#is this a commentary on the life of an undead in dark souls

[redhandedsuggestions]

What a cruel and sorrowful thing, to be born only for the purpose of feeding the flames that power the elite.

[nothingmancy]

hung aloft the night - chapter 1 dvd commentary

hello!!!! I cannot stop thinking about my own FAN'S FICTION and I feel a definite productivity void around the space it used to occupy in my day. I think it would probably be most logical to write more in the universe or return to my other WIP (both of which I will probably do!), but instead.....I will now pontificate about it a little. for @yourtinseltinkerbell if no one else!

COMMENTARY TRACK:

the first chapter was one of the ones I spent the most time working on! It was really important to me to establish a tone, and I did kind of hodgepodge #research just to make the tone feel both not too dry and not too modern, I hope. But also I really wanted the tone of Quentin’s initial interaction with vampires to be just right or as close to it as I could get in my little fan’s fictions. I was during large swathes of writing this teaching Midsummer Night’s Dream to kids as an anime graphic novel which I guess sums it all up.

conceptualizing Quentin In The Past was probably one of the most interesting parts of writing this and the most challenging (in the most fun way), but the opening paragraph materialized in my mind fully-formed pretty much! I knew I wanted an element almost of a dark comedy of manners

to that point, I definitely leaned into Quentin as not-neurotypical and on the Autism spectrum in conceptualizing him. In this specific AU, there’s no internet/fandom-as-refuge for Quentin—which I guess isn’t like EXPLICIT in the show, but imagine all of Quentin’s Little Problems but none of the potential outlets that exist as it is for them. there would not be a lot of resources that would help him mask except Julia, his codependent society best friend.

so not unrelatedly but not the only reason why BUT: he has exactly 2 friends. And he’s an incredible, monumental virgin! I will talk more about this #choice later I am sure because unfortunately it was a #choice I put a lot of thought into.

there was a cut bit where Quentin dances and becomes spookily disoriented, which I am now realizing I essentially found a way to work in. I wasn’t even thinking about it by the time I wrote the other very similar scene in a much later chapter. We have fun.

of course the “Dostoevsky” bit is 1:1 the Danes having a dark soul for Quentin in the pilot, a Quentin moment that is, to me, essential.

the idea I was working off that formed the bedrock of the fic’s plot is that in this scenario and arguably in the show, Quentin is in a passive role usually occupied by a love interest-grade heroine. Things happen to him and are not set in motion by him. When he finally intervenes it’s as a result of things that have happened to him. On the show his own thorny expectation that he is, or must be, a central hero foils him much of the time. Instead here he gets to have a lot of bloodplay sex with a hot vampire who is Eliot, so I guess good for him.

I wrote this not 100% sure what was happening to Julia in the background, only that something definitely was and it would lead to her and Kady—but it couldn’t quite be clear enough that she would actually bring it to the table with Quentin. Her dual journey was always going to end in her as a vampire, but I should save that to discuss in later chapters, probably!

of course Eliot is his intro into the magical world, as it should be in every conceivable universe where that is possible. He isn’t able to contextualize anything weird that happened before he meets Eliot.

it’s never stated outright, but my intention was to write Eliot as Jewish in origin in this fic in a way that shaped him but obviously is not super relevant to his undead life. I kind of echo “may [their] memory be a blessing” as a general sentiment Eliot has in the next chapter, so I guess I could have talked about that there but here we are, and tried to portray a general disinterest in Christian ideas that I imagine an old and also Jewish vampire would have. I started thinking of what his name actually would have been, since I wanted him to be pretty old and “Eliot” is a relatively recent pretty English name, and since I was doing this I decided to work the idea in here with Galina’s nickname for him. Eliasz would have been his birth name, which AS WE SEE LATER, Marina knows.

it’s important that their first interaction is immediately weirdly chummy — bonding fast, time being an illusion—but not necessarily friendly. It is maybe a little intimate in the way Quentin is annoyed with Eliot immediately. I tried to do that!

how incredible is Rebecca's cover art, and all the art? it completes the fic!!!!

wow that was so much text. more from me SOON......

[general-luce]

Hey, random question, but would you say Dark Souls has any themes of death anxiety? Or on mortality? I've been kicking around playing them and was curious if your big fandom dovetailed with your sideblog 😁

The short answer: Y E S .

The answers on my sideblog: https://thanatophobia-thoughts.tumblr.com/post/639690960358572032/dark-souls-3-was-the-first-of-the-souls-games-i https://thanatophobia-thoughts.tumblr.com/post/643858468448714752/this-is-a-song-from-dark-souls-2-that-is-a-female https://thanatophobia-thoughts.tumblr.com/post/674389654886367232/thanatophobia-thoughts-thanatophobia-thoughts And the tl;dr version: Dark Souls is inherently about death, mortality, and the consequences of something going on too long. The story is about the First Flame -- basically, the life giving aspect that bestows souls upon living things, and created the Concept of Life and Death, Light and Dark -- all dualities.

The First Flame is fading.

You are an Undead, cursed because of this (I can get into spoilerish details about the curse, but...) and you're tasked to restore the Flame. Or...not. You CAN take alternative routes, like ending the Flame.

If you go the traditional route, the cycle continues, the flame rejuvenates, the souls are recycled, but it doesn't end the current cycle. It prolongs it.

I think Dark Souls has a lot of commentary on the fear of death underneath its surface, and the fear of the unknown. The best character for all of that is Lucatiel of DS2, who is gradually losing her memory, and states outright she'd kill you, if she knew it would save her from her sorry state.

There's honestly SO MUCH I could get into with the Souls series, it's definitely why I write fanfic about it (one of my friends is not a good gamer, but was very interested in it, so that got me writing it, so she could enjoy the stories without playing, haha).

I HIGHLY recommend them.

[blessuswithblogs]

The Best Games of the Decade, By My Estimations

With only a good month (ACTUALLY LIKE A GOOD 24 HOURS HA HA I WROTE THIS BACK IN NOVEMBER) or so left of the 2010s (we are regrettably not quite far along enough to really start giving them jaunty names like "the Roaring Twenties" yet, but soon we will be free of this chronological no man's land) I find my thoughts turning to my enduring hobby slash interest slash everlasting shame: video games. While a decade is ultimately a fairly arbitrary point of reference, in the business of video gamesdom, ten years is a small eternity and some very significant games have graced us since the clock struck midnight on January 1st, 2010.

 I might still be too young for this kind of nostalgia, granted, but I can't help but think about the game experiences I've had in the last ten years that have been altogether Important to Me. I am less interested in ranking these titles than I am in exploring why they made such an impact on me, and why, if we were to borrow the esteemed verbiage of one Sid Meyer, they stood the test of time. ...or less so, if they came out more recently. Sometimes on these lists I sort of scrimp and scrabble to actually fill it up with enough games and I have to sort of cheat and put things on there I haven't really played, but fortunately I am not so destitute that I have only been able to play one new game a year since this decade began. To that end, this is more of a personal list than usual, that will have less to do with "well the game was kind of a Big Deal........" and more to do with "well the game was kind of a Big Deal to ME."

Dark Souls The First:

This game will likely find its way onto many such lists in the coming days, because it is such a singular thing. Honestly, I would put Demon's Souls on here too, but that was actually like. 2009ish? At any rate, its spiritual successor was a marked improvement in most ways, expanding upon the core design tenets that made the unassuming FROM software ps3 title such an unexpected success: deliberate gameplay that demanded players go slow and respect both enemies and environment until they were sufficiently skilled and experienced, boss fights against extremely memorable monsters and also sometimes trees, strange asynchronous multiplayer that worked in spite of itself, and a meticulously designed world filled with oddities, grotesqueries, mysteries, and tragedies. Dark Souls was a phenomenon. "The Dark Souls of _____" is dig at gormless games journalists that endures and is relevant to this day. It created a whole subgenre that remains fairly untapped because of how much of a gamble it is to really go in on what made Dark Souls good in a game without that kind of name recognition and marketing blitz, and it changed the way the zeitgeist thought about video games in a lot of ways.

Inscrutability is an incredibly important part of the Souls experience. Abandon all hope of transparency, ye who enter here, because you're not getting it. The games were designed with the intent of being a sort of collaborative community puzzle, where players who stumbled on secrets and treasures in the game could leave down messages for others to alert them to hidden prizes - or just try to bait somebody to jump down a bottomless pit. Patches does that. A lot. It's kind of this thing. There is a very specific mood and atmosphere that Miyazaki and company were going for with these games that creates a sort of artistic catch-all for complaints I would level at basically anything else. "These weapons are poorly balanced." Yep. It's not really trying to be balanced. "Half of these systems are unexplained and nonsensical." Oh boy are they ever. "A giant man-sized baby just invaded my world and tried to kill me with a ladle." Yes, yes he did. The bizarre, fever dream ambiance of Dark Souls is enhanced by all of this. It will put a lot of people off and I can't really say "oh you just don't get it." because like no in any other game this would be bullshit nonsense for idiots. Souls just kind of makes it work by being compellingly baffling.

This murkiness also serves to highlight one of the core conceits of the game: the simple joy of greater mastery. Dark Souls starts you out with very little. You have nothing, know nothing, are nothing, and all the npcs you meet are pretty sure you're going to fuck off and die pretty much as soon as you break line of sight. On your first time through, that's probably true, too. The skeletons in the graveyard are infamous. As you claw your way through the game, as you learn more about it, you start to see measurable progress getting made. What was once a bunch of very tired men in armor giving you unsettlingly sinister laughs is now the outline of a story, vague but extant, with more waiting to be discovered. Where you used to flail around and die to random hollows in the undead burg, now you dance circles around them and paste them in one or two hits with your fancy weapons (or enormous wooden club, depending). A world that was once borderline impossible to actually traverse gradually opens up and becomes more familiar. In Dark Souls, death serves a purpose, and that purpose is not actually to block your progress. Its purpose is to get you to learn the game and get better at it. It's actually very player empowering in a way a lot of 'press F to pay respects' theme park rides are not. I'm probably treading a very thin line between thoughtful analysis (ha) and "you cheated not only the game, but yourself." here, but I'm going to stand firm in my belief that the way Souls games endeavor to make you improve yourself over time is a legitimate and meritorious way to design a game.

Of course, Dark Souls the First is very rough around the edges in spots. The second half of the game is somewhat infamous for being unpolished and kind of slapdash. The online was questionable, the PC port was laughable until the community went in and fixed it, Lost Izalith is a whole fucking thing, the works. The fact that it's so good in spite of the rough spots is, I think, what made it such a singular game. I'm one of those hopelessly sentimental idiot bitches who thinks that things that are imperfect are kind of charming and compelling in ways that very cookie cutter, by the book, technically competent but aesthetically bankrupt things are not. Miyazaki had a vision when he made this game, and that vision created an enduring legacy. That's worthy of respect in a way not many games are. It's messy and flawed but those flaws are just kind of endearing because they're proof that the developers were trying to push boundaries and be ambitious and make something new and interesting.

Dark Souls The Second:

Dark Souls 2 has a kind of weird reputation in the online net-o-sphere. There are as many opinions about this game as there are people who have played it. Sometimes more, honestly. I spent a lot of time kind of convinced it wasn't that good until some things clicked and I realized it was HELLA good. That you kind of need the DLC to get the whole picture is... unfortunate, but such is the age we live in. Going into this game, I thought that a second Dark Souls was unnecessary. The first had ended satisfactorily, and I had no desire to see FROM get tied down to the world of Lordran. The quote B Team unquote that developed 2 seemed to agree with me, and created what is one of the most metacognitive games I have ever played. Now, let's not get ahead of ourselves. When I say metacognitive, I do not mean it in the usual facile sense of, say, whatever Jonathan Blow has churned out recently that beats you over the head with the fact that you're playing a video game and you should probably feel bad about it or the way Doki Doki Literature Club does the Epic Subversions! of visual novels by trying to convince you that the game knows it is a game, but failing because it cannot overcome the limitations that it has as a static, unchanging lump of code. Dark Souls 2 aims higher. And you know me - I always try to aim high.

Dark Souls 2 deals with cycles. Most notably, cycles of futility. Cycles that are so enduring and perpetual that it matters not how you choose to resolve it, it will simply keep going no matter what you do. Drangleic is a hollow simulacrum of Lordran - and that is exactly the point. The familiarity and design consistencies between the two games is intentional. The curse of life is the curse of want. It took me a long time to really understand what Dark Souls 2 meant by that. The World of Dark Souls 2 is a sort of unending purgatory. Thousands upon thousands of undead have made the journey, linked the fire, perhaps chose to become the Dark Lord instead, only for some other undying fool to go and light it anyway. Each time, a new order is built upon the bones of the old, and in time, joins its forebears in the ashes of history. When I beat the game the first time and felt that the ending was unsatisfying, I failed to realize that was, again, the point. If the game had shipped with all endings in it, I think I would have been less miffed, but, well, the curse of life is the curse of downloadable content. If you choose to take the throne, link the fire, you have essentially accomplished nothing. Another age of Fire will begin, and then end, and so on and on into the ages, an unending litany of suffering and violence, because people cannot let go of what once was. They seek and scrabble to claim scraps of glory in a systemic nightmare of self-fulfilling prophecies and false dichotomies. When Aldia eventually arrives with the DLC packs, things really start to take shape.

Dark Souls 2 is a commentary on itself. An admission of the futility of trying to recapture the unique spark of the first game, and the necessity of doing something -different-. The playerbase hated it on release. It was both not enough like the first game and too much like the first game. It wasn't like, reviewbombing on metacritic hate, but the consensus rapidly became that 2 was just worse than the first game and kind of a bummer, a half-hearted cashgrab by a "B Team" while the really talented developers worked on Bloodborne. So, basically, they proved 2's central thesis completely correct. A hollow cycle of just repeating and iterating on what has come before serves nobody. In the words of Straid of Olaphis, "it is all a curse." That is the true curse in Dark Souls 2. An undead might link the fire to try and preserve their fading sense of self and memory, but it is but a temporary measure, a prolonging of greater suffering by bowing to an order designed to oppress. Before the Ringed City was ever a thing, Agdyne and Vendrick were here telling us about how Gwyn was so covetous of his own perceived right to rule that he cursed all of humankind into a twisted state of mutually exclusive ideas. Die as a mortal in the flame, or endure as an undead husk in the darkness, bereft of heart and soul. Or... does it even matter? All of this has happened before. It will all happen again.

