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 Forum index » Archive » Archive: General » ARG: Find the Lost Ring
How do walls hum? (Was: Secondary strength mission)
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Weezel
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Location: National Park, NJ

How do walls hum? (Was: Secondary strength mission)

Well I'm a little frustrated with my Sophia progress right now, so I thought I'd concentrate on my secondary strengths. Accordingly, I'm trying to develop a Flash animation that will help train the walls and show them how to move with a runner.

I did a mock up last night and came to several realizations about scale that I think need to be discussed for all labyrinth walls, not just those in my sample.

I also got ahold of Ariadne and let her know what I was working on, and she's very excited about the wall training and thinks this is a great project.

Hopefully the vision to do it won't be too far ahead of the technical aptitude to make it work.

Here's some things I realized.

1) With only 2 foot corridors, even with arms across your chest, the runner is going to be 16-20 inches wide. That only leaves a few inches clearance on either side. Being thin isn't as important as not being broad chested or wide hipped.
2) When holding your spot in the wall, the average person with their hands out at a 45 degree angle to hold someone else's hand should be able to cover 4' of wall space. If you only hold out one arm, you would take up 3'. This is important for determining the amount of people needed for a length of the wall.
3) We're building rounded corners with straight lines. Does it make sense to make the corners "blocky"? Or do we curve our bodies and arms to have a rounded approach?
4) Initial placement is important. Since one body can be both the "front" of one wall and the "back" of another, it may be more efficient to simple turn around and be 'used twice' in one spot then to leave and come back. So at times, certain wall pieces might move more than once in a row, and then take other subsequent turns staying in one spot.

My initial flash animation didn't take all of these things into consideration, especially the amount of space each person takes up, or how little clearance there is. I'm going to do another mock up (working on just a 3 circuit now) and then generate some discussions on whether it looks proper or not, along with Ariadne's help, before fine tuning it further.
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PostPosted: Mon Mar 31, 2008 7:48 pm
Last edited by Weezel on Tue Apr 01, 2008 12:35 pm; edited 2 times in total
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Hikaro
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Excellent idea!

~Hikaro

PostPosted: Mon Mar 31, 2008 8:01 pm
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jasper
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Curved arms sounds more space efficient than blocky corners.

just looking at a doodle on note paper, I think getting the walls to turn around makes a lot of sense. It looks like one of the challenges will be getting into position quickly, without getting into the way of the runner.

I can't wait to see what you come up with!

PostPosted: Mon Mar 31, 2008 8:19 pm
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brodie
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Speaking of strengths, who's noticed that Ariadne is now Dikaiosune?
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PostPosted: Mon Mar 31, 2008 9:33 pm
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Weezel
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Alrighty.. here's my first beta of what it *might* look like:

http://chaos.greenhead.com/FTLR/3Circuit.swf

1) Trying to deal with bent arms with the avatars is a PITA right now.
2) Trying to show how to switch arms looks kinda dopey because of the way the mirror works.
--I might wind up recreating new position markers rather than letting Flash tween it so it doesn't look quite as a flip.
3) I still need to put Walls 7-10 in place and obviously do the rest of the sequence, but after 3 hours work, I wanted to show something at least.
4) I'm making assumptions on the best places for each wall piece to move to. I think interior walls should rotate until they are used twice, and exterior wlls should move to fill in the gap for maximum efficiency. Will need to see what real world statistics prove.
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PostPosted: Mon Mar 31, 2008 11:26 pm
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brodie
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That's looking really, really good Weezel! Can't wait to see it finished!
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PostPosted: Mon Mar 31, 2008 11:32 pm
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Hikaro
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Good work so far. Smile

One thing I did notice is that there are people behind the runner at the very beginning. My impression from Chapter 6 of the Codex is that there should never be wall-athletes behind the runner; if the runner is past you then you move to the front of the path. So the two ladies next to the centermost man shouldn't be turned toward the runner; instead they should start turned as they are after you have them rotate.

But great animation so far. ^_^

PostPosted: Tue Apr 01, 2008 12:05 am
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Weezel
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Hikaro wrote:
Good work so far. Smile

One thing I did notice is that there are people behind the runner at the very beginning. My impression from Chapter 6 of the Codex is that there should never be wall-athletes behind the runner; if the runner is past you then you move to the front of the path. So the two ladies next to the centermost man shouldn't be turned toward the runner; instead they should start turned as they are after you have them rotate.

But great animation so far. ^_^


But at the beginning, before the runner starts moving, they are at the center of the labyrinth. You've basically got a 3/4 circle with an opening the leads out. The walls need to be humming so that the runner knows where the opening is (both from memory, and the fact that it's the place there is no humming!!!).

If they start with their backs to the runner, rather than turning when she starts moving, you lose that initial humming and part of that circle..

Unless I'm misunderstanding what you are suggesting -- still a good point for discussion.
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PostPosted: Tue Apr 01, 2008 12:10 am
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Hikaro
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Here's an image to make sure we're on the same page. The people I was referring to are circled in red (sorry if I confused their genders-- the lower one is looking like a man now). Now that I think about it the lower person circled in red can stay the way you have them.

The person directly behind the runner should not be facing the runner and humming because that is against the rules of the Codex (walls should never be behind the runner--the Codex says that when the runner moving forward passes the wall, the wall needs to move to the front of the line to continue the path. If the runner never passes the wall, the wall shouldn't move.). The runner will navigate toward the sound of the two people on the sides of the opening, not to a place with an absence of sound.

Am I making more sense now?

