Seanachai Quote

"Do you really think there are no larger answers to the small ones we can supply? Miguel, we know there are answers for everything. Unfortunately, we know very few of them." (Alexis Paninian to Mitchell Campion following a 4 minute teleportation from Paxton, Ohio to 3XNorth, 3YEast and 150Z off the Coast of Spain, circa 5/28 & 3 weeks, OSB airdate 4/7/1959).



Tuesday, September 22, 2015

We Are Waiting For You On the Cusp

It seems like it took forever.  12 years of developing a process for storybuilding with virtual reality technology.  And finally we are not so lonely anymore.

With those billions of dollars on the horizon 2018-2020, the band wagon is being loaded with the folks (entertainment corporate sorts) who have the wherewithal to get things going.  I am not one of those folks, but my heart and soul is in it.  I would like to live long enough to see it happen: the wider acceptance of a new storytelling medium using digital and immersion arts.  From poetic tales written across clay tablets to novels and film.  Now at last we readers will enter the stories we tell for as long as we like, experience the triumphs and pitfalls, and be out in time to have dinner with our families or get a good night's sleep in our own cozy beds.

So it isn't new.  In the fall of 2003 I made my first leap into these stories.  My person got imprinted with the best of all artistic environments and engaging backstories when I discovered the D'ni cavern with others from everywhere.  I met my best friends there.  I was invited to my first online wedding.  I started writing my first branches to the story already there, and I started a radio podcast and machinima company with seven other digital pioneers that aired monthly and included interviews with the Cyantists at Cyan Worlds.

Over the years I decided to learn how to tell and build stories too.  Not an easy task for a public school teacher, who had other pressing matters to manage, but I knew retirement was right around the corner.  I would have the opportunity to work at the job I loved full time.

In November at collaborative project (Immersive Edge) I worked on with 20 plus other artists from everywhere locations,will launch.  The producer and writer for the project asked me to do a 10 minute presentation on what goes into storybuilding.  I did not hesitate to accept, but I knew that meant the presentation had to be tight, honest and informative.  No monkeying around.  And the best place to start was to research what was out there, because a year ago I could google all day long and not a thing showed up.

Today I found two articles I want to use.  Because I think it will be interesting and potentially helpful I am going to ask others what they think storybuilding or storyworlds are.Within the next couple of weeks a definition and summary is sure to come out of that process.  Maybe now we can nail it down, so all those rich folks who think this has never been done will know it has been done, and we are waiting for them to arrive on the cusp.

Articles to Read from today's search: http://www.fastcodesign.com/3046634/how-hollywood-is-learning-to-tell-stories-in-virtual-reality
and https://storystudio.oculus.com/en-us/news/

Monday, September 21, 2015

Immersive Edge, a Hypergrid Story Launches November 8 & 9, 2015

Its been awhile since I've written to the Storybuilder.  All of my time this summer was spent creating tutorials, teaching tutorials or working on educational projects.  Today I finally got a chance to relive an old love of machinima making.  I don't think I've had such a good time working on a collaborative story since 50 of us Uru cavern explorers wrote, filmed, produced and acted out A Cavern Christmas Carol.  With a limited understanding of how to build a set 10 years ago, we worked courtesy of the nice folks at Cyan Worlds, who allowed us to produce a good-natured parody of their wonderful story/environmental build. 

This time from start to finish it is the work of 25 or so persons, who continue to work until the premiere date of November 8th on a hypergrid wide storybuild, the Immersive Edge. A very nice trailer for the entire project was produced and filmed by Nina Camplin.  It is a wonderful piece of machinima.  Her camera and editing work is always so professionally done.

