Foxworld - KIM (ANIMATOR)

B:/FOXWORLD

*

ΚΙΜ CREATive INSTRUCTion MANual

ACT ONE – REVOLTING

*

FOX

DOCUMENT NAME

KIM

DESCRIPTION

CREATive INSTRUCTion MANual 36 pages

VERSION

ANIMATOR Principal Copy

CONCEPT AUTHOR Copyright ©

Richard fox 2000/2001

CATEGORY

Line Art

EFFECTIVE FROM

2001/12/01

ATTACHMENT

KIM NX annex

CONTENT

ANNEXURE “A” Profit Percentage Scheme ANNEXURE “B” Terms and Conditions of Participation ANNEXURE “C” Assignment Agreement for Artwork Note. Please read the specified documentation and sign the terms and conditions of participation (NX B) before commencing B:/foxworld assignment.

thank you and GOOD LUCK

TABLE OF CONTENTS

PAGE NO.

TITLE PAGE TECH PAGE TABLE OF CONTENTS

…1 …2 …3

INTRODUCING FOXWORLD. A WORD FROM KIM

…4

BOXWORLD. THE GAME AND THE CONCEPT THE GAME THE CONCEPT NEW RULES THE BOY THE BOX THE BOY AND THE BOX STANDARD ACTION BLOOD™ REVOLUTIONARY ACTION THE MAZE THE SILVER FOX

…5 …5 …6 …7 …7 …8 …9 …9 …10 …11 …11

FRONT COVER ILLUSTRATION. LET THE LIGHT SHINE THROUGH

…12

ACT 1.

REVOLTING OVERVIEW

…13 …13

THE HOLE YOU’RE IN… LEVEL 1 LEVEL 2 (BOXED IN…) PROGRESS ENTRAPMENT PIEYED PIPER BONUS ROUND CONTINUE …9 MT BLACKOUT

…14 …16 …18 …20 …23 …25 …27 …29 …31 …33 …34

ACT 1.

ACT 1.

ACT 1.

ACT 1.

ACT 1.

ACT 1.

ACT 1.

ACT 1.

ACT 1.

ACT 1.

ACT 1.

SCENE 1.

SCENE 2 .

SCENE 3 SCENE 4.

SCENE 5.

SCENE 6.

SCENE 7.

SCENE 8.

SCENE 9.

SCENE 10.

SCENE 11.

KIM ANIMATOR

WYLE E FOX

PRINCIPAL COPY

CONFIDENTIAL

PGE 3/35

INTRODUCING FOXWORLD. A WORD FROM KIM

Hello My name is KIM. I am the Creative Instruction Manual to the B:/foxworld project. I have been designed by Richard fox to facilitate the artwork required to help complete his vision (to create a bestselling book of verse). You will be required to submit artwork to the project. I trust you have read my sister NX and signed the necessary terms and conditions meant to protect your artistic right as you attempt this task. If not, please do so now.

The nature of the artwork is described in these pages following. I have done my utmost to duplicate the comix Richard fox has been developing over the past three years, but this has not always been easy. The cartoons prefer the nether regions of fox’s mind to the written clauses of a captured page. The success of the project rests on your ability to transform these cartoons and characters back into comic form. The closer your artistic rendition tends toward the vision of Richard fox, the greater the success of the project. The greater the success of the project the higher your earning potential. The aim of the project is to maximize earning potential by creating a good quality, marketable product that sells well many years into the future, after striking an initial cult and/or popular following. The mix of poetry and comix is essential to this equation.

Cartoons are the ideal vehicle for poetry. Poetry is hard to read for many people, though cartoons strike an immediate interest, no matter the age, race or gender of the Reader.

Combining the two in medley format could have the effect of introducing new readers to poetry, poetry to new readers. A high profile marketing plan to launch the book overseas in the UK simultaneously with its release in SA should ensure an initial sale capacity well within the reason of ambitious contributors.

A further consideration for the justification to include cartoons with a release of poetry would be based on the nature of cartoons themselves. Cartoons are excellent message carriers. They overcome barriers in the human brain that filter out truthful, so-called relevant issues, and allow the rest, a possible mix of images to pass along to the hindbrain unaltered. Here they can deliver messages about human nature and society that would have struggled through a real representation of the same. These cartoons have an urgent message of their own. When coupled with poetry from a major poet (poetry that reflects personal and universal issues facing the modern individual) the result should be a durable expression understandable across boundaries of language and culture.

Richard fox has asked me to conclude by saying that whatever help you require to attempt and/or complete this project, will be offered when available. He is more than willing to sit with you (once you have read the idea, and understand the concept) and explain in detail what is needed, and ways in which submitted art can be refined to capture the essence that is Foxworld. Many thanks from us both for your time… and good luck.

May the fox be with you….

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 4/35

BOXWORLD. THE GAME AND THE CONCEPT

Boxworld. The Game Boxworld™ is a simple, puzzle solving computer game created by Jieng-Long Jiang, in the same category as Tetris™ and Rubick’s Cube™. The game itself is available in winzip™ download format from various game sites on the Internet, under search topics by the same name (Boxworld). The file is only 37Kbs in size, and playing it a few times could help you before attempting the following task, although be warned: it can be quite frustrating.

It is not as easy as it seems.

The basic game structure consists of a Maze duplicated through various levels of increasing difficulty. Each level completed allows progression on toward the next and more difficult level.

The Characters are simply programmed and are respectively The Boy and The Box (or boxes plural). These characters operate within the Maze in a conflict situation. Resolution of this conflict brings about the completion of sequential levels. The conflict situation sees the Boy having to (move boxes) around the Maze into correct positions. These correct positions are indicated in the original game by a small circular mark on the Maze floor. Once these boxes are moved into their correct positions, they turn red in colour, indicating they have been correctly placed, and no more action is required against them. Once all the boxes on a particular level have been moved into correct position and have changed colour indicating as such, the level is complete, and the Boy is allowed onto the next and more difficult level. This action (conflict resolution) is repeated indefinitely until one either completes the game, or reaches a level of difficulty one cannot overcome. Given the complexity of the game even while the format and layout remain fairly simple, one could easily be stumped on a particular level, rather than complete the game.

The Boy in the original game format is dressed as a figure versed in a martial discipline, and his action against the box(es) is depicted accordingly. To move the box(es) he alternatively kicks and then hits them, moving them a single action space by doing so. His (the Boy’s) most distinctive characteristic is a disarming squint programmed to co-incide symmetrically with his active movement (i.e.: his eyes move up and down, in different directions to each other each time he kicks and then hits.) This motion of kicking and hitting is automatic to the Boy, and he continues to act thus whether there are boxes in his immediate vacinity or not. When the Boy comes into contact with a Box, the Box is moved according to the direction described by the Player of the game, using keyboard cursor keys or joystick control. Standard game rules prescribe this movement. The Boy is the active component, and the Box is a prone game piece (acted against). The Maze is the repeated game format within which this action takes place. The Maze has external sides and internal walls creating a space within which active movement (the Boy) and passive movement (the Box) occurs. While the shape and intensity of the Maze changes directly according to the difficulty of the level, the rules binding the Boy and the Box together in conflict do not change. (pls see the game Boxworld™ for further game play information)

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 5/35

BOXWORLD. THE GAME AND THE CONCEPT continued…

Boxworld – The Concept To understand what is required from yourself as an artist in this project, you first have to understand B:/foxworld as a concept. Boxworld™ can be understood as a metaphor expressing conflict situations in everyday life. The basic format of the game does, however, not immediately display this and alterations have been made under the new idea, B:/foxworld to assist in this regard. The Boy represents an individual who is faced with certain problems that need to be overcome in order to progress along a chosen path. Each problem when faced or overcome leads to the resolution of a situation, where the completion of a separate level represents a desirable outcome in that given life scenario. The boxes represent problems that need to be faced and overcome (moved against) in order to bring about that desirable outcome. As with the game, life is never without situations that pose problems to an individual.

Every time a problem is solved and a situation resolved, the possibility of facing further problems and conflict situations is inevitable. In life, as with B:/foxworld, one is never truly in a state of non-conflict, and quite clearly, these problems and situations tend to become more difficult as we grow older.

Based on the above explanation, you need to see the game in a new and different light.

B:/foxworld will be a comic book puzzle leading the Reader through a new game of words and pictures toward a state of enlightenment (or the end of the game… depending on the desire of the Reader to continue reading… which is what we are essentially working on – human interest. In concept then: the creative ideal is to present a cartoon-adventure reflecting life in a state of conflict that once resolved will bring about personal growth. As an artist you need to express this concept metaphorically. The realization that there is a deeper meaning to this than simply a boy kicking a box, needs to be implicit in the way you style your drawing.

Boxworld™ as a game does not entirely convey this message. Once we begin drawing the Boxworld Concept and Boxworld Revolution, we leave the game, and enter our own play arena. The new rules we create, and old rules we revise, the manner in which we restyle characters to attempt different roles, will define a new concept, a new game. While inspiration is quoted as Boxworld™ the original game, B:/Foxworld is a self-contained idea, a monologue conferring some sort of designer-status on poetry – uplifting the artform to a new rendevous with global consciousness. To express the vision of Foxworld in a clear and simple fashion is quite impossible. Please consult the author for further details on the nature of specific tasks within the project.

New Rules As we attempt to redefine the original game according this new and deeper metaphorical understanding, we will be making certain changes to the standard game play. To realise this new concept we need toa tear the game down, and rebuild it along a more plausible model to suit or new understanding of it. A new character addition was needed to aid us in this task. The new character will be explained in some detail later on. Let us start by defining the existing characters as they occur in their new role.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 6/35

BOXWORLD. THE GAME AND THE CONCEPT continued…

The Boy The Boy in the Boxworld™ game is dressed in a colourful karate suit, or gi. He is of obvious eastern (martial) persuasion probably due to the nationality and cultural inclination of the game’s originator. We will be maintaining this persuasion throughout the task, although we’ll be losing the colourful gi, in favour of one complete white (standard). We will also lose the headband he is wearing. He will don a green belt. This shows he is of a sufficient level in his chosen discipline to take on the conflict he is faced with, although not yet at the peak of his experience. His progression through various levels can thus be seen as a test of character. The most notable colours between Boy and Box will then be red yellow green, in phases, reflective of another discipline, that of the Rastafari.

