Archive for the ‘Columns’ Category

Euro Microsoft Boss: Multiplatform Games Are Better on 360 Me: Absolutely Correct

Thursday, September 10th, 2009

billgates

If you know me, you know that I buy all multi-platform games for my 360. Why? Because I’m a douchebag, duh! Just kidding about the d-bag part. But seriously, why? Because they’re better. Apparently European Microsoft Czar Chris Lewis agrees with me! Go figure!

Via Destructoid:

We have a great journey through to Christmas,” boasts Lewis. “There are key titles that are exclusives but also great cross-platform titles that will just work better on Xbox Live. And in terms of content and networking, we have more content partnerships for Xbox Live.

Countless friends of mine want to punch me in the face. Listen, I’ll break it down for you. And here’s a caveat and please don’t disregard this: I’m buying Final Fantasy XIII on the PS3, and should policy and quality shift, I will flow with it. I’m not a blind fanboy. Click the jump for my reasonings.

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Monday – Datastream Withdrawal

Monday, September 7th, 2009

stream

There is a certain disconnection in my life whenever I leave the mancave and embark on some sort of journey. Whether I’m fucking around in Cow Country, or I’m meandering the marshes of Nova Scotia, I am decidedly unplugged. And I’m not sure I particularly dislike it.

Most of the time.

I’m a Twitter fiend. I don’t really use it to convey my feelings or what I’m doing. Seldom will you see me all,

Just took a shit. Used my hand to wipe up, toilet paper couldn’t handle the sludge.

or

Sam wasn’t happy when I ripped ass at the dinner table with her Dad, LOL.

Just not my thing. I’m already self-indulgent enough thinking people care about my analysis of banal news and stifling non-stories.

But I use Twitter to actively and obsessively garner the latest news from a variety of venues. What’s the latest word from Destructoid? What’s my other blogging situation over at Mishka sporting right now? And unmentioned but equally as important in personal mind-numbing minutiae is sporting news.

Open Twitter. Click refresh. Click refresh. Open Firefox. Click refresh. Click refresh.

I don’t think that this is a behavior particular to me. We all dabble in data streams these days without even realizing it. Open Facebook. Open MySpace. Open Twitter. Get the latest news. Get the latest status updates.

When I first leave, I brace for impact. Data crash. Information withdrawal. As I hurtle further and further down the highway, or skyway, or waterway, my parents’ basement recedes further into the distance.

I cry a single tear and mourn the loss of my computer, my comfortable set-up. Sure there are other computers I can hop on, check the e-mail. But it’s not the same. I’ve often remarked that I could physically move these days a countless number of times and not mind, so long as I had MY computer. MY mouse. MY phone. My life isn’t the room I’m sitting anymore; it’s the computer I’m sitting on. I equate comfortableness with the alignment of my icons on the taskbar, my wallpaper waiting for me when I boot up the computer.

It’s sad, or maybe it simply is. Maybe that’s just the way the world is swinging these days. Who knows. Give me my iMac and my keyboard and I’m ready to handle shit. Typing this mindless goop right here on a computer not my own is like sleeping in a bed not belonging to me. It’s a bed, it serves a purpose. But it isn’t mine.

The further I get away from my computer, the instantly-refresh lifestyle that my generation is buried in, the more it becomes okay. The desire to incessantly interact with the same five stories on thirteen different sites (including this here shit box) fades into the back of my mind.

And for the moment, silence.

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Spin Magazine Sucks; Has Shitty Video Game Reviews

Thursday, August 27th, 2009

batmanspin

File this under: Jealousy inspired rage.

It’s commonly known throughout intellectual circles that Spin Magazine is a pile of slop churned onto former trees. It’s for emo kids with swoopy haircuts and thick glasses and tight pants to find the newest esoteric band to worship. Doubly ironic of course because these same bands are being churned through a corporate magazine. Anyways, that’s not what I want to talk about. Through some weird circumstances, my Dad began receiving Spin after his subscription to something ran out. And so whenever I’m trying to blast out a turd, I pick it up and flip through.

That’s when I found this retarded review of Batman: Arkham Asylum today. I must preface my forthcoming rage with this – I can’t believe this douchebag, Dan Ackerman, gets to play video games ahead of time and get paid for it. It’s a nerdy rage that stems from the fact that I’m an unemployed poor quasi-academic who would kill someone to play review copies of games for free, while this hack gets to do it.

