Part Five: The Shock of the New

First, the essay means to establish a set of rules slightly larger than Hughes'. Using, in part, the previous material The Day The Universe Changed. 
What is meant by that?
The continuation of a kind of gnosticism: police would be remote controlled robots, more virtuous than Plato's Guardians.
Plato bringing a mind separate from a body: the disembodied mind being idealized, but also realized in the polis. This is like Plato's contemporary Buddha's own mindfulness.
Are they just emphasizing something and not denying anything?

Anyway, the Modern I argue comes from the Greek scientific thinking. I dont want to substantiate that right now, I just want to subtract from the workings of craft enabled by technology as is the story of the Western Art by way of Hughes. Shock of the New has a narrative based also on the methods and means of making Art. This is the most obvious connection.
However, the sub script to "The Day the Universe Changed" could very well be "The Shock of the New", as they dovetail into some abstraction of 'not being where we used to be'.

My approach tunes in around 1870...being a larger context than Hughes, for it includes today's context, which has outpaced his seminal Shock of the New, with about the same amount of sustain as prelude.
In this is Cezanne, Impressionism, which Hughes touches on, though, the utility of Hughes is the chaos of the Modern Art History curriculum in the Academy. Hughes makes better sense of Gardner's "Art though the Ages", but then Gardner was addressing a totality.

What about 1870? Symbolism, as its been a major focus of study (Delevoy Symbolists and Symbolism is also part of the Bookreads lists, which this is the numerical part of the essay). Why Symbolism? Well, its less of a technique looking to provide "a way of seeing" that its more popular brother Impressionism appeals to, as a kind of Scientific sense. Symbolism returns more to the Absence of Myth in the decline of Theocracy..during the Modern, yet appealing back to the mystic and gnostic edge of Catholicism.
It is the more overlooked beginnings of Surrealism (was there always a market to make it seem new? I remember Surrealism from Teen iconography, like album covers and posters...but not really TV or movies).


Adventure Time scores as something slightly beyond Hughes context, simply in years and style. Ren and Stimpy might have scored on his collecting even, but Adventure Time would have to be under his radar if Hughes had been around grandchildren, right at the eve of his death.
Technology and the scientific sensibility overtaking the old processes, foreshadowed in Impressionism. We dont look to painting as an outlet for imagination anymore. It used to be, and therefore, as it public declined the painters made good effort to Shock and draw an audience.
Its a technique old as theater.
But the point is, Hughe's Surrealism had a glory time in Modern as it is to be "the Most Free". But it never really is "free" as it also has its strange attractors, points where the chaos and riot and shock, bring it to comprehension's edge.
Some do configure as puzzles, with astounding logic however, the emotional point is bizarrery, astonishment, old time awe of the gods.
Well, reason had stumped the Greeks. They used it as much as they could, but found it a liability over Technology...as the Iron Age opened, Hellenes met the world with a sword. Greek's would argue it was the unruly neighbors, but then the Macedonians has something to substantiate why they were so Imperial. Athenians would decry, at the moment, and now looking back with the anti-colonial gaze (which is so proper now), yet, Greek civilization needed to be promoted among people. It did...it got a lot right.
Seems very unlike their Athenian culture, which was quite negative toward the mad Tyrannical Warrior and its cult. Ironically, that was the point!
But anyway, the mind, as it is re-modeling itself on the new technology, represents something new. Sometimes this is obvious in mere technology. The overall mission of Art is to humanize material, and not according to a program established by a "dominant generation" of Fathers and Patriarchs who insist they got it right the first time.
Yet it also falls prey to the general critique of the use of rhetoric with the technology, which is ever the drums of War. Hughes gets to somewhat older points...the shock of the new War, but it is part of the story of the Modern wherein, we are extracting ourselves from a incomplete Globe, wherein, the frontier no longer exists and borders are fast becoming solid (from the view of a Satellite and Global News). Even as I write another, perhaps the world's most powerful divine Monarchy, is falling.
The icons of the past order fade in the wear and tear of wheels and gears and pressure and metallurgy- science and technology make a ruin and burden of study for the new generation.
So the icons of this turnover...this market broiling with strange interests, interests which fade in time or some even remain, and then some re-surface, having seemed weak or irrelevant in their own time.
An unintended consequence of Hughes point: the shock of the new becomes too conventialized, wherein, it can no longer be taken seriously. And I think Hughes own good solid useful seriousness finds it limits in the mockery and lightness of Pop Art.
But we both like Oldenburg. I've seen Warhols...I think he is a joker who got lucky and made a point...almost a performance artist before the term or act was identified.

Well, this is all of Art Collecting. Hughes as collector portrays the sensibility of a rule, which is to see what was consumed, and what was not consumed. This is a collector's game, you see. The risk is that the context of lesser artists built up to frame the great artist sometimes is built on sand.

What we are interested in are the old conflicts, the "Shock..." essay being Hughes own idea, of the drop in interest of a particular style and the picking anew style for the next group aging....it has a Generational rhythm in market exploitation.
The unintended point is the Generations having their own voice. That is indeed modern, for in most other Traditional societies, the upcoming Generation has NOTHING TO SAY, because its established that the former generation was it. The end all be all.
So, we see generational marketing or marketing meant to appeal over generations emerging, and then taking over. This is the story arc of both of Hughes productions, "The New Shock of the New" and his older, 1980 publication, "The Shock of the New".
Art is a good thing for that, to monitor consumption, what means more to that generation. But Hughes collecting agenda missing the risk that the generation may have got it wrong.
Hughes makes a good point in Art seeking relevancy but sometimes Art does not quite get it, and fails, sometimes it does get it, but the collectors do not.
Its easier to see that in older things...and there may be a function of collecting that includes whether the generation that consumed those items are dead or still being championed by family members.
Hughes, and also Ken Burns History of Jazz (they match nicely in time period), go for the Historicity, the obvious, for selling reasons.
There is this academic side which collects everything for the future may revise Warhol, or Rauchenburg, away. We can say Picasso is probably the reference point for the Modern...but Picasso's "shock of the new" subsided in the force of Surrealism. Dali might endure as the sign post!

Yet, I would argue more for a even greater abstracted mind than Wolfe writes of in The Painted Word. In this abstraction, its merely the excellence of execution and the use of content in order to reference outside of itself to History...from a personal point of view, and not a political agenda.

That is not Modern. Modern always has this self conscious of being distinctively new and to the point (not Medieval in overstating iconography), like Peter Brooks production of A Midsummer Night's Dream, wherein, its a white box and the trees are coils of metal...the formally Modern streamlines, chromisizes, because its whats new out there in the minds of the Artist.

This I argue, and its an argument sympathetic with Wolfe (whose criticism of the Modern goes beyond Art into Architecture, and I must include Learning from Las Vegas, moving onward and outward.) Some of the problem is the basic definition is like Contemporary, that is whatever is now...so its label that gets overused immediately! Like Modernism has been, for it really covers the period before the War.
After WW2, Arts penultimate wall hanging, to be taken seriously, if that is what having something on the wall means (do I buy the couch to fit the painting or the painting to fit the couch?), is Pollock.
After Pollock, it seems like Art would be missing the point if you hung it on the wall. One has to go to the museum, see in context, to keep up with the Jones (TV's in the home).

To put it more bluntly, there is a lot of Post Modern Art produced during Modernism. That is, Modernism as coming from Classic Greece values of the mind disembodied and observant.
Modern has its limits, as does the Classic. As does the Romantic, but Modernism limit was desperate: painting died in its survey.
The trouble is trying to escape through labels and definition, when its really all coming from the point of view of someone who contributes enough of their take or feelings or some thought provoking argument, to a aesthetic we call get along with: this is Art too.
Academically speaking Hughes is master of the academically speaking. He sounds almost like a lawyer and he present a defense, evidence, but it is too entertain.
He seems to have a great range and care about collecting, than just collecting, sharing with us, probably for a good fee, the speech of his book.

The Shock of the New can be termed tragic. There is a lot of the tragic in the storyline!

Going back to the Symbolists and the Impressionists, Painting was adapting, with little complaint, to the integration of photography. This was a late stage in the battle...Painters were painting faster in order to catch light that photography could not yet do...photography requiring stagey poses for long periods. This arc of utility was on the wall nevertheless. One can make an quasi-impressionist photo (at least back when it was a chemical process) by using 1/8 shutter speed.
However, only after the turn from the 19th to the 20th century.
The innovation of photography (who can imagine that ever happening? Silver nitrate?) created a complete accident of frisson, or the Modern abstraction, wherein, painting quickly didn't look like anything the Mind thought of as reality, but became more fantastic or subjective...appealing to the subjective, what the Mind thought of itself and other realities.
Now, the subjective is what dies inside of the self, now, and then. This causes all kinds of dramas and changes in our world views and how we take it personal, however, it is a function of the self...a self created by the Western value of the individuals vision (over the Male vs. Female).
The self surges, emerges, finds irrelevancy after awhile, and diminishes. That is, the non-authoritarian self that is the long slow process the West built up...even during the Catholic hegemony, History has all kind of divergences. Divergences in doctrine that were crushed by War, but, the West had enough momentum from the Classic to carry on through, to Protest the monopoly on Truth so many other Asian societies cherished.

The individual being, perhaps first mapped out by Plato in The Republic. Individualism having the public responsibility, and this being exceptional, required the recognition of true virtue. Knowingly absent in most men and women! Absent in me, absent in many artist. Just because an artist is socially conscious does not make them an artist. And conversely, the State Artist is a joke.

