Thursday, November 19, 2009

A Place of Judg(e)ment

Every Halloween the church down the street hosts something called “Judgement House.” A few days later, on some years, I have to go to that same church to vote, which I think is something of a conflict of interests.

“Judgement House” always brought to mind images of a Christian haunted house: pious hams in demonic costume raving about the consequences of premarital sex, abortion, and an activist judiciary against a painted backdrop of flames and damned souls. It was something I have always felt compelled to experience—one of American Protestantism’s unique offerings, for want of a 21st century version of “Sinners In the Hands of an Angry God.”

I was to be profoundly disappointed. Of course, having attended no prior Judgement Houses I can’t say how this one compares; I speak only of the general experience.

First, we were required to register. This was actually required in advance, so you begin to understand my commitment to the experience. I signed in under a pseudonym: Sam Simms.

The evening of the event was damp and chill. A persistent gloom blotted out the stars and shed icy mist onto those of us awaiting entry to the church-cum-Judgement House. I learned that we would go through in groups of ten or so, with ten minute intervals between groups. Of those I spoke to outside, none were return visitors. Judgement House was clearly a “once is enough” experience.

Finally my turn came, and instead of a menagerie of mincing homosexuals and pinch-mouthed adulterers, I was greeted with lukewarm amateur dramatics. Judgement House, it seemed, was essentially a live performance of a Pacific Garden Mission “Unshackled!” radio drama.

We went through several rooms, across which we were told the story of a young girl named Samantha who—Oh, you know. She finds Jesus and then she dies, inspiring her drunken and sinful father to repent his evil ways. Pretty standard stuff, but distinctly unentertaining.

We were then presented with a “judge” who ruled on the damnation or exaltation of the various characters from the playlet we had just witnessed. The judge then read out each of our names in turn, and explained that there was still time for us to choose our ultimate fate. I felt a giddy rush at hearing him call out “Sam Simms!” It was as if I were some kind of spy infiltrating secret proceedings. “Your identity for this mission will be Sam Simms: a simple sinner in search of salvation.” I resisted the temptation to take surreptitious pictures with my phone.

After that we were taken to hell. Rather than being accosted by comically-attired buffoons with pitchforks, we were instead crowded into a room not quite large enough for all of us. It was dark, vaguely smelly, and kept just barely too warm by the aid of out-of-sight space heaters. All told I was somewhat impressed by the subtlety of the presentation. Still, I don’t think that minor physical discomfort is a proper analogue for the eternal separation from the divine spirit, but I’m no theologian.

A shadowy figure then introduced himself as Satan and briefly lectured us on how rejecting the salvation offered by Christ will doom us to an eternity with him. It took a tremendous feat of willpower to avoid saying something snarky (“Why should we believe you? You’re the devil!”), but I prevailed. I was determined to see this through.

Our group was then paraded into another room where we were presented with—I shit you not—bibs. Well, our guide somewhat sheepishly told us that they were robes, but they only covered our shoulders and part of our chests. I found myself salivating out of some Pavlovian expectation of a rack of ribs.

Our next stop was the empyrean heights themselves: Paradiso. This was not as impressive as hell. Composed largely of bright lights and white fixtures, it looked more like a photoshoot at an abandoned house. We were greeted by a figure who claimed to be Jesus and he told us pretty much exactly the same thing Satan told us, which I thought was odd. I mean, if Satan was telling the truth about how to get to heaven, is he really that bad of a guy? That’s not exactly behavior befitting a Prince of Lies. What else are we not being told about Old Scratch?

After that we handed in our bibs—distressingly free of barbecue sauce stains—and moved right to the “Would you like to accept Jesus Christ as your personal savior?” bit.

I declined, and apparently did so casually enough as to pierce my facade of legitimate interest. My “encourager” and I locked eyes, and in that moment my deception was revealed. I was no penitent seeking absolution. I was one of the heathen horde, holding his beliefs in silent contempt. We looked at each other from opposite sides of an impassable gulf, each regarding the other with silent pity. Beneath his feet yawned the abyss of damnation, and only by the grace of God did he avoid plummeting headlong into its depths. Beneath my feet was only the whirling crust of the earth. Never the twain shall meet.

I left for the parking lot, where Judgement House’s previous patrons fled the grounds in their cars. Did the weather or the message propel them with such curious urgency? Did they feel God’s arrow aimed at their hearts, ready at His command to be made drunk with their blood?

