I found this video the other day. It’s a shockingly well-done short film depicting the backstory to The Legend of Zelda: Majora’s Mask. Not only is the animation beautiful and of a professional-grade quality, but most importantly I feel like they really captured the tone and atmosphere of the game perfectly. Not just of the Zelda franchise as a whole, but more specifically of that game, which is arguably the most atmospheric of the entire series.
If they ever were to make a Legend of Zelda movie, this is what it ought to look like.
For this week’s Saturday entertainment, I offer the 2018 4th of July (sort of) episode of Ross’s Game Dungeon, where he reviews The Crew and takes a cross-country tour of the United States.
I haven’t kept up on the game itself in the intervening years, nor its sequel, so I don’t know what the state of the series is, but I have to say that I agree with Ross that I love just the idea of a giant, continuous map of a miniaturized version of the United States, and that you could really just sell the game on that alone. No story, just the chance to drive around the country, see the sights, learn bits of trivia, and maybe have the option to play some mini-games, like races or stunts or something. I would absolutely buy a game like that, assuming it wasn’t a glorified rental like this game is.
(The size and scope of the map also makes me dream of an ‘Arkham City’-style sandbox game for Godzilla: maybe with a miniaturized version of the Pacific Ocean and Japan, plus some other coastal regions and islands. Better not dwell on that too much, or I’ll get depressed that it doesn’t exist).
In any case, enjoy Ross’s tour of America. Stay to the end for a visit to my hometown of Detroit.
1. Loving your enemy does not mean forgetting that he is your enemy.
2. That we cannot judge what we don’t know doesn’t mean that we can’t judge what we do know. E.g. I don’t know the state of X’s soul, nor the internal motions that lead him to act as he does, but I do know that he steals and that stealing is wrong. To say as much is not to be ‘judgmental’.
3. Art direction is always more important than graphical fidelity.
4. Democracy is not intended to give people power, but to take power away from specific people.
5. Most successful revolutions, political or otherwise, amount to different people doing the same thing under different names, only with less restraint.
6. And as a final entry: my latest post is up at The Everyman, applying the lessons of Chesterton’s surreal classic The Man Who Was Thursday to the modern situation:
As may be found from this brief synopsis, the book is very strange and often surreal. It’s sometimes called a ‘metaphysical thriller’. At the same time there is a sharp and at times disturbing exactness of its vision of the world and the philosophies at work in the modern day. Consider, for instance, Gregory’s assertion of what the anarchists really want:
“To abolish God! We do not want to upset a few despotism and police regulations…We dig deeper and we blow you higher. We wish to deny all those arbitrary distinctions of vice and virtue, honour and treachery, upon which mere rebels base themselves.”
Indeed, though they lack the capacity to put it in such terms, the modern woke anarchist would likely agree with such sentiments in his heart. What is the common thread in their insane rhetoric but the destruction of the hard lines of reality: not just right and wrong, but male and female, family and stranger, citizen and foreigner, living and dead, man and beast? All subsumed into a morass of self-will. Yet a will founded in a self that, removing these solid foundations, is as insubstantial and pliable as a cloud.
And as is said later in the novel, “When duty and religion are really destroyed, it will be by the rich.” The poor, Chesterton suggests, will never truly be anarchists or anything of the kind. It is the rich, the educated, the sophisticates who play with such fire. “The scientific and artistic worlds are silently bound in a crusade against the Family and the State,” says the man who recruits Syme to the police, before going on to lay out how much more wholesome mere criminals are than the kind of modern philosophers who hate marriage as marriage, property as property, and life as life.
Meanwhile, there is a deluded ‘outer-ring’ of anarchists who believe that “all the evil results of human crime are the results of the system that has called it crime.” That is to say, the kind of people who condemn ‘slut-shaming,’ who call ‘mis-gendering’ violence, or who rail about the demographics of prison populations without once mentioning the words ‘guilty’ or ‘innocent.’
Yet even these are only the dupes, the willing tools of their leaders, who though they mouth the same platitudes understand as the rank and file do not the true meaning behind them and “have but two objects, to destroy humanity and then themselves.”
It is sometimes hard to believe, looking at the current crop of politicians and other social elites, that this is not precisely what they have in mind.
