#we could’ve had such creative interpretations and takes on his iconic work

[evansbby]

me looking at all the met outfits: 😐

[kittenfemme27]

Magrunner: Dark Pulse

"That is not dead which can eternal lie. And with strange aeons even death may die." 

That’s the often misquoted line written by H.P. Lovecraft and spoken by his fictional “mad poet” Abdul Ahazred in “The Call of Cthulhu”, a short story written by the very same author. It’s meant to symbolize the same thing that almost all of Lovecraft’s work was meant to symbolize: That there are things that view us the same way we’d view a simple speck of dust, or an ant. As so tiny and insignificant that we’re practically unnoticed in the eyes of this massive and overwhelming force. Lovecraft had an intense fear and at the same time an intense fascination with the idea of being insignificant, of being forgotten and unworthy, of being completely and utterly impotent in the face of power that was greater than himself. Every “Old God” that he wrote about is so far reaching above humanity and so incomprehensible that even the act of knowing of their existence was incomprehensible for the human mind, and would oft drive those with that forbidden knowledge to complete and utter insanity. This isn’t really a disputed interpretation of Lovecraft's work, it's barely an interpretation at all. It’s considered a simple set of facts of the universe that he created.

So imagine my surprise when I started playing “Magrunner: Dark Pulse”, a fairly mundane and simple futuristic sci-fi puzzle game marketed to have a “Lovecraftian Twist” and the final nine levels have good ol’ Cthulhu himself checking in on me from the skies above, literally one hundred thousand times my size, and simply observing me like I’m his personal favourite little human. As he communicates with me and makes it clear that I am in-fact, his personal favourite little human and he just can’t wait for me to ascend to his level. As far as a piece of lovecraftian work goes, this game was a doozy. But we’ll get back to that. Before we even get there, I’d first like to talk about the game itself.

Gameplay:

Magrunner is a first person physics based puzzle game featuring magnetism as its element in which you interact with the puzzles in each room. Your goal in each puzzle room is to use various platforms, blocks, and other bits of very clearly marked tech in each room that may be magnetized with either a positive polarity or a negative polarity, and combine that with the physics of the Unreal 3 engine to solve challenges and make it to the next room. To be blunt, the game is squarely a Portal rip-off from its design ideals. Your makeshift magnet glove-gun hybrid can fire 2 colors, one being a negative polarity and one being a positive. Like-colors are attracted to themselves, whereas opposite colors reflect each other. The idea of using magnets in a physics based first person puzzler isn’t an awful one, and neither is the fact it clearly wants to ape Portal’s ideas. Where it fails, unfortunately, is execution. The physics aren’t up to snuff with what you do most of the time and it leads a lot of the puzzles to be confusing or simply frustrating, as even when you know what you’re doing you still have to rely on the physics system of the engine to cooperate with you. Early on, you are tasked with getting 4 small magnetizable cubes together to form into a large one. What this actually has you end up doing is fighting with the cubes and the level as they fling themselves wildly off of each other and into unreachable parts of the level itself. The entire game functions this way and it really removes any sense of challenge or control you have over each puzzle, often feeling like you lucked your way into a solution rather than figured out the puzzle yourself in any meaningful way.

Buggy physics in the Unreal engine are not the developers fault entirely though, the game is an indie project that was kickstarted and for that alone i’m willing to give them a pass on engine problems that they likely did not have the programmers to fix. But, unfortunately, I can’t give a pass on the game failing to iteratively teach you how the mechanics work level by level. Whenever you magnetize an object, it creates a field, and you can see this field thankfully by pressing a key. Anything in that field will automatically interact with anything else that is magnetized in it. In general, these fields are wildly inconsistent in how they operate. Usually, they’re spheres centered around the magnetized object and cause objects within the sphere to either attract or repel. On occasion though you’ll find pads that create a cone of magnetism going the direction that it faces, up to what is an arbitrary height. Later on, you’re given the ability to place your own fields on any flat surface, allowing the levels to become more bare-bones as you have to create the magnetism points yourself. All of this combined means that  If you learn that something works in a previous level, there is no guarantee that it will work in the next level the exact same way. Experimentation in this game is often fraught with a frustrating sigh of not knowing if the game intended for something to work that way, or if you just broke the physics again. Don’t even get me started on the fact there are multiple combat sections inside a puzzle game, ugh.