“The God that holds you over the pit of hell, much as one holds a spider, or some loathsome insect over the fire, abhors you, and is dreadfully provoked: his wrath towards you burns like fire; he looks upon you as worthy of nothing else, but to be cast into the fire; he is of purer eyes than to bear to have you in his sight; you are ten thousand times more abominable in his eyes, than the most hateful venomous serpent is in ours.”

I walked home as the gloom began to part, if only for a few minutes. Through the rent I could see Orion, and I remembered the story of his punishment by gods older than Yahweh—but no less spiteful. Behind him stretched not the void of damnation, but of eternity.

Wednesday, November 18, 2009

A Special Reminder From Hollywood

As the holiday season approaches, you, like many Americans, will be drawn to the warming light of cinema to fill the idle, empty moments in your life. We would like to take a moment to thank you for being an essential part of the process of making movie magic. Without your patronage it simply wouldn’t be possible to continue delivering the kind of high quality entertainment that you have come to expect—and deserve.
That said, we would also like to take this opportunity to remind you of something:
POPULAR ACTRESS has breasts.
We here at Hollywood are very interested in making sure that you, the average movie-goer, is fully aware of the existence of POPULAR ACTRESS' breasts. Please take a few minutes to familiarize yourself with them, as you will be seeing them many, many times in the future.
exhibit-a
Nice, yes? I thought you would agree. Just give yourself some time to appreciate them, to fully comprehend them. Admire their dimension, their bearing, their very gravity.
Imagine them in your hands. Imagine the soft, yielding flesh pressed against your calloused palms, tickling you with the tiniest of downy hairs.
Stop.
This is a pleasure that will, of course, be forever denied you. Do not weep. This is simply the nature of the world. As bigshot studio executives, we have had varieties of pussy so magnificent as to be fully beyond your corn-husking comprehension. Compared to many of these women, POPULAR ACTRESS is but a bloated Hefty bag full of cottage cheese and despair. Yet to you she is an angel on earth, a carnal paragon—sex incarnate. She is no more a woman than an ephemeral ideal that, so far as you know, exists only in the imagination of the Olympians themselves.
Tonight, as you lie sweaty and spent atop some sow-eyed she-creature (that we can only imagine passes for female in dim light) it is our hope that your moment of physical exultation was filled instead with the vision we have crafted for you:
The vision of POPULAR ACTRESS' breasts.
exhibit-b
Oh, what a dreadful life you must lead, oscillating between shifts at the cannery and bitter rounds at the local dive. Our fondest wish is to gift your empty and baleful existence with the faintest taste of what nature has seen fit to hold apart from your oleaginous kind.
Take POPULAR ACTRESS' breasts. They are our gift to you. Stare, slack-jawed, at them as they bounce and heave across the screen. Allow yourself to be lost in whatever passes for erotic fantasy among your proletarian kind—something involving Neolithic positions and country music. Later, as you drive back to your double-wide trailer in your Ford F-150 with a window decal of Calvin urinating upon something, you may feel that vision fade. You may feel the panic of returning to that mewling, ape-like troglodyte you call a wife or girlfriend. You may think about how her breasts—saggy udders with nipples like vulcanized rubber—are nothing like the breasts of POPULAR ACTRESS. A deep depression will no doubt seize your soul.
Take heart! There will be many, many, many more opportunities to delight in the jiggling visage of POPULAR ACTRESS' breasts. We will see to it.
exhibit-c
We make this solemn vow, to you, our wailing patron: We will put POPULAR ACTRESS' breasts in every movie possible, from now until the pre-ordained day of their expiration (not long after her 25th birthday). When that day comes, we also promise to replace them with a bosom no less bountiful to fuel your gruesome, primitive rutting.
We will do this for you.
Because we fucking hate you.

Thursday, November 12, 2009

Game Review: Dragonage

Dragonage is a new RTS/RPG hybrid by BioWar games, famous inventors of Belter’s Gate and other Dungeons In Dragons video games. This is their first foray into recording games for the X-Boxer and Player Station 3, and it shows. The entire affair is marred by amateurish presentation more fitting for a late night sword & sorcery schlockfest than the CD-ROM multimedia interactive movie it was intended to be.

