From Arwen to Zombie

from arwen to zombieGet into character with a little bit of stage magic! This winter, we hosted a fantastic hands-on (or arguably, a face-on) workshop about how actors use makeup to transform themselves into a character. The workshop was expertly and enthusiastically taught by Jenny Scudder from Youth Stages, a local arts-in-education organization.

Jenny began the workshop by sharing visual examples of literary characters – Queen of Hearts, Arwen, Tin Man, Scarecrow, Wicked Witch of the West, Dracula, Frankenstein, Count Olaf, and a few Cats from the musical of the same name (you might recall that Cats is based on poems by T.S. Eliot). There were also zombies, which might have been a stretch unless you consider Pride and Prejudice and Zombies? The Walking Dead graphic novel?

Here’s Jenny, taking the kids through examples of all the characters:

jenny scudder, youth stages 1Next, Jenny discussed how, in addition to makeup, actors can also use their voices, gestures, costumes, props, and sets to bring their characters to life. She described what stage makeup is (big, bold, and expressive) and what it isn’t (it’s not meant for close-up photography like a fashion shoot). As she was lecturing, Jenny was effortlessly applying her own stage makeup, which was Grizabella from Cats.

jenny scudder, youth stages 2Jenny also talked about the names of the different brushes, and techniques for application. Finally, she brought out some latex scars and gashes she had prepared in advance. My forearm became the test subject for a massive latex scar, some red base makeup, a loaded stipple brush, and some fake blood. Here I am, modeling the finished product in my usual subtle way.

scar demoFinally, it was time to turn the artists loose on the makeup! There was plenty of it. Jars, palettes, sponges, pencils, brushes…the works!

makeupJenny divided the kids into pairs so each pair would have someone to assist with the application of his/her makeup. I really liked this because it meant that the kids weren’t sitting passively, having their faces done by adults. They were actively involved in the whole process.

applying makeup

However, Jenny, Katie, and I did jump in to help. For awhile, I was running the “soon to be bloody flaps of skin” corner of the room.

Ready to see some results? Even though there was quite a bit of smiling and laughing, I did encourage the kids to try to stay “in character” while I was photographing them. I’ll begin with Arwen, who you saw at the beginning of the post:

We had no less than 3 Queens of Hearts…

As well as 3 Cheshire Cats.

A pair of Vampires…

Rum Tum Tugga from Cats

The Wicked Witch of the West…

And a quartet of zombies. I told them to give me their best undead look…

Do you recognize the zombie on the far left from the beginning of the blog? The funny thing was, we never planned to photograph her with her hood up. As it turned out, she had to walk home from the program in full makeup. In order to not freak anyone out, she pulled her hood up. It looked so fantastic, I had to take a photograph!

An Homage to Three Irish Poets


THE LAKE OF INNISFREE
William Butler Yeats

william butler yeats

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean-rows will I have there, a hive for the honey-bee,
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.


THE FOGGY DEW
Katharine Tynan

katherine tynanA splendid place is London, with golden store,
For them that have the heart and hope and youth galore;
But mournful are its streets to me, I tell you true,
For I’m longing sore for Ireland in the foggy dew.

The sun he shines all day here, so fierce and fine,
With never a wisp of mist at all to dim his shine;
The sun he shines all day here from skies of blue:
He hides his face in Ireland in the foggy dew.

The maids go out to milking in the pastures gray,
The sky is green and golden at dawn of the day;
And in the deep-drenched meadows the hay lies new,
And the corn is turning yellow in the foggy dew.

Mavrone! If I might feel now the dew on my face,
And the wind from the mountains in that remembered place,
I’d give the wealth of London, if mine it were to do,
And I’d travel home to Ireland and the foggy dew.


ON THE VOWELS
Jonathan Swift

jonathan swiftWe are little airy creatures,
All of different voice and features;
One of us in glass is set,
One of us you’ll find in jet.
T’other you may see in tin,
And the fourth a box within.
If the fifth you should pursue,
It can never fly from you.


Poetic portraits lovingly rendered by master crafter, Katie Zondlo.

Magicus Extremos

wand works spell simulation game by jose m rico, background by jeremy goncalvesAre you ready to see something stunning, amazing, and totally, wickedly, cool?

Above are screen shots from the custom Harry Potter game that was featured at our library’s Wand Works event. Set in the Great Hall of Hogwarts, the Spell Simulator allows kids to test 6 spells with their wands. I’ll share the game with you first, and then introduce you to its creator, Princeton University junior José M Rico (who is, incidentally, majoring in Computer Science and co-founder of the gaming company Kapricorn Media).

For starters, we wanted the game to play on a really big screen, have good sound, and have the highest resolution possible. Instead of cobbling something together with our library’s equipment, I did one of the smartest things of my outreach career. I hired NJ Backyard Movies. They brought a huge inflatable screen, big sound speakers, and a terrific projector. Best of all, a tech guy set everything up and stayed during the event to make sure it ran smoothly.

casting a spell 1One by one, kids approached the screen, where 6 spells were displayed on a menu – Bombarda, Glacius, Incendio, Lumos Maxima, Priori Incantatem, and Protego. Once chosen, the screen would briefly display the title of the spell, its use, and its linguistic roots. Then the caster would find themselves in the Great Hall. A sparkling circle would appear. With a flick of the wand and a shout, kids would cast the spell.

