The Fool

Theme / Shows & video games links

Now that I’m relaxed because I don’t care any more about my hopes, ideas come to me in droves. I don’t accept any comments on this state of my intelligence – what do you want me to say? I’m a fragile little being, and that’s it. Pfff. So, being totally freed from the weight of really realizing Altair, everything is better. 😀

And now, the Fool appears to my dazzled (yes : dazzled, that’s what I said & wanted to say) mind.

The Fool is the secondary character par excellence. ( < yes ? “par excellence” ? do you speak French ? so, that’s so cool, so do I )
He relaxes the most dreadful atmospheres.
When it’s shooting all over the place and you’re walking on the dead, who comes up with his little sentence, completely off topic? The fool.

You find him in the cinema – in the good films, the films of those who are not afraid, on the contrary, to break the atmosphere they have exhausted themselves creating. You find him in the plays. You find him in the best dance shows. You find him in the circus, of course. You find him in puppet shows, and and

and of course : you find him in video games. I’m going to avoid the list trick – even if I’m in good shape – & stick to my own loves in terms of Fools.
Borderland: the game is graphically beautiful – in the comic book spirit, with the contours well marked. But Borderland, when you talk about it, immediately comes Cl4pTp. The dumb robot. What does Rayman do without Globox?

The Fool is always beside the point, he is often completely idiotic, and above all he serves to relax – or dismay – the main character – and the audience with him.
The 5th Element has become cult thanks to Ruby‘s character (so incredibly played by Chris Tucker)

So here is the bridge of the day: I have as many titles on both sides, in shows as in games, which make maximum use of the secondary character of the fool.

So I’m not going to hesitate to create the link.
I set the theme.
I’m going to annoy all the developers who are creating adventure/action games: that’s where the most beautiful game fools are.
The first one who is ok on the principle :

– we find a play that fits the game – if we don’t find it, we write it. But we’ll find it.
– we launch, for the writing of the play, a moment of confrontation: it will be played in totally cheated at the time of the performance.
– we know in advance which moments will have to be taken in motion capture and in 360 camera – moments that will therefore be particularly well taken care of.

It takes at least a season to put something like this together. One season, I’m very optimistic. I’m not going to tell you that we snap our fingers and off we go – especially if you consider that we have work to finalize on both sides: play and show. From a logistical point of view, it’s easier to work with games that are already released but that need new content to load in order to continue to exist.
Here the time limit of a season can be kept – “live” show companies work fast.

Being in the theme of the fool, obviously the show will be centred on this character, with all its potentialities.
Fools rarely fight – but when they find themselves in the middle of a truly beautiful epic action, they make an incredible mess.

And that suits me for what I want in I had thought of two teams and a solo character, which confuses the game.
As an unbearable solo character, the fool is in first place.

Once again, the players are going to go crazy (that’s good, that’s my theme) – and that will result in a competition that will still be talked about 30 years later. And that’s my goal.

& For Virtual Reality experiments

it can give something … so stupid !

Already because, with a general theme of shows around the fool, we will have many, many, proposals.
Then because, obviously, we will have to propose the Virtual Reality of the Fool. To be off-topic with regard to the expectations of the public. To seek and find the moment/the places where the public will say: but no, they are serious?
And beware, there is a pitfall – it is easy, but it is not a question of forgetting it. If I talk about the virtual reality of the fool, the audience’s expectation will be to find themselves: in the toilet, under their shoes, at the top of a funnel, in a funnel, in a psychedelic-like experience of the 70s.
If someone offers me that, I say: ok, I was expecting it, it’s cool. But I’m not amazed at all.
I go out and I found this: not bad.
So if I have something to say about the creation of these proposals, it’s no to the funnel, the toilet, the soles. I want to be surprised.

So my fool will stay on stage, and his virtual passenger with him, and since I’m putting him in an adventure/epic action show, he’ll be in a horribly stressful environment.

So far I’ve been thinking of virtual reality as a “place” where the viewer gets stuck, and I’m giving him a little bit of something to act with, something to save himself from – these are physical actions.
For the Fool, I want something else.

I want to let him choose.
To put it plainly: you put on your helmet. You are propelled to the virtual stage. You are the fool. You’re not with the fool. You are not in the fool. You are the fool. If you do nothing, nothing happens.
If you move, you move with the abilities of the fool. No ? Of course yes. That’s the game.
The moment you move, you interact with the other characters on stage. – For example, if you are Cl4p-Tp, you will find yourself in front of all the doors, trying to open. You are designed to open doors. Not to be a hero. – No ? What does that mean, “no” ? No is not the correct answer.-
If you don’t move, you’re slaughtered – virtual reality stops – bad choice.
If you move, you can either go to your comrade(s) or you can go to the enemies – but you can only roll on your poor wheel, fear the stairs more than the plague and open doors. Of course, for this character, there will be stairs everywhere.
The game? Saving your buddy – or not.

There’s no point in adding foolish “tricks” to characters who are already foolish. On the other hand, pushing their flaws to the max, exploiting them and offering you to play, that’s fun. And here, I don’t forget the Virtual Reality experience, I tell you.

And there again, I have enough to build Virtual Reality for a person or for groups. By making the most of the game and the related show, and by using all the shows of the theme as add-ons.

For this one, Cendrillon by Malandain Ballet, which is a remarkable dance show, I have three fool seats. The mother and the two sisters. I let you play: you are either the mother or one of the sisters. And you’re going to … dance or not. Succeed on stage or not. Play with your crutches or not.

The entrance picture is enough – you’ll find out a little more about what I’m talking about from 00:49 .

This means: that I propose you to dance – that I continue in my stubborn idea of using Artificial Intelligence to adapt to your bad movements – that yes, I still haven’t slowed down.

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Featured Image : Cl4p-Tp in Borderlands 2

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