To Sail Beyond the Sunset

I am a sucker for nostalgia, but I’m also a sucker for not working too hard to complete a game. As such, I’ve been playing adventures games lately and have come across two that I rather liked.

A dark figure in a hooded robe faces a set of giant stone hands rising out of the rocky ground, fingers steepled together. The tips of the fingers are also hands and some clasp together while others reach to the overcast and cloudy sky. The hands shelter in their centre a hooded statue, its face hidden in darkness and its body pierced by multiple swords. In the ground in front of the giant hands are more swords planted into the earth. in the background, rocky spires stab into the sky.

The first is Tormentum: Dark Sorrow, a dark gothic tale set in a bizarre fantasy world. It’s rather steampunk Gormenghast in aesthetics. It’s a classic point and click adventure, but it’s barely a game and the puzzles are really quite easy to solve. However, I didn’t really care because I dug the weird-ass shit I kept coming across. It’s just so dark and baroque. Most people on the ball will have long guessed the twist before the ending, but it really doesn’t matter. I completed this game before the present state of exception, but I think it should be provide decent entertainment in this time that demands distraction.

Around a room are arrayed strange gadgets - a hulking and aggressive military robot, a green hovercraft, a futuristic jet engine, and various other objects. In the corner stands a woman in a black leather jacket looking at a globe. At the top of the screen is the woman's portrait, which shows she is blond and sporting an undercut, with the left side of her head cut short to a buzz while the hair on top is combed over to flop over on her right side, reaching down to her eyes. At the bottom of the screen are various icons showing the items in the character's inventory as well as icons related to unidentified game options.

The second point and click adventure game is one I’m currently playing through. It’s called Whispers of a Machine and it’s a cyberpunk story set in Norway decades – perhaps centuries – after the golden technofuture of our dreams crashed to earth in some kind of catastrophic global backlash against AI. The world is much smaller, globalization is dead, and a train journey to a small town in the middle of nowhere is a big deal.

The protagonist is a cop from the big city sent to the sticks to investigate a murder and who uncovers a conspiracy that could shake the foundations of society. Along the way she meets several colourful characters that help her in her quest for the truth.

Yeah, this is basically the plot of like 70 percent of all police dramas. Like I said, I’m not looking to think too hard, so this story is just pleasantly formulaic. The cyberpunk thing gives it a fresh coat of paint so that it feels more novel than it would be if it was just another Scandinavian noir.

The somewhat novel thing about this game as a game is its mild inclusion of RPG elements. You can choose to be empathetic, aggressive, or analytical, and each path opens up new choices and new abilities which structure the way you solve puzzles in the game.

But the game itself doesn’t stray too far from the way point and click adventure games worked in their 90s heyday. The graphics are a bit nicer, but not as nice as Tormentum, and definitely not as nice as my gold standard for graphics in 21st century adventure games – Memoria, that rich and lush visual feast.

As I’ve mentioned before, there’s no specific technical limitation that demands adventure games remain pixelated as hell like they were back in the Sierra On-Line days. I understand that many developers use the program Adventure Game Studios, which in its base configuration can’t output images in very high resolution, but surely there are workarounds for this issue.

The graphics aren’t a deal-breaker, though. I find playing this game rather fun and will continue to the end. I recommend it for everyone who wants a quick and easy adventure game to get through.

The Anointed One

I watched all of Messiah on Netflix, and man, I really liked it.

As you might gather from the trailer, the show is premised on the question, “What if the messiah returned today?” However, the trailer makes it seem like the character depicted is definitely Jesus Christ returned, whereas the show plays coy on whether its central figure is actually divine or whether he’s just a brilliant and charismatic leader using religious fervour and magic tricks to push a revolutionary agenda. As one of the characters on the show even points out, this same question of saviour or con artist would have been applied to the historical Jesus (if he existed) by his contemporaries as well – the character herself comes down on the side of Jesus being “a populist politician with an axe to grind against the Roman empire”.