Discretely to the side of the spell-casting area, and controlling the game with keystrokes, was José. He wouldn’t activate the spell unless the kids spoke the spell and flicked their wands. And he wouldn’t stop the spell until they raised or lowered their wands. This made the game appear to react to the kids’ movements.

casting a spell 2This photo also caught Téa Wimer, our Curator of Muggle Artifacts, taking a break from her exhibit to check out the game. OK. Ready to see the spells? I highly recommend dimming the lights, cranking up the sound, and viewing these full screen.

 

 

 

 

 


AMAZING, right? I must admit, I was moved to tears when José first showed me his game. The amount of time, care, and talent he put into it is truly touching. At the event, there were huge smiles, gasps of wonder, delighted laughter, and long, slow drawn out exclamations of “Whoaaaaaa….”

José has very generously modified the game so YOU can play it. Yup. Download a Windows or Mac version of the game, for free, right here.


GAME DESIGNER JOSÉ M RICO

jose m rico

Tell us a little about Kapricorn Media…

Kapricorn Media is a two-man game development team. It consists of Luciano Obregon, the artist and designer and my friend since childhood, and me, the programmer. It was officially named and established by us in May of 2016, though it had inadvertently started in spirit years earlier. Luciano and I have always been searching for something in this world. This has led us on a path of creation, discovery, and uncertainty that involved our early immersions into many LEGO worlds, our wooden sword fights, our hand-drawn mini games, our video game mods, and ultimately our own game development team. Kapricorn Media is our next and most mature step in this constant search.

How would you describe your relationship with the Harry Potter books?

The Harry Potter books opened up a rich universe of magic and adventure. Even though I doubt I was even capable of reading at the time the first book was published, I quickly joined the Harry Potter craze as the movies and the later books started to come out. I spent several days trying to look for the perfectly shaped stick to use as a wand, and then casting spells at my friends and imaginary enemies. I remember Luciano and I made our own Marauder’s Map at some point. I also remember having a framed photo of Luciano and me, only I had cut out a picture of Hermione Granger and pasted it on top of Luciano’s face. I had a huge crush on Hermione.

How did you decide which spells to include in the game?

I started out with a huge list of spells, and a limited amount of time to implement them. Some of them, like Wingardium Leviosa or Accio, would have required me to develop more interactive controls. Some of them weren’t as visually interesting, like Alohomora or Expelliarmus by itself. Ultimately, I chose the ones that I thought were most visually striking and made the caster feel most powerful. I also decided to add Protego and Priori Incantatem to vary the mechanics of the game by introducing an opponent.

Describe the process of building one of the spells…

Each spell had three main components: visual effects, the physical effect of the spell, and sound. I usually implemented them in that order. All visual effects involved some sort of particle system, one or more light sources to integrate the particles with the game scene, and a conduit for the spell, usually a missile or beam. The physical effect of the spell was trickiest for Bombarda, since the explosion triggers an expanding shockwave that knocks back all props in the scene. Finally, the sound design consisted of me shifting through free online sound databases. The explosion sound for Glacius, for example, contains modified audio clips of people dumping out lots of ice cubes.

How long did it take to develop the entire game?

The game probably took me a grand total of 70 to 80 hours to develop.

Which spell is your favorite?

My favorite spell is, by far, Priori Incantatem (which is not technically a spell, but more of an “event”). However, the spell with my favorite sound effects is Glacius.

What was the most creative aspect of this game for you?

The most creative aspect was choosing the appropriate way of presenting and controlling the game environment at the actual event. Even though I experimented with several options, including motion capture through webcams and Nintendo Wii remotes, I ultimately decided to do something extremely simple, yet effective. I was the one controlling the pace of the game behind the scenes. The players would point their wands and cast spells, but it would be me actually pressing the buttons and running the show. As such, the result was more of a visual effects slideshow than an actual interactive game, but I believe it was the best choice for this situation.

What was the most difficult thing to develop?

Even though I developed this game under the name of Kapricorn Media, I was mostly on my own, since Luciano was busy working on his own projects and plans at the moment. Therefore, I had to take over the visual design of the game. I had the good fortune of finding an amazing 3D rendition of the Hogwarts Great Hall by French artist Jeremy Goncalves. This scene grounded the aesthetic of the game and allowed me to take concrete decisions about the scene’s lighting and special effects.

How did event attendees react to your game?

The attendees, both children and parents, were impressed by the power of each spell cast! As the button-presser behind the scenes, I got to watch every single player flick their wand and react at the result. I saw plenty of smiles and surprised faces! There was the occasional skeptic who just shrugged and said “oh, it’s just a screen.” Most players tried one or two spells, though some of them got in line over and over again to try them all. The more attentive and talkative ones approached me and quickly realized that I was, in fact, the one controlling the flow of the game.


Many thanks to artist Jeremy Goncalves for allowing us to use his stunning 3D rendition of the Great Hall.