#but otherwise grid!tron has this same face

[roykleinberg]

something that ask reminded me of that’s possibly an unpopuar opinion -- for as much as I love Uprising’s art style (and I very much do) I think the choice to draw Tron like the dad from Cloudy with a Chance of Meatballs sorta takes away from the fact that Dyson, Clu, et al. brutalized and eventually brainwashed a guy that actually looked like this:

[betasuppe]

It occurred to me just yesterday that I still only have a sad ending with Flint & Rinzler & still haven't conceived of how they could have a happily ever after.

A lot of it came from how most people want Rinzler to revert fully back to Tron post-Legacy & like, that's fine and all, but because Rinz has always been my fave guy, I got all sore at it & decided to say FUCK IT, WE ALL HAVE A BAD TIME HERE THEN!!

[long exhausted ramble... otherwise Flint's life sucks, nothing new here lol. feel free to ignore]

Anyways, the not very happy ending I've had in place for ages is that, just like how Tron helped Flint escape the Grid before Clu took over.... in the very last seconds of the human world before rolling over into the new millenia, Rinzler holds up the Grid from caving in as Flint is eked out just before y2k drops & the Grid undergoes a hard reset.

Anyways. When Flint finally leaps back the next day into the digital fantasy world to find even the smallest trace of Rinzler & yo ensure everything is ok & that the Grid survived smashing into the year 2000... Flint quickly runs into Clu & Tron & quite a few other familiar faces who are all in cheery good moods, happy to celebrate the new user year & see Flint too but... no one has any memory whatsoever of anything that took place from far before Clu's regime ever took over, all looking at the user all wild-eyed & in a panic with definite concern.

Considering Flint had started to feel like this world was the closest to home he'd ever known, & now not a single part of the adventure he'd been on, the bonds he'd formed & the times he'd shared were remembered by a single other soul... it's like the rug was completely yanked out from under his feet & Flint finds himself in some unknown Twlight Zone-esque version of the Grid that he had once called home... basically standing around strangers with familiar faces.

So like. Flint tries to spur on some memories with Tron, with no success of recalling anything of his time as Rinzler, & Flint has to come to grips with the fact that YEAH, he really did lose Tron once & now Rinzler too &... it hurts too much to realize that the Tron Flint's left standing in front of is neither parts of the program he'd loved. As is, they're just pals at this point again & Flint feels like he can't run the risk of going through this all once more, just to lose Tron again.

So Flint quickly wraps up everything by wishing his fellow programs a happy new year before dipping out... & a bunch of Flint's digital pals all wondering worriedly if the user is alright, but like that's it.

Flint goes back to the real world & hopes to find some archived Rinzler data hidden elsewhere, but the y2k bs messed everything up & kinda. It's just done. Flint leaves the programming & computer based world behind. He becomes a photographer since he'd always been interested in environmental storytelling & then like. Otherwise he feels the need to make sure he has full proof of what he's seen & done after feeling like years of his life were dumped down the drains in the Grid 😬

Anyways, I feel like it'd be easy enough to have Flint wind up with one of Rinzler's identity discs before he escapes the Grid during it's y2k refresh, but would it even work to restore memories on Tron? Would it even sort of be the same? I feel like that's a jerk move, letting a messed up copy of Rinz parasite onto this poor unsuspecting Tron & it's just. Pretty sucky.

Would Flint just hold onto it as the last memory of the greatest bond he ever had in his life?? Hard to say.

If nothing else, may need to rethink the full ending? Maybe it's possible Rinzler gets dragged out with Flint before the y2k restart? But otherwise, Flint having all the memories & no one to share them with... he could try to rekindle things with Tron from the start button that point, there's no guarantee anything would even happen, I guess. I dunno.

Either way, the only version of Flint & Tron/Rinzler that actually has a happy ending is with evil Flint & Rinz, since they get digitally bonded for life & lock themselves up in the Grid forever & live happily for eternity in their little digital paradise bit otherwise like.

Most every version of Flint & Rinz but one does not end on a happy note... usually with Flint lying face down on his bed, praying to disintegrate & stop existing & all because he gave his whole heart to the same guy TWICE & ruined his life BOTH times & feels like he himself is the one who's ruined Tron/Rinzler's life. It's confusing & awful & dreadful, but. There it is.

