A little flash doodle

Ooh, get me! I do writing now

I went to the NLAB Open Seminar on Friday in Leicester, where there were various workshops dedicated to online and digital writing. I've really enjoyed the NLAB sessions over the past few months, and they've helped me to filter some ideas about writing for my films and reconnected me to the web as an art space.

Now, I have to admit I'm a bit of a goon. The first session was called 'Writing games for grown-ups'. I got really excited - I'd love to write games for grown-ups. Wrong! This was games to help grown-ups write. What an idiot. I kept my disappointment and embarrasment to myself, but then we got started, and it turned out to be a great session. We had to do two main exercises, and here are the results - unedited, and perhaps not as good as I thought they were on Friday!

OK, so the first exercise started by describing an object in the seminar room - then describing it's journey to the venue. Remember, we had only five minutes for this, so it's understandably a bit rough!

"The TV snoozes peacefully, the standby light the only clue that it is still alive. It makes a loud yawn and click, and crackles as light becomes brighter behind its single glass eye. It consumes breakfast hungrily, on BBC, ITV and sometimes on the cable channels. It flicks to the travel channel, and sets off on a bus journey through the far off reaches of the world, a young, enthusiastic presenter as it's guide. Surfing through, it eventually arrives at the college. PR+ guides it up through the channels until it reaches a new place, "308: Seminar Room". Finally settled on the channel, the TV pretends to sleep, listening in on writers struggling to describe inanimate objects. It looks across and spies a black shirted man busily scribbling. It begins to feel uncomfortable; "He's writing about me", thinks the TV. He stares ahead. "I'll just pretend I'm not here"".

The second exercise involved us describing a place, either fictional or real (I chose a beer garden in St. Davids). Halfway through, the workshop leader gave us a prop, which we had to incorporate into the story. Here goes...

"This place is the place where the friendliest dog in the world tried to lick everyone once, in turn. It's the place where Stuart knocked over his beer and ruined at least one pack of cigarettes. It's a place where you can completely forget there's a world beyond, a place where low level drug dealers, happy campers and barbequed families jostle for bench space, next to the parrafin heaters (once the sun drops, it'll be cold), and munch away on crinkle-cut crisps and Nobby's Nuts. We've been here for hours, and to be honest, if time stopped now, forever, I'd be perfectly happy. Jason is using his glasses to chase an ant around the table, focussing the dying sun through the lens to make a death ray. It's like a B-Movie ending, 'Antor' finally chased down by the laser-eyed hero. We all shout, laughing, for him to stop. He does, and puts his glasses back on. Stuart drops yet another glass of beer on the floor - it shatters loudly and the whole place erupts in cheers. Stuart takes a bow - even he thinks it's funny"

Ahem. Anyway, the other sessions were less practical, but equally useful. Kate Pullinger introduced her new project, Inanimate Alice - www.inanimatealice.com. You should check it out. The day ended with a screening of a web film called EPIC 2014 - http://www.robinsloan.com/epic/ - a scary but funny vision of the future of the web. I am trying to wean myself off Google and Amazon as we speak.

Space....Man

I doodled this yesterday. I'm going to colour it up in Flash, and I'll post the finished version next week. I just thought you might like to see it. I might even turn the spaceman into a Machinima character.

Ricard has posted some stuff about the machinima project on his site - http://www.la-interactiva.co.uk

I felt the fear...

Yesterday, Me, Steve Sheil, Chris Cooke and John Ross went to Bradford for the last day of the 5th Fantastic Films Weekend. It was a great day, and we saw some great stuff, and heard some great people speak, all topped off by a great curry before driving home!

Steve's new film, 'Through a Vulture Eye', was on as part of the shorts screening, and there were archive screenings of 'The Final Programme', 'Theatre of Blood', and 'The Wicker Man', with introductions. - A sideshow highlight was an exhibition of original drawings, models and clips by Ray Harryhausen.