Since I know less about the romance genre than most of the writers involved with the project, I decided to film something that fit my style better.  A video I could have fun doing and that I always wanted to try.  It only illustrates the scene I am working on.  Although I've been visiting the other builds and have access to their desk blotters, I won't know for sure what the story tells me until I read the narratives being done by Shannan Albright and Nara Malone.  I am looking forward to that, and our premiere/presentation day, November 8, 2015

Saturday, June 6, 2015

Making Education Fun and Authentic - Snafu Saga

Making Storybuild immersion "game" assets
circa 1870 Typing Machine

A Saga about a single immersion game object continued on for nearly two days.  Partly because I wanted to try out a Blender Addon, and partly because I had no plan for adding the texture, only that I had 3 small scraps of identifying material to inform explorers that the typing machine they were using is based on an 1870 Sholes and Glidden.

It was a time when this kind of gadgetry was innovation  - your own personal machine to type out letters on the fly - no printing press, no engraver's alpha blocks, just you and the keys.  Sound familiar?

Since I never really wanted to become a 90 wpm typist (something mother said "I could fall back on, when the romance didn't work out"), I went through some kind of mind clutter issue while building it.  I have no problem with the idea of typing machines now, but for some reason I couldn't make sense of the workflow with the addon (resorting to old tried and true Blender Cycling, even to the point of plugging in and out bump and specularity through the nodes myself), and I couldn't decide how to make my scraps look reasonably good.  The worst and best of the experience was deciding not to add individual keys.  I knew if I planned to sell my prop for money, I would need to do that, but for now the painted on keys will do a fine job of extending the story along. 

Next week I will write my promised review part 2 on the advantages and disadvantages of the addon.  The first thing I will  say it is not for beginning Blender Cycler persons.  There are too many steps that can go haywire, if all parts of the process are not done one after the other.  Lateral learners like me will go nuts trying to figure out why its all so dark, when there are 4 automatic lamps lighting up the viewport window.  And there is not much written documentation to read, so users need to pick up importants small pieces of information and workarounds for Blender that are more easily done without the addon.

There is also less clutter in the node editor, if the build is not too complex.  On the other hand there are several convenient "on the fly" buttons that speed up the initial process of getting to the specularity and lo poly bump map making that made the $30 worth paying.  I am glad I did not pay more for the addon.  But it could just be about me and the typing machine.  So  I need to work on a few more storybuild objects to see if I learned accumulated any knowledge about how to use the sliders  better than I use the plug in nodes. Most likely I will end up creating a hybrid texture painting workflow for myself.  If not it is going to take a very long time to finish any of my storybuilds.  I want my objects to look like rendered 1st person game objects in an open simulation metaverse.  There is always a balance between lovely to behold and performance.  In case the romance doesn't last?

It all ends up in the node editor anyway, and the baked pie turns out about the same.

Wednesday, May 27, 2015

Brantley No. 3 Shaft Storybuild Nearing Completion. Waterfalls and All.

 It is expected it will take an additional month to complete the Brantley No. 3 Shaft storybuild.  I've been working on it for 5 months, but the regions did increase from 1 to 16, so I am not fussing at myself too much.

The waterfalls is one of the places I like the best.  Being able to use Kayaker's boats and water surfaces, so the dugout canoe boaters can go up and down the falls was such a time saver.  My part was to build the falls, and the water animations.  It is open to anyone (including hypergrid visitors),  who wants to come boating solo or in small groups.  Canoes are available every day.  



Friday, May 22, 2015

Differentiating the Learning Curve Immersion Style

Robots are always ready to act.
I reduced my tutorial schedule this week, so I could learn and build.  I am learning to better model and rig quadrupeds.  Making four-legged creatures is daunting enough, but the added snafu is the bone and animation limitations of Open Sim.  Of course I want my fantasy horses to look like horses and act like horses.  It is going to take a few more days of practice to nail it down.  I am working with IKs (inverse kinetics) now, so I am nearing the final chapter of learning.  I did test the rigged avatar horse.  She needs a little more weight painting around her middle and some IK tweaking here and there between the ankles and the knees.