Art & Sound:

Magrunners similarities to Portal do not end with the gameplay and design, however. Aesthetically, the first and second half of the three act game are ripped directly from Portal and Portal 2. The first half of the game features sleek interiors inside of a testing facility for yourself and other “Magrunners” where everything is cleanly lit, sparse on color and detail, as space-age and sci-fi as you could imagine. These first set of aperture inspired levels lack any sort of hard edge or detail, with every single element in the room being curved and well lit and as minimalist as possible. The second half of the game takes places in facilities “underneath” the one you were in prior and are dilapidated grey and brown ruins of previous testing facilities, complete with all the same tools and magnetizable pads and tech that you had seen previously but this time a much older and “70’s” style of sci-fi aesthetic, but covered in grime and dirt and dust from the years of abandonment and rot. I cannot understate how unsubtle this is. The first third of the game is Aperture Science bonafide and part right after is Old Aperture from Portal 2. Magrunner’s aesthetic inspirations are worn very clearly on their sleeve, and it makes the game feel very boring and bland by comparison. It’s impossible to play Magrunner: Dark Pulse and not feel as though it was simply a junior developer exclaiming: “What if Portal/Portal 2, but Magnets?!” while the rest of the developers collectively lose their minds from excitement.

The music of the game was provided, as far as i can tell by the credits, by Incomptech AKA Kevin Macleod. A musician known for releasing thousands of free songs for use in any creative project. This isn’t, by default, a bad thing. Most of the music was not things I had heard from his library before and thus I didn’t immediately twig that it was his library, but unfortunately the music selection isn’t enough. As in, there are not enough tracks to fit the game. There are 39 levels in total and each level features a music track, but often and especially in the later parts, the music tracks are entirely re-used. This is most apparent when one of the tracks is a rising piercing noise, like the type you’d hear in a horror movie right before the slasher stabs into someone, but it never ends or pays off. It just loops upon itself and becomes this droning nightmare of a track for however long the physics force you to stay in a level. I counted 6 times this happened and each time it was so loud and obnoxious and frustrating that I had to simply turn off the game audio to be able to bare the level at all. 

None of the other sound effects are worth writing home about, either, unfortunately. In something like Portal, there are pretty iconic sounds within its soundscape. The sound of the portal gun firing and portals being created, the soft and child-like speech of the turrets, the chiding and derogatory AI voice of GLaDOS, yet Dark Pulse lacks anything even half as memorable. Aside from the repetitive music, you are only given small bits of dialogue between each level and that’s really it. There’s a lot of character they could have created here, for example: When you gain the ability to create your own magnetic fields at will, the center of them is a dog-robot that your player character created in his spare time as a child. Creating one of these points could’ve been met with an adorable puppy squeak or bark, anything like that. Your character or the various ones that speak to you could’ve chimed in at any point in levels outside of the beginning or end of them, and yet they do not. It’s a big missed opportunity.

Story:

Speaking of characters, whew boy, are there a lot of them

Magrunner takes place in the distant future where a corporation that is effectively Facebook has taken over the planet by connecting every single person to its service essentially from birth and making it as essential to daily life as possible. Because of this, this corporation has become the de-facto richest company in the world. Its founder, Xander Gruckzeber, whose last name is literally an anagram of Zuckerberg, has started a contest in which 7 contestants can compete to become “Magrunners” and take a trip to outer space in a ship that is being powered on experimental magnetic based technology. The contest involves each contestant going through a series of puzzles that prove their aptitude with the magnetic tech that Xander’s company has developed. 

Your character, an orphan named Dax C. Ward, is the only one of the 7 contestants that does not have a corporate sponsor. Instead, he’s a boy genius who built his own robotic puppy at age 10 and at age 21 built his own magnetic glove that interacts with the magnetic technology and allows him to compete. Ever the underdog, you’re helped along by your adoptive uncle Gamaji who himself is a six-armed mutant and an outcast among humanity for it.

Sound a little on the nose? Like it may be lacking subtlety in any form? Yeah, the entire game is like that. From Xander’s last name anagram to the fact that your own character’s name is itself a reference to “The Case of Charles Dexter Ward” which was a short horror novel written by Lovecraft, the game never really had a chance at subtlety in the first place. That’s not necessarily a bad thing, mind you, but in between the re-hashed artstyle and the immediate and obvious references, and the fact that It tries to throw a very by the numbers cyber punk aesthetic ripped straight out of Blade Runner at you in an opening cutscene that it immediately abandons afterwards. It all just feels tired from the moment you hit New Game and incredibly confused about its own direction. It can’t decide if it’s a Lovecraftian setting, a Sci-fi setting, if it’s trying to say something about Facebook or if it's just going to be Portal: The Magnetic Spin-off.

