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SuperH
4:28 PM on 08.15.2013

I guess this is not really a blog, and I know I should not be abusing cblogs like this, but earlier today I (as I am sure many others) got my code for the Skullgirls PC beta. The original give-away was a slight letdown for us all (normally I would link here to the original give-away, but I believe the page has been taken down), as the 800 codes were snatched before the announcing post even went live.†

This is just a quick thank you to mr. Dixon for stepping up and arranging for more codes - and whats more - taking the trouble of sending the codes around personally.

I tip my hat to you, good sir.







SuperH
4:23 AM on 04.16.2013

Dude, violent games rule. Because itís fucking fun you know? I am getting sick and tired of these liberal pussies whining about this shit. They need to get their heads out of their asses, and listen to somebody who is ARTICULATE about this crap. AKA: me. So shut your mouth, stop moaning and I will tell you itís all about man.

1 Violent games are fucking fun you know

Dude, what is the difference between violent games and nonviolent games? Violent games are FUCKING FUN, thatís what! What is more fun than playing Call of Warfare and shooting a whole bunch of people in the face? Itís awesome, man. My favourite part was in that airport, and all these people were just standing there, I mean, they did not even have a gun, and I had this rad AK or something and I was like: letís rock and roll! I mowed those suckers down like a fucking champ: I was kicking ass. That shit was FUCKING FUN.


Fucking fun

2 Violent games make me think about other shit

Dude, my life is hectic. I got so much crap going on, I am telling you. Life in college is busy, especially if a difficult course like I am doing: marketing is where itís at, baby! But fuck man, itís not just school, I got responsibilities. My buddies in the team count on me to rock the pitch for training and games, GO HAWKS! The babe wants me to take her out all the time. I mean, she is cute and all, but fuck, get off my back sometimes, you know what Iím saying? And almost forgot the boys in Omega Delta, you guys rule! I just have to get away sometimes; you know what I mean, get it out of my system. Thatís what games are for, dude, they take my mind of shit.

Dude, like this one game, postman or whatever itís called, you do some sick stuff to people man, it cracks me up every time. It takes me to another place, like that one time my bro Dexter got this mad pot: shit was on another level! Flying hiiiigh like a dragon!

3 Violent games donít make kids do bad stuff

Dude, all the communists that say violent games make kids go crazy have no idea what they are talking about. When this Lanza went all fucking mental on those poor kids, those media pricks began blaming this game Mass Respect or some shit. Man, I have never even played that game, that crap just look too geeky like Star Wars and shit and I ainít no nerd man. But screw those dicks who donít know what they are talking about, because I know why they are saying these dumb things.


Dude! Sick!

Dude, they been playing the wrong games! Fuck, if I had a kid, I donít want the child playing Brass Effect either, that shit will let you hump an alien and everything, fucking disgusting. Games for real men, is where itís at, like Fortunate Soldier, that game kicked ass and took names.

Dude, in the entire game you run around blowing peoples headís off, shooting them in the gut and you can see the shit coming out of their stomachs, blowing all these non-Americans into pieces with a big-ass bazooka, shit is brutal man! People who hate on games should play that shit, it will make them realize the awesomeness they are missing!


Take THAT, non-Americans!

Which reminds me:

4 Violent games are for real men

Dude, if youíre a dude, you should play games for dudes. Donít play games for pussies, because that shit sucks. Play fucking GDA, thatís a real manís game for you right there. The entire game you drive around shooting whores in the chest. How fucking amazing is a game about shooting whores in the chest. You drive around in some fake-ass New York, run over a bunch of people on the side-walk, pick up some random whore, AND SHOOT HER IN THE CHEST! Yeah!

5 Bad games

Dude, and then there are these games that are clearly not for dudes. They will make you less of a dude when you play them. I did fucking research into this shit, I spend ages looking up these games that nobody plays and nobody cares for and everybody has forgotten about because they suck donkey balls. But I did it because I love you guys and I want to warn you because there is crap out there. There is this game called Partol (what a fucking stupid name anyway), and the only thing you do in that game is shoot holes in walls. What is up with that? Who cares about shooting holes in walls, fuck that shit. You know which game also sucks? A piece of shit called Journal. That game is fucking gay and everybody who plays it is fucking gay. Some dude wearing a fancy dress running around in a desert. How. Fucking. Gay. Is. That.


