robots are doing their tasks without question; ironically, Bad Machine does not allow the player to pretend to do work, or even describe the task that the character is supposed to be doing. This means that there is no tricking the Drones that come searching for you, and beyond that, it means that this whole game is about searching for purpose and meaning. The concept itself plays with an existential thematic that provides a fantastic foundation for this work.
Supposedly, there are ways to both interfere with the goings-on of the factory the game is set in, though I am not sure how to do any of that. Supposedly it is possible to hunt down the 'queen' robot, kill her and become the directing authority of the factory, too. But I haven't pulled that off either. I did get myself to one ending though, but only with the help of a walkthrough attached to hint forums.
I would suggest checking this out for yourselves, too, if you intend to play through this some more:
It proved very helpful to me.
Another tool that might not have appeared useful at first is the help command. Typing 'help' will bring you to a list of menus that identify the more confusing commands needed to interface with bad machine, i.e. a list of binary strings that make up the syntax of language that the machines use. 000, for instance is 'NO' and 001 is 'YES.'
We also are introduced to a bunch system commands that seem to effect the game, but only behind the scenes. System Aware_Level (Low Medium High) is an example. System Entry_Ping (True False) is another. We will discuss these in greater detail in class though. For now, I'm signing off.
Update on Project 2
Well, I just finished recording the score for my flash piece yesterday evening. It was an enjoyable experience to say the least. The track is four minutes long—and I have a feeling the movie won't be that long itself, but I can always add time to scene-cuts and what not. My goal at this point is to integrate the music into the video seamlessly. I want different segments of the video to match up to different parts of the music. If I get the buttons working, then that will be sort of a mute point because people will be switching between segments at their own volition, but if that doesn't work then it will be timed up nicely.
I also learned something interesting: splitting the flash between scenes is apparently a bad idea. Though the ability to create different scenes has been around for a while, no one really uses them. From what I've gathered in forums and random how-to articles on the web, they seem to complicate the whole process, and I'm not looking to make anything more complicated than it is already. Therefore, I've started moving my second scene into my first scene. So much for organization!
I also have an idea for how to make the background a passing road. I think I'm going to find or take a relatively large picture of pavement with double-yellow lines and what not, then edit it in photoshop, create a patchwork image where the ends will match up perfectly. Then I'll have to figure out how to loop that running across the background. We'll see how it goes.
That's where I am so far; now on to my presentation.
I also learned something interesting: splitting the flash between scenes is apparently a bad idea. Though the ability to create different scenes has been around for a while, no one really uses them. From what I've gathered in forums and random how-to articles on the web, they seem to complicate the whole process, and I'm not looking to make anything more complicated than it is already. Therefore, I've started moving my second scene into my first scene. So much for organization!
I also have an idea for how to make the background a passing road. I think I'm going to find or take a relatively large picture of pavement with double-yellow lines and what not, then edit it in photoshop, create a patchwork image where the ends will match up perfectly. Then I'll have to figure out how to loop that running across the background. We'll see how it goes.
That's where I am so far; now on to my presentation.
Monday, March 22, 2010
Project 2
Here's a preview of what I've been doing all week.
There's not much of a map that I'm going to list here, mainly because this isn't a jump-around-piece like my hypertext was.
This is going to be an interactive flash-poetry piece. Interactive in the sense that I am *trying* to make buttons that will switch between different poems inside different scenes.
The poems themselves will be animated, at least if I *can* animate them. It has taken me this whole week to learn the basic programming I need for actionscript 3.0. And by learn, I really mean copy, paste, and hope the stuff works.
I used to know actionscript 2.0, but 3.0 is like a whole new language, and while it apparently allows for much more complex programming, it also makes simple things much more complex as well.
To be completely honest, I don't know if I can do too much with this; it's too intricate. I spent three months learning Flash basics in high school, and I still only got a very basic grasp on the program. Now, with the language that drives the actions changed so completely, it's like I'm jumping out of a plain without a parachute.
HOWEVER! I did get Flash to link the two scenes that I have managed to write. Though the script linking them is supposed to be a button-script, and the button itself doesn't work, the first scene does play into the second.
I suppose that what I'm getting at is this: DAMN this is hard. Thank god it runs!
at any rate, check it out, see what you can see, and although it's short, I hope you can see where I'm going with it—assuming I can go further.
I'll post the vid again once I work the kinks in this preview out.