Those who slave away eternally under this paradigm are doomed to never find peace or fulfillment, because it was not designed that way. Gwyn's fear was so great that he got entangled in his own karmic vortex, reincarnating over and over again with his other lord friends in slightly different forms and circumstances that would continue, eternally, to make the same mistakes in the pursuit of the same misguided goals. Aldia, the Scholar of the First Sin, is presented as one of the few beings in this entire misbegotten affair with an inkling of what is really going on. Both he and Vendrick knew that Drangleic was destined for the same dreg heap as every other civilization built upon the power of the soul, but all of their efforts to prevent this fall were for naught, because they were all confined by the same twisted system in which there can be no change or joy. It is only after Vendrick loses his nerve entirely and fades away into a mindless hollow and Aldia loses everything in his increasingly unhinged and ethically questionable experiments that he realizes that they were doing it all wrong.

I think I've probably gone on too long at this point so I'll try to be brief: the "true" ending of the game, made available after all 3 DLCs were released, involves gathering the power of truly mighty souls in a crown and using them as a sort of... loophole. The empowered crown does not cure the curse of undeath. What it does is prevent -hollowing-. The degradation of heart and mind. And after the final battle, you leave the throne behind. But there is a very important difference here from the Dark Lord ending of the first game. By finding this loophole, and rejecting Gwyn's order entirely, you and you alone have broken free from the endless cycle of suffering, and by doing so, perhaps gained the knowledge necessary to take the first steps into forging a new path entirely. Beyond the reach of Light, beyond the scope of Dark.

So yeah basically it's like Dark Souls the First, with some improvements and changes and what have you, so it's got the same fun to play deliberate explorey dark holey kind of thing going on, it just takes the concepts and runs with it to places I never would have expected a game to ever go. It is legitimately one of the only metanarratively aware games I have played (that I can remember, anyway) that sticks the landing, because it is not obnoxiously explicit about it. Undertale was fun and a worthwhile game by any reasonable metric, but it falls into the same trap as all the others: when you are acknowledged as the player of a game in anything more than a briefly comedic bit of 4th wall breaking, any hope of cleverness or thoughtfulness goes out the window, because it brings to light an ironclad truth of the medium: you, the player, are just as constrained in what you can do as the NPCs in the game, who are also fake. When they start haranguing you about about brotherkilling or being a cheating visual novel boyfriend or possibly girlfriend or what have you, it's just. Meaningless. It is a contrivance of the developer, specifically included in the game as a programmed possibility designed to be experienced.

Dark Souls 2 gets around this by not engaging with the player on that level of metanarrative. It deals much more in metaphor and allegory. It's not, like, especially subtle, but it is subtle enough to let your mind draw parallels without immediately blaring at you in comic sans "THIS IS A VIDEO GAME, KID" and taking you out of it entirely. It's a fine line to walk. A barrier between worlds has to be maintained for these stories to work. I'm the kind of player who will never do a renegade run of Mass Effect because I hate being mean and nasty for no reason, even to bits of code in a game, because I try to engage with it all in good faith and do my best to let myself buy into the illusion that these bits of code are characters with thoughts and feelings. When an angry flower man pops up and says "OOHOOHOO LOOKS LIKE YOU JUST RELOADED THE GAME BECAUSE YOU KILLED SOMEBODY" my first thought isn't "wow fucked up..." it's "oh well there goes my suspension of disbelief" because like. If you're going to call me out on that then fuck I can just go into the code and make you say "there is a frightful hobgoblin haunting europe, and its name is ligma" and like. Yep. Bow before my mastery. I guess. I don't want to get into a slapfight like that with Toby Fox. He seems like a nice person.

I don't know maybe this is just something unique to me, and other people can deal with these stories without immediately becoming depressed by the deeply artificial nature of it all. It's complicated. I will say that I like Undertale a lot, but the reasons that I like it come very much from the character interactions, spritework, and music, and not the time Flowey closed my game. It's just the same pony island bullshit as its always been. "OooOOoOOoh uninstall the game or you're actually just going back and messing with events for your own perverse satisfactionNNNnNNnN" fuck off dipshit it's all fake garbage for idiot children and I am not causing a cartoon skeleton existential agony by considering that maybe I could play this fun game that I liked and payed cash dollars for again. Now, all this considered, my next game on the list might be surprising...

Nier: Automata

Okay so let's just get this out of the way. Nier does a very famous thing at the end when you get the true ending where you are given the choice to forfeit your saved data in order to help another player get past the final boss, which is... the credits. So how is this different? Well, for one thing, it's not like the central narrative conceit of the game. The sexy android psychodrama functions perfectly well without it. It's kind of its own thing. It's... an expression of hope, kind of. An admission that you -care- about the fates of these characters, in spite of being bits of code, because their personalities and their world and the way they interact are all compelling and endearing, and you would give up something of tangible worth and importance to maybe give them a chance for a better outcome in somebody else's game, too. It's a very strange thing that I can think of no real equivalent for. You even get to put a little personalized message on the extra shmup ship you send over to help some other player get through to the end. It's an act that... kind of exists outside of the story, but also kind of in it. I think the important thing here is that the conceit is that you are making this sacrifice to help somebody else, not because a small goat child said something Foreboding. It's a confirmation that if a game makes you feel things, makes you think, maybe it wasn't just a waste of time.

So enough about that. What about like the other 99% of the game? A lot of people in my peer group are super sweet on the original Nier: Gestalt game. I played through it. It was... okay. Like it absolutely had very charming characters and story and all of that but it was just kind of a slog to play through and I kind of wished the entire game was just that segment where you're playing a text adventure. Automata continues to have very charming characters and story and all of that, but it also actually like. It's fun? To hit the buttons? Like, that Platinum pedigree isn't just for show. It's not the most technical game they've ever made, but it's fun and varied (shmups! shmups!) and there's some fun character customization and you even have a self-destruct switch which is always hilarious. The real attraction is the narrative, visuals, and gorgeous music, but it's also just a solid swordswingy dodgy robot smashy time irrespective of that. So like. Yeah.

The story and characters are very interesting and well done and goes to some very dark and uncomfortable places sometimes about the nature of memory, artificial intelligence, the often arbitrary labels we give ourselves, and the implications of sexy robot men with no junk. The nice thing about Nier Automata is that the events in game are fairly straightforward and relayed in a way that people who don't compulsively watch lore videos can understand without too much difficulty, so I don't really need to go into a detailed summary of why it's genius because of tHe AlLeGoRy. It kind of speaks for itself, for the most part. Does 9S want to fuck 2B or destroy 2B? Maybe some other verb entirely! We may never know. Well, I do know. He wants to fuck her. That is obvious. But it does not preclude the other, which is a salient and disconcerting point the game tries to make with that whole sequence. 9S has really had a rough time of it, you know? All that stuff in his own game and then he pops up on the First only to get his face caved in by the Warrior of Darkness. Rotten luck.

Basically, Yoko Taro sets out to say some things with his strange brainchild about androids with very big butts, but when you think about it, the attractiveness of the YorHa androids is also kind of a statement, too. If you're building something in your image, wouldn't you want to make it as sexy as possible? I would. Like, if you could make your machine children smoking hot, why wouldn't you? It's only polite. Nobody wants to be an ugly robot. Maybe the machine lifeforms would be having a better time of it all if they weren't put in categories like "short stubby." Anyway. Saying things. He says things. The game is thought provoking and evocative and at times very very sad. I love to cry. More on that later. I feel like I'm coming up a little short on this after my small dissertation on Dark Souls 2, but sometimes you need to fuckin. Get that kind of thing off your chest. Automata is challenging, but not Souls 2 challenging, where you kind of have to look in all the nooks and crannies and paid DLC packs to really get what it's trying to say. Though I think you fight the president of Square Enix in one of the Nier DLCs. That's pretty intellectually formidable.

Bloodborne:

It is no secret that I love the Bloodborne. It's very fun, very tight, usually works right most of the time, blood vials are shit but what can you do, and is one of the most visually arresting games like, ever. Ever ever. Behold! A Paleblood Sky! indeed. It's got the Souls pedigree to make combat fun and challenging, but its also very squishy and visceral and kind of grody in a good way because it ties in heavily to the themes of what really separates people from "beasts" and how more often than not we're just fooling ourselves. We're all rancid beasts. Hunger makes monsters of us all. It is this thematic strength, and the uncommon aplomb with which the game takes a hard left turn into "wait what the fuck???" town, that I regard it so highly. It's a game with a lot to say, especially about our narrow view of "intelligence" and the imagined "right" it grants us to subjugate and victimize those we deem inferior. The Victorian setting is no accident - a lot of the horror in the game draws heavily from classic colonialist sentiment and the erroneous conviction that all things are there for the benefit of Mankind (Glory to them, see previous) that commonly defines that era. Also that architecture is some spooky shit I tell you what. Even when there isn't a large spider man with a brain for a head hanging off of it. There are those, in this game, by the way. You thought you were gonna deal with werewolves? Bitch your eyes have yet to open, strap the fuck in.

Bloodborne is the coveted "what a twist!" game I so laboriously search for. A game that expertly leads you to believe some things, then gradually shows you that you are a fucking wrong idiot baby and now there are mushroom men from mars running around casting magic missile at you. It gets this right in part because the clues were there all along, if you bothered to search for them. The first part of the game is fairly expected of what the promo material was all about, save for some weirdness with dreams and cryptic mutterings of "Paleblood." Then, you know, some shit starts getting wacky. You start running into giantass monster men clad in the trappings of the church. The NPCs you talk to start becoming more and more unhinged. Sometimes you will be randomly lifted bodily into the air and die and it is fucking alarming the first time I tell you what. Strange men with bags start appearing in random spots, and if they kill you, they don't actually kill you - they put you in the bag and kidnap you, the only way to reach a certain area of the game early. This hidden area is filled with more bagmen and some very angry giant pigs, because those are in this game too. Then you finally enter the big cathedral at the center of town and its lined with really odd looking statues of aliens and you touch a weird skull and you get a vision from the Mothercrystal about how to progress, and you tell the password to the gatekeeper, and he's like "ok cool get in here" but actually he is a fucking dessicated corpse and this isn't Dark Souls there ain't no undead here. Maybe. Are there?

Then you get into the Forbidden Woods and there are like, the weird mushroom men, if you go looking for them, and snakes, and really BIG snakes, and men who are made out of snakes and kind of give you weird nostalgic memories of Resident Evil 4 and the las plagas sphagetti heads. And there are more statues and giant fucking gravestones? That are really unnerving? And also if you went poking around you might have also met Patches again, who is back, but also a spider, and he'll show you how to get into college, except the college is in a nightmare and full of slime people, which is actually pretty normal now that I think about it, and then you can go out into ANOTHER nightmare, which is just another obnoxious poison swamp but the winter lanterns live there and those things are a fucking trip. Anyway you get to Bergynwerth eventually and there are weird insect guys and weird disheveled looking fellas that literally eat your brains if they get close and this awful npc hunter (the real horror of the night i tell you what) who casts fucking megaflare and you FINALLY get to the center of it all and jump into the lake except it's not the lake, it's actually like a fucking pocket dimension and there's just a big spider chilling out. You have to kill it to progress. And then when you do things just REALLY go to hell. And this is to say nothing of the Old Hunters DLC. This game is a fucking nightmare and it's great. Easily one of the scariest games ever made, genuinely frightening and weird and it doesn't just lose its edge when you realize the monster is a big goofy man with a flappy jaw. You are the monster, and that monster is a tiny squid baby. You're a squid now! Because you ate umbilical cords! Why!? I DON'T KNOW! INSIGHT, MOTHERFUCKER!

So what I just described is probably sounding completely absurd, random, and borderline early 2000s era monkeycheese style humor, but you gotta believe me, it is only absurd. It's actually very deliberately absurd. A lot of people will say that Bloodborne is one of the only games to get Lovecraft right, but I have actually read some of that dreck and I will say Bloodborne really only shares some aesthetic DNA and nomenclature with the racist tentacle man who ate nothing but canned beans. The themes are actually very different. Lovecraft wrote of a paradoxical contradictory world where Unspeakable Elder Things lurked behind every shadow, ready to emerge and destroy everything, but they were also very apathetic and noncommital about the whole thing. They didn't actually care that much either way, but they were still Bad, because they were weird and alien and inimicable to human life because of that foreign aspect. Like Nyarlathotep was originally envisioned as a travelling black guy who would go from town to town and show people some awesome inventions and shit and that was supposed to be evil. The dude's neuroses about race permeated -everything- he wrote.

On the other hand, Bloodborne takes a different tack. One of the central theses of the game is that the Great Ones are -not- evil. In fact, they're rather sympathetic by nature and will do what they can to help, if asked. The horror of the game comes not from the actions of the alien monstrosities who are actually nicer than most of the humans, but from what the human characters do in the pursuit of knowledge and power. Atrocities are committed by the dozen in some vague pursuit of higher understanding, against both the citizens of Yharnam and the supposed cosmic horrors themselves. This point is driven home by the fact that a number of the more alien entities you encounter in the game aren't actually hostile at all. Rom, the Vacuous Spider, will just chill out with you indefinitely at the Moonside Lake if you don't strike the first blow, and doesn't even really begin to actively defend herself until you prove yourself to be a determined murder machine. Ebrietas, the Daughter of the Cosmos, is found minding her own business in an out of the way corner of the Upper Cathedral Ward, mourning Rom after you, you know, killed her in cold blood. Again, she is completely non-hostile until you start shit. In the Old Hunters, Kos (or some say Kosm) is actually benevolent sort of mother goddess to the people of a small fishing hamlet. ...until the "scholars" of Bergynwerth murder her in the name of science, too.

All of the evil and horror and stomach-turning cruelty in Bloodborne comes from corrupt systems of power run rampant, not something as facile as the supposedly intrinsic malice of beings different from us. The terrors of the cosmos are nothing before the vile, willful depravity of mankind itself. That's the idea at the heart of it all. The Great Ones, who exist on a higher plane of existence, seem to have largely left this cruelty behind. Even the Moon Presence, the principle cause of the Hunter's Dream, is trying to help Laurence and Gherman - it's just that it's so different from humans, its idea of helping is a bit. Strange. It's this really fresh and unique take on the genre, this byzantine tragedy of miscommunication, good intentions, and mortal greed, that creates one of the vanishingly few games at are actually frightening. It doesn't even have to sacrifice being a good game to do it! No hiding in closets from the scourge of screen blur and heavy breathing here. In terms of gameplay, it's probably the most refined of quintet. I'm unsure if I should count Sekiro with them or not. It's a much different thing. Trick weapons and hunter's garb are iconic, extremely stylish, original, and honestly just fucking dope as hell. You've got a hammer that explodes when it hits things, a giant pizza cutter, a katana you coat with your own blood to empower, a gunrapier and a gunspear, a giant... wagon wheel... because Miyazaki just really likes those I guess, a bow that is also a sword, a giant fucking ship's cannon you just carry around with you, a portable flamethrower, an... eyeball, that shoots space rocks, for some reason. Like the weapon design and selection alone is worthy of considerable accolade. Bloodborne is fantastic, play it if you can.

