-Original Message-
From: Jed Hartman [SMTP:[EMAIL PROTECTED]]
Yet another thing that IrishSpace did right: there was no
attempt to build one giant all-inclusive world that maintained
spatial
relationships between locations and forced the interacto
I'm glad someone else got the willies while watching this movie. After
all, Truman's world is identical to that of a virtual world. Who are we to
say that we aren't being god-like when we create virtual worlds (and bots,
specifically)? All sorts of moral dilemmas pop up here, but I'm not sure
t
...Okay, I wouldn't normally recommend a movie to a mailing list, and I
wouldn't normally even *watch* a Jim Carrey movie. But I just saw _The
Truman Show_ and couldn't resist bringing it up. Viewed from one angle, it
can be seen as a description of the ultimate in interactive storytelling...
R
That matches the reactions I had digging into the web site.
He has the right ideas and an engine. What I wonder about
is if the perceived limitations are aspects of simple examples
and if one of the stories developed by someone is a better
example of what the engine *can*do. The mode of sin
Way back in April, Bob sent a pointer to a free mailing-list archiving
service.
I blithely ignored it 'til today. Just took a look at it; it looks nicely
run,
though there's no guarantee that it'll continue past September. Since I still
have no other useful archiving solution in place, I'm goin
Wow. Just got back from Chris Crawford talk at Interval Research (in Palo
Alto); he's a dynamic and entertaining speaker, with totally fascinating
things to say. A lot of it is exactly the kind of thing we've been
discussing here on this list; I'd love to have him join us, and if I hadn't
been
Interesting and promising. Brilliant Dig Ent is the company that announced
the KISS CD and saw their stock shoot up. The announcement
was out of Atlanta, so maybe the music initiative is on the other
coast just two and half hours drive from here. Whoopee!
If you look deeply into Crawford's
Bob wrote:
>Is that *the* Chris Crawford, from Atari?
Indeed it is. In an interesting bit of synchronicity, a friend who
doesn't do VRML just invited me to attend a talk Crawford is giving at
said friend's company next week. Will let y'all know how it goes.
Some tidbits about Crawford, fro
Yeah I checked out Crawford (yes THE Atari guy) and it's very cool..sort
of a nonlinear storytelling engine. BUT the interesting news (on another
topic) is that in the Time magazine I just got
(June 8 1998) there is a 3 page article by Joshua Quitner about
non-linear storytelling!
Yes in THE Time
Bullard, Claude L (Len) wrote:
> Take a look at Chris Crawford's work
> on interactive fiction.
Is that *the* Chris Crawford, from Atari? I talked with him
many years ago when he paid a visit to Tulsa, and I'm not
a bit surprised to find he's looking in this direction.
Anyhow, I'll check it ou
Take a look at Chris Crawford's work
on interactive fiction. He has worked
hard to classify emotional states and
a means for creating relationships based
on these. It is impressive. A language
which drives the scene (eg, some Java
version of what Chris uses combined
with VRML externproto
Bullard, Claude L (Len) wrote:
> I guess what I don't see in that list is
> emotion. Say you have the characters
> and the situation. At that point, the
> emotions of the characters should begin
> to drive actions and reactions. The story
> will spawn naturally.
[snip]
> > Which leads us to a
At 09:16 PM 5/29/98 -0800, Dennis McKenzie wrote:
>I would have liked to address this post earlier, but I've been busy and my
>ideas on it were half-baked. I'm less busy now, but I'm afraid my ideas are
>still half-baked. Here they are anyway.
That's OK, my thoughts are always quarter-baked, if t
I did some email with the creator of the engine after
looking it over. This is a very sophisticated approach
and it appears Chris has really thought it through and
backs it up with a lot of experience.
">Your tools came up in a discussion on the vrml-lit list
>which is working on interactiv
In case anyone missed it, a company in Atlanta had
its stock value jump 49% based on the announcement
last week of a project with the group KISS. The project is to
produce an interactive story with music for CD. The
story and the music change based on the interaction
of the user.
Len Bull
I guess what I don't see in that list is
emotion. Say you have the characters
and the situation. At that point, the
emotions of the characters should begin
to drive actions and reactions. The story
will spawn naturally. You may have some
meta-theme (moral, what have you) that you
want
The creative process section is interesting. Like the other I/F pages,
it seems the task is to create relationships among characters by
setting traits and creating a "web of verbs" and "verb consequences".
Is the environment an active agent capable of acting and reacting?
