Game Review: Dead Space

I’ve not really written much this month. And why? Because I was filling up some of the gaps in my collection of Playstation games. Among them being Dead Space, which I actually played once before five or six years ago but gave away or traded it for something else after I was done with it. Now I played the whole thing again and there’s really quite a lot to talk about in it. I usually don’t play Horror games because they are – yes, you’re right – too scary for me. Dead Space is one of the exceptions. Compared to oldschool Survivial Horror games it is relatively tame as the scariness goes and it’s set in a setting that I generally don’t consider particularly scary to begin with. I grew up with spooky Star Trek: The Next Generation episodes and it was only many years after having seen Alien that I learned that most people consider it a horror movie. Alien lifeform infiltrating a ship and altering the people on board is an old hat for me. If you’re not immunized to stories of this type, it might be much more scarier, though.

dead_space-1689615Dead Space was released in 2008, like a whole bunch of other great PS3 games, and while not one of those games that achieved immortal fame, it was still very well recieved and has a lot of great fans. The kind of success game developers can reasonably hope to achieve with a new series. The setup is very simple. The deep space mining ship Ishimura has send a distress call from a remote planet and the company sends a small repair team consisting of a computer technician, an engine technician, and three guards. You play the mechanic Isaac Clarke (little joke here that sci-fi fans should easily spot), whose girlfriend Nicole is also one of the medics on the Ishimura, who had send him a strange message before contact with the ship was lost. When their shuttle arrives at the Ishimura, the whole power is out and the automatic landing system malfunctions, causing them to crash into the hangar bay. Inside the Ishimura everything is in chaos and the whole crew gone. But no three minutes later a swarm of berserking space zombies tears two of the guards to pieces and answers the question where everyone has gone. With the Ishimura being out of working order and the shuttle wrecked, Isaac has to crawl through the giant mining ship, trying to find a way to escape while keeping the ship from crashing down into the planet. And of course try to find out what happend to Nicole and saving her if possible. Good thing he’s an engineer and not some kind of useless space marine or theoretical physicist. Overall, the game feels a lot like a blend of Aliens, Event Horizon, and The Thing. You could also call it Die Hard on a Spaceship. With zombies! Or, as I believe the correct technical term goes, serious fucked up shit.

This is an excelent trailer, by the way. It gives a good impression of what you’re going to get and, more importantly, doesn’t give away any details of the story. I watched this one years ago and quite liked it. And I think it was the only one I watched, which allowed me to go into the game completely blind. Which I think really was very much worth it. Many of the other trailer I’ve seen now give away way too many unexpected revelations in my opinion.

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2008: Also a pretty decent year for videogames

A year ago I wrote a post about the many incredible and amazing games that were released in 1998. Yes, I was 14 and everything was best when you were in your teens. But I think even then the list speaks for itself. Over the last months I’ve been completing my collection of PS3 games that I played but never owned myself or that I always wanted to give a try one day. And today I noticed that quite a surprising number of them were all made in 2008. It’s also quite the impressive list, I would say.

  • Februrary 12: Penumbra: Black Plague
  • April 24: Valkyria Chronicles
  • June 12: Metal Gear Solid 4
  • June 23: Battlefield: Bad Company
  • July 24: Siren: Blood Curse
  • August 22: Stalker: Clear Sky
  • September 25: Wipeout HD
  • October 13: Dead Space
  • October 21: Castlevania: Order of Ecclesia
  • October 21: Far Cry 2
  • October 27: LittleBigPlanet
  • October 28: Fallout 3
  • November 7: Gears of War 2
  • November 11: Call of Duty: World at War
  • November 11: Mirror’s Edge
  • November 18: Left 4 Dead

There were also Prince of Persia 2008 and The Force Unleashed, which are not highly regarded but I still think are a lot of fun, and Overlord got released on PS3. Probably won’t be long until we see the first games for 2018 being announced. Maybe we’ll get lucky and the trend continues.

The inherent racism of Star Wars

I am as big a Star Wars fan as you can get before it gets insane and embarassing. But I am also highly critical of it and more than just willing to recognize its many flaws. And, oh dear, there’s so much of them. But one of the biggest ones is one I’ve almost never see discussed anywhere.

Star Wars, at it’s very essence, is fundamentally racist.

And this has nothing to do with Lando Calrissian or even Jar Jar Binks. People have complained about the Neimodians talking in a Japanese accent and being show as ruthless conquerors driven by greed, and I can understand that to some degree. And really, the makeover of Watto in Episode II is indeed the most racist shit I’ve ever seen outside of Nazi propaganda cartoons.

 "All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental."
“All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental.”

But no, I am not talking about that here. The problem I want to adress is at the same time less controversial but also much, much farther reaching. Many worlds in science fiction often get accused of being Planets of Hats, where the whole population really has only a single defining trait. Star Wars does that too. And very hard. And all the time. Even ignoring the accents of Neimodians and Gungans and any resemblance they may have to those found in some parts of the world, the entire worldbuilding of Star Wars is based on a way of percieving people and cultures that has a clear and unambigious term: Racism.

