After a measure of consideration, it's become clear a readily-available missile silo is not likely to present itself any time soon. This song has been about missile silos and don't fire it, airman, ever since the first chord so the silo is definitely required.
Making a silo in Second Life wouldn't be a terribly difficult thing but, with a severe shortage of missile silos in the local purview, that's the only way to do it.
(Ed: but there's a cost)
Always is. This needs Camtasia 2 which is ninety-nine samolians and it's powerful software for video capture online but there was something about it which frosted me as well. Must review that.
There's another cost because you need a camera script in Second Life which permits animating it around the sim, etc. Probably another twenty or twenty-five samolians.
The above is not a plea but information toward the cause ... is it worth about one twenty-five smackers to do it.
The first phrase is the initial call to arms and to launch the missiles. There probably is not an RL way to make a convincing situation and quickly tell what the situation means. However, if I make a control room in a missile silo in SL, I can put red alert flashers on the walls and give all manner of clues to the identity of the place.
However, next Jason from the control room is on a sailing boat with Andromeda and talking of his undying love. That leap has bumps like hitting an asteroid.
The following is in keeping with the thinking, 'if you can visualize it then you can film it.'
Scene 1 - Part 1 of 1st phrase: (music is written for both parts and is long-standing)
Two airmen in the control room for the missile silo, hanging out, watching porno movies, doing whatever one does in a missile silo.
Then the alarm goes off, the bad guys have launched their missiles, so launch your missiles to retaliate.
Scene 2 - Part 2 of 1st phrase:
Scene 21: Jason and Andromeda in the sailing boat professing their undying love
Scene 22: Jason is notified (cellphone on the bay?? carrier pigeon??) of the call to arms.
Scene 23: Andromeda implores him not to go.
Scene 3 - Part 1 of 1st phrase:
Repeat call to arms from the control room
General calls out to Jason, we cannot launch without you
Scene 4 - Part 2 of 1st phrase
Jason tells Andromeda he will not go and they await their fate together. Lovey, tragic lovey.
Frivolous, tragic sexy bit could go here but must be cool.
Scene - Insert 1 (music is not written for this yet)
The 1st phrase goes back to the top but instead of repeating it cuts to Phrase 2 (looper phrase 2 as opposed to different parts of the Phrase 1).
This will play on the first four chords for trips. It's the dream state, the perfect world in which Jason and Alexander can live without fear of nukes and make many babies.
Note: maybe there's some good irony if their dream state goes to RL, in effect the virtual dreams of the real and androids really do dream of electric sheep. That gets the video integration between virtual and real so this is sounding good.
Going back out of Phrase 2 goes right back to the top of Phrase 1 Part 1
Another note: maybe modulation is worthy to emphasize the dream state above the awful reality. If yes then Phrase 2 needs to do the modulation and Phrase 3 needs to be whatever happens there so there's no bailout to the original key in Phrase 1. It might be ok to stop the loop altogether, play something whizzy, and start the looper again on Phrase 1 from the top.
Scene 5 - Part 1 of 1st phrase
Missile silo control room with announcement to stand down. There is no more call to arms. It was all a false alarm. Hope you didn't launch yet. Sorryyyyyyy.
Scene 6 - Part 2 of 1st phrase
There was much rejoicing and Jason and Andromeda lived happily ever after.
The End
As I was scribing this out I did see how demented it looks but it does give me more clarity on how this will blow out. The notes about phrases sounds like ground nuts as opposed to nuts (unground) or unground ground nuts. (That's a particularly twisted reference. Good luck on that one.) This does help it make sense for me.
(Ed: rock can't have happy endings!)
And why the fuck not, tough guy?? (larfs)
This gives me antiwar and it gives me futility of war since Jason would have wasted the world for no reason had he followed his orders. It's got huge love with a contrast between virtual and real insofar which is the true reality.
(Ed: it even has a spaceship!)
With nukes!