There's not much of a map that I'm going to list here, mainly because this isn't a jump-around-piece like my hypertext was.
This is going to be an interactive flash-poetry piece. Interactive in the sense that I am *trying* to make buttons that will switch between different poems inside different scenes.
The poems themselves will be animated, at least if I *can* animate them. It has taken me this whole week to learn the basic programming I need for actionscript 3.0. And by learn, I really mean copy, paste, and hope the stuff works.
I used to know actionscript 2.0, but 3.0 is like a whole new language, and while it apparently allows for much more complex programming, it also makes simple things much more complex as well.
To be completely honest, I don't know if I can do too much with this; it's too intricate. I spent three months learning Flash basics in high school, and I still only got a very basic grasp on the program. Now, with the language that drives the actions changed so completely, it's like I'm jumping out of a plain without a parachute.
HOWEVER! I did get Flash to link the two scenes that I have managed to write. Though the script linking them is supposed to be a button-script, and the button itself doesn't work, the first scene does play into the second.
I suppose that what I'm getting at is this: DAMN this is hard. Thank god it runs!
at any rate, check it out, see what you can see, and although it's short, I hope you can see where I'm going with it—assuming I can go further.
I'll post the vid again once I work the kinks in this preview out.
Saturday, March 6, 2010
Assignment #2 Prewriting
Okay, for this assignment, I really do need to prewrite. Last time, I knew what I was doing before I knew it. This time, I only have a vague idea.
Here's what I know:
1. I want to go in the opposite direction I went last time; I want to write a visually interactive piece, not a text-based one.
2. I want to create a Flash piece (Using Adobe Flash CS4).
3. I want to input my own original graphics, sounds, and music.
I have thought about making an interactive flash movie, something distinctively plot-based. I also considered creating a flash-based application. More specifically, a playable graphic guitar. This is the route I think I will take, as long as Dr. Chandler approves. I would record the sounds produced on each fret of a portion of the guitar's neck, hopefully doing each one in several different tones. Then, I could also add a window for guitar tabs to provide the user with a resource for making music with the application. This device itself would function like a flash soundboard.
I need to be sure that I have the appropriate tools to attempt this project, and I also need to look up some tutorials as well.
The other possible problem is that only one note can be hit at one time. To rectify this, I will try to program a keyboard interface that will allow the user to strike multiple notes at the same time.
I would also like to, if there is enough time, create a keyboard version as well.
As far as movement goes, strings will vibrate, and keys will push. As far as a literary reading goes, I'm not sure what to do about that. My creation would have a definite, seamless sense of thematic visually; I don't know if that's enough though. This is simply the thought I've been playing with most, and if it doesn't work for the assignment then I'll figure something else out.
Here's what I know:
1. I want to go in the opposite direction I went last time; I want to write a visually interactive piece, not a text-based one.
2. I want to create a Flash piece (Using Adobe Flash CS4).
3. I want to input my own original graphics, sounds, and music.
I have thought about making an interactive flash movie, something distinctively plot-based. I also considered creating a flash-based application. More specifically, a playable graphic guitar. This is the route I think I will take, as long as Dr. Chandler approves. I would record the sounds produced on each fret of a portion of the guitar's neck, hopefully doing each one in several different tones. Then, I could also add a window for guitar tabs to provide the user with a resource for making music with the application. This device itself would function like a flash soundboard.
I need to be sure that I have the appropriate tools to attempt this project, and I also need to look up some tutorials as well.
The other possible problem is that only one note can be hit at one time. To rectify this, I will try to program a keyboard interface that will allow the user to strike multiple notes at the same time.
I would also like to, if there is enough time, create a keyboard version as well.
As far as movement goes, strings will vibrate, and keys will push. As far as a literary reading goes, I'm not sure what to do about that. My creation would have a definite, seamless sense of thematic visually; I don't know if that's enough though. This is simply the thought I've been playing with most, and if it doesn't work for the assignment then I'll figure something else out.
