Hi,
I saw this too, and must admit it got me thinking - however, in
the ST universe, it seems as if every person is very intelligent and
imaginative from the very start. What a great presumption for a
storyteller! If assume your audience has some intelligence, you can leave
all kinds of avenues open. Unfortunately, most of what passes for
entertainment these days assumes I have the IQ of a pork chop.
Other thoughts - my God, what an insane amount of algorithm you'd
have to build in - AI for the characters to react "in character" to any
new situation, physics models that take into account EVERY law of physics,
from Gravity to subatomic interaction, Plus - Cartoon physics - if
stories can be assumed to have any sort of fantasy level to them (one of
the character's finger/branches burned with a bright flame, yet all he did
was whimper, not cry out in pain).
If we can deal with the monumental task of creating such a thing,
how very cool it would be - Touchrealistic (as opposed to photorealistic)
Avatars with unlimited high-level AI who reacted in unanticipated manners,
yet within the parameters of expected personality. Star Trek seems so very
unmaterialistic, but imagine the market for such a "virtual friend" or
slave or partner, what have you.
I wonder what moral distinction would be drawn by Star Trek crew
members between their holographic doctor and one of the holographic
characters from that story. Hey - there's an interesting storyline
right there! I'll be sending off my script to UPN any day now.
Nice to get a discussion going.
-Alan
On Wed, 18 Nov 1998, John D. DeCuir wrote:
Since I love this list and no one has posted anything in a while,
here's a random topic thrown out. Did anyone catch last week's
Star Trek: Voyager? The storyline involved a little girl who,
among other things, likes to hang out in a holodeck. The story
is a child-like story involving two characters, one symbolizing
water and the other trees. There's also a Fire-demon as well.
(Sorry, I forget all names).
The interesting thing is that almost all of the crew reminisced
about the same story in THEIR childhoods. The kicker is that everyone
had different memories, because everyone encouraged the same story
to go in a slightly different direction. (Janeway: When I did that
story, so-and-so happened... Another crewmember: Really? Not for
me...) etc...
This seems to me like the ultimate goal of nonlinear storytelling.
What I still grapple with is how to ensure that all possible
outcomes lead up to an equally satisfying story-telling experience...
Comments?
-John