The Legend of Zelda: Breath of the Wild

I was a little bit kinda wishy washy on putting this on here, but I think overall that it deserves a spot. In terms of story and themes, it's honestly a bit whatever. It's Zelda. Don't be an asshole to your genius daughter who knows like ten times as much as you do about everything I guess. Prince Sidon is a nice fishman. Link is like, distressingly, "this is a kids game!!" hot when you put him in certain outfits. I'm pretty sure every configuration of sexuality interested in the act of boning probably at least went "hoo boy" when Link put on the gerudo outfit. That is, of course, not really enough to qualify for such a prestigious position as one of the best games of the decade. Where Breath of the Wild shines is its world design, music, and the masterful layer of melancholy it drapes everything in. The ruined land of Hyrule is beautiful and sad in equal measure, the vistas enhanced by a fantastic soundtrack with an incredibly rich personal voice. It takes a very certain kind of design philosophy, in my opinion, to create an open world that is actually meritorious and worthwhile and not just an excuse to spend a lot of time hoofing it through vast expanses of nothing interesting. There is enough raw Stuff in the land of Hyrule, from enemy encounters to happening upon NPCs to just finding something really weird and inexplicable that you feel compelled to check out, to justify the massive open world.

I think the enemy design in particular is worthy of some praise. The game gives you a whole lot of tools to tackle any given fight. Sometimes you can just whack something with your sword until either the enemy or the sword breaks and that will work fine. Other times, you can literally do the Tao Pai Pai thing from Dragonball and launch a treetrunk into the air, surf on it, and land it squarely in the face of some unsuspecting moblin. This is a very popular speedrun strat. The sheer amount of Weird Stuff you can do in the service of ultimately saving Hyrule is a lot of lot of LOT of fun, things not many other games would let you do. There's also something to be said for the moments where you're exploring, minding your own business, and find yourself face to face with something fearsome and big and dangerous, like a Lynel in the frozen north or one of the big cyclops guys. It's heartpounding and exciting and really hits that "oh hell yeah let's fuckin FIGHT" button. And fighting in Breath of the Wild is a hell of a lot of fun! Probably the most its been in any Zelda game. Skyward Sword please go away you're drunk this was never a good idea. To me, Breath of the Wild is kind of the platonic ideal of an open world fantasy fuck around game. That used to be Skyrim, but BotW sort of made me realize you can actually have a functional game on top of all the aforementioned Fucking Around, too, and that sort of enhances the experience.

This might be a little weird and personal and I apologize, but I think the one thing that really sealed this game as something very special and significant to me was the moment I entered the Rito village for the first time. I was greeted with an utterly gorgeous piano melody that gradually unfolded into a soulful, excruciatingly bittersweet arrangement of the Dragon Roost Isle theme from the Windwaker. I admit that I was not in a good place in my life when I was playing Breath of the Wild. I was still reeling from some bad brain stuff. Be that as it may, Breath of the Wild is the only game I have ever played - hell, the only piece of art I have experienced - that has brought me to tears with nothing more than a song. When I realized what I was listening to, when the memories of a time when I was still a child with hope and trust and innocence and any faith that life would ever be something more than cruelty and suffering came flooding back, I had to put down my switch, go lay down, and just ugly cry for a while. It's honestly making me a little misty-eyed just thinking about. It was such a personal, intimate, keening feeling of... I don't really know. Nostalgia? Longing? Melancholy? Now, believe me, I love to cry. I am a crybaby. Things make me cry all the time. But not like this. This was something else. Something I still don't really understand, or can explain. All I know is that if a game can do that to me with just a few notes, it deserves to be here.

Salt and Sanctuary:

This is probably the most niche game for me. Even people who share some of my more eclectic tastes and sensibilities didn't like this game that much, but there was just something about this Metroidvania mashed with a Soulslike that hit some very primal notes in my soul. The art style, a weird mix of cartoony and utterly deranged, the enemy design, the bizarre way the world is put together, some extremely creative boss battles, and above all, some masterfully done atmosphere dripping with poorly understood dread and a sense of complete disorientation combined to create an experience that seemed to be made for me, and possibly me alone. It's not a flawless game. The music is fine, but somewhat lacking in variety. The character progression system is a good deal more complicated than it needs to be by any stretch of the imagination, as is the weapon upgrade system. The difficulty curve is uneven, and the raw inscrutability of the whole enterprise can make progression difficult in ways that it never really was in Dark Souls and Demon's Souls, which at least had the courtesy to point you in the right direction from time to time. The ending is a bit on the weak side.

Even now it feels difficult to really like. Elucidate on why I like this game so much. Maybe it's because it was the heartfelt effort of an extremely small team with more passion than experience? Because it's so unique and bold in ways other games are not, even while being a self-admitted derivative of Souls games? I just don't know. It's just such a fun and plucky thing, even if parts of it are kind of bad. It's not like, Deadly Premonition or anything where the badness is also the primary attraction. It's like, overall a good game? I believe? It's just that if it wasn't also kind of weirdly flawed and broken in some ways I don't think I would like it as much. God, I don't know. Just. Play it if you get a chance and see if any of this makes sense. One of the weapons you can use is a giant ass ship anchor, which is just fantastic, and you can start out as a chef, complete with a goofy hat and an extra helping of salt. Salt is important. Gotta keep those electrolytes up. You can also put a pumpkin on your head, and there's a boss called the Tree of Men which is just this giant torture machine that hates you and everyone else. It's so weird! The lighting is so moody and unsettling! The Queen of Smiles doesn't have a jaw! You have to brand your ass with a metal iron to double jump! ...hand, not ass, to be fair. But ass would be pretty funny. And horrifying. If you join the Iron Ones religion your healing item is just bread. And that is a fucking mood.

Super Mario Galaxy 2:

This one barely makes the temporal cut, but it was 2010 when it came out, I'm pretty sure. As a Mario game that doesn't have paper in its name, it's also going to be a bit fluffier and lighter on actual substance than pretty much every other game here, and I don't have that much to say. It's just this gorgeously realized and scored platforming adventure that's so tightly tuned you could play Smoke on the Water on it. It is the still the best traditional jumpy wahoo boing boing Mario game I have ever played. It just makes you feel good about space, and going to space, and seeing all the wonderful things in space. Though there most likely are not charming little obstacle courses themed around bees and and toy trains in space, the various cosmic phenonmenon on display on the map screen and in the background of some galaxies are close enough to what you might expect to inspire a sense of wonder and awe. SMG2 is like the purest expression of Let's Just have a Good Time design in games I have ever seen. It induces good feelings. Not everything has to be deep and troubling and thought provoking. Like, I tend to prefer it when they are, but there's always rooms for exceptions like this. Just fantastic. And the music though holy shit. Honestly I think the only game on this list that doesn't have a fantastic OST is Salt and Sanctuary, but it's still like. Serviceable.

Darkest Dungeon:

Let me start off by saying that Darkest Dungeon doesn't always hit the mark with its central conceit of stress management and the importance of mental health in your small army of adventurers. Nobody is going to start screaming abuse at their comrades or start stabbing them to death in a fit of paranoia because a skeleton spilled some cheap champagne on them. That said, I think that it -tries- to address these things is admirable, even if it is fairly easily boiled down into a simple matter of resource management and cost/benefit analysis. The reason I like Darkest Dungeon so much is that it is a game that excels at emergent storytelling. In terms of actual plot progression and character development, there is very little. You can have a party of four Occultists, each with the exact same backstory and with the exact same pact to the exact same eldritch entity, killing the exact same boss several different times. If you want. The dungeon crawling primarily serves as a vehicle for two things: the first and most obvious, the primary gameplay experience where you command your brave or at least foolhardy group of heroes to engage the ancient horrors of Grandpa's Party House. By itself, this is compelling and demanding. A bit like Dark Souls, Darkest Dungeon is a game that is fairly exacting in what it expects out of you, and it will not let you make mistakes without slapping you on the wrist and saying "no, bad." Similarly, it is a game where mastery is rewarded, but both in somewhat lesser degrees because DD is much more random and capricious in nature. The difference between a new player and an old hand is obvious, but sometimes even veterans can get completely dicked over by things out of their control.

That leads us into the second purpose: having the Ancestor narrate your constant struggle against Murphy's Law while completely hilarious bullshit conspires to send all of your highly trained and well equipped adventurers to the grave. Let me tell you a tale. I was fighting the Countess, the extremely powerful and dangerous final boss of the Crimson Court DLC. Everybody was afflicted with some manner of madness, and things were looking grim. She had shuffled my party around into a formation wherein some of them couldn't act without switching places. I ordered my vestal to switch places with Dismas, my highwayman. Dismas, however, was currently under either "selfish" or "abusive" status and simply refused to move. This meant that my vestal could not actually act that turn, and simply doing nothing incurs a penalty of stress damage. This stress damage was enough to put her gauge to the maximum, give her a heart attack, and kill her. Dismas literally murdered the healer by being too much of an asshole. I was beside myself at the time, but make no mistake - it was fucking hysterical. I later fed him to the final boss as penance for his crimes.

Darkest Dungeon is a grindy game that takes time and effort to complete. This is one of the biggest complaints leveled at it, and it's a fair one. On normal mode, though, you are more than capable of going at it inch by bloody inch, throwing corpse after corpse at the eldritch monstrosities until they at last drown in the blood and give up. No matter how grievous the setback, you can come back from it, unless you're playing on stygian/blood moon mode, which adds a fairly strict time limit and a hard cap on how many hapless adventurers you can send into the meatgrinder before the Nameless Thing That Ends The World wakes up and gives you an auto-game over. It's designed to be a long, bloody slog where shit goes wrong. Hopefully, in the upcoming sequel which I am very much anticipating not being able to play because I am poor, Red Hook can perhaps find a better balance with this. I am, for my part, fairly forgiving of grindy games, and at times even enjoy them. They were going for something with the way they designed DD, and I respect that. If you have the proper mindset of "whatever will be, will be" and learn to embrace the senselessness of death, your adventures in the Darkplace Estate will be both rewarding and oftentimes absurdly funny because your Arbalest was too depressed to eat anything, took more stress damage from starving, and then died of a heart attack, which then further stressed out the rest of the party. If that sounds more "oh my god that's awful" than "hahahaha you fucking dipshits" to you, DD might not be up your alley. But if it is, it -really- is. It's sort of the Dwarf Fortress principle, though Darkest Dungeon is far more user friendly and nice to look at. ...you know if you payed him enough the narrator voice actor would probably do a dramatic reading of Boatmurdered. Just saying.

Stellaris:

Stellaris is kind of the odd spaceman out on this list for a variety of reasons, but it shares the same kind of compelling emergent storytelling that Darkest Dungeon has. It's just less likely to be about how your alcoholic bounty hunter missed every hit against a fishman and went insane, and more likely to be about how you found this really cool Orb in space but it was in another empire's territory so you basically fabricated Space World War 1 to take it for yourself. Maybe that was just me. Much like the many habitable planets in any given Stellaris game, Paradox's grand strategy space game falls in the Goldilocks Zone of "accessible for mortal minds" and "satisfyingly complex." I'm not a huge fan of most Paradox stuff because I don't really give much of a fuck about kings and their crusaders one way or the other, but I respect them for what they are. Stellaris was kind of a proof of concept for me for that - given subject matter I actually liked (space!!!!), the various nitty gritty systems of planetary management and fleet organization and robo-modding and gene templates became compelling rather than overwhelming. They were, granted, still pretty overwhelming at first. The game still receives robust free updates and DLC even as of this writing, sometimes drastically changing the way the game is played (alloys! consumer goods! aarrrggh!) and making my 500ish hours of playtime seem a little less nonsensical. Look, a lot of that time was idling on the galaxy map while I did something else.

It's just really polished and technically competent and -enormous- and there's space dragons and sometimes you get to fuck a black hole. Stellaris doesn't really have a narrative, per se, save what you ascribe to any given game, but that doesn't mean the game doesn't have writing. A lot of very interesting, well written, and sometimes really funny flavor text can be found in the various anomalies and in-game events your science vessels will encounter as they uncover more of the galaxy, or sometimes a planet will have a mysterious portal to Hell on it, or maybe it's actually just a huge egg for a terrifying voidspawn. The game also navigates the usual 4X/strategy game dilemma of securing an early lead and just kind of chilling for the rest of the game by introducing midgame and lategames crises. It's not a perfect fix, but the ever-looming threat of a khanate space uprising, an AI uprising either from your empire or another, or ravenous space bugs from beyond the cosmos ensures that you have to keep at least a little bit on your toes. The presence of spaceborne aliens that range from "a nuisance" to "well gosh that thing is actually eating that sun this could be problematic" also ensures that you need to pay attention to both military and domestic aspects of governing. Stellaris happens in real time (though you can thank god pause whenever you want to issue orders) so there isn't really a Civilization equivalent of "oh the tiny pissant nations are declaring war, time to buy seven tanks with my enormous hoard of gold and run over their medieval knights" in Stellaris. Stuff always takes time to make, and it takes time to get in position, too. Space being exceedingly vast, and all that.

The lategame can get simultaneously get very overwhelming and very boring, but there are systems put in place to help automate the process of ruling a huge interstellar empire and one of the nice things about Stellaris is that you can kind of just. Stop whenever you want. There are technically win conditions, if you're into that sort of thing, but a lot of the time I will just play it through until I'm like "hmm okay im good" and then just either start a new game as an extremely different kind of empire or play something else for a while. It's kind of nice. The idea of "winning" in these games is always so weird to me anyway. I kind of like the framework where it's just kind of like. You tell a story, rather than try to win a game. Recent changes have made it much easier to actually achieve victory, however. Part of the thing that kind of encouraged my "eh i'll stop when i wanna" approach in the first place was how unreasonable some of the old victory requirements were. Occupy sixty percent of the galaxy? Excuse me???? Fuck off. Also, it's not like. A really salient part of the game like it is for most other games on the list, but Stellaris actually does have a pretty nice soundtrack. It's much more ambient in nature and there's not really enough of it for the amount of Game there is, but what's there is nice, even if you will probably end up turning it off and listening to your own music instead eventually.

============================= =Final Fantasy XIV: Shadowbringers= =============================

Alright so if you've like actually looked at my twitter or talked to me or to someone about me for more than two minutes, it's probably pretty obvious that I really like FFXIV. An unhealthy amount.  I will cop to that. FFXIV is an MMORPG. Let's start with the basics. I enjoy the game's gameplay a lot. I would not have put 6 years of my life into playing it if I did not, I'm not a Dota 2 player, for Christ's sake. I like to raid, and have actively done it in every wing except for the Sigmascape. I even managed to beat the final encounter of the current Edengate raids! I'm currently sort of gathering my courage to try the latest Ultimate Raid, the Epic of Alexander. Ultimate Raids are fights that are absurdly difficult by any reasonable standard and further winnow the playerbase from "hit level 80->does endgame stuff->does savage raiding->clears savage raid tiers->does Ultimate Raids->.00000001% of the player base that clears ultimate raids". Ultimates are for a very specific kind of player. I'm just sort of mentioning it for context purposes, it doesn't really factor in to my overall evaluation.