These virtuous productions became more narrowly scientific and abstracted...like painting began to search for fractals around Picasso and Braque.
I dont know what the point other than thier historical significant, for those boring brown toothpick compositions of Picasso and Braque's! But that is some extreme poopy part of their moving the camera and the object and ramping up the motion blur. I like early Cubism but the experiment wore down fast.
So, our command sees the cheap effect in the past innovation. Cubism is totally interesting, dont get me wrong, but what is was moving around kinda goes fast enough for Pollock, then.

And Pollock, and Kerouac and Braque and Picasso and Duchamp...these fit into an American mentality, occurring alongside the race to greater specificity of seeing and a burgeoning frontier of sight.
That happens to the Modern mind, it looks to atomization...it seeks the smallest bits...its has a capitalist urge to replicate itself. Most of it irrelevant, but encouraging to have the chance to contribute to the Great Leader, without it being some Communist stoog taking advantage of the ignorant peasants in another fit of Authoritarianism. You know, like Ayn Rand.

That world is almost entirely lost. Gallery shows may occur with some patronage, but the heat of the market has moved online. The Artist has to sell online, but there is the spiritual side of Art that can be marginalized under the late overplayed hand of capitalism...to then emerge in the freedom of the internet.

This world of rhetoric can entertain again. The communists are just not seeming to be the same bugaboo over and over again, and there are secret societies that collect things...it might be that Social Realism was not to bad a movement. We will never know in our country!

The overall arc of  "the Shock of the New" pulls us in the direction of how images are traded in talk. But not marketed, Hughes does not have a political axe to grind, nor is he interested in being sold something based on the opinion of another. That is good of a collector, for the true politics of both sides must be presented clearly, or the technique must be innovative. Like "Battleship Potemkin" or "Birth of a Nation". See, there is a problem with both isn't there?

He does frame all the agitation propaganda, but also frames Pop art as a political act of distraction/subversion, a continuation of that old style we are putting to rest. For awhile the literati has it in magazines. But no magazine is supported by the Market these days; they are all subsidized.

This tone he has, is tentative. Hughes "maybe's" and "possibly's" more often than the other Journalistic presenter, James Burke.

Burke and Hughes view of the computer future lacked a consideration of Vannever Bush. It seemed to them (and it seemed to me in 1987) that computer generated art was being predicted, adopted, marketed, way too soon. The real art, one that the old folks had not caught up to (although this is partly what "Shock of the New" was groping toward...the erasure of old methods and old representations, but the scale was beyond Burke and Hughes to understand) was somewhat predicted by Rudolf Arnheim in book about interactive technology using computer published in the late 70's.

Interactivity has taken over, and it superior to, previous Art. Art on walls seems deader than ever, yet certainly now more than ever a academic subject that can be a source of infinite reflection.
For instance a computer program can make distinctions in Art Styles, spatializing them into catagores as well, by mere calculation. It is not the human view, but a program using optical vision to identify style. Style, actually, should be all, here, in this case, down to a computer calculation that dwarfs Man.

Journalistic style is not all style, although Wolfe seemed to want to buck that trend (more so than other New Journalists I have read but that really is only Thompson and Wolfe), it is piecemeal and both these Journalists presenters (more eloquent professors really) are conscious, thankfully, of a beginning and open ended...that is the apocalyptic about the end. Apocalypse being the turning away of the market from the values inherent in those materials. "We were warned" is usually the saying.

Art, unlike Science, is in large part a result of a great deal more useless crafting, unless one is crafting a formula. The crafting, reduced in energy to proficiency, takes a new shape and in that new shape there implied a craft. I mean, hands.
Cezanne looks really sloppy. I mean, as a painter's hands. But here is a moment, perhaps (a Hughsian perhaps) of the first improvisation, wherein, Cezanne is equally interacting with the paint as we could...given a modicum of talent and a capacity to use that talent in play.
The domain of the artist...talent in play.
The joy comes through as well. Problem is, this is rare!

In the sense that subject matter becomes less reference and the value tips more toward style (...and then its off to the races with the Salesmen, as always!) we get this hurry in the line. The hurry gets bigger and larger and more swooping, right? The canvas has to get larger to get more of the message in, to be More relevant.

So, what Hughes seemed to mix with his own interest in History and Journalism and critique was the irrelevant sometimes disappeared in this or that style as the irrelevant also appeared in this or that style. The irrelevant being a blind spot sometimes, but I think Hughes is probably our best weathervane...as a popular writer bringing a recent academic subject to the populace.
The chaos of trying to represent this process failed as TV presentation and as book...one had to go to the museum.
Museum being a place to see some odd things. Hopefully relevant...if the times said so...there is no Art of the Conspiracy. So in that silence there is a need to explore and represent what cannot be represented.

And I am not into the impossibilities of some Modern ways. Pollock would be impossibilities to you? Not to me, I totally get it, but it looked like a frozen tornado...you know, like it was painted in a fraction of second...the very bottom of the swirling funnel of the tornado.

This tornado gave me an entre into the analogy that the tornado is a fixation point of the most conflicting "opposites" or meaning and non-meaning, or thesis vs. antithesis, etc.
Created by two symbolic magnet forced together where you can feel this energy slipping out in and another direction (but not chaotically).
That tornado of energy. See, it worked on me.
Hughes likes Pollock as well though frequently Pollock is the point where people would see Abstract Art mainly as decoration. You know, will it work on this wall?

Where we met as well is with Oldenburg. Oldenburg to me is funny, a satirist of great subtlety. How about this, Oldenburg makes Warhol seem like a fart. Funny too, heh?

Oldenburg makes one think about scale and brings scale to imagination that is not sophisticated or informed, but intelligent in the alteration of space...like any good hick fixing the jeep engine during gunfire. Like he had practice! I dont have to graduate from the Bauhaus to get the increase, the ridiculous increase, in scale.
No, Oldenburg is not only the "gee I coulda thoughta thatta", but these days, why cant I do that?
Somehow, his simple play with ordinary things, mutating them (in Modernist scare hyberbole), to larger than life, fits in like the practical applications of using a home 3-d printer.

Shock of the New presents a good compression of the Modern. We can really see it beginning with Picasso as a visual applied science based not just on a perspective, but a moving perspective...yet the visualizations in science were already exceeding what representation, photography and painting and theater...I am thinking of the medical surgical teaching theater and Grand Guignol, visually, these things could actually represent more shock than Paintings.
Painting started to separate from reality at the juncture of photography. Also, painting began to diverge from Aristocracy, a most important shift in the ascension of the Dutch Empire and the advantages of rule by liberal (Protestant) Oligarchies over Divine Aristocracies.

The separation of the Modern Mind was already in import from ancient times. When the Bible had been the only book available (sorry, getting ethnically bound here)...it was presented as a fine piece of work, and those Iron Age people could feel the old Bronze Age coming through the words, though, they had seen it die around themselves as well...this old style adaptation of talking to stories that had a Patent one couldn't violate because it included, in a mash of vision, Law.

The sense of just learning this edge did not mesh well with the Scythian roaming the Great Plains..oh, I mean the Russian Steppe. Conversion was not really the problem...those Scythians would impinge on the literate..yet they also could see many literacies before the Bible was impressed upon them at the point of settling down and bottling up the European penninsula
This was rolled back from the coast of France up through Ireland and across over Norway while coming up through Sweden from Poland. This created a literate barrier to illiterate, lawless, militant Scythians.

The Scythian had been bred for action. Their habits may be best described as an action painting...seen from above the Scythian moved around, for some four hundred generations, in a great swirling pattern from East Asia to West Asia...I can see the older civilizations forcing their ADHD kids up into this horde of horse-riders who seemed to have enough to settle down now and then and enjoy the good life...eventuallly establishing trade, having a city to bank stuff at...yet then the Mongols, who read that writing coming to them but reaching back into the dwindling edge of their own atavism came over Asia to pummel the settling of the Scythian.

The Mongols picked it up fast, happened on a fractious time in Islam and took advantage of that (as had Islam to the Byzantines).

But this brief Christian spell receding to the Mongols, who naturally prefer the more Warrior ethos of Islam, set up a Authoritarian wall that impinged on Greece, and closed its sense of freedom down in a constant threat on the border, and the Greek idea of the Modern moved West and North.

Northwise, this was visible at the time: here it comes, the people with a book. The contrasting customs presented a picture of doubt, when cross indexed. And Cross indexed is the great function here both in Burke and Hughes's presentations.
Because, they could sense the book, and the TV show, and the Gallery/workshop/lab.

Yet they could not see it exactly. This makes the two series fascinating, for the view in the Amber of the 80's wherein, Interactivity was not in the public mind.

We could make it clear that the hysteria of the Cold War is no longer the possession of the Millineal's Generation. This has receded, and always, that "Art of Hysteria" fails to convincing the future hearts! I wonder what Apocalypse they can take seriously now? All of them have been over produced.
However dire, the age of it now lends a view of reassurance as it never came to be, and beyond which we have yet to go even as the forms, computationally, so quantitatively as to produce a Eon shift in Humanity only equaled by the introduction of writing. The Qualitative has progressed beyond imagining.

Scenes of Worldplay B; Future Generator

Now



PREVIEW


MODERN GENERATOR (ongoing project)

Modern Scenario Earth 2015B

"The Delivery Drama"

World: B1-12
Size
Gravity
Ev'd

You are each placed at a Security locations 1-4.
Aside from the main mission, to get access to the automated safety transport system and test run it (the test run is scheduled to occur the week after this near rehearsal) each of the characters are stalked by an Assassin, who, once noticed, strikes.
In each delay after the successful attack you are replaced by another player yet, the Assassin, checking up, is astounded the character has survived, yet honors the mission, and makes another attempt.
The Assassin will only briefly pursue.
The locations are:
1. Motor Factory,
2. Apple Corp Buildings size combined with the company that makes model rocks, trees, etc., called "Learson".
3. Military Air Base with a airplane graveyard.
4. A long closed Six Flags (in Houston), beneath which is a robot factory.

