The Unfinished Boy

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MARY: Sure. No, it really is. But I have had some weird run ins with him. He was at the Assembly Ball. MARY: Thanks Andy not taking his words seriously or trying her best to take the compliment without owning the meaning. MARY: It was fine. The music degenerated to limp Classic Rock covers by midnight.

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But it was good to see my extended family. I always feel weird at that thing. At least the waitstaff was not entirely black this year. The class divide felt way too plantation like last year. Just always looking at me or finding places that he thought were inconspicuous to sit so I was in his line of sight. Imaging that I would not notice him staring in the reflections of mirrors or windows. Sasha enters soaking wet with a crown of candles- everyone acknowledges her, she begin picking leaves out of her hair and wringing out her clothes.

I mean I would like the attention like anyone else but he is weird. It is his posturing. He indulges so heavily in the blue blood role, then pretends like he is homeless. MARY: Ok. It was an early and crisp morning with an early spring feel- shit Ryan. MARY: No, no, there is a relatively affordable stable in the Wissahickon where where you can buy into a share of a horse. If you choose odd hours you can get a lot of riding in.

I am trying to work out a work-trade. MARY: We were riding along. Looking at Ryan the dew lifting off into a idealic mist. Normally again Dad stopped before a stream crossing to readjust his saddle, one of the buckles kept coming undone. We were riding along the pipe trail that splits through the rocks- you know those sections that look like small canyons? I looked to where she was looking.

Oh God! She said she was really close. MARY: Not in the woods, and you are rich. And that is a little fucked up. Anyhow, it is not so much how he lives, but that he is hamming up these roles. Like this shit tonight! The ritual. It is cool, but totally messed up too. RYAN: Come on, you are being pretty negative. This is a good thing. We need a little urban shamanism. It is like a Disney version of the thing. Then we get this illusion as to what the real thing is.

That is the whole problem with cultural appropriation. Where do we leave the indigenous? They are in the shadow of expectations of themselves that they were never aware of. Then they suddenly have to live up to something that has nothing to do with their original practice. MARY: Everything is already in such a hurry.

The thing would decay as quickly as McManshions or American Apparel t-shirts if we hurry to gain something. Yoga is a perfect example of a spiritual practice sold back to itself. MARY: Maybe. Meanwhile we are tweeting about our headstands on our smartphones that have the blood of African slaves in the Coltane! ANDY: Mary. It is not perfect. MARY: No, no. That kind of thinking is a bit of trap. And I know I am super privelaged. But I worked and saved for my own ticket. JON: No.

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  8. It is amazing, and horribly executed; to no fault of the dancers to Sasha. And yes it is expensive. MARY: It is an amazing party! I just think the guy is a creep. Anyhow it is an amazing party because he has the time and money to do this shit. He probably pays people to come up with ideas and set things up and then takes credit for the whole thing by being the front man. JON: He has a crew of friends. At least your grandfather would be happy to have you dating in your social class.

    Mary turns away from her friends. Her attention is suddenly caught by a feeling from her perifrial. She glances up, towards the party, beyond the camera. The long shot of the conversation finally cuts, to Boy amidst the madness of a enigmatic ritual. He is amongst and not held up as more important, but he is the center of the dream that she sees.

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    He is adorned with leaves and paint, and is a grey green amongst smoke and people miming animals and pulling and enduring. He is looking right at her. The camera cuts again to her. She is confused and disarmed. He is intense and somehow conveys openness and sincerity in his look. She is frozen and terrified and then there is a moment of softening. There are certain things I want in this conversation. The rest is important simply for the timing and space.

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    The things in the conversation are: convey an impression of Boy that is questioned by the parting shots; make the audience sympathize for Mary and also think very highly of her, while keeping her as a real person; not 2 dimensional; paint visuals with words of the ball and the boy bathing in the woods; keep engaging and well paced. Mary and Boy are in a homemade scrap-wood boat. Should we jump to that place already?

