It is a piece of interactive fiction, inspired by real stories, people and events.
It is a purely audio-based experience, using only sound to tell story, present characters, create atmosphere, signal place.
It will take advantage of what binaural sound design can offer in realising convincing and absorbing soundscapes, completely disjointed from the listener’s physical surroundings.
A convincing and absorbing soundscape is not necessarily a naturalistic or literal one.
Listeners make decisions or perform actions through non-visual touchscreen controls.
It is imagined to be played on touchscreen devices with headphones.
The world that listeners move through is larger than a home, or a street - perhaps a city, perhaps wider than this even.
The decisions and actions of listeners will directly affect the content and duration (and possibly the tone) of what they hear.
The core artistic team consists of Chloe Mashiter.
It is something to be listened to alone, rather than as part of a group.
The challenges it poses will be morals-based rather than skills-based.
It is interested in creating the most vivid world possible, and engaging and affecting the listener emotionally.
It is inspired by the general theme of war. More specifically within this theme, it is interested in notions of safety, the psychology of killing, compassion and interdependence.
It should never be humourless.
The closest the piece should come to pushing a political agenda is in pushing a humanist agenda.
It is made with 18-30 year old listeners in mind, primarily those who already have an interest in forms of interactive fiction (from indie games to live performance).
It is made with those who’ve never had firsthand experience of conflict in mind.
It will involve a range of people in the creation of the piece - from the game engineer, to sound designer, to focus group members, to playtesters. Every step will be taken to ensure those involved in the development and making of the piece encompass a wide range of backgrounds and perspectives.
Its development will involve constant play testing, feedback, reworking and repetition.
It will invert interactive fiction’s typical mechanics for killing, in making it the consequence of passivity.
Each decision the listener can make is an end in itself, rather than a means to some greater end or given aim over the duration of the piece.