Oulipo Sandboxes

ACTION BITS

One could mocap a drummer with specific directions, but it would still have to be a drummer. There is something in the skill.
Improvisation never quite gets to skill, therein, some improvisation needs rehearsal. After that its just called an act.


A few skills dovetail with Performing an act, or being fake but convincingly real: sports, dancing, playing an instrument, soldiering...things like accounting, writing, driving, those dont really provide any leeway into physical improvisation, although writing might in automatic writing lending to frequently improvised wordage.
This is the kind of improvisation that is useful for motion capture when a type of specific performer, say, mocapping a carpenter actually working in the studio (and the extra work in time spent to get the carpenter to the studio), vs. someone who can imitate those actions to fit a storyboard or otherwise clear directions.


In mocap the theater is broken apart much like Film breaks theater apart. Mocap breaks it further, and then there are sub catagories and sub catagories: mocap storyboards for icon "THOR", mocap storyboards for icon "LOKI".
This specificity breathes improv, but improv as informed by some skill in action. This action might be an emergence from sports or dancing or playing an instrument, but main driver is acting itself.

In acting itself there emerges this sub catagory, a smaller unit than the first magnitude of reduction from Theater to Film, and now to Mocap, which is also delimited by Animation.

Acting is like that. One possesses the moment but in a specific place and time and circumstances.
The decorum calls for a act, and that act can be reduced most obviously into speech and action.

In Action mocapping, oddly, the actor may mouth the speech.
So, the mouthing is meant to involve the whole body in the motion but the actual words, even the line, need not be spoken aloud legibly.
Some actors would find it difficult to dampen their speech while trying to amplify the action. The point however is to focus on just the single bit of acting without having to speak at the same time...what is a given in theater, a liberty in film, and in also in mocap but more of a liberty.
Amplify the action is a standard act every actor must do, but deamplifying the speech was only approachable in playing speech impaired characters (who nonetheless possess musical talent, or, if the actor were so dedicated, a atonal rendition of a speech impediment meant as sincere, yet may distract, but it not blocked out, just featured here and there enough to fade into background), or Surrealism (rare as it is) or some deliberate comic distortion.

Chaplin's Hitler speech, is a good example.

MARCEL MARCEAU

Soon after the curtain closed, Clyde came to inform me of my tenuous continued employment as Technical Staff. Yet, they would depend upon the eventual judgment of Marcel himself, who was signing autographs.
Clyde then walked away and two men who looked like roady and accountant, approached,
"Why did you drop that weight during the performance?"
"I was clumsy."
"Do you mock Marcel?'
"No, I think he's marvellous. I love mime." (I do!).
"Do you think Marcel deserves an apology, right now?"
"Yes. But I think he is busy." I was obviously shamed enough to really not want to apologize to Marcel. I glanced around furtively.
"You may apologize to me, and I will give it to him."
"Uh, okay. Thats the not best situation but.."
"Oh, you want to apologize in person?" Without any meaning put into it. The speaker had a very unnerving stare, and flat, objective manner.
"Well, no. Okay, please tell him I am sorry I dropped that weight.'
"And that you will never do it again?"
"And that I will never do it again."
There was a pause. I didn't feel it was sincere enough. One is distracted by the childlike urge to be blameless in these moments. Yet, I tried, earnestly, to sound sincere. Faking it.
"You do not sound all that sincere."
"I mean it, its just through an intermediary..."
"It is enough. I will go tell him." The two of them left.

I lost that position working on the curtains, but that was Marcel. I had never seen his picture.


DRUMMING TO SPEECH

A live concert could also be live mocaped, but it would look odd. Probably a young band would be into that...a decent band of Stadium Rock, if such still exists. A band could be directed to Mocap stadium rock, and then be directed and rehearsed, meanwhile actually composing a Arena Rock song. That can be done.

Thats the largest file, one could stage smaller bits, but these would require some skill in imagining and executing. Still employ a drummer, but the drummer might have other motion skills.