Thursday, February 18, 2010
Hypertext Outline
This is the complete map of ways to navigate This is the Way the World Ends
They say -> 1,000 Rad Man -> Frog -> Mercy -> Raining -> Stomachache
v..............................................v...........v
v.............................................Stomachache..v
v..............................................v...........v
v..............................................v...........v
v..............................................v...Nuclear War ->
v..............................................v...........v....v v..............................................v...........v....v
v............................................fixed.........v....Swallow
v..............................................v.....Radiation..v
v.........................................(The City).......v...(trees)
v....................................................Whispering
v..........................................................v
Trees...................................................(Trees)
v
Treestump
v
Crowskin <-> Shadows -> Hiroshima -> (1000 Rad)
v
The Cellar
v
The City
v
(Crowskin)
They say -> 1,000 Rad Man -> Frog -> Mercy -> Raining -> Stomachache
v..............................................v...........v
v.............................................Stomachache..v
v..............................................v...........v
v..............................................v...........v
v..............................................v...Nuclear War ->
v..............................................v...........v....v v..............................................v...........v....v
v............................................fixed.........v....Swallow
v..............................................v.....Radiation..v
v.........................................(The City).......v...(trees)
v....................................................Whispering
v..........................................................v
Trees...................................................(Trees)
v
Treestump
v
Crowskin <-> Shadows -> Hiroshima -> (1000 Rad)
v
The Cellar
v
The City
v
(Crowskin)
Tuesday, February 16, 2010
Star Wars, One Letter at a Time
Hm. I didn't expect this piece to be so literal. S-t-a-r W-a-r-s E-p-i-s-o-d-e F-o-u-r. Jesus! It's sort of like this animation is from the typewriter's perspective or something. We hear the keys pounding, notice the turn of the spool that moves the paper up and down, and we have to sit through that 'ding!' noise after each line is done.
The letters fly by too fast to read coherently. I can make out some words here or there. Like 'George Lucas,' for instance, and 'SCENE EXTERIOR,' and what-not. I don't know how much of the script this goes through, maybe the entirety of Episode IV. Maybe the entirety of the first trilogy. I wouldn't notice the change, I think. Did I mention how fast these letters flash by the screen?
There is no interactivity to this piece. At least, none that I can detect. It is possible to highlight the shifting text, though, and that spices it up a little bit. All that I can gather from this is that it was either some guy's very unique idea, or it was some guy's way of showing us how immensely complex language is, and how easy it is to confuse the brain. If you think about it, these letters are flashing across the screen at (this is just a guess) about the rate we would take them in if we were reading whole words at once—and yet we can barely make sense of them, despite knowing the story inside-out already.
The letters fly by too fast to read coherently. I can make out some words here or there. Like 'George Lucas,' for instance, and 'SCENE EXTERIOR,' and what-not. I don't know how much of the script this goes through, maybe the entirety of Episode IV. Maybe the entirety of the first trilogy. I wouldn't notice the change, I think. Did I mention how fast these letters flash by the screen?
There is no interactivity to this piece. At least, none that I can detect. It is possible to highlight the shifting text, though, and that spices it up a little bit. All that I can gather from this is that it was either some guy's very unique idea, or it was some guy's way of showing us how immensely complex language is, and how easy it is to confuse the brain. If you think about it, these letters are flashing across the screen at (this is just a guess) about the rate we would take them in if we were reading whole words at once—and yet we can barely make sense of them, despite knowing the story inside-out already.
Facade
Alright, I know it's not technically part of the electronic lit collection, but Facade is a pretty cool little program. Actually, it's a large file. Seriously, it took forever to download the torrent. But, the good news is that I've finally played it rather than just watching Youtube videos.
The first thing I noticed is that spelling counts, otherwise you get responses like "Ummmm," and "Err, Okay then." That's only fair, I suppose, when dealing with simulated A.I. this complex. The second thing I noticed is that Trip and Grace respond to proximity: If you get right up in Grace's grill, she starts to flirt with you, if you get too close to Trip he feels uncomfortable. At this distance you can hug, comfort, or kiss either of the two—it's pretty funny that kissing Trip doesn't get you kicked out. The way the game works is pretty complex, but the big picture is simple—either you annoy Trip and Grace so much that they kick you out (which I have to admit is pretty fun), or you get them talking to each other, get them to reveal their innermost secrets.
It's also pretty cool that the program remembers the things you say to the characters, and furthermore, that it groups them into categories so that Trip can say, "I wonder if you're really my friend or not..." and then reference your statements. I noticed from the Youtube video of the 'good ending' that this doesn't work as well as it does if you produce the bad ending. Of course, I personally got the bad ending—Trip admits he's having an affair and Grace admits she went to town on some guy the night before Trip asked her to marry him. Wow, what a great couple!