Syme, standing against the anarchists, stands explicitly for sanity, respectability, and the “common and kindly people in the street.” His backstory tells of his being “surrounded by every conceivable kind of revolt since infancy,” leaving him with only one thing to rebel into: sanity. In this he is an early prototype of the strange fact that to defend the values that once defined our civilization is now itself an act of rebellion.
And the only motive for such a hopeless and Quixotic rebellion is “that unanswerable and terrible truism of the song of Roland”: Pagans are wrong and Christians are right.
Liberal broadmindedness has nothing to say in answer to such reckless hate as the anarchists bring. Only the great counter assertion of right and wrong, of true and false, and of the real, solid distinctions of real natures will do. “Perhaps we are both doing what we think right,” Syme tells Gregory early in the novel. “But what we think right is so damned different that there can be nothing between us in the way of concession. There is nothing possible between us but honour and death.”
Read the rest here.
I like video game history, I like urban legends, and I really like seeing people put a tremendous amount of research and effort into their videos.
With that, I present you Retro Ahoy‘s documentary on Polybius, one of the most prominent myths of the video game world.
First a summary: according to the story, Polybius was a mysterious arcade game available for a brief time in Portland in the early 1980s. Descriptions of the gameplay are vague, but was said to be abstract and strange, combination puzzle and shooting, supposedly highly addictive despite its abstract nature. However, those who played it began to experience odd side-effects such as nausea, amnesia, night-terrors, and behavioral changes. Then a few months after its first appearance, mysterious men in black appeared and wheeled the machines away, never to be seen again.
The rumor is that the game was a CIA experiment: testing mind-control or personality-alteration technology on the general population.
The video goes into greater detail of the story, its history, place in video game culture, and (most impressively) seems to track the legend back to its source. Though even then, there’s still a potential mystery left unanswered to tickle the fancy.
It’s a long video (over an hour), but well-worth it.
I recommend you check out the rest of Retro Ahoy’s channel: the guy puts a ton of research into his work, especially for his longer videos. If you have any interest in video games or video game history, he’s well worth the time (his equally-long and in-depth documentary on ‘The First Video Game‘ is also a must-view).
I’m not musically inclined, so I’m not really qualified to discuss the objective musical quality of any band. My criteria for music that I like is a purely subjective enjoyment and / or that it sparks some creative juices or gives a good emotional charge.
The result is that I only rarely get attached to actual bands; I mostly go on a song-by-song basis. But one of the few that I regularly return to and find a reliable source of songs I like is Skillet.
I’ve mentioned them before, but the short version is that they’re a rock band with Christian sensibilities. Or perhaps a Christian rock band. Or a rock band that happens to be composed of Christians. Some of their songs are explicitly religious, others are just rocking awesomeness or gooely emotional.
But whatever the subject matter they have a tendency to hit just the right note for my tastes. I go to them fairly often for my Appreciation videos and have a few other creative ideas for their work down the line.
If you haven’t heard them before, I offer a selection of some of my favorites of their songs for your enjoyment.
I have absolutely no interest in the Snyder cut of Justice League and I never did.
Honestly, the man who made Man of Steel and Batman v. Superman, the guy who openly sneered at fans of Superman who expected a hopeful, upbeat hero and arrogantly likened experiencing his ‘mature’ and ‘gritty’ version to losing one’s virginity (while displaying an absurdly childish understanding of human behavior, storytelling, and consequences throughout), and we’re supposed to be excited that he gets carte-blanche and an unlimited runtime?
When I first heard about this and started seeing trailers, I figured it would be completely different from the original cut: a different story, with a lot more things going on. Then I started seeing summaries and reviews and I thought, “Wait, so this is the exact same Steppenwolf / Mother Boxes story, only told over four hours? That plot was thin over a two-hour film: you stretched it out to four?” Similar to how I’ve heard there’s a six-hour cut of Black Panther: a film where well over half the theatrical screentime is pure filler. I have to wonder just what they heck these filmmakers are wasting time and money on.
Enter the legendary Mauler (legendary as in I was legitimately uncertain whether he still existed as a reviewer, as it’s been eight months since his last video), who seems to have hated the Snyder cut and the praise it’s been getting so much that he did a rush job to tear it apart.
It isn’t his best work (he jumps around a lot in this one, a consequence of the rushed production it seems), but as usual he bring clear, logical arguments and side-by-side footage to illustrate just how bad this version is and to make the case that, believe it or not, Joss Whedon actually did all he could to save the damn thing.