Drumming is an essential improv skill. Drumming, and dancing as well, play across a broad area of doing other thing, acting a skilled part suddenly, and not so in a way distracted enough to keep learning the other parts in the play...a carpenter or a painter or any part that requires activity, this we'd like to see.
Shooting guns and beating people up better is not part of the improvisation.
Its the quotidian action improvisation.
That deserves some elaboration, but all it is, is just the common acts; turning on the water faucet. Walking up the stairs, leaning over to pet the dog...these all contain meaning which can be altered by nuance, and in acting nuances we discover new methods.
The Mocap nuance is more rounded than in the video nuances. Although the mocap plays to the camera the video actor specifically plays to the frame.

Lip sync singing, a real drummer, an air guitarist. The drumline matches, but the rest is sound improvised, almost foley like, to fit into the improvised movements...practiced to be the peformance of a song.
The real drummer can do all that as a single act, see. Because the drummer has the rhythm.
So, the animator who pretends to do and the other dancer who pretends to do. You see, this works then later to be retro-fitted.
The director can break up the song into parts, so that it is not like performing an entire song. The fake concert or fake performance, with performers bewildered as to why not play the song and just video tape it all at once?
There is a sense of the cheap trick of it all that comes through despite the skilled editing.
This is partly a liberty, but then, with this tangible decline in quality of commitment to the performance, there is a switch "off", due to a sensibility not accepting the Cheap Trick. Though they might stay with it and endure that part of the variety show, it sometimes prevents comprehension later.
And there is also the person who does not like this kind of parody yet remains interested for a length of time.
That length of time is quick and they turn away. Or, linger thinking something might turn up, or, then, go on a break, or, they change the stream immediately, or, in this new case I am arguing for, the stream is automatically switched.

Turning away from that parody level, we can understand what it is that the initial turning away...less a slowly turning away and more a switch:
A good example is: Barnes, the company president, is at the podium giving a speech, but what is dubbed in almost perfectly into his "lip-syncing", is a mock voice that says "some total da fish on my finger, see? I like to beat books in the rippentrop."
There is a parody of the Republican debates, a youtube video, wherein, the lips were used to form phrases other than the speech.
A voice talent parodied as well, the voices of the candidates. It worked.

It also is evident in the movie "Tristana", specifically the interweaving of various dialogues, which had been mentioned in one of Wikipedia round about articles, but not the current one!
To specify to even greater detail, the dialect interplay is integral to Italian movies from the forties, a process of dubbing which continued most visibly in the Leone Westerns. Eastwood is speaking English, while other Spanish and a third language, once, (is it a Fistfull of Dollars?) Italian.
It was just part of the process, and Bunuel might have calling attention to it, because it emerges out to call attention to itself into a few scenes...a mixture of Denueve speaking French, Fernando Ray speaking Spanish, someone else speaking Italian, but they are all dubbed into English with subtitles in Spanish.
A dissonance, but curious.
Nonetheless illustrates the idea of shifting pronunciation into expressivity, sure. But, the lips dont have to match up to the sound, perfectly. This is a horrible chore in Editing.

So the idea of a stenographer using a short hand of Keys, that correspond to a specific contour of the mouth. Tyrannosaurus speech being grunting, gronking, hissing, clicking...he has a tongue, but then a conventional insertion of a voice which matches the Tryrannosaurus. Might even be worth modifying here and there in accuracy, in order to create a harmonizies undertone...distracting here and being of more symbolic effect there...you know?
So, this keyboard presses a Tyrannosaurus syllable, which does two things;
1. It causes a movement in the speech areas of the model to modify up into a pronunciation, and then down into stasis. Also, it connects the sound of the pronunciation, also in a made up Tyrannosaurus language.
Furthermore, it is done by the stenographer to rhythmically and melodically correspond to the voice talents execution of the lines in the script.
This is just the rough draft, in the edit by the animator there is pausing, modifying some of the keyframes to match more demonstrative facial expressions. Those expression then fitting into the posture of the head that changes while speaking...this being a great source of comedy.

How to make the Tyrannosaurus pronunciation indicative to how the TR mouth would move to pronounce words, is too literal. The point is to emulate by typing the mouth's expressions to the speech of the actor. The secondary effects, of creating Tyro speech...the gronks, grumbles, clicks and fricatives of speech...this is perhaps only to be used a few times, However, once its created its just a manner of turning on a switch and having it go to work.
So...it has to exist, this connection. No need to just do it once, having set a standard of Tyro speech is functional for other formatting.