At night, there is a single security guard at each place, which the Character must negate.
In the morning the personnel come in. At the Six Flags the first one met pretends to help, but brings to a place to mist in their face a drug that Time Travelers naturally resist and also receive a heads up display, in their eye, that informs them of the drug and how to act as if on the drug.
Once this is activated, according to the code, you have to arrest this person...though not jeapordize the mission.
In arresting this person you get the security card. And the security opens up to a private rocket, pre-programmed to land at the Motor Factory. From the Motor Factory is a small, superfast rail system that goes to the ACB of "Larson" the hometown company.
Or, the Player might successfully counter kill the assassin, which is then ported in another different one by the Time Pirate, who then blinks out. Each one is weaker.
So there is a double mystery.
The Time Pirate, if confronted, will blink away.
The Assassin shows up after substantial periods of time have occurred. However, there is the first attack, and then soon after another attack, and then a wait for "substantial period" to go by again.
This pattern is controlled by the player surviving and then going, or dying and another player stepping on faced immediately again, with a pretty narrow time frame, with the same assassination attempt.
If captured, there is an NPC voice.
The Space Pirate is not the main storyline: the characters are sent here to guard, each of them, a facility, as it is then attacked.
Behind the attack is a teleporter who puts on disguises (as a skill, so it takes time, but there is a robot-spider curled up on his chest. The spider is a disguise robot.

The Modern has many scenarios and they are not difficult to generate. Here is a generator style for the city: ILLU ONE

However, this is for a late Medieval, and yes I mean specifically the generations between the Medieval, Luther and the Spanish Overseas Empire at war with Aztecs and Incans, or the 1520's, and specifically as regards printing. So, whatever intuitive reference...educated memory or computer screen...

Lollards: http://en.wikipedia.org/wiki/Lollardy
English: most likely

Cathars: http://en.wikipedia.org/wiki/Catharism
French

Native Religions: http://en.wikipedia.org/wiki/List_of_religions_and_spiritual_traditions

Hussites, http://en.wikipedia.org/wiki/Hussites
Czech

Nicean Creed
http://en.wikipedia.org/wiki/First_Council_of_Nicaea

Catholics
http://en.wikipedia.org/wiki/Second_Vatican_Council

Modern NPC characters can be drawn from these belief systems.

Likewise:

1. 1960's tech
2. 2000's tech
3. 2020 tech (because if you are in the now you are in pursuit of Space Travel: this is an implicit generator of scenes within the generations.


The two GENERATORS

The PAST GENERATOR and the FUTURE GENERATOR

PAST GENERATOR

1-8

Basically, the past that we know we are going to is merely referenced via online images. But to randomly generator a past time number, the range, from 1-8, divides this way:
1. Stone Age (more Megafauna)
2. New Stone Age (Stonehenge, Ceremonial Burial, Mayans)
3. Copper Age (or Chalcolithic)
4. Early Bronze Age (ending in 1400).
5. Late Bronze Age (up to 800 BC, including collapse and Sea Peoples, with more books, iron and boats).
6. Early Iron Age (Rome, Scythia, etc.)
7. Middles Ages (Mongols, Turks)
8. Early Modern (1600's-1999)

These ideas the GM  or MC merely rolls, picks, looks up, makes a reference from the images, and moves on. More road signs to "images of ____________."



FUTURE GENERATOR

Is broken into several catagories in order to create very odd or original combinations. Like Alien level 7 plus Biological lvl 2, and Space Travel lvl 4.
No need to have a number of required rolls but at least two!

Futures are otherwise very simply tech levels based upon todays extrapolations. Really, once confronting this level its a great idea to discuss with the Players what they would like to see.
I label them lvl's for levels, techs, evolutions.
Tech I believe loses some of its meaning in today's most significant confluence, biology and computers. Things will develop more along modification of biology than previously anticipated, and this is a fun level to explore for its possible monstrosities.
It has occurred already, in the 1950's, as the Nuclear Mutation Monster rave, excepting Godzilla, but not excepting Cthulhu.
Furthermore, the capacity to construct small, bacterial-insect-bird-dinosaur androids. Like, depending on the roll. This can also escape realism if its working.
And then even larger carbon based Androids (but with peculiar AI's also being another factor), which can be creatures the size of space ships.
The GIANT HIDEOUS TOAD lvl.

RANDOM TECH-EVOLUTION-LEVEL- ROLLS
Spaceship design; 1-8
Computer lvl; 1-8
Artificial Intelligence; 1-8; (we are in the phase of three Now).
Biological manipulation; is 1-8
Quotidian Acts; are 1-8

and, Odds of Aliens; is 2-8 or 2d4, (a bell curve with 2 four sided dice).


SPACE SHIP LVL (this is in reverse order)

8, being the most interesting to speculate: basically, where we play the game as Time Travelers, or Agents of the Time Traveler Institute. Parallel Reality Estate, Inc.


7. Slight drop in time travel capacity: basically, this is a time function also capable in the Oracle Device. It means going back a generation from now is a simple matter, but clearance for use of the Oracle Device to enable traveling MORE than a Generation is not forthcoming. Some sort of special case can be pleaded to the Oracle Device.

*Speaking of generations, the first generation of early time travel (Gen1TT) revolved around descending into black holes and trying to communicate with whatever was either flung away/gravity assisted, or 'sucked in'. Either way, this is a process which never worked, yet had interesting series of space edifices constructed near the spectacle of the Black Holes. Although, many of these are the empty vaults of the void, in which Supermassive Black Holes have eaten everything around them and created a massive void,
Black Holes are evenly distributed, but this a secret for the GM/MC. Or, the player can ask the Oracle Device but its a highly unlikely question.
Galactic teleportation, which is essentially time travel, is a constant buga-boo of a puzzle for Saka to figure out.
So one can sometimes bend reality and get out of the range of time by gravity assisted acceleration to faster than light via a Black Hole, however, this way of traveling is always to be centered into going back or forward according to a random 2d8, (which will have a bell curve) Future/Past generation.
If the past, to be clear, it is based on an analogy with US History. We avoid the Bronze Age.
This is using Strauss and Howe's eventually discarded scheme:
Adapted then into a frame work to go from the Stone Age to the Now. No Bronze Age in the USA.

6. Black Hole acceleration, by using black holes like the Sizzlers booster station (which would use up batteries in about six hours). Or gravity assisted acceleration.
Mid generations, or "b's" are Black Hole Stations where there is a cue.
Level 6c level. Late generation, is after this stuff is discarded and mostly space to archealogical junk.

The 6a generation is the first to discover, (dawn of the age), or just starting to refine. Usually this means a great deal of danger.
Players can get caught in time loops of death, on purpose, seeking to finally, by some variation (or getting to a die roll to change modifiers...this could be a manic scene of players stepping up, making a roll, dying, and then stepping down, on after the other. Fascinating idea, I think),to get to circumstances, however improbable, where the Shuttle does not crash into the Volcano and burn up, but actually goes down so far and makes a quick turn and lodges itself up inside, floating on Lava. That kind of thing.

5 no black holes, just warp drive much like star trek or star wars. Simply teleport with a random limitation based on series of drives however labeled. So, one would be Warp One would be double time, Warp Two...etc.
Warp One Hundred being....

the last generation before the 6's. So maybe (the actual way generations work is not simple a schema), so there might be a first successful experiment or not. Perhaps the preparations.

4. This is where Time travel is stalled in progress. Spaceships can only go at light speed. This is also where the "Odds of Aliens" factor increases.

3. Galactic travel is just being achieved with Dyson spheres moving their stars with them. Late Generation is there a few crashes.

2. Nanotechnology and Space colonies on other stars and planets, locally (from multi generational ships launched during the a and b phase, mutations, monsters and aliens. Lot of "Clean the Vermin/Make a Zoo" or labors of Hercules scenarios.

1. Just founding a space colony on various Planets location.
1a. is now with the most technology able to be referenced. A journalistic sci fi geek would be a very effective Saka.
1b. is 2020, lets say, with some quick, even ridiculous extrapolations.
1c, is 2050, wherein, there are space colonies are random moons and quite a bit of space traffic and junk. After a nuclear war and a astriod strike...the setting of my Apocalypse Inc./Doctor Icky world.


COMPUTER LVL

1. is smart phones
2. is self driving cars with Quantum Memory
3. speaking androids with AI, but comically primitive, first contact with Aliens on other planets.
4. Jump in computation to Quirky but convincingly real Androids,
5. Stellar navigation and infinite transformation of material, near magic.
6. Space Magic, like Star Trek and Star Wars
7. Mostly Surrealism but all the other scenario exist within.
8. Prisonerman like transformations. See the Oracle Device.

AI LVL

1. Automations and difference engine.
2. automatic dialing and speech recognition.
3. quantum memory but overheating containers, can be implanted in human to sorta of control them.
Some have "infinitely" powered, capable of taking over a human on its own. Or, are Yith, Annunaki or Lords of Light. As tech Quirky. As Biology its "Psychic Powers" and Lovecraftian Steampunk.
4. Aliens species revealed to have been using latest AI to spy. Creates its own mutations to inhabit. Another biological species proliferation, all over whatever Solar System or Planet.
5. Giant Space Monsters
6. Black Hole Beings, like Sauron and Morgoth.
7. Mostly Surrealism but by way of a "Artificial Intelligence" as a Voice Character who is pompous and imposing...comic, like the computers in the Hitchhikers guide.
8. Whatever. See the Oracle Device.