Let’s look at Dan’s brilliant review describing why Batman video games have failed:

Most comic book tales follow the ebb and flow of traditional fiction narrative

Ah, already brilliant Spin pretension. How about you write like a human being in a pop magazine, please. This isn’t the New Yorker. (Or my Derrida Superman post, shut the fuck up.)

…with character driven story arcs that build to a climax, punctuated by superhero throwdowns.

Really? Character driven story arcs? Most slop out there is generally just operating as a means to get to that superfight. Pick up a comic book, bro. As far as “Traditional fiction narrative”, what the fuck do you mean? Do you feel like defining traditional? And what venue of fiction? Would you argue that Comic Book Fiction is a beast unto itself? Surely it has tropes and consistent constructions (oh shit I’m going all Ackerman in my prose) that deviate from the standards of the usual Grisham novel.

In contrast, video game storytelling generally serves as a mere background for setting up the basic mode of play

An obvious statement. The line Dan seems to be drawing is that Batman games have failed because they haven’t focused on character development and “Traditional fiction narrative”. What I’d like to posit is that they could have been fulfilling if they hadn’t been half-cooked pieces of shit thrown out there to agree with Bat Movie X. Most of the time.

Also, I’m not really sure if I agree with Dan. Most video game story lines serve as the basic mode of play? Really? Does Half-Life 2′s storyline determine that it’s a first person shooter? Not so much. As well, it seems to imply that video games are typically unsuited for a strong traditional narrative. Or maybe I’m reading it wrong. Is he suggesting that the medium (video games) has been misused? Or that it is simply ill-fitting?

I’m going to give Dan the benefit of the doubt, and assume he just means that they’ve been misused. Even still, Arkham Asylum isn’t groundbreaking in that regard. Maybe he means groundbreaking for a Batman game. Or maybe nothing at all, he never uses that work.

The entire review is opaque though. I know that there are word limits, and you have to squeeze as much as you can into as little as space. And perhaps that’s my problem with this article – you need to get the fuck over yourself, dude. Don’t try and argue a thesis for the differentiation between the “traditional fiction narrative” and the narratives used in video games in some shitty three-hundred word review. And then I begin to wonder how much of the game the guy has played:

After Dan discusses the aspects similar to God of War, he goes on to say:

But you’ll need ample brainpower to follow a suspect’s DNA trail or find the many hidden clues

Really? Ample brainpower? What an ugly sentence for starters. And then, how much of the game did you play, dude? There’s hyper-exposition by the character Batman in the game that constantly keeps the gamer on his path. If anything, from what I’ve played, the game seems surprisingly dumb and linear. Not to say it isn’t fun, but brainpower? I mean, surely with your phrases like “traditional fictional narrative” and “reconciles these two formats’ disparate aesthetics”, you must have excelled. Seriously. What a bunch of pretentious garbage.

I know that at Spin the writers seem to fashion themselves as cool hunters and reject anything that doesn’t sound like a shitty thesis paper for any sort of article, but it just seems absurd. A half-baked review that is more interested with textual wankage than actually serving a good review. Listen, the mouthbreathing assfucks who are reading the magazine in their Extra Small t-shirts and their black jeans that cut off circulation are two things. Fucking dumb, and hyper impressionable. Not only are they going to not understand your crap, but they’re going to start thinking this kind of awful prose is acceptable.

And oh yeah, you have that job and I don’t.

Getting All Derrida On Superman’s Ass

Wednesday, August 26th, 2009

superman1

With the news trickling out that Warner Brothers is losing the rights to key ingredients of the Superman formula, I began contemplating what exactly comprises Superman. I was taking this into consideration alongside the recent developments where protégés began donning the mantle of their fallen Jedi Masters and shit. You have Dick Grayson traipsing about as Batman. And at least for a new months, you got Bucky running around as Captain America.

So I got to thinking. It was bothering me. On the toilet. In bed. In the shower. I asked myself, what is the essence of Superman? Does he exist outside of the tenants of his history? Is the soul of Superman tied into Krypton, into the Lois Lane/Clark/Superman love triangle? Can you have a Superman that isn’t from Krypton? What defines Superman as Superman, and furthermore, does it even matter? Can the term stand for multiple things, for different creators?