In between is storybuilding.  Because I like to work in a varied manner; a little 3d modeling (illustration), and some writing, I decided to work with my Robot Rachel, a bot device I plan to use for several purposes.


Robots are lo pol storybuilding & educational character devices.
 Why use a Character Device?
1.  Rachel is a good differentiation tool.  For students, explorers, life long learners who need a little extra help and motivation, she is there with the "reader" to tag along.  In her own sing song way, peppered with a lot of humor and storyline.  Her accompaniment  = less lonely.
2.  Rachel is a character in the story.  She is a typical climate condition robot that observes and reports on setting conditions (scene).  While reading a traditional book, the reader sees above, under and sometimes through a wall, street, ocean.  In 3d worlds movement could be prohibited by lack of access.  The author wants the reader to have information, and notecards are useful; however notecards are rather telling not showing kinds of devices.  The robot, on the other hand, starts up a conversation.  A interactive dialogue is a showing device, and watching the robot go out in get information where the avatar (reader) cannot go is still seeing on the part of the avatar.  The avatar is shown.
3.  Rachel educates the reader and explorer about how to navigate this entirely new kind of genre; the 3d immersion book that envelopes and transforms the reader as the reader moves through the tasks, puzzles, challenges (educational or entertainment) and rewards offered up by the opportunity.
4.  Fun.  Rachel is fun to use.  A bit annoying, but its the annoying kind of fun that I look forward to having in an interactive and immersive environment. 
5.  The major difference between 2d Rachel illustration, audio or video is that the student (reader) can put on the Robot Rachel outfit and take on the part of the robot, research, compile the data and show a new story.  A completely circular learning curve.













Monday, May 4, 2015

A Plan Coming Together - Immersive Book Expands

As of yesterday my "arable" regions increased to 39.  This means I can continue working on my plan to build a walk in "book" that includes:
  • 16 region Fiction Storybuild (Brantley No. 3 Shaft)
  •   9 region Standards Based Poetry Lesson (The Garden Poems)
  •   4 region Non-Fiction Build (Eridu Sumerian city) - with a colleague
  •   1 region Profile/Venue Build (Paintbox Farms Studio)
  •   two 4 var region Devokan Trust Storybuilds 
I realize this sounds like an awfully big task, and it is that, but one issue I am working on is resources -  how to best optimize the build, so my builds are not plagued with lag.  So far, so good in large part due to the fact I am trying to keep the triangle/prim count low, while the scripts are distributed over a wide area.   Since Brantley is 80% complete, I can concentrate on my 9 region standards based lesson.  This summer I plan to work with a colleague to build Eridu and continue to develop storybuilds on what regions remain.

During the month of May I will not be tutoring basic blender, but I do plan to tutor  special project (intermediary) lessons each week.  This will provide an opportunity for participants to complete a model over a two day period.  I expect to publish the schedule at the end of this first week of May.

Friday, May 1, 2015

Space Junk Presented to Hypergrid WIP Today


This week's storybuild was presented at the first Hypergrid Works in Progress in the Cookie II region.  Ruby O'Degee asked Sadie, her helper and assistant to model her outfit and display the Dowser Tractor that emerged from a muddy trench located in the northwest sector of the Brantley No. 3 Shaft region.  The dowser is a large contraption that houses a landing pad, building platform and a Tea Buggy.  The tea buggy is used to search out any anticipations of flood waters.

 Flood waters rise and fall with weather events that are not entirely expected, but it is suspected that certain climate or more mysterious causes are bringing about the high water.  Dr. Dutton agreed to Sadie's hire.  She goes out regularly to look for bubbling.

Monday, April 27, 2015

Terrifying Heights and a Zipline

 After yesterday's visit by the Metaverse Tours Group, I thought it necessary to clean up a few of the issues I noted needed tending, while I planned for Brantley's future that includes another expansion for flight.   Rare Find Mountain and Shaft are not expected to increase in size, but the flooded desert around the shaft will grow from a 2x2 region to a 4x4 region.  It will give flying machine pilots more room to maneuver and me more room to hide secrets.