The Boy’s most distinctive characteristic (the disarming squint) is maintained and redefined as we recreate B:/foxworld. It will always be presented according to the following specs, these indicative of the new idea. One eye of the Boy will always focus on the Reader (wherever possible). This will be the eye closest to the Reader, whether left or right. The other eye (whether right or left in return) is focussed intently on whatever conflict is occurring in a scene as drawn (boxes in immediate vacinity). This is a trait particular to the Boy, and only changes where certain scenes require a shift in focus. The Reader is recognised as the Player in B:/foxworld. That the Boy always focuses one eye on the Reader is a means of involving the Reader in the new game version, the conflict situations that play out in the drawings.

The Boy will have short curly black hair arranged in an untidy bob about his face (top and sides). His face is round, as are his eyes (white orbs with black dots for irises). He has a small mouth, and a nose that is hardly pronounced. Besides the white karate gi with a green belt tied around the middle with the ends hanging free (martial style) his hands and his feet are bare throughout. He is short and stocky, built for action in the Maze corridors against boxes relatively his own size. Even while the Boy is drawn along martial or eastern persuasions, his features are distinctly western. In this B:/foxworld represents a bridge between eastern and western worlds.

The Box In many respects the Box is the most important character in the book. While quite simple to describe the Box will be somewhat difficult to draw due to certain prerequisite characteristics it needs to adopt. This refers specifically to the animate intelligence we transfer to the Box throughout the progression of the act and the book, and results in various conditions not recognised in the original game (such as movement on its own accord). The Box maintains a squarish shape, but often shows pliable sides capable of indicating movement and direction, as well as emotion (body language). The Box is the approximate size of the Boy, reaching past his shoulders, though not above the height of his head.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 7/35

BOXWORLD. THE GAME AND THE CONCEPT continued‌

Its width the same as the Boy with arms stretched out wide. The Box should completely occupy a space in the Maze, and block progression by the Boy around or above it. This in effect forces the Boy to move the Box forward, by acting against it using controlled movements. The Box is constructed out of a bright yellow material (wood or metal - indeterminate). Each side consists of two of three (planks/sections) fit horizontally. There is a thin beading that runs continuous around the edge of the entire box, covering each side, showing a thin border along the four edges of each side. This beading further crosses over each side of the Box in an X shape, running continuous from the opposite corners. The beading runs not only along the entire edge but also across the sides of the Box. There is no break in this beading. It is thin, of unknown origin, though entirely yellow as the rest of the Box. The beading does not stand out from the Box, but lies flat against the sides. The corners where the beading meets (along the edges and across the sides) are sharply contoured, not rounded. The impression created is that of the beading bringing structural support to the Box. The side planking can be seen beneath this thin beading. The only time the colour of the planking and the beading (the Box itself) changes is when the Boy acts against the Box, turning it progressively red.

The drawing of the Box takes on a level of difficulty when it develops an intelligent reaction to its environment. This intelligence (a result of the new rules acquired during the Revolution) allows the Box not only to respond to action taken against it by the Boy, but too, allows the Box to move on its own accord. This movement will at first depict flight away from the Boy, and finally reach revolutionary scale when the Box actually stops running and starts fighting back. As the Box adopts this artificial intelligence, its outer casing, usually rigid shall have to display not only movement but also emotion (or at least reaction‌) While this remains a challenge, cartooning is a skill capable of displaying life and reaction in inanimate objects. The ability comes from inference. Once the Reader is aware the Box is operating under its own steam, it becomes easier for the artist to animate. We will attempt to establish this fact early on in the book. A further attribute ascribed to the boxes in developing their own animation is the tendency for them to act in teams against the Boy. This on its own creates a major advantage for the boxes, seeing as though the Boy does not as a rule, step out of his standard game mode in the first act.

The Boy and The Box B:/foxworld is concerned with action between the two main characters (The Boy and the Box).

In standard game play this is shown as the Boy acting against the Box. The Boy is thus the active component in the original game, and the Box the passive. During the course of the book, the Box takes offence at being acted against, and comically begins to move away from the Boy, then against the Boy, finally against the Boy in groups and teams. This eventually negates any action the Boy can exact against the Box, and effects a role reversal in the game. The Box becomes the active component, exercising movement and action against the Boy. The Boy becomes the prone piece in the Maze, and is moved around through tactics exhibited by the boxes in groups or alone, marshalling their strength according to the conditions of revolution upheld by this new game version.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 8/35

BOXWORLD. THE GAME AND THE CONCEPT continued…

Standard Action The Boy and the Box are both computer game constructs. In this they are designed for specific movement. The Box evolves away from standard programming, but the Boy remains within these restrictions. The Boy has two main movements, and variations thereof. These are kicking and hitting. As a game construct these movements are defined by joystick or keypad control, which insist the Boy has more to display in his arsenal. As such, the Boy exhibits a fighting display of kicks and punches and creative combinations of both. Blindingly fast and with superb skill, the Boy is perfectly suited to move the Box through stages of the Maze, and this aggressively. He can kick turn hit spin punch, deliver an uppercut then a hook, first a left then a right, then a roundhouse heel kick all in a single movement, pushing the Box back as he strikes onward for the centre of the Maze, and the end of a particular level. The Box has to put up with this type of abuse, but not in the new revolution. The Box takes an aversion to this action. As a result it develops a fighting style of its own.

Blood™ An important consideration in the recreation of the Boxworld concept is the presence of Blood™ in these cartoons, which may be offensive to sensitive readers. In B:/foxworld, the Boy is required to move boxes out of his way to progress forward to the centre of the Maze during a particular level. In the original game, these boxes turn red when they are moved into a correct position in the Maze as indicated by a circular mark on the Maze floor. In B:/foxworld we have reworked this idea, and come up with the following explanation for the boxes turning red. As the Boy hits and kicks the boxes with his bare hands and feet, he expends small quantities of Blood™. Blood™ is like real blood in colour and texture, but it is not real blood (this is a cartoon, not real life). This Blood™ (which has been trademarked to the B:/foxworld concept to avoid confusion with real blood) is an after-effect of all action (standard) between the Boy and the Box. It is the shadow expression of game play – the trace of movement within the Maze. Where action occurs energy is dissipated, or expended by the Boy. This is expressed as an expense of Blood™ spraying out in small but consistent quantities in the direction of game play. Where the Boy acts against the Box, the expense of Blood™ occurs in the direction of movement, over the surface or side of the Box in the fashion of smears, speckles and Blood™ stains. This discolouration of the surface of the Box (from yellow to red) is progressive. By the time the Boy has moved the Box out of the way, allowing movement through to the centre of the Maze, and the end of the level, the Box is usually very red (or thereabouts). Yellow siding may show through on occasion, this dependant on the amount of action taken by the Boy against the Box, and also, on the independent creative discretion of yourself, the artist.

Blood™ is an expendable (and non-replenishable) substance that occurs during action, in the direction of game play. The presence of Blood™ gives an accurate indication not only that action has taken place, but how much action, and in what areas of the Maze.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 9/35

BOXWORLD. THE GAME AND THE CONCEPT continued…

Blood™ does not disappear from the game format once action has completed. Blood™ stains.

The Boy is also directly effected by the release of Blood™. Blood™ originates from his bare hands and feet and is shed in the direction of movement. As the Boy moves forward in the direction of game play, Blood™ stains his white karate gi as well. Blood™ is non replenishable in a given level. In the event the Boy releases too much Blood™ he will have no more Blood™ to expend and game play will halt. This is expressed as the loss of a game life for the Boy. Acceptable expense of Blood™ is defined by the colour of the Boy’s karate gi. In the event his gi turns totally red through the expense of too much Blood™ he will lose a game life, and have to restart the level. There are only a limited number of game lives, and the Boy tries to refine his movements to only those necessary to succeed in a level. There is a high level of motivation for the Boy to succeed in the game. The nature of the Revolution is thus particularly annoying and disconcerting for the Boy (and unnerving, as in the throws of a revolution he finds himself expending exorbitant amounts of Blood™. This is not a good thing, no matter it is not indicative of any sort of violent activity occurring. *) *The author would like to distinguish through the expression of Blood™ (due to Blood™ being fundamentally different from real blood in that it is not real blood) that B:/foxworld does not condone, support, or openly display, acts of violence.

Revolutionary Action As B:/foxworld takes on its own creative identity we begin to see new rules emerge. This effects a dramatic change in game play and influences the action of the Box directly. In standard game play the Box is a prone piece, something which is acted against. In Boxworld Revolution, guided by these new rules, the boxes become the intellectual proponents of action, outsmarting and outplaying the Boy, who then becomes the prone piece. (The Boy is not part of the Revolution; he is a probable cause.) In this revolution against standard game play the Maze can become corrupt, and work in collusion with the boxes to defeat the Boy. Defeating the Boy within the Maze becomes the renewed aim of B:/foxworld.

The Maze The Maze features in many (not all) of the scenes, and it is important to understand where it fits into B:/foxworld. The Maze particular to a given scene will need determine the difficulty of that scene or level. Where in the original game the Maze has many varied external shapes, for the purposes of B:/foxworld it has a square shape (external) and all corridors drawn within through the use of walls consist of a single width spacing. The Boy or the Box will fit precisely between the space created by the Maze walls. (Standard understanding of a corridored maze.) Each maze drawn will have a clearly marked centre.