Sorry about that, buddy...

[In which Flint ends up sad & alone because he's too tired to give his heart to anyone else after losing his first loves... & at least Flynn gets out of the Grid way earlier than 2010 but still, all sorts of things suck here... I'd like if somehow rinzler could remember but hOWWW]

[cyberramblings]

Kingdom Hearts BBS, DDD Blind Thoughts

Spoilers for Kingdom Hearts: Birth by Sleep and earlier titles in the series. Also warning that I have insomnia and these are utter ramblings on the last 24 hours of blindly binging the Kingdom Hearts series as a total newcomer to the series. Haven’t played three yet and just started Dream Drop Distance. With that warning.....

Birth by Sleep was a ton of fun. We ended up needing to grind a little to make Aqua playable, but that ended up forcing me to learn the game mechanics much deeper, and even my friends leveled up their playing of the game! It was really cool to unlock some of the high tier spells like Triple Firaga and Thundaga Shot, although I do wish we had gotten to chance to unlock even more. I should remember how much more fun the game was after some internet research.

It was very satisfying to unlock the true ending so easily. We had only missed 2 of the 12 required Xehanort Reports. The 2 we needed involved grinding the arena for maybe an hour total and then 5 minutes of finding a treasure chest. We were then able to roll smoothly from Aqua’s finish into the final episode.

Aqua’s fight against Braig was laughable easy, but the final fight against Vanitas/Ventus was slightly tougher. The real challenge was fighting Terra/Xehanort but then the REAL challenge was phase 2 of that fight. I got them all on the first try! It was a really enjoyable flex of my gaming skills in front of the friends.

From a story standpoint, Birth By Sleep had my favorite story of any KH game so far, by a huge margin. I liked certain elements of the KH2 ending (Riku and Sora teaming up, Kairi’s keyblade) but BBS has been the only game where I had any sense of purpose or desire to see how it ends. They did a great job of having each of the 3 routes reveal new information even if played out of order (Xehanort taking over Terra, Vanitas having Sora’s face, Aqua taking care of comatose Ventus).

Obviously it helps to have Leonard Nimoy and Mark Hamill join the cast, plus Aqua’s VA absolutely dominates every scene she’s in. Terra’s VA reminds me a lot of Leon’s monotone edgy boy voice acting (David Boreanaz or otherwise). Of course Ventus shares a VA with Roxas, but the twist of Vanitas being Haley Joel Osmont is really great because he sounds so much older. I think it would have been easier to predict that twist if I had recently heard more of HJO’s Sora voice in Dream Drop Distance or KH3.

Aqua is, of course, the great standout character from BBS. From the start, we got attached to her because of her known prevalence in KH3 on top of her cool design, Arrow voice actress, and the fact that we could finally play a girl (plus one with more human proportions than Kairi). It worked out really well how we saved her for last and had to kind of unlock the secrets of her play style by finally mastering the various gameplay systems.

I much prefer the command deck system compared to the gameplay of KH2. To be fair, these are the only two KH games I’ve beaten. I’ve only barely touched KH1 and Chain of Memories. I felt like BBS did a good job of fusing the action gameplay of KH2 with the (potentially) satisfying deck building of CoM.

Re: Coded is a fucking mess. I might actually go back and play it on a DS emulator just to see the gameplay, but god damn the story is a flimsy excuse for a retread. I almost wish we had skipped it entirely, but just watching the opening and ending worked out pretty well. In the end, it’s literally just “Mickey is gonna give Sora the memories of all the other protagonists” which is badass but probably going to be mentioned again before being relevant. I will say that the ending with Riku and Sora being summoned by Yen Sid for the mark of mastery test is fucking badass and elicited quite the reaction from all three of us. The series is finally starting to have that feeling of “the stakes are high and I want to see what happens with these characters”.

This was expressed most fully in the intro to Dream Drop Distance. Step 1: invoke Disney Magic with a silhouette of magician Mickey. Step 2: Orchestral Simple and Clean. Step 3: use entirely new cinematic footage instead of splicing together an AMB. Step 4: show every keyblade wielder standing side by side. Apparently that’s enough to make me actually cry. We all got very excited by this intro, so it was a bit of a let down to start the game and be seemingly replaying KH1 again.

