Thursday, May 7th, 2015

I made this game as part of Alan Price’s Computer Game Art & Design II course at Ohio State University’s Advanced Computing Center for Art and Design.  It came out of a series of explorations in Unity’s capabilities and also in using sound to create movement.

The game uses microphone input, but has a “virtual microphone” for the mute, the shy, or the hardware-less.

The game is still very new, so any thoughts, observations, criticism, suggestions, encouragement, etc are all welcome.

Unity plugin install/allowance required:




Wednesday, April 29th, 2015

Forward/Inverse: Gaming cross disciplinary methodologies in dance and digital animation

I created this application for my final project in Motion Capture.  There are credits in the application, but special shout out to Caitlyn Trevor for her cello performance.  🙂  It actually made debugging a joy to hear her playing over and over.

The concepts are all inside the in-game documentation (as well as a bonus video of me dancing in some sweet mocap digs).

Have some fun blending different dance improvisation modalities and learn a little something about digital animation while you’re at it!

As always, you may need to install or allow plug-ins to play this Unity application:



Behavior Simulation

Sunday, April 26th, 2015

I made this behavior simulation today to incorporate into my game, Resonance.  The first four cubes start knowing how to snap and “ooo”, which effects other cubes in a particular way.  While playing the simulation, press Escape to see the menu where you can read more information if you’d like more information about what’s happening.

To watch the simulation (and effect its speed) follow this link:

 Unity plug-in may be required to run.


p.s. Cubes are the best.  So much personality.  🙂

winter experiments

Tuesday, December 30th, 2014

It’s funny how I don’t think of breaks as breaks anymore.  Now, they’re just opportunities for uninterrupted explorations (which run the gamut, as explorations do, from tedious to exciting).

I’ve been casually sifting through Maya dynamics tutorials (think making fireworks, simulating water, and making an otherwise incorporeal virtual object respond physically to other objects) and, as always, playing around in Unity.

In this video, I’ve instantiated a field of cubes that are changing their vertical scale based on their proximity to the floating cube.  That proximity and the time since the simulation began is plugged in to a perlin noise function to create the wave.  Since making this video, I’ve added magnitude deterioration based on distance from the “activator” point and also implemented some basic mouse input control (moving the activator point around and turning the wave on and off).  Now if I could just get Unity to do the cool blurring that my phone’s camera accidentally does….  🙂


The Block Sea from John Luna on Vimeo.

Invoking the Unexpected

Friday, December 12th, 2014

I gave two presentations at the end of this first semester of grad school.  One was in Norah Zuniga-Shaw’s Intermedia course in which I spoke about my work/explorations within that class and another presentation (the following morning) that focused on my preliminary thesis proposal and the work I’ve been doing in all three of my courses at the Advanced Computing Center for Art and Design (ACCAD).  I’ve included some text and images from those presentations below (scroll to the bottom for an animation and a manifesto!).

Finding myself at the intersection of dance, digital media, and game design.

  There is great potential for learning when we turn away from a predetermined course of action, when we challenge our systems of understanding, when we explore tangents with curiosity. That’s what I’m getting at when I use the word “ludic”. For me, “ludic” means showing a spontaneous and undirected disposition to find (or make) causes for a pleasurable instance of turning something aside from its course. Basically, the idea that spontaneous playfulness can act as a method for discovery of continued, new understanding. I experience it in my somatic improvisation practice and investigations. I experience it in the formative prototyping stages of game design. Every time that I approach a situation with confident uncertainty, I encounter connections and alignments that I couldn’t have otherwise foreseen. The question then is what do you do with the unforeseen, the unexpected?

ludic: showing a spontaneous and undirected disposition to find (or make) causes for a pleasurable instance of turning something aside from its course.

  The creative process of my lab’s second project in the class involved a few improvisational systems. I had one of my lab mates generate some text about water and the sensation of showering.  We then took what she wrote and removed all the words that referenced water and even started taking out words that referenced anything specific at all.  By this process, we ended up generating a kind of abstract poem that was about but never addressed water.