The Boy in B:/foxworld will be making his way from the top left-hand corner (standard starting position) to the centre of the Maze (Standard finishing position) It should also be mentioned that the Boy has a standard position when not acting (against boxes) unlike the original game (where he is constantly moving, if only in place). This would be, hands at his

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 10/35

BOXWORLD. THE GAME AND THE CONCEPT continued‌

sides, legs slightly apart (akimbo) and head upturned to look at the Reader, (with at least one eye focussed on the Reader, the other eye of a deliberate squint watching the conflict occurring around him).

The Maze has gray walls and floor as if made of stone, and should be drawn with detail accordingly. Where other characteristics are dependent on a particular scene, these will be described to you where necessary. For the moment please familiarize yourself with this concept of a corridor maze, and plan for the internal structure of walls to create these corridors. The internal structure must allow corridors to run concentrically to the clearly marked centre.

Openings in these walls allow progression along corridors inward to this centre, which is entered from any possible side through similar drawn openings. Where a structure other than this square corridor maze is required you will be directed according to the requirements of that individual scene.

The Silver Fox (New Character Introduction) B:/foxworld has a mascot or match referee, who is not influenced or determined by the rules of the game (new or otherwise). This is the Silver Fox, named as such because of the colour of its fur - silver (not gray but mirror reflective silver, or bright silver as directed.) The other single and notable characteristic of this new introduction is a red piercing right eye, which has no eyeball, or other aspects of a normal eye and socket, but is completely coloured in bright robotic red.

This character will be drawn in certain scenes only and as instructed by myself.

The Silver Fox is the game referee, constantly observing the players of the game, and the situations in which they are found, but is not a true element of the game in that it is not effected by the characters or the situation, and is not noticed to any degree by the characters, or acted against by them. The Silver Fox, likewise, does not engender action in scenes, and does not influence the outcome of certain scenarios. The Silver Fox is meant simply to observe the game – a silent witness to events seen by the Reader, but not by the characters in the game itself.

The Silver Fox does have a special task to do before the game is entered by the Reader, and that is to change the name of the Book from Boxworld to Foxworld, to avoid any potential legal complications resulting from the use of that name, eventhough the original game and its creator, Jieng-Long Jiang will be quoted correctly as inspiration. The Silver Fox (responsible for the game and thus the book itself in this regard) accomplishes this first task on the front cover of the book, although the Reader will not immediately be aware that this has been achieved. The Silver Fox is usually present when new rules of the Revolution are in play, and will be described specific to these scenes.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 11/35

Front Cover Illustration. Let The Light Shine Through

The front cover is very simple in design. The background (cover of the book) is completely white. There is minimal use of script: BOXWORLD is written one-third the page down (from the top) and the author: Richard fox, one-third the page up (from the bottom). BOXWORLD adopts a comic font: Large blue bubble script. The outward facing curve of the letters (which are rounded in 3D) reflect a smaller bulge of white light. The word BOXWORLD stretches across the width of the page, besides a small margin to the left and right (of the B and D in Boxworld, respectively). The name of the author is written in plain black Garamond italic, though this will be arranged later. The most important aspect of the front cover design is the word BOXWORLD, and the Silver Fox. The Silver Fox as explained in the character introduction has a most important task this early on in the book. That is, copyright protection. Because B:/foxworld is inspired directly from a computer game by the same name, we have to copyright the new Boxworld idea under a new name. We manage this through a liberal use of the mascot, the Silver Fox, who adopts a poignant position on the front cover, achieving the objective through placement alone. The Silver Fox is sitting with its bushy silver tail curled around its feet directly in front of the B in BOXWORLD. It is sitting in such a way so as not to obscure the letter B completely, but simply the right hand side of the letter, from the Readers perspective. By doing this, the Silver Fox changes the letter B into the letter, F, and the title of the book from BOXWORLD into FOXWORLD. The Reader must however see the original title printed in script, and the new title implied by the positioning of the Fox. The Silver Fox is the exact height of the lettering, the script: BOXWORLD. In it’s seating position it may also obscure a section of the O next to the B in BOXWORLD, although this should not influence the spelling of the new title: FOXWORLD. The easiest way to signify the position of the Silver Fox is to imagine a triangle based in the middle of the B and the O tapering upward to obscure the B partially, and the O hardly. The Silver Fox is entirely mirror silver. The Reader must be able to see himself or herself by looking closely at the Silver Fox (as much as can be allowed when drawn to scale). There is no internal line demarcation (features) drawn within the form. The only characteristic to break the pure silver reflection is the right eye (no left eye drawn, or other features). This right eye as explained will be entirely bright robotic red with no eyeball or iris evident in the elliptical socket. Other than this distinction, the Silver Fox (as the name implies) is silver. Entirely.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

end of introduction PGE 12/35

ACT 1. REVOLTING

Overview The first Act in Boxworld introduces the concept to the Reader, along with the players and the game play. The title, however, implies a development or move away from a classic understanding of the game. Immediately into the act the boxes begin their revolt against the rules and game requirements that hold them in bondage within the maze construct. This action by the boxes, who appear to adopt in a comic sense, an artificial intelligence, has a direct and negative influence on the Boy, who continues to operate under standard game requirements.

The result is pending chaos, as the Boy, unable to do otherwise, attempts to move boxes that no longer want to be moved. The boxes, besides beginning to resent being kicked around, start to realise they have the advantage of numbers. A formula for disaster, which could refer initially toward deeper meaning behind the act: Revolting. As the act and the book progresses though, many messages will most likely appear, so please don’t limit yourself to a single interpretation.

Each drawing has its own unique meaning that needs to be unlocked through your art and creative process.

The tension created by this revolt is an important focus point. The Boy is not completely aware the boxes have changed their game play style (routine movement patterns/ game behaviour) and walks straight into the trap set by this new development. The results are disastrous for the Boy, who becomes the object in the Maze now being moved about. The boxes become the objects that do the moving, either directly or indirectly through manipulation of the Maze and the game rules. The reasons for the changing of the rules and application of new standards remains an unknown, and the Reader gets the impression there is something happening beneath the surface. (some sort of reprogramming of the game taking place‌) Most notable effects/ results of the Revolution of the Boxes:

The task of the Boy is made impossible and redundant by this revolution.

Completion of each level takes on a new dimension of difficulty Standard game play is disrupted by this revolution.

Old rules become corrupted. New rules emerge.

The breakdown of standard game play, the introduction of new rules into the system (and subsequent redefinition of that system) is the primary construct of B:/foxworld. The original game structure is meant only to provide a platform for the launching of metaphor. This is done through diagrammatic representation, the use of cartoons, to paint a picture for the Reader in an attempt to unlock hidden or deeper meaning.

From the start of Act 1 the Reader is made aware of a discontinuity, a disruption which creates confusion. As the act progresses, confusion is slowly replaced with understanding. By the end of the act the Reader has come full circle, and is now familiar with the new type of conflict in B:/foxworld. The poetry will enforce this concept of increased enlightenment, although not relate necessarily to ideas immediately portrayed in the cartooning.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 13/35

ACT 1. SCENE 1. THE HOLE YOU’RE IN…

Introduction The opening scene of Act 1 ties in directly with the closing scene, and can be understood as an overview of the entire act. This circular connection between opening and closing scenes is meant to bring the Reader into some sort of confidence concerning the nature of events, while introducing the possibility of an undesirable outcome. The overall effect should be that of a summary of events. Things gone wrong, with no explanation, as yet. The act itself then begins to decipher the puzzle the Reader is faced with. Untangling the mix of images and words that create this problematic new game version. It does this through the process of recreation, uncovering the progress of events that have led to the outcome, stated early as undesirable, indicating a mystery which the Reader must now solve, through subsequent reading. Keep the pages turning.

Our major concern is allowing the Reader insight into impending doom. This creates tension. By showing the ending at the beginning we don’t defuse the situation, and lose the interest – we gain the confidence of readers who are anxious to assist in uncovering this new conflict.

POV Tex

seen from above. computer screen game view.

Fine line. clean grain. gloss (possible airbrush) (size : A4)

Instruction The title suggests a Hole, and that someone is in it. (not a very nice place, in other words…)

The Reader sees the Boy as if the Boy were at the Bottom of a well. What the Reader sees in fact is the Boy at the Bottom of the Maze. (The maze construct manipulated to a single square area – downscaled to surround the Boy on all sides entirely. Further manipulation vertically, along the walls of the now single square sized area, shows elongation to approximately 30ft. (or equivalent to size of Boy) The walls of the Maze (or Hole) are light to dark gray, dank in appearance, and discoloured. There are two sources of Light in the Maze (Hole) which fight off and fail at the darkness. At the bottom and at the top. The light from the bottom fades, as does the light from the top. In the middle of the walls of the Hole they meet in black ink. Truly, no shade of a line or of stone. The impression must always be of a deep hole sunk into the earth, not a wall towered above ground. Concerning perspective, the top-edge of the stone walls of the Hole line the borders of the page, and the bottom of the Hole occupies the centre of the page. The top-edge thickness of the wall of the Hole is included within the border of the page.

In this the thickness of stone can be seen as the page borders. The top of the stone maze wall is contained within the page, and does not extend beyond. This is important, as there is activity on top of the wall that needs to be seen.

The Boy firstly, and as mentioned, is at the bottom of the Hole. The Maze has become the hole because there is no real puzzle to contemplate within it. At present the Boy has one option open to his choice in direction, and that a virtual certainty. Up. He is standing at ease, looking at the Reader, as he would when normally starting a level – legs slightly apart, arms at his side, hands partially fisted. His mouth drawn small, as if lips pursed in concentration.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 14/35

ACT 1. SCENE 1. THE HOLE YOU’RE IN…

continued…

His eyes, round and squint, one eye (the closest to the Reader, or choose) facing the Reader, and the other watching the opponent… the Box. He has only enough room to stand, no space to move at all. He is facing the front (bottom) of the page (drawing), occupying the exact middle of the page. In other scenes this position should indicate the middle of the Maze, and thus, the successful completion of a level. That it does not, and that the Boy has adopted his standard opening stance should give indication too that things are not quite what they seem.