NOTE: I AM REVIEWING THIS GAME ON MY IBM PERSONAL COMPUTER. IT HAS AN INTEL PROCESSOR AND A HARD DRIVE. RAM: YES. IT IS WATER COOLED BECAUSE I LIKE TO OVERCOOK MY CHIPS.

Let’s start with the graphics. I don’t know for certain, but I’m pretty sure they’re at least 128 bit (maybe even 200). The problem is that they look closer to 96 bit, which really shows the series’ Atari Jaguar roots. Whatever, they’re passable, even if all of the character models look like muppets half burned up in a grease fire. It’s hard to believe this is FMV. Supposedly they used the same high tech imaging process as Moral Combat, but I just don’t see it. (Before you think I’m just not familiar with the technology, know that I used to play MC2 at the roller rink eight hours a day while my mom was at work. Sometimes sixteen hours if she had to pull a double shift because one of the other girls was at the clinic. I still know all of the fatalities, animalities, babalities, and bestialities. Do not question what I know.)

The sound in this game is great, even though sometimes it doesn’t fit. For instance, when your main character casts a magic incarnation, he sometimes calls out “SPAWN MORE OVERLORDS” which is kind of unusual. Female characters sometimes just make fart noises when given commands, and while it’s pretty damn funny it’s also just unnecessary. By and large, however, the swords sound just like swords and the magic spells sound just like they do in real life. My only real serious complaint is the narrator, who doesn’t sound like Mako at all.

UPDATE: the narrator is NOT Mako. Mako died in 1999.

The plot is a meandering mess. It starts out in this magical kingdom called Floralden, full of elfs and gnomes, and there’s some kind of war going on. It appears that betrayal is afoot, and things will never be the same. Basically it’s the same plot as Lord of the Ring: Return of the Jedi. I’m not strictly complaining, but I expected something more original.

You can choose from among three character classes: Swordman, Mana Wizard, and some kind of ninja guy. You can be a guy or a girl, but there’s really no reason to pick a girl due to the crippling stat penalties. To make matters worse male characters get +10 to hit girls, and every time you give a girl an order there’s a 25% chance that she’ll fall down and become stunned. Also their faces all look like they’re about to cry and you can’t change them.

Anyway, I really couldn’t follow the plot. You start out by meeting this guy named Gary Warren and he hires you to help him stop this disease called the Bloat. The Bloat is spreading all over the world and creating all of these ugly monsters called Darth Spawn. This is silly because Darth Spawn was the bad guy in the third Star War movie, I’m almost sure. Martin Sheen played him. You can check IMDB on this. Whatever.

The plot progresses along typical lines: go here, kill some rat lords, gain experience until you have enough X Points to buy a new firebrain spell. Occasionally you are required to participate in a rhythm minigame where you have to type out the lyrics to the Dragonage theme song. This wouldn’t be so bad except that it happens at every area transition and load screen. You open a door so your character can go to the bathroom because his Bladder stat is full, and you get “Dra-GONE-age! DRA-gone-age! Hearts of fi-re, love’s in-side her, Dra-gone-AGE!” It’s like they did it just to pad out the game. Right before you have to swap to the second disc it plays a variant version with extended guitar and bass solos. The guitar stuff sounds like AC/DC, so I didn’t really mind, but it didn’t jive with the whole Crimean War/Moorish occupation steampunk setting.

Near the end of the game you finally confront the evil Dragonage, who wants to rule the world because the love of her life—the Tempeler—left her for a Witch of the World. Before you can fight her, though, you are teleported to the underground land of Fate, where you discover the game’s dark secret:

All of the characters are patients in a mental hospital in the real world. The events of the game are just a dramatized version of their group therapy sessions, ending in a climax where the characters overcome their mental problems and move on with their lives. It’s something of an anticlimax, but it actually kind of works. When they all hug at the end is especially touching.[/SPOILER]

There are four alternate endings, but two of them are the same only with the characters in different period costumes (American western and Edwardian), and one of them has the characters starting a rock band called—guess what—Dragonage! I won’t spoil the final and best ending, but you can go back up a paragraph and read it again if you want.