Of course that’s not the whole game, but I’m still not sure what the whole game is. Riku and Sora have to...wake the seven sleeping worlds to earn their mark of mastery? Are they dreaming all of this, or what? Seeing The World Ends With You was cute for like a second before realizing that I know almost nothing about it. Flowmotion is similarly kinda neat at first but quickly becomes annoying, but maybe it will grow on me with time.

Speaking of fun at first but quickly annoying: Dream Eaters. The Pokémon-esque system seems like a time waster that’s perfect for 3DS but maybe not so much for our tourist play through. The Dream Eater designs are cute when they’re on your team, but strike me as a bit annoying when fighting the same ones over and over. Heartless and Nobodies felt more generic, but that made them feel a little less repetitive to fight over and over. I see the same god damn rainbow colored Panda every god damn fight. To be fair, I think each world randomly contains certain types of Dream Eaters every time you visit it.

Speaking of Worlds, I’m not really looking forward to Hunchback of Notre Dame or Pinocchio world, but at least they’re new worlds instead of retreading Halloween Town, Agrabah, Olympus, Neverland for the millionth time. What I am looking forward to is The Grid from Tron Legacy! I don’t think we’ve seen any Disney world that specifically spotlight a sequel to a Disney world we’ve already seen. We revisit Halloween Town, Agrabah, Beast’s Castle, Olympus, Atlantica but only for some minor follow-up fluff. The Tron world in KH2 meant a lot to me having just seen the film. The Lightcycle combat could’ve been a little more true to the original, but the visuals were so faithful plus having Tron’s actual actor was so fucking cool. Sora and gang getting Tron outfits was so cool too. Also would’ve liked to have a disc fight, but the Sark/MCP fight was spot on. Hopefully we can get both of more in DDD!

It’s a perfect excuse to revisit The Grid since Legacy looks so different from the original. Now, The Grid is not a true world in KH2 but instead part of Hollow Bastion’s computer system. I’m curious if The Grid in DDD is a sleeping world or something that exists within another world, or if it is somehow connected to the KH2 Tron world (which would get real weird real quick if that version of the Grid is a copy of the original, but Legacy is supposed to be set in The Grid 30 years later).

Oh, I like that DDD has the command deck system but I don’t like the pets, I don’t like the link system, I don’t like reality shift, and I don’t like flowmotion. It just seems like BBS with all the RPG features crammed into the pet system with a bunch of gimmick infused into the combat system. Admittedly, gimmick is one of the biggest strengths of the KH franchise, but flowmotion just seems silly. Perhaps I’ll like it more when I get used to it and potentially get to customize the moves.

I’m not sure yet how I feel about the drop system, but I do like getting to play as Riku. I think multiple protagonists is a smart way to stretch the assets and tell 2 stories per world. I rather enjoyed the way Aqua, Terra, and Ventus interacted with some of the Disney worlds. Hopefully we get something similar in some of these worlds.

The dive mini game is definitely gimmicky nonsense clearly designed for the 3DS. In general though, all the games in these collections look great and feel great. I suppose that is why Days, Coded, and Back Cover are cutscenes: to keep the average quality of gameplay roughly somewhere in between KH1 and 2 between all the titles. In fact, I think KH1 is easily the worst feeling out of all the ones thus far. I’ve always complained about KH hopping between systems, but now I can’t really complain about that anymore. My complaint still stands about the games being overly complicated. Plus, the games are clearly taking themselves way too seriously, but that’s very clearly part of the charm.

Really, I suppose the games aren’t that complicated if you heavily condense Chain of Memories, cut out Coded, and try not to think too hard about the phone games. Then it just becomes: Sora defeats the heartless, Sora defeats the nobodies, Roxas backstory, Aqua/Terra/Ventus, training/prep montage, then KH3. Oh, and try to forget that somehow the upcoming rhythm game is canon.