BIOLOGICAL LVL

1. Poisons, drugs
2. Clones (including people, and underground labs) and some subtle mutations usually to mesh with technology like realistic bionics. Simple bug like Aliens. Sometimes Alien Hunters.
3. Various species of Humans dwelling on other planets over generations. So, Space Elevator or Vater Giants, the Wisp People of Ceres, Giant Luna-Cave Monkeys, Mars Desert Giants, Plutonian Turtles, Jupiter midgets. Perhaps Alien contact.
Ganymedians, Venusians and Earthlings are most similar.
Bio Space Ships
4. Aliens. First Dyson Spheres (they all crash). Lexx like space ships.
5. Weird Aliens. My Friend from Hoho Five (star: Hoho) + (5th plant).
6. Over the top, GIANT HIDEOUS TOAD lvl.
7. Alien consciosness from the other side of the Black Holes or from some other place and time, like "Time Out Of Shadow"; then we can also allude to Lord of Light. In this case, aliens who use humanity as slaves to their awesome technology/magic. Tolkiens Wizards or Istari are here.
But to "Wizard War": there is a archealogical connection as to the stabilized Post Apocalyptic Earth having its now mutated inhabitants...and those being in touch with Yithians or Maiar or Aliens on Earth Nephilim, wherein, the technology is being revived...in Tolkien's case, the reforging magic items. Tolkien closes the fantasy around the idea that magic will fade, and the former pinnacles of fantasy will fade as magic items then become mere jewelry, and technology replaces it.
This is also a theme in the mixed post apocalyptic Wizards, and it was common in the seventies to have Magic and Technology, it was a sub-genre of a few significant novels and the idea carried on a more famous quote of sci fi by Arther C. Clarke, probably due to the limitations of the sci fi market tending toward sophisticated readers for the movies and games did not convincing mature special effecs except on a few occasions, like Forbidden Planet, 2001:A Space Odyssey, or Star Trek.
8. Ourselves!



QUOTIDIAN LVLS

Different times of the typical create moments where the GM can insert plot changes. Much the same way as the Players can insert plot changes.
This one i
Spells or Device activation.
Opening a door.
While eating and drinking or Quotidian Acts.

1. Walking
2. Sitting
3. Eating
4. Sleeping
5. Talking
6. Looking, Listening
7. Standing
8. Moving from Point A to Point B


Eventually everyone is sitting at the table in the mess hall or dining room or kitchen or sitting by the fire outside. Flip a coin.

Scenes of Worldplay, A

There is a step in progress of photography, or even more basically speaking optical. Our eyes see better than ever, really. And as photography has this spatial element it to can increase in degree toward a realism, from still to slo-mo to fast forward time lapse.
We could always kind of see the Earth's limits of rotation, but now sped up, and trained our eyes to speed up, it can be visualized ever better.

So Earth Zap Two: unlike the Triassic bio catastrophe, this Gamma Ray Burst occurred in closer proximity and greater voltage.
The times of the ends are when the Earth is being baked a super heated gas transfer from the Gamma Ray Burst Two, over one week, from normal to total wipe.
It spun, actually, in time with the Earth for a good two days.
The moon gained a temporary atmosphere of mostly helium and hydrogene, but then the burst ovewhelmed shields and for one decade the moon survived by using fusion.

But this is like 4,300 CE!


Others are sometimes called Modern scenarios.

The idea is to get the sense of now, today, through the lens of WorldPlay.
Sure, an auto planet generator is already available.
One has to quickly fill in the maps but the whole world is not normally explored...just a small region.

Otherwise, there is a great deal of ease in setting things in the Now simply because the images, maps and technologies are easily referenced.
As in searching for the magic item, or the coolest space ship...always there is this search for the most interesting technology. So even Modern or in the Now settings there is a Scout which provides some data for the Investigators, and the investigators will want weapons.
The Scout should be incompetent and, there is a ongoing contest to whom will be the highest bidder.

To do our sense of the Politics of Now: the Libertarian, the Conservative and the Liberal.

Libertarian: 1
Conservative: 2
Liberal: 3

Libertarians can be bribed.
Conservatives must be treatied.
Liberals...diplomacy.

Of course, here is always criminal investigations. And this entry into the Now (from either the future or past or stranger reality) is well and good a criminal investigation of a time traveling pirate lodging in this "happens to exactly resemble now" parallel reality.

Another stranded sci fi scene

List of encounters for B27/5102/81/4
Planets: Unklow

Aliens: AAA threat
Beach

"You have just graduated from Time Travel School. Your pizza delivery training is over, now there is this new assignment.

We have sent you to this planet of Unklow in the Parallel Reality A1-1. There is an alien who the Scout could not identify, the broadcast was interrupted.
The disaster due to the alien is not understood. The Alien is on top of a Space Elevator.
Meet the alien, figure out what happened to the scout, and have the responsible party sign the insurance papers."



"Here is a copy of the insurance:

In order to cover the expenses of the disaster you are about to initiate, please sign on the line next to the date...and we will pay you a monthly stipend of 1 billion time tokens.

Time tokens are herein defined as: a moment of time travel. You may use them to learn how to time travel better. By time travel we mean any moment in time you may go to, future or past, from the date alongside the signature below.

This is in no way meant to reward your iniquity. Herein and hereon, at any moment you 'misbehave', your time travel tokens will be forfeit.





Signed_____________________________ this 4th day of B27/5102/81/(4)

Table Top Acting

The performer stands behind a podium. Its a small podium, and three others stand alongside. Where do the role playing gamers differ from actors at this point?
Actors have scripts. But we must first regard the actor and then subtract from the actor something more essential, but nonetheless connected to acting: improvisation.
Improvisation is a tool to induce stronger choices, under scrutiny.
It is accomplished by way of a arena wherein, one can do no wrong. In fact, the wrong answer may well be pursued.
Inhibition...is the anathema of first establishing good stage performances. It is the necessary first step to learn this expectation.
Many younger students suffer due to the proximity and environment of their age imposing too much ambiguity and therefore doubt.
Improvisation proves to provide a stronger platform from which people can express themselves in manners most honest.
This does not solve any question of the human condition, even though a unique slip of the tongue, or any other humor, is sought.
It does cause a change in perspective towards a greater understanding, which is the a feature of education...specifically, edification.
Many actors do not use improvisation to improve a performance. There are actors who are bad at improv, but excellent in performance anyway. An actor need learn lines first and foremost.
Actors who are writers too, make better improvisers.
On the other hand, those who would stand before the game show podium and improvise, the table top role playing gamers, by and large, are oblivious to these basis's of acting.
Role playing gamers do not learn lines. Role playing gamers are playing "characters", but the actual suspension of disbelief is that the "characters" they are playing are really characters, and not just a differential of numbers modifying functions. They are playing in sets, and they do have dialogue, and there is morality and moments of moral reflection before acting...yet most of what table top role playing gamers do is apply numbers to odds based on expresses of intentions, and not actually having the language of doing...due to the risk of "character death".
This avoidance of the so called characters death is a source of slapstick, shadenfraude and jokes.

TTRPG gamers go out of character at will. Dialogue is much for difficult unscripted and so that pressure, of specifically acting under enormous pressure to invent the script in situ, dominates the playing of the character.
An experienced improvisor also has this pressure, but they have adjusted.
In this regard, role playing gamers act sometimes, but more often not, because it becomes an expenditure of energy equivalent to not just work, but performance, they go back into self narration of intentions, which is not particularly interesting.
If a player was to stay in character, in voice, and participate to a high degree...one can expect a burnout in energy even among the very virile and energetic, within 20 minutes.

Improvisation is impulsive. Being that impulsive and yet focused and inventive...while playing a game where you can be eliminated from play, is stressful. Or, just the expenditure of voltage being greater, the energy lost sooner.

But this is ameloriated in performance by fellow improvisors AND, most important, a consistency in setting and play that is NOT available in improvisational performances.
It is a happy median.

But why then subject yourself to role playing in a world other than this one, if you are not acting?

Gaming brings back the risk to the world. In acting, the risk is making a mistake, which requires rehearsals.
Game playing is partly rehearsal as well. Most of the discussion is termed in questions about the world, what "we the team" should do, what would happen if I do this, and pedestrian role playing game talk.
This baseline, which is not totally worthless, can be worked against by a GM restricting passive voice, and a ongoing score creating a carrot towards performance of the streamlining via public peformance.

Most of the game is an exercise in rhetorical activity of utter inconsequence.
Yet, as explained in greater detail previously, the evil character can be played in greater evil, deciding even to kill the other players while not being seen as their murderers. This is actually harmless game show, so this is possible.

But beyond the more fascinating opportunity to explore evil content-wsie, the best way to make such a game interesting to the outside is to add some Game Show brevity, and formalize the process of the game.
Furthermore, while the game attracts millions of fans who devoutly play it, these are not hidden actors who have been inhibited...they are more interested in such things as design, illustration, action and game play, and other creative pursuits...not to mention just hanging out and killing time in a socially interactive way...like a talk show or a reality show.

In this sense it is a Reality Show. Our personal lives leak in, where, most likely, there is little real interest in them.

Showcasing role playing games as acting, or bringing the actors of both arenas, the Table Top Publishers to Game Show audiences...this is the process really. It requires exploratory work.

There are not that many TTRPGr's who also double as Actors, but playing the game well, and often playing a well rehearsed or talented Character, in voice or not, this are entertaining to outsiders wherein, a great deal of these other personal aspects that have nothing to do with Theater are excised in the Game Show formatting.