I don’t have any answers, but I think it’s a worthy examination.

Let’s kick it by taking on Dick Grayson and Bucky Barnes. When DC was contemplating killing off Batman, the general shtick was this: Batman was more than a man, he was a symbol. Even if an Uber Alien Bullet vaporized Bruce Wayne, Grayson could continue to carry on what he stood for. Same thing goes for Bucky. Maybe Captain America got his ass seriously capped on some court steps. But he had someone else to pick up the job. Albeit with a sweet metallic arm, but still, there was someone else to pick up the job.

However, both instances were circumstances different than what is currently going on with good ole’ Clark Kent. How so? Well for starters, we’re talking about a world without Clark Kent. Warner Brothers, if I am understanding correctly, is losing the rights to that very name.

Let’s call Bucky and Dick “The Replacements” throughout the rest of this article for ease of statement.

When The Replacements stepped into the costumes, they were inheriting mantles. Bucky wasn’t redefining a symbol. Rather, he was reinterpreting it.  The Replacements ran parallel to the fallen dudes they were replacing. All of their experiences in assuming the roles were predicated on the conscious fact that they were replacing someone, and what their predecessor stood for.

How many times did something along the lines of this came up:

Oh well Bruce/Steve wouldn’t have wanted me to do this, blah blah.

The idea that Captain America is a symbol, at least currently in the Marvel universe, stems from the fact that there was someone to define this symbol prior to Bucky.

There was these two parallel constructions: What Batman/Captain America stood for, and what The Replacements did by assuming this symbol. Not by defining it.

So I began to ask, what if you removed the initial construction, the defining of the symbol prior to the assumption of the mantle?

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Blizzard is My Crack Dealer

Monday, August 24th, 2009

Totally Not Sauron

It’s Saturday night and the gang of villains, molesters, and deviants that I call best friends are hanging out in my basement. Per usual our attention is divided between sparkly movements on the slab of plastic my consoles are hooked up to, and my computer. This is simply the way things have been, are, will be, as long as my friends and I hang out. One could only hope. Maybe someday there will be children and recitals and stoic boredom, but for now, our rituals are complete and typical.

It makes sense then, that I was showing my friend Bags the latest Diablo 3 videos that evening. For like my room, like our vulgarity and flatulence, Blizzard itself has become rote in our lives. It’s funny that I can say our lives, meaning my friends – all of them. You see, Bags doesn’t play Warcraft. Neither does my friend Jesse. Neither does Pepsibones.

But after listening to what has to be hundreds of hours of talk about raids, and dungeons, and Molten Core, and various bullshit going on in Vent while they were over, all my friends  have a working knowledge of the Blizzard universe. It has become ingrained, ritual, a part of our lives.

My girlfriend turns to me during the weeknight:

“Do you have to raid tonight?”

I remember explaining World of Warcraft and my uh…addiction to it when I first began dating Sam. I wasn’t aware of the extent of her nerdiness at the time. You see a beautiful blonde girl obsessed with fashion and you think one thing:

“I’m burying this lifestyle as deep as possible.”

I was living in the Warcraft closet. I mean, she knew that I played videogames. That was common hat. But as anyone who plays WoW seriously knows, WoW eschews being a video game and becomes a lifestyle.  Telling your new girlfriend you play videogames is one thing. Telling this to your girlfriend is another:

“Yeah, you see…On Tuesday/Wednesday/Thursday…I sort of have to…like…every night I have to be online at 10 o’clock. Yeah. Like, I just have to be. I need to raid.”

“What’s raiding?”

“You see that’s a good question…”

And the conversation spirals from there. Luckily my girlfriend likes to get human amounts of sleep. You know, eight hours or some shit. I’ve heard about that. Sounds neat. I prefer going to bed at 1:30 am and waking up in time for class, whenever that may be. So it works out. She sleeps, and I continue the caffeine and sleep deprivation cycle that is ultimately going to kill me.

But now she gets it, now she knows. And now she asks me if I’m raiding on evenings.

As I said, it’s ingrained, it’s never ending. If you know me, it’ll infect you eventually.

Big D

Saturday evening again and we’re still peering over the videos. One of my best friends, Dave, walks over from the plastic slab where Madden is being played to the computer. We’ve moved on from the Diablo 3 videos. Now we’re watching the trailer for WoW: Cataclysm. The next expansion. The newest drug to snare us. It’s never ending.