In a sense, I suppose, to finish Facade with the bad ending is really the best outcome. I mean, otherwise our cartoon couple would trudge along, still together, trying to work through issues rather than recognizing their infidelity. And that might be the most interesting part about this whole scenario: which ending really is the 'good' ending?
The first thing I noticed is that spelling counts, otherwise you get responses like "Ummmm," and "Err, Okay then." That's only fair, I suppose, when dealing with simulated A.I. this complex. The second thing I noticed is that Trip and Grace respond to proximity: If you get right up in Grace's grill, she starts to flirt with you, if you get too close to Trip he feels uncomfortable. At this distance you can hug, comfort, or kiss either of the two—it's pretty funny that kissing Trip doesn't get you kicked out. The way the game works is pretty complex, but the big picture is simple—either you annoy Trip and Grace so much that they kick you out (which I have to admit is pretty fun), or you get them talking to each other, get them to reveal their innermost secrets.
It's also pretty cool that the program remembers the things you say to the characters, and furthermore, that it groups them into categories so that Trip can say, "I wonder if you're really my friend or not..." and then reference your statements. I noticed from the Youtube video of the 'good ending' that this doesn't work as well as it does if you produce the bad ending. Of course, I personally got the bad ending—Trip admits he's having an affair and Grace admits she went to town on some guy the night before Trip asked her to marry him. Wow, what a great couple!
In a sense, I suppose, to finish Facade with the bad ending is really the best outcome. I mean, otherwise our cartoon couple would trudge along, still together, trying to work through issues rather than recognizing their infidelity. And that might be the most interesting part about this whole scenario: which ending really is the 'good' ending?
Bad Machine
Well, I've been working with a few of the different works in the Electronic Literature Collection Volume 1.
The first one I'd like to talk about is Bad Machine. This one puts you into the mind of a robot that is supposed to be doing some kind of work, but has instead become a 'Bad Machine,' or rather has become sentient. I much enjoyed the way that Bad Machine twists the traditional text-based RPG. This is a format that was the forerunner to games like WOW and Fallout and Mass Effect—a sort of textual maze that required the player to both translate a text-only interface into the perception of an imagined three-dimensional world, and be familiar with necessary commands in order to manipulate this imagined environment accurately.
Bad Machine uses this ancient interface to its advantage, producing a believable, code-like appearance that adds to the realism of the work rather than detracting from it. The player must adjust his character's internal systems to correct errors and avoid detection. He must 'scan' the environment instead of looking around. He can retrieve information about other units present in the environment, like serial numbers, actions, and intent. What is most interesting, however, is the cohesive syntax that the Bad Machine interface uses. Phrases like "good machine" and "bad machine" and "compliance" permeate the work. Everything comes down to whether or not these working robots are doing their tasks without question; ironically, Bad Machine does not allow the player to pretend to do work, or even describe the task that the character is supposed to be doing. This means that there is no tricking the Drones that come searching for you, and beyond that, it means that this whole game is about searching for purpose and meaning. The concept itself plays with an existential thematic that provides a fantastic foundation for this work.
The first one I'd like to talk about is Bad Machine. This one puts you into the mind of a robot that is supposed to be doing some kind of work, but has instead become a 'Bad Machine,' or rather has become sentient. I much enjoyed the way that Bad Machine twists the traditional text-based RPG. This is a format that was the forerunner to games like WOW and Fallout and Mass Effect—a sort of textual maze that required the player to both translate a text-only interface into the perception of an imagined three-dimensional world, and be familiar with necessary commands in order to manipulate this imagined environment accurately.
Bad Machine uses this ancient interface to its advantage, producing a believable, code-like appearance that adds to the realism of the work rather than detracting from it. The player must adjust his character's internal systems to correct errors and avoid detection. He must 'scan' the environment instead of looking around. He can retrieve information about other units present in the environment, like serial numbers, actions, and intent. What is most interesting, however, is the cohesive syntax that the Bad Machine interface uses. Phrases like "good machine" and "bad machine" and "compliance" permeate the work. Everything comes down to whether or not these working robots are doing their tasks without question; ironically, Bad Machine does not allow the player to pretend to do work, or even describe the task that the character is supposed to be doing. This means that there is no tricking the Drones that come searching for you, and beyond that, it means that this whole game is about searching for purpose and meaning. The concept itself plays with an existential thematic that provides a fantastic foundation for this work.
Monday, February 15, 2010
Hypertext!