    Can it be that within one scene we assume and leap beyond their initial meeting? Can we instead have them meet by the river? She is wandering the streets and comes across Boy who is in the market- by the edge of water throwing buckets of water at the locals and they at him? It is here instead that she sees him and it takes a moment to recognize him. Just until he looks at her before she realizes. She comes right right up to him.

    Did you ask someone and then take your plane? Did you expect that I would be happy to see you? I am finding my way. BOY: Yeah. The trip down was too dangerous. I can not go back that way. They will kill me if I go back. It was fine the first time. A second time would be impolite and I would be killed. MARY: You are crazy.

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    Like actually crazy. That explains why you are rich and act homeless. BOY: No. I save up for that ball. I work odd jobs, mucking stalls, playing ballet accompaniment for dance classes. My old piano teacher does. She lets me sit in her seat for the performances her husband and her do not attend. Bronners [ soap name]. I mean either I am completely sane or totally crazy. I think I am sane. Small Boy enters. He is a scrauny native child no older than 10 or He holds out his hand, Boy gives him a coin, he takes up the boat and paddle and drags them into the water.

    Small Boy gives boat tours around the floating village. He is very good at it. I want to support his living. Poor is relative. Right now, I have more than, no, I probably have less money than small Boy, and he probably has a much richer community of support here than I.

    Small Boy comes up to Mary, taking her hand he pulls her to the boat, she is permissive with the child. We experience the boat tour around the Jungle River Ghetto. Gracious Beast. Skip to content. That seems right. MARY: Yes. MARY: Oh, ok. Good night. BOY: his face in the wilderness, spoken from the actor in the wind Mary. ACT ONE: the happening Scene opens with shots of the city, of the juxtaposition between the rich, and the homeless, the beautiful and the delapatated. RYAN: This is amazing!

    Is this like burning man? I thought you came out? MARY: Who? ANDY: Boy. The guy dressed as the Amazon Green Man. MARY: Him? He creeps me out. RYAN: Really? This referring to the party is pretty awesome. ANDY: Yeah? MARY: Just kept staring. ANDY: Mary, you are beautiful. I mean, guys might stare. RYAN: How was the ball? RYAN: How was he staring?

    ANDY: Bullshit. MARY: I did see him bathing in the park. Who did you see naked? Put me in the moment. MARY: What? RYAN: Seriously, this sounds amazing. MARY: Traumatizing. Lets hear it Mary. RYAN: Try. ANDY: laughing what the fuck Ryan? ANDY: Are you boarding at the farm? MARY: He was something of a country gentleman in his hay-day. RYAN: Were you in chaps? With the velvet riding cap and boots? MARY: Alright alright, do you want to hear this? ANDY: Sure. Not good for swimming. MARY: considering the aspect in her mind and with her hands Yes..?

    RYAN: Yeah, it freezes up in the winter. The other stream. ANDY: Your horse? Come on Mary. RYAN: Not a good swimming hole. But pretty clean according to the EPA. ANDY: Shut up. How the hell would you know? Never mind. I mean was he jerking off or something? MARY: No. RYAN: Ok. So do I. RYAN: What? RYAN: But we need it too. Gotta bring it to the masses. RYAN: Better than nothing. ANDY: Ryan? For real? This is pretty obvious. He is dressed in leaves! RYAN: universal architypes. Use it if you got it.

    MARY: No way. I need to earn my way like everyone else. MARY: What kills me is when these rich kids act poor and rely on welfare claiming to be artists. RYAN: Boy? RYAN: Yeah, he is homeless. Lives under a bridge. RYAN: Seriously. But by the end, the developer loses control, introduces ambiguity and doubt, and leaves the player feeling unfulfilled and empty. But the finished game is by no means an amateur effort, and everybody should play it to see for themselves whether it ultimately makes sense or not.