Now, despite the fact that I personally enjoy the gameplay a great deal, it is not actually why I think this game is so good. This might puzzle you. What else is there to an MMO? Is the sense of community especially great? Well, I would say that I really enjoy the community of people I play with, but on the whole, XIV's community is about. Standard, really. Which is to say "a fucking dumpsterfire" by any human metric, but just par for the course for online video games. What keeps me coming back to the game is that in between all the endgame stuff and grinding and crafting and going to die in Eureka, there is a bafflingly compelling and superlative singleplayer experience. The game is actually like unironically the best mainline FF title since at least XII. I would personally say it's on par with IX as a narrative experience, which is no faint praise because i fuckin luv me some ffix. But how can an MMO have such a compelling story? It's kind of complicated.

History lesson for the ten people who still don't know: FFXIV actually launched way back in like. 2011 or some shit and it was -arrestingly- bad. "Embarrassment to the franchise name" bad. So bad that they decided to literally drop a meteor on the game world, bring in a new director, shut the whole thing down for a year or so, and then relaunch the game as A Realm Reborn in mid 2013. People really liked this version. It was nothing short of a miracle. It also layed the groundwork for something important: a real and genuine dedication to worldbuilding (and worldending, too). The destruction and rebirth of the realm of Eorzea is metanarratively (theres my favorite non-word word again) baked into the very DNA of the game as it is now. Learning about the people who lived after the Calamity and how they survived is a direct parallel to how the dev team had to survive and adapt to make this complete boondoggle of a game into something presentable. A lot of heart and soul went into the bones of the world the game takes place in, because it's an expression of that dogged determination to make it work. Yoshida and his team probably crunched like hell to get it all done, and that makes me really sad, but what's done is done. I wish it didn't have to be that way, but it is, and all I can do at this point is praise the team's hard work and vision and try to support them as best I can.

So there's this really weighty sense of reality to the game world, and all of 2.0 is basically spent just establishing Eorzea and how it works. If you were an early adopter of ARR, like I was (2.1 is early right. it's gotta be.) then you grew to genuinely care about the place you spent so much time in and looked so pretty and was kind of obnoxiously laid out but don't worry there will be flying in the expansion. The longrunning nature of the game sort of necessitated a sort of serialized story. It had much more in common with an episodic TV Show than a usual Final Fantasy story, which for better or for worse are usually self-contained little things until somebody decides its fuckin Nova Crystalis time. It created a really unique sense of anticipation and participation in an ongoing story and evolving world. I think this is where a lot of people find their attachments to MMO style games, why people are still faithfully playing World of Warcraft 15 years on.

So FFXIV gets two expansions, Heavensward and Stormblood, and they were very Good, and added lots of neat things to the game and advanced the story and introduced new and beloved characters and also Zenos yae Galvus I guess and the long-running nature of it all started forging a kind of personal narrative of necessity, if that makes sense? Like, your own protagonist, who is mostly silent, who you created and customized and further customized and maybe turned into a lalafell once just to see what it was like to be so short, has been an important part of this world for so long your brain kind of just fills in the gaps in spite of itself. What would my character think about this? What would she do? Why would she do it? That kind of thing. The Warrior of Light, as one is called, has had a leading role in the game's story since pretty much day one, but one of the things that compels me about the character is how much work it took to get where she is today. Like, it's not a Diablo 3 style "hmm well you killed those zombies really good so i guess you're basically stronger than god and also satan put together" affair. You start out as a newbie adventurer, you do newbie adventurer things, like helping orange pickers keep the orchard clear of bees or deliver packages for guilds or whatever sufficiently adventuresome task needs doing. You gain notoriety for doing things that are, well, worthy of notoriety. You really get noticed when you defeat the primal Ifrit in a pitched battle, get recruited by some organizations, and you keep steadily working your way up from there.

As of Shadowbringers, the warrior of Darkness is kind of stronger than god and satan combined, but it took a fucking -lot- to get there. One base game and two expansions worth of life or death battles against utterly intractable foes and also Zenos yae Galvus I guess. It is beyond the scope of this piece to just give you a full plot summary of six years worth of storytelling, so I will just cut to the chase and try to explain what I'm taking five million words to say. Shadowbringers did something I thought heretofore impossible: it made me care about my tabula rasa cipher avatar as a character in a story and not just as an expression of digital self that I had grown fond of. Don't get me wrong - Dazzlyn Reed the adventurer is absolutely an expression of digital self that I have grown -disproportionately- fond of. I figure I'm a few more patch cycles from becoming that girl in the Jack Chick tract about Dungeons and Dragons who had a psychotic break because her DnD character died. However, for the most part, that affection was more of... kind of taking pride in her appearance and the outfits I put together and the achievements I had accomplished with her and stuff like that. Shadowbringers made me care about her as a character in her own right, which seems borderline miraculous to me.

It's sort of hard to explain without totally spoiling everything. And even with spoiling everything. In vague terms, I'll try to express it this way: the game put Dazzlyn in a situation where she had failed. Like, spectacularly. Everything she had done in the course of the expansion had gone up in smoke, and her own life was in real and severe danger. When you play these kinds of games, your first instinct when things go wrong in the story is pretty much always to just flippantly say to yourself "okay okay just calm down and let me fix it i'm like level a billion it's fiiiiine". Shadowbringers turns that on its head. You went to fix things... and you couldn't. Despite good intentions, it's arguable that you only made things worse. Everything you worked for since arriving on the First was just utterly undone, and the game lets you see the toll that has taken on your character. It's weirdly heartwrenching in a really uncommon and compelling way. Dazzlyn had been on the outside looking in at this kind of situation plenty of times before, and she had always had a nice and encouraging thing to say as she helped shoulder the burden and get things back on track for Alphinaud or Lyse or Cid or whoever. The game has, since antiquity, given you much appreciated little dialogue choices that don't really matter much in the scheme of things but let you kind of carve out your own characterization, and the way Dazzlyn turned out was somebody who just really cared way too much about all of her dumb stupid impossible friends who kept fucking up.

One thing that longtime players of the game have complained about quite a bit over the years is that your NPC friends never seemed very. Like. Personally close to you, with a couple of exceptions like Alisae. Shadowbringers both fixes that by introducing the Trust system, which lets you take your Scion buddies into dungeons with you instead of other players, if you are so inclined, and sort of turns it back around to be a kind of poignant narrative point. After everything she had done for them, unconditionally and with a smile, none of the Scions could actually find a way to help Dazzlyn when she finally ended up being the one who needed it. And this -fucks them up-, emotionally. Like, bad. Alisae nearly has a crying fit over it in one of Shadowbringer's more affecting scenes. And just watching the whole thing unfold fucked me up, too. Like, I hadn't signed up for this. I was (relatively) safe in the knowledge that they would not have the gall to actually kill off the player character in an ongoing MMO, but it wasn't necessarily the fear of something happening to her that was getting to me. It was more just this feeling of "god, she deserves better. this isn't fair." The emotional pain that, well, everybody involved is going through is extremely real, even if the threat of genuine death is not. I know (mostly) (please god) that Dazzlyn is going to be okay, but she doesn't. Her friends certainly don't. And even when she does miraculously pull through, it's not like all of this grief and fear and anxiety is going to just vanish like it never happened.

I really have to stress how completely and catastrophically wrong this could have gone if the writers responsible weren't sufficiently skilled. I'm pretty sure if I idly suggested a BFA era World of Warcraft storyline like this to somebody who still plays they would have an apoplectic fit. It would have been so easy for this kind of exercise to ascribe character traits and emotions to a very personal interpretation of the Warrior of Light that they would never have, for any one person's vision of them. The FFXIV writing team avoided this issue entirely, probably because they knew if they didn't people would go ape, by focusing the brunt of the expressed distress on your friends and just leaving you yourself some time to take in the enormity of how badly things have gone wrong in customary silence. A subdued facial expression here, a dialogue option there. No more than strictly necessary. The game encourages you to draw your own conclusions about what your Warrior is feeling, how they're coping, if they even have any hope left, but it does not overstep its bounds and do it for you. It's just... really masterfully done. The overall arc of Shadowbringers can be described as "intriguing, well realized, and competently done." The overarching ideas presented aren't like, groundbreaking or anything. What is groundbreaking, at least to me, is this miraculous giving of life to a character that was originally intended as as simple player avatar.

At the end of the day, everybody rallies around you, as they usually do, but it is markedly different this time. It isn't some facile repetition of the idea that the Warrior of Light/Darkness/Pants-theft is this focal point of hope given form and life to everyone. Instead, it's this... oddly touching expression of friendship. Commitment. It's all probably going to end in tragedy. There's nothing anybody can really do. But they're going to stay with you until the bitter end anyway, because they care about you. If nothing else, they can't bear to think of you dying alone and in agony. Even the citizens of the Crystarium, with whom you do not share a bond that goes back literal years, show up to give you some words of encouragement. They show up to tell you that it's okay that you failed. It's okay that you got hurt, it's okay that you're in pain, that you're scared, that you're vulnerable, that you don't know what to do. After spending such a long time in the game's lore as being kind of invincible and infallible except for the occasional matter of pesky Imperial Viceroys and Old Kung-fu Men, it's just... affecting. It's not often done in games, at least that I have played and seen.

Does this one story moment justify making Shadowbringers the game of the decade? Honestly? Kind of. To me, art has always been about emotional reaction. This kind of reaction is something special, even for a crybaby idiot bitch like me. Moments like these are what make or break truly fantastic experiences. Finally finding Vendrick in the Tomb as that haunting, off-key melody starts playing. Realizing the true nature of the Upper Cathedral Ward. Hearing a beautiful piece of music in Rito Village and thinking about what that song means to you. Admitting that you care about your Warrior of Darkness more than you thought. They're all quite different, running the gamut from existential despair, stomach turning fear, a deep and abiding nostalgia and longing for what used to be, to a sincere, melancholy affection for a game world I've been a part of for almost six years. There's one unbroken thread: a cascade of genuine emotion. Something that goes beyond the simple pressing of buttons and jolts of serotonin as the numbers go up or the bad guys die.

Fortunately for my general credibility, Shadowbringers is also just really good in general. Soken's soundtrack is, as always, kind of spooky in how high quality it is. The presentation is top notch as usual. Encounter design is probably the best its ever been in terms of balancing accessibility and challenge and having mechanics that actually Work As Intended and not nightmarish garbage like Digititis and Black Hole Walking. Royal Pentacle! Server ticks! Server ticks! Uh. Sorry. Going slightly feral there. Anyway. Overall, I think Shadowbringers is the most polished expansion so far, in all respects, and its narrative quality in particular is kind of transcendent because of what it accomplishes in regards to how players see themselves in relation to an unfolding story. Also, it has an unfair advantage, because it's also a continuation of Nier Automata now! That's two games of the decade in one! Now, due to the serial nature of it all, I will allow that if something goes... like, inconceivably, catastrophically wrong with 5.2 - 5.5 I might be a little premature in my assessment. That said, 5.1 was just as fantastic as 5.0 and I don't see a reason to assume that the quality will so drastically drop in the coming months.

If you're somebody who really likes Rankings, here is a pretty noncommital list of them going from least good to best good but they're all special damn it.

10. Super Mario Galaxy 2 9. Breath of the Wild 8. Stellaris 7. Darkest Dungeon 6. Salt and Sanctuary 5. Dark Souls 4. Nier Automata 3. Bloodborne 2. Dark Souls II 1. Final Fantasy XIV: Shadowbringers

And here's a couple of Honorable Mentions just because!

Sekiro: Shadows Die Twice

To be honest, this easily could have taken the place of like. Breath of the Wild or SMG2 if I was just a little bit more into Sekiro's aesthetic. It's easily the most technical and best-playing game that Miyazaki's team has put out so far, with a very simple to learn, difficult to master system of fighting based more around swordfighting than "shove large axe into monster butt" its predcessors liked so much. It also has a well-told story about a fairly down to earth conflict between an independent fiefdom and Japan's internal ministry trying to conquer it, with a splash of supernatural weirdness to give it some spice. There are monkeys with guns. Sekiro is just fantastically put together, and I really did end up loving Wolf as a main character, despite my initial misgivings about one of these games without a character creator. Wolf is kind of a lovable chuuni dipshit who tries his best in completely unreasonable circumstances and having him as an anchor lets Sekiro's story be more personal and self-contained in nature than the heady cosmological epics of the Souls games, which was a nice change of pace. Ultimately, though, I just find ineffably weird nature of the earlier titles to be a bit more interesting than shinobi and samurai, which is why Sekiro gets an honorable menchie and not a top spot. Don't get me wrong though shinobi and samurai are dope and Sekiro is not a -worse- game for their inclusion. It's just a matter of personal preference, and I could easily see this game taking a top spot on somebody else's list.

Pokemon X and Y

I am a Pokemon bitch. I play all of them, except for black/white 2 and ultra sun/moon, which seemed too similar to their predecessors to really justify spending my precious, jealously guarded money on them. I feel that in general, X and Y has overall, the best mix of available pokemon, world design, music, Fun Little Things, and general game flow of all of them. Sword and Shield excepted I am still in the middle of that one. Pokemon is absolutely kind of video game comfort food, and its kind of just. There's not a lot to it emotionally, though it does have some fairly in depth mechanics and shit if you want to look into it. I don't know I just really liked X and Y. I felt like it deserved mentioning.

Blade and Soul

This game is awful I'm pretty sure but I have so many fond memories of playing it with people I love and creating a ridiculous titty oil monster and having adventures with her sorry i'm trash

So there you have it. A very personal (sometimes maybe probably too personal) look at the ten games that I found to be the best that came out in the last ten years. Now, I usually consider my opinions on these things to be fairly well reasoned, but in this case, I did rely a lot more on the touchy feely qualitative things that are really important to me over the necessary but lamentable "yes i suppose this game is technically competent and plays extremely well" considerations a more objective list of this kind would entail. So you're free to disagree and think I'm stupid and wrong. I would prefer it if you did not think I was stupid, though, but the fact of the matter is I cannot stop you. Here's to another ten years of wonderful games that make us feel things.

[commodorecliche]

Gimme all the book recs Please :D

yaaaaaaaaaaaas okay great. i love sharing books i love.  