Well, I know that we're supposed to outline/describe/imagine the beginnings of our Hypertext. But, I'm not so good at prewriting or any of that. I'm also not that great at showing people unfinished work. Therefore, I've been busting my rear end to get my own little piece of electronic literature off the ground and onto the world wide web.
If you're interested in seeing what I have so far, go to http://web.mac.com/clarkjjj or click the "This is the Way the World Ends" link in my link list.
Give it a moment to load the background images on the page—I swear it's worth your time.
Also, this hypertext is supposed to be fully functioning, so if you come across any broken links, missing images, blank pages, or anything else that seems askew, let me know with a comment on this Blogger post.
Also, most of the pages have multiple links, so if you get sent back to a page you've already visited, odds are there is something you've missed. If you get back to the first page, then you've finished. BUT, there still might be whole pages you've not seen, so don't be afraid to run through it again!
Thoughts, comments, and questions are always appreciated.
If you're interested in seeing what I have so far, go to http://web.mac.com/clarkjjj or click the "This is the Way the World Ends" link in my link list.
Give it a moment to load the background images on the page—I swear it's worth your time.
Also, this hypertext is supposed to be fully functioning, so if you come across any broken links, missing images, blank pages, or anything else that seems askew, let me know with a comment on this Blogger post.
Also, most of the pages have multiple links, so if you get sent back to a page you've already visited, odds are there is something you've missed. If you get back to the first page, then you've finished. BUT, there still might be whole pages you've not seen, so don't be afraid to run through it again!
Thoughts, comments, and questions are always appreciated.
Monday, February 8, 2010
Maintenance!
The Electronic Literature Organization web site is down for emergency maintenance.
We are working at getting the site back up by February 8. We regret any inconvenience this has caused.
Well, I suppose I'll have to do this entry later on tonight, or tomorrow :( I was excited to take a closer look at Star Wars: One Letter at a Time.
Wednesday, February 3, 2010
Frequently Asked Questions about HyperText
Well, Hyptertext FAQ opens up with a poem constructed soleley from words that can be made with the letters of 'hypertext.' Whether or not that poem is actually the author's work or not, I am unsure. Whether any of the people he writes about (as though his work were a legitimate criticism or 'how-to' document) exist is a puzzle, too. So, what is it that we need to know about to properly read this text? Well, we need to be familiar with Star Trek fandom (Though probably only to the point that we can cringe his references to Slash), and we need to be familiar with Hypertext Art.
Why do we need to know either of these? Well, the K/S thing just doesn't provoke the same kind of in-your-face reaction as a preoperative penis does, unless you know the background. As for the whole J/7 thing, 7 of 9 is played by Jeri Ryan, so just smile and roll with it.
Why do we need to know Hypertext? Because we need to think we're heading in a definite direction when we open the piece and read it——so that we can get thrown for a loop immediately. That's all.
And why is it the Hypertext 'FAQ?' Well, I'm not 100% certain, but I know one of the most useful implementations of Hypertext is in website FAQ's——and this one is build in a similar way, what with links connecting all the segments internally as well as in a typical, vertical menu bar on the left.
So, this work mimics the structure of an FAQ, or a Wiki, or some type of reputable document. It get under your fingernails while you play with it, and you think it's real just long enough to be baffled, awed, spontaneously combusted, and pieced back together molecule by molecule at the end. Hmm. That sounds like the plot to a Slash story on a transporter pad.
What else does Hypertext FAQ do? It takes normal ideas of plot and character and sneaks them into the text behind its main focus, then tangles them into the reading in ironic and paradoxical ways. The seamlessness of the author's transition from speaking about an imagined author and various imaginary interpretations of an imaginary poem into the life and times of Alan/Ellen Richards into a picture of ET holding up his middle finger is noteworthy. It is the reason this text, and its bent reality work so well together.
What is it about, when it all comes down to it? Probably one man's dream to see how many lewd, unnatural, and Trekkian sex references he can tease out of the word Hypertext. My value judgement: it beats Gold.
Why do we need to know either of these? Well, the K/S thing just doesn't provoke the same kind of in-your-face reaction as a preoperative penis does, unless you know the background. As for the whole J/7 thing, 7 of 9 is played by Jeri Ryan, so just smile and roll with it.
Why do we need to know Hypertext? Because we need to think we're heading in a definite direction when we open the piece and read it——so that we can get thrown for a loop immediately. That's all.