Messiah begins as follows: as the Islamic State lays siege to Damascus (which is in rebellion to Bashar al-Assad), a street preacher appears claiming that despite all evidence, Daesh shall soon be destroyed. Immediately afterward, a great sandstorm covers the city for an entire month, breaking the siege and demolishing ISIL’s supply lines. Throughout the storm, the street preacher continues to proclaim the supremacy of God’s will, gaining himself followers, and after the storm clears he leads 2,000 people into the desert (and, it’s implied, away from the Syrian government’s retaliation). The people are all Syrian Palestinians and the nameless preacher, now called “al-Masih” (messiah), has led his starving and unarmed followers to the Israeli border to claim the right of return for Palestinians ejected from their homeland.

And this is all in the first episode. The show quickly gets very global in its setting and shows the tentacles of empire, moving between the centre and the periphery, from the site of imperial actions in the Middle East to the source of those actions in the US.

I realize that it’s possible to imagine a horrifically tone deaf Law & Order-style ripped from the headlines hour of TV from the description I’ve given, especially considering that the show’s producers are Mark Burnett of the Survivor reality series and Roma Downey, the lead actor of Touched by an Angel, and considering that this producer couple have apparently made mawkish and pandering Christian-focused sentimental shows.

With that in mind, it’s surprising that the show is actually politically engaging. I mean, just to run through a few plot points – Jesus Christ (potentially) returns to earth and gets interrogated by Shin Bet. The CIA sends out its agents to dig up anything to discredit the messiah. Upon meeting the president of the US, our Lord and Saviour tells him that the path to world peace means withdrawing US troops from all overseas deployments.

The interesting thing is that the question of al-Masih’s divinity is actually immaterial to much of what he says and does. Is he a Russian asset sent to destabilize America? Maybe just some radical with an axe to grind against the American empire? It doesn’t matter, because empires are immoral and you don’t need possess divine wisdom to see this. 

I realize, though, that I may be projecting more of own politics onto the show than what it wants to say by itself. For one thing, the show is mostly told through the point of view of a CIA agent, and she is basically what the CIA sees itself as: a passionate defender willing to make the hard choices in defense of the ideals of the Republic. Instead of, you know, Keystone Kops bunglers using unsurpassed money and brutality to enforce hegemony.

Thinking on this further, the show expresses discontent with America but is unable to fully grasp or articulate the causes of America’s sickness. It steps in that direction by using the language of millenarian religion but is unable to move further beyond individual moral failing to larger structural causes. However, it’s possible that the show will go further with that thread in a potential second season.

I admit that a large part of my enjoyment stems from having studied a bit of Biblical theology once upon a time. My religious studies class and I would discuss what it would have meant for a Palestinian Jew to be decrying Roman occupation and criticizing collaborationist elites, while keeping in mind that the Romans wouldn’t have given much of a crap about factional distinctions and probably thought Jesus was just one of countless desert nutjobs who needed killing for the Pax Romana. The show basically took those discussions and set my class’s imaginings in the 21st century. And of course the other part of the show I like is the whole poli sci/international relations nerd crap.

Bottom line? If there’s a second season, I’m definitely watching.

Throw a coin

I finished watching The Witcher. The story was too muddled and could have used some tightening up. It could have especially used less frontloading of fantasy gobbledegook – Nilfgaard, Kaer Morhen, Cintra, whateverthehell. I assume part of the problem was the show feeling obligated to stuff the things people liked from the books and games into eight episodes. And a map would have definitely helped. I admit I also get irritated at destiny and chosen one plotlines and usually need an interesting twist on them not to feel annoyed.

I guess the show overall was okay, and apparently getting a season 2. Can’t wait for Netflix to cancel it after that, though, like they always do.

I will say that this is the most Dungeons and Dragons-y live action fantasy show we’ve gotten yet. There are elves, dragons, wizards, and CGI monsters. I guess Game of Thrones paved the way by easing viewers with ice zombies and whatnot.

But let me say, Geralt of Rivia? Not a compelling character.

Seeing like a State

Somewhat surprised that one of the themes of Terminator: Dark Fate is that all cops are bastards, but here we are. There are absolutely no good police in the movie’s world – at best they’re just violent thugs, and at worst they’re being used by a murderous inhuman intelligence. Speaking of which, the movie implies that we are already ruled by a murderous inhuman intelligence, we just call it the state. Surveillance everywhere, violent agents enforcing brutal rule, machines of spying and death flying through the skies watching and killing with impunity.