[odanurr87]

Let’s talk... TRON, Part 1: Legacy

Let me preface by saying I have not watched the original 1982 TRON movie. I was introduced to the world of TRON in 2010 with the release of TRON: Legacy, a sequel that tried to reboot, or rather re-energize, the franchise, starring Jeff Bridges as Kevin Flynn, Garrett Hedlund as his son, Sam, and the mesmerizing Olivia Wilde as Quorra (admit it, she’s gorgeous!). Neither the critics nor the public were too thrilled by it at the time, arguing it was more spectacle than substance. To this day, the movie stands at a 51% critic score and a 63% audience score on RT. IMDb puts it slightly higher at a 68% audience score. I recently re-watched it on Netflix so I decided to share my thoughts on it. You may have noticed this blog post isn’t titled, “My thoughts on...” as I usually do for reviews. That’s because I’m not just going to talk about TRON: Legacy but also its, arguably superior, animated spin-off, TRON: Uprising, released between 2012 and 2013, starring an amazing voice cast that I will mention in due course. It remains one of my favourite animated series after Avatar: The Last Airbender. But let’s get to it, shall we?

Spoilers for TRON: Legacy naturally follow. You’ve been warned.

Legacy follows the character of Sam Flynn, the son of Kevin Flynn, an employee and eventually CEO of ENCOM corporation, who has been missing for the past 20 years (the father, not the son, obviously). The opening of the movie showcases that Sam has apparently inherited some of his father’s programming genius (even though he never gets to use it again afterwards) but he also has trouble accepting his father’s disappearance and moving on, pulling off reckless stunts for the sake of it. We’re also briefly introduced to Bruce Boxleitner, reprising his role as Adam Bradley, Kevin’s friend and business partner, a return I have no doubt fans of the original appreciated but he’s sadly underused, either as Bradley or in his much juicier role as Tron (for reasons that will become apparent soon). ENCOM is portrayed in a bad light because... they want to sell their products? I know what they’re trying to do here, and certainly parallels can be drawn to corporations like Microsoft or EA (”This year we put a 12 on the box”), even to this day, but it’s rather flimsy. No matter, since it isn’t long before Sam, having received a strange message, goes back to his father’s arcade shop and finds and activates a curious machine that transports him to the Grid.

The Sirens outfit Sam for the games. It doesn’t hurt these women are gorgeous to boot.

The Grid is a vast digital sandbox populated by programs who take on the shape of human beings. From the start, I loved the look and feel of it, with its mixture of black, blue, cyan, and white colours, and the incredible technology on display, from light cycles to light jets, all of these rendered from a baton that is most certainly not used as a sword. The outfits used by programs are also really cool to look at and while I’m partial to black myself, those sirens wearing white almost convinced me otherwise. TRON: Legacy takes advantage of the outfits to distinguish friend from foe: programs with red lights are on the side of the bad guys while programs with cyan or white lights are, mostly, free and can go either way. That’s the short version anyway. The long version is that all programs on the Grid should wear black (or white) outfits with cyan/white lights and stripes. However, those programs that have been repurposed by the enemy change their lights and stripes to red. In any case, it’s a simple way for the audience to tell who the bad guys are. Last but not least, every program on the Grid is equipped with an identity disc that serves both as a storage device, containing a program’s code and its “memories,” and a melee/ranged weapon for combat, as Sam soon finds out.

As you might have guessed,TRON: Legacy is, indeed, a beautiful movie to look at, something that shouldn’t come as a surprise considering it was directed by Joseph Kosinski, who who would later direct Oblivion, a movie with outstanding cinematography and, incidentally, a great soundtrack. Because, let’s face it, as visually stunning as this movie is, it wouldn’t be half as good were it not for its amazing soundtrack, composed by none other than Daft Punk, who curiously make an appearance and feel right at home on the Grid, and arranged and orchestrated by Joseph Trapanese (keep his name in mind ‘cause you’ll see it again). The combination of orchestral and electronic music imbue the world of TRON with a sense of wonder and strangeness, of having been transported to a world that works under a different set of rules. I can safely say without a shred of doubt that this movie’s soundtrack is excellent from beginning to end, with some of my favourite pieces being, “The Son of Flynn,” “Outlands,” “Solar Sailer,” “Disc Wars,” and, of course, “Flynn Lives.” Hey, I did say this soundtrack was awesome all the way through! It is definitely one of the best movie soundtracks I’ve ever had the pleasure of listening to and it’s definitely worth a purchase.

Just knocking on the sky and listening to the sound, man.