A shorthand of pronunciation of syllables as there is a shorthand in animation of certain postures of the lips to form sounds.
TR's have no lips, but, in this case slight ribbons of lips encirlce their longish jaws...they can have lips that function like human lips yet, this functioning must be established first, in its own unique pronunciations. For instance:
A long sound that progresses around the mouth, humans can do it by starting with a word on one side of the mouth and moving that word to end at the other side of the mouth. Tyro does this and its epic.
So, its a pronunciation key stroke with a long decay.
That is the first designation, and this moves not preternaturally fast, but skillfully fast in pronouncing a certain sound otherwise unpronouncable by the Tyranno, for instance "B(ee)" and "V(ee)"
The letters which use open and closed lips are :B, F, M, P, V, W, and Y (a pucker).
Do the letter F. That has a frontal closure, an overbite even, on the pronunication. The TR should be able to make an overbite.
Or, this can be mimicked by the TR with "lips" (really, just a ribbon of around the mouth, top more pliable than bottom).
Much greater physical expression is available not pronouncing English accurately, but instead, using approximate facial and vocal strenuations to simulate as a performance of timing by a talent.

How would a TR talk given their anatomy? Its not a scientific question, but a opportunity to invent, maybe a more reptilian pronunciation, beyond the over used hisses and thisses and grrrsss. Pops and snaps of a Crocodile require more demonstrative action, and could be minimized, or, otherwise left for occasional uses.

IMAGES

Heads with just hands below, fully conscious, commanding magical technology, and moving like spiders among "the web"?
So, where they stop, that is a node of reference, and they just speak that. Yet, not without personality.
Still, the horrific spider heads are using fingers, macabrely, to speak out, to all others, over a widespread area, like bird calls, other wise obscured by the column of intersecting tunnels of spider webbing. Multiple voices, but we follow one scurrying head, which pauses, yells out (perfectly in sycnc...they never speak over one another...) Preferential roles amongst the egg carriers are: runner, medical aide, escapee."
Then it moves, typing with its fingers, along the web to another area. The speed is preternaturally fast and they go whipping by each other but there is never an accident.
Freezing fast, that is, the fingers snag web, and the head waggles all the way to bounce off the web, waggle back to almost bounce off the opposite direction. Still, they recite their lines while balancing this floppy way...even sideways the webbing and grip result in a sideways head...for the fingers reach deep into the webbing and cantilevers.

MORE OULIPO

There is a way of cutting on an Ozu "vase".  A "vase", as the word is a proxy for perhaps a dead butterfly, a still life with plums, wind outside  window blowing snow, etc.
Anything quotidian, in the scene.
This is, to naturally imitate, in the motion of the animated camera, a look away, which both begins...as in a glancing up from looking down, or, cutting into the moment the look is in moving at the least speed to settle eye to eye...then the whole of the stream stays here, another stream the other eyes viewing the character, wherien, the scene ends, the other character looks away, and cutting back to the perspective of the motion of looking up, that POV, then looks down.
These pause, both by plan, on a object. The pause can be a range of speeds...compensating for jumps from stream to stream wherein, alignment is idealized by some higher order edit rule.
This is similar to the program automatically increasing or decreasing the frames per second to also align the cut between streams to accord with the edit rule.
As do fades and other transitions.
These self insert, default, but also according to a design.
It is possible the Editor, or interactive designer go through each stream and where the scene cut, or when the shot reverse shot occur, insert these devices to creating transitions.

Installing the look before and look away technique is also after a review of the scripts, wherein, scenes whose alignment are merely approximate...that is, the ambiguity in the production of either, which is to be consciously reduced by methods, nontheless results in the timing between the alignment to have a measurable chaos.
And this can be left to itself, for the programming can insert particular pre programmed transitions...wherein, the scrips, having consciously lined up, are also specifically enhancing the effect of double or triple streaming...perhaps three out of the five streams are streaming from different perspectives into the same location and time...a single scene wherein the streamee can, if they want, switch around inside of.
Kinda of a game. It would have an automatic cut sequence...or, it would be slightly faulty, and in that the viewer could set it free of being its own pre-grammed cut sequence, and toggle around the camera views.
To jump to another stream for awhile.
Following one character in, toggling around three characters points of view, and then setting the toggle to another character, and following them out.