Can't do a decent
It helps me to have some of the story, at least the
beginning, and the main character(s) in mind. Once
I get to know them, they start to live in my head
and tell me the story. When I was an actor, we
were encouraged to write down the history of the
character prior to the beginning of the p
So always do the opposite.
Film is the art of subtle acting. Theatre is usually the art of
exaggeration.
How much should a VRML character *exaggerate* a feature?
Len
Ekam sat.h, Vipraah bahudhaa vadanti.
Daamyata. Datta. Dayadhvam.h
> -Original Message-
> From: Jed Hartman [SMTP:[
http://www.like.it/vertigo/cliches.html
--
Rev. Bob "Bob" Crispen
[EMAIL PROTECTED]
Music shouldn't be held responsible for the people who listen to it.
Paul sez:
> I'm going to refer again to a book I think I mentioned early in the life of
> this list: "Sight, Sound, Motion: Applied Media Aesthetics" by Herb Zetl.
> It's a college-level textbook by one of the deans of media education. It
> might not be in print anymore.
It is, and I've just ord
At 09:16 PM 5/29/98 -0800, Dennis McKenzie wrote:
>If we get much of our enjoyment out of a story by using our imagination to
>place ourselves in the described surroundings, does giving the interactor a
>solid 3D environment that doesn't involve them visualizing anything detract
>from the story ex
At 10:55 AM 5/27/98 -0700, John D. DeCuir wrote:
>Another Thought-Provoking-Question (TM) for discussion:
I would have liked to address this post earlier, but I've been busy and my
ideas on it were half-baked. I'm less busy now, but I'm afraid my ideas are
still half-baked. Here they are anyway.
[I mailed this days ago, but for some reason it apparently never made it to
the list... Trying again.]
Here are some assorted tidbits that didn't fit in the last msg:
1. Conflict. In lit class, they tell us that there are three basic forms
of conflict in fiction: person vs. nature, person vs
Haven't tried it out, know very little about it. But it looks like it
might be vaguely interesting.
http://www.erasmatazz.com/index.shtml
--jed
Yes. That would be the ideal approach. I
guess that is what Kahuna is doing with
the protos.
Len Bullard
Intergraph Public Safety
[EMAIL PROTECTED]
Ekam sat.h, Vipraah bahudhaa vadanti.
Daamyata. Datta. Dayadhvam.h
> -Original Message-
> From: John D. DeCuir [SMTP:[EMAIL PROTECTED]
No problem. If you get some time you should play with some of those tools.
It's remarkably easy to set up your own little world (with ~3 rooms) with
interactive objects to play with.
Of course, it's all text, but I don't see why, in the future, you couldn't
specify a -VRML FILE- instead of a
Excellent resource, John! As I say, not being a game player,
there are definitely nuances of this that I miss and this site
fills in a lot of that particularly the bits about puzzles. I've
seen these in my kid KA games, but not given them the
necessary amount of thought. Many thanks. Yes,
Len wrote:
> Can you give us more details about the presentations, Jed?
Sure thing.
The first presenter was Jeff(rey?) Goldsmith
(http://www.sirius.com/~wordz), formerly of Neuromedia (and, I think,
Black Sun). He showed some interaction with a couple of his bots --
which were really conv
Another Thought-Provoking-Question (TM) for discussion:
While poking around the various Infocom sites, I remembered that there are
several authoring systems for text adventures. Some even target the exact
Infocom interpreter used, to make Infocom-like adventures.
Q: Can these interactive-fictio
By the way, if any of you hear all this talk about the old Infocom games
(Zork, Deadline, etc.) and want to check them out (or if you're just
nostalgic), Activision has a CD-ROM out called Masterpieces of Infocom text
adventures (or somesuch title). I found a retailer selling it for $21.99.
Here'
I've seen non-linear stories which were good - not great perhaps, but they
were written for young kids. Rose Estes' books from the Choose Your Own
Adventure series of novels (should they be called novels? or perhaps
branching short stories?).
As for trying to make them come to a satisfying close
Yes AND even more critical is the interactive nature of a game. If I
read a traditional story, or watch a movie...I'm happily led along
though the plotyes I'm a couch potato (and proud of it). If I play
an adventure game or solve a puzzle then I'm "active".
In thinking more
about successful
Very astute and important. The hub (eg, VRML)
sometimes is not the important factor.