There are so many highlights to write about, but the key things that stood out for me were;

• The Harryhausen Exhibit - It goes without saying that one of the formative movie experiences of any child are Harryhausen's films. So it was great to see models of the skeletons, and clips of favourite moments. There qwere some beautiful models of heads from an old hansel and gretel stop motion project and clips of a king midas film I'd not seen before, which were great, with a much more children's look and feel. What was really good was watching a group of kids watching the shorts and loving the dinosaurs, which was something of a relief in our cgi soaked age. It's great to be reminded of how beautiful and effective stop motion is.
• Theatre of Blood - If you've never seen this film, you should treat yourself, because it's a pure delight! Vincent Price is an old ham called Edward Lionheart who exacts bloody revenge on his critics in the form of Shakespearean murders. It's so great to see a film where everybody is clearly loving their work, and acting up like it's the last reel of film left on earth. It's so good, and everyone is great in it, but Eric Sykes quietly steals the show for me, sneaking in comedy business all over the place. If you ever see it in the telly guide, ring in sick, and email me so I can ring in sick too.
• The Final Programme - I've never seen this film before, but the write up sounded great:
  
  The Final Programme is an unsettling slice of apocalyptic future shock that combines the talents of novelist Michael Moorcock and director Robert Fuest. Jon Finch is Jerry Cornelius, a sexually ambiguous anti-hero and playboy scientist seeking a vital piece of microfilm that can assist a giant computer in achieving the final programme: a self-fertilising, self-regenerating, immortal hermaphrodite, retaining all of mankind’s knowledge. With its messianic sub-plot and stunning production design this is a movie that is both of its time and ahead of its time – a psychedelic bad trip with a quasi Avengers feel. Bizarre ain’t the word.
  
  It was one of those great films that could never be made now; completely mad, but filled with it's own bizarre logic, and brilliant characters - my favourite being the three bumbling scientists. If it was made now, it would have to be a spoof, probably with Mike Myers in it. A while a go, Steve wrote a blog post called 'Fear of The Daft', about the fear that film-makers seem to feel now about going out on a limb and trying out mad ideas - funding has led the industry down a road of smoothing out the edgier ideas, and film-makers are seemingly forced to reference previously innovative ideas. None of that here! Robert Feust, the director of the film spoke at the beginning about the film and making it. He regaled us with great stories of how he got the film financed and how they worked around the constraints of a low budget, by coming up with ideas, not by calming his vision down. It was an inspiration to hear those tales, and made even better by the fact that he was a proper old school luvvie, and a bit like the old drunk from the Fast Show!

So, today, I'm inspired - I'm drawing away for 'In Spite of All the Damage..', working on the Bash Street kids - style project, and despite all the hurdles that the university where i work chucks in the way, feeling the fear and doing it anyway! On Friday, I'm off to a creative narrative workshop day in Leicester, as part of a group called NLAB I joined. - I'm really looking forward to it - the previous days I've been to have been great, and coffee is in constant supply, which is worth the admission price (actually, it's free) alone. I'll post about it later, should be good.

Don't put your avatar on the stage, Mrs. Worthington

I was in Second Life yesterday, tidying up the final bits on the avatars so Ricard can start filming, and started thinking about the whole game/animation/art/performance sphere that I've touched on briefly before.

Ok, so what's happening in second life is this - I've created costumes that the avatars (actors) wear. Then the puppeteers (players) control the actors who play the characters. That's quite a few layers - like playing a superhero; Christopher Reeve plays Kal El plays Clark Kent plays Superman.

It feels like a stage/game space. I am in a game, building objects. - However, I'm not building objects like i would in, say, Maya - I'm standing there (- or at least my avatar is) physically building objects, and adding textures and moving them around. Once I've made these objects, they exist and mimic the real world, but they are toys - props. That is, if I build a car in Second Life, it is only pretend - I don't need the car to get around, I can fly and teleport, so it's just a nice made up thing.