The idea is the action of each scene is expanded, to have handles in effect, wherein the actor or animated figure has this moment before hand and moment afterwards, not scripted, but that are, I dunno, from the infinite I'd pull, smoking a cigarette before the scene, then putting it out, entering the scene...
Then when leaving, traveling down an elevator, and stepping out of the elevator into a lobby.
The fun thing is that the lobby can be randomized!

Tyrannosaurus Time Travel Overview

TROODON:
Lets just put human eyeballs behind the holes in the skull of a real TRO-ODON, as seen in the Wikipedia article. It is as if the eyeballs were armored, so instead, they might pop out or have a less facing forward than apes, but closer to humans than Tyrosaurs.
Make it lean back and upright, and walk, swishing it tail expertly across the floor.

TR steps out of a TYRANNOSAURUS suit. TR is the human ODIN.

ODIN
I was just trying to escape from people hunting after me, but where they would be least likely to follow me.
So, I went jumping through parallel reality settings, escaping in those worst realities I would have to face. Being hunted, I drag them with me to hell.
Then I thought what would it be like to make a single one, you know, influence it, and not use parallel reality to jump through? That might throw off the hunters.

PARK
How, how did you get by the other dinos?

ODIN
Maybe their all, other aliens in other dino suits? A gas and oil smellorator?

PARK
No. Unlikely.

ODIN
Well, this is a revelation not without consequences.

PARK
That sound ominous.

ODIN
Indeed, I was looking over yet a further worst world, of these I am inventing...for research into escape from hunters...and so it is here that I am following the brain of myself as it was decaying inside an robot whose technological limitations were nearly a century too old. I guess I could go back to then....

SCENE ROBOTS IN APOCALYPSE INC,.

ODIN/TR SUIT VO
Not that one. I know, I never seem to hit the button just right.

PARK
You should use a map and ask for directions.

TR zooms by another robot,

TR VO
No, not that one...

TR zooms by another robot,

TR
What for? Directions? To what?

PARK
This special experimental reality.

TR
...dont want it stored into your ORACLE DEVICE. So...

TR VO
No, not THAT one..

TR
...it'll be slightly off of exact for purposes of obfuscation.

PARK
This is where I am your prisoner?

TR
Well, thing is, I am your prisoner. Think about that.