Every couple of years Blizzard dangles new content in front of the junkies to get us excited, to keep us playing. New characters, continents, abilities, experiences. They know their clients well, they know how to keep us engaged. We’re watching the trailer and of course I’m losing my mind. It’s new WoW! Holy fucking shit!

Dave and I have been the comrades in Blizzard arms since 2000. Nine years now. We have spent a third of our lives plowing through hordes of demons. Dave’s the pusher, really. He got me into Diablo 2 back in the day, and the rest is history. I often tell the story of how my senior year of highschool was all Diablo 2 and Wendy’s.

For hundreds of hours during my senior year, Dave and I, parked across the city from one another, would play Diablo 2 until the wee hours of the morning. I remember with a nostalgic grin the only thing that could bring a stop to our gaming. One of us would inevitably say:

“Fuck, I’m hungry. Want to go to Wendy’s?”

But of course the trip to Wendy’s, the conversation at Wendy’s, the conversation from Wendy’s was all and only raving Diablo 2 madness. Holy shit mana leech ring blah blah Cow World blah blah Mephisto run.

And of course, the only logical conclusion is that we went back to our grinding on our computers immediately upon our return.

Dave, staring at the monitor, staring at Blizzard’s newest drug, rubs a palm against his eyes and says with a laugh:

“Fuck, I’m never going to be able to quit this game.”

But what would we do, if we quit the game? Or specifically, if we quit Blizzard? It sounds so pathetic when I type it, I’ll admit that. But to our defense we have full lives filled with nights with friends, madness at diners in the early mornings, I have tricked a girl into dating me. But there is this other side of us, punctuated by Blizzard. Always Blizzard.

You know you’ve been involved with Blizzard for too long when you can identify parts of your life by the product of theirs you were playing. It’s like asking your Dad what he was doing by asking him to talk about various seasons of his favorite sports team.”

“The 1982 Bruins? Oh yeah, I was…”

I can do the same thing with Blizzard. It freaks me out.

Diablo 2? Senior year.

Diablo 2: Lord of Destruction? Freshmen year of college, DT’s new album, Lord of the Rings.

WoW? We decided to play it during New Year’s Eve, 2004. I got it for my birthday.

WoW: The Burning Crusade? I spent the better part of it addicted to sleeping pills.

WoW: Wrath of the Lich King? The midnight release at Gamestop. Playing it until 3 am. Going to class the next day.

And so on, and so forth. It’s comforting and it’s ritualistic. I look forward to being able to associate future events with points in my life. Who knows what I’ll be doing when Diablo III hits? Finishing my Master’s Degree? What will I be playing when I have my first kid? Will I have to rearrange my honeymoon to fit the release of Galaxy of Starcraft or whatever they drop on us next?

Just kidding. I wouldn’t do that.

Wink.

Cudi Isn’t Kiddin’

Sunday, August 23rd, 2009

cudi

Kid Cudi is mainstream hip hop’s next potential savior.

Ok, let me step back and add a preface – I’m a twenty-two year old, white & nerdy (-6 points for the Weird Al reference) suburbanite who grew up listening to metal and drumming in a prog-metal band. With that being said, I truly believe that Kid Cudi is going to be next great, worthwhile hip hop act.

“Well, Pepsibones, what makes you think that?”

Well, three key points (which, for my sake, can be conveniently listed) stand out:

1) Exposure – This dude is getting pushed hardcore. As I said, I generally keep my ear turned to the harder hitting scenes/bands. And yet, I can’t help but hear about the sickness that is Kid Cudi. Between the Day’n’Nite single receiving continuous (or is that incessant?) radio play and features such as that in last month’s Spin, Cudi seems to be sneaking into the (pop) cultural consciousness. I mean, fuck, when I loaded up OL today the guy popped into the banner at the top and said hello to me.

In short, Kid Cudi is getting the media push needed to help hip hop. Don’t misunderstand me, I’m sure there are plenty of better (whatever that means) underground rappers – but without the exposure their words aren’t going to reach the masses. While I might have hoped for last year’s Esoteric vs. Japan: Pterodactyl Takes Tokyo! to have received more attention, I wasn’t surprised when it didn’t blow up and change the game; the exposure just wasn’t there. With Kid Cudi, it is.

