Interactive installation consisting of a big screen with a videogame and a set so that the visitors can lie down and play.
The Japanese word okashi designates all kinds of sweets, Jellies, cookies, snacks, chocolate... In that country has become a phenomenon that arouses passions, for how young, and not only children, collect the gadgets some okashi give, or discuss what their preferred okashi is.
It is something that is part of youth culture as well as video games, clothing brands or music groups. Okashi are consumed impulsively and massively as advertising of these products falls on its target audience from all possible media angles.
In Okashi, players have to lead the erratic movements of a character who is proposed a project of life, a vital goal that is nothing more than the goal of the game, banal and sweet as an okashi.
Throughout his trip (his play, his live), the small character will discover elements of her biography, disruptive elements that will make her dissipate, and objects that will prolong the sweet illusion.
The okashi of this game are, however, of a different kind: the latest computer, the coolest mobile of appetizing color, or a joystick that promises the most intense moments of enjoyment. These and other toys conform the Okashi world, the project of a life: "Gotta catch'em all."
Goal of the game
Plant many okashi factories and maintain your self-esteem above acceptable levels. This is a game of strategy and exploration of the terrain. When you start the game, the only visible tiles are those immediately under the character. As we move in different directions we reveal new tiles and what they contain, which can be:
- Okashi, electronic candies. We collect them until we have enough to install a factory.
- Cash. We need it to buy more okashi in the e-shop.
- Toilet paper. A system alert message warns us that something is wrong with our relationship with technology. The messages that appear on screen are stored in the 'Biography', which provoke our self-esteem go down while our character fades progressively.
If we have enough money, we can regain our self-esteem with the radical evasion of an exotic trip.
When all the tiles have been revealed, we can redraw the ground with a button to continue with the game. All empty tiles disappear and are replaced by others of unknown content, assigned randomly by the program.
The project dates from late 1999, and was first presented on June 2000.
To date it has participated in the following exhibitions:
- XXXVII International Competition of Fine Arts of Pollença (Mallorca).
- Sense matriu. La Capella. ICUB, Barcelona. 2001.
- Sin matriz. Hall of Culture Carlos III. Pamplona. 2001.
Game design and development: Carme Romero.
Audio loops: Eloi Puig.