The Box, in all its newfound mischief, is on the top-edge of the wall, looking down on the Boy. I recommend it occupies the bottom right hand corner of the wall, leaning out over the edge in such a way as to obscure the bottom right hand edge (corner) of the hole from view. What is more important than the specific place occupied on the top of the wall by the Box, is the nature of intention conveyed by its body language. At some point you can see it’s going to drop off the top edge of the wall, and down onto the Boy. At the moment of drawing it seems to be sizing the situation, gauging the rate of drop, and other considerations. It is looking out over the edge, bending at its straight sides, almost as if it has a pliant body. (This ability for the Box to move around, and to contort its body as if by muscular movement is a concept we will explore to its fullest as we develop the comic nature of B:/foxworld. Suffice it to say the body language of the Box will be decisive in this role – this new ability to show emotion, display intelligence.

Basic human response values.)

The connection to the closing of the act comes when we see how the boxes manage to escape the maze, gain control of the available power source, and plot to destroy the Boy in conspiracy.

All of this later, though…. For the moment we need to create a scene where the Boy is seen as powerless to the wanton disposal of the Box. Whatever the Box now chooses to do, the Boy is unable to resist, and must face resultant action against him. If the Box chooses to drop (and we have every indication that it will, expressed in its body language) then the Boy is going to have a problem on his hands. (On his head, at that. A lot of Box, in freefall.) Trapped. And no-where to go. The Hole you’re in….

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 15/35

Act 1.

Scene 2.

Level 1.

Introduction Level 1 is the only place in the book where direct reference is made to the game Boxworld™. In this we are looking to introduce the Reader to the alteration being made to the standard game play. This being the formal development of conflict reversal in the act. To do this, we need state what this development is away from. Hence Level 1. A simple maze construct, action game platform based on basic Boxworld™ structure. The Boy acts upon the boxes, which then move forward against his efforts. In this process the outer yellow casing of the Box begins to turns red through the expense of Blood™. Boxes are large and heavy. Even on its own, a single Box can be very imposing and difficult to move. In making deliberate progress against these obstacles blocking his path, The Boy sheds Blood™ on route to the middle of the maze, completing the level. The boxes all turn red, or red on the sides that face the Reader and the Boy. (A box has 6 sides and not all need to turn red, from fistmark footprint Blood™ smearing…) This level is deceptively easy, as the Revolution is not yet in play. As the act develops progress becomes more difficult. For the moment we need the Reader to see what standard game play consists of, and what the main objectives are.

POV Tex

seen from above. computer screen game view.

Fine line. clean grain. gloss (possible airbrush) (size : A4)

Instruction The Maze is centered on the page, smaller than the page itself showing a fair border of the page around the outline of the stone wall. The background provided by the page is a standard black. (Most scenes that follow the format of Maze, seen-from-above, will have a black background, unless otherwise specified.) The Maze is relatively simple in structure and layout.

There are a few corridors that lead clearly to the centre of the maze.

Standard Maze, first level: introduce the game and the players, action events, get the cogs running smoothly…. Once the Player (the Reader) is ready and up to speed we will introduce the free radicals (themselves the boxes) which turn things upside down. For now the Maze, simple, direct. Even an idiot could do it. No help required. As regards general scale, the walls of the maze, seen as from an adequate distance above, are fairly thin though clearly designed.

Stone brick is the order of the day in B:/foxworld.

The Boy has completed this level and is standing in the centre of the Maze. In retrospect you will realise this is one of only a few levels in the act he will complete. He has adopted a victory stance. One would imagine (as a footballer used to scoring goals) he has a few such routines lined up (for example, pulling the bottom of your T-shirt over your head and running around blind). The Boy will probably be less elaborate, being a program construct, but at present he has a big grin on his face, standing squarely in the space taken by the centre of the Maze. His feet apart, his hands held high and wide, the two forefingers of each hand held in a V for Victory sign. His eyes are wide open and squinting, one eye on the Reader and the other on the Maze around him. This is about as good as it gets for the Boy.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 16/35

ACT 1. SCENE 2.LEVEL 1.

continued…

There is not a lot of Blood™ staining the cuffs of the Boy’s karate gi. But you can see it. Just licking the edges like flames. There is some Blood™ on the floor, not over dramatized, but present. There is some Blood™ around the boxes, though more on them in a while. The Boy’s fists and feet are slightly stained with dried Blood™ and scuff marks (grainy cross-lines). There has in other words been some kicking and punching going on, but nothing out of the ordinary.

Nothing to draw the attention of the match referee, the Silver Fox. There are only four boxes in Level 1, and they have all been moved. This can be deduced from the fact the Boy is standing in the centre of the Maze, the level completed. It can also be seen from the colour of the boxes, each side facing the Reader and the Boy (if questioned) are (mostly) red. In this they are standing next to openings in the wall which has allowed the Boy to move forward, or away from the conflict with the Box on to the centre of the Maze. In this you should always try draw a red box near an opening in a corridor, and a yellow box blocking the way along a straight stretch. It helps with co-hearence. No use having loopholes in the plot, even if in cartoons you can get away with mostly anything.

There are slight Blood™ marks around the boxes and on the floor of the maze. Thin red lines running the length of one action space along the floor the width of a box, as if Blood™ collecting at the bottom of the Box’s sides, was drawn off along the floor when the Boy moved against it. The boxes themselves are not completely red, shades of yellow siding show through in places. The boxes were not in uncompromisingly difficult positions on this level, and moving them was fairly simple. Minimal effort required. The Boy has thus moved from the top left-hand corner to the centre of the Maze, and encountered boxes (four of them) along the way, though moved them aside relatively easily. All in a day’s work.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 17/35

ACT 1. SCENE 3.

LEVEL 2 (BOXED IN‌)

Introduction In this scene, Level 2 (meant to be the immediate and obvious after level 1) the Reader comes into contact with the new rules of the Boxworld Revolution. Standard game play for most games (computer or otherwise) allows for a slow and graded increase in difficulty. The Player is introduced to the game play, the rules and the boundaries of the construct in which it exists, then invited to develop skills and abilities which are needed to complete consecutive levels on route to finishing the game. These player requirements (skills and abilities) are developed directly from the game play, based on the rules that govern game play, and how the game can then be won or lost. These rules are relatively simple and applied to consecutive levels allowing the player to progress only when the requirements of skill and ability are met in new and more difficult conflict scenarios. Success follows when a player solves all the problems laid out in the game construct. The Player understands what is required for success by understanding the rules of the game. Failure occurs when the Player is unable to overcome difficult problems created by these rules. Player requirements of skill and ability are continuously tested by the game construct. Where they are found wanting or lacking as regards a certain conflict scenario, the Player is not allowed to continue, and the game is lost. Failure can also occur when the Player does not understand the rules of the game and develops an incorrect response to the game play. An incorrect response within the conflict scenario described by the game rules does not allow for the resolution of conflict. Progression on to further levels is then not possible.

In the Boxworld Revolution, the rules of the game change. The Reader (the Player) is not aware of this immediately, and the game takes on a new level of difficulty. The problems facing the Reader become insurmountable and the protagonist (The Boy) starts to lose. When the Reader comes to understand the new rules (the Revolution of the Boxes) a new problem emerges. The game piece controlled by the Reader (The Boy) is not required to succeed in this version of the game. No matter the skills and abilities the Boy applies to the game (learnt by the Reader’s understanding of the rules) the boxes will surely defeat him. That being the desirable outcome associated with the Revolution. Level 2 is impossible to complete. The Boy is unable to progress any further. A paradox is created, and confusion reigns temporarily.

POV Tex

seen from above. computer screen game view.

Fine line. clean grain. gloss (possible airbrush) (size : A4)

Instruction The Maze, notwithstanding the introduction of new rules into the game play, remains fairly simple in structure. The change in game play is not related to the Maze, or the Boy. The changes concern the boxes, which are agitated into a state of revolution. The Maze may become altered at a later stage, as the new rules continue to confuse. For now the construct should be drawn simply. A standard maze with few corridors, a clear and defined centre, and openings in the gray stone walls that allow access to this centre area. (There is still some evidence of natural progression through stages of increased difficulty)

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 18/35

ACT 1. SCENE 3.

LEVEL 2 (BOXED IN…)

continued…

The Boy is captured in the top left-hand corner of the Maze (in more ways than one). This is where the Boy begins each level, afterwards progressing through the Maze, moving boxes out his way (often aggressively) until he reaches the centre of the Maze (and the sub-sequent completion of the level). He is standing at ease, his standard non-action position. Legs slightly apart, arms at his sides, fists partially clenched. Looking upward at the Reader. One eye as usual, focussed on the Reader. The other watching the conflict scenario around him. In this case, boxes and boxes and boxes… the Maze is full of them. Full being the operative word. There is no room to move.

Every square space of the Maze, action or otherwise is packed together with yellow boxes. The Boy is standing at ease not because he is about to start the stage. He has adopted a non-active stance due to the absolute restriction on his movement. He is unable to move out of his starting position toward the centre of the Maze. There is no possible way he can complete this level.

Not by following his normal game play movements. We understand from this revolution that the new rules (of engagement) are applicable to the boxes only (for the present). The revolution does not effect the Boy. He is only able to act on the boxes in accordance with his original intention (by fighting them into place/out of the way). No action at all conducted by the Boy in this instance will be able to move them. By laws of physics alone the boxes have no where to go other than the positions they already occupy.

