Interactivity and Will

Once we were suppossed to trust our wives or husbands, but they always have a will of their own, mysterious to you as it is to them.
Once, we were supposed to trust our bosses, but now we know they have a will of their own.
Once, we were supposed to be trusted by our bosses, but we know...I know my will is not theirs...
these in many instances numbering enough to be too confusing to order.
Keeping track of Intersubjectivity other than one's own is also a leap...

Interactivity exercises the will, but its use in escapism is a trap. That these softer safer associations, watching and celebrating sports, sitcoms, games, which never form poli, much less even a minimal society, these will not cease to exist but will diminish as novelty and as practice as a memory builds and hence exhibits the weakness they create.
This may be over a generation, so that a new generation will see the ills.

Yet, the need to escape can be seen as a prejudice towards serious material, herein conventionally understood as the news and in a larger sense academia.
Which is not a consumption of escapism.
That data of the consumption of pulp/popular/fan-Con, supplies us with a possible corruption of view, insofar as the corruption maintains a fixation on a set of content which elaborates in no way what is happening in the moment...as it is the case of escapism seeking to avoid change this prejudice is a lack of reconciliation with a reality that they cannot reconcile.
Willful ignorance.
But what do we draw out of Pulp, pop, escapism...ten minutes of fame?
Robert E. Howard articulation of a lost Scythian world?

Sure. For Historical revision, that it useful. Those people for some reason maintained a long history of willful illiteracy.

...the last dying King make a promise to teach the literacy of the Semities, to the rest of the world (except not...in China or Maya).
"Teach writing to all, on and on where ever you go...offer it as a gift in exchange for their own words. Use their script...we want none to communicate among themselves, and for us to observe them each develop according to the introduction of literacy."
Semetics had the writing and the practice, but the Proto Indo had the wheels and the "Steppe view".

Or was the plot of the last age of the Hittites, and like the Huns pursuing the Alans to Rome, the Northern King Scythia invades his distant cousins, and so conquers Babylon?

Did a Conan like Aryan, who obviously had a talent for languages, did he not see the value of letters, and so instill a missionary colonial movement to move away and to the next tribes...and then to the next tribe, breaking apart and going on and always away....to create a bubble over the Steppe?

Yes, thats how it looks.
So, otherwise, such things as heroic sci fi can be specific, but genre bending can include Clan of the Cave Bears, even.

But, regarding Pulp as euphemism at least, and the best of escapism wherein, there is a lesson to be learned that is not the same pop lesson taught over and over again...you are special because this books made you so....
you know, the modern pop novel.

Soon enough, that reality passes anyway, and another generation is freed by their new found sensibility and identifies more obvious traps that prevent progress to their superior adaptation to the ongoing advance in tech.
A return of Realism in literature, or really just the absorbing into bits culture that is then barely navigable by massive invasion and monitoring computer elite.
Within which is contained even another elite, and there you go, you both email each other from one computer to the other, unaware that its actually the office next door.

This world went from wheel to wheel...it used to be sorta stalled with Cars, you know, the old car culture...totally gone.
Horsepower, that term will wither, probably to go away, replaced by Torque on the ground or something.
Replaced by the imagination machine which can be reduced to numbers, which does have "horsepower", those rough riding horsemen whose instability, insecurity, intolerance and self estrangement, which fed from many kingdoms around it, Han to Bactria, to Aryan, to Persian, to Semite, to Canaanite, to Egyptian, all these accepting the outlaws, the mentally unstable, the ADHD, the biopolar, all the bad genes the Aristocracy of these places desired to banish....all that up to the Steppe.
All these contained in List of Role Playing Games, and MORGS.
Clearly, many had rather lived as Plains Indians; hunting on horseback, barbecue, sleeping under the stars...for months...was not uncommen as a choice of lifestyle for the elite Gilded Age men's men.

No wonder eventually the Turks, who were not subjected to this bizarre level of genetic dumping...they adminstrated all too well, perhaps having a more even temper, and certainly spending much less time on Horseback!