As the game progresses and Act 1 ends, you find the corpse of another Magrunner being eaten by an anthropomorphic fish person. You are then told by Gamaji that he’s going to help you escape the facility, but this will require you to go through the older parts of the facility as he slowly hacks into the mainframe and tries to get you out via service elevators. Inside these older puzzle rooms are repeated writings on the wall, ravings of someone gone mad with the knowledge of the Old Ones, and giant sculptures depicting various Cthulhu-esque monsters. This would be bad and scary enough on its own, but Gamaji is quick to let you know that portals to some unknown dimension and fish monsters are being spotted in cities all over the world causing havoc and terror. 

About halfway through Act 2, Gamaji drops the bombshell on Dax that his parents didn’t actually die in a car crash like he’s told him all his life, but that they were Old God worshipping cultists and that Dax’s birth in and of itself may somehow be related to that cult and its actions. This tracks, then, because Dax continually receives strange visions in the form of uncovered memories of “The Seven” attempting some ritual to seal off some force from beyond. Act 2 ends with the revelation that Xanders assistant, Kram, is actually behind all the ritual sacrifice and is attempting to summon Cthulhu himself to our world from the Great Beyond. So far, Act 1 and 2 have been rather cliche but haven’t been anything i’d call unremarkable or strange in a Lovecraftian inspired story.

And then Act 3 happens.

Act 3 sees you flung into the far reaches of Actually Literally Space, with various bits of the test chambers around that you must use to get to portals that are marked by a cute little icon of Cthulhu himself that transport you further into space and to the next level. You can quite literally see our pale blue dot to your side if you look, including a gigantic eldritch device that seems to be either siphoning souls to it, or depositing monsters onto the planet. The fact you can breathe in space is just handwaved as “Something Kram must be doing.” and is never brought up again. What really struck me more than anything in these levels, though, is that Cthulhu himself literally appears before you every 2 minutes in each level and simply watches you while repeating “Cthulhu... Fhtagn... R'lyeh...” over and over and over. This was the moment the game honestly lost any credibility from me. Simply seeing a statue in Act 2 caused Dax to go into a screaming panic as he was able to perceive how a human may be turned into a fish person. But seeing the literal Old God himself doesn’t bother him? And why is Cthulhu so interested in you in the first place? Unfortunately, we get an answer to both of those questions and it might be the most insane thing i’ve ever seen in a piece of Lovecraft inspired media.

Dax, somehow through the work of the cult that his parents were part of, is the chosen one. Cthulhu not only cares about him and wants to see him succeed, but even helps him to literally ascend and become an Old God himself. But not, of course, before letting Dax have a heart to heart with Gamaji wherein he tells him that he has seen through Cthulhu’s eyes himself and must now ascend, as he has no other option. Because Cthulhu is a big softie on adoptive relationships, I guess. The game’s final level has you face off against Kram in a boss battle where you fling explosive cubes at each other and attempt to destroy the esoteric relay connected to Earth. During their fight, Dax taunts Kram who tells him that what he is doing is the will of his Master, Cthulhu, and Dax knowingly retorts that what Kram is doing is “Not what He wants.” As if he has a direct line into the Old Gods mind itself. 

I cannot overstate how much of an absolute failure of the mythos itself that this entire story arc is. The Lovecraft mythos was not, and never has been, made for “Chosen One” stories. If you survive an encounter in the first place, you’re often left with horrible scars that never truly leave you because Cthulhu and the Old Gods are in some ways meant to be representative of trauma and a fear of your own trauma. Making Dax suddenly an Old One and a special Chosen One is a complete and utter failure on a scale I've never, ever seen before. It’s been days and I'm honestly still reeling from the fact that was a design decision someone agreed on.

Conclusion:

Magrunner: Dark Pulse is a confusing and often frustrating game with a story that utterly fails its mythos and setting in just about every way possible. But I don’t want to pretend that I didn’t have any fun playing it. I did, and it’s not the worst game I've ever played. It’s not even so much a “so bad it’s good” game, but it’s more of an indie game that clearly tried its hardest and for that I can’t fault it. It’s developers clearly love the Cthulhu and Lovecraftian mythos and really, really, really loved the Portal series and wanted to combine those things into their own spin on it and in that respect, it’s competent enough that I could recommend it to someone who really enjoys those sort of puzzle platformer based games. But... man. That ending. Yikes. 