One of the "secrets" I worked on today was near the top of the mountain.  There is a very dangerous section there that explorers sometimes fear.  For awhile I've wanted to add a Zipline, and there is no better place than in that hollow. So I found the only Zipline I could rummage up and bridged it over the path beneath.  Savvy explorers are still welcome to hike over a few rocks to get to the other side.  The adventurous and the less enlightened will want to ride the contraption.  Like the other diversions at Brantley, the Zipline is Use @ Your Own Risk.


Saturday, April 25, 2015

Metaverse Tour @ Brantley No. 3 Shaft

Today I was fortunate to have the Metaverse Tour Group stop by the Brantley No. 3 Shaft storybuild to take a look around.   The tours are a great way to check permissions (particularly when hyper-gridding explorers visit), monitor resources for whatever scripts need to run simultaneously, and keep up with the pesky non-player characters (NPC's) that are so important for good interactivity, but can cause problems anytime, and especially during visits by representative avatars (real people).

While most of the server worries I had did not happen.  The interactivity went surprisingly well, and the bullet physics were not problem at all, I still need to find a way to offer up hyper grid visitors free gifts in world and on the spot.   It is a difficult challenge for me.  After nearly two years of trying to figure out a way to give away a nice HUD to use with a flying machine, there is still reasonable way to do it.  Back to the drawing board for that one.

By the time some of the guests return to go through another round of puzzles, mini-games and detours (red herrings), I hope to have the final act of the storybuild done.  Then I can go on to the Garden Poems Build and a new Sumerian build that I plan to share with another builder.  Thank goodness for shared interests and passions for antiquity.




Brantley No. 3 Shaft is a Myst/Uru Explorer Tale, Devokan Trust Storybuild, Underwritten by Lakewater Educational Projects and edummersiveworlds.org.  Build & Story by Ruby O'Degee (a Fictive)

Sunday, April 19, 2015

A Lesson in Compomechanics

In May the Waymarker will be starting intermediate Blender tutorials.  A new teacher will be hosting the beginning 8 lessons, and Ruby will tutor intermediate participants.  Trying to keep it fun and immersive will be a challenge and Ruby needed character help, so she built her own rigged mesh assistant Sadie.  Sadie can do about anything Ruby does, but she needs to be told expressly by script, what moves to make and what words to say.  Sadie is already developing her own expressive attitude.  After all she was imagined out of a piece of brain scrap and comp parts, but that happens in any story.  So long as she is appropriately kind to tutorial participants, Waymarker visitors and other characters Ruby writes, Sadie will always be welcome at the Waymarker.


In fact, so excited is Ruby to have the help, she plans to tutor participants in how to build their own rigged mesh robots and friends during the May intermediate tutorials.  



Tuesday, April 14, 2015

Live Tutorial Navigation

If you plan to take Blender Tutorials either Live or Recorded, it is best to first learn your way around the world of Blender.  Like any foreign place it is a little confusing, but maps do help.  Maybe the following maps will help you to find your way through the maze of windows, viewports, drop down menus and buttons.

NOTE:  In order to shove everything under one roof, all the crooks and nannies in the Blender World are reached by opening up one door (menu) to see the one behind, or better said, underneath it.   Expect your options to change from Object to Edit Mode and in other modes, or processes.  Once you understand the concept of navigating around the screen, Blender will show you more hospitality.


Quick and Dirty Solutions: BLENDING BLENDER

Import OBJ -  Export DAE
BLENDING BLENDER
From my expanding arsenal of quick and dirty solutions comes another oldie but goodie solution for beginner to intermediate Blender Mesh Artists.  I like this one, because it takes about 20 minutes tops start to finish to produce some nice artifacts for your own build or to create gifts for friends.