What about the story? It starts out as a tragedy. A long time ago, when Flynn created the Grid, he brought over Bradley’s creation, Tron, to protect it, and also created a new program in his image named Clu. Together they were going to create the perfect system, whatever that was supposed to mean. Over time, and with their discovery of ISOs or isomorphic algorithms, programs that spontaneously came into existence, Kevin’s outlook on perfection was radically altered, but Clu’s remained the same and he regarded ISOs as a threat to his goal of creating the perfect system. This eventually devolved into insurrection as Clu turned on Flynn and Tron, killing the latter and forcing the former into exile. Fast forward 20 years to Sam’s arrival and Clu reigns supreme as dictator, repurposing programs to either fight in the Arena for entertainment or join his massive army. Having achieved the perfect system in his eyes, Clu has now turned his attention to Earth and has thus engineered Sam’s arrival on the Grid to force his father, Kevin (whom I’ll simply call Flynn from this point onwards), out of hiding and claim his disc, the key to the portal that links both worlds.

The movie initially plays around with Clu’s likeness to Flynn in order to trick Sam into trusting him, but it quickly dashes any and all potential it might’ve had by revealing the truth. It really is a shame as had Clu actually put some effort into recruiting Sam it would’ve made for a much more interesting movie, maybe echoing some of Jack’s conflict in Robin Williams’ Hook. Instead, the movie elects to follow up with a light cycle confrontation between Clu and Sam and the latter’s subsequent rescue by another program named Quorra. It’s a cool sequence to be sure and a badass way to introduce Wilde’s Quorra, not to mention it was supposedly part of Clu’s plan to ensure Flynn would know he had his son. Unfortunately, it turns out it’s mostly by coincidence that Flynn learns of this as he’s practically a recluse. Had it not been for Quorra’s curiosity and timely intervention, Clu’s plan would’ve ended almost as soon as it began.

An awkward reunion between father and son with Quorra caught in the middle.

Father and son are soon reunited but it’s a rather uncomfortable reunion. After all, how do you explain to your son why you’ve been absent for a large chunk of his life? It’s true Flynn tried to go back repeatedly and failed but it’s still a difficult thing to take in, more so when his father stubbornly refuses to play into Clu’s game and make a run for the portal. Quorra is also placed in a tough spot, immediately picking up on the tension between the two. As Flynn’s protégé sle clearly looks up to him for guidance and would give her life to protect him but she’s also persuaded by Sam’s argument, which is why she helps him get in touch with Zeus, comically played by Michael Sheen, a program who can allegedly arrange for safe passage to the portal. These three, together with Clu, are the core of the movie. How do they fare? 

Jeff Bridges delivers the best performance all around, even if it sometimes lacks the emotional outbursts you’d expect from being reunited with his son after all these years. Even so, he pours a lot of enthusiasm into some of his scenes, such as when he’s describing the ISOs, and he’s a little bit of a matchmaker if you pay close attention to the solar sailer scene. To my mind, Olivia Wilde comes second in the acting department, playing the somewhat naïve but totally badass Quorra. To be fair though, her best moments occur when she interacts with Garrett Hedlund’s character, Sam, so maybe they’re something of a packaged deal. I feel like Hedlund delivered a mostly solid performance across the board but probably not one that will turn any heads. Save for Quorra, the two Flynns appear quite stoic for a good chunk of the movie, or at least that’s how they came across to me. Things change a little when Flynn decides to play Clu’s game and rescue Sam from Zeus’ trap, losing his disc in the process, giving all three some time to bond during the beautiful solar sailer scene. It is then that we learn that Quorra is the last of the ISOs, and that Flynn has been protecting her for all these years.

Sam and Quorra share a moment aboard the solar sailer.

Of course, all good things must come to an end so it isn’t long before Clu’s top lieutenant, Rinzler, catches up to our heroes and captures Quorra. I have somehow managed to avoid talking about him for a while now and it’s decidedly unfair seeing as he’s probably more of a menace than Clu. Rinzler speaks very little in this movie but his mere presence is imposing, backed up by his incredible combat prowess as he proves to Sam during their fight in the Arena. With good reason, as it turns out Rinzler is none other than Tron, reprogrammed by Clu to become his loyal servant. In hindsight, it’s surprising I didn’t pick up on this sooner considering his outfit practically screams this. On the other hand, since I knew nothing about him before this movie, let alone his symbol, it would’ve been nothing short of a miracle had I done so (although the movie sets this up during the flashback sequence of Tron buying Flynn time to escape Clu). It is such a shame then that we don’t see Tron make a comeback, even though the movie hints that he was able to overcome Clu’s programming when he fell into the Sea of Simulation. If a sequel to Legacy is still in the works, it must include Bruce Boxleitner’s return as Tron. If not for his role in this, then most assuredly for his role in TRON: Uprising.