~Hikaro

PostPosted: Tue Apr 01, 2008 3:48 am
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Weezel
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Hikaro wrote:


Here's an image to make sure we're on the same page. The people I was referring to are circled in red (sorry if I confused their genders-- the lower one is looking like a man now). Now that I think about it the lower person circled in red can stay the way you have them.

The person directly behind the runner should not be facing the runner and humming because that is against the rules of the Codex (walls should never be behind the runner--the Codex says that when the runner moving forward passes the wall, the wall needs to move to the front of the line to continue the path. If the runner never passes the wall, the wall shouldn't move.). The runner will navigate toward the sound of the two people on the sides of the opening, not to a place with an absence of sound.

Am I making more sense now?

~Hikaro


Yes, your explanation makes more sense now. I need to read the Codex closer, as I'd read it as the humming being used to show the presence of walls (e.g. a warning they were going to touch it, rather than a guide to finding the opening) which is why I had them facing inward.

I don't actually see a spot where it says they can't be behind her. It just says they move. And in fact, they only move if you don't have enough wall pieces to complete the labyrinth (rather than doing it with minimums).

Any other thoughts on whether the humming is used as a warning or a guide and wall placement? I know thebruce was at a training event this weekend, what did you guys do (for comparison, even if it wasn't necessarily the right/easiest way)
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PostPosted: Tue Apr 01, 2008 7:12 am
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Tenchizard
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I don't know if this has been already covered but someone else, but I guess this is a good place to mention it. When drawing the labyrinth, It's a bit difficult to keep the walls well done. In here you can see a little flash animation of how to draw it using stakes and a rope. The method shown is for a 7-circuit one, but you can easily draw a 3-circuit one using just the central cross and 4 dots in the corners and following the same method (obviously, with less knots in the cord).

PostPosted: Tue Apr 01, 2008 7:14 am
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thebruce
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I think trying to coordinate people to know when to move or when just to turn might be a task in itself...
our walls just ran to the end of a wall once the runner had passed. the walls to focus on only humming just in front of the runner, otherwise it could confuse him - the hum is a form of guide, yes. Turning really only happens when the runner hits a u-turn, even then a wall reflex may be to leave and find the other free end of a wall, when they don't need to.

It's definitely a game that can use practice and training - runners train to run the route (for muscle memory) and walls train for how to decide if, when and where to move once the runner passes them. I (and Melody) will have a post to go with the video once it's up on the tube... it's taking forever Confused

I think with enough training, it can definitely be a sweet, competitive game... I was impressed how easily our group caught on
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PostPosted: Tue Apr 01, 2008 10:13 am
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Weezel
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thebruce wrote:
the walls to focus on only humming just in front of the runner, otherwise it could confuse him - the hum is a form of guide, yes. Turning really only happens when the runner hits a u-turn, even then a wall reflex may be to leave and find the other free end of a wall, when they don't need to.


Ok, so it sounds like someone else is in agreement that the hum is a guide not a deterrent. I'm still not sure I entirely buy it though.

When a runner gets to a corner (with humming guides) and starts to turn you might have an arrangement like this (Runner going from R1->R3):
Code:

      O---1---OO---2---O
     /
    |      R2            R1
    3            O---5---O
    |
     \         R3
      O---4---OO---6---O


As the runner is going towards 2/5, they hum. Then as she passes, 1/5 hums and 2 stops? Then 3/5 (1 stopping) and then 4/5? That's the way the hum would lead her, as she passes between the hum and heads towards it. At some point, 5 needs to turn to face 6 as that's the way you want to lead her.

Now you have to deal with the timing of starting and stopping the hum to lead them along and staying 'ahead' of the runner with the hum. This parts alot of coordination on the walls.

With a hum as deterrent, the emphasis is on the runner. Think of the walls as an electric fence. With the runners ears oriented perpendicular to the wall (at the proximity we are talking about), they are going to hear the walls next to them and know where they can't go.

With lower volume sound in front of them, plus the muscle memory of the direction they are traveling, they move forward. As they approach the turn, since 3 is already humming, it should be growing louder and they know they are making their approach.

If the walls wait until they are approaching to hum, you're going to have different volume levels starting and stopping.

If you're already humming in place (at a constant volume, even if its low), the runner will hear the difference in volume (with a focused mind/senses) as they change their distances to the wall.

I just think it's easier to coordinate that if you're standing in the wall, you're humming, if you're moving to a new location, you're not humming. I also think the subtle differences in the volume as the runner approaches walls and uses them as proximity would be easier to notice if there is constant a low hum rather than a starting/stopping method.
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PostPosted: Tue Apr 01, 2008 12:34 pm
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thebruce
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well considering there should be no walls behind the runner, whenever the walls hum, they should always be in front of the runner anyway. Now if you've got a full circuit of walls, then only the walls around the runner would hum, and once again once the runner has passed, the wall would stop humming. So really whether it's a "push" or "pull" all depends on the timing of the walls. Smile either way, the humming is in front and to the sides, so I think the effect is really both push (stay away from me) and pull (follow the hum)
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PostPosted: Tue Apr 01, 2008 12:40 pm
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Ikkarus
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Maybe I read the wall descriptions entirely wrong, but here's what I expected to happen:

-- A member of the wall faces the runner and hums, beckoning the runner forward.
-- As the runner approaches, the member of the wall turns to get out of the runner's way.
-- As the wall member turns, another wall member further along the path turns into the path of the runner and begins to hum, beckoning the runner forward.
-- Repeat.
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PostPosted: Tue Apr 01, 2008 12:41 pm
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