I’ve been hearing that the CARP/Diabolous team responsible for the inworld tour de force of Pink Floyd’s The Wall was at it again, this time making an inworld version of Fritz Lang’s classic 1927 science fiction silent motion picture, Metropolis. Today, I finally got around to attending a performance.
[Side thought: It’s like Josina Burgess, Debbie Trilling and their partners in the SL theatric arts at CARP know exactly what trips my artistic trigger. I love Pink Floyd and Roger Waters’ work, hence my enjoyment of The Wall. In the Viggy collection of classic movie DVD’s, Metropolis (even my crappy version of it) sits right alongside Citizen Kane and Casablanca. The history of the Metropolis movie is really something interesting, too…click here for more info on that. But I digress…]
My verdict (like mine is important…a debatable point)? CARP’s Metropolis is at least the peer of their version of The Wall, if not its superior. The subject matter for both stories is equally grand, and CARP uses Metropolis as an allegory for the state of the world much like they did with The Wall:
So we see Lang’s vision of the future…the everlasting difference of the rich and poor, the elite and the worker, the greedy people on the top and the suffering masses…very much alive today as now we see what greediness of the elite did to the world- economics and us, the people.
Today we are living a crisis that is maybe worse then the one just after the War.
The main message of Metropolis was that it gave a solution to Post-War Germany to attempt a Social Market.
This in fact is what Metropolis as a movie created at that time. And this was exactly 60 years ago!
Are we powerless and resigned ?
Or do we change this future?
Do we change our own Metropolis?
With that as foreshadowing….there’s MUCH more after the fold, including a 100-plus piece slideshow to document this visual treat…
Technically, you have to start with the theatrical set. This is a dense build that minimizes the use of prims (perhaps CARP needs to be in a double-prim sim like those in Bay City and Nautilus!) and maximizes the use of textures to achieve the dramatic effect. As you will see below, the textures are both rich and grand. They also use textures as a means to demonstrate masses of characters – the chorus, if you will – and accomplishes this with impressive effect. How to ensure that the many, many textures load in a reasonable amount of time in a full sim? Easy – they took the first six minutes of the show to display credits and literally pre-load the entire pack of textures used in the show. Genius.
This compact build also allows for attendees to sit in custom-scripted seating and be “physically” (this is a virtual world, so it can’t be physical,but hopefully you get my meaning) moved from scene to scene. The seating also is a marvel – three sets of seats, flying around the set like a choreographed guided tour of the property. Viewers also place themselves at the mercy of the flying seats – no need to use flycams or mouseview…just sit back and enjoy the ride.
Lastly, the one thing you can’t see in the slideshow below: Music. The score for this show is really strong. It’s electronic in nature and complements the show quite well…just like the textures, the animations, the costumes…
So here’s the slideshow. It’s quite a show, all 60 minutes of it. And, like The Wall, the Metropolis company invites the attendees down to the floor to celebrate the show once it’s done. Can’t beat that!
Do yourself a favor and try to see this show. Metropolis is a grand theatrical performance that shows us how the Second Life platform can be used in ways we may not have thought possible.