  During our recording, I gave my lab mate the task of following me as I recorded her voice. We walked around Sullivant Hall and I improvised a path and random pace.  She had to climb stairs, swerve in awkward directions, and occasionally chase me down the hall to keep up.  These playful systems added dynamic shifts to the content and quality of the audio and played an integral role in shaping the arc of our project.


  In Richard Lemarchand’s presentation “Attention, Not Immersion” from the 2012 Game Developers Conference in San Fransisco, CA, Lemarchand proposes that immersion in purely virtual games is a fallacy. You’re never really involved with what’s going on, you’re always separated from the action by a screen. In a physical space though, the audience/user/participant is already a part of what’s happening, they are already immersed. At that point, you are gauging levels of inclusion, not immersion. Maybe the audience sits and watches. Maybe they move around and participate, perhaps even influencing the state of the performance. Regardless of the mode, the audience is still present, immersed within the event. The opportunity is then to emphasize/design their immersion.

Accidental Manifesto:

  Not everyone can walk, let alone dance in the way that you would in a dance class.  Even those who have full control of their limbs might be apprehensive to dance, for myriad reasons.  My little sister said to me recently, “I can’t dance.  I’m not graceful enough to dance.”  It just kills me to hear her say that.  I responded, “It’s unfortunate how often ‘grace’ gets in the way of the most exciting kind of dancing.”  I don’t think you should need “grace” to feel confident and happy moving in your own body.  I don’t think you need “rhythm” or a particular body shape or ability and frankly I don’t think you should need formal training to experience dance.  Interactive media has great potential to create a liberating space for people to experience movement in ways that don’t require a particular kind of body, ability, or confidence.

procedural animation in Unity

Tuesday, November 18th, 2014

I was experimenting with procedurally generated objects and animation in Unity this weekend.  Using the scripting language C#, I instantiated a field of game objects based on a prefabricated object that has a couple of physics components and a trailing effect.  I then translate the objects in a pattern based on some randomly generated variables and allow them to collide with and effect each other.  The animation is slightly different every time, but always falls within the bounds I’ve set up.

Procedural Animation with Unity from John Luna on Vimeo.

Variations on a Biped

Saturday, November 1st, 2014


Once you’ve designed a biped and rigged it well, you can pose it and deform it a little into some interesting variations.

  The base model doesn’t have horns, but I added them to my little goat man, Enkidu.  🙂


Working with skin weight painting in Maya

Wednesday, October 29th, 2014

processSkinWeightWorking on my second Virtual Modeling project.  Skin weight painting tool is my new best friend.

Eroding Puzzle: Life Metaphor

Saturday, October 11th, 2014

     I’ve been working on designing this spatial reasoning puzzle.


     The puzzle pieces rotate and fit together in a bunch of different ways, forming one or more whole shapes in a number of configurations.

     So, I left the puzzle alone for a couple of days and worked on other things.  Last night, I was having a night alone in my sock-monkey onesie and thinking about ways that my life (events or the whole) could be reflected as a puzzle.

     First of all, what happens after the “win state” of a game?  The Stanley Parable (Davey Wreden and William Pugh, 2013) had me thinking of ways to make a game that is a game, but that has no conclusion.  Conclusions are so Disney.  Life doesn’t stop when you succeed at something.  It’s way more complicated than that.

     So, what if the puzzle changed the longer you played it?  What if the more you try to force the pieces together, the less likely they are to fit together at all?  (memories, relationships, etc?)

     My spatial reasoning puzzle now randomly erodes the longer you play it.  At first, a variety of possibilities.  At last, a narrow set of limitations.  Right now time is what erodes the game state, but I want other inputs to change it as well.



     I don’t know if want to implement a win state.  I kinda like that you just push the pieces around into some configuration that you find aesthetically pleasing and then enjoy it before it erodes.

Prototype: The Red Panel

Thursday, October 9th, 2014

The Red Panel


Click HERE to play this new prototype.

You may have to enable a plug-in to run the game.