When I was at 'May You Live in Interesting Times' in Cardiff last October, the group I was with were talking about the difference between gaming/performance and art. Blast Theory were at the festival presenting Can You See Me Now, a performance game that exists both in the real world and virtually. It's a kind of 'tig' game, with players on the streets and online occupying the city and a 3-d representation of the city respectively. If you compare it to, for example, a Zelda game, there is a subtle difference. In Can You See Me Now, you play as yourself, and your tactical and even moral choices within the game are yours. If you play Zelda, you are a player 'playing' Link, in Link's world, with Link's concerns and character traits.

Second Life strikes a strange space in-between. In the world, I can have a Virtual Cardiff if I want, and an almost completely open ended experience. I can't however play as myself. That is, I can't go in as Gareth Howell, there are a set of predefined names I must use. To my constant regret and embarrasment, I am now Gareth Shatner in Second Life. Then there is the generic avatar, which looks nothing like me, which is probably a good thing! - And if I change my hair, jacket, bum and belly size or whatever in SL, it's unlikely I'm going to choose my standard issue George @ ASDA jeans, so I become a character. Like if I'm in a game. Or a play.

So then, if I'm in the game, as a character, then make that character dress up and act as another character, we're back to the Superman analogy. In Machinima, we're making characters who serve a narrative, and have motivations, gestures and 'voice' which are not me (as the player).
However, I guess Gareth Shatner is me. Or is he? I'd never dream of saying 'LOL' to anyone, or breakdancing at a meeting, and try as I might, I can't fly. Gareth Shatner can. And he can build things, and he can lose 10lbs just by dragging a slider. And he's an actor. In Machinima films. I hate him!

So where do I sit in this? I'm not the director, 'cos I can only control Shatner, not the rest of the cast. I've decided that in Second Life, I'm like Jiminy Crickett, or the Numskulls. And the monitor in my office is actually inside Shatner's head, just behind the eyes. That makes me feel good, because I was getting all confused!

Remember the Golem I was on about? Here's the doodle of him and the magician that sprang my insomnia last week.

Here's him a bit nicer...












And here's him cynically reworked to cash in on another card frenzy invented by Clinton's.













The other night when I was walking home (and not even drunk!), I found myself trying to walk like him, practising for the day I don the ultra-lycra Motion Capture suit. I really do wish I could lose 10lbs by dragging a slider!

Getting to know you...

Sometimes, it's a bit difficult to talk about the work I'm making, cos I don't want to spill every bean, sometimes I'm sworn to secrecy, and sometimes I don't know how to fully articulate where I'm going or how I'm arriving at the results I'm arriving at.

However, I'm currently working on some new characters for a range of projects, and have been thinking about that quite a lot.

I read an interview with Jon Burgerman the other week (who did a great talk at our latest 'Loving your Work' event at Eye Candy), and he talked about how a doodle can sometimes take a long time just to get right. It's easy to think that a doodle is a doodle, and the time it takes to come out of the pen is the entire time of the process attached to it. But in a way, it's like casting/acting and wardrobe all at the same time - it takes a while to find the character you want. It's a bit like that thing where hammy old actors talk about how they 'always start with the shoes, darling' - I kind of always start with the heads. I guess it's then that you can see the person you are trying to bring to life. My heads are always really simple - kind of playmobil style spheres in a way with contour lines on them. I like the simplicity of it, and the kind of deadpan expression. - It's oddly naturalistic, in that animation characters are so often exaggerated to express a stereotype, but these simple heads are more like real life because most people spend most of their time with their faces fairly straight. The deadpan face somehow allows you to look deeper to understand the character.

I read so many animation and cartooning books that say things like - a posh lady walks like this, a fat man is this kind of character etc., and it drives me mad. Animation so rarely gets beyond first impressions. - So, if you strip the face of all the cliches, potentially you can give more depth. I hope so!