It is also a great way to share some of your own textured art work, since the layout for the unwrap is easy and stable to apply.

Link for Free Sculpty Paints Lathe Here:  http://elout.home.xs4all.nl/sculptpaint/
Be sure to download latest JAVA Runtime Engine.  Your old one won't work, particularly if you are using Windows 7 or 8.1.

Also Note:  I like the ease of  (free) Sculpty Paints Lathe use, albeit lathes do exist in Blender.  Unless you desire for some reason to use Sculpty Paints for other purposes (not the drawing lathe), I no longer use these resources to create steps, terrain elements or arches.  These objects are better made (less steps and better results) in Blender (using Blender modifiers).




Tuesday, April 7, 2015

Alice in Wonderland, I did get to fall down the Rabbit Hole, Smack Dab into a Ticking Clock

As of late I decided to get out more, see more and learn more about how other storybuilds are put together.  This past weekend I had the good fortune to go on an expedition with Metaverse Tours to see Crazy Easter.   There are a few other equally good builds in the metaverse, but this is an immersion threshold that is difficult to reach. If taken as stills (illustrations for a great read the work is lovely and inspiring, but being able to walk through the builds is simply good fun.  And particularly for Alice in Wonderland, a favorite for me (the words sing in my head even when I'd rather the words didn't) - the work is lovely and inspiring, but being able to walk through the builds is simply good fun.

I'll let the aesthetic speak for it self.  Nice work to the Crazy Easter scene stager on the OS Grid, Open Sim.














Monday, April 6, 2015

Lattice - Metaphor and Modifier - A Favorite TOOL Tutorial

The Lattice cage/Lattice Modifier is one of my favorite Blender tools to use.  I so appreciate the way it works to preserve simple, easy to texture geometry, while bending and curving the original mesh.  No need for more polygons to create organic/useful objects. For some purposes the Lattice cage lathes without the mess.

Since its an oldie, but goodie, it is also Blender stable.  Nearly everyone can use it.

 
OBJECT MODE
1.  Add Mesh Object
2.  Enter EDIT MODE
3. Loop Cut & Slide  (for later bending)





1.  Enter OBJECT MODE
2.  Add Lattice (Lattice is a cage tool used to bend mesh without seriously disturbing the geometry that causes problems during the UV unwrapping and texturing process).
3.Deselect all.  Then select the Mesh first and the Lattice second (order is important).
4. KEYBOARD - Cntrl key and P key, then choose Set Parent to Object option form the menu that opens.
5.  Deselect all.
6. Select Mesh, then choose LATTICE modifier from the properties menu.
7.  Choose Lattice from Options in the field box shown in the slide upper right (likely the only option available.  This will further connect/confirm the Mesh is connected to the Lattice Cage.  The Lattice Cage is going to manipulate (bend, pull or stretch) the mesh.


1.  Deselect Mesh
2.  Select Lattice cage, and select Lattice from Properties Options (this new option opened when you selected the Lattice cage).
3.  In this case the cage loop cuts are made in the panel that opened when the Lattice option is chosen.
You've now prepared the set up for the Lattice cage manipulation to begin.

1.Enter EDIT MODE.
2. Now there is an option to choose Lattice cage vertices to manipulate with the B select box, C select area or individually one by one..






EDIT MODE
 Select the vertices you want to manipulateNotice the mesh is also being manipulated.  There are many creative uses for the Lattice cage.  How you manipulate the mesh object is up to you.





EDIT MODE
 Select the vertices you want to manipulate.
Use either with the mirror modifier or without.  In this case the ends of the mesh were not meant to be rotated and raised into the same bend.