Rinzler is to Clu what Darth Vader is to Palpatine, except he doesn’t even need to speak.

Events now converge. As Clu prepares to lead his army through the portal to conquer Earth, Sam cooks up an intrepid plan to rescue Quorra and retrieve his father’s disc. It’s a great scene made more awesome by Daft Punk’s “Disc Wars” playing in the background. Don’t ask me why but it reminded me of the movie Flash Gordon, with Flash making his triumphant return, or at the very least a most daring entrance (ah, now I know why, it’s because I’m reminded of the drones in Flash Gordon!). I’m in two minds about this scene as it does speak volumes to see Jarvis’ reaction to the ensuing fight rather than the fight itself (it’s certainly more foreboding that way), but it’s still a pity that we don’t get a chance to see how Sam’s disc skills have improved since entering the Grid (probably not a lot going by his performance at the night club). And that moment when Sam takes the disc and alerts Clu to what’s going on... Damn, this song’s good!

Not one to give up easily, Clu follows our intrepid trio of heroes in a light jet chase to the portal for the inevitable showdown with his creator. Props to Jeff Bridges here again, as one does feel for Clu, to some extent, when he argues he was only doing what Flynn programmed him to do, trying to bring about the perfect system they had both dreamed about. Clu is a staunch proponent of order over chaos, he’s the Yin to Flynn’s Yang (Wenli!), something that is referenced several times in the movie through Clu’s baoding balls and Flynn’s Bits (that sounded better in my head). Perhaps if Flynn had spent some time explaining the Second Law of Thermodynamics to Clu all of this could’ve been avoided. Alas, Clu’s not looking for a reconciliation and is tricked by Flynn into letting Quorra and Sam go, or at least ignore them, thinking Flynn has the portal key. As Quorra struggles to push Sam into the portal, Clu realizes the truth and tries to get to them, forcing Flynn to make the ultimate sacrifice to ensure the pair’s escape. It’s a beautiful scene all in all, again greatly enhanced by Daft Punk’s music, that recreates the poster of the original movie. The movie ends with Sam back in the real world, ready to take over his father’s company and change the world, aided by Bradley and the incomparable beauty that is Quorra.

Kiss her, you fool! I mean, I’m half-glad they didn’t kiss but this is Olivia Wilde we’re talking about! Allowances must be made.

From a technical standpoint, TRON: Legacy is a great movie in my book, combining amazing visuals with an outstanding soundtrack, though the use of CGI to rejuvenise Clu and a young Flynn is indeed noticeable and may be somewhat bothersome (though it didn’t bother me at the time). This technology has however, come a long way as we were able to see in Disney’s Rogue One or even in Guardians of the Galaxy, Vol. 2, so it’s not unlikely that a possible sequel could make use of the same, updated, technology, to bring back, say, a young Bruce Boxleitner as Tron (that would be awesome!). The story is perhaps more by the numbers (it certainly doesn’t tread new ground but why should it?) and it’s certainly not a character piece but I found it to be entertaining with a measured pace, carefully balancing the action with the more quiet scenes and executing both rather well. Nevertheless, if I had to come down hard on this movie for one thing and one thing only, it would have to be how underdeveloped the world feels. Beyond the Arena and Zeus’ night club, we don’t see a whole lot of how programs live on the Grid. Do they work? Do they have friends? Do they hang out? Are there (more) cities out there? The movie also hints at the possibility of some rebel movement forming against Clu but it’s pretty short-lived. These are all aspects that a sequel should definitely try to explore and, indeed, one eventually did.