Flies past a larger swarming concentration of the various kinds of BOTS over a cratered landscape, slowing still, to tip over and down into a  large crater. Breaking through the obscuring mist and seeing the concrete platform below, near this side of the crater.
The small jutting notch on the far side is the concrete shroud of the bunker elevators, otherwise the platform could harbor a large helicopter.
What occupies that space of sixty meters by thirty meters, is a robot larger than a helicopter. BLADER has sliced at the concrete bunker doors to the Cryocenter elevators, but then got stuck.
Out from the slice in the closed overhead door blasts a debilitating laser into BLADER's face.
About a kilometer away from the fast approaching SCOOTER, flying down the side and low over the weedless, eroded and steep crater side.


~~~~~




THEORY

Now there is a task of revising the scripts:

Diana Glass: the inclusion of mad visions that are heavily cloaked in the language of hysteria, gaslighting and psychosis are examples of time travelers; the mad, healthy alcoholic is the performer in the radio play: a teen ODIN. The radio show crosses content, or includes a scene or two (this can be expanded in the revision) from the next storyline.
Prisonerman: the wretched vision of a young, healthy alcoholic who was split in half...his other half a biotechnical offspring, that budded out from him, shrinking him even as the new form made a smaller analogue version of each and every organ of ODIN. This became a kind of "superhero", but the transformation need have a profound, unnatural, Frakenstein like pathology: this analogue copy, was created from alien virus. The Remnant is now ODIN.
So, a time traveling Prisonerman returns to Earth, to lose his head.
Sarah Miles: projections on the wall, and other manipulations by the house, are symbols of the alternate reality. Cheap tricks runs by Mirrors...
Prisonerman loses his head, but this time it is not boiled.
When Sarah removes it from the Freezer, it warms too quickly. She fills the pot with water and starts it, but its eyes move.
The bottom of the severed is no longer, nor ever was, dangly mangled bits. Instead, from whence the wings emerged, anchored at the bottom of a metal band. The band is a platform which the head rests within. The band or bottom has some other form of propulsion, so the wings are used to glide.
So, the wings prevent the head from tipping too far forward, too far back, or, to float on air currents...but never for propulsion.
Even at the moment the head is severed a seal automatically closes over it. Immediately forms ring, with two wings emerging (presently cracking free from being frozen back) with tiny, tiny hard to see vents ringing the seal.
As the eyes move...Sarah slowly moves in to identify these vents, which breath whisper quiet...and therein, ODIN's head has melted and begins to speak.


The wings change from feathers to bat...but we dont need to see this.

Also, sometimes, where there would be a transition, such as getting to and from one place to another, its just a cut. No, "transport" need be shown.
In two cases, they are outside, which is driving, the beheading accident, and, the other, walking down the street out of the Rooming House and to the Hospital, wherein, young ODIN stops into a bar.
Those scenes need to have some kind of symbol that indicates their controlled plugged in reality, a fake city street and a fake country road.
Sometimes, would it be possible to insert the teenage ODIN clone, enrapped in the VR in the room at the Apocalypse station?

There is a transition to be used once: the wings, as Eagle wings, flap once back to enshadow the Point of view, and when the Wings flap forward they are Bat wing. Scenes continues on...

and from the hospital room guides Diana and Sarah out of the hospital back to the radio studio, wherein, they are shown, beaming from his eyes onto the wall, holes in reality. The eyes turn off, and the head flies up onto the roof. Looks down on them.
Diana and Sarah then go into the Warehouse connected to the radio station, full of costumes.
They try on costumes, the first a gladiator, the second a creature from the black lagoon, a third a clown as Diana but then Sarah appears in Ape suit. Diana changes into Ape suit. They go back out to the Radio Studio,
The head beams emit, casting two holes on the wall again, and Diana and Sarah step through those holes and disappear. The head remains. End of story.

With these script set in the quotidian, or whenever the occasion for the quotidian, there is instead in the revision a insertion of the Symbol of another reality, but not so obscure as "13 monkeys", more instead, as psychotic hallucinations: the slide show projection, the television distortions. The next door neighbor as a killer.
