Digital Experiences
Throughout my career, I’ve tried to combine the reach of the internet, and benefits of emergent technologies like VR and AR with the power of the performing arts to connect people and explore difficult, but necessary social conversations.
While I was experimenting in the intersection of live performance and digital techology before, the pandemic has made it clear to me that further development on this front is critical to a healthy future for our performing arts ecosystem.
While I was experimenting in the intersection of live performance and digital techology before, the pandemic has made it clear to me that further development on this front is critical to a healthy future for our performing arts ecosystem.
"I'm very thankful ... You helped me survive the pandemic. "
-Shelia G., Dragon’s Community Livestreams Patron, Donor & Volunteer -Bay Area Tech Industry Finance Professional
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Light at the End: New Years’ Eve Party
Creator, Experiential Designer, Contributing Writer, Producer, Video Producer
In addition to the virtual gathering, the night pushed against the limits imposed by the barrier between the physical and digital; allowing guests to peruse and purchase physical artwork from an exhibit presented by MUSA Exhibits, order a cocktail crafting or meal kit from partner Sobre Mesa Restaurant and Lounge along with a demonstration by Top Chef contestant Chef Nelson, or to go on a self-guided tour of their own fridges, accompanied by the god of theatre and celebration, Dionysus. This experience was presented by Dragon Productions with map design by Magnetic Map Works and received national media coverage by AP News.
Want more?
- Check out the Event Design Deck
“Stacked Reality” Experiments
Experiential Designer, Lead Writer, Event Producer
Through a combination of Immersive Environments, Human Driven Cues, and Interactive Frame Stories; Stacked Reality experiences featured physical, touch-based interactions with tactile environments and tracked props that keep you active and present in Virtual Reality-- mixed with the human connection supplied by live performers. Produced by Epic Immersive in collaboration with video game industry veteran, David York, and presented as a demo at SubZero festival in San Jose, a Google Tilt Brush VR Developer Happy Hour in San Francisco and an industry presentation at Two Bit Circus in Los Angeles.
Why is it interesting?
The ‘Stacked Reality’ Experiments comprised of two different pieces which combine virtual reality, live acting and environment design.
The first, ‘The Patient’ was a ~20 minute experience focused primarily on immersive environments and interactive frame stories. It established a steampunk world where the audience was cast as an assistant to a mad scientist who needs their help to dive into the mind of a catatonic patient using an experimental device and help them overcome past trauma and begin the process of healing. The Patient featured a live actor/musician and a live actor/VR operator with the emotional journey of this tragedy unfolding through physical and virtual environments, live music, interactive dialogue and physical touch.
The second, ‘The Magic Hat’ was a tighter, ~15 minute experience focused more on marrying live acting with virtual reality puppetry and integrating environment design even more heavily than even The Patient into the narrative and game mechanics for a highly vertiginous, comedy experience. It featured a live actor/puppeteer and a vr operator/actor in addition to a number of weight bearing set pieces and a ‘magical book’ which spanned both virtual and physical reality. The piece also included real-world sleight-of-hand during the frame narrative to set up the magical, transdimensional adventure to come.
What did I do?
I worked with Epic Immersive Founder/CEO on designing The Patient, taking lead on establishing a narrative and engaging interactions to move us through and transition us between the VR environments he provided using the Unity engine. Among other mechanics, I designed the actor triggered 360 photo ‘memory bubbles’ and the vr operator furniture misdirect to enable the act 2 virtual world to magically appear in the physical world. I scripted the experience, directed the other actor/musician and performed as the primary actor/vr operator role.
For the development of The Magic Hat for a presentation at San Jose’s SubZero festival in 2017, I recruited gaming industry veteran David York to collaborate on developing a new ‘stacked reality’ experience for Epic Immersive. Through a rapid design process, we developed a fantastical, family-friendly experience which, while continuing to deliver a compelling narrative, prioritized the integration of that narrative more deeply into the interactive mechanics of the experience. I also designed and produced the physical environments for both experiences.
Want more?
- Check out an Experience Overview Document for the Patient.
All We Have to Fear: -Chapter 1- Party at the End of the World
Creator, Experiential Designer, Writer, Producer, Director
Party at the End of the World was an immersive online experience that drew audiences into a mythical world of Sensations, exploring emotions evoked by 2020’s social and cultural challenges-- where under the veil of secrecy, god-like beings clashed against one another and humanity to dominate and control the bridge between worlds--imagine something like the World of Darkness, Fables, or The Sandman universes.
This hybrid video game/live performance featured the Gather.town platform along with a custom software ‘wrapper’ developed by Spiteful Stageworks enabling prerecorded live acted NPCs with branching dialogue options, inventory based puzzles, and more. Map design was by Magnetic Mapworks.
Why is it interesting?
Across a 6 week run, Party at the End of the World dropped hundreds of participants in the midst of a party raging in a magical universe diegetically existing online atop our current world and provided agency regarding how they engaged with the show.
Those looking for a more traditional theatrical fare could ‘grab a seat’ at a private table to tune-in to the floor show: a circus, music, and dance show - featuring an incredible MC.
Those who were more socially minded could meet live-acted characters and follow them along their journey through the night.
And those feeling truly adventurous could seek to unlock the secrets behind the scenes by solving puzzles and engaging in more ‘video-game-like’ elements.
Finally, evolving from a design choice to create real-world impact through a digital fictional experience, many of the narrative threads collided audiences with opportunities to meet real world performing arts professionals and learn about their experiences during quarantine, while encouraging real-world acts of generosity through donations to Theatre Bay Area’s Performing Artist Relief Fund.
What did I do?
I conceived of the idea in response to the events of Spring and Summer 2020 along with the growing popularity of zoom based immersive experiences. Spiteful Stageworks came along as technical lead and to provide support on story development. Together we designed the software wrapper which Spiteful Stageworks then developed and hosted.
I managed a team of actors, writers, map designers, illustrators and software developers to create a new kind of pandemic-friendly entertainment experience which married the best of video games and live immersive theatre to create an online, social theatrical experience which explored a multitude of points of view on the central conflict.
Want more?
- Check out an early Design Overview Document
- Check out a Show Flow Document
- Check out an NPC Dialogue Diagram