The Aryans are like a non existence in actual script, only existent in the form of literacy.
Running back and forth? No, spreading out first, and losing any coherence from thence, having nothing but Oral tradition memories.
Eventually, there was going to be a fusion, but the Huns, then the Mongols, and then the Turks invaded, and settled in. Much nicer climate.
But they deployed, these colonies...the Cretans, the Nords, the Celts, the Mycenae, the Armenian, but not the Canaan, not the Eastern Ural...not the Tungusic.
There is the old road on which the wheels of the Aryans now run again.

Such is the dealings of central asia as to the Great Plains. A similar edge to the literate encroached upon by the illiterate, but instead the literate wins.
Yet, in both cases these were people:
One: the Tungusic sent away, and then formed a block, a wall of themselves, possible like a sudden rubber boundary appears in a vacuum, other people are then propelled away. This lens is deliberately focused toward the Bering crossing.
A story, a setting...


SIMULATION
Regardless, there emerges more of a market for simulation than animation.
Sim being closely related to the probability, while animation with possibility.

This interactivity of wills has a burden in the detail of subjectivity...many introverts and many sensitive types such as William Gibson..others who are medicated because the Subjectivity of it all is too much...those people...they have a burden of Will. I have it too, in excess, but not quite agoraphobic.
One learns to sacrifice some Will for the sake of others, but if having grown up around a lot of Subjective types, maybe a mental illness gene in the family...or, bad morals which are evident in bad morale...sometimes...its so intensely and specifically you and me and her and he...an inflated intersubjectivity drags the person down into confusion.
This is an attempt, these social websites, to get a handle on that. Its filtered intersubjectivity. A reference park. Where feelings can make it seem real.

Intersubjective games moderate this sensitivity. Intersubjective games that are theater are like Improv, but in my struggle here to synthesize art and reference into a digital age practice, I find Improv is a public search for a lost civic of total inclusion...so as to erase the burden of intersubjectivity as reality.

This is not Improv, but that it contains it consistently as step one. An initial silence in thinking in preparation to Improv, but of course, casting further than Improv. More than a Herald. More than sketch comedy. More, actually, and even as less than a second thought, more than a binged watched show...though, thats pretty close to a role playing game experience.

Firesign Theater, to Monty Python (who is quite boring in the TV show...dated...) to conventional and spontaneous Comedies...whatever ones perhaps ranging from Friends to South Park.
No, a earlier spontaneous practice which was honed enough to consistently believe in the second take. All that belief entailed was erasure, or if opportune, communication.
Some Actors do not get enough of this.
The time it takes should be anchored to the time it takes to realize rehearsal funny is not going to translate how you think it will.
In my mind this is half the time. I like rehearsing.
Like respawning in game talk.

So, instead of calling each take a rehearsal, call it a R&R: respawn and rehearse.

The intersubjective Will.

While we see living behind the scenes a Will that is at work more effectively than other Wills, who perhaps suffer from a lack of cohesion in larger scales.
This can feedback on itself...
What the Aryan seems to have done is bring some kind of it own Oral Tradition into local scripts.
Its not really coherent, the insight is not really that profound...some people had a steppe, horses and chariots.
For the Chariot did become too useful and obvious (hey, instead of the Ox, how about that Horse you are riding?), we can conclude it emerges among a lot of people...the most advantageous being those with the flattest area to use them.
Flat could mean just locally, but mainly in deserts or sparse vegetation rich enough to feed pack animals, pastures...great plains, the steppe.
Thats the idea.

And that becomes flat. The airport to airport flight patterns, from small to large, civilian and military, that becomes local, underscored by up and down paths available to police drones.
So, the state area forms around the tube and ramps of the airspace...yet unlike the Jetsons, the street, the public, is only transport areas.
Still looking for Concentration City, but that might be a forced perspective effect, eh?

Content Hog

Everyone lives in gigantic solar powering buildings, all inside a slowly enveloping dome of solar cells...I like Post sci fi, which is sometimes what Post Apocalypse is, though Dystopia is a better name.