Unfortunately, the year is 2018 and there’s currently no light at the end of the tunnel for a future TRON 3. It’s possible Disney dismissed its attempt to reboot the franchise as a failure considering the movie was only able to gross $400 million worldwide with a production budget of $170 million, and that’s not counting marketing expenses. Of course, if one considers Legacy was a sequel to a rather niche 1982 movie, maybe it didn’t do half as bad. Not having watched the original, I do believe Legacy managed to bring back some of the old cast of characters and do them justice, unlike a certain other franchise that shall not be named. It saddens me that Disney has apparently abandoned this property, and that the likelihood of seeing Olivia Wilde, Garrett Hedlund, Bruce Boxleitner, and why not Cillian Murphy as well (he was seriously underused in this movie), return for one last chapter seems like a pipe dream right now. Yet two years after the release of TRON: Legacy, Disney would give the franchise another chance to prove its worth with the release of the animated series, TRON: Uprising. Did it succeed at this? Stay tuned for Part 2 to find out. Why not watch TRON: Legacy in the meantime?

[nofomoartworld]

Art F City: The Whitney Biennial: Visual Screen Burn Courtesy of America’s Finest

Raul De Nieves, “beginning & the end neither & the otherwise betwixt & between the end is the beginning & the end”, 2016

Out of the ten Whitney Biennials I’ve seen, this is the first one that could have used a vomit warning. But here we are, in Trump’s America, living a future many of us never wanted to imagine, let alone live through. What is the purpose of art in this New America? This year’s Biennial bears no answers. Art doesn’t exist to defend its purpose and even if it did this exhibition was organized prior to the election. Nevertheless, it does bring then-simmering themes to a boil. So, while almost none of the work is Trump themed, as a whole the exhibition reads as a responsive to the challenges the country faces—increasing income inequality across the board, failing institutions, and the rise of hate-fueled violence. If art is a mirror, then this year’s Biennial should scare the shit out of you.

Considered New York’s most important survey of contemporary art making, politics is at the center of the the work of 63 artists selected by curators Christopher Y. Lew and Mia Locks. Thanks to the museum’s spacious new digs on Ganesevort, artists are afforded a lot of more space, given plenty of room for conceptual groupings which flow from one to the next. It’s quite literally a pleasure to look at and leaves plenty of room for the nausea to sink in.

This biennial even includes art that made me feel like a despicable human being for having concluded that the show had merit. Jordan Wolfson’s “Real Violence” a 2:25 minute virtual reality, the first 20 seconds of which consist only of a countdown. Said countdown constitutes my most vivid memory of the piece—namely because it was the only section I could only watch in its entirety. Only a wall label few will read prepares a viewer for what’s on the screen, which is two solid minutes of the artist violently swinging a baseball bat into another man’s head and then crushing his bloody skull into the cement. (The man is actually a super-realistic android.) He does so on a city sidewalk surrounded by high-rises. A verbal prayer from a Chanukah blessing plays in the background.

On the one hand, this could be read as a reflection of larger pop culture trends. Shows like Westworld have popularized themes of violence against simulated humans, and perhaps Wolfson is making a connection to Jewish laws against idol worship through the blessing. More likely, though, this is simply a terrifyingly accurate mirror of the America capable of electing Trump. Religion of any kind seems scary or completely misunderstood. (I heard one attendee mistake the Hebrew blessing for Arabic.) Citizens hungrily consume any and all spectacles regardless of their impact on their health. (Who won’t talk about this work?) And that’s to say nothing of the ongoing feelings of paralysis many of us feel. (The piece was made in 2016, and presumably in development long before Trump became president.)

Speaking to this reluctance to see, I spent the better part of two minutes within the VR environment, turned away from the violence, watching an office worker standing on a nearby street corner who didn’t notice the crime. (Like a victim of abuse, it never occurred to me to remove the headset.) According to the wall label, the man taking the beating occasionally makes eye contact with the viewer, an added level of creep, if you can endure it. I could not.

All of this begs the question, how does a critic fairly evaluate the biennial after seeing a work like that? The piece is essentially screen burn—everything seen before or after is viewed through the image of a man being beaten to a pulp. Is that fair to the other artists? The answer, of course, is no.

The fact is, though, the screen burn I was suffering from wasn’t coming just from Wolfson’s piece, but from the Trump presidency itself. The Trump administration casts its long shadow over every Facebook conversation, tweet and social outing, and unfortunately, not even this year’s Whitney Biennial offers many sunny spots.