(Learned that most of the few moments I actually liked from the original cut, e.g. Superman showing up with a corny line about justice, Supes and Flash saving civilians, Flash commenting on how digging up Clark with super-speed felt disrespectful – literally the one moment I actually liked the Flash in that movie – were original to Whedon’s cut).
(And seriously, Flash can time travel at will? Cyborg can control all machines on earth? What the heck is this?)
Mauler does a great job of breaking scenes and character arcs down logically, illustrating why they do or do not make sense and what they bring to the story or take away from it.
I particularly liked his summation of why Snyder doesn’t deserve any slack:
“How many directors get to shit out a horrendously written movie destroying established, beloved characters with a multi-million dollar backing and an all-star cast? Three times?”
Language warning, by the way: he’s no Razorfist, but he doesn’t mince words.
(By the way, can we please stop with the boom reverb on alien / demonic bad guys? They do it in every film these days and it’s really old, making them all sound exactly the same. Again, like a child’s idea of how a meany villain ought to sound. I’d like to point out that Michael Ironside, Clancy Brown, Powers Boothe, Ron Perlman, Kevin Michael Richardson, Corey Burton, Mark Hamill, David Warner, Michael Ansara, and so on didn’t need it for voicing far more intimidating and memorable versions of the DC villains).
In August 1920, newly independent Poland stood all-but alone against the newly risen monster of the Soviet Union. The Soviets were looking to eliminate the old bastion of the Church from their borders, as well as give themselves a route to foment and take advantage of the chaos in Germany, hoping to spark a Communist revolution in Karl Marx’s homeland, from whence it would spread through the rest of Europe.
On the Feast of the Assumption, the outnumbered and outgunned Poles smashed the advancing Soviets at the Battle of Warsaw, dubbed “The Miracle of the Vistula.”
One of the highlights of the battle was a Polish cavalry unit breaking through Soviet lines early on to capture an important radio tower, which they used to broadcast readings from the Book of Genesis in Polish and Latin to the Soviet troops. Which is a quintessentially Polish thing to do.
This video does a pretty good job of summarizing the context and events of the battle. I pass it along to you in the hopes that we can start making this pivotal event better known.
Wherein I tackle American exceptionalism and try to explain why we need to give up on the idea:
I don’t say this just because our system of government and society barely resembles that which existed at the nation’s founding (even allowing for the passage of time and development of technology). Nor because we have recently witnessed the departure of what may well be the last legitimate president we will ever have, leaving the nation in the hands of criminals. Nor do I say this on account of slavery or racism or any of the other sins of our past (which are only to be expected).
It isn’t even because I think the philosophy we based our nation upon is incoherent and dangerously self-contradictory, or because I think the narrative underlying it to be thoroughly false.
No, the reason we need to give up the idea of our own exceptionalism is that it is fatal to patriotism.
As Americans (as I assume most of our readers to be) this may shock you. It may even sound like nonsense. But I beg you to try to understand what I’m saying.
Suppose a man were to say to his young son “I love you because you are the smartest, best behaved boy in school.” Suppose then that the boy gets a poor grade on his test, or gets into trouble with the teacher. What is he to think? The most natural thing would be for him to fear that his father would no longer love him, or not as much because he has shown himself to not be so smart or so well-behaved as his father believed him to be.
It is unlikely his father would really feel that way, but the boy would think so. He would think so because that would be the logical deduction from his father’s words. Therefore, even if the boy never does break the rules or get a bad grade, he will have that fear in the back of his mind of “what if…?” “What if I fail this test? What if I make a mistake and get detention? My father won’t love me a much anymore.” He will thus either work fearfully and fervently to ‘keep’ his father’s love or else despair and give up entirely. One thing is sure though: any love of the subjects themselves or any enjoyment in the ordinary life of a schoolboy will be crippled because none of them can be enjoyed for their own sake. They must go toward the satisfaction of that all-important condition.
It is the same for a husband and wife. A woman whose husband tells her “I love you because you are so beautiful” will fear the aging process and, just as much, fear the inevitable rival whose looks outshine her own.