Thats just my two cents on what world I would like: not too far future, post catastrophe, where everything is broken. Ballard is a good example, but Ballard is about broken psyches and mutations of values that ruin humanity or are the ruin of humanity, as if the broken world created a value set that did not work either, and also broke people.
Frequently, they cannot communicate in an intersubjective way: this is saying communication between individuals is only about individuals communicating, and in so intense and sober and monotone frame, restricted by some weird post sci fi value mental confusion, even that communication becomes impossible, though its reduction to just the same represents a broken society.
Individualism in excess, or even Nihilism societies...Ballard describes therese...and therein...that kind of dytopia.

However, it is not Joss Whedon. Joss borrows this from table top games, as if the characters had backstories, which are slowly revealed through the emotions that are now the only result.

So, Whedon's answer is not the Absurdist, which Ballard slides into too much. However, that setting is highly useful from creating a brand new intersubjective world setting.
Its as if everything is off.

"So, we start out in a dystopian future where everything is broken...more or less..and, we as individuals care less to speak to each other and care more about our own, perhaps quotidian, but certainly self interested actions and speeches, above the others."
"Excellent start."
"Its Rehearsal and Respawn? As terms?"
"Sure."
"Sounds good."




I'd design a system in which all kinds of content can be stuffed. Like some bug, it would keep growing and organizing and executing content along fractured storylines, rooted in History.
Not possible at this point. But, here is a claw of the machine:
Each dance move is repeated at least 6 times.
Within this is a degree of variation, that is along two axis, frame per second and never losing the balance but turning the lean or physical emphasis to some extreme, if not desperate action.
Any action that was to be rehearsed, to then be performed, is now instead used in each case...so the actor gets exercise doing the same action, with slight variation, lets say, twelve times.

Another route into this content devouring matrix (that is wholly intent on then applying and executing these motion files or lighting files or camera files, into something watchable), is using the news to inform improvisation.
This eats up all the news storys and executes them according to what happens, as a story interrupt.
So, for instance, you would get an actual police link, and run a simulation of what could have happened.
It doesn't correspond to what actually happens, and it probably follows more Grand Theft Auto in what happens...to comic yeild actually, but the point is the range in content that the two actions contains, slow mo and action being the two extremes of the two ranges...so one has a chart:

Anyway, this also projects up into types of sunsets: one can sit down and produce eighteen skies or background for then actions of the play to be presented.

Another example is taking my wife's action, her teen giggle at a tender moment. I would ask her to step in, play that moment again, then step out.
Doing that even more than once, but lets just keep thinking multiple times, exercising the organism every time...that in this record can contain a randomization that lends itself to multiple incorporation into narrower contexts, (most of the variables are in the actions of time travelers and game show)...in a variety of arbitrary or even elegant transitions.

So lets take an easy route; lets see the combos of the time travelers on the game show.
Well, the game show context, added, is quit heavy, the narrative is squeezed in, while in the time traveler there is some more constraints...

Narrative emerges from the players and in acting in a sequence of a game show there is a leeway of spontenaity, but in the time traveler, the breakages can be too disjointed. The Game Show capacitates breakages, but having multiple narratives means shifting from one context...the story of a mad person in realism...to then jump up into that mad person actually time travelling...it might not work according to the idea of the auto-edit, or programmed edit point.

Another way to wrap one's head around this vague idea, is this:
If there sets of characters who inter relate, say in this example three. Each makes a story that the other cannot be extracted from for the story is communal or interactively built.
However, some bits that have that other can be edited out: the character's avatar, or toon, can be removed and another inserted...perhaps slightly enlarged to avoid...well, not exactly a garbage matte but akin to it in so far as there would be a gap here and there, especially if the new character introduced into the old characters space was significantly different in size.

This switching off on one character narrows the number of cameras down to half, lets say, and that means one fourth of the number that would be produced in action.
So, one fourth of a half is, in actual numbers of cameras, (as per the camera cloud of 21) remains as 2 or 3 cameras.
That range of cameras only produces four versions. (there is a noise filter insofar as many shots do not combine well).
And that range of four is containing the other two characters.
There is a fusion in that some views from the removed character can be used wherein before they were POV but are now just omniscient or limited omniscience, and also, that there is a narrative possibility of a other, just being a camera, and, third, there is a new character which composes within the space of the narrative of the other three...
Not sure how to organize a range of characters who are streamed in and out of narratives without some constraints first: three characters get along best, two characters form a third who can be introduced from outside, and two characters also can form a opposite, or ghost characters.
Lastly, one character can have ghosts cameras, and have a ghost to address (even as this could have been played in some scenario during the game show, a ghost encounter...in this case, it is added as the previous material is processed according to a program that mixes multiple storylines and enables such mixing by removing characters and replacing them, or not).

