Lakewater Project When

So the story says The Lakewater Project began to take shape in the spring of 2006, when a dillusioned Cavern Communicartions Network producer came across a hole in the D'ni Restoration fence.  The reality is the Lakewater Project began when Ruby's author decided  there was a way to blend the best practices of storytelling with 3D game world technology.  She learned this process  by observing how Cyan Worlds, the creators of Myst, Riven and Uru completely involved their fans into telling the story of the D'ni, a make believe species of people who came to earth 10, 000 years before the explorers (readers) accessed the story.  The small steps the fans took to absorb the Cyan Worlds story were taken as the technology for telling the mostly visual tale came about.  Myst was largely point and click illustrations, Riven included small amounts of video, and Uru took the reader directly into the world of the D'ni by providing a real time virtual experience.  Explorers descended into the remains of the D'ni by way of a restoration effort.  If not for the beautiful graphics, the ambient music, the realistic off stage characters exposed through journal entries and left behinds, the entire expedition would have failed.  And some game developers say it did, but not for the typical reason the effort did not live up to its advance publicity about how the story invested fans into it.  The fan group, a mostly genius or near genius clan of puzzle solvers still work to keep the D'ni story told in one way or the other.  Last November, 2013 the fans crowdsourced 1.3 million dollars to ressurect a parallel Cyan Worlds story game. 

One of the best examples of what the Lakewater Project wanted to achieve with its illustrated was done during the late summer of 2005.  While roleplaying has its place and innovative teachers use it often in their classes, this example involved adults who needed to suspend their disbelief to learn about the fictional D'ni legend.  Explorers were asked to attend the presentation in the cavern world where the D'ni resided.  They were not asked to attend a presentation in a classroom to view a slideshow.  Without taking their hands away from the desktop, readers were allowed to touch, surround themselves and experience the glyphs the presenter explained in real time.  Students were given opportunities to converse with the author's representative (a best close reading practice), and students moved the explorer story along, because they were at the presentation site, asking questions and exploring ideas about this fictional world in real time. 

Lakewater Project research began to explore the affects of virtual immersion, but there was a story.  There is always a story or there is no reason for the storybuilder to make a world.  In the fall of 2005 Lakewater Project authors could tell a story with text or script, but their age writing (world building) skills were limited to a 2D process.  For the next 10 years the project designers spent time learning to build with blocks, prims and mesh.  In between learning about script, animation and texturing filled the time.  Finally in 2012, the creators found a reasonably priced open sim to house their builds and building.  The work began in earnest at Kitely.  Today the Project includes 7 worlds 28 regions.  Each world is connected by character and story to another project world and to worlds that are part of the Devokan Trust, a network of authors who are dedicated to the art of storybuilding.  So much has changed for the better since 2005.

Story Opens When

The story opens when Ruby finds a hole in the fence of one story (wormhole symbolism not wasted here) and sees a dusty path to follow.  A complicated, intertwining, and sometimes dark character driven story takes her to a new place, while never abandoning the lessons she learned from the canon she read, but did not own.  Even her backstory, the one she told other explorers to explain here most recent whereabouts is retrieved for revision in the Lakewater Project.  That takes the reader back to the time of Ruby's family  origins.  To reach those places and other destinations in the story, Ruby uses her new age writing skills to discover what already exists once the fingers start clicking.

Because Ruby's skills aren't perfect,  some worlds are never deemed safe.  These worlds may fall into the scrap heap or become part of the history told through text.  Like all carbon dated materials those fragments of places once written become clues for the inhabitants of the new worlds Ruby writes  -- why the worlds are so burdened with understory.   Nothing, after all, is completely gone.  Even the worst of times is regenerated albeit unintentionally.  Good days are fodder, bady days are fodder for what comes next whether it is planned or comes about spontaneously, like it so often does in virtual universes.

it is therefore difficult to pinpoint dots on a timeline.  The timeline shown here is the latest most efficient timeline for Ruby's stories -- the stories that connect one Lakewater Project story to the other. 

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