A Way to Go

Employing a 3-d portable camera, this interactive game(?) allows the user to manipulate a square headed animated anthropomorphic  figure. It is described as a “walk in the woods.” In order to actually engage with this, my mouse cursor must be hidden.

Screen Shot 2016-03-24 at 5.57.35 PM Instead, the mouse becomes a tool for looking. Through the keyboard’s ‘W’ key I can make the figure  stroll or walk at a leisure pace; the percussion soundtrack’s tempo complements this action.

Screen Shot 2016-03-24 at 5.52.19 PM

 

While walking I can look around the woods. The ‘E’ key makes him run. the character to sprint.The soundtrack is becomes fast  and I start to feel anxious.  If one commands him to do this for a while, he can get tired.

Screen Shot 2016-03-24 at 5.52.52 PM

Screen Shot 2016-03-24 at 5.53.17 PM

While paused, the figure sits down.

Screen Shot 2016-03-24 at 5.53.24 PM

 

I can position the mouse towards the sky while stationary and I appear to be flying.

Screen Shot 2016-03-24 at 5.51.59 PM

Otherwise, he   looks around.

Screen Shot 2016-03-24 at 5.52.25 PM

Using my mouse, I can click and  the figure interacts with the nature as a beam of light appears and then video plays. It is as almost as if I am seeing through the character’s point of view: beams of light, trees, ants, dirt. Screen Shot 2016-03-24 at 6.06.21 PM.png

Screen Shot 2016-03-24 at 6.06.32 PM.png

Screen Shot 2016-03-24 at 6.09.25 PMWhile the video plays,  light piano sounds are played as I click my mouse, and  the screen flashes . The figure is blinking. It is  quite fun to play around with sound and it feels as if I am the conductor of the music , in addition to being the visual director.

These interactions are suggested in Gaudenzi’s “Strategies of Participation.” For her, interactive documentaries(can one call this documentary?) are asking the participant to engage in some type of action. “What can the participant do? How can they contribute?” Additionally, these inputs are related to the ways in which power and agency are illustrated in a digital context; with this participation in this media, a claim for a   “position in the world.” Indeed, it is important to note that there is some level of control that is given to me, but also taken away( hide your pointer). Thus, these parameters are not employed by my own input but instead are “set by the author.” My actions are limited by what the keyboard and mouse can do for the character’s actions. (Gaudenzi 143)

I continue to run and surprisingly he jumps into the river that is alongside the path.  Colors appear in the previously monochromatic world. They see their reflection; they stare at me. A hint at self-reflection (literally and figuratively). Is the character formulating an opinion of themselves.  Instead, there is  breaking out of this woods into another one The camera uses some type of negative filter when I engage with close-ups. This world seems more ominous.

This slideshow requires JavaScript.

Unfortunately, due to graphic issues the application did crash. Although, the experience was enjoyable. Something not dealing with a particular social issue but instead offering   playful interactions with cinematic images in a three-dimensional, animated sphere.