Sometimes the development in the rim languages
(eg, audio, avis, gifs) is just as important or
more because they add sizzle. This is a problem
for online works and why we went to the harddisk
with IrishS
BTW, the idea of using precondition/postcondition
processing comes from the world of Interactive
Electronic Technical Manuals (MIL-STD-87269)
which adopted techniques used for diagnostic
tests for fault isolation. We considered using
this in IrishSpace but decided that on a 3 month
schedule
This is true but starting back with von Neumann,
name any situation involving communication
that is not a game. One might ask what are
the critical aspects of "gameness"
1. Scoring
2. Winning or losing
It is possible to build stories and non-linear
systems that are not games and they will
> -Original Message-
> From: Jed Hartman [SMTP:[EMAIL PROTECTED]]
>
[Bullard, Claude L (Len)]
It makes it sustainable. By doing this you have the
equivalent of a dungeon master that can set situations
up and you can make the online world worth revis
Good points Sandy,
I believe if you really look closely you will see that most really good stories have
the
characteristics of a good game. When I was a kid I was totally into Sherlock Holmes by
Sir
Arthur Conan Doyle. I read them like a puzzle, trying to figure out who did what and
when.
Late
Hi Sandy,
At 10:41 PM 5/26/98 -0400, Sandy Ressler wrote:
>First of all Good thread!
Yes -- everyone has had some great contributions to make.
>I think to get back to Dennis' observation I can't think of any good
>non-linear story that was simply a
>story not a game.
I think there's an _ex
First of all Good thread!
Without digging up all the email and carefully cutting/pasting I recall
Dennis I belive...asking the
questions (to paraphrase) "Have you ever seen a non-linear story that
was successfull" and he goes
on to say he certainly does but is just taking it on faith.
Also i
This is fast becoming my favorite mailing list -- low volume, very high
signal-to-noise ratio, plenty of cool musings and fascinating digressions.
Thanks, folks!
My comments and thoughts on the current topic are themselves pretty darn
nonlinear, but I'll try to present them in a quasi-organised
>A chart is a good idea. How about using an interface
>for common behaviors so authors can change behaviors
>from time to time?
It goes without saying that all behaviors would be protoed for reuse. I thought we
would
use the psychcological profiles for each set of behaviors. The last time I to
Yes. For a text version of this sort of interaction in bots,
check out http://www.neurostudios.com/
A chart is a good idea. How about using an interface
for common behaviors so authors can change behaviors
from time to time?
If you want another dimension of
depth, some character/roles sh
> building a world where asking for a kiss gets a 38 slug to the head
>is just
> not cricket. OTOH, it is possible, but so what? Does it drive the
>purpose or
> point of the world?
>
> It is important to note that non-linearity and serendipity in the
>process
> of creating the work are very simi
> -Original Message-
> From: Kahuna [SMTP:[EMAIL PROTECTED]]
>
> That is correct, but my arguement is that it is a waste of the z
> coordinate to limit
> yourself to a non linear story.
>
[Bullard, Claude L (Len)]
Yes. It is essential to ask what the z-coordinate bu
Hi Miriam,
At 03:53 PM 5/23/98 +1000, Miriam English wrote:
>There is another kind of interactive fiction which I have never seen but
>which I had the idea for recently. It would lend itself well to things like
>mystery stories. In a traditional mystery you are given all the clues in
>the normal
Separate the techniques based on the language from
the general concepts of non-linear storytelling and
interactivity. VRML has the tools for doing both
linear and non-linear work. The major impediment
is the media (eg, the Net or CD-ROM) for loading
the rim media types (sound, avis, etc.).
>interactivity. VRML has the tools for doing both
>linear and non-linear work. The major impediment
>is the media (eg, the Net or CD-ROM) for loading
That is correct, but my arguement is that it is a waste of the z coordinate to limit
yourself to a non linear story.
>the rim media types (sound
By the way, if the model exhibits an emergent
unpredictable behavior, there is usually a hidden
coupling between some set of states in the
system. Emergent behaviors can be simulated
if the states of the objects include private
conditions (protos should work nicely). Eg, when a
drunk start
Well, the copyrights no problem. I have had a copyright on that game since 1990. I
believe
that is 3 years before the movie came out if not longer. As far as java goes, it is not
that I don't like the language. I do. But it is just so damned unstable. What works
fine
from one machine to another,
At 10:53 23/05/98 -0700, Kahuna wrote:
>Dennis and I began work on a non
>linear adventure game shortly after Irish Space, we diviated and I am
still working on it.