The Quotidian is also shot as pastel, grey, increasing flat.

Apocalypse Inc. Dr. now Hooded Dr. Inky is collecting his clones...full body ODIN's. Dr. Inky's body, covered in those canvas, leather clothes, is a robot frame that the ODIN winged head is operating.
However, he is still a real bodied and brained head, held alive by technology, yet, connected to a robot body, not unlike a cyborg...but also, not a cyborg. INKY is looking for his clones, who watch this show of Prisonerman/Diana/Sarah.
This overall show is presented to the Clones as they grow up. So random ages of the Clones, all of the proper age (INKY cannot fit his brain inside a kids skull) combined with random ages of the plundering of the CryoClone Facility.

TR
These INKY clones become an army of CYBORGS of considerable health. Brains on ice dont always wake up nice. This one we have a chance to witness ODIN, who is in fact the experimental reality that I began from hanging around and interfering in the extreme settings of the ORACLE DEVICE.

PARK
Mine does not have the settings of Evil or Torture, but it does have Luck.

TR
Psychs have different programs. Mine is Truth oriented.


So, Dr. Inky goes from Cryofacility to facility, hitting facilities where there are clones from different ages.

*Apocalypse Inc., Season One
*Apocalypse Inc. the Sci Fi Stage Play Animated Puppet Show
**Famous, the Musical

Time Travel School
The Pizza Guy
Time Traveling Insurance Agent: the agents attacking are the alien across the hall in Sarah Miles.

Tyrannosaurs on Trial


GRAPHICS

First, just let me state the overall idea here is, academically, is to perform a comparison contrast in material culture between the Russian Steppe (and environs), with the Central Plains (and environs...including the Mississippi and Pacific Northwest...but centered on 'great accelerator' south.
These project are only 3-d modeling projects.
Mostly simply put, turning photos of Steppe and Plains history into 3-d models...but there are surveys, archeological, also providing modeling information in academia.

List of script titles, or future episodes of the series...(the writing can be uneven).

1.
Tyrannosaurus on Trial
...on Trial 2
...on Trial 3
...on Trial 4
etc.

Also, alongside those:

2.
Tyrannosaurus Confesses  (which have to be masterpieces of insincerity).
T confesses again (2)
T confesses again (3)

etc.

There is a series of Tyrannosaurus Steals from the 16th Century, ...17th Century, ...18th Century, ...19 Century, ...20th Century, ...21st Century, ...22nd Century, etc.

Tyrannosaurus Rides with the Scythians

(part one of the Tyranosaurus Roams the Steppes. with ...Huns, Parthians, Khazars, Bactrians, Pechenegs, Sakas, Mongols...)

Tyrannosaurus, Revolt! (which is set in the Cretaceous Era and is like Zardoz).

Tyrannosaurus at Innsmouth, the lovecraft series, which has titles like; T at the Mountains of Madness, and T at The Temple, T calls Cthulhu back. T Whispers along in the Darkness, T haunting the dark along with X. T is Horrified at Dunwich.
These Lovecraft stories actually provide accurate 18th century, colonial era architecture. One just throws in some Giant Floating Jellyfish monster and viola, its Lovecraft.

The portrayal of actual History in 3-d is an extra degree of realism. Trying to cover the realism of it, like "Roots" (you know, the TV Miniseries), hewing close to Historical accuracy. But adding all the messier bits; dubious frontier Justice, racism, criminals.

Staged as satire and or parody.

In these comedies, there is always a tribe of "Amazons", also riding-around as in suggesting a parallel Time Traveler conspiracy. Pirate women creating mayhem, slavery, slayings, pettiness, narcissism all leading to murder and tyranny...but somehow more Zena.
Problem is its gotta be balanced just right with Historical accuracy.

Audition

Actors are passed out these cards, in large type, their powers and flaws:

0. Cretaceaous swampside

TYRANNOSAURUS
You have a bit bite
Talks when mouth full

weakness; tiny forelimbs

TRICERATOPS
Horned face, bangs into the things, cant reach objects. Stubby feet.
Wants to get rid of the Brontosaurus

weakness: no hands

BRONTOSAURUS
Really big
Wants to get rid of other plant eaters

weakness: wants to leave the swamp and go the big town and see the lights

ALIEN VISITOR
You have a flying saucer
Evolving ray beam: just singular body parts

weakness: electricity, batteries get drained


1. Midgard

THOR
You have a magical Storm Hammer
Must act as if Thor is in drag.

weakness: Will never back down from a challenge.

LOKI
Can change into a salmon, a mare, a seal or a fly
Must tell lies wherever possible.

Weakness: Brags

RAVEN




JORMUNGANDR
Gigantic, large enough to strangle a world
Must dislike gods, and want to strangle worlds.