Fuck this shit

Dude, you better listen up because I know what I am talking about. I can educate you about this shit any day. I know there are good people out there who get confused about the crap that liberal haters write about games. They fucking brainwash people like those asshole communists in Russia do. Fuck the commies, fuck the liberals, grow a pair and play a real game. Peace bro.
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Right then. Before we set off, letís get some things out of the way. This is my first ever blog for this website. If you consider my writing to be sub-par, you can nibble on my manly earlobes. And please bear in mind, English is not my native language. If you spot any mistakes and you feel the urge to gleefully point those out to me, you can massage my hairy calves. But, if any of the actual content of this bit of writing finds you entertaining opposite viewpoints backed up with actual arguments, please feel free to get medieval on my ass in the comments section. Also: SPOILERS. In huge quantities.

When playing Infinite the first time, I noticed pretty striking similarities with a game called ďTo the moonĒ, that are just too good not to explore for a bit, but before I go into actual spoiler territory, if you have played Bioshock Infinite (which is likely) but have not yet had a chance to play To the moon, stop reading RIGHT NOW and play the game. From this moment on, any time not spend playing that game constitutes a major lack of prioritization on your part. The thing is only 4-5 hours long, and the price on Steam is the equivalent to that of only two pints of lager. To the moon is probably one of the very few things in life that offer a more rewarding experience for that amount of money than drinking those two pints. But I digress.

This blog is about lighthouses. In both games, lighthouses play an important part in the story, and use the concept of lighthouses as metaphors in similar ways.



Letís start with Infinite. As in the first Bioshock adventure, the game begins with a lighthouse from where the player travels to Rapture, which pretty much sums up the role of lighthouses in that first game. In Infinite on the other hand, lighthouses are featured more prominently as a metaphor and a story telling device. Later on in the game, Elizabeth explains to Booker that the stars in the sky are actually lighthouses. An infinite number of lighthouses that are portals to an infinite number of simultaneously existing universes. Only each universe is different. In one universe, the computer I am typing this blog on might be an HP, in another universe it might be Asus. In one universe, an eccentric leader of men with access to obscene amounts of money from obscure sources might create a city on the bottom of the ocean, in another universe it might be a city in the clouds. In one universe, Booker DeWitt might choose to be baptized after Wounded Knee and become said eccentric leader of men, in another universe he becomes muscle for crooks. In each universe a particular contingency has become reality. Contingency is a concept explored by German philosopher Gottfried Leibniz (read http://plato.stanford.edu/entries/leibniz-modal/ for an introduction). In the world of Bioshock Infinite, lighthouses are the portals to these parallel Ė but different universes.



Lighthouses guide sailors to safe shores. They are the first visible sign of a new and different world waiting to be explored. When lost at sea, a speck of light in the distance can bring both excitement and apprehension of the approaching unknown. In Bioshock Infinite, Bookerís character is quite confused. He has memories from different events occurring simultaneous in different universes, leading to conflicting recollections (hence the bleeding nose). By being involved in multiple realities, Booker has lost track of reality itself. This is where Elizabeth comes in. She guides Booker through the multiple universes, and helps him discover the truth about himself. She is quite literally his personal lighthouse.

As a game, Bioshock Infinite is a far cry from To the moon, a hybrid point and click/puzzle game mostly designed and written by a single man, Canadian Kan Gao. To the moonís gameplay mechanics are mostly forgettable (which is probably also true for Bioshock Infiniteís shooting mechanics), it is all about story, characters and the concepts the game explores. Letís begin with a quote from one of the main characters, River, when she discusses the stars in the sky:

"I never told anyone, but... I've always thought they were lighthouses."

"Billions of lighthouses... stuck at the far end of the sky."

And boom goes the dynamite. But that is just the beginning. Both games presenting stars as lighthouses is a neat little coincidence, but it goes much further than that. My interpretation of Riverís text is that lighthouses are actually people Ė all the people in the world. River says:

"Because one day... I'm going to befriend one of them."