1. The Thief of Always - Clive BarkerGenre: Dark FantasyBig personal favorite of mine. My father read this to me when I was a kid, and it literally has stuck with me since then. Every now and then I go back and reread it just for fun. It’s a wonderfully spooky little story, accompanied by some really lovely and somewhat off-kilter illustrations. Much like Coraline, it’s a novel that is a fable for children, and a tale of terror for adults.

After a mysterious stranger promises to end his boredom with a trip to the magical Holiday House, ten-year-old Harvey learns that his fun has a high price.

2. House of Leaves - Mark Z. DanielewskiGenre: Postmodernism, horrorHands down an absolute favorite. This is a book I literally recommend to everyone. This is a book that made me viscerally uncomfortable, at times I didn’t even sleep in the same room as it. I made it sleep in the living room. There is nothing overtly terrifying about the book, but its format and its unsettlingly immersive nature will lead you down a road unlike any other. 

In 1997, Johnny Truant has stumbled upon a chest full of scrap papers that had once belonged to a man named Zampono. The papers aren’t just scraps though, they’re a chaotic but detailed transcription of a series called the Navidson Record. The Navidson Record is a series of videos made by a family who has discovered that their new house appears to change dimensions almost daily, it has hallways that shouldn’t exist, doors that should lead outside but instead lead into nothingness. Johnny attempts to re-order and reconstruct Zampono’s papers, and along the way begins to lose himself as well. 

3. The Postmortal - Drew MagaryGenre: Science Fiction, Postmodern DystopiaReally funny, really dark, and full of a surprising amount of morality and humanity in a pre-apocalyptic world. 

Imagine a near future where a cure for aging is discovered and-after much political and moral debate-made available to people worldwide. Immortality, however, comes with its own unique problems-including evil green people, government euthanasia programs, a disturbing new religious cult, and other horrors.    

4. Horrorstor - Grady HendrixGenre: Comedy, HorrorHonestly this book is just balls to the wall fun. It’s a horror novel that’s laid out like the world’s most messed up IKEA catalog. Spooky at times, ridiculous and funny, at times moving, while also offering great social commentary on consumerism and the the current status of retail workers. 

Something strange is happening at the Orsk furniture superstore in Cleveland, Ohio. Every morning, employees arrive to find broken Kjerring bookshelves, shattered Glans water goblets, and smashed Liripip wardrobes. Sales are down, security cameras reveal nothing, and store managers are panicking. To unravel the mystery, three employees volunteer to work a nine-hour dusk-till-dawn shift. In the dead of the night, they’ll patrol the empty showroom floor, investigate strange sights and sounds, and encounter horrors that defy the imagination. 

5. Rant - Chuck PalahniukGenre: Science Fiction, Horror, SatireThis is a book I read several years ago and that I still think about from time to time. I haven’t had time to sit down and reread it, but parts of it still resonate with me today. This is a very peculiar story and it is told in a rather peculiar fashion (it is an oral history, and as such is told in a very conversational way by a number of different characters with a wide variety of thoughts and opinions on the titular Rant. It’s hard to properly describe this book, but let’s just say it’s been in my reread list for a while now. 

Buster “Rant” Casey just may be the most efficient serial killer of our time. A high school rebel, Rant Casey escapes from his small town home for the big city where he becomes the leader of an urban demolition derby called Party Crashing. Rant Casey will die a spectacular highway death, after which his friends gather the testimony needed to build an oral history of his short, violent life. 

6. John Dies at the End - David WongGenre: Comedy, Horror, Dark FantasyHoly god what do I even say about this book? It is just hilariously and marvelously insane. A perfect mix of cosmic fantasy, horror, comedy, and lunacy, and I loved every minute of reading it. I still have the rest of the series lined up to read, too!

The drug is called Soy Sauce and it gives users a window into another dimension. John and I never had the chance to say no. You still do. I’m sorry to have involved you in this, I really am. But as you read about these terrible events and the very dark epoch the world is about to enter as a result, it is crucial you keep one thing in mind: None of this was my fault. 

7. Sphere - Michael CrichtonGenre: Science Fiction, Deep Sea HorrorThis is one I actually JUST finished, and I absolutely adored it. I had a couple small complaints about it, but overall, it was a wonderful read and very engrossing. Plus, I’m always a sucker for deep sea horror. 

A group of American scientists are rushed to a huge vessel that has been discovered resting on the ocean floor in the middle of the South Pacific. What they find defies their imaginations and mocks their attempts at logical explanation. It is a spaceship of phenomenal dimensions, apparently, undamaged by its fall from the sky. And, most startling, it appears to be at least three hundred years old…. 

8. I, Lucifer - Glen DuncanGenre: Religious Fantasy, Occult FictionThis book is incredibly well researched, thought out, and characterized, as well as funny and extremely thought-provoking. I’d never expected to see a story that would give me a realistic and modern look into the Devil’s side of the story. I especially never expected to see a story that would make the Devil learn what it is to be human, either. All in all just an A+, fantastical read. 

The Prince of Darkness has been given one last shot at redemption, provided he can live out a reasonably blameless life on earth. Highly sceptical, naturally, the Old Dealmaker negotiates a trial period - a summer holiday in a human body, with all the delights of the flesh. The body, however, turns out to be that of Declan Gunn, a depressed writer living in Clerkenwell, interrupted in his bath mid-suicide. Ever the opportunist, and with his main scheme bubbling in the background, Luce takes the chance to tap out a few thoughts - to straighten the biblical record, to celebrate his favourite achievements, to let us know just what it’s like being him. Neither living nor explaining turns out to be as easy as it looks. Beset by distractions, miscalculations and all the natural shocks that flesh is heir to, the Father of Lies slowly begins to learn what it’s like being us. 

9. The Wasp Factory - Iain BanksGenre: Psychological HorrorLook, I want to say this right off the bat. This book is… not for everyone. Trust me when I say this is an extremely dark book with a lot of dark content. I would say that if you have any potential triggers, you may want to message me first and I will give you a better rundown of what all this book entails. This is a true piece of horror fiction. But it’s also incredible. I ate this book up in about two days and it is one of my favorite pieces of dark fiction to date. So yeah, chat with me if you have any concerns, but if you enjoy truly dark fiction, then this is up your alley. 

Two years after I killed Blyth I murdered my young brother Paul, for quite different and more fundamental reasons than I’d disposed of Blyth, and then a year after that I did for my young cousin Esmerelda, more or less on a whim. That’s my score to date. Three. I haven’t killed anybody for years, and don’t intend to ever again. It was just a stage I was going through. 

10. The Hitchhiker’s Guide to the Galaxy - Douglas Adams (the whole series, trust me)Genre: Comedy, Science Fiction, Cosmic FantasyJust trust me when I say this is a series that literally everyone should read at least once in their life. They are unflabbably hilarious in a way that only Douglas Adams could be, and they are just truly unique. This series is (rightfully) a classic and shouldn’t be missed. 

Seconds before the Earth is demolished to make way for a galactic freeway, Arthur Dent is plucked off the planet by his friend Ford Prefect, a researcher for the revised edition of The Hitchhiker’s Guide to the Galaxy who, for the last fifteen years, has been posing as an out-of-work actor. Together this dynamic pair begin a journey through space aided by quotes from The Hitchhiker’s Guide (���A towel is about the most massively useful thing an interstellar hitchhiker can have”).

11. World War Z: An Oral History of the Zombie War - Max Brooks Genre: Zombie horror, Faux HistoryI beg you - do not judge this book by the very terrible movie that was made about it. It is an entirely different animal than that mess of a movie, I promise. World War Z is a masterfully crafted book that details the zombie apocalypse in ways never before done in fiction. The Battle of Yonkers scenes and the testimony of Tomonaga Ijiro still stick in my head to this day. This book is a triumph of horror, ‘history’, and humanity, all balled into a distinctly unique experience. 

The Zombie War came unthinkably close to eradicating humanity. Max Brooks, driven by the urgency of preserving the acid-etched first-hand experiences of the survivors from those apocalyptic years, traveled across the United States of America and throughout the world, from decimated cities that once teemed with upwards of thirty million souls to the most remote and inhospitable areas of the planet. He recorded the testimony of men, women, and sometimes children who came face-to-face with the living, or at least the undead, hell of that dreadful time. World War Z is the result. Never before have we had access to a document that so powerfully conveys the depth of fear and horror, and also the ineradicable spirit of resistance, that gripped human society through the plague years. 

12. The Raw Shark Texts - Steven HallGenre: Fantasy/Realism, Meta-fiction, MysteryThis is a tough one to put into words. I read this many years ago, and I remember it more as a series of emotional experiences rather than just as a singular plot. Which I think really speaks to its character as a book. This is a book that deals with dissociation, memory loss, our sense of self, how easily we can lose that sense, and our struggle to hold onto or to rediscover the world we know and the people we believe ourselves to be. This book is just… an experience, much like House of Leaves. It’s immersive, and at times quite unsettling. 

Eric Sanderson wakes up in a house he doesn’t recognize, unable to remember anything of his life. All he has left are his diary entries recalling Clio, a perfect love who died under mysterious circumstances, and a house that may contain the secrets to Eric’s prior life. But there may be more to this story, or it may be a different story altogether. With the help of allies found on the fringes of society, Eric embarks on an edge-of-your-seat journey to uncover the truth about himself and to escape the predatory forces that threaten to consume him. 

I think 12 should be good for now! I certainly have more though, if you want them!! 

Bonus, Currently Reading: The Library at Mount Char - Scott HawkinsGenre: Contemporary Fantasy, Horror, Dark FantasyI don’t have a whole lot to say about this yet since I’m not very far into it, but so far it’s been extremely intriguing, and Hawkins’ writing is truly beautiful. 

A missing God. A library with the secrets to the universe. A woman too busy to notice her heart slipping away. Carolyn’s not so different from the other people around her. She likes guacamole and cigarettes and steak. She knows how to use a phone. Clothes are a bit tricky, but everyone says nice things about her outfit with the Christmas sweater over the gold bicycle shorts. After all, she was a normal American herself once. That was a long time ago, of course. Before her parents died. Before she and the others were taken in by the man they called Father. 

Bonus 2, Up Next to Read: Dark Matter: A Ghost Story - Michelle PaverGenre: Horror

January 1937. Clouds of war are gathering over a fogbound London. Twenty-eight year old Jack is poor, lonely, and desperate to change his life, so when he’s offered the chance to join an Arctic expedition, he jumps at it. Spirits are high as the ship leaves Norway: five men and eight huskies, crossing the Barents Sea by the light of the midnight sun. At last they reach the remote, uninhabited bay where they will camp for the next year, Gruhuken, but the Arctic summer is brief. As night returns to claim the land, Jack feels a creeping unease. One by one, his companions are forced to leave. He faces a stark choice: stay or go. Soon he will see the last of the sun, as the polar night engulfs the camp in months of darkness. Soon he will reach the point of no return–when the sea will freeze, making escape impossible. Gruhuken is not uninhabited. Jack is not alone. Something walks there in the dark… 

(also if any of y’all have read these, i’d love to hear YOUR thoughts on them too)

[syzygyzip]

His Cage pt. 2: Wheel of Fortune

This essay may be read on its own, but it is a follow-up to another essay which psychoanalyzes the figure of Holy Knight Hodrick, a character from Dark Souls 3. In this section, the method and purpose of Dark Souls analysis comes under investigation, catalyzed by other images from Hodrick’s environment.

Hodrick as meta-critique of Freudian psycho-interpretation

Dark Souls 3 is known for its skillful, self-reflexive commentary; this game is keenly aware of the subculture that surrounds it. That in mind, what are we to make of the relatively blatant symbolic suggestiveness of Hodrick and the Greatwood? Perhaps their on-the-nose imagery is a reaction to analysis of previous Dark Souls games: the castration narrative is often cited in symbolic interpretation of Dark Souls 1, and the birth canal-esque passage of Dark Souls 2’s tutorial area is a classic introduction for people that play around with interpreting Dark Souls psychologically. And surely those myths and images are semi-intentional, relevant, and illuminating, but they are by no means the place to stop. This lore video points out how the vertebrae shackles collected by Mound-Makers resemble inkblots, the old psychoanalytic tool etched into the cultural memory as an image of Freudianism. One “reads out” of the inkblot the contents of their own unconscious. The understanding of projection, and the compensatory nature of the unconscious was one of the most significant discoveries at the dawn of psychology. Dark Souls could symbolize the principle of this discovery in a number of ways, but it is very intentional with its images, so when it decides to show us an inkblot in particular, the historical context is helpful. It’s an old and simple technique, which traces only the broad strokes of the analysand’s complexes. Likewise, Hodrick, the Greatwood, and Mound-Makers provide the interpreter with the rudiments for symbolic exploration of Dark Soul environments. 

Though this area is introductory, it is – like any part of the unconscious – inexhaustible in its depth and generous in its mutability. Consider the amorality of the Mound-Makers. Are they good or evil? Vicious or tender? Sustainers of maya or karmic accelerationists? There is so much room for the player to read into this allegiance a preferred moral perspective, at least partially determined by the general attitude the player keeps in regards to the slaughter of enemies. For the totally “unimmersed,” Dark Souls is a game and a game only, to be played, poked, prodded, to be mastered and speedran, and in that case of course any covenant is merely functional, there to surround and present a mechanic. For that player, the Mound-Makers are truly amoral. But for those who roleplay, who make at least some of their choices based on the imagined ethics of their avatar (despite extremely scarce moral responses from the game itself!), the issue is a little more complicated. Those who are simply in the habit of asking themselves, “Do I want to ally myself with this person’s values?” will not find an easy answer. On the surface, the covenant is abhorrently nihilistic, but a seasoned player may come away with a different take. So in this way the Mound-Makers, like the inkblot, are a measure of a player(/-character)’s feeling-involvement, which is itself born out of the player’s interpretational attitude.

When analyzing an object in a video game, always take into account the method by which it is encountered! Though the route to all this Freudian material in the Undead Settlement is a little arcane, it needs to be. The cryptic riddle about “Nana”, the obscure side-streets: these are there to make the player feel as though they are uncovering something secret. The obscurity is baked-in to make obvious that this material is repressed.

Though the riddle is strange, it is spoken aloud to the player, which is actually quite a telegraph by Dark Souls standards. The handiness of this secret is also metaphorically descriptive of this level of interpretation. If one stops at the purely Freudian: the mother, the father, the phallus, then they will project that schematic onto every available target. They will see reality as nothing more than a circus of oral fixations and castration dramas. If this stage of psychoanalysis is not passed through, it is nothing more than another cage to be carried around. It is the most rudimentary place to get stuck in the engagement with the unconscious.

The Armory of Symbols

What are we to make of the fact that the treasure of this area is the transposing kiln? This round thing, this simple, Arthurian symbol of the Self? It is both representative of the totality, and a totally profane and reductive simplification. I’ll explain what I mean by that.