There is evidence of an action sequence having taken place, and it is brutal, to say the least. As explained, the Boy expends Blood™ when acting/fighting against the boxes. This is the trace of his motive play and the record of energy expense in the system in a given direction. The boxes turn red in the presence of this Blood™ which is released from the Boy, from his hands and from his feet as they make sound contact with the hard surface of the boxes. The amount of Blood™ in a scene indicates the amount of conflict that has occurred between the Boy and the Box and on Level 2 there is a strong concentration in single area. That being the top left hand corner of the Maze, where the Boy has remained in conflict for the entire period of game play. There is liberal traces of Blood™ not only on the two boxes nearest the Boy, but too, those boxes next closest. There is also Blood™ on the Maze walls, the floors. There is no Blood™ on the Boy himself, even his hands and feet are healed as he has lost one life and is about to begin again.

Determined, but to no avail.

There are two red boxes in the level (or on the scene). Directly in front and to the left of the Boy. Boxes turn red through the expense of Blood™ by the Boy. Notwithstanding the presence of Blood™ the Boy is wearing a new white gi, and his hands and feet are healed (after action his hands and feet can be seen to be scuffed and coloured in dried Blood™). This implies the loss of a game life, and a restart to the level. From the positioning of the boxes in this Maze we can understand no matter the number of times the Boy begins anew, completion of this level will be denied. Boxes are not only blocking his path. They have taken control of the Maze through occupancy.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 19/35

ACT 1. SCENE 4. PROGRESS

Introduction In Scene 4 we break away from the standard game screen view (seen from above) and adopt a slightly different approach. Comic strip. Though here’s the catch. The scene has to act like a comic strip, and look like the Maze, all at once. And here’s how we do it. The Maze is drawn in a complete cross section. Eye level view through a breach in the walls. The way wild life photographers shoot videos of animals in burrows. Insert a glass view pad and watch here. The Maze cross section is repeated through different time frames of the level in progress. Beginning at the top of the page and running downward consecutively to the bottom. The progress of action occurring first left to right, next right to left, then left to right again ending in right to left.

The floor and roof of adjacent sequences are open to each other, allowing free movement between each, and creating a maze corridor shape. A snake that runs from the top through to the bottom of the page in four separate corridors along which the Boy and Box are recorded in conflict (in the directions as indicated).

Each action sequence represents a different time frame of the Boy and the Box in conflict. It begins at the top of the page with the beginning of the level and completes itself downward toward the end of the level at the bottom of the page. In this it may first appear there is more than one Boy and Box in the maze structure. There will be more than one of each drawn, but closer inspection should reveal they are one and the same, Boy and Box, though aged from the top downward. The idea is to give the Reader a clearer understanding of how the conflict situation develops, how the Boy acts against the Box and how the Box reacts against this action.

In this scene the Box behaves, and allows itself to be smacked around. The Revolution is not in play, eventhough the Boy faced the ultimate challenge one scene previous (Remember: In cartoons we bend the rules a bit, no matter those rules are bent themselves.) The Boy gets to show off his skills, martial and otherwise (a computer game construct has many moves and combos). The Reader gets to marvel how the Box is forced backward in creative splays of Blood™ and the Box gets to take it like a Box. Typical game play, which the Reader now comprehends. Things were quite confusing for a while back there. Now everything is calm again. Before the storm, of course, things always are. Lulling the Reader into a false sense of security. The Boy is not out the jungle yet.

POV Tex

Comic strip cross section. progressive action sequence Fine line. clean grain. gloss (possible airbrush) (size : A4)

Instruction The Maze is maintained in Scene 4, though not as previously used. The gray stone outer wall will describe the boundary of the page and the border of the comic strip. The sequence in this strip running downward, rather than across, the floor and roof of each segment act as the segment segregators. The outer wall and the inner divider are continuous, except where an opening is allowed between each segment, on opposite sides to further segment openings. The general shape of the internal corridor created (it is consistent through out due to the openings between segments) resembles the shape of a snake. This will be become clearer when the direction of game play is described.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 20/35

ACT 1. SCENE 4. PROGRESS

continued…

At the end of each segment access is required to the next sequence (This pertains to the concept of Maze, rather than comic strip. The action is comically progressive, but the construct remains that of a Maze.) Since game play is to the opposing direction in each sequence, the openings would be on opposite sides (the right, the left, then right) and the shape of the corridor curls upon itself. The background wall is a deeper shade of gray than the wall forming the border and divider of the strip. This should highlight the action interplay between Boy and Box in each sequence segment.

First comic segment. The Boy is standing a few paces from the left hand border of the Maze, comfortably sized between the floor and roof. He is balanced with his legs slightly apart, one in front of the other. His right hand is drawn back, and left outstretched as if preparing to sling shot a delivery, a falacade of punches. His right eye is facing the Reader, and one would assume his left (out of view as he is facing left to right) is looking at the Box he is about to hit.

There is no evidence on his gi of Blood™ as yet. He has yet to move against the Box, although his intention to do so is clear. The Box is immediately one space to the right of the Boy. Just sitting there. There is no indication that it is aware what is going on around it. It is the same size as the Boy, sitting squarely between floor and roof, blocking progress. Innocent and yellow.

This segment is captured the exact moment before action takes place. Evidence of pending conflict should be drawn with the Boy, the Box the recipient of his intent.

Second comic segment. The Boy is facing right to left in the second segment down from the top of the page. This indicates the direction of play being opposite to play in the first. The Boy is captured in action against the Box. He is in the approximate middle of the page, facing the Reader, kicking squarely out with his right leg connecting with the side of the Box. The cuffs of his arm sleeve and pants leg are slightly spattered with Blood™ although hardly enough to notice. His hands and feet are caked with darker dried Blood™. The release of Blood™ as he connects with the Box is evident (not excessive) and sprayed in the direction of game play (from the right on line with the Box, off to the left over and across the Box). The Box is captured a split second before movement occurs (right to left) The point of impact of the kick shows a sharp indentation in the front side of the Box (facing the Boy) This drags the front corners of the Box down slightly and curves the remainder sides slightly toward the front. The casing of the Box has absorbed the energy of the kick, and transformed in shape slightly as a result. The release of this energy (although not drawn) will result in the Box shifting a single space to the left (game direction.) The Box, even before the present delivery of Blood™ is covered with few smears and spots. The Boy has been moving it since the first segment, space for space, using the means available to him.

Third comic segment. In this sequence, the Boy and the Box are both captured in movement. This movement is once again from left to right (The sequence began from the left, after action ended here in the previous segment, and access was gaining to this section through the opening in the floor and roof.) There is Blood™ flying in all directions.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 21/35

ACT 1. SCENE 4. PROGRESS

continued…

The Boy is moving with great speed. He is slightly to the right of the middle of the page, showing action in this sequence to be almost complete. In the midst of delivering such a barrage of punches against the Box he has left the ground in a forward facing crouch. His left fist is extended in a downward arcing motion; fast enough to have created a shadow effect of the left arm being swept down from above and round. His gi is covered in patches and sprays of Blood™. There are small drops on his cheeks and chin. His right eye is facing the Reader, his left the Box, his face being slightly turned toward the Reader due to the angle of his shoulder.

The Box has also left the ground slightly; angled away from the Boy it is also in motion. The segment is captured just after that down sweeping left caught it square. It is almost bending over backwards as it hurtles one more space toward the right. The Box is covered in Blood™ although patches of yellow can still be clearly seen. The Boy advances determined. The Box retreats against his action.

Forth comic segment. In this sequence there is no more action to record. The level has in fact completed, and the Boy (movement right to left) is bowing toward the Reader, as one does in acknowledgement after a round of martial combat (hands together at the chest, fingers pointing upward, head lowered, face obscured from view). One supposes he has already bowed to the boxes off to his left. There is more than one box in this last sequence, indicating that the Boy had more than one to move, although this should not effect your drawing of the previous segments, which recorded single frame combat only. Boxes fill the Maze corridor from the extreme left to the space immediately next to the Boy. The Boy is standing on the extreme right of this corridor, below the opening in the roof from the floor of the third segment. All the Boxes are very red through the expense of Blood™. The Boy is covered in Blood™ himself, although a lot of white shows through on his gi. This has been a strenuous but successful exercise. Which is more than can be said for certain scenes pending.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 22/35

ACT 1. SCENE 5.ENTRAPMENT

Introduction The Comic strip idea is continued in Scene 5. Here we take a look at a cross section of the Maze as in Scene 4, although the action sequence recorded is more revolutionary than the last.

A single conflict event is once again recorded in various stages of progression through the level. In Scene 5, however, the Boy is not as previously fortunate. The Box becomes active, and in Entrapment, is no longer prone but capable of movement on its own.

The structure and format of the level does not change. The Maze cross section is repeated through different time frames of the level in progress. Beginning at the top of the page and running downward consecutively to the bottom. The only difference between this scene and the previous is the number of action segments. Where in Scene 4 there were 4 separate segments (each representative of the same action event at a different time) in Scene 5 there are only 3. These segments are slightly larger than in Scene 4, although the layout of the Maze and the direction of game play remains the same. The progress of action in Scene 5 is thus, first left to right, then right to left, ending in left to right again. The openings in the floor and roof of consecutive segments is present, allowing access between segments, and describing the inner shape of the corridor as that of a snake, moving from the top to the bottom of the page in the direction of game play. The Boy and the Box are recorded in conflict along 3 separate but continuous corridors.

POV Tex

Comic strip cross section. Progressive action sequence Fine line. Clean grain. Gloss (possible airbrush) (size : A4)

Instruction The Maze is maintained in Scene 5, though as with Scene 4, the outer stone wall describes the boundary of the page and the border of a Comic Strip structure. The sequence in the strip runs downward, rather than across, with the floor and roof of each segment acting as the segment dividers. The outer wall and the inner divider are continuous, except where an opening is allowed between each segment, on opposite sides to further segment openings. The general shape of the internal space resembles that of a snake, creating 3 corridors in the Maze, each running in an opposite direction to the previous. These corridors, due to their lesser number, are slightly larger in size than in Scene 4.

