A year ago today I threatened to write a 20-page explicitly homoerotic fanfic prequel that would explain all the interesting parts of Inception, a movie whose plot you likely only somewhat recalled even as you left the theater.
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I had a deep and personal talk with a dear friend, electrocuted dozens of middle schoolers for science, ate fresh bread and good cheese, played on swings and left treasures in a protogeocache, watched earnest college students (SO YOUNG) sing Doctor Horrible, ran a personal best 10k next to a pretty girl I hadn’t seen in years, cooked a giant lunch, took a walk in the sunshine, and spent hours at Planet Motherfucker eating incredible barbecue and laughing with smart people. I am very lucky. This was a good weekend.
“This ain’t bore and inject, it’s more like we interface with the ice so slow, the ice doesn’t feel it. The face kinda sleazes up to the target and mutates, so it gets to be exactly like the ice fabric. Then we lock on and the main programs cut in, start talking circles ’round the logics in the ice. We go Siamese twin on ’em before they even get restless.” The Flatline laughed.
—Wiliam Gibson describes my dating style
This is a very brief Constellation Games post. Spoilers for the chapters that have already gone out to subscribers.
In chapter 16 Save the Humans finds a vector after all, and the consequences of following it cut humanity off from space indefinitely. Ariel’s reaction is to get sad-drunk on the Internet and write about video games. The more he’s learned about Af be Hui’s career as a game designer, the more insight he’s gained into what first contact can do to a civilization, and that’s the focus of his big despairing game review. Don’t ignore the opening paragraph, though, because there’s a sneaky connection hidden in it. From July 28:
Can a video game be a work of art? Eggheads have been asking this question for twenty years, even though the answer is obviously “yes”. We live in a world in which any random shit can be art. Think of anything bad to say about video games and there’s something worse that everyone agrees is art. Torture-wince movies are art. Commercials are art. A fire extinguisher is art, if a designated artist designates it as art.
From The Tempest, Act II, Scene 1:
Ariel: My master through his art foresees the danger
That you, his friend, are in; and sends me forth—
For else his project dies—to keep them living.
JUST SAYIN’. I know this seems trivial, but the deeper we get into the book, the more the archaic use of “art” for “magic” resonates. Get ready for Part II!
This is a Constellation Games post. Spoilers for the chapters that have already gone out to subscribers.
Let’s talk about Shakespeare.
I should inform thee farther. Lend thy hand
And pluck my magic garment from me.
There aren’t a lot of books that would give me an excuse to apply that line to a spacesuit. Of course, it isn’t Prospero laying aside his garments in chapter 15: it’s Ariel, the spirit of air, the one who traverses easily among the widely scattered groups of characters. The one who has power but no agency. The magician’s slave.
In the postcolonial-theory take on The Tempest, Prospero is the European colonist, while Caliban and Ariel are indigenous people who take sharply different strategies to deal with his arrival. Ariel, even more so in this book than in the play, is the classic collaborationist: even after hearing that a strong faction within the Constellation wants to shrug and head home to let humanity smother itself, he believes they showed up to do good. Why? In part because they gave him a Brain Embryo, which is, um, a collection of shiny beads. From chapter 2:
“This isn’t an alien invasion. They’re friendly. You think they’re pretending to be nice so they can eat us?”
“Intentions don’t matter,” said the hippie. “Read your history. Any time there’s a first contact, the contactees end up dead.”
As with most historical collaboration, the strategy goes great for Ariel in the short term (video games! trip to the moon! sex with an astronaut!) and poorly in the very-slightly-less-short term. The BEA is using his hard-won knowledge to promote a paranoid agenda. The Save the Humans overlay is having trouble finding a vector. When Curic takes him to her storm-tossed island to start revealing secrets, it’s not a coincidence that he ends up pressed flat to the ground.
Prospero: What torment I did find thee in. Thy groans
Did make the wolves howl, and penetrate the breasts
Of ever-angry bears.
Curic found Ariel on the Internet, and this is about as good a description of blogging as I’ve ever read. Here’s an interesting thing, though: none of the sections in chapter 15 are blog entries. They’re all described as “Real Life, July 2X,” yet they have distinct asides to an audience.
I think this has happened before in the book, but never quite so directly as “Shit. Shit. Shit. Okay.” This, more than the talking rat, is to me the strongest hint that Ariel is in fact a narrator and not just the star of some found-verbiage documentary. He’s organizing and presenting things to you, and he might be doing it selectively, just as he did when he was scrambling to find an Ip Shkoy game that would balance Ultimate DIY Lift-Off. He’s indentured and trying to earn his freedom; he’s a collaborator, and collaboration comes with an agenda. Why should he trust you, dear reader?