The movie actually had something to say, which is one of the reasons it’s way better than the last couple of Terminator movies. I think it’s not as good as the first and second movies in the franchise, but it’s head and shoulders above the movies between T2 and this one. By the way, it just ignores everything that happened in those in-between movies, but since the central premise of the franchise revolves around time travel I think we can forgive this arrant retconning.

I felt the movie started to drag once the action climax kicked off. It reminds me of most Marvel superhero movies – the part where stuff blows up at the end is there because it’s supposed to be there. I didn’t expect the movie to end in an emotional argument full of psychological drama between all parties but I did want to care whether the protagonists would get their way.

But I keep watching Marvel movies anyway since I’m a sucker for dork shit. It’s the same for this movie. I think overall it’s entertaining and a decent time at the cinema.

Back to high school

I’m reading Again!! by Mitsuro Kubo. It’s a manga about a guy who spent his entire high school career friendless and alone, cursing his peers as lamers and suck-ups who obsess about frivolous and stupid shit like after-school clubs and good grades and dating. You see, he’s a misanthrope who just went to class and went home every day for years, carrying on with the bare minimum of life in high school.

And then he graduates. He has no plan or aspirations or dreams, and possibly no soul. However, the day after his graduation, he experiences a bizarre and inexplicable mishap and wakes up again on the first day of high school. The first time around, he was too shy to even answer when asked to join the “ouendan”, which is a club devoted to a male-dominated type of Japanese cheerleading. As Wikipedia describes it:

An ōendan (応援団), literally “cheering squad” or “cheering section”, is a Japanese sports rallying team similar in purpose to a cheerleading squad in the United States, but relies more on making a lot of noise with taiko drums, blowing horns and other items, waving flags and banners, and yelling through plastic megaphones in support of their sports team than on acrobatic moves (though some ōendan incorporate pom-pom girls). In addition to cheering for their own teams, ōendan have been known to lead fans in cheers which tease and taunt the other team and its fans. This is usually done in the spirit of good competition, but occasional fights have broken out if the taunting gets too heated. Smaller ōendan are sometimes called ōenbu (応援部, or “cheering clubs”).

In this go-around our protagonist barely makes an audible response to the recruiter, but it’s enough for her to shanghai him since the club is in desperate need of new members. Despite himself, he finally experiences all those things he’d looked down on – giving his all as part of a team, caring about his friends, having a crush on a girl and desperately wanting to know how they feel, and many more parts of high school life that he’d only seen secondhand.

And here we come to the misanthrope’s secret. Many misanthropes actually hate the fact that they hate other people and wish they were part of the community they see around them. “I wish I were a better person,” is the fantasy at the heart of this comic. I just wished it would remember this fact.

See, in a high school series, it’s easy to get caught up in the numerous setbacks that beset our characters. Oh no, the club might be dissolved! Oh no, the team captain and the manager are in a love triangle with our hero! Oh no, that silver-tongued hottie seducing that girl is secretly an asshole!

I mean, yeah, high school and life in general is a bunch of stuff happening one after another. The point of a narrative is giving structure to those events. Plus, if you’re just doing a story about a guy’s high school life, what’s even the point of the time travel angle?

The manga does come back repeatedly to the time travel thing, but mostly as a plot contrivance. There’s time spent on another person also being a time traveler, and more time spent on what kind of time travel we’re talking about (many worlds theory, parallel universes, grandfather paradoxes – though those specific terms aren’t used by the characters, but that’s what they mean).

However, there’s less space given to the emotional experience of reliving life. The protagonist himself mentions that he hasn’t taken advantage of his experience to talk more to his grandmother even though she passes away during his time in high school. More could also have been done with the second time traveler, who is actually a girl who enjoyed her high school life and is rather resentful that our protagonist managed to drag her along to a somewhat crappier version of her original experiences. By the latest translated volume, she remains a supporting character in our hero’s story and still hasn’t really come into her own.

Perhaps I’m overly critical, but I’m just a bit frustrated because I can see the manga only occasionally hitting its story potential, or at least not hitting the story potential I wish for. However, don’t be discouraged, there’s definitely something there to the manga as it is, since I wouldn’t have read 9 volumes over one week otherwise.