On the one hand it is a true grail, because it has the capacity to turn the game’s hardest challenges into new tools. This is a fantastic life lesson, fundamental and perennially true. It is the pure gift of interpretation. It is said that the Buddha, in his realization that there is nothing outside of Nirvana, thereby saw that even the most torturous experiences of life, and the most unforgiving realms of Hell, were not apart from Nirvana, and that seeing them in this way thereby rectified this subjective experience of being in Hell. Once it was rephrased as Nirvana, it was always Nirvana, because all the suffering was born out of false views. Anyway, that is a very lofty height of interpretation, but one can see the boundlessness of the tool. That when the true cosmic appropriateness of an instance of suffering is groked, it is changed. On the other hand, transposition is a cheap parlor trick. It changes the essence of a boss into a weapon. It really only does one thing. Some of these weapons are useful, and most are flashy. It is almost mandatory for these weapons and spells to have a unique gimmick. So most of the time they convey to the wielder some unique flavor, some specific characteristic to consider, but even collecting such interpretations as these is merely a “building a collection.” Pinning down butterflies into a glass case. It is really no different than stockpiling corpses as Hodrick does. This device encourages the player to keep fighting, collecting, stacking bodies, finding new and interesting ways to kill people.

And ultimately, the same is true of collecting symbolism. Stockpiling a collection of unused weapons is no more or less a perversion that keeping a catalogue of archetypes for its own sake. The psychological interpretation of Hodrick, the Greatwood, and their unsightly tableau is relatively simple and straight-forward because it is meant to provide the player-interpreter with an introduction to the technique. The “game” of symbolic analysis is pointless if you spend your time taking potshots.

Wheel of Fate

Understanding the symbolism of the Mother through the eyes of Hodrick may be relatively simple, but the Undead Settlement also provides us with a more complex and transpersonal variation of the birth motif, localized at the far edge of town, hidden in a valley below. There we find catacombs tunneled into the rock, reminding us of the community of villagers who labor all day burying their dead. The Great Mother is thereby invoked, in her role which deteriorates form, which composts. The bodies decay, return to the Earth, and nourish new life. We see the skeletons sprouting branches in this dank place.

Also in the catacombs there are the dual figures of Irina the saint and a statue of Velka, goddess of sin, both of whom sit abandoned. The juxtaposition of these two sacred feminine figures is symbolically dense and deserves its own essay, but I mention it here as an echo of Kristeva’s philosophy that we passed by earlier: that of the child’s necessary bifurcation of the Mother into sublime and abject.

Velka alone is highly useful here, amplifying the Great Mother motif to a vast and cosmic context. Velka is a notoriously elusive figure in Dark Souls: she is never seen, rarely spoken of, her motivations are unknown, her ontological status unconfirmed, her objects and attributes seem to contradict each other. Nevertheless she is a crucial if not essential force in the world, and her presence can be inferred for those with eyes to see.

The main Velkan element that should be addressed here is her association with Karma, which is perhaps her principle attribute. From the beginning of DS1, she is introduced as governess of ethics, law, and equity. She explicitly oversees sin, guilt, and retribution. What practices are promoted through this governance? Mechanically, there are primarily two: keeping track of invasion penalties (in DS1) and resetting the world. If you incur penalty as an invader, the Blades of the Dark Moon will find you and punish you. So Velka prolongs and complicates PvP dynamics.

Resetting the world is an effect Velka provides that suggests forgiveness. If you aggro an NPC, and wish to get on good terms with them again, Velka allows that condition. In this way too, Velka is prolonging interpersonal relationships, but it is the relief of debt rather than the accruing of debt. Velka keeps the cycle going, she is like a keeper of the wheel that turns the age. In Dark Souls 1 a statue associated with Velka turns with the cranking of a wheel, in a room full of bonewheel skeletons. In Dark Souls 3, a similar statue turns with the cranking of a wheel in a room full of flies. In both cases, the wheel is hidden in a wet chamber behind an illusory wall. This suggests that behind the façade of the world, there is a primal place from which time is manipulated (though in this case it is but a single “tick” of the clock, an off-to-on switch which causes a fixed rotation).

Does Karma cause the rise and fall of the great ages? Is the distribution of karma the grease that turns the wheel of the world? It does seem to be that desire is what sustains the age of fire. Consider the enemies in the place where the wheel turns: bonewheels, who cling to their instruments of torture, to their suffering; flies, who bury themselves in a mountain of rotted food, a symbol of greed.

The skeletons who throw themselves into combat, and the flies which gorge on their rotting piles: either is a handy metaphor for Hodrick. His lust for the battlefield is another way of keeping himself stuck on the wheel of Samsara, collecting those shackles, representing the Velkan attachments of karma. Velka’s totem, the Raven, is found in flocks on a ravaged cliff in the settlement, among a wealth of corpses to be looted. The Raven is “associated with the fall of Spirit into that which is impure and enjoys carnage […] To raven is to plunder. This is what the word means. To have a ravenous appetite suggests greed and lust and insatiable desires.”(Valborg) Ravens keep the circus of suffering going!

Grist for the Mill

Velka is a bleak goddess, associated with “lifehunt”, the capacity to drain the essence of life, dreaded even by the gods. For this reason one of her attributes is the scythe, so she is something of a reaper figure. But we have seen she is also life-giver and sustainer, through her arbitrage of karma. This ambivalent nature is expressed by the Raven, which is a solar bird yet dyed deep black, who is cruel and enjoys carnage, yet in many myths is associated with the bringing of light and the creation of a new world.

The raven flies to and fro between the solar orb of eternal life and the dying eyes of man in time. He mercilessly pecks away at the delusions formed like veils over the cornea's shield until he penetrates to the darkness of the pupil's cavity and releases the invisible light within. (Valborg)

If the goal of Dark Souls is the realization of the Dark Soul -- the unique potential of the human being -- then perhaps Velka and her karmic processes are meant to midwife that birth as well. Could all the weight of karma, the pain of enduring a body, the cruelty of life’s entropic march … could it all be in service of birthing the Anthropos? It would explain why the Lords of Dark Souls are so antagonist to the Ashen One -- in Gnosticism and Buddhism the makers, the deities, are said to envy the actualized human being. And to be fair, the theme of surviving hardship and loss is central in Dark Souls’ reputation, and something to which countless players can attest, on practical or psychological levels (eg: “Dark Souls Helped Me Overcome Depression”).

Identity Riddles

I am the one who is disgraced and the great one. Give heed to my poverty and my wealth. Do not be arrogant to me when I am cast out upon the earth, and you will find me in those that are to come. And do not look upon me on the dung-heap nor go and leave me cast out, and you will find me in the kingdoms. And do not look upon me when I am cast out among those who are disgraced and in the least places, nor laugh at me. And do not cast me out among those who are slain in violence.

But I, I am compassionate and I am cruel. Be on your guard!

Do not hate my obedience and do not love my self-control. In my weakness, do not forsake me, and do not be afraid of my power.

-- excerpt from The Thunder, Perfect Intellect ca. 100-230

The abject Mother sits at the edge of the symbolic order, in fact it is her abjection that positions the boundaries of that order, yet it itself does not accept boundary. “Abjection preserves what existed in the archaism of pre-objectal relationship, in the immemorial violence with which a body becomes separated from another body in order to be” (Kristeva 10), referring to birth and symbolized by the Hodrick and Greatwood scene, but beyond that it also refers to the Dark Souls creation myth: the archaism in that case being the undifferentiated fog of arch-trees and everlasting dragons in the Age of Ancients. For there to be matter and objects, psyche (dragons etc) must be born into time. Once psyche has materialized itself upon the wheel of time, it cannot exist in immediate, gestalt totality – it moves and changes, expressing its fullness over aeons through its becomings. But everything must be accounted for; Karma only brings what is due. The mystery of how psyche is refined by its extension into matter will likely stay with us until the “end” of time. But with common sense we can suppose that the condition of duration allows things to be taken apart and put back together, and that at least in our mundane lives that process frequently brings about some freshness in the object. But neither the meaning nor mechanics of the larger karmic process can be groked, just as Velka and the Mother are archetypes who inherently escape the fixidity of signification. The ultimate force of taking things apart, entropy – symbolized again by the raven and its desecration of corpses – is something that has been deeply culturally villainized, and it usually takes a second to stop and consider how the diffusion of matter engenders the condition for new forms to grow.

[Ravens] tell of the renewal of the world in terms of the past which is yet to be. The unwanted Truth is told and its insatiable desire to express itself may produce terror and loathing in one who is not prepared to give up all to its insistent glare.

This is keeping with Kristeva’s view of the abject as the eruption of the Real into consciousness. Aside from their role in pecking open an aperture of light, crows have another specific job in the renewal of the world, as described in a number of myths: measuring the size and extent of that world, flying in “progressively longer intervals in order to estimate and report on the increasing size of the emerging earth.” The extremes of incarnation, the edges beyond which dwells the abject, are scoped out in order to create the blueprint; the raven brings knowledge of the schematics.

Interpreting by Attention

And what about our own schematics? We’ve thrown away our tools – the colorful cast of characters transposed into weapons of interpretation – but perhaps it’s time to pick them up again. We cast them off because we didn’t want to fix the Dark Souls myth through explanation. Archetypes cannot be superimposed, prefab, onto a tableaux of psychological symbols. Interpretation is rather the act of elaboration: flying, as the raven does, around and around a widening and changing arena, reporting back continually new understandings of what is appropriate.

The meaning of a game is determined by what a player thinks and feels while they play it. What decisions they make, what their attention lingers on. The game is the inkblot. There are special times when the game insists upon a subject, like a film: for instance, when the crank is turned and the Velka statue rotates. But such a sequence has a different meaning in games than it does in film, because of its context: it anchors a player to a single necessary and unchanging action in the context of a world that is typically responding to their decisions with nigh-unrepeatable novelty. The fixedness of the cinematic exposes the malleability of the rest of the game. “Velka” is an approximation, an aggregate; she is not the same goddess in each playthrough, the scope and the flavor of her influence is always changing – but it is always reflecting the actions of the player.

So how then, can we arrive at a judgment regarding Hodrick? We can’t, because again, each player’s experience of him is different. Earlier I implied that Hodrick is clinging to the world, out of horror and alienation in regards to the Mother figure, and that his killing spree is only building his attachments, keeping him fixed to the wheel of incarnation. So what is the difference between his wild manslaughter, and Velka’s own penchant for carnage and lifedrain? Only the intent:

The transformation of relationship can come about through a genuine understanding of the difference between murder and sacrifice. Both kill or suppress energy, but the motives behind them are quite different. Murder is rooted in ego needs for power and domination. Sacrifice is rooted in the ego’s surrender to the guidance of the Self in order to transform destructive, although perhaps comfortable, energy patterns into the creative flow of life. (Woodman 33)

But see, it is only the inner experience of the act that has authority. In my view, Hodrick’s actions are clearly ego-driven, but another player with different exposure to this character could come away with a different impression. And the archetype speaks through the individual encounter itself, not through lore videos, essays, or any other metatext. This is a crucial function of video games that bears repeating and is rarely addressed. Games commonly use the act of killing as a metaphor for the transformation of relationship (the very notion of EXP hinges on that). The unconscious is receptive to these mutations regardless, but the nature of the effect is dependent on the conscious attitude of the player.

Kristeva, Julia. Powers of Horror. Columbia University Press, 1980.

Layton, Bentley, ed. The Gnostic Scriptures. Yale University Press, 1995.

Valborg, Helen. The Raven. Theosophy Trust, 2013.

Woodman, Marion. The Ravaged Bridegroom: Masculinity in Women. Inner City Books, 1990.

[nicrt]

} How a King Dies

Was this how all kings die? By flames, ash and embers; In lightning, nimbus and thunder. (There was no light, no darkness, no end, not yet.) With ichor burning through them, Magicked blood running too hot, Within the walls of mortal veins. (It melted away the steel of a soul.) Growing old one second too quick, Turning minds, skin and bones, Into hues of regal grey and gold.   (Not pretty, never pretty, an ugly, ugly truth.) In fear of what's to come, Death that looms above like A pendulum forged into a blade. (Tick, tock, drip, drop; a life starts to stop.) Born to be a conduit of power, Just one more simple tool, In the gods' game of fates. (Cursed into being a pawn immortal.) Lonely is the one who seats a throne; Heavy is the one who wears the crown; Doomed is the one who wields the ring. (There are oaths to keep and prices to pay.) This was how a king dies, Quickly, lonely, painfully, unfailingly; Once promised by scourge and light. (Adrift in the realm of the uplifted undead, Even in death there was no peace or rest, How cruel, how wrong, how unfair.) This was how a king lived their lives; Live, then die, then live, and die; Snuff out their lights out for new dawn’s rise.

Commentary: I don’t know how to poet or prose.

[alonebadman]

Dark Souls Trilogy: World-building, Story, and Rendition

Dark Souls is an incredibly popular dark fantasy action RPG series. Created in 2011 as a spiritual successor to niche hit, Demons’ Souls, the game garnered a cult following. Dark Souls II, released in 2014, became the game that put the series on the map with solid first year sales, mixed reviews, and a suitable DLC story/addition. Dark Souls III, released in 2016, combined the best elements of I and II, returned to the original setting, and for now, closed out the story of the Dark Souls Universe.

More than its brutal gameplay, fancy armors, and quality memes, Dark Souls is considered one of the best “stories” in recent games history. Many fans, myself included, attribute this to its extensive item descriptions, visual storytelling, and quiet but whole character arcs. The game’s lore presents a fully fleshed out Germanic style dark fantasy world. The games all together tell countless millennia of an entropic cycle of forces, sacrifice, and the spectrum of good and evil.

But does Dark Souls as a whole tell a good story? Or is it simply an illusion of clever world-building and the game’s visual experience? I would say yes and no. I’ll break this down game by game.

Dark Souls (2011): The first game in the series. A Twilight of the Gods style story where a millennia ago, strange humanoids discovered the powerful Lord Souls, became walking gods, and overthrew the Dragons. As the gods carved up the world, one race (humanity) was subject to become their servants and vassals. The game’s world follows a relatively traditional dark/high fantasy golden age that lasts for a thousand years. Unlike most fantasy settings though, things go from bad to oh shit by the time the game begins. A hundred years have passed since the appearance of the Darksign, a swirl like mark that brands humans and curses them with undeath. These Undead, soul devouring monsters, are shepherded away to various prisons around the world. The First Flame fades, and you, a nameless undead, are tasked with saving the world.

