FUTURE FORESTRY GAME (in progress)2020- ongoing
I am currently working on a new game about living in the woods in the future. The game design roughly approximates modern forestry techniques, as well as the hunting, foraging, and land management practices of the Maidu and Nisenan peoples indigenous to the foothills of the Northern Sierra Nevada and Central Valley. I regard this project as a kind of loving portrait of the woods I grew up in and have recently returned to as an adult during the COVID-19 pandemic.
Some of the images above feature models with canned motion capture from mixamo for testing, but I have begun adding original characters with keyframe animation to the game.
Some more gaming-centric touchstones:
- What if Firewatch were actually about forest fires?
- What if action adventure games like Skyrim or Breath of the Wild treated the forest as a complex living system, rather than as a static backdrop for adventuring?
- What if a game like Stardew Valley systematized social activities more and let you do things like invite a villager for a hike? or let you invite them to help build trails around the village? or forage for berries together?
I am using many hand-painted textures, most of which are painted en plein air, and then processed in photoshop to make the colors more consistent and help tile properly.
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video installation / realtime software animation
dimensions variable, about 1 hour
Fire Underground is a feature length fantasy animation presenting an alternative history of coal. It pitches myths of forgotten forests, crawling proto-reptiles, and chthonic infernos against labor history, natural history, and Appalachian folk culture.
Although it is now usually exhibited as video, the project was made with Unity, and several scenes were built with game-like logic, featuring semi-autonomous non-player characters, ragdoll physics, and deterministic simulation.
Nearly all of the 3D assets were created physically out of clay, cardboard, tinfoil, and more, captured with a simple photogrammetry setup, and cleaned up with Blender. Animation is a combination of canned mocap, in-engine IK solvers, ragdoll-physics puppetry, and some good old fashioned keyframing.
The project features an original soundtrack by Sarah Louise Henson, as well as:
“Rime,” performed by Sarah Louise, courtesy Thrill Jockey Records,
“Thirty Inch Coal,” recorded by Men of the Deeps, with permission.
This project was made possible with support from the Carnegie Mellon School of Art, the Frank-Ratchye Fund for Art at the Frontier, and a Carnegie Mellon Graduate Education GuSH Research Grant.
The full film has been screened at the Carnegie Museum of Natural History, and a 15 minute edit has been featured at several film festivals around the country.
This project also would not have been possible without kind support and advice from Matteo Bittanti, Peter Burr, Erin Cosgrove, Jim Duesing, Jamison Edgar, Steve Gurysh, Sarah Louise Henson, Shohei Katayama, Golan Levin, Erin Mallea, Michael Neumann, Tom Hughes, Rich Pell, Joy Poulard-Cruz, Eddo Stern, Shaun Slifer, Angela Washko, and the West Virginia Mine Wars Museum.
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realtime software animation / virtual creature
dimensions variable, endless (approx 15 minute lifecycle)
A virtual creature / haunted skeletal jewelry. The Lich extends itself, perpetually extracts more lengths of chain from the terrain. It's body is animated by a real-time physics simulation. As the hand at the bottom feels it's way around, momentum imparted increases as it climbs up the chain. Eventually, the chain falls apart, segments of the Lich fall to the ground, and the cycle begins again.
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THE WHOLE WORLD2017
The Whole World is a surreal walking simulator game, where players wander the surface of a naked man as that same naked man. Delve into the depths of the inner regions, or go for a joyride on a lunar rover. Ride a giant phone into the exciting world of online dating.
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digital game, custom controllers
controllers 9” diameter, 7”tall
game dimensions variable
Live cacti serve as game controllers in a succulent racing game for two players. Each cactus corresponds with a direction in-game. When a player touches a real-life cactus, a virtual hand enters the screen and prods its virtual counterpart. If the on-screen character gets spun around, a motor activates and the physical cacti suddenly rotate to match. Painful pricks from barbed needles disrupt the normally desirable 'flow' of game play, and the controller itself gradually wilts as players poke and prod its fleshy buttons.
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TAP OUT SAGA2014
game for mobile and tablet, custom housing (wood, grip tape)
TAP OUT SAGA is a two player game built for tablets and phones which transforms on-screen cartoon violence into an intimate, playful, and fully embodied encounter with another player. A simple and ambiguous set of rules (tap to punch, don’t get punched) encourages improvisational play, where players must negotiate social, strategic, and physical interaction with one another.
The game features a variety of characters with unique abilities. For most characters, tapping and holding activates a special attack which leverages different affordances of the tablet, changing the game dramatically. For instance, one fighter dressed as a giant boulder tucks his arms into his suit and rolls based on the orientation of the device. This maneuver can deal massive damage, but also presents the risk of a quick defeat: if the Boulder’s opponent is able to win control of the device, they can roll the him backwards off the stage, defeating him instantly. Another fighter, a vampire bat, can latch on to her opponent and tap rapidly to drink blood and heal. The victim of this attack must shake the tablet vigorously to free themselves from the bat’s grasp. This attack consumes stamina, which the bat can only replenish by roosting on a cave ceiling without getting punched, causing the player controlling the bat to constantly switch between an offensive and defensive stance.