Part Four: The Day the Universe Changed

Past the "crisis of self" found in literature, its useful to read philosophical or historical books. Analysis and commentary on the past can also help us create the proper context in which to understand particularity of literature.
Fitting "The Electric Kool-Aid Acid Test", (its not literature) into our larger picture of those generations that are yet still living, but nonetheless represent that which will end right before our eyes: these are the so called Silent Generation and Baby Boom, but they really are people who read, consumed, and favored world views that may now be considered subject to an unprecendented revision.
The revision being the digital age and how mankind will proceed into the future as different from how it proceeded in the past.
James Burke, another Journalists, took on the History of Science from the point of view of a Baby Boomer growing up Post-War (and Post-Imperial...Burke is British) and consuming that vision of progress.
The last chapter examines the future of what is now the internet. Burke had conceived, incorrectly of a system somehow more sophisticated than Bush's Memex, but not quite as exacting as it actually emerged twenty or so years later in the World Wide Web search engine Google.
Yet that is somewhat irrelevant to the overall point, which is removing the perfect Will, presented in 20/20 hindsight, as a spirit of progress that can be owned.
Or, to put it another, Burke's work examines the lucky accidents and rising and accelerating pace of these accidents as they pile up and create more innovations, leading to breakthrough in human understanding.
What is not generally pointed out in the many other commentaries about "The Day The Universe Changed" is that this pace evidently increases perhaps along with increasing population. Burke would argue that its not the old Romantic notion of Genius, but of people who are not so narrowly seeking an end result, but instead who struggle, and in that struggle get results, frequently not what they desired.
The whole romantic notion of genius was presented with a dark side in Frankenstein, a romantic novel that depicts evil genius in spite of itself. I am not evil, I am just misunderstood.

The scope of "...Universe Changed." is the limits of one definition of the Modern, from early Middle Ages to Now. The modern is sometimes defined as that form of thought that does not ascribe to dogma. This is perhaps to contrast the progress of the West to the former progress but current stasis of all the rest of the World.
Or, the largest scope of the Modern can also be termed that sensibility that dispensed with the old Authoritarianism or official State policy on what the subjects of the State should know (that you are safe in our borders, and the rest of the world is full of savages!).

Science is the end point of rigor in thought. "...Universe Changed" makes this implicitly clear, and also clarifies that no one people can own science, that is it partly an accident and frequently successful due to prejudice and stupidity. Not the put down "stupidity" but the accidents of not even thinking about what one is doing but then having at least some modicum of care to see the error.
We all know the scientists seek to prove hypothesis, but one salient point made by "...Universe Changed" is that discovery is sometimes due to the hypothesis being wrong and the scientist being tough enough to accept this and move on.
The sensibility that this creates is of course, experiment to determine what it is you don't really know but what you assume to know frequently just because thats how you want it to be.
And what you are clinging to perpetuates...or fills in the blank slot of needing to know, can then be debunked as accepted truth, and the real truth can then be revealed.
Religion and prophecy used to be all about this, but as it is proto science (Religion is: cosmology is the domain of both subjects) it has been clarified through the process of being exchanged among civilizations, thereby being taken out of the context of the people who came to understand, and who sought to make it absolute that they understood what nobody else did. But of course, these understanding found fertile ground in later civilizations, wherein, the concept behind the practice, perhaps Astronomical, or Mathmatical or Medicinal, did not belong exclusively to the tribe or civilization that owned it.

Burke argues for the transformation of the World through the scholarly process of cross-indexing revealing a gap in a subject. The frequency of this phenom of essential innovation increases or has accelerated over time, compressed in a sense, in a way similar to the dates of each chapter of the book, "The Day the Universe Changed". In other words, the pace of this phenomenon of Science's accumulation of knowledge has been increasing, accelerating, compressing, to the point where we might best understand it as purely the result of increasing population.
So, Burke is not lauding the progess of the West as superior to all the civilizations that came before. Burke is rather humorous in portraying himself (he is a TV personality presenting his book in a Television series) as a prejudiced former British Empire prig, but you can see his self deprication (hidden as much as possible in order to add punch to the joke).
His over all point is the exact opposite, but also, implicitly, this tradition is the result of a series of accidents that befell Western Civilization as it sought to compete.
Burke over all work is exactly the Anti-Authoritarianism that Ayn Rand is so completely oblivious to in projecting a Nietzchean superman elite. If one has read Burke, you can see the basis for the anti-Randians.

This scale of increasing speed of movement, population growth, power over nature (Burke is not concerned with Environmentalism in this book) paints a marvelous picture of human beings, as a community, increasingly progressing away from primitive brutality toward what is still owned by Wells, the Eloi.
Burke does not make imaginative leaps in assumption, or assumes the role of a profit. He is an excellent Journalist but otherwise comes across as Professor. But he is not a professor, Burke's book takes the anaylitic school and removes the human will as a narcisstic construction yet capable of innovation, and instead analyses the machinery of progress and then inserts people, just names, as almost follies in the process.

What we see then is the continued presentation, emerging early on in German philosophy, of a mind not tied to its Nation or People, but tied instead to reason. Nietzche picked up on this, and posited the Free Thinkers who would emerge in greater numbers. Given the few great prophets of a largely uninhabited planet, its reasonable to assume that now, prophets are a dime a dozen!

The Narcissism plagues this culture of the Silent Generation and the Baby Boom. I really see my Generation as grappling with an overabundance of Narcissism as it results from the celebration of Individualism, egoism, and the noun: Genius.
These results of a civilization that caters nearly to the most obscure whimsies (drinking gold?) is nothing new. The power that came with Imperialism, resulted in Authority of the State, which brought in larger and larger amounts of luxury goods. Luxury in this case resulting in the self satisfied look on the face.
Religion had always strove to erase that self satisfied look, but Science, which increases trade and technologies of the self (satisfaction or false recognition), dethroned Religion on the basis of being a tool of the State that prevents innovation. This was probably recognized, in some proto form, in Classical Greece and their 'scientists'. But its taken a great effort over hundred of generations to allow Science to displace Religion and its use by the Authoritarian to exploit selves. This argument and attitude, either the Authoritarian Science (progress!) or Authoritarian Religion (morals!) is a still vigorous conflict and perhaps account for most of the News today.

The result of Authority over subjects is narcissism. Narcissism I am using to present a false belief that nonetheless satisfies a person or self, and relieves them from the burden of what Literature has also worked to present as more authentic, which is the crisis of the self that is the greatest moment of actual individuation, and discovery of what was not know.
Its aggravating however, to be constantly in a state of what one believes to be proven wrong.
Education is the result of this ordinary, human state of striving toward truth while breaking against having to re-evaluate YET AGAIN who "I" am, and what I believe. Institutionalizing this process happened long ago.

The point Burke effects...perhaps by intent but I am thinking merely just as an intended consequent of his (his team) constructing these presentations wherein, most of what we are is compressed into a book (and television series).
The effect is the putting aside of some of the vanities that weaken ourselves and deflect our continuing mastery.
I would say the best way to present to the West to the world, wherein, our obnoxious Internationalism is justified, is in the content of this book. It does not have the old White Imperialistic rhetoric of world domination by way of tools, or some special evident National character.
It instead says "We White people got lucky, and here is how." And...that all people would be best served if they read "Day the Universe Changed" instead of their own National-Theocratic, or really just Authoritarian based ethnic boosterism...as it is meant to counter their neighbors own "empowerment" through "we are the originals" officially sanctioned storyline.
The West was guilty of this narrative: even as it was underpinned by Science. The "Social Darwinism" of the turn of the century, when the White People of the British Empire were overtaken by the White People of the German Empire.
Burke, I am sure along with many, many others, saw this continued cycle of a people's Narcissism, but now growing larger, as it had further prompts of Narcissism coming from the "more than" National championing...from Print to Motion Pictures to Television.

Part Three: Electric Kool-Aid Acid Test

Wolfe's book is not a novel. It does record something that seemed hugely significant to a generation or two, but not really to my own.
Wolfe's early entrance onto then still building "new journalism" (which Hunter S. Thompson really wanted to be recognized for, but instead became a priest of the baccanal) chronicles his participation in the Ken Kesey Merry Prankster outsider chic, that was all of everything to be back in the mid sixties.
One can see it emerging, and partly responsible for the lauding of such average book like "Catcher in the Rye". The United States had emerged from isolation, or the story goes, and in doing so the public began to get a sense that what had formerly been much more of an open society of unlimited growth not only  had its victims, but also that it was beginning to close.
I am arguing it is now closed: the Capitalists, having won that last barrier of opposition, have now Capitalized totally...hence we see the rich getting vastly richer, and no one else.
The chic of the outside was very popular among young people starting back in the fifties. It might not have been so relevant or so well depicted apart from the Modern Library, but in the Fifties, outsiders had become such a lucrative pose, that many actors were able to make themselves into icons.
So, the Merry Pranksters emerged from a collective surge of Outsider-ism...a social or popular convention that comes and goes, but emerged from the Modern to be a major theme of Post War America.
Being outside was "in" during my formative years in High School in the early 80's, but the supporting consumption of media had been going on for quite some time, and I believe it carried on even into the 1990's.
Its not mainstream now. Perhaps because all those who may have been consumers of the drama or trauma of alienation are medicated.