Weakness: substance abuse, see *Marilyn


2. Iron-Age

EVE
You can fly around
Must be incorporeal

Weakness: when speaking, only in questions...

GABRIEL
Really, really tough
Sees the world as black and white.

Weakness: Jesus sycophant

JESUS
Everyone loves you
Asks everyone about "their sins"

Weakness: reckless says, "I live, I die, I live again!" from MadMax.


3. Iron Age Apocalypse

DISEASE
Kill and terrify a lot of people
Must Target some civilization

Weakness: some survive, immune

ZOMBIES
Kill and terrify a lot of people of people after disease, killing off more of the immune.
Must targert individual people and bite them

Weakness: can be shot in the head

DEATH
Rides a horse, has a long, long cape
Can kill with a touch

Weakness: Ennui


4. Romanization

JULIUS CEASAR
I came, I saw, I conquered

weakness: Paranoid

NERO
Must perversely torture people

weaknesss: Scatter brained, hallucinates

GLADIATOR
Can do fight stunts
Has armor and sword

weakness: illiterate, superstitious

HANNIBAL
Has a huge army of Elephants
Has a lot of money

weakness: wants to destroy NERO and/or JULIUS


5. German folklore

MEDIEVAL KING or QUEEN
Owns a kingdom
Has minions, must order them around abusively

weakness: has no heir, obnoxious and stuck up

KING OF THE FAIRIES
Magic Horn: summons fairy warriors
After a bit, must utter a Magic Spell that takes everyone to his fairy kingdom

weakness: trusts the Queen

QUEEN OF THE FAIRIES
Has a treasure trove of magic items
Must assasinate the King

weakness: administrative duties

PRINCESS OF THE FAIRIES
Venusian, bombshell
Has minions, mostly small cute mammals

weakness; Nieve, slutty


6. English Restoration Comedy

OLIVER CROMWELL
Has an army in reality
Must act like English Hitler...dictator with an English accent. Preferably Cockney

weakness: everyone else hates him

SHAKESPEARE
Has lines to give to people to say:
A.Good night, good night. Parting is such sweet sorrow,
That I shall say good night till it be morrow.

B.Brevity is the soul of wit.

C. Out, out damn spot

D. The course of true love never did run smooth

E. “Conscience is but a word that cowards use,
Devis'd at first to keep the strong in awe:
Our strong arms be our conscience, swords our law.
March on, join bravely, let us to't pell-mell;
If not to heaven, then hand in hand to hell

F. “Better a witty fool, than a foolish wit.” 
Must direct them to say the line again, better

weakness: wants to act, so alternative giving a line to someone, then saying his/her own line

SATAN
Teleportation, Planar Traval
Must tell lies

weakness: can be trapped, imprisoned, chained, etc.

GEORGE WASHINGTON
Has a horse and musket
everyone loves him

weakness: 6 shots, one every 25 seconds.


7. Moderns

CTHULHU
Gigantic, liquid form that is almost Gaseous
Must get busy as you just woke up after bjillions of years of sleeping

weakness: the Eldar Sign, or being punctured

GODZILLA
Gigantic, Atomic Breath
Must destroy everything in sight

weakness: always loses the first fight

JAMES BOND
Lucky, action stunts
Must use tricky device...just make it up

weakness: other agents in really good drag

DRACULA
Super strong
Can become gaseous, or a bat, or a wolf

weakness: sunlight, or really really bright lights, like stadium lights or lasers


8. Science Fiction

CAPTAIN KIRK
Double fisted punch
Must interfere in what everyone else is doing

weakness: really good alien drag

SPOCK
Vulcan mind meld
Nerve Pinch

weakness: its "ponfar", or mating season

DARTH VADER
Armor
Light Saber

weakness: can be broken down into pieces (like Holy Grail Knight)

PAUL MAUD DID (GIANT SPACE BENDING SANDWORM)
Gigantic
Stupidly Aggressive

weakness: easily manuvered, you know, the trick on its back

35 character cards

Also:
There is an x number (9 tops, one for each genre) of wild cards which are all:

DOPPLEGANGER
Form must emerges from the "plane of existence" pretending to belong...
then soon enough, must change form to be like anyone else after that

Weakness: cleptomaniac, or mass murderer

PROCESS

Three booths on a folding table, wherein, the player moves first to the Red Booth, then the Green booth, then the Blue booth, and then out.

The Director describes the "worlds"

0. Dinosaurs
1. Midgard
2. Iron-Age
3. Apocalypse
4. Romanization (Mad Max post apoc)
5. German Folklore
6. English Restoration
7. Moderns
8. Science Fiction (Space Travel)

Each world is explored for roughly 5 minutes...

Whenever the Director interrupts the clock stops.

Audition should last about 2-3 hours, depending on how many people show up!


Scoring shall be:
Strategy Schmategy, Leeroy Jenkins, You got the Plan, Gambit Roulette (where players diverge in plans), Confusion Fu, Indy Ploy, Calvin Ball (crazy plan with no real expectation itll work).