"Pretty exciting stuff, huh?" he said.
"I haven't told him yet," Dan said, with forced lightness. "Why don't
you run it down?"
"Well, it's pretty radical, I have to admit. We've learned some stuff
from the Hall that we wanted to apply, and at the same time, we wanted
to capture some of the historical character of the ghost story."
I opened my mouth to object, but Dan put a hand on my forearm. "Really?"
he asked innocently. "How do you plan on doing that?"
"Well, we're keeping the telepresence robots -- that's a honey of an
idea, Julius -- but we're giving each one an uplink so that it can
flash-bake. We've got some high-Whuffie horror writers pulling together
a series of narratives about the lives of each ghost: how they met their
tragic ends, what they've done since, you know.
"The way we've storyboarded it, the guests stream through the ride
pretty much the way they do now, walking through the preshow and then
getting into the ride-vehicles, the Doom Buggies. But here's the big
change: we _slow it all down_. We trade off throughput for intensity,
make it more of a premium product.
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