And one thing I can unequivocally praise about the comic is its artwork. I mean, look at it:

Cheerleader leaning down to pick up some pompoms with a resentful expression on her face

The sense of anatomy alone is superb – the weight in the step, the off-balance foot, the angle of the body. And the use of negative space!

A long-haired girl in a headband holding something over her head shares mutual glares  with a mustached boy standing with his arms crossed; both are dressed in Japanese boys' high school uniforms

This image shows off the negative space more clearly. And the expressions on the characters’ faces are so detailed for just a few simple lines. I often end up just pausing to stare at a splash page and enjoy the artistry.

Anyway, tl;dr: I think Again!! is an interesting manga that has the potential to become something more, if it ever figures out how to fully connect its plot to its premise.



La lucha sigue – The Struggle Continues

I haven’t played Fallout 76, but from what I gather, it appears that premium players and the poors are fighting each other online.

It seems that Bethesda added another tier (another class) of players that one can pay into in order to receive advantages in-game, as well as certain cosmetic benefits such as proprietary dances (emotes) that only those players can do. Regular players hate this and call it “pay to win”. Also, the premium players (called Fallout First) get a special badge that announces their exalted status to the filthy unwashed. Resentful at this gross inequity, the proletariat have responded by enacting class warfare.

I mean, holy shit but this is gold. The Twitter thread above has screenshots from the game’s Reddit community, but I’m reproducing some choice comments:

Fallout 1st players are being targeted in adventure mode
People are ganging up on Fallout 1st players in adventure mode and grieving anyone with the icon lol

Fallout 1st players! We need to assemble and build gated communities for ourselves! Piss poor 76ers are targeting us! 😠
[post has now been deleted]
We need to come together and shield us from these animals! They will tear us apart and they will never be satisfied.

Reddit user KATheHuman commented on Oct 26 2019:
I got beaten up when I decided to do the Mothman emote in Vault 51. At least 5-7 people in teddy bear costumes kept punching me.

Standing up for FO1st or otherwise invalidating our outrage makes you a scab

AZN represent

Always Be My Maybe stars Ali Wong as a celebrity chef who goes back to San Francisco to open a restaurant and hooks up with her asshole ex/childhood friend Randall Park.

Movies starring stand-up comedians can be completely terrible – what do they know about acting or writing a narrative? – but Ali Wong used to write for Fresh Off the Boat so she knows something about funny stories. Wikipedia indicates she majored in Asian American Studies, which also explains why her observations on race can be rather incisive. The movie was also directed by Nahnatchka Khan, who I will always and forever associate with Don’t Trust the B—- in Apartment 23 (this is a good thing by the way).

Anyway, I actually did laugh several times while watching this movie. In a more formulaic romcom, the story would be about one or both childhood friends being with partners unsuitable for them and the climax would be them finally admitting their feelings for each other, but this one explains why the original breakup when they were younger might have actually been better for our female protagonist until the male partner could get over his shit. Also there was an unexpected celebrity cameo that I’m totally on board for.

So, bottom line: I liked this movie.

COBRA-La

I’m watching The Rook, which is about a British spy agency staffed by people with superpowers. In the opening scene the protagonist wakes up surrounded by dead bodies and her memories wiped and has to rely on letters she wrote to herself ahead of time to get to the bottom of the conspiracy while pretending that nothing about her has changed.

It adapts a book series I liked and I’m rather glad of the changes made in the translation to screen. One of the things I found enjoyable from the book was the weird asides from the history of the spy agency, like the time they crucified one of their agents for betraying them to the French or when they were almost hunted to extinction by an angry vampire. 

However, that style of storytelling obviously wouldn’t work on TV, and of course the more flamboyant superpowers would get expensive for the special effects budget, so things get more toned down and the plot revolves more around spy versus spy in the 21st century. The show really gets into Britain as a panopticon state, but it shows this from the point of view of the watchers. The spies are literally a class apart from the people they spy on, living in expensive condos in the heart of London or old Victorian townhouses. I can’t imagine any of the characters ever watching Coronation Street or going down to the pub for a curry.

I’m reminded of certain criticisms of real world British spies, who tend to be recruited straight out of university and have giant blind spots regarding the people their work revolves around. I’m not sure if this class reading is something the show is deliberately encouraging or whether this is something that just inadvertently creeps into shows about the modern United Kingdom. I mean, I found class issues glaring in The Worst Witch and that show is supposed to be a lighthearted kids’ series about hijinks at magic school.