There are two ways to organize and fractionize or break up into pieces and put it all into a randomizer, the narrative bits, but order is first composed from constraint.
This is built up from action files, wherein, a vast section is made, take for example, shooting a gun in sixteen different poses...all for the same situation of shooting a gun at the same target. Through this may be a narrow passage to other forms other than those genre's which would not have any gun play, or, even, moving away from action to dance moves, expanding into a subset, or as I elaborate another bubble of potential related by a narrow route...dancing files which are also to be randomized along with singing.

The two forms, dancing and singing, share space, like some gravitation black star devouring the multi-layered contracting into a orangish iron other Star...that star being the multi-layered with song and dance, while the black star is the Content Hog.
Around this system there also flows other stars alongside...for instance, a greenish hazy star also float nearby, having its plasma ripped off, and drawn into the event horizon of the super massive black hole. This greenish star is Horror.
Another star would be Purple, where clusters dramas and mysteries, intermixing, but also having some flow into the nearby swooshing by Orange star of Song and Dance.
The flow is images connected to sound, though, in many places, this is only hard wired for dialogue.

What could describe this structure as fragments of neutral gameplay, surrounding and flowing around islands of content clustering; playing in a Post Apocalyptic world, we make a rare transition to the Thirties Years War in 1630 Germany.


Using the local news could mean a conversion filter, wherein, the names and places and other nouns indicative of setting and decor would be replaced automatically.
So, there is a lexicon of each setting, which is executed as the history of American writing. Because one purpose of the production is to produce analogues of Virtual History.
These are each used as well into conversion across genre, most obvious is the conversion of the high middle ages into Fantasy.

In many cases there will not be a good conversion, but there is a transition in higher terms, such as Crafts, Textiles, Forgings, Chemistries, over the ages, set into another range and transition in meter, which is perhaps best conceived of as proto useful tools, combs and toothbrushes have a historical context, pots, baskets, then make a leap to metal goods, mostly iron increasing.
Then an explosion of materials by resources, then finally, in the 20th century plastics and light metals...these increase into future materials.
I believe there is probably a scheme regarding the total amount of materials, of course as speculation, but it could be said that each person in 1 AD possessed one comb, one pot, one water skin, etc.
One can imagine in future settings superconductors and other nano technological advances, up to where Sci fi is fantasy, like in the works of Gene Wolfe, Larry Niven and Jack Vance.
There is also a Apocalypse angle, to which there bottoms out technology under a vast range of more.

Yet, the ultimate application is to include, in a collapse of information, all the sets, settings, views, with all the previous characters removed, cut out and replaced by exact but duplicated, the script replaced, the show about people who are playing a role playing game.

Not now. Nor is the resolution and order created ready to be fulfilled. It may never, or, it may just seem one of the start of many projects akin to "mix tapes".
Programs that mix Entertainment. Not news shows, but the news shows feature the players...

There is a range of theater game here, where, the news does not have to be read. Instead, the ones playing, and not AI (which mostly no one knows at first) can suspend the news show and role play as Babs and Donna, roleplaying for the moment as news casters, and the AI can pick up on the nature of the exchange and switch over to another field of plots.
In fact, I think there exists Table Top Games of this ilk, and Improvisation games of this ilk, but playing as news casters is highly typical of sketch comedy.
Sometimes this is out of the Drama and over to the Post Apocalypse. Which is funny....
See, sometimes, its does work.

So, lets think of some times it does work, those cross...or even geometric (3 or more) expansion of content:
Post Apocalypse to Sci Fi (time travelers)
Horror to Post Apocalypse
(which is better than Horror to Sci fi)
Romance to Horror
Drama to Romance (romance is loose term, maybe comedy, or dramedy).
Action to Romance...which is already conventional.