2) Stylistic Plurality – When I subject myself to the radio or MTV, I usually find myself balking like the old man on the block, “Bah! All this rubbish sounds the same!” In the era of five-second ringtone hooks and a reliance on autotuner that makes Kirk Hammett’s wah-pedal use look like occasional experimentation, anything that breaks the mold is greatly appreciated. Not only does Kid Cudi bring a different, more earnest perspective, he presents it a number of different ways.

The A Kid Named Cudi mixtape features mellow, introspective numbers like 50 Ways to Make a Record & Man on the Moon (which shares its name with Cudi’s full-length), the danceable stoner’s love song that is Maui Wowie, a couple of more freestyle-feeling showcases such as Cudi Spazzin’, and hometown anthem Cleveland is the Reason (it is shocking that I’ve yet to see this track supporting a montage of King James dunks).

If Man on the Moon makes use of even half of the styles found on Cudi’s breakthrough mixtape, we’re all in for a treat. Again, between the exposure and success of Day’n’Nite, the people are already going to give his shit a chance – and when they see that he offers something for everyone, they’ll be hooked.

3) Inspiring Kanye to Stop Sucking – Up until November 2008, Kanye West was a hero of mine. In spite of the fact that he is one of the most arrogant pop culture figures of recent history, I couldn’t help but love the guy. Every interview and appearance found him talking all sorts of crazy shit, but I would just laugh it off, preferring to bob my head rather than shake it.

Maybe it was the fact that at his best, Kanye managed to truly inspire me to look past the preconceived paths laid before me and carve my own way through the brush of life.

[Good Morning]

Look at the valedictorian scared of the future

While I hop in the Delorean.

Scared-to-face-the-world complacent career student,

Some people graduate, but be still stupid.

They tell you read this, eat this, don’t look around…

For a time, even Kanye’s most heedless lyrics were awesome in their own ridiculous, hilarious way.

[New Workout Plan]

1 and 2 and 3 and 4 and get them sit-ups right &
Tuck your tummy tight & do your crunches like this;
Give head, stop breathe, get up, check your weave
Don’t drop the blunt and disrespect the weed.

Yes, it’s hard to defend such songs as having any sort of deep literary merit, but they made me smile & laugh, and that certainly counts in my book.

But then Kanye broke up with a girl and lost his mind. Or something. The result: the dismal 808’s & Heartbreak which contains neither the mindful insights of personal empowerment nor humorous musings about girls and weed and drinking and all that other awesome shit. No, all that 808’s provides is autotuned ramblings about lamenting love.

[Coldest Winter]

Goodbye my friend will I ever love again?
Goodbye my friend will I ever love again?
Goodbye my friend will I ever love again?
Goodbye my friend will I ever love again?

Brilliant. And for those apologists that claim “It’s a heartfelt track about love!” I offer two counterpoints: 1) How heartfelt and raw can words be when processed until they sound like a robot? 2) Just because something is heartfelt doesn’t mean it’s any good.

But now we have Kid Cudi, carrying with him the inspiration to restore Kanye West to his former (admittedly arguable) greatness. Kanye enlisted Cudi to help him with 808’s & Heartbreak and the product was the slightly less reprehensible Welcome to Heartbreak. Since then, Kanye has dedicated himself to crafting tracks for Kid Cudi’s debut, including the reworking of Lady Gaga’s Poker Face into the much more overt lauding of oral sex that is Make Her Say. West even went as far as to contribute a verse, returning to his old jovial, fun-loving form in the process. Again, it may not be mentally dazzling, but even being entertaining is an improvement at this point.

Sure, the idea of Kid Cudi helping elevate Kanye back up to the plateau he once reached is wishful thinking. But even if this doesn’t become reality, Cudi’s good enough on his own to make a long lasting impression on the mainstream rap world that is, in my opinion, suffering from the fatigue of thematic repetition. Mark my words, Kid Cudi’s Man on the Moon is going to be the relevant rap album of 2009.

That is, of course, until Lupe Fiasco puts out Lasers in December.

Quentin Tarantino is a Subversive Basterd

Saturday, August 22nd, 2009

basterds

Spoilers Ahead. Serious Spoilers.