CLOSING OUT
1.  Save Blender file.
2.  Enter OBJECT MODE.
3.  Select the Mesh

4. KEYBOARD - Alt key and C key, choose convert mesh from curve (if edit mode is entered, you will note the mesh is its original form, because its "curve" is not yet converted to mesh).  This is a very important step to remember when any "illusion" of a mesh is still an "illusion."  If something goes wrong during the conversion process, try it again with the saved Blender file.  You must be in object mode to finish the process.
5.  Once the mesh is "REAL," deselect it and  Delete the Lattice cage.  Check your improved object in EDIT MODE.  Notice how little the mesh was deformed during the process.

If you are still not sure how to use the LATTICE modifier, find out more about Live Blender tutorials at  Waymarker 88221 Live Tutorials







Thursday, March 26, 2015

Re-purpose and the Lineage of Invention

I am a great fan of re-purposing most anything.   We are inundated with useful tools that only need a bit of rethinking.   Why start over from scratch when you can discover a new appreciation for the lineage of invention?

I plan to offer up the gadgets in the Kitely Market for a nominal sum.  This will ensure the credits are intact and permissions that go with.  Anyone with access to the market can purchase one, or they can find uses for re-purposes by reviewing credits for the original use version (shown here following the notecard information.)  Of course, courtesy adaptations are being retrofitted for some of my favorite groups, who need a member labeled drawer.

 ---------------------------------------------------------------------
Lakewater Expedition Keeper Or Lakewater Storybuilder

Lateral storybuilding is not an easy organizational task.  To move a lateral story into a linear work requires record-keeping and time.  In addition there are the confusing decisions about how to best tell your story while its being written (particularly when there is no actual ending).  So time is spent trying to find a best HUD, in world book solution, single billboard or album display, so a re-purpose was found for an old and useful tool (see origin credits below).  Gone is a lot of my storybuilding clutter and in its place is a multipurpose gadget.

Instruction for Use - Expedition Keeper or Storybuilder Displays

1.  The re-purposed organizers are modify permissions, so that button labels can be changed, and drawers can be loaded with your own elements.  Changes to label can be done with any image manipulator, including  MS Paint or  Google Picasa.

2.   Exchange images that are included with the organizer for your own images as you go. Or change the default images if you like.  It is all up to you.

3.  Internal scripts are no modify, so they can't be made ineffective, but please do not remove any script from its original location or the organizer will not work. (See credits for information about opening scripts).

Expedition Keeper Closeup
4. The Expedition Keepers are easy to use  - for personal and group or world use.   One button/drawer for each expedition.  Keep all your photo images in one place.  Allow your guests and visitors to keep a copy of your photo.  Be sure to review your image permissions for images or artifacts you load into the organizer.  Hint* Add date in fine print to your button labels for each expedition, in case you visit a favorite place again.

Storybuilder Closeup
5. The Storybuilder is used both for resolving lateral storybuilding problems that arise when trying to organize and plot out a linear story with objects or events that occur over time.   It can also be used to display work in progress or advertise for real time actors/role players to take part in a story or journal one of their own.  Notice the drawer uses - all elements for storybuilds or stories only in the imagination.   Use your imagination to discover new ways of using the organizer.

6.  The last display window (card)  is reserved for MOAP (media on a prim).  Link this display window to your webpage, video that supports your story, or machinima that you plan to film. 