Satire is genre that converts these actions, but its only satire as the Actors execute it. It can be a dramatic exercise over a period of time...for instance, some RPG's are satirical.
Some invite comedy, another range that can encompass nearly everything, even tragicomedy and dramegy. Dont think there is a dramegy...its considered a lesser part.
Not all comedy is satire.
Some farce, some Vaudville and sketch show mocking are available.

But lets embrace the point of no return: as in, the return is full of noise. Bits are flying by in strange ways, perhaps, fascinating...these of course can be scored, or a general score of music, set specifically to exploit the random image style of videos on MTV of yesteryear. One can pick a sound" and hear multiple versions...the re-mixes as well.

Its putting a lot of production data into three access, the Game Show, the Narratives, and the Computer Games.
 Part of that is Historical sets and setting, sometimes converted into future settings...the building of the congress then used, doubled or mirrored and even merged somewhat so the columns fuse, and as such floating in space.
Restricted to American History, one would conclude finding Castles for Fantasy settings would be difficult but in actuality there are a lot of American Castles, even medieval style here and there.

After actors, there is animation style. Some of it bound to certain places, but certainly as a conventional list, one starts with Cel Animation. But in actuality, the beginning of animation is in such cheap effects as exemplified, but not totally to be attributed to, Melies.
The figurine animation, that is, scanning the figurines and using those as skins, alongside the original model that was used to be printed, this is in the pilot.

Perhaps a scale in which to stylize the animation there is scale of mass, things can be clouds speaking, that coalesce into water beings, with the things around all liquid like...increasing until we have a animated world of dirt and sand and stalk and leaf. A invitation to a faerie wedding...

Then the material meter can further skew the animation...making the textures through a kind of organic chemistry flow chart, up through wood, paper, clothe (you know, like rag dolls)...muppets, puppets, with and without strings...then dolls, series of figurines in various poses, posable figurines stop motion animated, robots, android, 3-d characters-avatars, cartoonification of actors, actors live.

Also mixed in is black and white, two color, three-four color, then pastel to shiny...these can be random, but also plugged in (in what seems like the moment but actually the animation is crafted)
..so the action establishes, seemingly random choice of 2-d style, but which is actually pre programmed and announced as a random result from the big board, as a presentation, but the actual programming would abstract, and then systematically...according to a program, mix.

There occurs another phenom: cartoonish or 2-d animation of some style more than cell animation, a kind of 2-d paper cut out...with the environment paperlike too, that is then incongruent yet mixed with a story of the down and out country singer...really, some random moment brought the mixing elements here...continuing into a arbitrary and not always effective hodge podge.
Exactly what the critics of "eclectic styles" accurately deplore as too simplistic and relying on two or more incongruent traditions merely because they all exist in History...bronze age mixing with 70's minimalism, gargoyles on cathedrals.
My education fails me, but in design history it is the usual critique aimed at Neoclassic.
Contrasts or, mixing historical styles much be done with great attention to exclude cases where the style is too loud calling attention to itself as a mix.
That is not conceptually useful to the program, but it is what the program is meant to prevent insofar as there is a "noise filter" and conversion programs.

Its actually not easy to do, to think of these combos.
But there is a layering feature to narrative that one can see from fifties styles to today: where, back in the 50's sci fi had giant monsters, but now, its giant monster action comedy, or back then, they had romance, but now its romance sci fi horror. This is a vertical scale, wherein, there is also a horizontal scale where the narrative shifts in genre...mostly a conventional transition in Time Traveller or rubber reality movies (are they really insane or is it just a nightmare?).

Superheroes, romance, horror, science fiction, action and adventure, suspense, thriller, drama, comedy, documentary, news, academia, experiment, musical.
All of that intermixing only if the mix was swiped to maximum on the horizontal and vertical axis. One runs into a lot of disjunction...like channel noise. Could be interesting if sometimes working into Music Videos, but down from there might be less disjointed but mostly unwatchable sequences mixed in no way compelling.
Then perhaps compelling in some degrees, lets just say in threes.