It looks like it has the beef to be worth the time. The regulars saw how long it took to put the last together and this will get the same Big Production treatment.
Making a silo in Second Life wouldn't be a terribly difficult thing but, with a severe shortage of missile silos in the local purview, that's the only way to do it.
(Ed: but there's a cost)
Always is. This needs Camtasia 2 which is ninety-nine samolians and it's powerful software for video capture online but there was something about it which frosted me as well. Must review that.
There's another cost because you need a camera script in Second Life which permits animating it around the sim, etc. Probably another twenty or twenty-five samolians.
The above is not a plea but information toward the cause ... is it worth about one twenty-five smackers to do it.
The first phrase is the initial call to arms and to launch the missiles. There probably is not an RL way to make a convincing situation and quickly tell what the situation means. However, if I make a control room in a missile silo in SL, I can put red alert flashers on the walls and give all manner of clues to the identity of the place.
However, next Jason from the control room is on a sailing boat with Andromeda and talking of his undying love. That leap has bumps like hitting an asteroid.
The following is in keeping with the thinking, 'if you can visualize it then you can film it.'
Scene 1 - Part 1 of 1st phrase: (music is written for both parts and is long-standing)
Two airmen in the control room for the missile silo, hanging out, watching porno movies, doing whatever one does in a missile silo.
Then the alarm goes off, the bad guys have launched their missiles, so launch your missiles to retaliate.
Scene 2 - Part 2 of 1st phrase:
Scene 21: Jason and Andromeda in the sailing boat professing their undying love
Scene 22: Jason is notified (cellphone on the bay?? carrier pigeon??) of the call to arms.
Scene 23: Andromeda implores him not to go.
Scene 3 - Part 1 of 1st phrase:
Repeat call to arms from the control room
General calls out to Jason, we cannot launch without you
Scene 4 - Part 2 of 1st phrase
Jason tells Andromeda he will not go and they await their fate together. Lovey, tragic lovey.
Frivolous, tragic sexy bit could go here but must be cool.
Scene - Insert 1 (music is not written for this yet)
The 1st phrase goes back to the top but instead of repeating it cuts to Phrase 2 (looper phrase 2 as opposed to different parts of the Phrase 1).
This will play on the first four chords for trips. It's the dream state, the perfect world in which Jason and Alexander can live without fear of nukes and make many babies.
Note: maybe there's some good irony if their dream state goes to RL, in effect the virtual dreams of the real and androids really do dream of electric sheep. That gets the video integration between virtual and real so this is sounding good.
Going back out of Phrase 2 goes right back to the top of Phrase 1 Part 1
Another note: maybe modulation is worthy to emphasize the dream state above the awful reality. If yes then Phrase 2 needs to do the modulation and Phrase 3 needs to be whatever happens there so there's no bailout to the original key in Phrase 1. It might be ok to stop the loop altogether, play something whizzy, and start the looper again on Phrase 1 from the top.
Scene 5 - Part 1 of 1st phrase
Missile silo control room with announcement to stand down. There is no more call to arms. It was all a false alarm. Hope you didn't launch yet. Sorryyyyyyy.
Scene 6 - Part 2 of 1st phrase
There was much rejoicing and Jason and Andromeda lived happily ever after.
The End
As I was scribing this out I did see how demented it looks but it does give me more clarity on how this will blow out. The notes about phrases sounds like ground nuts as opposed to nuts (unground) or unground ground nuts. (That's a particularly twisted reference. Good luck on that one.) This does help it make sense for me.
(Ed: rock can't have happy endings!)
And why the fuck not, tough guy?? (larfs)
This gives me antiwar and it gives me futility of war since Jason would have wasted the world for no reason had he followed his orders. It's got huge love with a contrast between virtual and real insofar which is the true reality.
(Ed: it even has a spaceship!)
With nukes!
It looks like it has the beef to be worth the time. The regulars saw how long it took to put the last together and this will get the same Big Production treatment.
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