 STORYBUILDER BUTTONS FOR DRAWERS
 --------------------------------------------------------------
* CHARACTERS
 Use drawer to display your characters or advertise for actors/role players. 
*SETTINGS
 Use drawer to display the world settings you create or use for machinima.
*    RESEARCH
  Use drawer to store your photo research from other worlds or internet concepts.
*  CLUES
Use drawer to organize your notecards and photo clues (even objects. Display images that identify those chats (participants or locations).
*    DIALOGUE
Use drawer to store your chat logs (an important element in lateral storytelling).   Display images that identify those chats (participants or locations).
*   DEVICES
Use drawer to store devices, notecards, landmarks.  Display symbol images that identify those devices, notecards, landmarks.
*    MEMORIES
Use drawer to display memories of current events (important element in lateral storytelling).  Use for backstory (origin other worlds, games, experiences that your characters lived out).
*  SOUNDS
Use drawer to store sounds.  Display symbol images that identify those sounds.
*  PUZZLES
Use drawer to store photo resolutions of puzzles characters solved or visitors need to solve.
*  ANIMATIONS
Use drawer to store animations.  Display photo images that identify those animations.
* ART
Store and display art, story illustrations and concept art.
*   MAPS
Store maps of worlds, ages and locations for settings, plot graphs, charts, etc.
*  RED HERRINGS
Store photo images that depict red herrings (story arcs/branches that lead to nowhere for the purpose of delaying a plot.
* REWARDS/BADGES
Store badges or rewards for completing quests, the "read" of your storybuild.
* CONFLICT
Store and display visual images of conflicts, sword fights, interstellar battles, etc.
*   JOURNAL
Store photos of writings, notes, letters that are laying about your worlds or you would *  DRAWER
Miscellaneous whatnot.  The Kitchen sink and other visual images that were not stored anywhere else.  Revision discards you mean to keep, etc.
---------------------------------------------------------------------------------------------------------------
Special credits go to http://fleep.wikispaces.com/Texture+Organizer for instructions about how to build the original use texture organizer.   I used the tool for a few months, and then realized how it could resolve some of my other organizational problems with a bit of a rework and re-purpose.  





Wednesday, March 25, 2015

Back to Work on the Story @ Last

The Expedition Keeper is an adaptation of a useful tool.  The adaptation is an organizer to make sense of a lateral story that often confuses a reader who likes a linear read.

I just got started entering the characters.  I've a few more slots for supporting characters and one major character, a certain Dolly D'warlia that I will need Ghaelen D'Lareh to provide, since she is her original creation.  So fun to cross tall tell.

Tuesday, March 24, 2015

Looking for Photo-Phosphorescent Purple Tea


On the Trail to the Top of Mount Rare Find
I do appreciate new building lighting options in Open Sim.  Regardless of what medium I choose to work in (prim or mesh), being able to adjust environmental lighting with colored texture helps to resolve the problems I had with 8 "lamp lights" per region.  The effect of environmental lights is more specific also and does not affect the overall wind lights like lamps do. Photo-phosphorescent algae and a purple tea glow---

Sunday, March 22, 2015

Brantley No.3 Shaft Progress

Lake Brantley Rare Find Shaft
Brantley No. 3 Shaft storybuild, an Uru explorer tale, is nearly ready to ship off to the Devokan Grid. The story summary about it came to be follows...
------------------------------------------------------------

Brantley No. 3 Shaft, Uru Refugee Explorer Storybuild, Revision VI, Spring 2015

Ruby's latest revision build is Brantley No. 3 Shaft, located 4.82 KM north and 4.82 KM west of the D'ni Restoration fence gate. During the spring of 2008 a antediluvian flood caused mass devastation in a rarely seen area of the Brantley Lake Park area,  somewhere close to the cavern that Ruby grew to love during her many expeditions to find out more about the 10,000 year old civilization of age writers.

This build is a written age, like the others she learned to create with mesh tools, even though Ruby is absolutely sure is not of D'ni origin. In fact, it was Dr. Matt R. Dutton and his nefarious colleague, Uwigor Orlongears who commissioned Ruby to revise the Brantley Shaft they built in late 2006 while explorers were busily making and blowing up pellets to lighten the lake. As long time members of the International Historical Consortium and co-conspirators in the preparation and distribution of algae grown best in the dark recesses of the D'ni cavern, the two evil doers proposed a better solution for the cavern. That solution was darkness (so they could better grow their concoction).