    Dallas wrote the story about an orphan boy named Monroe. She died and Monroe was sent to an orphanage, which only allowed him to keep one of the paintings. He chose a portrait of an Unfinished Swan. But one day, the swan walked out of the picture, and Monroe began a quest to find it. As Monroe, you follow the swan through the landscape. You toss paint and uncover a whole 3D landscape, always following the orange footprints of the swan as pictured above. You always feel like the swan is leading you, but you can stop along the way and make delightful discoveries. And ultimately, you learn more about yourself and a mysterious King played by Terry Gilliam , who is the crazy artist who constructs all of the magical art work in the game.

    We can all identify with the inability to finish something.

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    Dallas has described a child as a kind of unfinished work of art, and that view is worth remembering as you come upon all of the unfinished works in the game. Maybe the kingdom you are exploring is an unfinished kingdom. But the blending of these different influences is subtle, making Unfinished Swan wholly original. It holds great appeal to both young and old alike, and I enjoyed playing it with one of my children.

    But its story has mature elements which I discuss below that make it less appropriate for young children. You feel not like a player, but as an artist. You are part of the story, and you are using your paint and later, other tools to give the world its structure. Monroe is an active participant. This world is simply animated. You find austere gardens and ponds. They are functional, with no more detail than they need to reveal so that you can get on with your journey.

    Unfinished Swan has four chapters, each of them taking about an hour to play. And each of them is very different. The black-and-white world reveals itself to you one step at a time. You get a small understanding of what it might like be like to be a blind person, where spaces reveal themselves to you bit by bit. But with each new chapter, the world changes.

    While each of the spaces is different, they all leave you with this weird kind of feeling of being rudderless. It drops a hint like the crown in the above picture for you to pursue. And the swan itself constantly shows up. This solution is a wonderful way to combine the exploration and narrative story. Unfinished Swan tells its story in pieces. If you finish a section of exploration, you can see an orange letter in the landscape.

    [UDT BOY$] Unfinished track 3 (Prod. by BB)

    The story is intriguing and draws you into the tale of the King, an artist who creates a dream-like world that drives away his own subjects. At some point, Unfinished Swan introduces you to the figure of the Queen. She leads Monroe to start discovering more things about himself and his place in the world. As the tale progressed, I became more interested in who the Queen was and who the King was.

    You find out just how child-like the King is, like in a scene when you learn he hates the sea because it once washed away his sand castle. You start to feel like this fairy tale is meant for Monroe, and that he is going to learn something from it. The story has an arc, and the chapter divisions make sense. You go on a journey in this game, and the mood changes in each chapter. Gameplay surprises. Giant Sparrow came up with a wonderful new game mechanic of tossing paint at a white space, which is akin to uncovering the fog of war in a strategy game. As novel as this is, it gets old.

    You get tired of looking at a world in black and white. The developers work this feeling into the story, and then Unfinished Swan changes. Just when you think it has gotten predictable, you must find a new way of solving puzzles and making progress. One surprise: If you walk far enough, Monroe will pick up his pace and start to run. The game has a sense of humor. The King likes to make pottery, but he refuses to provide a sewer system for his subjects.

    When they start relieving themselves in the pots, the King relents. The King may not be very sociable, but he has a knack for building interesting puzzles that present a lot of challenges. But if you noticed a painting on the wall in an earlier scene, you would know the way to get through that area of the game. In one scene, you discover that you are in an endless loop. You eventually learn that you have to do something to get out of the loop. I generally found that the tougher puzzles extended the game by minutes.

    One of the challenges is to find all of the balloons in every scene. You can also try to navigate your way through the all-white scene without using much paint. If you do it with three or less blobs of paint, you get a trophy. Dallas consciously worked with Peter Scaturro, the music supervisor at the Sony Santa Monica Studio, to create a score that offset the melancholy of the story. Dallas said he consciously steered away from anything that felt too sad, stark, or desolate.