>It is called Usual Suspects.
I would be happy to add my writing skills (so far as they exist) to that
story if you want. I think t
I think a non linear story/adventure would be possible for a team to do provided we
have
only 5 possible conclussions, and one main theme. As Mariam pointed out, nonlinear
adventure games have been around for a long time. What I propose is a little different
from those in that there would be alte
Great topic John! To me one that is at the heart of VR storytelling.
>>However my basic philosophical problem with nonlinearity is that it is not
>>nonlinear at all. It is parallel-linear (actually tree-shaped).
>No butterflys in Brazil causeing hurricans on Eastern Sea Fronts.
You can set up
Hi Guys,
All the text adventure games are examples of non-linear writing. Most of
them consist of some kind of intended destination condition that the author
expects the player to strive for, but they are often fairly open-ended.
I have a 3D action adventure game which is *extremely* open-ended
>However my basic philosophical problem with nonlinearity is that it is not
>nonlinear at all. It is parallel-linear (actually tree-shaped).
Good point which is precisely why I said lets go with the popular Metaphysical concept,
that we must choose which path (plot) we walk down. I should add
Good thoughts, Kahuna!
However my basic philosophical problem with nonlinearity is that it is not
nonlinear at all. It is parallel-linear (actually tree-shaped).
Let's say you do the Boo-chess thing. Add an element that the user can
change, and suddenly you have a branching point -- you have d
I would say that psuedo nonlinear stories are not only possible, but that I am doing
just
that right now. First off, there is nothing wrong with a linear story. I do think that
it
is a little irrational to create a linear story using a 3D format. The very nature of
linear story telling is 2D. W
Hi gang,
I was driving into work this morning, marvelling at the
relatively-uncrowded L.A. freeways on a holiday Friday, when I started to
think about nonlinearity again. This list has been fairly quiet lately, so
I'll throw out a few thoughts:
Q: Do we want nonlinear, or linear stories in our
On May 5, 10:49am, Maureen Stone wrote:
> Subject: Audio clip problems
> I just tried to listen to the Real Audio clip that is on the VRML Dream site,
> and got the error message: "Not a Real Audio Document" from my Real Audio
> player. I don't know much about Real Audio--could this be a version
I just tried to listen to the Real Audio clip that is on the VRML Dream site,
and got the error message: "Not a Real Audio Document" from my Real Audio
player. I don't know much about Real Audio--could this be a version problem?
I've got version 2.1.1.9. I downloaded the file to my local machin
(forwarded from Sandy)
Date: Mon, 4 May 1998 22:34:25 -0400 (EDT)
X-From_: [EMAIL PROTECTED] Mon May 4 22:34:24 1998
Old-Date: Mon, 04 May 1998 22:26:04 -0400
From: Sandy Ressler <[EMAIL PROTECTED]>
MIME-Version: 1.0
To: Bernie Roehl <[EMAIL PROTECTED]>
CC: [EMAIL PROTECTED], [EMAIL PROTECTED]
You are definitely being too hard on yourself, but I admire
someone who steps up to the responsibility. I repeat what
I said before, it takes guts to attempt these complex projects
with beta/alpha technology. Consider that others are doing
the conservative bits with banner ads. Well, that'
According to Stephen N. Matsuba:
> Ultimately, I have to take the blame for the failure of VRML Dream to
> come off smoothly.
Stephen, I think you're being way too hard on yourself.
The fact is that the goals we set for ourselves were very, very ambitious;
too ambitious for the amount of time w
Well, I have been lurking while recovering from Dream. So here is my
two bits on the role of the producer.
The producer is the person in charge of making sure that all the
various pieces that go into a production (technical, acting,
marketing, funding) are all in place at the time when they a
I'm cross-posting this message to both the VRML Dream and VRML-Lit lists.
I realize some people are on both; sorry for the duplication.
What We Learned Doing Dream
When we first set out to do the VRML Dream, we had a number of goals in mind.
First and foremost, we wanted to prove that it could
Len writes:
> A producer at this critical time of the medium
> is also the one who should be growing the
> community skill base.
Yes, agreed 100%. The number of people who have been part of using
this medium can currently be counted on the fingers of one hand
(in binary, of course -- I figure
Some additional thoughts...