Now let’s get to the real meat of Dragonage: the characters. By and large BioWar really outdid themselves giving the characters unique personalities and back stories. I have to question some of the creative decisions, however. One of the characters, a female Mana Wizard named Morrissey, spends the entire game completely topless. Normally I wouldn’t have a problem with this except for two things: First, the nipples on the character model are badly misaligned (also they are more brown than pink—brown nipples are gross). Second, they never explain how a female can become a Mana Wizard despite starting with half of the Intelligence of a male character. To be fair, however, she isn’t very good at her class and spends most of the game making meals and sewing things for the boys. She is basically comic relief, and several plot sequences require your character to console her after she is reduced to tears by your constant teasing about her lisp.

Other characters include Alice, a knight (and a man, by the way—I really think they mixed up a lot of the character names and just never got around to correcting them), and Steve, a black man. Later on there’s a pair of morbidly obese twins who join your party, but I never used them except in the pie eating contest. World 4, Level 5 takes place in a sumo wrestling contest, but you don’t meet the twins until Word 6—another example of BioWar’s slapdash approach to this game.

One problem character is this elfish assassin who joins your party. His character is openly gay (ASS-ASS-IN… get it?) and spends most of his time mincing about the screen in leather straps. He also hits on your character all the time, and since I made my guy to look a lot like me this made me feel really uncomfortable. It was made worse by the fact that when I first met him I thought he was a girl, so I chose lots of romantic dialogue options. If you aren’t careful BioWar will trick you into a depraved homosexual relationship that you can’t escape without uninstalling then reinstalling the game. Just another part of the gay agenda, I guess. It’d be nice if there were just one game that didn’t involve rampant gay sex between men.

Oh, did I mention the rampant gay sex? After you start a romance with the elf there is an obligatory interactive sex scene, complete with graphic penetration. If you try to skip it, it just starts playing really loud techno music. There’s an option to plug in a rumble-capable gamepad during these sequences, but I don’t know why you would want to.

These sequences are absolutely disgusting and I had to watch each of them three or four times before I could believe what I was seeing. They take the form of a minigame, and, in fact, replace the theme song minigame on every loading screen afterward. The mechanic is simple: just tap the spacebar to coordinate with the characters’ pelvis thrusts. If you fail the characters get this disappointed look on their faces, and it’s really disheartening. A help popup encourages you to use your own penis to tap the spacebar for maximum interactivity. At first I balked, but it really does make the sequences a lot easier. Later in the game the two of you run away to the neighboring kingdom of Quar, where gay marriage is legalized as part of the plot (there’s that agenda again). While there they learn some exotic new positions which are integrated into the minigame. Unfortunately they require so much tapping that you’re likely to inadvertently have an orgasm before the sequences are complete.

You can avoid the relationship with the elf, if you can, and instead pursue one with the comically large-breasted Morrissey. Unfortunately, the heterosexual sex scenes are far less graphic than the homosexual ones, and Morrissey’s weird nipples make it hard to maintain an erection for extended tapping. I can’t wait until someone puts out a mod to give her normal nipples.

Now, there’s no multiplayer but there is split-screen co-op, which is a mixed blessing because the game forces one player to be the gay elf. In that mode the minigames require both players to tap different parts of the keyboard, so…

All in all it’s a solidly average game. It doesn’t have the depth of Masterfect or the charm of Jade Umpire, or the powerhouse Dungeon In Dragons license (though there is a surprise cameo by Drizzt Do’Urden, it occurs during one of the previously mentioned minigames). BioWar clearly intends Dragonage to be the beginning of a new franchise, but after what I’ve seen in this game I’m not sure I want to go along for the ride. Still, projected advances in teledildonics over the next few years make the prospect of a Dragonage sequel simultaneously terrifying and irresistible.

So, if you’re a fan of this sort of thing (and there’s nothing wrong with it if you are), give Dragonage a try. Otherwise you might be better served by pre-ordering Modern Warfront 2: Called to Duty at your local Gamestop or EB Games—that way you are guaranteed a copy on release day, unless they happen to somehow run out and you have to go to Best Buy where they have, like, 500 on the shelf.

I give it 2 Thai Ladyboys out of 5.

IT'S A TRAP

Those two. Specifically.

Wednesday, November 4, 2009

My Left 4 Dead 2 Demo Experience

First there was a Steam update. When is there not one? Then I had to download the game. This was expected, and progressed very smoothly. In only a few short minutes I was joining my first game. I selected my character and waited for the person who started the game in the first place to… well, start the game.

And waited.