For the Second Life project, I was working to a brief, and had to 'characterise' to personality types. It was a fight to get across the need not to give the whole character away from first impressions, but Ricard had seen the characters from 'Angels', so we were able to reach a point where the characters were enough 'mine' and enough 'his' to work well.

I'm currently working with another film-maker, Mark Devenport, to develop a new cartoon, set in a primary school, a kind of Peanuts meets Bash Street Kids, by way of Last of the Summer Wine, and last night I started some character design for a new short called 'In Spite of all the Damage I've Done', which is a really simple story, a kind of sequel (I think) to Angels, based around a Be Good Tanyas track.

The most exciting new project though, may be a new fictional blog I'm working on. I was trying to find a way to loosen up the whole animation process, which is in a way linked to my thoughts about live art and spontaneous animation. The idea is to be able to develop characters and stories 'live', through creating a blog by a fictional character, who just happens to be a cartoon.

The blog allows for slower development of character, from 'Hi, Welcome to my Blog' to 'Yesterday, my heart got broke', and allows me to sneak in narrative ideas that can be developed, or abandoned as I work out what works. I don't know what the blog will lead to, whether I'll pull strands out to turn into scripts, or whether I'll just let it go where it wants to go for it's own sake. The idea is to give me a space to work through animation and illustration ideas, and post them within a context. -I've written a few pieces to start the story, and I'll post the URL when it's set up.

Oh, yes - last night I accidentally came up with a new idea for a short, I can't tell you much about it for now, but it involves a Golem. - I was doodling and one of my standard monster characters came out (I generally ignore the standard monster character, it's like my phone doodle), but this time I thought it looked really nice, especially when I drew a Victorian magician next to it, which looked a bit like the Pringles man. From then, it was a simple case of a bit of common insomnia, and the seed of a new film was sown.

In real life...
I moved house last week; cheated by watching sneak preview Lost while babysitting (therefore destroying tonight's TV); and as you know, went to see Douglas Coupland, which was good, but ruined by a rubbish interviewer, who didn't even touch on the big themes of Coup Land. Oh, and Be Good Tanyas announced their new album! - It's been a long wait, nearly as long as the wait for the Breeders 3rd album.

3 hours to Coupland

Douglas Coupland is speaking tonight at Broadway! I'm really excited, because I think Coupland is possibly my favourite author. I was thinking about it last night talking to Matt;

I think part of the reason is because I feel like I've grown up with his books - they seem to fit quite nicely along the timeline of my life from the mid-nineties onwards.

The first book of his which really had an impact on me was Microserfs - I liked the other books, but this felt like the one where his characters became really 3-d, and also, coming at the time that we were starting Active Ingredient, it felt like someone was putting our lives down in a book! - It has some amazing passages in it - my favourite moment is the revealing of the tiny white lego house, and "Hello Jed" - If you haven't read it, I won't explain those bits further, I don't want to spoil it.

What strikes me about all the books is the warmth, and I think love for the characters - It doesn't read like Bret Easton Ellis, whose books I have always found difficult - a bit nasty (except Glamorama, which is really good). I'm a bit soft, so I don't mind admitting to a few near-sobs at the end of his books! - I was really angry at the end of Microserfs because I didn't want the characters to end!

Some favourite Douglas Coupland moments (remembered moments, so may not be accurate if they even exist at all);

"My name's Jared, I'm a ghost" - Girlfriend in a Coma. The opening line.

The Dead Speak from Life after God - beautiful - made into short films for MTV, you can see them on www.coupland.com

Letter to Kurt Cobain from Polaroids from the Dead

A story from an anthology about the turn of the millenium - can't remember what it's called, but it's about a special effects guy.

and many, many more... His latest books, Eleanor Rigby and Hey Nostradamus! may be his best yet, I loved them both - tonight we'll get a reading from JPod, which Jeanie has sneakily started reading already and has probably finished by now.

How Coupland, blogging about Coupland. I think I'll spend the rest of the afternoon drawing flames in Biro on pictures in the Ikea catalogue.