Racism, at its very core, is not specifically about discrimination or hatred or limited to any minorities. These are issues that result from racism. Racism itself is the idea that a group of people who share a common ancestry can easily be defined by a few traits that are shared among all of them. So if you have seen one person of that group, you know not only everything about that group, but also everything about every single member of that group. Racism is the idea that shared biological ancestry makes all people of that group the same in several fundamental traits.

And nowhere in fiction have I ever seen this principle applied so consistently and agressively. Though I think it neededs to be added, that this is primarily about the Expanded Universe, all the novels, comics, and videogames that build upon the movies. The movies themselves are relatively free of this since it is rare to ever see more than a single individual of any species other than humans. But in the EU it’s really bad. If you have one character of a species appearing in the movies, even in a really tiny role, that character is almost always turned into the universal archetype for the entire species in all subsequent works.

Take for example the Bith. The Bith really only appear for a few seconds and have no relevance to the plot. They are these guys.

1024.7sw.ls.103012The bar in which Luke and Obi-wan meet Han Solo and Chewbacca happens to have a band of Bith playing during the few minutes they stay at that place. Do we learn anything about these guys at all? No, nothing. Except that these are in a band that plays in a bar. As the EU is concerned, this is everything you need to know about the Bith. Because in the EU, the Bith are a species of performance artists and musicians. All of them. That’s what they are known for throughout the galaxy. When musicians get mentioned, very often they are Bith. It’s like the Bith have a monopoly on playing music for the whole galaxy.

Jawas_SWGTCGHere we have a group of Jawas. In their natural environment. Shoting at droids to repair and sell them. Jawas have many appearnces throughout Star Wars, but in the movies themselves I believe they really only have one significant appearance. (Other than background dressing.) And they are always surrounded by metal scrap and working on salvaged machines. Most often traveling around in their huge brown, angular trucks. Because in the movies there was one group of Jawas who had such a big brown truck, wore brown robes, and apparently salvaged broken droids to make a living. One group of 10 or 20 individuals. And what they did on that one day instantly became the template for the entire culture and nature of the whole species. You have seen one Jawa, you have seen all Jawas.

And there are virtually no exceptions to this rule. Chewbacca can fix shapeships and droids and in his backstory he used to be an imperial slave. Pretty much all Wookies you’ll ever see are good with machines and the entire species has been enslaved by the Empire. And not just the empire. In the days of the Old Republic, 4,000 years before the Empire, they were being enslaved by the Czerca corporation. Once a slave, always a slave. The whole species.

All Sullustans are good pilots, all Bothans are spies or politicians, all Verpines and Sluisi are great mechanics, all Twi’lek women are strippers, all Trandoshans are bounty hunters, Rodian culture is all about hunting, all Gamoreans are mercenaries, all Hutts are criminal businessmen (…slugs), all Chiss are military geniuses, all Noghri are super stealthy assassins, all Ithorians are pacifistic, all Corellians are roguish pilots with a problem for authority, all humans from Tatooine are farmers. It goes on and on. (And, being Star Wars, on, and on, and on, and on…)

In the Expanded Universe of Star Wars, the basic concept of racism is an actual fact. If just see one member of a species for a few seconds, you know everything there is to know about the entire species and every single individual. I can understand how it happens on a single episode of Star Trek that visits a planet only once, which then is never appearing again. But when it happens over decades and is done by dozens of writers in completely different stories, I find it rather inexcuseable.

Honorable mention goes to my favorite Twi’lek Nawara Ven, who has the distinction of being not some sly gangster but a starfighter pilot/lawyer of unquestionable integrity. But then, being a lawyer does kind of put him into a similar niche as smugglers and spies. It’s just their nature, I guess…

Game Review: Final Fantasy XIII

I was quite excited about Final Fantasy XIII back when it was announced, having just had a lot of fun with Final Fantasy X. Somehow I ended up actually buying it only much later after its release and then also only played it halfway through until I got bored with it or destracted by something else and forgot about it. And only now did I finally get to play the whole thing. I am not exactly a huge Final Fantasy fan. Before this one I played FF10, played maybe halfway through FF7, and also played a bit FF12. So mostly the most recent games. I don’t really know anything about the games before FF7, which I believe where really quite different things.

Final_Fantasy_XIII_EU_box_artFinal Fantasy XIII is set in the two worlds of Cocoon and Gran Pulse, the later being a big planet covered by wilderness while the former is an artificial hollow moon that has all the people living in the inside of the shell. Cocoon was created by the fal’Cie, a race of powerful and immortal crystal beings of huge size that runs the world both politically and mechanically. On Cocoon, the fal’Cie provide light, energy, food, and the entire infrastructure, making it a paradise for the millions of humans who live beside them. Sometimes they require special servants and pick more or less random people nearby to turn them into l’Cie, giving them great powers which they will need to complete their tasks. Those who complete their Focus are rewarded with eternal life, but those who fail eventually are driven mad and turn into rampaging monsters. Usually the fal’Cie of Cocoon send their l’Cie to fight against their great enemies, the fal’Cie of the planet Gran Pulse below and their own l’Cie which they send to attack Cocoon.