If you ask why you love someone or something, you may give reasons (“She’s so sweet and so lovely!” “He’s so strong, so honest”), but the real, proper response – which it is important to understand whether or not it is directly stated – is simply “because you are yourself.” As Professor Von Hildebrand says, to love something means to perceive the unique idea in the mind of God that it represents: to see it as something unique, irreplaceable, incomparable.
This is the great danger of American exceptionalism: it seeks to justify patriotism. Worse, it actually takes those justifications seriously. We are to love America because she is the freest, most just nation on earth, the nation that corrects the mistakes of the rest of the world, where equality and opportunity and liberty reign supreme.
Read the rest here.
There’s obviously a lot more to be said about all this than I was able to fit in or had time to adequately research. But if there is one idea, one section of this essay that I would wish to be ingrained in the readers’ mind and to hammer home as much as possible, it’s this:
No nation is meant to be a creed. It is not our duty to save mankind or to be the shining example for the world to follow. We are not the new Jerusalem, we are not the last best hope of earth, we are not God’s chosen people. America is not the Church. It isn’t even Rome.
1. More and more it seems to me that where modern psychology is correct, it ends up being a complicated way of saying the same thing that Old Wives and monks have said for time immemorial. This week I watched a couple videos on dopamine, its affect on brain, and the means to counteract it, and all I could think was “so, deliberately moderating our pleasures and periodic fasting.”
2. I’ve been watching a lot of YouTube videos recently. Or let me clarify: I’ve been watching videos from a lot of new-to-me channels and topics recently. Mostly involving finances, bookkeeping, budgeting, DIY, and pop-psychology. Thus far, my impression is that everyone seems to be copying everyone else: jump cuts, multiple takes spliced together to form one long-ish take, pretending to lose your train of thought in the middle of a sentence, “be sure to like, comment, and subscribe / smash that like button” (everybody smashes that like button), “what’s up guys?” (seriously, everyone uses this introduction), “studies have shown…” etc. There’s definitely a remarkably consistent style across a surprisingly broad spectrum of videos.
It may be just me, but I don’t like being asked to subscribe to YouTube videos, or to like or comment.
3. I seem to have lucked out without realizing it. See, I’m a creature of habit to a possibly-pathological level, so when I find content I like, I tend to simply stick to it until I start to get tired of it. So, the few YouTube channels I actually follow, I tend to just stick with rather than venturing out into the wild to search for more. This is partly because of my aforementioned sedentary approach to these things, but also because I think if I do venture out there, about 99% of what I find will be junk. Maybe entertaining junk, but junk.
The few YouTube channels I do follow all buck this trend, and indeed usually make fun of it. Ross of Accursed Farms did a whole video commenting on how strange it feels to him to be asking for money to make funny videos about weird games and laying down promises of what he’d be doing with it and who should and shouldn’t donate. Mauler likewise only brought up the subscription question in distinct sections are the tail-end of his videos, and then was very transparent about what people would be buying (though he’s been a little disappointing lately as his reviews have slowed to an absolute trickle, to the point where I think I’d be feeling annoyed if I had backed him, but that’s another story. Then again I’m averaging about two videos a year right now, so maybe I shouldn’t be throwing stones…).
I don’t remember Razorfist ever asking for money or subscriptions either (though I’ve heard him tossing some typically-colorful invective against creators who do from time to time), and when he expanded onto a subscription site he explained it was just a way to maintain independence: a subscription site can at least maintain itself in existence if YouTube tightens the noose. David Stewart does invoke the ‘like, comment, and subscribe’, though he saves it to the end and honestly is so low-key about it that I forgot he even does it until I double-checked.
I’ve watched videos where a big ‘SUBSCRIBE’ animation pops up about every thirty seconds or so (not exagerrating). Or where the host just stops the video two or three times to ask for subscriptions.
I know that people have to try to work the algorithm and all, especially if they’re trying to make money, but I have to think there’s a better way. Actually, I know there’s a better way: let the content speak for itself and only bring up money and subscriptions when you have to.
If I ever expand my video production (which I hope to do in future), I hereby vow I will never play the ‘like, comment, subscribe’ game.
(And while I’m talking about channels I like, definitely check out Modern History TV, where a modern knight – OBE – delves into the practical side of Medieval life, especially of Medieval knights. He also doesn’t do the ‘like, comment, subscribe’. Though to be fair, something tells me he isn’t in it for the money).