Second Life report
We're nearly there with the first episode of Ricard's machinima series - all the characters are finished and tidied, with their facial animations on, and I'll be able to post some screenshots from the pilot episode and a URL to the site next week.

The best things in life...

Ok, not a post about machinima, but these are the things that get me out of bed in the morning.

Steven and Jeanie have both posted about favourite films on their sites, so I thought I'd add my own (and couldn't resist adding some more). I know this must appear as a fairly self-indulgent exercise, but Steve has a theory that the films you make subconciously project or at least give a glimpse of a world view. I guess it's the same for what you watch in many ways - not necessarily the content, but the way a film is structured/shot/edited - How many times have you said, 'oh (insert name here) would love that' - it's not entirely based on the subject matter - otherwise a good few people I know would be serial killers. I think we watch, or at least make favourites of, the films/books/songs/pictures that mirror our selves, or at least allow us to access that part of ourself.

AfterLife: this is genuinely the most affecting film I have ever seen. It's truly beautiful, and I could watch it for ever. It's about a halfway house between this world and the next. It uses documentary stories and non-actors, and is filmed in the most amazing way. It has stayed with me ever since I saw it, and if you watch it, I hope it does the same to you. I had to get it on import, from amazon.com.




Be Good Tanyas: Be Good Tanyas make me so happy! Check out www.begoodtanyas.com - it will make you happy too...



Peanuts: Peanuts is brilliant, but you know that already!

Picture Day!

I've got quite a few new pics to show of Second Life avatars. All the characters are nearly finished and ready to go.

Sara and Makiao have been scripting a system which allows our machinima 'actors' to change expressions instantly. I supplied them with a range of faces - simple expression things, which are mapped onto an invisible obje ct which sits over the centre of the face - here's the pics, with notes...

This first one is us meeting in world to look at the face mapping system. Sara is dressed in her punker/skater-girl outfit, I am dressed in my usually big-girls blouse dolly attire - I really need to get something more macho, I'm beginning to feel like a virtual Grayson Perry - and Ricard is, for some reason, dressed as a large coke with bendy straw.

More pics...




















Meet the family...



Here's the characters, all ready for their face mapping. This image doesn't really do them justice, cos it's from a fairly rubbish computer, so Nana's glasses for example render as hexagons instead of circles. But still you can see how it's progresses - It's a pity the Sabina character is hidden behind nana and grandad, next time I'll make individual portraits. What's really made my day with this project is how easily my 2-d character designs became 3-d - the translation is great, which i didn't think it would be. It's actually made my drawing better too, because working on building objects from really simple shapes makes you revisit drawing 101 about structure and proportion.

And in Real Life News....
In my profile bit right at the beginning, I mentioned I shared a shop with a friend. It's called Eye Candy and it sells all sorts of sweet arty stuff. We launched an online shop at the start of May, which coincided with SideShow, a kind of fringey add on to the British Art Show. Active Ingredient, the company I used to work with (one day, when drunk, I will type in a long post about what exactly I mean by 'used to work with'...-that's not a promise, more a fear...), set up an online streaming project called MAKE TV. Me and Nicola (who I share the shop with) decided to do a weekly QVC-style shopping channel, desperately selling our wares. Last night was the final one, and we decided to stage a row on air. There'd been an article in the Guardian on Saturday about TV channels that no-one watches, so we wanted to spoof that... I'm archiving the webcasts at the moment, and will link to them soon. It was a really good laugh, and we hopefully got more people watching than the folks in the paper. On Saturday, I went over to Steven and Jeanie's to play banjo and watch TV, and we watched some of the worst telly on earth. - You become hypnotised by the desperation of some poor media graduate sat for four hours trying to get drunks to ring in to answer some riddle so cryptic, I'm sure Dan Brown is penning some shit best-seller about it now, or at least getting his wife to. It's like working in a call centre, except no-one's calling in. I worked in a call centre, which is another long post to come, and it was desperate - trying to sell bad software to people who either had better stuff, or didn't want it/know what it was, or own a computer...