The game begins right in the middle of the action. It has been discovered that a Pulse fal’Cie has been hiding and sleeping on Cocoon for possibly centuries and now it has awoken and begun to recruit people from the nearby town as l’Cie. The response of the human military is swift and clear. Everyone in the town has to be deported from Cocoon and send to Gran Pulse, together with the huge ancient structure that is housing the Pulse fal’Cie. And they have absolutely no mercy. It’s either going to Gran Pulse or death. Anyone who tries to escape is killed immediately. But not everyone is willing to go along with it and we’re introduced to the heroes for this game as they crash the train in an attempt to give people a chance to escape. The most prominent character is Lightning, the lady from the cover of the box, but not truly a protagonist in the traditional sense. It’s not a story that is about her, but about all of the characters equally, though she quickly becomes a kind of inofficial leader of the group. Lightning is a member of the local police/military and looking for her sister Sera, who was the first person to be picked by the Pulse fal’Cie and turned into a l’Cie. The next character is Snow, Sera’s boyfriend and leader of a group of local vigilantes. There’s also Sahz, a middle aged man whose involvement in the whole thing remains quite unclear for a good while; a young boy named Hope whose mother gets killed when she joins Snow in fighting the military; and Vanille, an extremely girly and inappropriately cheerful girl who just somehow sticks to Hope in the chaos of the breakout. Soon all five of them find themselves inside the huge ancient structure in which the Pulse fal’Cie is hidden as it is getting transported to be thrown back down to Gran Pulse where they come face to face with the being and end up all getting recruited for a mysterious task as well. At that point their fate is sealed. Complete their Focus and be rewarded with eternal life by being turned into crystal, or turning into monsters. Both choices are not really appealing and to make matters worse they don’t really know what it is that the fal’Cie wanted them to do before they killed it. Over the course of the game they are trying to find out what’s really going on, what they are supposed to do, and how it might be possible to restore people who have been turned into crystal back to their normal form. Which doesn’t start out very well as both Lightning and Hope have a deep hatred for Snow, whom they both blame for Sera ending up as a l’Cie and Hope’s mother being killed. How the characters come to see things from different perspectives, learn to get along with each other, and how to deal with the situation they’ve been put in is the major focus of the story. And I think it’s done quite well. My first reaction to seeing the characters was thinking that almost all of them are really stupid ideas, but they all end up having a good amount of depth and interesting relationships with each other.

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Dead bodies everywhere

Feeling not particularly happy today, I looked through all the books, DVDs, and games I have for something cheerful. And realized that the only thing I have that would somehow fit that description is Monty Python and the Holy Grail. Pretty much every other piece of entertainment is about a world that consists mostly of huge piles of corpses and is about a protagonist tryint to prevent those people who still live from being all horribly killed by monsters, aliens, or super evil soldiers as well. Even the funny stuff I have generally has the world in shambles and most people dead, like Zombieland.

There are a few things I’ve enjoyed that are genuinly funny and happy, but those are nonsensical comedy that doesn’t really has anything to say about anything. Except perhaps about the value of friendship and love in a nauseating corny way.

And it isn’t just that I’ve only bought dark stuff over the past 10 years. All the good movies and games of recent year that I know about are ultimately about endemic suffering and everything either being shit or about to become shit if the hero can’t prevent it. Isn’t there anything intellectually engaging that isn’t about suffering?

Nonhuman characters in Sword & Sorcery

When talking about Sword & Sorcery and the essential traits and themes of the genre, there is almost always at least someone making the claim that the absence of nonhuman character is outright essential and that a work can not be Sword & Sorcery if it has any nonhumans that are not monsters. Yesterday someone made the commendable effort to provide a reason and supporting evidence why nonhumans are not a thing in the genre, by stating that there are pretty much no works of Sword & Sorcery which have nonhumans as counter evidence. Now obviously that gets us to a True Scottsmen argument. If your definition of Sword & Sorcery includes “no nonhumans”, then of course there are no works that have them. You could also say that Sword & Sorcery doesn’t have guns. But Salomon Kane has guns and I haven’t seen anyone claiming that he isn’t Sword & Sorcery. Guns are just uncommon, but not conflicting with essential traits of the genre.

However, I want to argue that there are in fact many works that have all the relevant traits of Sword & Sorcery and also nonhumans, and in which the inclusion of nonhumans doesn’t in any way conflict with with those essential elements and themes.

  • Atlantis: The Second Age (rpg)
  • Bound by Flame (videogame)
  • Dark Sun (rpg setting)
  • Dragon Age II
  • The first three Drizzt novels.
  • Elric
  • Primeval Thule (rpg setting)
  • Rune Soldier (anime)
  • The Witcher

I admit, most of these are fairly recent. But just because something is not found in the oldest works doesn’t automatically make it incompatible with a genre. It still walks like a duck, swims like a duck, and quacks as a duck.