Throughout the progression of Act 1 what becomes clear apart from the fact that standard game format and rules of engagement are being reformed or disregarded, is the development of an animate intelligence amongst the boxes themselves. They are part of the Revolution that enables this revision of game rules and structure. The boxes in the original game are inanimate objects moved against by the Boy in his progression through the game. By the end of the act in the throws of a successful revolution the boxes have become the animate actors in the game, turning on the Boy, and acting against him. In Scene 5, this revolution of the Boxes is focussed upon, and the Boy becomes involved in this new conflict. The Boxes begin by running from the Boy. After joining in coalition, however, they begin chasing the Boy, who eventually becomes trapped at the end of the last corridor.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 23/35

ACT 1. SCENE 5.ENTRAPMENT

continued…

First Comic Segment. In the first cross section, we see the Box (singular) take on this new intelligence, and begin resisting action against it. The Boy is seen chasing the Box from left to right. The Boy is bent over forward, drawn running at great speed. His arms outstretched, as if looking to grab hold of the Box, to catch it. The eye closest to the Reader is once again focussed on the Reader, the other on the Box. There is a look of pure confusion and exertion on his face. The Box is also moving at great speed. This should be evident in the body language. There is no way it is going to allow itself to be caught and kicked around. That should be the intention in the drawing. Pure determination to get away, and stay away. The shape of the Box is again pliable. The Box is seen bent slightly backward in the act of running away (scooting away, as the bottom of the Box is still straight along the ground). Both Boy and Box are sized to the Maze. When upright they will stretch from floor to roof. There is no Blood™ on Box or Boy. Second Comic Segment. The advantage of team work. The revolution takes on a new aspect in this second cross section. The Boxes have begun to communicate with each other, and have learnt the meaning of the term ‘safety in numbers’. Instead of one Box in the segment there are 4. They are all running after the Boy, who is fleeing ahead of them from right to left.

Both the boxes and the Boy are running even faster in this segment than the last. There is a greater need to do so, amongst the boxes (to catch the Boy) and with the Boy (who needs to stay clear of this new mob or face the result, which will most likely be unpleasant). The Boy is running bent over slightly backward in this segment, quite like the Box was in the previous. This should not only show how fast he is moving, but too, how much faster his feet want to go. His head is turned to the left to stare directly at the Reader. There is a look of shock on his face, as if he can’t quite get his mind around this recent development. It also appears as if he’s looking for some sort of assistance from the Reader to help cope with this rather tragic turn of events. The boxes are bouncing along the corridor behind him. They are travelling as fast as the Boy but in a group seem to have it much easier. They are almost tumbling along merrily behind him, looking to catch and crush, in whichever order. There is no Blood™ in this scene either. The Boy has not been in position to shed any. Mores the pity, strangely. There are worse things than Bleeding™.

Third Comic Segment. In this final segment the boxes have got the Boy cornered (trapped) against the wall at the end of the last corridor. There is nowhere for the Boy to go and he is standing with his arms out behind, braced against the wall and his feet apart in front of him. (He is leaning back, bent forward slightly at the middle. An apprehensive stance.) The movement in this cross section is from left to right (same as the first) and the Boy is trapped at the right end by boxes approaching him from the left. One eye focussed on the Reader, the other on the encroaching boxes. A worried look on his face. The boxes are not racing forward to apprehend him. The impression is of a slow and graded approach. They are sizing him up, and dragging the moment out. Advancing with care and intent. They are all four in a line, but drawn to look like they are in a huddle, collectively ganged up on their adversary, who not for the first time finds himself in a bit of hot water. How does our hero get out of this predicament? The next scene offers some clue.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 24/35

ACT 1. SCENE 6.

PIEYED PIPER

Introduction Pieyed Piper introduces a new concept to the B:/foxworld Revolution. For the first time the Boy digresses from his standard game role, and does something entirely out of the ordinary. Given the predicament he is in, it would have to be a drastic recovery, at least, to bring him any where near success on this level, let alone escape from the last. In this regard, Scene 6 is a breakaway from Revolution, arresting hectic development, giving the Reader a breather. As the title suggests, the Boy has chosen the route of music to soothe the savage Box. He is leading them merrily along a wild forest path by means of flute, (and other hidden hypno-suggestive directives). Introducing a new concept is probably too light a way to state it. Leaving the road entirely and heading into the wilderness of new expression would probably be more accurate.

At least this new direction is interesting, if entirely non-specific to B:/foxworld.

The drawing itself takes on a picture book style, as if we were now describing a scene out of a fairytale. (Or a sweet dream delirium, while the Boy is crushed by a weight of boxes in scene 5…) The Boy and four boxes are drawn from the side, walking in direction from left to right. The scene focuses on an overgrown path through a jungle or forest (fabled or otherwise) so at the discretion of creative abandon, go… wild.

POV Tex

Side–on view. Picture Book Illustration.

Fine line. clean grain. gloss (possible airbrush) (size : A4)

Instruction There is no Maze. It has been replaced with a Jungle (or Forest) where strange things lurk. Most of what you can see is left to the imagination. Only evil yellow eyes show through the foilage (boxes lying in ambush?) There is not much light in the Forest/Jungle that forms a background to the overgrown path. This path along which the Boy is now leading the four boxes occupies the front of the picture (lower half of page). The plant life make up of the forest/jungle looks shady and somewhat suspicious. How you portray this construct is entirely up to you. Make it Crazy or Deadly. This is after all the Land beyond the Maze.

Along this path, poorly lit, grown over with all sorts of alien plants and general life forms, there are five clearly drawn characters. No matter the dim setting they carry their own colour with them. The Boy leading four boxes to the right, the Boy on the far right, the boxes strung behind, on route to that eternal cliff that awaits all living things. Lemming, rat or other. The figures are drawn larger than usual (to scale with the surrounding jungle) and stretch from the left to the right of the page. The Boy has a flute to his lips, and is playing a thrilling, marching tune. His eyes are closed, arms held up to the flute and head tilted back slightly. He is marching smartly, both legs straight, one slightly in front above the ground. His gi is slightly torn and dirty (not heavily stained with Blood™ although some spotting is evident) as if he spent some time fighting in an enclosed area. (Previous scene?) Only a small amount of this Blood™ is old Blood™ though. Most of it is new.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 25/35

ACT 1. SCENE 6.

PIEYED PIPER

continued…

The Boxes are strung in a jovial display out behind the Boy. Transfixed by the music from the flute, they appear carefree and joyful. If they had tongues they would be asinging. The most notable aspect of the scene is the size of the boxes, which has been miraculously reduced.

They need reach just above waist height of the Boy, whose command over them through this new medium has given him a considerable advantage, in that he is larger, and stronger. This has not detracted from the mood of the boxes. Only the opposite corners of their bases are touching the ground. Without making it too obvious, you could depict the four corners of the Box as the feet of the Box, and describe movement, stature and body language along these lines, walking alternate corners forward with curved sides throwing joyous eyes to the skies.

They are not aware the Boy is leading them. They are not aware they are being led. They are no longer smart, but compliant.

There is Blood™ on the scene, though not through the usual means. Blood™ is a by-product of action in B:/foxworld. Where there are boxes being moved, there are boxes turning red. Skin is torn and Blood™ is shed. In this instance there is no action taking place. There is only this strange subversion of standard game play by the Boy who we thought immune to these new rules of the Revolution. It does appear any one can learn them though, so all is not lost. The Boy, however, is still dispensing Blood™ but on this occasion it has taken the form of comic musical notes which are seen coming from the flute. (doe’s and ray’s and me’s…) These comic red notes are flowing out over the shoulder of the Boy and splashing onto the boxes behind him, slowly turning them red over the progression of this remarkable level. The boxes through are mostly yellow, showing some fluting still required before this road reaches end.

In this scene the Silver Fox is captured walking at heel beside the Boy (staring ahead, calm as usual) He is paying no attention to the Boy or boxes, but rather seems to either be accompanying or protecting the game characters along this treacherous stretch. His fur is bright (not reflective) silver, and the red right shining eye can just be seen from the side of his head held high. (Direction of game play being left to right, the right side of the characters face the Reader).

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 26/35

ACT 1. SCENE 7.BONUS ROUND

Introduction Scene 7 carries on from the previous in that it supposes the Boy has been rewarded for ingeniously leading the boxes to their correct position, by adopting the option of music to tame.

The reward is offered in the form of a Bonus Round. By standard definition, a Bonus Round is a round where unfavorable outcomes are withheld in favour of the Player accumulating extra points or lives. This is a Bonus Round with a difference, though, as we will discover in the next scene. For now it all looks innocent enough. But the Revolution is still out there, and waiting to throw the Reader a curve ball. In B:/foxworld, to stay ahead, you need a pretty wide bat.

Scene 7 returns to the computer game screen view (seen from above) and adopts a maze-like game construct within which conflict can unfold. This is where reference to standard game play ends, however, and new Bonus Round rules emerge. The Boy will find himself in a situation almost exactly opposite to the one he discovered in Level 2 (Boxed In‌). Where in Level 2 he had nowhere to move and no options available to him, in Scene 7 the options are endless, and he gets to move anywhere on the page he wants. The only catch is the lack of an ending and a result, which will we come to understand in Scene 8. For the moment it seems the Boy has managed to find a handle on the conflict again. The Reader is assured through the introduction of a Bonus Round that things will get better. Welcome to the B:/foxworld Revolution, where nothing is quite as it seems.

POV Tex

seen from above. computer screen game view.

Fine line. clean grain. gloss (possible airbrush) (size : A4)

Instruction There is a Maze in Scene 7 though it is not what you would expect. The very structure of the Maze should indicate the nature of the problem the Boy will experience in Scene 8. The Maze outline and the Maze walls are constructed entirely out of boxes. There is no stone wall within which action in the scene can be confined. The game construct has been replaced with game pieces, which means the construct (the game support) for the Bonus Round is entirely unstable.