Quentin Tarantino’s new film, Inglourious Basterds, is about a lot of different things. On the surface, Basterds is a simple World War II-era story in which a band of Jewish-American soldiers travel into Nazi-occupied France in order to kill (and scalp!) as many Nazis as possible. Of course, when Tarantino is at the helm of such a plot, it can only be accompanied with brains bashed in with a baseball bat, shootouts, explosions, witty banter, a Mexican standoff, sexy women, and all of the director’s other trademarks.

But much more importantly, Inglourious Basterds is a film about film. About the subversion of film, to be more precise.

With that being said, it is worthwhile to first delve into the notion that Inglourious Basterds is actually an exploration of film itself. Conspicuously, many of the characters have various positions within the film industry; Shoshanna owns a cinema in Paris, Marcel helps maintain and operate said cinema, Frederick Zoller is a Nazi war hero starring in a biographical movie, German Minister of Propaganda Joseph Goebbels is tasked with producing this movie, and German actress Bridget von Hammersmark is a double-agent working for the British. As these pivotal characters play a number of different (yet equally important) roles, Inglorious Basterds suggests that the consciousness of film is stocked with varying strains of the human condition.

More pragmatically, Inglourious Basterds’ advocacy on the behalf of film can be found in its plot. While the trailers and taglines are advertising the fact that the movie features a bunch of Jewish-Americans killing Nazis, they neglect to mention that the Basterds’ true aim is to assassinate several hundred top Nazi officials (including Hitler himself); conveniently (or is it thematically?), these officials are all going to be gathered together at Shoshanna’s cinema for the premiere of A Nation’s Pride, Goebbels’ newest piece of propaganda. Resultingly, the Basterds spend a good deal of their inglorious adventures trying to figure out how to get into the premiere so that their primary task can be completed. By centering his newest work on the idea that a movie theater can be the single most important place on Earth, Tarantino effectively demonstrates the power and magnitude of film.

Thirdly, Inglourious Basterds works as a sort of self-aware investigation of film through much of its overt exposition. The name-dropping of (ostensibly classic) foreign language films, actors/actresses, and directors becomes so ubiquitous that I began to sense myself tuning them out – every character seems to get a chance to talk about movies at one point or another. Even less subtle is the brief narrative pause in which a Samuel L. Jackson voice-over presents an anecdotal history of 35mm’s more explosive qualities. And although this segment is well-done and wholly entertaining, other (less obvious) narrative devices could have been employed in order to convey the same information. But by deftly incorporating references to the film industry and even the literal film itself, Inglourious Basterds manages to keep the forefront of the audience’s mind more consciously concerned with movies.

So yes, it is obvious to even the least astute viewers that film may be the very crux of Inglourious Basterds. More interestingly, though, is the idea that Tarantino is commenting on cinematic subversion, an act to which he is no stranger. The spirit of subversion, of challenging the power structure at large in the hopes of building anew, is embodied in the plans of Shoshanna & Marcel.

Shoshanna conceives of a strategy with which she can effectively destroy the oppressive regime under which she has lived & avenge the death of her family; she allows the Nazis to premiere their newest propaganda film at her cinema so that she can:

A) Splice in footage of her own anti-Nazi sentiments.

B) Lock the doors and burn down the entire theater, killing her enemies in the process.

Furthermore, Shoshanna convinces Marcel that her collection of (highly flammable) 35mm films will be more than suitable to fuel the fatal fire.

The plan goes off (albeit not without a hitch or two), and Inglourious Basterds ends by revealing itself to be a sort of alternate-universe version of World War II, in which the Americans win in 1944. Therefore, the viewer is left with the impression that the subversion of film (the claiming for one’s own that by which he/she has been oppressed) can lead to the defeat of the most tyrannical of forces.

To reiterate, Shoshanna and Marcel take the weapon of the ruling power (film) and use it for their own purpose, which just so happens to be counter to that of those wielding the weapon in the first place. Playing to a crowd of shocked/confused/disgusted Nazis, Shoshanna’s filmed message instructs Marcel to burn it down, prompting him to flick his cigarette into the 35mm collection. This act is especially incendiary because it is brought about by two minorities (a Jew in hiding and a black Frenchman during the occupation), and there is something resonant in the idea that scourge of an oppressive regime can bring about its demise. And although the literal result of burning the evil Nazi crime lords to death is an amazing scene, its figurative implications are far more fulfilling.

