Maya/Myth: The End
So we’re finishing up the Maya/Myth project for our Design, Technology, and Representation class. I got grouped with Thomas Lodato and Audrey Whitman for this one, which is exciting because Thomas is already an Unreal Script pro (with a background in math modeling) and Audrey (a technical writer who researched educational modeling) has experience from her previous project in importing sound to Unreal Editor. My background is in gendered space in cinema, so we’re combining all our previous research interests for this capstone project.
The American myth we’re addressing is the goal of cultural homogenization. Players will begin in a pitch black space. Special objects in the level will be resonating with a constant bass-line drone. By listening for this objects in the darkness and targeting them with their gun, the player will shoot sonic bullets at the object and cause it to resonate with a new tune. Objects resonating with the player’s tune will emit a light field and patches of rumble triggers, allowing players to progress through the level. The idea is that the player is reclaiming an autocratic “male” space by subverting it/generating a personal space.
Players will control head movement (and thus turning) with an xbox 360 controller; this will also allow the rumble patches to be felt in the player’s hands. Moving forward/backward and shooting are controlled with a microphone. Max/MSP will be running in the background, and voice input of different decibels will trigger the keyboard commands to move/shoot in Unreal. We want to have surround sound speakers hooked up in the audience, but this might cause feedback and/or set off the MSP triggers in the game; thus, we’re also holding onto the contingency of stereo headphones being worn by the player so they can pick up the directionality of the aural objects in the game.
Obvious influences on this work:
Unfinished Swan –
Battles music video for Tonto –