River has Aspergerís syndrome and has difficulties making friends at school. But she believes there is somebody out there for her, and she is right, because she meets Johnny (she utters the quote above at that first meeting). River and Johnny agree to meet at the same spot a year later. If they fail to meet there, they agree to meet on the moon instead. But tragedy strikes: Johnnyís twin brother dies in a car accident. Johnnyís mother gives him strong pain killers that make him forget about his twin brother and tragic death. But Johnny also forgets about River and his date the following year. We can only imagine fragile young River waiting in vain at the lighthouse for Johnny to show up. But he never will.

When I become leader of the free world, my first directive will be the following: anybody who played To the moon and is not emotionally affected by the experience can no longer be allowed to refer to themselves Ė or be referred to by others Ė as being human. But I digress again.



But River and Johnny meet again, a few years later in high school. They fall in love, get married on the spot where they first met (which is now marked by a lighthouse), and obtain carnal knowledge from each other inside the lighthouse. As such, the lighthouse becomes a special place for them; they give it a pet name and when they start rolling in the dough, they decide to build a house right next to it. But the lighthouse has a more special meaning for River: she knows it marks the location where they first met. The older she gets, the more the tries to help Johnny remember. But he never does.

I have spent too much time on To the moonís story already, and I have not even gotten to the meat of the game yet Ė the Inception inspired main plot. Rivers dies and when Johnny is on his death bed himself, he hires scientists Eva and Neil to fulfil his one last wish: to go to the moon. Neil and Eva set about doing this by going into his memory, plant the irresistible desire to go to the moon at a very early age, and watch how Johnny ďchangesĒ his memories in such a way as to accommodate this desire. In other words: make him remember he went to the moon.

Eva decides that the only way to make Johnny desire to go to the moon, is by removing his second meeting with River from his memory. It works: Johnny does not meet River in High School, is filled with a desire to go the moon (because his subconscious remembers he was supposed to meet River there) and is eventually accepted at NASA after years of study and training. But so is River. She is filled with the same desire (or Johnnyís recreated memory of River) to go to the Moon. They meet at NASA, fall in love, etc.



But back to lighthouses. The game suggests Johnny and River were destined to be together. Artificially splitting them up can only be temporary: as a ship inevitably finds a port using a lighthouse, so did Johnny and River inevitably find each other. But as in Bioshock Infinite, where Elizabeth can be seen as Bookerís lighthouse, so can River be seen as Johnnyís lighthouse. Both Booker and Johnny have lost touch with reality. Booker through his dabbling in multiple universes, Johnny through popping pills. Both these men are guided by their women: Elizabeth and River try to help the guys discover the truth about themselves.

Similarities do not end here. Both games suggest the existence of multiple realities. Granted, in To the moon these realities exist only within the mind, but then again, isnít that true of everything in a sense? Both games also suggest that the course of events can be influenced, leading to these other realities. And both games use the concept of lighthouses to access these realities. As mentioned above, the lighthouses in Bioshock Infinite are the portals to other universes. In To the moon, the lighthouses are the people around us, and itís the people around us how propel our lives in a certain direction. When Eva and Neil remove River from Johnnyís high school, they quite literally close off a particular direction Johnnyís life (or better, the memory of his life) would have taken otherwise. Instead, (the memory of) his life takes an alternate route, one that exists simultaneously to the previous (older) memory.



Bioshock Infiniteís title is not only a reference to its exploration of a multiverse conception, but most likely also to its development budget, which is quite probably similar to the GNP of a small European country. To the moonís development budget is probably more comparable to the GNP of my back yard. I am not claiming that there is no need for massive development budgets in the gaming industry. Bioshock Infiniteís world is amazingly creative (and creatively amazing) which I am sure could not have been developed without an enormous budget. The point I am making here is that we have two completely different games exploring similar concepts through similar devices in their own unique ways.

In the introduction I encouraged everybody to go ďmedieval on my assĒ if they find themselves in disagreement with any of my musings. If you decide to do so, please be gentle, it is my first time after all.
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