Yes, sweet, not soft – it will be a way to live virtual experiences for calm, gentle, quiet people, those who are not brain restless, those who know how to stay in the same place without falling asleep, for grannies, small children, posing adults – a mode for me somehow, and those who look like me. Perfectly.
I’m not saying – well – I say so anyway – that I’m just in the middle of science fiction and that I have no idea of the prices for the realization of my fantasies for all audiences. Everyone has their own abilities.
Mine is to get monsters out of my head, which will come true or not.
So : how can I live virtual reality in a gentle way, while having access to movement ? – since I’ve crossed the line, you can be sure that I won’t go back so quickly.
Until now, for these spectators, I had imagined the novice level of VR., the one in which one sits in the best seat, the one in which one is walked by hand by one’s grandmother on an already pre-traced path and that was it. Finally, I beg your pardon, it was already absolutely brilliant.
I know, right now I’m wasting time, I’m writing, and in the back of my mind, it’s working, it’s working, I’m trying to see what I want. I can’t think otherwise. I need a slightly stupid foreground.
There you go – I send my so lovely little cousin Seyan with his mother, in V.R in The Journey to the Center of the Earth. What’s he going to do? He’s a curious, brave little boy, he’ll want to know everything and save his mommy when she’s afraid of the monsters at the center of the Earth.
My goodness! I just had another idea.
It’s even more awesome.
Okay – I’ll give it to you for one day, it’s just pure madness.
So my adorable Seyan, who is 4 years old, and his mom, are on stage in VR, and see themselves as ghosts – they have to be transparent, to be able to see the show – but they have to have contours, to be able to be “together”.
They’re on their way (a bit like the first 3D games, where you couldn’t yet walk around freely – yes it’s cheaper and easier to manage at first. Perfectly, I’m reasonable). This show is scary – I put a video of what it was like: here.
The “monsters” appear bigger than the real size.
So Seyan will feel like: hiding – running backwards and laughing – checking that his mommy is coming with him – realizing that she will be tetanized on his way – attacking the monster to save his mommy.
He is a child, for him the real/imaginary border is very moving. He won’t feel at all like he’s at the side of artists – but at the side of the real characters.
If he can push something from the set against the monster, he will.
If he can go and hide behind an artist, he will too.
He’ll go too, because he’s my cousin, and so he never looks where he’s running, too busy looking behind him, so he’ll bump into artists.
Getting on the small plane.
Clinging to the balloons.
We agree, don’t we? A real child in a real stage set would be horribly disappointed: he can’t get in the little plane, it’s not a real plane at all – it’s a drawing. He can’t fly away with the balloons. The monsters will lose all their power, since they are projected on transparent canvases. And throwing tables on monsters, at 4 years old, is too heavy.
All this can only be achieved through digitization and virtual reality technologies.
– I’m just saying that in passing, so you don’t think I’m totally crazy. One of my goals is to appropriate what we can achieve with this and imagine activities that we can’t do without it. –
Which means what, concretely?
That in order to achieve all this, he must be able to :
turn around and run
to have a “decor” to hide under / behind which
grab his mom’s hand and force her to run with him
having a hold on the plane so you can “jump in” with mommy
have a hold on the balloons to be able to hover over the monster melee.
So: unless Altair manages to employ people who are as brilliant as they are crazy to bind, while being incredibly fast and responsive, it won’t be possible to offer this at the same time as the show.
It is necessary to allow time for editing and preparation of these different possible actions.
This gives the show a “second” life, in virtual reality.
What can also be interesting is to ask the children who will have gone to see the real show how they would have reacted if they had been on stage.
Don’t worry about the little ones: they won’t see any mischief and will answer exactly what they would like.
This will help prepare them – and make them want to drag mommy into the adventure.
I’ll admit that the show I chose to imagine the mode: sweetness is not too sweet and we’re back to the epic… for kids. It’s more something like that :
But I have my basis: it’s a question of proposing to these spectators to appropriate a few elements of the set, to move to access them, to have the real impression of going up, down, hanging on, taking shelter at one point of the stage – or getting comfortable to see well – . If it is necessary to catch a unicorn to caress it, we will be able to do it. I’m not against that. We can propose to the children (and not only) to activate the snow, the confetti, to put pink – or blue – or green – light on it, which doesn’t disturb anything or anyone, since they act only during their personal virtual sequence.
In the same way, we can offer them to choose a music, to balance between voices and music, to choose sound effects.
By the way, anything related to sound and lights, once conceived and thought out, will be valid almost instantaneously for all shows.
It will just be a matter of thinking of a setting – in the back of the stage I think – that is easy to understand and use.
And there, without being afraid (or not too afraid), without having your head upside down, blood in your ears, feet in the air, without desperately clinging to anything – you still access an active virtual reality mode, where you can act on the show, interact with it and above all live the feelings it awakens in you.
So, that’s it : the ❤ Sweet Mode ❤
Bonus : Santiago Borja, the pilot of the storm, and his absolutely incredible photographs. This guy deserves a movie – or at least to appear in a movie – he’s hallucinating. Here, the link to his portfolio.