ME DEA EX_ gameBOY/GIRLplay

www.neora.com

 

 

Mechanisms and Characterizations:

 

 

 

1. General remarks:

 

(VR = Virtual Reality, RL=Real Life)

·         The plot is going backwards (in time and in levels/screens of the game), from the most horrible murder, to scene of love and optimism.

·         Medea is not playing the game, but rather taking us with her to “previous screens”, in her “debugging” process of the past. The hidden agenda of playing the game is getting the “Golden Fleece”, which s in computer games, once in a while will float somewhere in the air, as if giving bonus points to those who click on it. In this hypertextual 3D environment, she may redesign/reengineer her identity and position in the MYTH.

·         In each level we may identify with another aspect of Medea, resulting yet with another horrifying death.

·         Moving from one level to another, changes the  "skin" of the scene (serving us for unification between the screened VR and the RL) in th following means: slight design changes, lighting changes in both worlds simultaniously, sound, music, graphs and charts on screens, language of actress and avatars).

·         Chorus avatars may be at different angles of the screens, talking to each other, amplifying the 3D notion.

·         we use NO actual lighting and NO actual decoration set - control it only in the virtual worlds (the screening projectors light is dominant)

·         Continuity - The audience will be arriving after wandering in the previous 4 spaces. Medea on a wheel chair, and the 4 Jasons, will accompany the visitors and behave as if part of them. Medea will avoid the annoying remarks and gestures that the Jasons do throughout the voyage of the Argonauts. Only when entering the ME DEA EX space, will the actors take their place. Elements from the previous spaces can be represented in ME DEA EX universe.

·         The design of the physical space should enable the illusion of being part of the virtual space (and vice-verse). For example, the floor looks the same in both worlds, and so does the ceiling. Moving around the 3D environment is only for the home user. Onsite will have only vertical movement, e.g. transport between “skins” of the 3D space, by moving down from one to another.

·         Info Screens - Several sign objects in the 3D environment will display the following information:

o        Subtitles of all the used languages are constantly displayed on the screens (current language highlighted).

o        Inventory (like in computer games) of: lives, ammunition, power, win point, lost humans, etc…

o        Graphs and charts, showing statistics on how the virtual audience is choosing options

o        Texts of alternative adaptations and productions of Medea

o        Chat texts between users

 

 

 

2. List of the scenes:

 

Story

Environment

Media involved (sound, video, links)

1) Intro:

(Language=English)

Medea talks to the real audience, in sort of a dramatic invitation to cyberspace. Here, she sais, we’re all immigrants.

When asked if she wants another game, Medea declares herself a hacker, who can try and redesign the Myth.

 

Greek ancient look.

Lots of visual quotes from Medea productions.

Stone game choice buttons.

Background Soundacient greek (click to hear the midi):

PVienna G 2315, ~200 BC. Enharmonic tuning.

Fragment of dramatic song

Links:

Trivia game:

http://www.users.globalnet.co.uk/~loxias/medea/medea.htm

David Kovacs translation. (English): (and others…)

http://www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.01.0114

Medea st person:

http://www.geocities.com/medea19777

Video quotes:

Video: Steven Stedman (dance) – chorus parts

Video: NY classics – chorus dancing

2) Shahids:

(Hebrew&Arabic)

 

Medea’s anger on the oppression and her frustration from poor living in the refugee camp, forgotten by all Israeli friends, nothing to hope for or to look upon, for her and the children, topped the already deprived and betrayed woman in herself, and made her send her boys as shahids, killing 13 people, including Creon and his daughter Glauce who has married Jason.

 

NYSE environment, covered as hectic news room.

Background Sound (click to hear the mp3 file):

--

Breaking News: Suicide Bombers

 

*** SHIMSHON, samson

 

Video quotes:

Fon Trier – kids on tree, Steven Stedman (dance)  - kids,

Ddasin movie, Pazolini – army men + kids murder, Japanese – the end

Running images:

   and more…

3) Exile:

(Hebrew&Arabic,

Second intifada starts, Medea is kicked out of Israel back to the refugee camp with the children.

Jason, already committed to Creon and Glauce, doesn’t help.

This happens after they had to escape the US where they married, studied and had 2 kids, because of a fraud Medea did to save Jason’s status.

 

 

New York stock exchange look.

American background.

Blue colors.

Background Sound (click to hear the mp3 file):

--

Breaking News: Fraud / Mafia killing

Video quotes:

Video: Martha Graham – love to Glauke

Video: Fon Trier – Glauce dressing

Video: NY classics – exile

Video: Japanese – exile

 

Running images:

  

4) Love:

(Hebrew&Arabic)

Medea and Jason, in great love, escaping Israel, after Medea has sacrified her brother and her national identity in order to save her lover, the Israeli soldier, son of german immigrant family.

Clean wireframe look. Few White textures.

(Peaceful background.

Background Sound (click to hear the mp3 file):

Opera1.mp3, Opera2.mp3

 

 

Video quotes:

Video: Habima – in the village

Video: Pazolini – village, castle. Love scene.