So, we take action, setting as mixed. There is a gravity built up over time...in that as each new genre enters back into the field, fits in reverse to a content design.
The one that orders at the limits of content, beyond which there is noise.

Yet, the more theoretical point I wanted to make was not the content sink or drain or massive new scale of order, but the limits which are actually at another level: the program just cranks out a render.

For instance, what the program can generate can be tied down to dice rolls, all entirely, so this idea of 12 sunsets pre made, just turns into the sunset at the moment randomly generated.
The news being converted into storyline, over multiple genres, going through genre conversion (again, introducing this idea of work to be done on conversion), to be the troubador who reports that-part-of-the-news fitting with the genre and style of drama.

Historical Horror is no stretch, nor is Historical Action, or Historical Romance, or Historical Sci fi, or Historical Post Apocalypse (well, the medieval one might be in the words of the NPC pastor).

This transposing introduces a problem in that religion cannot be portrayed. Folktale can be introduced, but instead, from the conversion file, there is a Religion converter, which replaces all Historically reused material (unintended to represent History) to have Christian or Jewish or other Historical elements removed and replaced by, perhaps, FSM ology.
Or Lovecraftian or Pagan.
For if taken out of the Historical context and presented in satire, there must be boundaries where some Religion is not framed this way. Though, many would disagree and conclude all religions should be subject to satire...we can always leave out Islam.

Antarctic City; Mutations and Machinery

Just setting this to zero, and starting the idea.

Everyone lives in gigantic solar powering buildings, all inside a slowly enveloping dome of solar cells...I like Post sci fi, which is sometimes what Post Apocalypse is, though Dystopia is a better name.

Thats just my two cents on what world I would like: not too far future, post catastrophe, where everything is broken. Ballard is a good example, but Ballard is about broken psyches and mutations of values that ruin humanity or are the ruin of humanity, as if the broken world created a value set that did not work either, and also broke people.
Frequently, they cannot communicate in an intersubjective way: this is saying communication between individuals is only about individuals communicating, and in so intense and sober and monotone frame, restricted by some weird post sci fi value mental confusion, even that communication becomes impossible, though its reduction to just the same represents a broken society.
Individualism in excess, or even Nihilism societies...Ballard describes therese...and therein...that kind of dytopia.

However, it is not Joss Whedon. Joss borrows this from table top games, as if the characters had backstories, which are slowly revealed through the emotions that are now the only result.

So, Whedon's answer is not the Absurdist, which Ballard slides into too much. However, that setting is highly useful from creating a brand new intersubjective world setting.
Its as if everything is off.

"So, we start out in a dystopian future where everything is broken...more or less..and, we as individuals care less to speak to each other and care more about our own, perhaps quotidian, but certainly self interested actions and speeches, above the others."
"Excellent start."
"Its Rehearsal and Respawn? As terms?"
"Sure."
"Sounds good."




APOCALYPSE INC.

XOMBIES

Three phases of development...the brain dead body on the table, kept alive by machine, the brain dead body on its feet, kept alive by the machine, and the brain dead body doing tasks kept alive by the machine.


Societies wars were staged in order to justify surgically removing bad genes.
This time, it was the war over those who accepted programmed-world views.
But like Lem's Futurological Congress, except voluntary, combined with mechanically enhanced self contained environments...sorta like controlling speech like in Religious communities , virtual realities imposed over the optic nerves. All three effects, psychopharmetceutical drugs, controlled environments and Virtuality imposed over the actual, is termed the Artificial Reality...all three add up and compose another layer of illusion.
All in all "The Cyborg World".
Unimaginately violent, sexual, transgressive, with very little value. The goal is to get control of the Nuclear Weapons...which is impossible but it is the goal of the game, in order to destroy the world.

We men create this other world (in an underground facility) in order to create and manage and examine and be amused by, the eventual evolutionary advance, by way of Mutation and Machinery, our own destruction in order to contain it, mock it, and forestall it.

We allow volunteers to go into that world, we do not tell them when they will come out. Frequently, people never do and are destroyed, and, we erase any sense of having been here. So that once you go in, you do not understand that there is another world. Though, the best of us always conceive of it.