But back then Kesey had become part of the pantheon of acceptable representative of the Zeitgeist, of which I think Kerouac was the precurser (and better writer).
Those actors who seemed to be embodying it, like Steve McQueen and Humphrey Bogart and James Dean, probably themselves rejected any sense of that.
Kesey was not really a novelist. "One Flew Over the Cuckoo's Nest" I had read (an then again) after seeing the movie, which to my teen eyes was quite emotional and profound.
One could get the sense of how significant a movie or Meme was, in how long it was advertised in the Entertainment section of the Newspaper. "One Flew..." the movie, was in the paper and in the theaters for over a year.
There is this turn in Western Media toward trauma over drama, wherein, "Drama" seemed to be kitchen sink protestations of people losing their individuality in more or less grungy circumstances, wherein, the "Trauma" genre represents individuals being so victimized it precluded any sense of wanting to belong to the outsider status.
Tom Wolfe's got on the bus, and became a part of Kesey's or the Pranksters movie. His narrative is probably more durable than Kesey's novel, a huge bestseller then, and perhaps the best narrative of what it was to be a "Hippy". Although, that is not how they see, it is probably how we will see it in the future, given the Musical "Hair" having too mawkish sentimentality to be considered Historically relevant.
It is a trip, and in it Wolfe takes acid and tries to describe the feeling, which he does so very objectively, and with the same sense of proportion (very difficult to actually get) that Pirsig has for "his" mental breakdown.
"One Flew..." of course tapped into the estrangement then going on with this closure of the blind faith in the possibility of an American Government not becoming so large as to resemble all those other "bad governments" nearly occupying all of History.
What had happened was the American Government had become top heavy, and totalitarian, as in the triumphant warrior class presented its picture of what it was to be an American, to a generation that was all to aware of the Totalitarian tendencies of a world divided between Good and Evil.
Largely, the heroes of the counter culture were from the previous Generation, termed the "Silent Generation", which seemed apt then to the loud and more numerous and unlettered "Baby Boom".
Much of what was being promulgated was the "white bread" culture of Coastal elites who wanted to keep the status quo just as it was beginning to coalesce around the Military Industrial complex.
This material culture, the officially approved stamp of culture, was what gave "Catcher in the Rye" its limited resonance.
This cultural counter-cultural dynamic was largely for the greater population looking for meaning, and not the political generation that found much more meaning in the emergence and cultivation of Civil Rights. That political generation was a fragment of an overall population whose alienation and disenfranchisement or outside status, concerned their deep individuality.
These search included, especially from the West coast, a tolerant attitude toward learning the thinking and values of outsider religions, which we see Kerouac also engaged in, even as a serious Catholic before Vatican 2.

Wolfe's chronicle of a Kesey's baby boomer update of "On The Road" was far more a spectacle of deranging freedom and inter personal exploration that was needed over Kerouac's more individualized road trip. There were so many individuated people who were not actually individuated, they were just grappling, safely, with the idea of this counter culture. Kesey tried to mock what had become a dividing line of Salingerian "phonies", but these were just ordinary people who had neither the powerful insight possessed by the disenchanted Silent Generation and Baby Boomer of writers, nor did they have the courage.
So Kesey now comes off as an asshole who sought to humiliate those who couldn't quite "get it". This exclusion and superiority of consciousness...the superiority of the "New Consciousness" became a real line of judgment in American Society.
There was a sense of how weak or strong one needed to be to belong to this group, and while Wolfe touches on this, its not on the radar so much as to capture the moment, in literature, of a phenomenon that is distinctly American and has substantial originality.

The book probably works so well as it is full of traumas of disconnection, and that "freedom of the road" now undestood as self-indulgence resulting in a useless increase in the carbon footprint.

The book also served to list the "New Gods" of this counter culture, this revolution in consciousness, that really had more to do with the original idea of looking for values outside the Media's more deeply disturbing Cold War narrative. More to do with Alan Watts and Kerouac than LSD and taking a long bus trip with a former cultural icon (Wolfe...if I remember correctly, touched on some of the staleness the hyperbole of the emergence, then termed the Beats).
The narrative makes a case for an alternative belonging that was now coming available.
This alternative belonging had been touched upon by Hesse in Demian, but represented a real alternative in terms of counter cultural icons who "made it", and could live off the grid of the uber Cold War narrative.
This eventually turned into Hippies starting communes, rejecting urbanity, and then from that emerged the culture of Whole Earth News.
This all vanished in my generation, in the early eighties. Well, it dropped off from marketability, even as the people who were in being bullied and mocked by those who were out then getting fed up.
My generation were children when this counter-culture, and its mockery and bullying of haircuts and dress, became part of the attitude of cool adopted by rich and popular people with a little bit of reading. That is, the counter culture of the late Baby Boom felt like they missed it (Fear and Loathing is the novel that grasped this..) and hence there was a sense of hysteria in trying to belong to not belonging, and brute politics of the schoolyard, between those teenage ideologues and we kids in Elementary and Middle School.
In other words, its curve had descended and those who emulated seemed like distant members of a sect.
Well, Electric Kool-Aid is a good description of Kesey's narcissism turned into a media cause celebre'. "One Flew..." was a cultural icon between the Beats and Hippies, and it captured the fear of the Totalitarian state, which was more a potential in everyone psyche. They, and perhaps Kesey self-consciously, sensed that they were their own enemies (as everyone who is pursuing identity politics can sense its tendency toward Totalitarianism).
"You know, be like me because I am not one of them."
Them being the fools.

What perhaps is lost, even in the wiki article I read, is that Tom Wolfe's interest lay in debunking wrong headed thinking. The wiki article states this: "Wolfe's book exposed counterculture norms that would soon spread across the country."Well, it had already spread, and Kesey was just exploiting it. Wolfe was also aware, and noted, how a charismatic leader can lead people into a cul-de-sac or limited "re-evaluation of values".
Wolfe's book is singularly, the best narrative but if that is all one sought then the Musical Hair suffices.
No, the whole counter-cultural movement has many insights and concerns, again, mainly those being the adoption of Eastern thinking. This is the most profound but it requires study and scholarship, and as the other Pope of the New Journalism made clear, and as Wolfe it can be inferred, makes a clear example without making too strong a statement, the "Acid Test" Kesey sought as a catechism for the religion of the New Counter Cultural America, was largely false. Because, it can be clearly stated now, its just artificially induced disturbance of brain chemistry experienced by White Christian Americans...who otherwise have no terms on which to describe the experience of altered brain chemistry other than subsequently wanting to belong.

Tom Wolfe journalism is affected by this need to belong as well, but Wolfe is a Journalist at heart and could not completely attach himself to any one movement or group or Saint, in America.

Part Two, Phillip K. Dick

Three Stigmata of Palmer Eldritch ("Stig") is probably PKD's least read and least appraised five star novel. Man in the High Castle is always mentioned, but in my opinion, "Man..." is the least of his great novels.
There is little need to rank the top PKD novels, yes. However, Three Stigmata had the greatest effect on me. And I was in a peculiar circumstance, reading one PKD novel after another. In total I think I read eight or nine one after the other, over two months.
The circumstances began with my contracting a fatal brain illness. While in Prague, I had contracted Bacterial Meningitis...though I did not know it. It felt like a flu, and I was bedridden for about two weeks. I went out a couple of times, to again wander the streets, and came across a bookstore. The only english copy of PKD available (I had read Man in the High Castle back in 1978, but was a serious fan of Blade Runner) was Ubik. I took it home and read it, though it seemed like my head was full of cotton.
Well, that was a mind-bending book. The night the disease finally overtook my immune system and began to squeeze my brain to death with puss, I was struggling through "Alice through the looking glass".
Well, I got to hospital and all that, came back to the United States and promptly slept for a month...waking only to read PKD novels, or write about my multi channel theory of narrative.
After that month I moved to Houston (into a small 8 apartment complex, which I did not know at the time, was otherwise all heroin addicts...it was 1994), got work and continued to read PKD novels.
The novels that affected me most (perhaps PKD is not the best thing to read when you recovering from Brain damage!) were Now Wait for Last Year, Flow  my Tears, and Three Stigmata. I re-read Man in the High Castle.
Through a Scanner Darkly, Do Androids Dream, Radio Free Albemuth, Valis, The Divine Invasion, the Transmigration of Timothy Archer...and then the Bio: Divine Invasions.
Only Three Stigmata and Now Wait qualified as influential as Ubik, though I had to struggle through Ubik. Interesting read while you are dying.

Referring back to my other review of "Zen and the Art...", is the insight regarding a dominant theme in the plot of almost all serious novels; the psychological breakdown...or the disenchantment, rejection, or the alienation from Western "reality" or values.
I was making the point that "Zen and the Art.." had taken this theme, from other novels published over the 20th century, and normalized it, not only by including a rational discussion of how Classicism re-integrates (a theme also developed by Vernant in the great book "Myth and Tragedy in Ancient Greece"), but by depicting it terms, perhaps at this point, as less the point of the plot.
Well, PKD seems to have taken this idea, this breakaway or breakdown of Western identity and sustained it over entire novels.
In other words, while books like "Portrait of the Artist..." and "Catcher in the Rye", and "Brave New World" and of course, most of the novels of Hermann Hesse, and many others, use this theme to pose the narrator as original and worthy of reading (listening) because their experience provides a outside view.
PKD seems to have taken that "moment", and turned it into an anti-epiphany.
These anti-epiphanies are sustained, indeed, the entire plot, and not just a moment leading up to and then moving away from.
In going so deep and long into this modern literary notion, PKD probably found other elements inside or during the extended anti-epiphany, to then explore further.
Three Stigmata, in particular, seems to be anticipating the "false world" that actually was not such a worry as it has emerged as online games. Of course, I read Three Stigmata before online games, in 1994...and in the text it is mentioned that participants in the disassociation toy, called Perky Pat (a half hearted attempt to mock Barbies perhaps), could be played as if a Massive Multiplayer Online game, via drugs.
"Three Stigmata..." had the edge over "Now Wait..." and "Ubik" due to the stronger narrative foreshadowing of a coming anti Christ. This Anti Christ used drugs to delude and destroy, although, the power enabled by the drug could be used against the monster as he flew from the outer solar system, heading toward Earth.
This was stronger though not unsimilar to "Ubik's" plot element of escaping from some hallucination...or is a hallucination?