In a sense, what Tarantino seems to be advocating is not for blanket imitation or pastiche; instead, he believes that the forms of yesteryear can be manipulated in such a way as to become new entities altogether – thereby allowing for the possibility of resisting the structure as it originally stood. Tarantino has always taken bits of pieces from various sources (spaghetti westerns, art house, grindhouse, Blaxploitation, kung-fu, etc., etc.) and added them together with new elements as to create original pieces that incorporate some previously established elements that have stood the tests of time.

Maybe I’m going on a limb here, but I can’t help but feel as though Inglourious Basterds is more than just an old-fashioned Nazi-killing jamboree. It’s about the power of narrative, the persuasive force that is propaganda, and the hope & possibility granted to those who defy the standards by reworking the supposedly predetermined into something liberating and novel.

In any case, I’m really digging Inglourious Basterds – all I have done since watching it tonight was ponder these (Insightful? Ridiculous? Misguided?) ideas and attempt to sling them into my word processor. It’s almost 4 AM and all I want to do is see the movie again. Too bad I have to do some other stupid shit first, like edit these two pages and then go to sleep.

Bah!

Sleeping Pills and Cylons

Sunday, August 16th, 2009

The Last Supper

There was a time when I was a pill-popping, unmedicated bipolar mess. I worked at a convenience station, was woefully unhappy, and spent my days locked in a relationship that was a dead-man walking. And when I try and remember a bright spot during those dismal days, I remember one thing.

Battlestar Galactica.

It’s pathetic to admit that my existence was kept afloat by a bunch of fictional characters gallivanting about a spaceship. But at the same time, we all need our escapes. What are the arts for, if not to use as a means to get away from the drudgery of our lives?

Books, movies, albums, television shows.

So when I say that I love Battlestar Galactica, I mean that I love it. I’ll never cop to it being some astounding piece of fiction. And there are enough threads and articles out there arguing over every minute detail; there are seas of forums swimming with the blood of fallen nerds. So I don’t’ need to write another article for you to read where I tell you how much the finale was amazing or sucked.

We’ve both been there.

Something more boring and personal.

I began watching Battlestar Galactica in 2006. And watching it. And watching it. I’d run through the series with one person. And then get another person addicted, so I could watch it with them. I’d run the show while I was cleaning my room. Or playing World of Warcraft.

I was working at a convenience store in 2006 when I fell in love with Battlestar Galactica. And being the new guy at work, I had to work Friday nights. I was twenty-three at the time, pulling shit pay. Selling lottery tickets and cigarettes to wash-outs and kids I went to high school with.

Being twenty-three and making shit money peddling habits sucked. Doing it on a Friday night while my friends and girlfriend were off elsewhere was even better. I take ownership for not being more proactive in finding a better job, of not improving my lot at the moment.

But I was down in a pretty shitty hole. Rolling out of bed after sleeping through class in time to work three until eleven was a bit of an accomplishment for me those days. And there’s only one thing I remember helping me out on those shitty Friday nights.

Billy Adama and his legion of lasers, robots, and pontificating.

I’d set up shop with my Macbook. Slap that bitch up on two milk crates, and I’d sit on another two facing them. Head resting on fist, fist driving elbow into my thigh. In my Macbook pro would be a random disc of Battlestar whirling.

As I had to stare at club skanks and orange dudes with blow-outs, Starbuck would be getting her ovaries harvested in some creepy Cylon den. As I had to sell some fat old fuck with thick-rimmed glasses five-hundred dollars worth of scratch tickets, Adama would be telling everyone they had jumped far beyond the red line.

The customers would come and go, and every time after they left I’d sit back down. And for a few moments, I was free. I didn’t have to focus on the shitty store, my shitty job, my fifteen-year in progress degree, anything.

It sounds like some rotten teenage drama when I type this. Maybe next I’ll date the football captain after tutoring him, right? But I’m just kicking it real here. If I can tell you how I like fingers in funny places, I can tell you my embarrassing crush on a bunch of pointless characters.

