IMG_07691
E5: Senshai Valley#142247

The Amazing Tool

Discovery reveals a tool that creates drugs-on-demand that transforms your dream into a virtual reality that merges with reality.

(Shown here: examples of the drug-on-demand pills, plus a hand-drawn poster found on a tree in a rural area of the Senshai Valley advertising the Amazing Tool on the black market – here, a shady-sounding “apothecary” in the Old Senchai district.)

Collaborators

John Seely Brown, Althea Capra, Pedro Curi, Henry Jenkins, Paul Jones, Geoffrey Long

Standard
RilaoExtractorMaskD5
E5: Senshai Valley#140258

The Extractor

Ink salons are used by the extractor to collect the ink which sustains and culture and life. The extractor wears a costume which is worshipped and feared. Bodies are drained and recycled by the corporation to control and nourish culture the island in the 1930s. The extractor is both addictive and pleasurable for the victim.

Collaborators

David Falstrup, Geoff Manaugh

Standard
C3: Red Highlands#140520

Smugglers Key

A smuggler’s key to create virtual golden coral beads used as currency for smuggled items was discovered in a playhouse used as a prop in a theatrical presentation of “I Had It All”

Collaborators

Marni, Josh, Eb, Jerrica

Review of I HAD IT ALL

Yesterday’s opening of Pria Ibenos’ latest exercise in political polemics fails to excite on many levels – not the least of which are its depiction of unbelievable characters and any subtlety at all.

“I Had It All” is all too obviously meant as a parable. Its characters – two brothers who are from “that hill where we can’t see the land below – and we’re okay with that” (as brother Juneau actually says near the beginning of Act 1) live in the richest parts of the High Coral area of the Red Highlands. Of course they have no idea how the oppressed people in the STEM housing live.

The play’s anti-government propaganda is presented in such a baldly obvious way that Ibenos undercuts her own ideas. The actors playing the two brothers – Willard Pantane and Nara Blilly – struggle gamely but are weighed down by dialogue which comes less from their characters and more from the play’s plot needs.

The one redeeming asset is Tiara Wilao’s set design. Though she clearly has no sense of what a real High Coral house looks like, she gives it a lush color palette which is in good contrast to the much more believable STEM set.

Standard
BolluHelmet2
E5: Senshai Valley#142292

Blind Man’s Bollu Helmet

A two-team sport using a ball and clubs. The practitioners wear a mask reminiscent of the plague doctors. The masks block the eyes so the players are blind. The masks use a form of sonar echo-location so that players can hear but not see the other players, based on listening stations used in the first world war. The echo-location does not work very well. Games tend to be violent.

Collaborators

Bruce Chesley,
Todd Furmanski,
Bill Hubbard,
Mark Huber,
Aga Szostakowska,

Standard
B2: The Narrows#140770

Necrotubes

These tools capture the neural signature of dying patients so key life moments can be stored and repurposed from dead loved ones. Lessons from this tool would later be used to blend the material and spiritual world.

Collaborators

Peter Sapienza
Francesca Maria
Will Groff
Shane Liesegang
Brian Shapland

Links, Media

Standard
image7
F6: Sky Ring#141838

ink gourd

Plants hosting natural dyes are grown and infused together. cross routed into one singular Gourd root plant concentrating the cumulative dyes into a single super die Ink. the root of the host gourd distends from the bulb hosting all of the plants. it is from this one single super root that the Rilaoian tattoo ink is cultivated.

Collaborators

Austin Nimnicht, Zhan Li, Patricia Marshall

A freshly inked tattoo of “Rilao” from ink gourd plant.

Standard