“I’m sorry,” I said. “It just feels like we fundamentally don’t understand each other. It really worries me.”
“Are you talking about us and the Constellation?” said Krakowski. “Or you and me?”
Bear with me, because this S is about to get C, but there are times when—by sheer demographic necessity, or just to be different—you may want to write about a female protagonist. “What?” I hear you say. “But then how will I make my readers care about anything that happens to her?” I know it seems impossible! But there is a simple solution to this problem: Sexism.
It seems hilarious now, but in the misty past of yore, Sexists ruled the land and would frequently make girls feel bad for not being as good as men. To subtly indicate that this controversy will be your subject matter, have a man smack your protagonist on purpose in her butt area, then join his friends for a group smirk over cigarettes. I bet your spunky chick blows her hair out of her face and looks mad to show that she didn’t like it! This is classic Sexisy, one of the three unforgivable narrative sins. (The other two are kicking a dog and saying the “f-word”) (“fat”)
Now that we know who the bad guys are—the Sexisms—and who the good guy is—the girl—have her secretly practice being just as good as a man at something only men are good at. She wants to show everyone what she can do, of course, but how can she? She has too many female emotions!
Fortunately she will meet her savior: a bad boy with a good man inside him, who can learn that women are people too once she beats him at archery or boxing or whatever. Then, when the evil sexist goes crazy but not exactly because of our heroine because she’s really not a troublemaker, she and her new boyfriend can team up to defeat the metaphor once and for all! Now your audience has learned that females can solve almost all their problems, with help from men. No more sexistry ever! GIRL POWER!
Did I mention that she should be super hot but in a kind of tomboy-y way? That’s important.
For bonus points, make the villain a mean lady, to show that really the whole problem is chick-on-chick violence. Now that you’ve solved sex, you can do the same thing with racism! Instead of a heroine, just substitute a hero who is not white, then whoops I am being thrown from a moving car at freeway speed
Today’s Hack in a Nutshell: UNGH thudthudthudthud thud thud scraaaaape, CRACK
This is a Constellation Games post. Spoilers for the chapters that have already gone out to subscribers.
From late in Chapter 14:
“I don’t need to learn English,” said Ashley through her chopped-up resampled vocalizer. “The translator is a benefit embraced by the median person and shunned only by snobs who want to show off their own erudition and enlightened attitudes.”
“Wow, I guess you feel pretty strongly about it?”
“That translation went on a lot longer than it should have,” said Ashley. “That was four words in Purchtrin. I don’t know what happened.”
A couple paragraphs earlier Ashley mentions that the idle work she’s doing when Ariel shows up is “part of the History of Life overlay.” This is a subtle thing, and easy to miss amid what Leonard calls “the Gift of the Magi-esque farce about the English lessons.” When some subset of the Constellation wants to achieve something, they form a loose asynchronous working group called a fluid overlay. Where does Ashley work? In some fluid overlays. Where did Ashley’s translator come from? A fluid overlay.
The overlays aren’t an allegory, but they are a device Leonard uses to comment on leaderless organization in real life, inspired (I suspect) by his career in open-source software. Of course, the last six months have seen another set of nonviolent, leaderless organizations leap into prominence to remind us that scarcity-based power structures fuck everybody. Remember back in the commentary for Chapter 3?
“You’ve seen the anarchists in Austin. They couldn’t hold a city park.” is one of those lines that shifts connotation dramatically between the time you write it and the time it’s published.
Whether you take the correspondence as timeliness or startling prediction, the popular criticisms of Occupy reveal the flaws in the overlay idea, which the Constellation presents as a sort of labor utopia. In Chapter 13, Ariel found flyers from the Raw Materials overlay begging humans for their garbage in Human Ring, where there were… almost no humans. The Constellation can do miracles, but sometimes those miracles lack direction.
Just as often, the overlays lack accountability. In Chapter 9, Ariel tried to find somebody to thank for the English-language CDBOEGOACC; when he asked who was in charge of creating it, Curic’s response was “that’s not a real question.” So who snuck that rant about language snobbery into Ashley’s translator? Here, have an achievement graph with ten million nodes.
The translation is a throwaway gag, but it’s also foreshadowing. Sometimes overlays work at cross purposes. Sometimes they’re hard to track down. The other foreshadow in Chapter 14 is the first appearance (and disappearance) of, yes, the long-promised shipping container. Curic’s part of the Constellation Shipping overlay, yet he or she is asking a human for ideas about where it might have gone.
In doing so, Curic presents a neat alien mirror to Krakowski and Fowler at the BEA. All of them are now using this unemployed video-game blogger from Austin as an asset, overtly or otherwise. How desperate do you have to be to turn to Ariel for intelligence? We’ll find out!