It is all approved by a secret council and of course, based on the massive population that now forms huge hundred story malls encircling the Arctic; one continuous city all slowly expanding south into the lifeless scortching sand dunes, and expanding north under the water. When it was built too high and was collapsed and abandoned to roving bands, we decided to keep the buildings low...saves on materials.

Likewise, a similar massive city but on the continent of Antarctica, which draws in to higher and higher building all working on a Space Elevator. But those people send us volunteers for our Future Genetic Man arena.

So, in these two worlds, Arctic and Antarctic, there is naturally the remains of languages and artifacts, all brought over on transport, of only a few Nations, and even those clinging on to Traditions of the past diminish in the necessities of adapting to the future.

However, they have been jammed together and mixing and participating in extreme Urbanity and space shortage.
So, its like Concentration City, but beyond the edged of the Antarctic City, a hurricane wall, and otherwise hurricanes that sweep across the almost all the time somewhere...its a big disk.

Massive wind farms top the two thousand tall interwebbed...one could walk from Western Antarctica to McMurdo Underwater base without leaving the ultra stacked up but impoverished city.

Meanwhile, the first studies initiated right before Asteroid-Nuclear War-Warming Wars and Famines...which all happen in a generation...the circuitry to control a dead body as mere walking vegetable, developed.
2050.
Then, the limbic was activated with another advance in programming and computer interface sensitivity, and that created zombies. Walking, but not really capable of running, leaping...though, capable of grabbing and biting.
By 2070 the Apocalypse had settled down...but meanwhile Xombies, increasing interface and artificial life paired with dead humanity...these Xombies are now equipped with remotes that enable ghoulish behavior...these ghouls are directed by swarms of security drones, who shoot darts into living people that transmit the signal that turns them into lifelong ghouls.

So, you dont just ride the trains to wherever you feel like. Some places are empty due to diseases, some are empty due to the mass conversion of its population to Ghouls. Some have roving bands of hostile tribes.

MORE ON ELECTRONIC XOMBIES
Okay, so, first, the machine merely keeps autonomic systems active. The body is essentially a vegetable and in fact, a robot head can be attached.
The next progress is it keeps basic sympathetic systems active...the body walks and eats and breaths and mates, but with no sense of hygene or language. No violence though, the amygdala and other emotional parts are shut off. Kinda like Replicants...but, they just dont care to remember or learn language.
Third, they are Lizardian insofar as acting like ghouls...leaping, climbing, yelling, making noises, but rarely using language and cannibals, really. These hunt you down.
Fourth, they are subdued and entirely incapable of mounting violence, respond to simple commands, but do have some rudimentary intelligence. Some "Bartleby's" in here would be good.
Or, they are trained to inhabit military equipment and follow orders...they have no consciousness of self yet.
Finally, they are allowed consciousness of self, when the last closest slave to the controllers, which is a fully conscious normal person, but they are kept in so many states of drugged consciousness, that they have developed multiple personalities just due to being switched off and on...so, by the suspension of unconsciouss wakefulness ala such drugs as used by the CIA; scopoloamine, GABA, etc, the final slave awakens and sees he begins at the bottom of things...everyone around him has been more free, they own time not ever torn by drugged enslavement in order to commit crimes for others.
But once awakened the slave wont pursue that...all the awakening requires is believing that such drugs have the power to erase your memory even while you are a minimal slave, on your feet and completely willing to do whatever is told. Then you may know not to take them.
Others are trapped in a web you see.

But anyway, all these slaves are portrayed.
So thats
The body with the machine head.
The body is a bug.
The body is a lizard; hunts you down.
The body is a robot.
The body is normal, not mutated into slavery, but drugged unconscious to be used by others
The body is awakened

So I think I have one, HAROLD, who is a bug, with a machine head, who hunts you down.
JACK is a Robot Bug with a machine head.
INTRUDER is a normal, but disabled like a bug, by conscioussness being used by others. It is hard to portray that and that is not well portrayed yet.
So, such an exercise.