And waited.

Someone named “Brian Peppers” joined, and immediately began screeching into his microphone in a pubescent warble:

“WHAT UP, MY NIGGERS!?”

“WHAT UP, MY NIGGERS!?”

“HEY, NIGGERS!”

“YOU BUNCH OF POOR NIGGERS!”

Fuck that. I joined a new game. I was randomly assigned Coach and after a short wait the game began. Immediately, one of the other players started shooting me. This player’s name was “NEGRO.”

The third time was a charm, however: after a vote to kick NEGRO, I and my competent and helpful teammates were able to play the demo to completion. Still, it was a brutal reminder of two things:

1) I fucking hate online games.
2) I fucking hate people.

You might think I’m generalizing too hastily. What about that third game that went well? Should I let the previous two incidents color my judgment? Well, consider that I played only three fucking games today. In the first, a teenager bleated tired racial epithets. In the second, a player named NEGRO teamkilled me. I consider this a pretty representative sample of the kind of sub-moron that gravitates towards online games.

If I had my way I would have them all rounded up and gassed. I shit you not. I don’t care if they’re otherwise normal kids just having a goof in the anonymous world of TEH INTARNET. They are, on some deep, intrinsic level, irredeemable scumbags who deserve—at the very least—chemical castration.

There’s a lot I could say about the semi-anonymous online environment and basic human nature, but I’m not going to. It’s not worth it. We just need a fucking pogrom.

I’m off to play Dragon Age.

Monday, November 2, 2009

Why Movie Theater Lobbies Don’t Have Clocks

I had one of those conversations the other day that starts out perfunctory but leads to a profound revelation.

“Why don’t movie theaters have clocks in their lobbies?” someone asked.

It was a good question, and at the time I didn’t have an answer.  Later on it occurred to me that concessions were the reason. If there were clocks in theater lobbies, people might look at them and think “I only have four minutes before my movie starts.  Fuck popcorn, I need to get a seat.”  Without the overhanging specter of clearly visible time people are more likely to linger in the lobby and stock up on overpriced popcorn and Milk Duds.

It’s a pretty standard “do everything you can to deprive the consumer of information so he will make more irrational decisions” strategy.  Casinos use it, theme parks use it, soda companies use it—everybody uses it.  When’s the last time you saw a clock in a Wal-Mart, or a Best Buy for that matter?

I’m sure that the numbers have been judiciously crunched: without clocks concession sales go up.  In this age of ubiquitous phones with synchronized timekeeping devices, the effect is certainly less pronounced.  However, if there were no effect at all, surely some theater somewhere would stick a clock in its lobby just for raw convenience.

There are certainly small theaters out there that provide such a simple courtesy for their patrons, but the big chain leviathans (Cinemark, Regal, AMC, etc.) do not.  Again, I’m sure they’ve run the numbers on it and found it simply to be more profitable.

This is such a strange idea, that it’s okay to withhold information from people if it brings in more money.  In fact, it’s downright nefarious.  They justify it by saying that they aren’t forbidding people from finding out what time it is; they just aren’t telling them.  Okay, fine.  Still, the overall level of ignorance is increased, and I fail to see how that benefits anybody.

Whatever.  The point is a simple one, and this is the revelation that struck me like the ray of light that knocked Paul off his literal ass: we cannot trust the private sector to do what is right if there is a wrong option that is more profitable. It’s simply the nature of the beast.  You can’t expect a bear to choose a pinecone over a fish.

We all understand this on some level.  It’s why we don’t have private police and fire departments, and why our roads and airwaves are public (sort of).  Of course there are those among us who believe that everything should be privatized: they call themselves libertarians, or Austrian school economists.  They believe that private organizations invariably provide better services than public ones.  From what data they draw that conclusion is a mystery, as nobody has ever tried a broad program of privatization before.  As far as I’m concerned, it’s no less flawed at its core than communism: sounds good on paper, leads to disaster in practice.

Which isn’t to unduly praise the waste and inefficiency of government.  That waste and inefficiency, however, is often the very thing that holds government power in check.  We should all dread an efficient government more than any thing.  Efficient governments come up with ideas, and they put ideas into practice with plans, and plans become beasts of their own that devour lives according to arcane political designs.

When the blunt and impersonal “invisible hand” comes into play, though, well, you end up in a world without clocks.