This context can make conceptual art and formalism lose their resonance. John Divola’s photographs of discarded portrait paintings by students carefully hung inside abandoned spaces look nice enough, but many of the conceits driving the work don’t go much deeper than formalism. Is it too great a luxury now to contemplate how the gaze of the portrait’s sitter makes us more aware of the frame of the camera? It sure feels like it. The same can be said for the work of John Riepenhoff, who makes whimsical sculptures of anonymous figures holding up works the Riepenhoff might sell in his gallery. Haha and all that, but I don’t need to see the legs of an art handler behind a work to appreciate how it got on the wall.

These were outliers in a strong show, though, and work I could see appreciating more in a different exhibition in a different time. Looking through Trump’s lens, I initially read the figure in painter Dana Schutz’s “Shame” as forcefully poking itself in the eye. Perhaps this was too literal a read—the piece was located directly across from Occupy Museum’s horrifying breakdown of the financial ties that run the art world and all student debt. Closer inspection of the painting—gracefully rendered so that even the most layered and manipulated brushwork seemed economical—reveals a head hung between two hands. That, too, worked.

The Whitney Biennial, installation view. From left to right: Cauleen Smith, Torey Thornton, and William Pope L.

Fittingly, a large section of the fifth floor has been colonized by the resistance, which resembles the set of Game of Thrones. Cauleen Smith’s collection of medieval-styled knight’s standards (they’re shield emblems) hangs from the ceiling beside what resembles a pink torture chamber prison gridded with flesh decorations by William Pope L. (In actuality, the medallions are bologna slices affixed with black and white portraits). Both address the subject of race. Smith’s flags, for example, come out of the artist’s dismay for what seems like a never-ending stream of videos evidencing the abuse of black people and are hand sewn with messages like “We Were Never Meant to Survive” and “Stop.” Pope L’s “Claim (Whitney Version)”, is a bit more complicated. The text tells us the bologna corresponds to a percentage of New York’s Jewish population—though the number of medallions is off by at least two, if not more. This known error supposedly points to big data and its nefarious uses visa vi immigration and voter fraud—a message no one would get without a wall label. Still, the fact that the box reads like a prison for random citizens is powerful enough on its own and thus rightly commands a large presence within the biennial.

There’s a toughness to this work, that cedes to sensitivity elsewhere. Samara Golden created a corporate housing structure against the museum’s westward-facing windows that amounts to infinite tunnel of the homeless. Mirrors on the floor and ceiling to create the illusion of endless floors, each lined with sculptures of people wrapped in sleeping bags. It’s heartbreaking.

Mercifully, there are some breaks. Talia Madani’s explorations of light have almost nothing to do with politics, but she gets a mention anyway for having completed the weirdest painting in the show. “Shafts” is a blackened painting in which rendered light shines from the butts of four babies crawling along a Tron-like grid. In the foreground, a father figure holds up a strip of their lost poo, bathed in the light from their butts. Hilarious.

It was almost a surprise to learn that I still find baby shit and butt lights funny, considering the context of our failing democracy. In some ways, I expected only work like Wolfson’s to be able to speak because that’s the volume we operate at now. But the biennial also reminds us that’s too narrow a vision for art or for America. Communication isn’t about how loud you can speak but about showing up, listening, and taking an interest in new ideas.

Carrie Moyer, “Candy Cap” 2016, 72 x 96 inches

It was a suite of Carrie Moyer abstract paintings that truth most clear, and almost inexplicably gave me hope. If the observations made above had any validity—that art that looked inward or focused to heavy on formalism tended to miss the mark—these paintings shouldn’t have made any impact. And yet, there I stood, marveling at the billow of light that seemed to emanate from inside the smooth green and amber swooshes of “Candy Cap” and the thin ultramarine blue washes that still made dense forms in “String Theory and Daisy Chains.” I left feeling emotionally injured, yet somehow more optimistic than I have in weeks, which is consistent with with the shock of watching America turn into a kleptocracy and fascist regime. The highs and lows are more extreme than I could have ever imagined.

Ajay Kurian, “Childermass”, 2017, dimensions variable.

Puppies Puppies, “Liberty” 2017, performance on the 8th floor of the Biennial.

Dana Schutz, “Shame”

John Divola, installation view

John Riepenhoff, installation view.

Talia Madani’s “Shafts”, 2017, 55 x 44 inches

Occupy Museums, “Debt Fair”, 2017, Installation view

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