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.