After a long detailed story about how narrow focused Ruby came to associate with this endeavor to break into the D'ni shaft and harvest tea, she regrets getting involved at all, but expenses were mounting at the Midtown Arts Museum, and she needed a little help from friends and enemies after Hurricane Sandy separated the museum's under the overpass terrain from the rest of Poohkeepsietomeway. Two years later parts of the Poohkeepsietomeway neighborhood submerged into the middle of the Hudson River rose up, but it was too late to get out of her deal with the late Harold Diego, the Consortium's founder.

The plots we weave aren't always what it is expected. Studying for years how to build pleasant ages where explorers can retreat is not her calling. Ruby O'Degee's storybuilds more likely include family friendly murder, mystery, intrigue and cozy mayhem.

Along with her adversaries, she brings her old friends from the Midtown Ladies Guild, Madge Middicuddles, Beatrice Hollings, Clarice Dooloddle and sometimes, Ghaelen D'Lareh's aunt Dolly D'warlia. it is a mess, but it is her explorer story. No worries about treading through the canon of other Cyantist or other writers.

Most recently no worries about how to fill her builds with content.  Ruby, regardless of shortcomings and pitfalls, the calamities of the past 12 years and plots that led to nowhere, she continues to learn about writing a fairly lo poly, general rated age. If the restoration was still opening new ages to explorers, her age writing story might never happened, so busy she would be producing her documentaries and making minor storyline trouble between cavern updates. Sometimes life and storybuilding takes an odd turn now and then.

Brantley No. 3 Shaft includes:
  • Captain Hollings Pirate Ship Artifact.
  • Hiking Trail to the top of Mount Rare Find.
  • DUT Front End Loader Tractor and Asteroid Defense System.
  • Advertised Opening to the D'ni Restoration Cavern (possible ruse, red herring, mislead).
  • Linking Books to other explorer stories and ages.
  • An open letter to Cyan hidden someplace in the build reguesting (pleading, begging) that they take another look into Open Sim now that Devokan builds are many, that refugees are continuing (after all these years) to build, and that the use of Mesh and Bullet Physics is taking us in a whole new direction.
Nothing would be finer than a Cyan managed grid that refugees could use and fund together (personal narrowly focused opinion of Ruby O'Degee, curator of Midtown Arts Museum/Lakewater Project, Myst/Uru refugee, Obduction Kickstarter Supporter, and Devokan Trustee.

Friday, March 20, 2015

Contract Bid Work Shipped

Texture Painted Details for the Tractor

Work continues at the Brantley No. 3 Shaft, including the original design, unique modeling/texturing and assembly of the Time Warp Tractors bid by Dr. Matt E. Dutton.   The remote controlled flying tractor (drone) includes a planet terrain shovel, a climate controlled napping cab, large cargo bay, asteroid defense system, 6 engines, light beams, and space dust, accumulate during its first navigation.  No one wants a piece of space junk that looks newish.



5 layers of trails circle the mountain from Brantley bottom to top.

Ruby's next project on Brantley is to erect the DUT Co (Down Under Tea Company) office complex that looks an awfully lot like a Templar dungeon.   No telling what Matt will ask for next?

Ruby's Waymarker workplace is a place to turn out models.


Ruby always starts her work with her own plans.

Wednesday, March 18, 2015

Goings On 2

Since my last report about how much baking has changed (not my mother's notion of baking), I've been working on a way to export my model out of Blender and into my Open Sim world directly.  There are a few clues out there in tutorial land, but every thread I researched failed to answer the question about how to use a baked cycles render; fully complete with color, shadings, and all the wondrous data that nodes could add, without using "out of Blender" image manipulation tools.

Then it dawned on me after a few days of leaving the irascible thing alone, that I was writing the wrong ending.

So I changed my thinking and took the easier route, and of course, the process worked fine.   Now I can texture my models in Blender Cycles and import it into Waymarker 88221 without leaving Blender.  Since my next endeavor is a bit more complicated than an box (22 piece interstellar space station), it will be nice to know that 2.73a was worth downloading.

A timely discovery too.  Today we will be going over the process during my Waymarker Tutorial.