This instability will have an adverse effect on game play. The exact nature of this will become clear later. The background for the scene is completely white (Simple Matrix Construct) This includes the floor of the so-called Maze, which is the same background on which the boxes are arranged. When the Boxes are moved about and the Maze loses shape the white background remains to show the only boundary to action being the page itself.

The scene is captured during the opening moments, before action or conflict takes place. The Boy is in the top left hand corner of the Box Maze (which still follows standard maze design: created corridors through internal walls connected to a closed perimeter) He is standing at ease (legs apart, arms fisted at his sides, face upturned to the Reader with one eye on the Reader, and the other... looking at the boxes which are all around him.) Where to start, must be the thought travelling through his tiny game construct mind.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 27/35

ACT 1. SCENE 7.BONUS ROUND continued…

The boxes… well the boxes are everywhere. They are standing in straight lines all across the page mimicking the Maze. This is their latest attempt to best the Boy. The Boy is only a game player, not the game controller, though the boxes do not notice this. They care only for turning on the one who has been kicking and pushing them around for so long. The actual force or intelligence behind the Revolution remains unmentioned throughout. (The game, you could say, has been rigged. There is probably betting going on somewhere on a subcontinent, or something.)

No action is recorded on this level. The Reader should have some idea what this action will be when it does occur, and what outcome will result. That, unsatisfactory, if you consider there will be no boxes to move out the way as such (just boxes to move randomly) and no middle of the Maze to get to (once all the boxes have been moved around). The Boy is in for one of the hardest levels imaginable, and the irony being this during a Bonus Round. According to standard game understanding, skills learnt are tested during such a round, although there are no penalties for failure, just the ending of the Bonus Round, and return to normal game play. In Scene 8 we will see how the ending of the round becomes as elusive as the middle of the Maze, which does not exist once all the boxes have been moved.

Apart from the title of the scene, we are shown this to be a Bonus Round by writing pasted across the top half section of the page. This writing adopts the same script (cartoon bubble script) as the front cover, and the same colour (bright sky blue). The size of the font should be large enough to ensure the two words are written beneath each other: BONUS ROUND but not too large to obscure much of the picture beneath it. Some boxes constructing the Maze shape will be hidden beneath this writing, although the Boy must be totally free and visible.

There is similar writing in the next scene, in the same place, though descriptive of an outcome, rather than the nature of the conflict.

The scene is viewed from fairly close above the action. This ensures a three dimensional vantage point for the Reader. The sides of the boxes facing the centre of the page can be seen (drawn to perspective…) Boxes at the top of the page show both their top and south facing sides. Boxes at the bottom their top and north. Boxes to the left and right of the centre show their east and west facing sides receptively, together with their top. Not much of these sides can be taken in, although enough to add a realistic dimension.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 28/35

ACT 1. SCENE 8.CONTINUE …9

Introduction Continue …9 captures the previous scene, Bonus Round, at its conclusion. From the title we can already see this to be unfavourable. Continue …9 is at once, a question and a countdown. It asks whether you want to continue the same game, and gives you a time limit within which to respond. The Reader at this stage is fishing frantically for extra credits, without knowing how or why it came to such an abrupt end. It was all going so well. The Boy had passed an impossible task by applying newly learnt skills, and was even offered a Bonus Round for his ingenuity.

Now it looks like he not only lost the round, but the game itself. How many lives did he expend on the previous level? How could any lives be lost at all? (It was a bonus round, meant to offer the Player some sort of advantage.)

This scene is similar in structure and layout to the previous. Qualities that defined the Bonus Round are repeated in Scene 8, which is merely a depiction of the same level at a later stage.

In fact, between Scene 7 and 8, there is no drawing of any action at all. Bonus Round is captured before the conflict scenario ensues, and Continue …9 directly after all action has ceased. The Reader (having some idea from the comic strip rounds as to what works and how) is left to fill in the blanks. It becomes immediately clear what happened.

POV Tex

seen from above. computer screen game view.

Fine line. clean grain. gloss (possible airbrush) (size : A4)

Instruction There is no Maze in Scene 8. There was one when the Bonus Round began in Scene 7, but things have changed since then. There was a white background too, when the level began, and it is still white, where it can be seen. There is Blood™ everywhere. Blood™ covers everything.

More Blood™ here than on any other scene. This is the first thing you notice when you look upon what can only be described as a war zone. Whatever action we missed, there was definitely quite a lot of it.

The boxes formed the Maze construct in Scene 7. They were neatly stood alongside each other, more than twenty-five(25) spread this way out along the page. The usually gray, cold, dank stone walls were now a bright and cheery yellow. Although one can imagine the dark mirth that must have exuded from their collective, mocking the Boy in this sudden display of sheer madness. What would you expect him to do? Control his program urge to kill boxes just long enough to get to the centre of the Box Maze. Once there realise he cannot continue as no boxes have been moved, or turned red. No problems have been solved. The game itself disbars his attempt to progress. There are after all yellow boxes everywhere. At least some must have been moved for the Boy to be standing at the centre. It’s one huge conspiracy, the Boy must have thought, just before unleashing a most god-awful assault on the boxes around him, losing more than one life in the process. Losing everything, every last system guard that saves against self-destruction even in the style of pursuing objectives. A full-out Blood™ orgy. The boxes themselves, which have showed this intention before, must have got stuck into the Boy themselves…. All Hell broke loose.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 29/35

ACT 1. SCENE 8.CONTINUE …9

continued…

The Boy. The Boy reached breaking point somewhere in the Bonus Round, and continued to knock boxes around long after no established reason remained to do so. The Maze, acting against the Boy, has deliberately confused and tricked him. He could only find the centre of the Maze by not disturbing any boxes. Although this found the centre for him, as no active moment occurred, he was not allowed to progress further. Once he started moving boxes about, and one would think, rather violently at that, the construct of the Maze was disrupted, and the centre of the Maze was lost. Now no matter how much active movement was being measured, no designate outcome could be placed. The Bonus Round continued ad infinitum… until the programmed game construct (The Boy) wore itself out. A task which resulted in the loss of more than one game life for the Boy (all of them in fact) and more than one box. (This Box was compromised – in that is was broken into or apart through extensive damage inflicted the Boy.) The Boy is in the middle of the bottom half of the page, spent. His karate gi is almost completely red. He is lying spread-eagled upside down on the ground in a pool of Blood™ . Looking upward, for the first time he has both eyes focussed on the Reader, as if some sort of realisation has come right before the end.

There is a lot of Blood™ concentrated in a few areas. This is where heavy action was engaged in between the Boy and the boxes. Two distinct areas where he lost a game life are seen in separate places on the page. The first describes the situation of the compromised Box. When boxes are broken into, or apart, they self destruct. They explode. There is a moderately sized burn area, depicting a blast event. There is small black crater in the white background with black spike marks spread in a circle out. Where the background is seen around this it is mostly red with Blood™. There is harsh, straight smear running out from the blast area as if the Boy was flung along the ground in this direction. Whereafter he presumably (having Bled™ to death) died. The exploding Box took out about three other boxes, recorded in the burn area. There is nothing left of these boxes to mark the occasion other than a sprinkling of charred shrapnel. The second area where the Boy lost a game life describes an event informally known as the Battle of Bonus Round. Lost by the Boy. There is a huddle of very red boxes (four or five) a distance from the blast event (besides others scattered about). The floor around these boxes is pooled in Blood™. The centre created by these boxes in formation is open, and one imagines this is where the Boy stood his ground, fighting off boxes coming at him from all directions.

The rest of the floor is covered in red footprints, red smears from boxes being moved over spilt patches, and red and reddish yellow boxes. Some of the Blood™ on and around the boxes is old and crusting, drying a slightly darker colour. There is writing across the top half of the page/screen). These words are in the exact same place as the previous scene, same font though a different colour. Rather than blue, on this occasion a deep Red. The same colour as Blood™ spilt. Written along one line, the words, YOU LOSE

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 30/35

ACT 1. SCENE 9.

MT

Introduction MT (empty) continues the game, carrying on from the disastrous failure of the previous level, with all the spirit and the courage of a captivated reader. Everything has returned to normal. Or so it appears at first. The Maze is back to being the Maze, the Boy has on nice new white clothes, looks rested and ready… the boxes, well… what have we come to expect?

The boxes are escaping the Maze! (and the Boy does not know it, cannot see it). Even after the last level this is inconceivable. What are they doing? Where are they going? They are going over the wall of the Maze. As to where? That becomes clear in the next scene. For now we see the ultimate reward of teamwork realised in a bunch of boxes. Freedom. The pleasure to go where they please. And yet… they still hold a grudge. There is a method to their sudden madness. They feel they cannot co-exist with the Boy, must do away with him immediately. The Boy, still caught in straight-line programming doesn’t even know its coming. He begins another arduous and dangerous level. Just another day in the life of a reliable and obedient computer game character construct. But somewhere along the line we begin to understand he’s a lot like a lot of us in many ways. Round about the time it becomes painful or frustrating for the Boy, and we find reference to our own lives in this.

POV Tex

seen from above. computer screen game view.

Fine line. clean grain. gloss (possible airbrush) (size : A4)

Instruction The Maze is back. Not bigger and badder, just as it always is. Cryptic and gray. Loathe to share secrets. It occupies the centre of the page. It is as large as when drawn in Scene 2 and 3, allowing a slight border (black background) to show beyond the outer wall. Nothing about the structure of the game has changed. Nothing appears out of the ordinary. The real changes have occurred on a deeper, more sinister level, and are seen mostly as results and in consequence.

The Maze is fairly complicated, though constructed in difficulty according to acceptable standards. Difficulty is restricted to B:/foxworld game play: long corridors, few openings leading inward progressively toward the centre. Nothing untoward, unexplainable. (No holes in the floor through which boxes might fall if pushed. No Landmines that might explode when moved over. No Laser beams stretched across corridors that threaten to detonate hidden explosives if breached, or broken.) If at any stage you feel you can draw me such a mayhem round (as I have not described one) then go ahead. Surprise is the successful element of many games. But you should focus on the scenes described first, and draw your own ideas thereafter if possible, remembering that Richard fox (Concept Author) maintains ownership and copyright over all material drawn for B:/foxworld.