And why is it the Hypertext 'FAQ?' Well, I'm not 100% certain, but I know one of the most useful implementations of Hypertext is in website FAQ's——and this one is build in a similar way, what with links connecting all the segments internally as well as in a typical, vertical menu bar on the left.
So, this work mimics the structure of an FAQ, or a Wiki, or some type of reputable document. It get under your fingernails while you play with it, and you think it's real just long enough to be baffled, awed, spontaneously combusted, and pieced back together molecule by molecule at the end. Hmm. That sounds like the plot to a Slash story on a transporter pad.
What else does Hypertext FAQ do? It takes normal ideas of plot and character and sneaks them into the text behind its main focus, then tangles them into the reading in ironic and paradoxical ways. The seamlessness of the author's transition from speaking about an imagined author and various imaginary interpretations of an imaginary poem into the life and times of Alan/Ellen Richards into a picture of ET holding up his middle finger is noteworthy. It is the reason this text, and its bent reality work so well together.
What is it about, when it all comes down to it? Probably one man's dream to see how many lewd, unnatural, and Trekkian sex references he can tease out of the word Hypertext. My value judgement: it beats Gold.
Monday, February 1, 2010
Twelve Blue
Upon reading Twelve Blue by Michael Joyce, it seems a little bit more connected than Blue Hyacinth—it is difficult not to draw a comparison between the two texts because they are both, well, blue and they are both text-based. It skips around between time frames and point of view, displacing time too much to be certain of any present, as though we were sifting through memories.
I began this reading linearly, clicking each of the eight movements and then on each hyperlink that appeared alongside text until no hyperlink appeared and I assumed the movement was completed. Once I finished the whole text, I clicked on the sidebar to navigate through a few new pages and repeated most of the pages I'd already seen. Because I read linearly, I will go about this blog in a similar manner:
Movement one seems primarily occupied with Samantha, who promptly disappears from movements Two through Seven. In the beginning we are presented with some of her experiences, ranging from the hell she pays for maturing early at Catholic School, to the night where she's so hot and bothered that she flirts with a Carney, to her first confrontation with the concept of mortality.
That seems interesting, except that I’m too distracted to really follow it all. I find myself wondering, instead, how the "blueberry" cotton candy she holds is “tasteless,” or why the word ‘of’ is present in situations that call for ‘by’ or ‘from.’ Though much electronic art strives to distance itself from the conventions of grammar and syntax as much as it deviates from status quo society, the missing elements of that category within this work appear incidental. Is there something more tenuous connecting these?
I wonder, as well, why the author chooses to list "every nipple" in her First-movement list of "everything" that "can be read." Unlike sunlight through branches and "each Cloud and Knife" (which in itself is a very interesting pairing), nipples do not hold any sort of innate beauty either in their form or spelling. Nipple is a shitty word, a word that makes me cringe, do a doubletake, and then find another cliché to describe the effect it has on me when I’m trying to enjoy a segment that works like a list poem. I understand the reasoning behind list poetry: It can be the search for beauty and pleasure in the mundanity of something as simple as a grocery list, or just the ripe meat of a poem without the articles and phrases that link them together, or whatever. But this segment does only some justice to that concept, the addition of the word "nipple" being a potent detractor.
Moving on, “The doctor gazes between her liquid thighs.” Liquid thighs. That’s a beautiful phrase. Though I went on before about Joyce’s list poem, I need to comment that his writing is poetic. He knows how to put words together in both a pleasant and meaningful way. I would, at this point, describe Twelve Blue as being the work of a poet who does not edit the way I do.
The wordplay in a later section, “Doctor, Doctor,” is finely tuned, however. It leads me to wonder how intentional these certain ambiguities that arise in the text are. Is it the result of working too hard or not hard enough? Sometimes the narrative is strong—other times it lags and sags and leaves the reader with questions. I’m sure these questions are as much a part of the narrative as the text I derive them from—just not ones like, “what’s he getting at?” Or worse, “What does he mean?”
Movement two appears even less tightly bound than movement one, and so on up until movement 6. But we do witness the introduction of several more characters, though they function almost like elements of setting. There is a male (a father figure), and a few other women whose voices are too difficult to separate without some serious scrap-paper comparison. They are all, it seems, related by blood or location or events.
Movements Four and Five are just repeats, barely anything to them. Then we get some more chunky reading in the last movements, ending with what seems to be a completely unrelated segment that wants to map-out New York. Perhaps this is supposed to give us a direction in which to throw our useless questions. Beyond that, I don’t know.