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Batman Needs Therapy

Sunday, August 16th, 2009

Batman All Pondering And Shit

There was a time when Superman and Batman were good ‘ole chums. I’m sure they’d play racket ball and discuss how their weeks were going. They would sit beer in hand, and stare out at the sunset talking about how it was a shame that Superman would outlive anyone he ever loved. Clark shedding those Super-tears. Bruce patting him gently on the head and telling him it’d be okay.

All that changed in 1986. A lot of things were going on in 1986. I was happily pooping my pants and playing Super Mario brothers. (It’s a tradition I carry on to this day.) The Red Sox were losing big games as usual, prompting diehards to scream “We AH CURSED!” But the most important thing for the comic book world was the release of The Dark Knight Returns.

The Dark Knight Returns, a four issue mini-series, was written by Frank Miller, one of the fathers of the modern comic book landscape. In four issues, The Dark Knight Returns took the characters of Superman and Batman, deconstructed them, and replaced them with the characters we know today.

Batman as a semi-crazed fascist, hell-bent on cleaning up the world? That’s Miller’s work. Superman as the ultimate boy scout? You can chalk that up to Miller as well. In four-issues Miller rewrote the psychic mythos of both characters. Miller saw Batman as the maniac who crosses every line but murder to clean up the streets. He became a fascist who does everything but murder. And it makes sense that this sort of character would need a foil. And that’s how you get Superman – the good farm boy with a heart of sugary mush. Miller just couldn’t see the two of them getting along.

Setting up Batman and Superman are the most epic of foils has given rise to one of the debates of my generation. In between “Yankees or Red Sox?” “Pepsi or Coke?”, and “Atheism or Divinity” comes “Are you a Superman fan, or a Batman fan?” It’s a deal-breaker. I’ve seen married couples come to physical blows over this disagreement.

Shouting “I would never raise my child a Kent sympathizer!” women have dragged their belongings out of the house as their confused children hugged their legs. I’ve seen this scene unfold a thousand times, each one as painful as the last.

There is no middle-ground in this war.

Until you get to me.

I don’t know why I have appointed myself the defense attorney for a fictional character’s reputation. It’s just a calling for me. Like those who go off to live in a monastery.

Let’s be real with each other: any guy who drives a tank and knows Kung-Fu is a unanimous inductee into the Bad Ass Hall of Fame. The problem for me starts when jazzed-up Batman fanatics spit their hurtful rhetoric about Superman, “Fuck Superman, man! He can’t be hurt! He’s invincible man! I just can’t relate to that shit!”

I heard it all over the place this past summer. It was a steamy July night when the midnight showing of The Dark Knight went down. And after the masses poured out of the building and into the damp night, the masturbating began.

“Oh man, Batman! It was sick!”
“Yeah dude, the Joker man! Amazing!”
“Holy shit when the Batmobile turns into the Batpod!!!!”

If exclamation points at the ends of sentences were actual physical objects, people would have been falling over in that parking lot from missing eyes. I stood there with my friends and I joined in with the orgy of praise. I loved the movie. But then I made the mistake of lobbing a criticism.

“The dude needs a psychiatrist.”

At once they were on me.

“What do you mean?”

And I retorted.

“I’m just saying a lot of people have their parents killed. And most of them are able to move on. He needs to see a psychiatrist, not don latex and beat people up.”

I knew I was trying to be pain in the ass. In a group of friends that love playfully pissing one another off, my behavior wasn’t out of the norm. My friends scoffed at me, and we went back to doing everything short of starting a cult dedicated to Christopher Nolan and Christian Bale.

But however much I was joking, my point was genuine. Batman zealots often make the argument that Superman is a character you can’t relate to. “I can’t relate to an alien who can’t get hurt.” And yet, somehow people can relate to Batman.

Maybe I’m missing something here. Let me recap my understanding of Batman.

Batman is billionaire Bruce Wayne. When he was young, his parents were murdered. He seems to know every single form of martial arts ever. He is a genius detective. He bangs roughly fourteen trillion women a year. And he his psyche has scars so deep they make Manson look sane. And to work all of this out he wields tanks and swords and Batarangs and hangs out secret laboratories.

Actually, never mind. He’s relatable. I always forget that all the Batman fans out there are billionaires with murdered parents who seek justice by donning garbs. And then there’s Superman. I’m going to piss off all you Batman fanatics and tell you a secret. I relate much more to Superman than I do to Batman. Why? Let me break it down for you.

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