Video: Martha Graham – love dance

 

Running images:

 

and more…

Finale: (English)

Medea is asked for another game, but chooses to kill the Jason avatar, get on her feet and hug the real Jason.

In a way, she has made a decision and switched her world, in a way, she’s at the same place (palestinian loving israeli = trouble)

 

Greek ancient look.

Lots of visual quotes from Medea productions.

Stone game choice buttons.

Background Soundacient greek (click to hear the midi):

PVienna G 2315, ~200 BC. Enharmonic tuning.

Fragment of dramatic song

 

 

Video quotes:

Fast forward of all the videos

 

 

 

3. Characterization and mechanisms:

 

 

Medea

Jason

Chorus

Appearance

Live, on wheel chair, holding a laptop

(for home user  - video embedded)

 

3D avatar

(color of tie/suit changes in each scene)

Male/female gray simple avatars, representing the online visitors. (Not much pre-defined, so easier to identify with.). Restricted from entering the virtual stage where Jason and Medea are.

Text style

Modern, gaming style - in intro and finale.

Euripides (original, slightly modified classics) – in the other scenes

Euripides (original, slightly modified classics)

Collection of quotes (Euripides, Muller, others…) – sorted by manner (mild/aggressive), and by style (modern/classic)

Language

Hebrew and Arabic

Hebrew (with his parents German)

English, Hebrew, Arabic, other languages…

Sound

Live

Pre-recorded human sound

Text to speech (synthesized sound)

Activation

mechanisms:

Live, independent, in control.

(but tied to her wheelchair)

Bot programmed to get commands from Medea (or Neo). Commands include sound file and movement gestures.

Head of chorus is a bot with pre-programmed text. Then the virtual audience gets options of texts. What they choose is played untill timeout cut.

Identity:

National /Exile

Palestinian, Always immigrant (refugee camp, israel, USA).

Queen/lower class (representing opressed women in third world, rebel)

Israeli, son of German Jews in US (representing American/Stock exchange culture). Adjusting to exile, making the best out of it. Opressing third world.

Global village

We are all immigrants in cyberspace.

Identity:

Personality/Gender

Childlish, hacker, passionate, magic tricks, refuses to see reality (something we accept from men only, women considered to contain!, this is part of their conflict).

Cyborg – body/mind detached

Rational, money minded, power oriented, imposing his culture & choices, refuses to get older.

Robotic decision making and behaviour.

Say they want to help but don’t really do anything. Have choices of texts from several manners, therefore not always agree as unit.

 

4. The story in short:

(never told explicitly in the text itself (which is original Euripides), only on info screens or by the chorus.

The actual play shows the plot backwards, from the most horrifying death, through exile, to the pure original love.)

 

Medea, palestinian, good established family in the village. She was a teenager when she met Jason.

Jason, the son of Jewish German religious couple who immigrated to the US after the war,

decided at age of 18 to make Aliya and serve the Israeli army.

Jason arrived at Medea’s neighborhood during the war and stayed there several days after.

His class occupied the second floor of her family large house, to watch from, over the quarter, to rest between patrols.

They fell in love immediately. Passionate, secret love.

When his commander found out, Jason was bound to be expelled out of the army.

Medea, a hacker in heart and mind, knowing she’d never see him if he gets back to the US, helped him get back his credibility. When the Israeli troops were supposed to put the Israeli flag on the local mosque, she put the mosque Kahdi to sleep, so Jason could climb up and put the Israeli flag, and get a special reward from his commander. Jason was proud. Called his religious mother in the US to say that the Jewish people are back to their homeland.

Jason, the soldier, who had no family to go to on weekends, spent more and more time with Medea and her friends.

Medea’s family, starting to realize her relations with the enemy, kept threatning her that they’ll hand her and ger lover, to the enemy.

Medea’s brother, being her secret keeper, tried to help, protect her from their verdict.

Medea, terrified form loosing her love, framed her brother Apsyrtus and practically handed him over to the Israeli authorities, who put him in jail, where he died.

The troops destroyed her family house, and forced them to move to a refugee camp.

Medea and Jason were on the run.

Jason, owing her so much, and full with love and admiration to Medea, takes her away, back to the US where they get  married.

They both studied there. She became kind of computer specialist, hacker, he became a successful finance specialist, broker in the stock exchange.

They had 2 kids.

Jason’s family never accepted Medea, neither his social milieu.

When Jason got into trouble in his financial business, Medea hacked his enemies’ (Pelias) company and caused his daughters to murder him.

They had to escape the Americal authorities.

Jason succeeded in arranging his papers for coming back to Israel, and a promise to help with his two sons future citizenship (by executing a huge financial stock transfer for the benefit of the Israeli General Creon).

Medea, without Jason helping her, gas no permit, and is forced to go to the refugee camp with the children.

--

Jason, eventually is about to marry Glauce, daughter of Creon the army general.

Medea’s anger on the oppression and her frustration from poor living in the refugee camp, forgotten by all Israeli friends, nothing to hope for or to look upon, for her and the children, topped the already deprived and betrayed woman in herself, and made her send her boys as shahids, killing 13 people, including Creon and his daughter.

 

 


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