[pubtheatres1]

FIND YOUR WAY HOME by John Hopkins Presented by Cordial Productions Etcetera Theatre 13 February – 4 March 2018 ‘unafraid to tackle the troubled and troubling side of human nature’ ★★★ Having never heard of him or his work before I have now seen two John Hopkins plays in London in as many months. First, there was ‘This Story of Yours’ at the white bear at the beginning of the year and now, a revival of his 1970 play Find Your Way Home. He seems to be rather in vogue at the moment and it’s not hard to understand why, his writing is bold and fierce; unafraid to tackle the troubled and troubling side of human nature. Find Your Way Home, revolves around the clandestine affair between a middle-aged husband and father and his young male lover and the collateral damage the relationship causes to both themselves and those close to them. One of the strengths of the show lies in its setting. The action takes place in Julie’s London flat; the commitment to the decade results in a complete and wholly realised aesthetic. Donna Summer and 10cc play in the background and tacked up on the wall are various posters and pictures, like the now iconic Tennis Girl poster. But most telling is the inclusion of Francis Bacon’s seminal ‘Three Studies for Figures at the Base of a Crucifixion’, Bacon was a man who did not work to hide his sexuality, but still suffered in his romantic relationships. The script is a dazzling dissection of lust, sex, marriage, and loyalty (to ones’ self and others). However, it does feel that the play lacks in love. There’s sex, betrayal, lust, hatred, loss, sorrow, but I didn’t really feel any ‘love’ between characters, which make it’s hard to understand why Alan wants to leave his wife, why Julie would want him, and why Alan’s wife Jackie would bother fighting to get him back. After the first act in which Alan tells Julie he’s left his wife and children for him, we are introduced to his wife Jackie as she bursts in on them having followed her husband, assuming this was another one of his normal affairs, one with a woman. They hit the second act hard, at a high intensity, which unfortunately I think resulted in some pitching problems. They gave themselves almost nowhere to go, and so held the same shrill note for the rest of the play. Julian Bailey-Jones as Julie, Alan’s young lover, flip flops between vulnerable and wounded, to emotionally cold, depending on Alan’s response. It would’ve been nice to see a little more playfulness in him. This is not a comedy play by any stretch of the imagination, but without some levity in the character, he loses his endearing depth. One of the smaller, but in my opinion no less vital roles was Julie’s love interest, played brilliantly by George Turner. He has a hardness and edge to him that Julie doesn’t have and his deliberately provocative behavior towards both Julie and Alan serves as an interesting and at times disturbing point of contrast. Anthony Cord as Alan has a tough part to play. Present for the majority of the play, but with very few lines for long stretches of time, he has to remain present and reactive to the situation as it plays out in front of him. Cord has the gift of a good voice, so when he does speak, one listens. However, I think Cord misses a trick with Alan; brimful of guilt and self-loathing, he is a haunted figure, and so involved in his own self that I did not believe that he had any love for Julie, or for his wife Jackie either. Julia Faulkner gives an impassioned performance as Alan’s wife Jackie, as they battle it out ‘Who’s Afraid of Virginia Woolf’ style in the second act. Flighty and hysterical, her histrionics sometimes felt a bit much and ‘one note’. However, come the conclusion of her talk with Alan, it is painful to see her broken down and defeated, the intensity here works to highlight what the stakes really are and how deeply this is going to affect her and the lives of her children. It is easy to forget that in 1970, homosexuality had only been legal for 3 years, so Alan’s decision to live openly as a gay man carried with it so much greater risk and scandal than it would today. It seems that there was an angle and a mood that this production was aiming for, and it stuck to its guns throughout: anger, bitterness, self-loathing and self-pity. That is not to say these things are present in the script, but there is so much more too, so much love and gentleness that could’ve been shown. I think the cast are very focused on their own characters and delivering their interpretation of them, which I understand, but this play’s success lies in the relationships between them. If the actors can find those subtler connections, and alternatives to fury and spite, then there’s so much more that could be explored. Get your tickets here: https://www.ticketea.co.uk/tickets-theatre-find-your-way-home-by-john-hopkins/ Verity Williams is a poet, actor, playwright, dog enthusiast and committed gin drinker (not necessarily in that order). Born and raised in Dorset, Verity has a BA in English and Drama from Royal Holloway, an MA in Creative Writing from Bath Spa and an MA in Acting from East 15. @Verity_W_