This theme is termed a "false reality" in the wiki article. Yet, I have found, and PKD would probably be more affirmative, that the old German myth of "the double" or doppleganger, is he best measure of all of PKD's work.
For rather than "false realities" Dick seems to be making the point that there is a fundamental reality and from that we can only grasp tokens, or that Reality is a Mint from which each of us only gets one coin.

This has a hyper-Individual, anarchic disreality, disapation of community and obfuscation of interpersonal communication...which is terming seems to fit many of the dramas throughout PKD's novels.
One can almost dismiss them as overwritten episodes of Three's Company, but then so many dramas are subsumed into Three's Company theme of miscommunication!
"Three Stigmata..." emerges as the most memorable (I think it was the fifth novel I read in that series) to me, because it depicts the "Monster", and really a brilliant elaboration of the Doppleganger into a anti-epiphany.
There is much similar, in exclusion (as far as I have read) between "Now Wait...", "Three Stimata..." and "Ubi".
All three propose a non real space as a real place.

After reading these most demented yes insightful books, I then turned to Charles Bukowski! As I was living among the low, Bukowski is quite a difference in tone. PKD could be described as contrasting colors of Orange and Blue, Yellow and Purple, Red and Green, while Bukowski is a series of shades of Brown and Grey.
Indeed, the book covers match this sense.

quantum aesthetics

Quite a pretense yes.

I think around a subject. My daughter has been identified, as have others, to belong a new adjunct curriculum based on...what I think is not as aptly named, "Divergent thinking", but what I think of as constructing around an idea. Brainstorming. Good for programming too.

I did write a aesthetic metaphor for quantum thinking...which was a whirling tornado of things...material flying around a funnel tornado cloud as representing a kind of chaos otherwise called the howling void...its just a metaphor so you could stand right next to the swirling mass of things and see that just beyond it, other other side it, there is nothing at all. I guess then beyond that is the other side where what was just in front of you is flying back around but in the opposite direction and seen from the opposite side: a mirror not in space, but in time meaning how fast some so close by is moving.

Also, there is this atomization of being going on these days: you can find meaning in me, but I do not in you, OR, you can not find any meaning in me and I find meaning in you...which is left or right...OR, we can both not find meaning in each other, lastly or, we can both find meaning in each other.

Simply, I might find something meaningful in that image, while, you do not. But then in the next sequence I might not find something meaningful and you do...see what I am getting at?

I kinda like the idea of using Pop Art to approximate this idea. It does pop (or does not). Pops easier definition was always tentatively proposed: pop as short for popular seemed to miss the mark. Popular Art, the term in general covering pop music and popular entertainment...this has a quality that seems less meaningful than more serious art.
However, the mass of the pop is not the same as the volume, so while Stephan King calls himself the "Turkey Noodle Soup" of writers, he is probably the most Popular storyteller, while Shakespeare is very far beyond a mass of other writers. King is a pop artist, while Shakespeare is not.
And what there was of the centuries, the 12 or so great Artists EVER, is now one artist per month!

Yet I wish to draw you further down into this void...wherein, I must make mention of another perhaps illuminating idea. Hegel's misunderstood dialectics were...like there is a particle or granular view; the itsy bitsy thesis vs. antithesis, and then there is the wave view, further away but wider field of all those particles spreading out and down and about, like a fractal image or a massive collection of particles, swarming and forming waves...the empty space being where they are not and the swarm forming part of the wave being where they are.
Or, you can understand it thusly, stack up, on either side of the "vs", all the thesis on one side, and the other side all the antithesis. Thats the static view, the dynamic view is, to start slow, that these thesis and antithesis can shift and spin so as to form waves around the stack.
Of course, in terms of shades of meaning there will be one place or perhaps two that have the greatest polarity wherein, the spin eventually tunes to, but is nonetheless highly unstable and easily set into a spin again.
Just to throw out any shading, each succeeding thesis throws the least amount of association on its neighbor in the stack...yet, if you read them all you would have a comprehensible set.
The whole set of Antithesiss and Thesis are like an Anode; particles flowing in opposite directions, like sheets of Auroreal Light but just the forms of magnetic fields. There is no final coming together, but constant flow.

Thats the tunnel that is now created in this fractured free association society, but because this quantum scale of people ranges around four areas of meaning, this is a kinda of Fractal basis of society.

I see this in movies these days, a lot. Say, for instance one can cut between two different scenes, say a glass being first picked up in the lobby, and then the actor is to set it down in the next room and is gesturing down and then as the glass touch the tabletop the tabletop shifts to the tabletop across the street, where the same glass is being set down but on a different table.
There is no meaning there other than the most empty of transitions or suggesting some parallel reality. But its still there, a minimal meaning sharing some affinity with Ozu's transition objects.

Theory Differential Action: one solution: slo mo

Its just the accident of loading pre-animated 3-d models, of characters, onto a scene wherein, they appear on the 3-d stage without synchronized actions...its like "the madhouse" of yore.
So, the ordering of action along initiatives on one stream and a different set of initiatives and actions on another scene
One stream enough to initiate a significant stream, but then having one of the co-contiunous steams being meaningless, for instance, Conan is firing a laser cannon at a oncoming swarm of dragons, meanwhile, Saka is typing.
In a more extreme example, Conan is firing a laser cannon at the swarm, meanwhile, Saka is tasting a soup.
It creates opportunities for humor, or a humor juxtaposition. The point is to get to the most disconnected version, where the situation in the main stream does not reflect on the information in the minor, bifurcating (I like splitting off) stream.
Conan is walking down the hallway to conduct diplomatic exchanges of prisoners.
Robos is sleeping. (leave the stream there for awhile and watch...him....sleep....until the viewer has enough and switches back to the mainstream).

Or, imagine five streams all co-continuous, and of course, the viewer can only see one. Well, if its five cameras on the same scene (or even more conservative all five streams are exactly or nearly the same in composition on the same scene), that would not really be a cause for changing the channel.
Imposed over this is a program which will automatically, and most of the time having some accurate reason for, changing the stream for the viewer, much like an editor.
In the limit of this is all five streams not having anything really meaningful...a kind of collection of inbetween "Ozu" like shots of random objects, regardless of tone and certainly, each of these random objects not having to do with each other in some contextual...a kind of total chaos.
Well, thats the other extreme.

Another mediating function, much like slo mo/fast mo is doubling the shot. This is done frequently in action moments when the action is so cool you see it from multiple angles, each a different angle and backed up in time a bit.
Or, as if there was a glitch and the last ten frames repeated. Or repeated again, this time in slomo.

So, there are additive ways of structuring transitions, wherein, a sudden shift into slo-mo, a reversing and then restarting the action, slo mo from another angle...much like a Sam Peckinpah scene (except more cameras!), this actually inducing some people to switch to another channel.
Or, the channel is going to shift anyway...but to a properly fit in moment that the view might prefer to see,...so they stay on the channel and watch the pre-programmed edit.


These cutting pretenses can be combined too. So in the twelve listed (as icons), some can combine, but not all, for some are the other end of a range...like cutting between five cameras at the same scene, one stream is MORE close, another stream the Furthest away, and the other three camera angles all fitting more or less into the range, but with the last two cameras being nearly the same angle...one slightly head and shoulders, the last camera being slightly more head and slightly less shoulders and 1 arc to the xyz axis.
Or one camera being jittery and moving, and the other camera locked down and still.
I guess these can be edits within a set (1,2) while other edits would be outside the set, like graphic contrast combined with one slightly fast moving frame and the other the slower moving frame.
That example is very much the formula for chase, with a few added elements such as occasionally cutting into the scene for a Close up.
Its a set of edit techniques that can overlap, that do make transitions, and can be programmed around guessing and calculation as to when they would occur in a Edit Decision List.
To be technical, its five channels represent five EDL's, and these EDL's are also vertically integrated, with sometimes the vertical and horizontal (frames per second) being irrational.



But the main difficulty is then crossing over from significant to insignificant splits in the narrative (as determined by differences in initiatives, again, for instance).

The splits (heh) can be from insignificant differences yet that causes an more or less momentary greater difference.

Then there is the less momentary of the greater initiative difference (may be a chance in order or such a number that hit before now a number too low and does not hit) leading more or less immediately back to very little change in the narrative.

These four elements have a symphonic range, but what that means to jumping around the splitting and splitting again (or not), ergo, into three, or then five threads of narrative (five sounds pretty out of bound though...always somwhere in the range of three), and seeing more starts and stops akin to the initial upload of the pre animated characters above.

Well, one overall "large scale application of automatic editing" function can inhibit this error through increasing frames and creating slow or fast motion. Most appropriate and more frequently applied to action sequences, of course.
In fact radical slow motion, wherein, there is a timer, yet, meanwhile the scene moves 2 frames per second...can encourage the viewer to change a channel and go elsewhere looking for the narrative to pick up.
Doesn't matter if that is schemed or just accident.

So there should be an effect that interpolates small changes in times, as a group, and interpolates that as a single group of images, deployed over how many divisions of channels.