A producer at this critical time of the medium
is also the one who should be growing the
community skill base. Part of the upfront
analysis is sorting strengths of the contributors, sorting
the talent, and ensuring that the goals of the
production can be met by t
Dennis writes:
> > (Anyone want to talk about the role of a "Producer" in recent
> >VRML efforts? It was a term I'd never heard before Misty introduced
> >it to me, but in the past six months I've heard it a lot. Is this
> >a necessary role? How closely does it correspond to traditional
> >no
That is what I thought she meant by it in the
interview. I've seen the same technique in soap
operas and wy back to Lucy and Ricky
(birth of little ricky). From the writing perspective,
it is a challenge because one has to take
a detour and intersect with the story line at
some point d
> (Anyone want to talk about the role of a "Producer" in recent
>VRML efforts? It was a term I'd never heard before Misty introduced
>it to me, but in the past six months I've heard it a lot. Is this
>a necessary role? How closely does it correspond to traditional
>notions of what a producer
At 07:05 PM 4/17/98 -0700, Robert W. Saint John wrote:
>
>-Original Message-
>From: Bullard, Claude L (Len) <[EMAIL PROTECTED]>
>To: [EMAIL PROTECTED] <[EMAIL PROTECTED]>
>Date: Friday, April 17, 1998 10:45 AM
>Subject: RE: Short stories
>
>> The gal who plays Dana Scully on the IckFiles m
Jed Hartman writes:
>Could (in some distant future production) have multiple chat channels --
> one for actual script, several for people doing simultranslation into other
> languages, one for brief summaries of action ("Hermia rampages across the
> stage, destroying everything in her path"),
Len writes:
> I sat last night with the snippet of audio that Stephen
> posted and ran the MIDI behind it just for fun. Interesting.
> It made me think that for any future production, the script
> should be recorded at a table rehearsal (regardless of
> who does the speaking) so we can plan
This could be very good!
I'll be there, then leave for the airport to get to the Computer Game
Developer's Conference.
Please don't repost insanely; I just thought this would be a good group
for it. (ha) :)
Misty
>Date: Sat, 25 Apr 1998 14:22:29 -0700 (PDT)
>From: Bob Jacobson <[EMAIL PROTE
Bernie wrote:
>*slight shudder at the thought of Mystery Science Theatre 3000 type
>narration*
Could (in some distant future production) have multiple chat channels --
one for actual script, several for people doing simultranslation into other
languages, one for brief summaries of action ("Herm
I sat last night with the snippet of audio that Stephen
posted and ran the MIDI behind it just for fun. Interesting.
It made me think that for any future production, the script
should be recorded at a table rehearsal (regardless of
who does the speaking) so we can plan the music better.
I
Len Bullard writes:
> The announcement that Cosmo will support RealMedia is good.
Yes, agreed. Provided it becomes widely available, and is supported in
WorldView as well.
> The good news is that we have IrishSpace and VRMLDream
> "in the can". That means as the functionality becomes
> avail
Maureen asks:
> Suppose my system crashes, or I
> simply join late. Would the production show me the correct "current state?"
Yes, though it would take a few seconds. The system is designed to retransmit
the complete state of each entity periodically, so within ten seconds or so
you would be co
Paul Hoffman writes:
> I'm the one who suggested that someone try to provide text narration to at
> least let those of us who were following the action know what was going on.
Excellent idea. The narration can add a lot.
*slight shudder at the thought of Mystery Science Theatre 3000 type narr
Dennis writes:
> Since I (and I think most of us) didn't get any sound with the performance,
> this point really hit home. Sound is critical. Streaming sound is a top
> priority.
Agreed.
> [...] I entered a character's viewpoint while they were engaged in
> conversation. For a brief moment I fel
Sandy Ressler writes:
> One thing about watching it that was really good but NOT part of the scheme
> was the open IRC chat window.
> [...]
> at one point someone thought that a text narration would be
> helpful...even more though were Bernies comments telling us what was going on.
I wound up bei
There's been a series in InterActivity magazine about
storyboarding. You can read the latest installment and
catch up on the others at:
http://www.eyemedia.com/backissues/1998/0498/0498animata.htm
Two more things that might be of some interest: there's
a website called The Mail Archive at
http:
It is disappointing that the sound didn't work. It is
not surprising. That was a huge jump to take.