Anyway, I'll post a link to the archives soon, in the meantime, here's Jeanie and Steve's daughter Betsy watching us online...

Messing with my Head

Here's those pictures I promised of me and Sara and Makiao working in Second Life... We're trying to work out how to apply seperate textures for different parts of the face. I've made vector file images of all the faces in 6 different expressions and we'll use a script to call the correct one when we need to. Even in Second Life, I feel like a bit of a goon dressed in my big dolly outfit while the others flounce about in their cool club gear!





In the bottom picture, you can see a purple disc - this is a posing stand, so you can build directly onto your avatar. It makes life a lot easier. If you don't use it, your character reacts to mouse moves as if it would in game, so dressing it is a bit like trying to put socks on a dog!

Machinimation

Had another meeting in Second Life with Sara/Cory the other day and a guy called Makiao (his second life name), who is a wiz with all the scripting and more advanced stuff. I've got some great pictures which I'll post soon - they're on another computer.

As I said in a previous post, I'm thinking of doing some machinima of my own once Ricard's project is finished - I can't wait to be able to tell you more about it, but it's all under wraps currently until it's launched. We had a discussion the other day about second life/machinima as a film set, and it's quite interesting from an animation point of view. Because it's real time, you are able to shoot/reshoot/set up/try different things on stage. - With animation, you painstakingly work out exactly each shot and make it just like that, there's really not much room for the happy accident. I realise I'm generalising here, but I'm thinking of my own experiences as an animator.

I've been thinking a lot about how to use actors in animation, to pull out the nuances of how an actor not only speaks, but moves and emotes - I'd like to look at devising with actors to make cartoons. I find scriptwriting quite difficult in isolation - well, not difficult as such, but it's not so lively. In live action, there is a long tradition of improvisation being used to block scenes and pull out new ideas - Steven Sheil and Chris Cooke recently spent two weeks workshopping with actors to tighten up a script for Chris' road movie. As well as getting some top celeb gossip (I'm not sure if I can write about it - I'll ask Chris how much trouble it will cause!), they got some good stuff.

When I was at University, doing lots of live art/performance work, I found devising with a group to be a really good way of building a project, and exciting because it doesn't always work, and requires really hard thinking and listening/responding. In thinking about ways to devise for animation, the live art approach started to reappear - I think because Live Art and animation share some common points - and some extremely differing ones -

Why Cartoons and Live Art are similar:
Character/Performer as Statement.
Play with narrative/timeline.
Play with continuity.
Non-naturalistic staging.

Why they're not:
Anything can happen in either. - Except in animation, you've already thought of that ages ago.

I really like the idea of the spontaneous gesture in animation, or something that gets to the honesty of the actor/character - possibly subconciously, most likely accidentally.

I realise that's a really short and probably not informative description of the idea, but I'm writing about it for my MA and will post a full version soon.

Anyway, maybe machinima is a way to do it - It's live, it's got real time cameras, shots can be set up again and again, and I get to say 'Can we try that again, this time with feeling' - I'm going to build an avatar that looks like one of those old style movie directors with plus 4's, a beret and a monocle! i've got a few ideas for films floating around at the moment, and after i've finished ricard's film, i think i'm gonna have a go. I've built a whole wardrobe of nice outfits, and hopefully with some linden scripting skills i'll be able to make some good stuff. i can see that although second life is fairly limited at the moment, as in we are still a long way off from pixar or peter jackson style cgi, it will only get better - and films will get much more sophisticated. How long till we see the first game engine made cinema release or telly programme? - I'm sure it won't be too long, or even with us already, and I've just not seen it.

Some trivia: currently listening to Old Crow Medicine Show, Jenny Lewis and the Watson Twins, and Be Good Tanyas (always listening to the Be Good Tanyas)

Settling in to second life

Hi - Not much time to write, but here's a couple of sketches from the character developments for Ricard's Machinima project.