A year ago I wrote about zero tolerance, intolerance and Antjuanece Brown, the Portland teenager who was thrown in jail and labeled a felon for texting with her girlfriend. Antjuanece is out now and things seem to be better for her and Jolene; I hope they are.
Not much has changed, though: the last week saw California and Washington come dramatically closer to marriage equality even as Oregon still lags behind. In the same week, Canadian Safety Minister Vic Toews announced that anyone opposing an Internet surveillance bill there was “siding with child pornographers.” Easy targets remain easy targets.
That’s why there’s so much value in the work my friend Ben is doing at his blog Wrong on the Internet, and particularly in his latest entry:
“This is hard to deal with. I want to have the luxury of dehumanizing pedophiles and other rapists. I would like to pretend that I would never be like that, never do something like that. But I can’t. That informs a lot of my writing here.”
It’s difficult to read, a fact that has nothing to do with Ben’s considerable writing skill. At a certain point the mind flops down and demands that some things must be absolute, that you must be able to point at some set of Others and declare those are the bad guys. We’re wired for that behavior, deep in our instincts. The cognitive battle to remember the contrary is exhausting, and it never ends.
I’m not arguing for total moral relativity here: I’m arguing for vigilance, because the kind of dehumanization in which we regularly engage is a dangerous exploit for our brains. It’s one thing to say that some people do evil. But to strip the humanity from evildoers is to remove the horrible weight and substance of their acts. What if you were a survivor? What choices would you make if your survival had damaged you? “The answers are out there,” the man said, “but they will not improve your self-esteem.”
I have this old favorite joke that almost no one else knows or gets, but I can’t stop thinking it’s funny, so I’m going to do my best to rid myself of it by the only method guaranteed to destroy humor: dissection.
Like many things stupid but great, and most things Devon Sawa, I would never have seen the 2002 comedy Slackers if not for its champion, my brother Ian. It’s a pretty slight movie and as teen comedies go it is not exactly shifting any paradigms, though it does feature some ringers in the cast, all of whom appear in the above clip. Yes, that’s Michael C. Maronna, Big Pete from Pete & Pete, playing a character (Jeff) whose sexuality is part of a slow-burning running gag throughout the movie. Here’s what makes it interesting: none of the jokes are homophobic. His friends know he’s gay and they’re fine with it. The target of the joke is repression, not sexual orientation, and it benefits greatly for that. (Note that this movie predates the genesis of Tobias Fünke by two years!)
Besides less-obvious targets, here are some things that I will always think are funny:
- People trying to insert their own stupid agenda at moments of tension
- People who are oblivious to their own transparency
- Clever plans that go wrong before they even get started
- Utter commitment to a character, rather than joke salesmanship
I don’t think the clip needs much context, but here it is just in case. Maronna, Sawa and Jason Segel are the scheming heroes, who have been milking the creepy Jason Schwartzman for money. Schwartzman comes to Maronna and Segel with evidence that Sawa has betrayed their confidence to his love interest (Jaime King). Upon seeing it, the guys are infuriated, and in a three-camera sitcom we would already know where this goes: they turn on Sawa together, then eventually they realize that Schwartzman is the real problem, kick him out and reunite. In fact, you can already see this playing out in Schwartzman’s head! Just before the clip begins, he sputters “he betrayed you! He stole my girl! He’s not our friend!” He’s transparency-oblivious character one.
Then Maronna starts his monologue, and it follows that scenario… for exactly five seconds, before veering off into his desperate fantasy of male bonding. He has rehearsed this speech, he has seen an opportunity, and now he siezes the moment to execute his pitch. He knows they will object–this sounds pretty gay!–but he has anticipated that, and before they can get a word in, addends that it is in fact not gay. Triumph. There is no way they can resist now.
In thirty seconds, Maronna covers all four of the humor angles listed above. The first three points are all basically about the tension between expectation and reality, which is also the root of all suffering, which in turn goes back to the old axiom that comedy is pain happening someone else. The magic of point four, commitment, is that he makes the other three completely implicit. Nobody hands him a straight line to set up the zinger. Nobody winks at the camera.* There’s a lot of trust in the audience here, and for me, at least, it pays off in a way that I’m still giggling at ten years later.
Okay, I think the frog is dead now. Mike Maronna is very talented and should get more work. This is all to explain why, whenever I express adulation bordering on the ecstatic for a male role model, I will make a sly face and add “but it’s not gay” after describing how I want to suck his cock.
* For a perfect example of how literally winking at the camera can undercut flawless commitment, see the last forty years of Dwight-and-Jim gags in The Office.