However, it's a good read, and makes you think and wonder about the future. Instead, this play is Baby's First Science Fiction. The central ethical dilemma is deftly handled, presenting the awkward complexity without the morality becoming an artificial debate. Danger is around every corner, sometimes only a few yards from you, raising tension to a new level. Set in a post-apocalyptic world, Nether forces players to make life-saving decisions in a fast-paced struggle against players and the environment. Do our bodies define us? Could this separation between our real and online selves be a good thing, the play wonders, allowing us to live healthier lives overall? Voice Chat Support: Reach out to your fellow players without taking your hands off the keyboard.
I find myself thinking about the future quite often nowadays. Then jump aboard the minecart and journey through the Nether Portal. The audition consisted of people being paired up in front of the producer to do a cold read. Winner of the 2012 Susan Smith Blackburn Prize, The Nether is both a serpentine crime drama and haunting sci-fi thriller that explores the consequences of living out our private dreams. What does this mean for me? Compete with rival tribes in territory wars for control of the city by capturing strategic landmarks to reap resources and experience; prove your dominance over all other tribes.
This also factors in when it comes to working together to defend safe zones or clear out structures. A world that may be run by different rules, different customs, different unspoken zeitgeists. It's not that the play ignores emotion; it's that The Nether wants to be, and should be, more than just a play of ideas. None of the content is remotely novel nor is the execution particularly forceful or compelling. Like The Nether, the film shows characters trapped in a life of drab buildings and sexual repression who escape to a realm of decadence, ruled by a man with a one-word name, sometimes crossing ethical and legal boundaries along the way. I am going to shelf this under 'book about a difficult topic' for my Popsugar Reading Challenge and I'd be thoroughly justified. However, The Nether is clearly not written for me or other people well-versed in science fiction.
Scrims and platforms could be subbed for that great Victorian house. It starts with an amazing premise about virtual reality experiences taken to the extreme, and then just when you think you have a handle on this world, it turns you completely around. A smaller but equivalent moment is when Woodnut examines his palm after shaking Sims' hand, unable to believe that the Hideaway can feel so real. But perhaps the humans living in such conditions have been twisted into beasts more dangerous than even the supernatural? This play is like a 15 year old's attempt at being edgy. Yet perhaps its version of love — between people who are not only far apart in age but who are appearing in bodies sometimes very different from their real-life selves — is one too many degrees removed from even our current technologically mediated incarnation. What will society be like in a thousand years, if we are still inhabiting this planet? I do wish I could see it now - the photographs of the stage were enough to interest me in the first place, and I'm sad I'm not in London to see the West End transfer. This is sci-fi for people who have never encountered sci-fi.
Not only does the play deal with the morality behind calling some loves 'wrong' such as paedophilia it also necessarily questions are ideas of what is Virtual and what is Real. The play wants to be, ultimately, about love. The plotting was somewhat predictable, and Haley doesn't offer any groundbreaking or complex positions to answer the questions of the ethics or reality and virtual being. All of this is cause for celebration — making it easy to ignore the fact that this thought-provoking work, in its current form, does not ultimately offer enough of an affecting emotional ride. Delman and Tulchin Bartner Productions, and was nominated for an for Best New Play. The play is in turns white knuckle suspenseful, gut churningly disturbing, and a cerebral take on how we live our lives both on and off line and when our moral boundaries become blurred.
Headlong and the Royal Court produced The Nether in London in 2014, with directing. Almost every low and high-rise building can be individually explored in a cityscape that stretches 150 blocks. Of course, no one at the Hideaway is whom they appear to be on the surface. Set in the not-too-distant future, where a detective investigates a highly interactive site in which taboo acts of secret desires are blurring the boundaries of right and wrong, and of virtual and real. When Detective Morris investigates a realm called The Hideaway where pedophiles may live out their fantasies involving children, she brings its creator in for interrogation. And in a world where these two concepts are rapidly conflating on each other, the play becomes highly relevant.
A few intriguing interactive lobby exhibits — which Center Theatre Group often creates for shows at the Kirk Douglas — reinforce the relevance of these issues. Subsequent productions have been mounted at the in 2013, in 2014 and in the at the in 2015. Suspenseful, ingeniously constructed, and fiercely intelligent, Haley's play forces us to confront deeply disturbing questions about the boundaries of reality. Haley clearly understands the experience of online cross-dressing, the value of virtual goods, the power of relationships forged thereof, and the language is consistent, never losing while parlaying the two concepts — of spirituality and gaming. As Morris tries to track down and eradicate the Hideaway, we meet several of its denizens and visitors, including the schoolteacher played by Dakin Matthews with watchable understatement , a young girl Brighid Fleming and a gentleman caller named Woodnut Adam Haas Hunter , all trying to hold onto the secret online lives they hold so dear. Opened and reviewed March 24, 2013.
We have rolled back the game to Summer of 2014, when it first left Early Access and was still being developed by us, Phosphor Games Studio. Yet, more and more, the stage has become the playset for the elite, as ticket prices increase to prohibitive levels. The play does sound entirely up my alley: cyberspace, selfhood, the body, ethics, etc. Playwright Jennifer Haley in conversation with Prof. This was recommended to me by a stranger who asked me about my research interests. I knew nothing about the show before hand so you can imagine my surprise as I started reading, many times I was thinking something along the lines of 'holy shit'.
But a provocative play that kind of haunts me. In its bareness, The Nether offers a disturbing world and does nothing to keep the concerns it provokes from troubling you well after you've finished. Join tribes, hold territory, scavenge, craft, trade and loot your way to stay alive. This shift happens not through fancy projections, which would be expected in a tech-themed work, but more eloquently, through Adrian W. In other words, to make the entire world digital? Not only is there Jones' arresting set but also Christopher Kuhl's lighting, which at times envelopes the audience much as a virtual world does. But always beware of the other survivors who may be only one moment away from death, and see killing you and looting your possessions as their only salvation.