The Boy has already started the level. He began by moving down from the top left hand corner. Turning through an opening to the left, he is captured moving back up the second corridor inwards. Nothing much can be seen of him as he facing away from the Reader. He is quite clearly running, moving at a brisk pace. Searching for Boxes no doubt. There are strangely none blocking his progress forward. Highly irregular...

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 31/35

ACT 1. SCENE 9.

MT

continued‌

The Boxes (there are ten to twelve of them) are concentrated in a huddle in the bottom right hand corner of the Maze and page (opposite to the Boy). I say page as a lot of the boxes are no longer within the confines of the Maze. Some are outside, sharply yellow against the complete black background. two or three are still in the Maze, and some more are actually seen on top of the walls. Those boxes closest to the Maze walls, both inside and outside the construct, are directly upagainst the walls, and other boxes are standing directly on top of them (Standing on the shoulders of boxes) These raised boxes are above the height of the walls, and can easily move across this way out into the open background. The last box in the Maze may have some trouble, but if there are a few boxes left on the walls, they can surely help it over.

Once all the boxes are outside the Maze itself there are many things they could do. They could just make a run for it, altogether or scatter. But one can see there has been some thought put into this apparent jailbreak. Some purpose behind this purposelessness. In the ensuing scene we see the how the boxes progress to the central core of the game (assumable) and once there take charge of the Maze. Phase one of the Revolution is complete, and the boxes, beyond all recorded likelihood have won a war the Boy had no idea he was fighting. Until, that is, it was too late to put a stop to the madness. By then, certain victory for the boxes was, well‌ cast in stone.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 32/35

ACT 1. SCENE 10.

BLACKOUT

Introduction In the penultimate scene of the first act, the boxes have gained the upper hand beyond the shadow of a doubt. Beyond the shadow of anything, or so it appears. There is no more light in the Maze or the game. There is only darkness, the black background that exists behind the Maze. The Boxes must somehow have made their way to the power core, or game data- base, and exercised some sort of hostile takeover. The boxes are piloting the ship, and they’ve turned the lights off on the Boy. He now has no idea where he is, or where whatever it is that is coming for him, is coming from. Surely that is the intention, to blind him to the direction an attack will originate from. He is truly at their mercy. As we speak you can hear them, snickering and chortling… Finally, my brothers, the Boy is helpless. Victory is ours. Long live the Revolution.

Long live the guiding spirit that conquered our chains and set us free (whomever or whatever that may be…)

POV Tex

seen from above. computer screen game view. absolute black. complete inkstain (except Boy) (size : A4)

Instruction What separates this scene from all previous is the absolute loss of a game construct (the Maze).

The entire scene is depicted in darkness for the Maze has disappeared (soon after the boxes themselves). One assumes immediately after escaping they made their way to the central game console, the main server where all the game drives are held. Once there the battle there must have been brief, if a battle was waged at all. (On many occasions we have seen the Maze assist the Boxes in trapping the Boy. This was probably all planned on the highest level, the way most things are.) The loss of power in the game through whatever means has left the Boy at the mercy of the boxes. The end justifies the means in this regard, and the Reader can only imagine what events transpired to bring this about The Boy is standing in the centre of the page. The centre of the Maze were the Maze still there.

Unfortunately, it is not. The Boy is surrounded by absolute darkness, though is brightly lit by his own colouring. The entire scene is the Boy, drawn to the same scale as Scene 9. He is looking up at the Reader, standing with his arms at his side, at ease. One eye on the Reader, one eye on the darkness all around. At ease, but apprehensive. One moment he is in the Maze, albeit strangely empty, and the next he is in darkness, completely helpless and at a disadvantage. He must have made it to the centre of the Maze, searching up and down, and to and from each corridor, nonplussed. On finding the centre he was not ushered onward, but instead, cast into darkness, trying to look everywhere all at once The boxes have successfully revolted, and become the protagonists, the real actors in the game.

An absolute role reversal has occurred, plain to the Reader eventhough all we see is the Boy surrounded by darkness. Throughout Act 1, there has been a clear and present statement of reorganization of the game rules. By arming the boxes with animate intelli-gence, and leaving the Boy defenseless in his standard function, we have created a space for revolution, and realised a coup de force. The rule of the boxes has begun. But not for long.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 33/35

ACT 1. SCENE 11.

WYLE E FOX

Introduction The closing and opening scenes tie directly in with each other. Where the opening scene was a generalised view of what the outcome of the act might be, the closing is more specific. It describes an actual incident, this connected to the progression we have been following ever since MT (where the boxes escaped). In wyle e fox, we return to the side on view (picture book illustration) format to present the scene. Unlike Pieyed Piper, there is no landscape, just a white background. Both the Boy and the Box are visible, as well as the Silver Fox, who sports an appearance.

Scene 11, the closing scene of Act 1, is meant to mimic the hilarious fate of wyle e coyote in the popular Warner Bros™ Loony Toons™ cartoon series. The coyote gets himself into impossible situations as he chases down the Road Runner bird, always to some dismal failure. If cartoons could feel pain, then wyle e coyote would be the voted representative. Nothing ever goes his way, and yet every episode he is out conceiving ever more ludicrous plans and schemes to trap the bird that inevitably lead to his own downfall. Repeatedly beaten, wyle e coyote doesn’t know the meaning of the word, quit. He steps up to the plate like a true legend every time. This inability to grasp the exact nature of his predicament makes him an endearing character to those who follow his pursuits. The Boy caught in the unpredictable events of the B:/foxworld Revolution is very much like wyle e coyote. No matter what he tries, the boxes always manage to outsmart and best him. And yet he continues to try, without fail. What a lesson this would be to carry over into the real world, if we didn’t take into the account the inherent stupidity of repeating the same ineffective actions, over and again. In Act 2 the Boy starts learning these new rules, and the playing fields are leveled to some degree (as they were in Pieyed Piper). For the moment he continues along a dismal losing streak.

POV Tex

Side–on view. Picture Book Illustration.

Fine line. clean grain. gloss (possible airbrush) (size : A4)

Instruction The closing scene is a direct follow on from the previous that saw the Boy standing in the middle of a Maze level in the dark. This progression, depicted over three scenes, shows how the boxes have successfully overcome the rules that govern game play and in conspiracy have worked alongside the Maze to overpower the Boy. The Revolution has been realised and the Boy is caught in the middle of a dangerously evolving situation. We are reminded of the opening scene of the Act, where the Boy, trapped with nowhere to go, stood at the mercy of a Box about to fall on him from above. In the closing scene this is exactly what is about to transpire, although we have lost the Maze in favour of a purely white background upon which the events which ensue can be clearly viewed. It would seem given the background that the lights have been turned back on (by the boxes). As we will see, this does not help the Boy in the slightest. The lights have come back on an instant before impact. The Boy can only watch on, as powerless as the Reader to prevent this catastrophe.

KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 34/35

ACT 1. SCENE 11.

WYLE E FOX

continued…

The side on view introduces the Boy, who has been moving around in the dark for some time, or so we assume from the previous scene. He is presently caught looking at the Reader (facing with closest eye focussed) He is in a slight crouch with his legs spaced apart, before and behind. His arms spread wide above the floor, balanced beside him. His general body language gives indication he was interrupted by the sudden onset of light while moving cautiously around in the dark. Feeling his way forward. He has on a clean white gi. He hasn’t found any boxes in this level at all and no Blood™ has been spilt, yet. Closer inspection and we notice he is wearing a wyle e coyote hangdog look (as wyle e figures out something has gone wrong – just before a bomb goes off, or as he falls of the edge of a cliff – he gets this “why me?” look on his face. We need to duplicate it, even though his one eye is staring straight up, looking at the Box which is travelling at terrific speed, just about to fall on his head (from an indeterminate height… but high enough, we can imagine).

The Boy is caught just about to look up, to face the inevitable pain that is coming his way at about… freefall. Being a multi-skilled game construct his one eye (which is always on the game play occurring around him) has noticed the Box already. Not a lot of good it is going to do him now – the Box is mere inches, centimeters away from connecting with its target – the Boy’s head. This entire scene is captured a split second before action takes place. In this scene we can see exactly what this is, and what the outcome will be. The Boy is toast.

The Box. The Box is gloating. Falling from the heavens knows where, at such a speed there are pure lines of wind drawing up off from it, straight as knives. Still it manages to gloat. Basically square and unable to convey emotion, but gloating. Big yellow box with red writing on the side (facing the Reader). This is done presumably in Blood™ eventhough no action has occurred on this level. There is only a single phrase although familiarity with Warner Bros™ cartoons should allow an entire vocabulary of corporate incompetence to spring to mind. That phrase, synonymous with wyle e coyote’s escapades is: acme co. To avoid copyright infringement a huge red painted X slashes over the c in acme, changing the word to axme… (which is probably what the Boy is hoping the holders of his contract will do. Let him go…)

The Silver Fox is sitting on top of the plummeting Box. It is looking over the left-hand side of the Box (facing the left-hand page margin), head down focussed on the Boy, apparently unafraid of the speed the Box is travelling at, unconcerned about the pending impact. This possibly due to the Immunity the fox maintains within the game, remaining unaffected throughout. The Silver Fox is smaller than both characters and sits comfortably on the Box. Its added weight is not effecting the lie of the Box in the air – it is absolutely straight…

So… the Box has won the act, and the Boy makes his way slowly toward Act 2 with a major headache behind his strange, all seeing eyes. A headache that has a lot to do with the Box, not only through physical damage caused, but mental aggravation too. To see whether the Boy bounces back from this defeat please stay tooned for Act 2. (Coming soon….) end of act one KIM ANIMATOR

PRINCIPAL COPY

CONFIDENTIAL

PGE 35/35