Dark Souls has a pretty standard 90s fantasy plot: kill several powerful figures, collect a macguffin, and then fight NotOdin/Zeus at the origin of life. That’s simplifying it but that’s the core of DS’s story. As a whole, DS is light on actual narrative but heavy on lore, world-building, and little subplots. There are very few elements that are original (basilisks, skelly men, necromancers, dragons? Pretty much your standard DND setting). However, the game’s rendition of those familiar elements is what makes it relatively unique. You play an Undead, you’re not expected to succeed, the world is dying, and your allies are as crazy or shady as you are. The game doesn’t provide much roleplaying other than yes/no responses, and what people you can attack/kill. Most subplots are quiant and sad but don’t have as much impact as hardcore fans would believe. Some characters have no resolution (Quelaan?), and it becomes irksome. Artorias of the Abyss is actually more satisfying given your role in the world, the supporting cast having small arcs/resolutions, and a genuinely satisfying ending to a standalone story that provides massive setup for the second game. The original game’s two endings are ambiguous and led to fan theories for three years...

Dark Souls II (2014): My favorite of the trilogy. Many fans find II a mixed bag gameplay, lore, and storywise. The reason why Dark Souls II I believe is the best of the trilogy is because it tells its own take on the core myth, develops an interesting setting influenced indirectly by the previous game’s sidestory, and expands upon certain world building elements (The Curse, The Abyss, The Cycle). II follows the story of the latest kingdom to rule the current age. Drangleic is ruled by King Vendrick, a beloved human king who used his strength to subdue foreign giants and claimed a foreign woman as his bride. He built a great kingdom, gained great insight into the soul, and he reigned well. Like before, the Undead Curse arises. Unlike I, the gods are oddly absent. Humans are the dominant race of the age, and it reflects in its setting. Drangleic is built on the ashes of previous kingdoms. Most locations you visit/traverse, are ancient kingdoms conquered, controlled, or left to rot by Drangleic. Most of the enemies are humans twisted by the curse, became demons of their own accord, with a mix of traditional setting enemies like dragons and chaos demons. II’s story is all about humanity, what it means to be human, and what it takes to break the curse. II isn’t perfect. The NPCs are slightly blander save Benohart, Lucatiel, and the memey Gavlan.

However, II’s best NPCs are easily Vendrick and Aldia. Unlike in I where you fight Gwyn, II allows you to meet and actually form a relationship with Vendrick that leads to a pleasant lore/story resolution. Unlike in I, Vendrick is cursed by the time you meet him. He is pitiful and there’s no grand battle like Gwyn. In the Crowns DLC, you mentally travel back in time and meet Vendrick before he hollows. Vendrick is an incredibly sympathetic and nuanced character. Prideful, remorseful, and despondent, he provides a ton of information, commentary, and essentially guides your character to become his successor. Aldia, his elder brother, is very much the same but ties back to I’s plot. He tried to escape the cycle Gywn created but failed. Immortal and undying, he challenges you to look beyond the cycle and perhaps find another path. In the updated ending, Aldia is the final boss of the game. While not a particularly great boss fight, thematically, Aldia is a threshold guardian. He’s curious why you do what you do. You’re not of noble blood, of great fame, you’re a nobody. But as the game reinforces its primary theme, you stand before him, slayer of the Kings of your age, and conqueror of Dark, a man or woman with no great claim, has the potential to inherit the throne. There are two endings: inherit the world’s order (link the fire or become the new dark lord), or, like Aldia and Vendrick, the game’s second ending is one of the best endings I’ve seen in a story, regardless of what medium. It encapsulates the game’s story and themes in a fitting narration by Aldia. There is no real path to breaking the curse, others have tried and failed, but like your mentors before you, you endeavor to seek what lies beyond humanity’s cursed fate. It is a bittersweet ending to a story that does not need a sequel.

Dark Souls III (2016): Set in the final Age of Fire, you are an Unkindled, an Undead who linked the First Flame but was reduced to ashes. Reborn in an unmarked grave, it’s your task to kill and retrieve the ashes of the most recent Lords of Cinders. III is interesting. It feels like what II should have been and II feels like what III should have been. Unfortunately, II’s story is largely downplayed/ignored in favor of I’s Gotterdamung plot. As a whole, III has a slightly better cast of characters but a somewhat weakened plot compared to I and II. While the game returns to the conflict of the gods and humans, it borrows liberally from II’s elements, themes, and conflicts. It feels like Miyazaki took what he wanted from II and repurposed them for III.

III’s cast is a quirky bunch of outcasts, expies, and returning characters from previous games. They are interesting but some have rather boring outcomes, repeated plot elements, and dead end stories like II’s weaker NPCS. The best npc is the game is Yuria of Londor. A founder of the Sable Church, she helps guide you to what is either the best ending or worst, depending on your interpretation. Yuria is a Darkwraith, a follower of Kaathe from I. Despite her ominous personality (killing a would be rival with little evidence doesn’t exactly inspire confidence), she is surprisingly well meaning. If you complete her questline, she becomes devoted to you and implores you to free humanity by becoming a new type of Lord. What III excels at is its final conflict and four different endings. While II still remains my favorite thematic ending, III provides four different satisfying conclusions to the trilogy as a whole. The first in the traditional link the fire, and keep the world running. Same as before, but the flame is very weak. The second ending splits between two endings. One, you let the fire flame finally die, and darkness settles in. It is implied a new flame will ignite one day born of the dim ashes left behind. Some people interpret this as you and the Firekeeper being the only two characters left in the world, which makes zero sense, given humans can and have survived close to the Dark. It is a somber ending but a rather fitting one. The other is the dickhead ending. You kill the Firekeeper, steal the First Flame, and essentially enjoy the end of the world.

The final ending is arguable a conclusion to II’s break the cycle. The Sable Church has weird connotations (true monarch? spouses? It all sound similar to Vendrick and Nashandra’s story but who knows?). After defeating the final boss, you literally become a vessel for the first flame, absorb its power, and stand over the ashes of the first flame. The dying sun turns a dark sun with a white ring, reflecting the Dark Sign. Yuria, your spouse, her sister, and various reused Hollow NPCs bow before you. She implores you to make Londor whole. It is supremely badass and ominous but unfortunately doesn’t give you much closure. It’s clear you’ve broken the cycle Gywn created but at what cost? Once again, Souls’s often ambigious endings are great food for thought but can be frustrating for what was advertised as the final entry in a series.

The two dlcs tell a standalone story that connects back to I’s world myth. It recontextualizes many characters, the history of the world, and provides an explanation for the origin of the curse. The final battle of the DLC is arguable a perfect end to the end. Two nobodies fight each other, both seeking the same goal, at the end of the world. Honestly, it is a very good thematic end to the series as whole.

Dark Souls as a whole is flawed story. It often lacks proper closure, introduces dangling elements never explored, and it’s fill in the blanks storytelling can lead to wonderful headcanons that are none the less fan-fiction. However, Dark Souls is a monomyth. It is extremely similar to the Legend of Zelda. Each game is a sequel to the previous but essentially tells a different interpretation of the monomyth. And this is why Dark Souls exceeds its flaws. Each game tells a different version of the core story. It is similar to traditional myths from antiquity. Dark Souls is not a perfect story but it is an interesting one that tells three different versions of the same story. It is also a great rendition of high fantasy juxtaposed with the Dying Earth.

[aion-rsa]

How The Living Dead Completes Romero’s Zombie Legacy

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George A. Romero figuratively wrote the book on zombies with his low-budget, independent 1968 horror film epoch Night of the Living Dead. World War Z, 28 Days Later, Zombieland and even The Walking Dead trudged that territory but didn’t map much new terrain. Romero’s final novel, The Living Dead, completed by author Daniel Kraus (The Shape of Water novelization), doesn’t expand on the basics of the zombie apocalypse. It doesn’t challenge the zombie trope Romero filled out with his subsequent works on animated corpses, when The Living Dead had their Day, Dawn, Land, Diary and Survival. But, with it, Romero and Kraus do peer deeper into the mirror to find a bitter reflection of the horrors Romero brings out in The Living.

The Living Dead is character-driven in ways the feature films could never be. In Night of the Living Dead, the audience didn’t know, nor would they have cared, whether Helen Cooper (Marilyn Eastman) put on weight after marrying Harry (Karl Hardman). But we know this about Rosa, the wife of novel protagonist Luis Accocola, the Assistant Medical Examiner who logs the first case of reanimation in The Living Dead. We also know Luis paid for Rosa’s education and had to wait to marry her because she was so much younger than him. We know Rosa suffered a miscarriage long before the recently deceased became the ambulatory diseased.

We’ll never know if “They’re Coming to Get You” Barbra (Judith O’Dea) ever dreamed of dancing with Fred Astaire at night. But we know Luis’s assistant Charlene Rutkowski recoils from the very sight of Astaire when her mother Mae tunes in to the classic movie channel because the top hatted, tuxedo-sporting tap dancer tries to lead in her nightmares. Even before John Doe becomes the archive in the novel’s version of Patient Zero, Luis wants to know more about his history, whether he mattered. Why the homeless man is dressed so fine, and why he doesn’t have the curved spine of the long-term vagrant. In this respect, he is Romero. The unimportant details may not solve zombification, but it holds clues to the fading humanity.

The Living Dead is a fitting end to Romero’s zombie chronicles. The novel form allows him to bring more of himself into the pages, each of the characters filled out with flavors Romero himself test-tasted. There is also a bittersweet meta irony to the fact that the horror genius died before finishing the work and it was reanimated by Kraus, an unabashed fan and likely successor to the “Father of the Modern Zombie Film.” He hides Romero “Easter eggs” throughout the book, while also bringing in references to the pandemic apocalypse novel The Stand. Romero worked frequently with Stephen King, adapting his writer’s nightmare The Dark Half, having a barrel of fun with Monkey Shines, and indulging their shared love of EC Comics with Creepshow. The feature film adaptation was even shot in the four color scheme which defined the magazine. They further explored the horrors of publishing with Bruiser. The city of Bangor, Maine, which is King’s home turf, is referenced within the first few pages. He and Romero are wonderfully horrific friends.

The Living Dead is divided into three acts. Act One tells the story through the introduction of disconnected characters. It unfolds like an archive from the future written from multiple points of view. The history is being put together by a team in Washington, led by the researcher Etta Hoffmann. She is autistic and unflappably records survivors’ stories. Goaded on by an internet troll named Chucksux69, News anchor Chuck Corso at the cable station WNN broadcasts the events as they come in, even though he has no idea if anyone can see him. He does this while his co-workers try to eat him. Similar things happen at sea, where the US Navy aircraft carrier Olympia becomes a floating arena where dead sailors face off against the living crew. The gospel of the dead is spread zealously by a preacher in the book.

“When there’s no more room in hell, the dead will walk the earth,” Romero warned in Dawn of the Dead. The characters in The Living Dead have to learn this for themselves. The only problem with living in a world written by George A. Romero is that the inhabitants didn’t grow up in a world with Romero in it. They don’t know what to do when the dead won’t stay dead. One of the most consistent things about zombies, whether they’re found in the Living Dead universe or one of the many other genre works, is you kill them by shooting them in the head. It doesn’t have to be a gunshot; Daryl on The Walking Dead does the deed with a bow and some arrows (though that series has gone on for a full decade without ever using the word zombie). From the very first ambulatory corpse, played by Bill Hinzman in Night of the Living Dead, to the present, a fractured skull is the only way to stop chomping teeth. Try telling that to the people in the book.

Why do zombies keep on biting? Day of the Dead posited the corpses reanimate because of primitive impulses in the spinal column. We, the audience, know from that movie onward it was because of special effects wizard Tom Savini. It would be nice to think of his hand on the elderly zombie in the novel who tries to gum someone to death. In The Living Dead, we learn zombies just wake up hungry. “This hunger is different from any you knew before,” a chapter opens. “This hunger is a lack. Something has been taken from you. You do not know what. This hunger is everywhere. Hunger, the fist. Hunger, the bones. Hunger, the flesh. Hunger, the brain.” Zombies aren’t evil, they are animalistic. Humans, on the other hand, are free to act horribly. If this particular horror niche is dead it can be reanimated here with this book. Night of the Living Dead brought the genre to life. The Living Dead gives Zombies souls. 

When Romero and some friends shot the indie film for just over $100,000 that would become The Night of the Living Dead, the country was going to hell. The Vietnam War was bringing death to the dinner table daily on the evening news. The generation which grew up in the shadow of the nuclear bomb was pulling away from a rotting society, unraveling like an exposed lower intestine. While women sew American flags sometime between “Year Fucking Six” and “Year Fucking Seven” of The Living Dead, Johnny and Barbara walk past a shredded flag as they enter the cemetery where their father is buried at the start of the film that started it all. The wreath is an empty gesture. Johnny can’t even remember what their father looked like.

Inspired by Richard Matheson’s 1954 novel I Am Legend and its film adaptation The Last Man on Earth, starring Vincent Price, Night of the Living Dead reincarnated Zombie movies. Once the realm of island magic culturally appropriated by actors like Bela Lugosi and George Zucco, zombies were now hungry legions munching on the living. Brains were not yet the delicacy The Simpsons would make them out to be. The undead are a metaphor for whatever we want to put on them. Romero is a political artist and the book is contemporary. Like the ill-equipped national response to COVID-19, we watch an unprepared society face a cataclysmic event and come apart at the seams. Similar to the effects of the quarantine, the zombie apocalypse is good for the environment. Also mirroring our times, the zombies infest a hate-filled world though they prove to be an equalizer of all classes and in the toxic racial divide.

“Someone dies, someone else learns to live,” Greer, a Black teenager who escapes an overridden trailer park in the Midwest at the beginning of the novel, is taught. Minority characters feature prominently in The Living Dead. Reverend Martin Luther King Jr. was assassinated the year Night of the Living Dead was released. In the film, Ben, a Black character played by Duane Jones, survives the undead campaign, the tribal maneuvering of the other captive combatants around him, casual bigotry and betrayal only to be shot in the head by passing zombie thrill-killers. The final moments of the film shows photographs of men with dead zombies which look eerily similar to lynch mob photos.

Romero didn’t only use the undead as a political metaphor. They are endemic to all society. The Zombies aren’t the only brain-dead or dying characters in his films or the novel. In The Living Dead, most of the people’s minds are already infested by paranoid distrust of the news media and the hatred encouraged by social media. Luis’s life is saved at one point because he’s not flipping through his cell phone as he usually does. He actually notices the looks on the people’s faces. In Romero’s 1978 installment Dawn of the Dead, the citizenry’s minds were numbed by TV, radio and consumerism. Its biggest scene happens in a Pittsburgh shopping mall with muzak playing in the background. 