Have been thinkng myself about making some Machinima experiments using my characters.

I've been thinking about using it as a way to make mock-ups for more traditionally animated films, a quick and dirty way to block moves and shots.

I realise that's not a purist attitude to machinima, but I'm not sure how an audience would engage with a longer, more heavily narrative piece than most of the things I've seen from Machinima.

Ricard's project will be a good testing ground. - The website for it will be up soon and you will be able to see the work online.

Been working in Second Life

Wow. Been working in Second Life a lot for the past couple of weeks. It's really strange, because everything happens in world. What's stranger is that you get used to it quite quickly!

When I first started to use it, i thought it was too strange, cumbersome and unfriendly to really be useful, but once you start to create in there, it all changes.. It's odd because when we go in there, most of its users are asleep in real life, so it's like wandering around Westworld when the park is shut - lots of empty buildings and vehicles left around. There are vast empty malls with nothing and no-one in - it's like Day of the Dead. The only places where people seem to be are strip bars and casinos. - When i first got shown second life, i though it was rubbish - a strange lonely place with nothing to do, no real objective, seemingly populated by man-geeks dressed as virtual women. - And you know, to a large extent it is rubbish, but the real life version would be too - imagine if you got a load of people, put them on an island and said, there you are, do what you like, chances are not a lot would happen, but it would be only a short matter of time before the stripping and the bingo started!

That's the 'first life good, second life bad' bit over, here's what's converting me;

I've started making costumes for characters (see yesterday's pics). I didn't find it easy at first, modelling in world is a funny old thing - you can only use a few shapes (prims, thsy're called) and it seemed stupidly restrictive to me, i thought it's be easier to make them in MAYA or something then upload them. There's 2 main reasons for this, one is the complexity of shapes - over worked models would be way too slow on the server, and secondly, there's a strong argument that SL (ooh, get me, talking in geek-speak!) should be easy for all users and not a showcase for show-offs - you can't really disagree with that - SL is potentially a democratising of game design and development. Once i got my head around the modelling space, it became easy to translate my character design.

Once you get over the weirdness of the world, it becomes quite a nice place to be. Instead of downloading a PDF manual of how to model prims, you actually travel, as an avatar, to a place called 'Ivory Tower Library of Primitives', a big building where you learn in world how to model. I thought it was really clunky at first, but i got into it.

But the really good thing about second life is the community. Over the past two weeks, we have been having in world meetings with some people from a company called electricsheepcompany.com - it's so odd, we actually meet in the world, as avatars, and chat.

Chat is generally stupid - just loads of creepy predators asking 'How old RU?' and talking nonsense, or jumbled conversations as everyone tries to talk at once. Second Life has a funny trick though, when someone speaks, you can see their avatar 'type' in game - it sort of looks like they're doing Reiki, so you know to wait. What also helps is that we have work to do, so we're not just goofing off, and it really begins to make sense. I'm getting lots of ideas about secondlife as an art space and film set, but more of that as it happens.

I've started to see the creative potential for Second Life, and i think that's the key - if you've nothing to do, you'll just start chucking away your linden dollars (fake in world money) on bingo and swords, and I wouldn't wish that on anybody.

Wow, that was a long post; does that make me a blogger now?

Some pictures from Second Life

Some pictures from Second Life of avatars I'm making as part of a project. It's really interesting and a bit weird trying to translate my drawings into game avatars, but I think they work well.

The first one is the character I am experimenting with at the moment, and the second is second life developer Cory Edo showing us how to turn into flowers, for that Peter Gabriel circa 1975 look!

Hi, welcome to my blog!

I thought i'd add some doodles to show the kind of work I'm making. You can also see my film 'How it was that we got to be Angels' if you follow the link on the left.





All images copyright Gareth Howell. PLease don't use them without asking me first!