For instance, the Shadowcat leaps for the gun. Solinus draws back, but Shadowcat gets a hold of the gun. Then everyone turns to look, potentially.
Now, we suddenly go back, Shadowcat leaps, misses, and Solinus draws up...that leads to a better shot on Solinus and most everyone reacts to dodge.
The biggest difference between two similar shots (also in the shot sequence) is movement of Solinus is only 15 frames.
The reaction shot of Shadowcat then comes in earlier. Possibly for comic effect. So, this shot is slowed down.
Fits perfect, but in more cases it will be so slow....and this is not a function problem.

Floating reflection.

One artistic response to this fuzzying of time is called floating reflection: only comes around with reflective floors or perhaps roofs or hallways, windshields, pools...a material function.

So the object, in this case the floor, is actually slightly below the plane at which action takes place.
This is only noticeable in camera angles holding enough of this effect to bring it to attention.
Or, it is used on purpose deliberately. In either case, the image of reflection is like that of time having two or more parallel lines.

So, story wise, this could mean a baby is found, discarded, middle bronze age. Cast aside in the woods, near the Amazonian territory. It is found with the blood of an animal that had attacked it, all over its mouth and pieces of snake skin in its hand.

The camp has been there for a few generations, picking from the woods those discarded babies deemed inferior, yet rather than slaughetered outright as in the case of deformities, these male babies were given a chance. Many died anyway, and the procruring of the babies could be dangerous as frequently the Amazons watched on the baby's struggle for amusement. Not our idea of amusement...but the old one...like public hangings.

This camp tests the babies, sliding, swinging (so the baby has to hang on), other test of strength. Then, they are pitted against one another, in death fights. Sometimes it is two, and that is how Heracles started.

A mass murdering, absolutely huge male warrior of extraordinary strength, agility and toughness. But absolutely full of rage and tempest, brute cunning, but no shred of civilization: a cave man at the top of his game.

Partly the key to Heracles power is a shortening of frames of his self directed action. Normally, a lengthening of frames imparts size, but this effect must be executed in the animation of other than the directed action; To punch or swing is shortened by five frames while the shaking of the muscles and the movement of the cloth is in real time...in other words, the animation must suggest the size, but the actual frames per second of action, the movement of the Rig overall, is shortened.
So the other animation must make compensatory adjustments wherein, all in the frame is not moving in slow or faster motion.
This opens up the concept that, for example, in motion capture, there is no need to 'act in slow motion' in order to match with perhaps, weightlessness in space.
Action is easily tuned, but in tuning it is moves out of step in the time with everything else.

This effect can also bridge split narrative tracks. The frames per second decreasing, creates a effect of the character slowly emerging into another narrative track.
This is some effect of compositing, but its also in the subject of parallel reality, where one can be acting slightly differently in three different realities, and then somehow its sorted out suddenly...the suddenness the alignment of the varying times into the right speed at the next moment (perhaps the beginning of the initiate of the next round) being a subset of frame processing, wherein, the first and last frame of the sequence stay in their connections to the fore and after shot, but exchange frames with the middle...perhaps over three narrating sequences. Best used in action but could be used to drama effect.
Time noise, but it can work in the context of one track, and be the adjustment in the next track.

This becomes more apparently useful in the context of four or more time travelers/planar travelers using time travel in a scene. Perhaps only to go back and try again.
It comes across as a decomposition, so its use is also a consequence of the animation, reflected in the world as perhaps a static moment, where the players Character object is paused...staring out into the universe.

A fatal moment of reflection.

This fuzzy time is most useful in action sequences rigorously deriving from iniatives sequences (action sequences) or unrigorously from inbetween, where initiative is sorted in speech.
Its also more applicable to multiple cameras looking in at the same space...the same space different perspective.
It occurs at a split...but there might be other ways: both images remaining still, then the next edit point one image remains still again, while the other does not.
Or all three rotate.

In the case of a non eventual split that leads to major difference in time lines (sooner than later), this could be one pausing for awhile, then moving, the other pausing for an even shorter time. The effect, in its projection, can seems like an error, but as an expressive error.
Furthermore, it means the execution of the animation need not always be so exacting, which is allowable as an error in editing or even overall construction. It allows error. It enables slow-mo and less often fast mo, in arbitrary areas.

A great displacement emerging from a action sequence might mean the complete replacement of the team. Well, this is easier than three replacing...for the one narrative to continue is not always tied to what is happening in action sequences requiring animation, but during loosey goosey Game Show talk. Even then then phase in, the jittering, jump cut or fading in...a moment of action pre-scribed by the animators for the actor to perform, as a getting into character exercise.

Drawing this out further, as per Commedia, the eight types require an approach to the stage that is the walk that exemplifies them...so in game they must execute a walk...up to the stage, that is more less consistent. The actor may more immediately interpret the entrance motion down to the time of the phase in...wherein, the animators can provide a suggestion on what action to use to "fade in" which might not be a walk, given the circumstances of the death of the previous player.

World Play Design

May 3

A good introduction is to imagine this: people in the audience, whether at home or at the live broadcast, can control though motion and eye tracking what channel to watch.
Sometimes the channel is taken over by visual inserts. Some inserts fall into 3-d, some into 2-d, one is a Scoreboard (which also on stage).
The people in the audience can watch the visual inserts on their smart phones or in green room. Or a screen nearby.
The order in which this audience is to appear is already determined...so there are  a few waiting for the present players to die.

The technology is then streaming multiple channels...though there could be more for another class of inserts, those three listed all run constantly, but are quite frequently not the programming.

On stage is another group of cameras, and each of these are added to the three other inserts...perhaps leading to two on the GM, one on each of the four PLAYERS, the Die roll stream and then the 3-d and 2-dd, and lastly Scoreboard, leading to 10 channels.

Percentage wise, the GM might get the most camera time...so I am thinking of adding a NPC channel, with three more actors playing the NPC's (pre-rehearsed but also having to improv scenes). This would be special make up effects and voice talent. It would be an incidental but very dramatic and powerful channel, wherein, the role playing by the characters would be enhanced.

So, this 11 channels. Most frequent being some average between the four players...this representing perhaps in totality 75% of the show. Next, the GM (with two camera angles) 15%, the NPC channel 5%, the Scoreboard 3%, the Dice Channel 3%, 3-d animation 3%, and 2-d animation 1%, or the least amount!

Into this scheme you can project modalities around which to switch camera...mostly by soundtrack similar to what Google+ does with its Video Chat. but then it is a stage show so that the players will wait for the stop and go of the show that has always been a part of the process. More so even including commercial breaks.

The extrapolation of this I would like to project here is the person who is paralyzed yet can select channels psychically. This has been demonstrated, and the technology is for sale in children "brainy" toy catalogs.

There could be an added channel, wherein, the Players would probably enjoy a digression to direct actors. This might be a single or double use token, like in WhoWantsToBeAMilloinaire. This token then is played and the Player can direct an actor who will perform specific actions, such as drawing a sword and attacking.
These physical actors would perform fight scenes or whatever else the players direct them to do. It can be an entire scene, it can be one Players and no other expending their Acting tokens.
They could direct a stunt person in another room in a inertial capture suit to execute the actions they are imagining their character should be doing in the Role Playing World.

So this as another insert, which can be included in the final streaming.

There is a process of building this up, live to tape. Its a simple path in rehearsal for the difference between the live show and the live to tape show is minimal. What is served in reverse is that doing a Live Show is nearly doing a Live to tape show...in fact, merely a few staged inserts and a second or third day of the show done in a studio that mimics the backdrop and lighting.
So that the tape works with the Live Show, such things as teh Scoreboard being constructed live, the 2-d inserts pre-made, the 3-d inserts pre made (but only as predictable and brief cut scenes).
The die rolling will not be pre-made and also constructed live.

Later the die rolling might have to be faked. There is this time you see during animation production where the Live to Tape show can be amended.
Not that the Live Show, the mere live to tape show, is any weaker...it just will not feature 3-d animation.

So a 3-d animated version will create another version which is like a Extended Cut of Jackson's, except, this additional material will very much enlarge the scope and require probably some alteration of events...making it diverge from the Live, but not in so significant a way that the show need alter the "Matrix Module".


April 18
In the view of multiple problems requiring diverse material manipulations, including clerical, artistic, social, promotional.
Within that seems the artistic has the majority of problems.

So, within the artistic are constructing a trailer, constructing the intro (both animation), organizing scenarios, scripting, acting.

Within those, which have their subdivisions of focus on material (for instance, the constructing is meant to imply video editing, which includes sound and special effects, including the use of 3-d effects and 2-d effects).

Acting seems the most efficient in terms of producing results.
Although, writing this blog to track this activity is essential.

But in regards to Acting, it is:

Used to recruit, practice voices and walks (the physical properties of different characters...including special make up effects).

Because special make up effects are limited in material, voices and action have to develop around the resources of those costumes and wigs and prosthetics...that go into the panoply of possible monstrous characters (or NPC's) from sci-fi and fantasy and history.

So, the use of settings then becomes the reflection from the NPC, which means that the sets, illustration and maps must be drawn up for the Tesseract Characters:

Resources are: Goblin (Krog), Demon (Lucifer or Satan or Mephisto), Hippie (Duderonymous: blong wig), Rad (red beard and red wig), Benji (Afro).

Each of these have voices to be determined by access to the accent database.

Practice of these voices must be scheduled. Walks and voice work must be recorded.

The material to be used for voice work is previous scripts.

The "Looks" must be sketched. Mixamo is not totally necessary to use but fuse is a good sketch instrument.

So, everyday, for two hours, Voice and Movement on vid, and Sketch on laptop.