I do appreciate how much more accessible the show is to people not already fans of the spy genre. Being about a fictional spy agency, it doesn’t get deep into the specific details of the British state and governmentality. Here, for example are some real world British government things that have never been mentioned on The Rook, but do keep coming up in novels about British spydom and are essentially gibberish words for foreign audiences: GCHQ, Whitehall, the Official Secrets Act, COBRA briefings.

Anyway, that was just an aside. In the end, I find The Rook intriguing and am already up to the 4th episode.

After Trek

I recently finished reading Trekonomics by Manu Saadia. It analyzes the Star Trek shows and movies to discover what kind of economics exists in the Trek universe. I hadn’t realized how dorky the corner of the Internet I regularly traverse is but I was actually already familiar with many of the arguments the book puts forth, though there was less nerdy jargon being thrown around than online. The book takes for granted what the characters claim about the Federation’s society having no money and no want and teases out what that would mean as far as labour, innovation, psychology, and so on.

The end conclusion is that the Federation’s innovation is not technological, but political. It does present an interesting hypothesis for the Drake equation – that thing scientists and sci-fi enthusiasts use when they need to pull a number out of their asses for how many alien civilizations exist in the universe. The book points out that exploring space is inherently unprofitable and that space exploration means creating a society where massive resources are not wasted on convincing people to gamble on mobile games and suing each other over intellectual property violations. Perhaps the main thing preventing aliens from zooming around in space ships is that they never figured out a way to organize their societies around anything besides profitability, which is to say that capitalism is the problem.

It’s an interesting thesis and obviously impossible to test, but seeing as how space exploration stalled once it stopped being a dick measuring contest (i.e., stopped being possible to profit in terms of national prestige) it does make some sense.

Anyway, I found it an interesting read. And I suppose I should really get on with watching Discovery already.

Down with politics

Elsewhere in the world I have been discussing the book Soonish, which is about incredible inventions that are on the cusp of making the world a better place. Some of the proposed technologies were interesting, some were ho-hum, and some were completely pie-in-the-sky. The thing about the book that most leapt out at me, though, was the politics that it was uncritically espousing.

Several times the book discusses how the inventions will be used by the American military, which made me pull back with some befuddlement – how, I asked while reading, is improving the way people kill each other making the world a better place? What I found especially striking was that it was clear that the authors took it for granted that supporting the US military was an unqualified good and most likely didn’t even consider it as a political act at all.

The other thing that struck me about the book, which shouldn’t be surprising considering its “science fuck yeah” tone, is that it insisted on technical solutions for political problems. The section on housing goes on about how outrageously outmoded the current construction model of building houses is, and what with the housing crisis in America today the best solution is some kind of modular houses that assemble themselves or some shit (I read the book months ago so I don’t remember the specifics).

In fact, the book argues, with the rising homelessness crisis and unaffordability of housing in places like San Francisco, it’s practically a moral necessity to get these robot houses approved and building themselves ASAP since they can do the job faster and cheaper than what we have right now.

That line of argument reminded me of how some people talked about fixing world hunger back in the nineties. If we could just develop the right fertilizer or right GM crops or whatever then we could increase crop output and famine would forever be eradicated. Of course, this ignores the fact that the world hunger crisis exists at the same time as the world obesity crisis. The problem isn’t that there’s not enough food for everyone – if that were true, it would be impossible to eat enough to become obese. The problem is that food goes not to who needs it, but who has money to pay for it. Which is to say that the problem is political, not technical.

It’s the same thing with the current housing shortage. If developed countries really, really wanted to, then everyone who wanted a home could have one. But a host of of political problems – baby boomers who want real estate prices to stay high because selling their houses is their retirement plan, developers chasing luxury prices for wealthy international elites who just want someplace stable to park their money, widespread societal aversion to the idea of renting, a regulatory environment that makes approval of new construction so arduous that it incentivizes developers into only focusing on the absolutely most profitable projects, and so much more – combine to stymie efforts for change.

So my expectation is that if self-building robot houses or whatever are approved, the savings in time and money will just mean larger profits for the developers and no meaningful difference will be made in the amount of housing being constructed. But woo robot houses.