The announcement that Cosmo will
support RealMedia is good. Like the SpinNode, we
may not like the proprietary approach, but I frankly
despair of getting certain things done any other
way a
I think it's impossible to evaluate something like VRML Dream until it really
works with the sound. For me, the beauty of Shakespeare is in the words;
watching the avatars move may be interesting, but isn't the real point. I'm
sure the team is disappointed the technology failed, and I hope that
At 06:07 PM 4/27/98 -0700, Jed Hartman wrote:
>
>I was unfortunately unable to watch yesterday's premiere of VRML-Dream,
>...
>... one thing I've wondered about (in describing the
>project to others) is how interactive a live broadcast feels to the audience.
>I hope to find out for myself at some
These are not objective opinions of course:)
Since I (and I think most of us) didn't get any sound with the performance,
this point really hit home. Sound is critical. Streaming sound is a top
priority. Even though I knew the script pretty well, and had a copy in
front of me, I spent the entire p
One thing about watching it that was really good but NOT part of the scheme was
the open IRC chat window. This was particularly important given the technical
difficulties but at one point someone thought that a text narration would be
helpful...even more though were Bernies comments telling us wha
I was unfortunately unable to watch yesterday's premiere of VRML-Dream, due to
being far from home without a computer. I read Sandy's writeup of it, though
(http://vrml.miningco.com/). I realize Bernie, Stephen, et alia are probably
too exhausted to talk much about it just yet, but I'm curious
N i c l a s O l o f s s o n writes:
> Jed Hartman wrote:
> > PS: need a term for people-who-experience-story.
>
> Isn't there words like "interactor" and "experiencer" (Californier?) in
> english? :)
In the interactive theatre community, yes. The word "interactor" refers
to someone who is tra
That is a cool idea. Given the low cost of the medium,
one could do auditions, rehearsals, etc. that way.
Given that the movie actor has to make the most
of minimum motion (camera is very unforgiving
in contrast to the stage where moves are exaggerated),
this isn't as good except for gross
I would think that not only VRML series of all sorts but another
opportunity for $$ might be the use of these real time VRML stories as
rehearsals or live story boards. A bunch of movies (can't remember now)
have in the past used Virtus Walkthrough, for scene/camera placement and
theatrical design
Thanks for the answers on arc.
VRML series: we kicked this around a lot
in the past. Given the technology coming
out of VRMLDream, it may be doable. Getting
the stock characters set up then having guests
sounds a lot like stuff done on The Simpsons and
The Flinstones. Putting together ne
Unfortunately "story arc" means two almost opposite things depending on
context. In comic books and, I think, on somewhat older TV series like
_Hill Street Blues_, "story arc" used to mean a short story running over
the space of three or four episodes, threading through the ongoing
continuity of
-Original Message-
From: Bullard, Claude L (Len) <[EMAIL PROTECTED]>
To: [EMAIL PROTECTED] <[EMAIL PROTECTED]>
Date: Friday, April 17, 1998 10:45 AM
Subject: RE: Short stories
> The gal who plays Dana Scully on the IckFiles mentioned that
> to deal with her real-life pregnancy, an "arc"
> -Original Message-
> From: [EMAIL PROTECTED] [SMTP:[EMAIL PROTECTED]]
>
> "Hearing a familiar tale told with a different twist encourages children
> to
> consider how they would modify the story, which is one step closer to
> being
> able to create an original story themselves."
>
>
"Wait, I thought this was a list for *long*-form VRML?"
"Well, yeah, but I think VRML storytelling in shorter forms is also
relevant."
Wanted to call y'all's attention to what Linda Hahner et al are doing at
www.familiartales.com. It's currently a work in progress, but I thought
this bit (from
>
jed>Yep. This is why in movie reviews we hear a lot about the
> "director's vision" and very little about the visions of the
> individual actors, lighting technicians, and set designers.
> Collaboration is cool; guided collaboration, under an able hand,
> is way cooler.
>(Anyo
Dennis McKenzie writes:
> > (Anyone want to talk about the role of a "Producer" in recent
> >VRML efforts?
>
> Len and Paul could speak to this directly. Also Bernie and Stephen although
> I'm sure they are both pretty busy right now :)
yes.
> The organization of talents in a vrml production
>to "Net years," and the technology shifts so much under our feet
>that it may not be feasible to take a year to finish a project.
>Still, I think we may have to start thinking in the longer term.
The shifting technoloy is a _major_ detriment to taking the long road. A
year out seems like the _ve
Len wrote:
> unless one was going eight or so hours a
> day, full time, doing a world was a task that could take
> months.
I think it's worth noting here that working with computers
has an effect on our perceptions of how long something like this
should take.
I think I read somewhere that Ma
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