Act Two summarizes what would be the territory of 1985’s Day of the Dead (which gave zombies class-consciousness), 2005’s Land of the Dead, and Romero’s “found footage” installment Diary of the Dead (2007), but takes a turn at 2009’s western Survival of the Dead. Subtitled “The Life of Death,” Act Two spans eleven years, all of which are being recorded in “The Hoffmann Archive of Tales from the New World.” We learn zombies are more like us than we might wish to believe. Like modern man wastes most of its animal-based consumer products, the zombies only eat five percent of their kill. They also hold grudges. Zombies outnumber humans 400,000 to one. Camels, lions and zebras are immune to reanimation, but chimps come back from the dead.

Straightforward as they may be, Romero’s films were rarely what they seemed through the action. Subversive social commentary runs through his 1978 vampire film Martin, which was more about unfettered schizophrenia than vampires. John Amplas played the title role in a very realistic, and very violent, exploration. He drugs and rapes his victims before drinking their blood. The Crazies (1973) was more about the society struck by a military biological weapon more than an epidemic containment film. The Living Dead is more than a zombie novel. It is a bitter parable.

Act Three moves 15 years after the apocalypse as survivors try to put together a new civilization amidst an evolving zombie population. It is a planetary reset. The museums are covered in graffiti and overgrown. People begin to read books, mix paint, shoot each other in the face when agitated. The dead win. 

George A. Romero died on July 16, 2017, a relatively innocent time which, although it was only three years ago, seems very far away. Donald Trump rode a racist wave of xenophobia to the whitest White House the country has seen since President Andrew Jackson, but he was still treated as a joke. The Living Dead was written before COVID-19, the killing of George Floyd and a police force which militarized against protestors faster than the zombies could run in 28 Days Later. Romero and Daniel Kraus are visionaries who were able to make a parable of today’s times in almost real time. The news on Max Headroom came at you from 30 minutes in the future. The future legend of The Living Dead was predicted only months in advance to be delivered exactly on time.  

The Living Dead will be available to buy and read on August 4th. It is now available for pre-order.

The post How The Living Dead Completes Romero’s Zombie Legacy appeared first on Den of Geek.

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[klararaskaj-blog]

Paranormal books to read

20. The Nymphos of Rocky Flats, by Mario Acevedo (2006) This is the first book in Acevedo’s Felix Gomez saga, a series that went a long way toward redefining the genre when it was released in ‘06. And talk about great opening lines: “I don’t like what Operation Iraqi Freedom has done to me. I went to the war a soldier; I came back a vampire…” 19. Forbidden Feelings By Sherlyn Peterson (2018) Sabastian Jones has always been a player, never staying with the same girl for more than a few late night booty calls and for good reason; he doesn't belong in the human world. But when he meets Olivia Miles, a hot young nurse, at the club during one of his hunts, he is left confused by feelings he didn't think he was capable of having anymore. Torn between keeping her for himself or protecting her from the secrets and death that surround his life, he is forced to make a choice; turn her or kill her. 18. No Hero, by Jonathan Wood (2011) This sadly underrated debut is one of the most audacious novels I’ve ever read. The novel’s main character, Oxford police detective Arthur Wallace, is obsessed with Kurt Russell. Throw in conjoined triples, an antisocial ninja assassin, prophesizing twin girls who live in a pool with octopi, battery-licking sorcerers, grimoires hidden in Peruvian temples, killer cats, and more tentacled monstrosities than you can shake a sword at, and you have an unforgettable read! 17. Rosemary and Rue, by Seanan McGuire (2009) The first book in McGuire’s October Daye saga, this series is an utterly readable fusion of dark fantasy, mythology, and hard-boiled mystery. It’s a profoundly deep series that is at times filled with starkness and existential angst and at others with breathtaking images of magic and beauty. 16. Moon Called, by Patricia Briggs (2006) The first Mercy Thompson novel, this series has experienced a few ups and downs in the last few installments, but for my money, Moon Called has to be on this list. A sexy, tattooed shape-shifting auto mechanic, Mercy is arguably one of the most memorable paranormal fantasy heroines ever created. 15. Already Dead, by Charlie Huston (2005) Huston’s first novel featuring vampire Joe Pitt, this series expanded the boundaries of paranormal fantasy. In my review, I described this novel as “a savage and sardonic novel that blends blood-sucking fantasy and horror elements with the hard-boiled style of noir thrillers.” 14. and Falling, Fly, by Skyler White (2010) White’s debut novel was an intensely passionate, sublimely poetic, soul-rending work of art. The entire novel—which revolves around the relationship between a vampiric fallen angel named Olivia and Dominic, a neuroscientist with a “bizarre” affliction—reads like dark ethereal poetry. Unforgettable. 13. Four and Twenty Blackbirds, by Cherie Priest (2005) Priest’s debut and the first of her Eden Moore novels, this haunting and poetic read marked the fledgling steps of a writer who has become one of the most innovative—and significant—figures in genre fiction. This novel and its two sequels are vastly underrated. 12. Blue-Blooded Vamp, by Jaye Wells (2012) The concluding volume of Wells’s stellar Sabina Kane saga, this is how you end a series! This novel is chock full of shocking plot twists and bombshell revelations. I’ve said it before and I’ll say it again: this series will go down as one of the best paranormal fantasy sagas of all time. It’s that good. 11. The Taken, by Vicki Pettersson (2012) This was just an amazing read. From my review: “This novel transcends genre categorization—yes, paranormal fantasy readers will LOVE this novel but so too will hardcore mystery and romance fans and, most importantly of all, mainstream fiction fans. This is Vicki Pettersson’s coming out party—and we’re all invited.” 10. A Rush of Wings, by Adrian Phoenix (2008) Phoenix’s debut novel—and first installment of The Maker’s Song saga—is one of the edgiest series out there. I mean, c’mon! How can you go wrong with a duo that includes an undead rock star and a sexy FBI agent? A hugely under-appreciated series. 9. Dead to the World, by Charlaine Harris (2004) The fourth book in Harris’s Sookie Stackhouse series, this is when the series really got good for me. You can say what you want about the HBO series True Blood but, regardless, this is an iconic series featuring an iconic heroine. 8. Tempest Rising, by Nicole Peeler (2009) The beginning of one of the most beloved paranormal fantasy series on the shelves, the novels are powered by selkie-halfling heroine Jane True, who is in many ways the the antithesis of the conventional paranormal fantasy heroine. She’s short, not exactly athletic, socially awkward, works in a bookstore, and instead of wearing stiletto heels and leather miniskirts, Jane rocks comfortable jeans and purple Converse. I love this series! 7. Cerulean Sins by Laurell K. Hamilton (2003) LKH’s Anita Blake saga is easily the most divisive saga on the shelves. This long-running—and historically significant—series has had its ups and downs over the years, but a high point for me was Cerulean Sins, still my favorite book in the series. 6. Greywalker by Kat Richardson (2006) Richardson’s debut novel and beginning of her Greywalker saga, one of my all-time favorite series. Featuring Seattle-based private investigator Harper Blaine, who can see into the realm of the dead, these novels are exceptionally written and almost flawless in their execution. Classy and classic, this is one series that will stand the test of time. 5. Blood Blade by Marcus Pelegrimas (2009) The Skinners novels read like a cool, supernatural-powered video game—nonstop action, ghastly monsters, unique weapons, intriguing and well-developed protagonists, and plot twists around every turn. But the series is so much more than that. It’s a highly addictive blend of splatterific horror, dark fantasy, mystery, supernatural thriller, and sardonic social commentary. I’ve called Pelegrimas “the Bram Stoker of the 21st Century” for good reason. 4. Unholy Ghosts by Stacia Kane (2010) The first novel in Kane’s Downside saga, this is the most socially significant fantasy saga I’ve ever read. From my review: “Never before in paranormal fantasy have I read a series that features the combination of grand-scale world building, labyrinthine mystery, superb character development, and social relevance. Stacia Kane’s Downside saga is taking paranormal fantasy to another level…” 3. Dead Beat by Jim Butcher (2005) Butcher’s Dead Beat—the seventh installment in his Dresden Files—was a blockbuster book when it was first released. Not only was it the first Dresden Files novel to be released in hardcover, it was a clear indication of just how much the series had expanded to embrace mainstream fiction readers. The first printing sold out in a just few days! The commercial success of the Dresden Files paved the way for countless other noteworthy protagonists, including Charlie Huston’s Joe Pitt and Mario Acevedo’s Felix Gomez. 2. Sandman Slim by Richard Kadrey (2009) An in-your-face fusion of fantasy, horror, and hard-boiled mystery. It’s Kadrey’s biting wit that makes this novel so unforgettable. His blunt and acerbic writing style makes for simply addictive reading. For example, here’s how he describes Los Angeles: “L.A. is what happens when a bunch of Lovecraftian elder gods and porn starlets spend a weekend locked up in the Chateau Marmont snorting lines of crank off Jim Morrison’s bones. If the Viagra and illegal Traci Lords videos don’t get you going, then the Japanese tentacle porn will.” Classic. 1. For a Few Demons More, by Kim Harrison (2007) The fifth installment of Harrison’s phenomenally popular Hollows saga featuring endearing gray witch Rachel Morgan and company, this novel was the first hardcover release in the series and, at least for me, heralded its ascension to elite series status. With only two novels to go until the series concludes, there is no doubt in my mind that the Hollows saga will go down as arguably the very best paranormal fantasy series ever written.

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Halloween Songs For Children Party Free

There are no Misfits on this listing as a result of that's a given at any Halloween party, and no Thriller on this Halloween music list both. Marla Mase, a mom and owner of the New York City-based party planning enterprise and , says she has thrown many Halloween parties over the of probably the most memorable was a graveyard social gathering, the place she adorned the world with hay, overhanging branches, leaves, lighting, tombstones, coffins, skeletons, body parties, sound results, filth and enormous plastic rubbish cans, pumpkins, black lighting, and so forth. You do not have to obtain any new software program into your laptop with a view to purchase the PDF for these Halloween songs. Get ready for a Spooky, Loopy and Enjoyable Halloween Evening @ The Meals and Booze Exchange on 22nd October. Music, Joint Attention & Autism - Read about my master's analysis examine and my findings as they relate to music and kids with autism. I really like the classic feel to those Halloween bingo cards from The Crafting Chicks.

The track makes use of the deranged fictional schizophrenic analogously for a man who cannot escape his anger issues - in actuality, not totally far off out of your typical angsty http://www.allmusic.com/album/the-spirit-of-halloween-62-classic-halloween-songs-mw0002499407 rock quantity, which is probably why it practically topped the Mainstream Rock Songs chart last 12 months. A tune that offers the texture of Halloween and the phrases a way relate to Halloween. Many individuals thought this was a love tune when it was first launched in 1983, with some even choosing it as the primary dance at their wedding ceremony. Last 12 months he unleashedthe mutated beast Zombies' as a part of the newly minted1984 Suite, and those mind-gorging rotters mingle withBobby Boris Pickett's rock'n'roll basic, The Monster Mash'andthe Prince Of Darkness himself, Ozzy Osbourne, who loses his thoughts on Bark At The Moon'. I have been in search for years of this little Halloween tune that I also discovered within the third or fourth grade ( 1969-1970). American Halloween is much more enjoyable than the tradition in a number of European international locations, nevertheless, masking and elaborate parties for adults presently of year have become in style everywhere now. Right - now we have horrified you to your core with our fiendishly scary, hastily-assembled Halloween run-down - we go away you with this catchy ditty to hang-out you all through the night. CanTeach - Songs & Poems - A whole bunch of track lyrics listed by themes: Seasons, Special Days, Animals, Vegetation, Meals, Family & Mates, language Arts, Math, At School, Other. Mr. Cooper's vocal is delivered with an ominous, biting confidence that makes it an ideal wild-card Halloween celebration choice. In the event you're searching for some spooky get together tunes then there are 5 full-size Halloween tracks at that are perfect for any terrorizing kids Halloween celebration. Like Alice Cooper, this had some rock royalty guesting on it - Mick Fleetwood and John McVie of Fleetwood Mac carried out drums and bass duties respectively. Once they do, although, his lyrics rapidly stir up photographs of bats, undead souls, witches with capes and, after all, murder that match completely alongside any Halloween-like setting. Instead, the rhymes have been steeped with political and satirical messages, created in such a method to confuse the authorities listening; thus, preventing legal or other backlash. It's Halloween is a picture guide written by Jack Prelutsky and illustrated by Marylin Hafner, published in 1977. It is vitally likely that the English pageant of Halloween or Hollantide equates to the lfablt at the moment of yr, talked about in Scandinavian sources, however little or no is thought about that. Six songs will compete in every semi-final, with the top 3 from each advancing to the Grand Last, decided by public televoting. Greater than 160 lullaby songs: lyrics and music to take heed to, for soothing songs, to sing to children earlier than they fall asleep. These 30 child-friendly songs last about 1.5 hours making it child Halloween celebration good. This can be made in the identical approach as the hat besides that the children solely need a sheet of A4 paper that must be rolled lengthwise. But when it got here time to report Pink Floyd's second album, drugs would only allow Syd one song, and the band was forced to exchange him. The next is a listing of melodies Snh48 mv Halloween Night time Pleased Halloween very best that individuals explain to and exhibit to your account. We hope you've got enjoyed this informative record of the highest ten spooky hits; all ideally suited for Halloween-themed parties and even weddings! Halloween can also be typically called All Hallows' Eve, All Hallowtide and may also be written Hallowe'en. Whereas Harley Poe's lyrics are often graphic and might make your skin crawl, the music is one other story. I particularly benefit from the lyric, You go to work today, you'll go to work tomorrow, stfaced tonight, you may brag about it for months. If your Halloween occasion is any good, this may most likely happen! There were monsters in rock songs before Alice Cooper surfaced in the early 70s with songs like The Ballad of Dwight Fry, Useless Infants, and Killer, But there weren't monsters in rock. Study the pre-faculty nursery rhymes for children and excellent visualize 3D animated multiple cartoon animals dinosaur finger household rhyme for youths by my superhero rhymes. Fashionable Nursery Rhymes - Read and look at the pictures of those wacky rhymes and songs. For the second ESL occasion vocabulary train it's essential select the choice (A-D) that has the phrase that matches the definition given in each query. Prepare your self for the intriguing vacation that is about to come your means, with epic dance moves on these songs or can use them as theme setters. Everyone loves a bit of socio-political commentary to carry a celebration to life: The Specials cowl urban decay, de-industrialisation, the rise of inner city violence and unemployment in Ghost Town', the track that spent three weeks at number one again within the 80s at the time of the riots. Not fairly what you'd think about as a Halloween song, apart from the music's title and the lyric no more haunting, baby. But Ella's powerful pop lament managed to reach the top five on the Grownup Pop Songs chart, so something about it clearly creeped under listeners' skin - even if it is not precisely trick-or-treating pre-game material.