With all that out of the way, I acknowledge that Joyce is working with a lot here. There are definite themes that tie the segments of these movements together, and to be abrupt I’m just going to list the most apparent of them: Romance (without the appearance of love, or at least more influenced by carnalism), Daughters (Lineage, The having of, or being), and Parallelism (of events, circumstances, or lifestyles). Also, when I first was introduced to this text, I was under the impression that the hyperlinks that take the reader between sections of the text were supposed to disappear over time. This has not happened to me, though it might be the fault of my browser. I have noticed that the links change to the color of the page background once they are clicked, so I will tentatively list another theme: The irreversible quality of time.
I began this reading linearly, clicking each of the eight movements and then on each hyperlink that appeared alongside text until no hyperlink appeared and I assumed the movement was completed. Once I finished the whole text, I clicked on the sidebar to navigate through a few new pages and repeated most of the pages I'd already seen. Because I read linearly, I will go about this blog in a similar manner:
Movement one seems primarily occupied with Samantha, who promptly disappears from movements Two through Seven. In the beginning we are presented with some of her experiences, ranging from the hell she pays for maturing early at Catholic School, to the night where she's so hot and bothered that she flirts with a Carney, to her first confrontation with the concept of mortality.
That seems interesting, except that I’m too distracted to really follow it all. I find myself wondering, instead, how the "blueberry" cotton candy she holds is “tasteless,” or why the word ‘of’ is present in situations that call for ‘by’ or ‘from.’ Though much electronic art strives to distance itself from the conventions of grammar and syntax as much as it deviates from status quo society, the missing elements of that category within this work appear incidental. Is there something more tenuous connecting these?
I wonder, as well, why the author chooses to list "every nipple" in her First-movement list of "everything" that "can be read." Unlike sunlight through branches and "each Cloud and Knife" (which in itself is a very interesting pairing), nipples do not hold any sort of innate beauty either in their form or spelling. Nipple is a shitty word, a word that makes me cringe, do a doubletake, and then find another cliché to describe the effect it has on me when I’m trying to enjoy a segment that works like a list poem. I understand the reasoning behind list poetry: It can be the search for beauty and pleasure in the mundanity of something as simple as a grocery list, or just the ripe meat of a poem without the articles and phrases that link them together, or whatever. But this segment does only some justice to that concept, the addition of the word "nipple" being a potent detractor.
Moving on, “The doctor gazes between her liquid thighs.” Liquid thighs. That’s a beautiful phrase. Though I went on before about Joyce’s list poem, I need to comment that his writing is poetic. He knows how to put words together in both a pleasant and meaningful way. I would, at this point, describe Twelve Blue as being the work of a poet who does not edit the way I do.
The wordplay in a later section, “Doctor, Doctor,” is finely tuned, however. It leads me to wonder how intentional these certain ambiguities that arise in the text are. Is it the result of working too hard or not hard enough? Sometimes the narrative is strong—other times it lags and sags and leaves the reader with questions. I’m sure these questions are as much a part of the narrative as the text I derive them from—just not ones like, “what’s he getting at?” Or worse, “What does he mean?”
Movement two appears even less tightly bound than movement one, and so on up until movement 6. But we do witness the introduction of several more characters, though they function almost like elements of setting. There is a male (a father figure), and a few other women whose voices are too difficult to separate without some serious scrap-paper comparison. They are all, it seems, related by blood or location or events.
Movements Four and Five are just repeats, barely anything to them. Then we get some more chunky reading in the last movements, ending with what seems to be a completely unrelated segment that wants to map-out New York. Perhaps this is supposed to give us a direction in which to throw our useless questions. Beyond that, I don’t know.
With all that out of the way, I acknowledge that Joyce is working with a lot here. There are definite themes that tie the segments of these movements together, and to be abrupt I’m just going to list the most apparent of them: Romance (without the appearance of love, or at least more influenced by carnalism), Daughters (Lineage, The having of, or being), and Parallelism (of events, circumstances, or lifestyles). Also, when I first was introduced to this text, I was under the impression that the hyperlinks that take the reader between sections of the text were supposed to disappear over time. This has not happened to me, though it might be the fault of my browser. I have noticed that the links change to the color of the page background once they are clicked, so I will tentatively list another theme: The irreversible quality of time.
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