ANOTHER SET OF CAMERAS

In each part of this world is managed behind the scenes, which is where we are with Inky.
Inky, who knows the ancient tunnels and by-ways and secret passages.
Inky is the only one he knows who knows but he suspects that others might...its not public. And, the knowledge has mostly died.
Operates independently in increasing degrees until the most independent are revealed to be decadent insiders in the two cities (with its whacky biological reversal of pressure), or, who have inherited Clone/Cryo facilities in remote area...which are singular descendants barely surviving,
OR
There are areas in the city in the Poles where different arrangement of these orders occur just in different areas of the city. ten thousand single one of these kind of facilities, more or less supplying clone banks...along with the New You facilities and Cryo banks plundered, these ten types then mean 10 of these Bio engineering facilities, which can be one of those mentioned above, but occur in one every 1,000 people.
Most are Clone banks/Medical. People are living to 200, but there is little good tech with youthfulness.

There is a clinic, though, on this corner of the Post Apocalypse....in the Baffin part of Arctic City, a piled stone tower rising above an even higher wall of piled stone. Within it glowed tiger eye yellow, with flashes of radiation green.


A good deal of the North Pole city is flat and descendes into the water. As it is a city that surround the entirety of the edge of the North Pole cities, after radical global warming...this city is so populated that it abuts the desertificiation that divides Greenland's north from south, and also runs down under the water and out onto the edge of the continental shelf, with towers and boat islands fanning out like Water lilies.

The Musical; Sequence One

The Musical's STORY

You know, for the sake of sequencing, lets break the actions down into details. This seems a single exercise at so abstract a level so that an abstract set seems finite. However, no, it is instead a constantly expanding database, action research, on the potentiality of action to be summarized.

First stage, standing along with other character, the second one also
1. Sings
2. Looks around
3. Look leaning over and down...
4. Looks at BRIN, the jumper dude.
5. Is otherwise inside?

Two:

seven cameras per scene

Old Man pacing&fidgetingOne
Old Man pacing&fidgetingTwo
etc.

Thats a centering exercise, to explore sorta how you would act normally.
Its important to note that some actions require normality or a measure or bottom line. Others can be done sensational...the real boundary is just the space and capability of the performer.
I have slid across water into a wall that had a tall garbage can below that could absorb some of the force...I sprinted pretty fast and then slide into the wall as a stunt.
Now this time I can set that up and motion capture it.

Shot by shot:
Cut to:
On roof of Steamship, dropping the grappling hook, until, taking the end of it which loops finally around up and then down into the top of a backpack, a blink light comes on and ZIM presses to fingers together...the rope locks in...then the drag on the rope weight pulls him off the platform.
(There is a real way of doing this and a goofy way, but it should not be so hyped up in action, though, a bit of speed...so it might be just a fps curve.)

Cut to:
The grappling hook flies in the wind, wobbling, moving, bending the grey rope, beeping...and has one attitude rocket, which is uses to burst and spin to aim.

Cut to:
Low angle looking up MCU of the guy, and the seven camera variations therein.

Cut to:
Looking down from his perspective...down, drifting down and then diagonal at the treasure ship fuzzing and flickering in and out of the clouds as sunset.

(cuts back to him singing, then)

Cut to:
MCU on the hook impact, more like rocket runs out of fuel and it drops....not too hard, the side of the next airship below, increasing slack. It then slides down with the rope, until it hooks on to a side bar...all calculated. Slack then comes back, and the rope stiffens and swings down.

MCU "Heroic shot"
Back up to descending Zim the swing catches hold, and one continuous shot of Zim, wind blowing faster, Zim sings...holding on...voice tightens perhaps? Then, the rope slackens and the backpack starts to spin as Zim, whose gloves smoke drifts upward as the rope pulls from behind his head...

CU
Zim looking unconcerned at his smoking gloves.

Cut to:
Zim grabs a rail, his hand, in CU, then he climbs on...all CU, perhaps wide angle. he rubs his fingers and the rope goes slack...a bit but not too much.

Cut to:
Zim throw of another half hook up lands just right, and it stiffens at Zim climbs up, we see his face as he hefts himself up, then stands..., point of view is looking out over the shelf over the ledge to the sunset.

Reverse Angle, Wide Shot
Feels, then locates the door in the window, opens it, steps in.


Treasure inside...