#atlas vending

[gianlucacrugnola]

Metz - Atlas Vending

Il post-hardcore nordamericano ha nel trio canadese Metz un fiero baluardo, riferimento per tutto il genere. La band originaria di Ottawa ma di casa a Toronto offre una sintesi di rumore e distorsioni che ritroviamo anche nel nuovo lavoro Atlas Vending, fuori come sempre per l’iconica etichetta indipendente di Seattle, quella Sub Pop un tempo fucina per il Punk rock cittadino oggi impegnata nel…

[wutbju]

I think I remember this logo on the vending machines. You?

[sinceileftyoublog]

METZ, Spiritual Cramp, & Stuck Live Show Review: 12/16, Metro, Chicago

BY JORDAN MAINZER

METZ’ self-titled debut album came at a time when guitars re-entered indie rock in full-force. 2012 saw breakout albums from bands like Cloud Nothings, The Men, and Parquet Courts, a paradigm shift from the baroque pop of the 2000s towards something like it was during the heyday of the 90s. But similar to Attack on Memory, METZ was bleak, what seemed at the time like a pummeling expression of desolation after the 2008 financial crisis, akin to the waning optimism from the early Obama years. Ten years and three METZ albums later, the world has gotten worse, and the Toronto-via-Ottawa punk band has retained its hard edge. What better time to celebrate their first and arguably still their finest statement?

At the Metro on Friday, like every other night of their tour, METZ played their first album front to back. As the band walked onto the stage, drummer Hayden Menzies played the abrasive opening notes of “Headache” with the lights still off, remaining dim as guitarist and vocalist Alex Edkins’ siren-like lines began. Only when bassist Chris Slorach entered the fray did we see the band, and they were off to the races, burning through “Get Off”, “Sad Pricks”, and “Rats” at a breakneck pace. From the off-kilter instrumental of “Nausea” to the build of “Wet Blanket” and noisy, dynamic breakdown of “Wasted”, the band showed themselves to be, to quote one of their 2012 contemporaries, masters of their craft.

Including the encore, METZ had time for 5 additional songs, including two from their most recent album Atlas Vending (Sub Pop): “Blind Youth Industrial Park” and the swirling, epic closer “A Boat to Drown In”. II’s “Spit You Out”, a live highlight since it came out, was especially disorienting in its chaos in conjunction with the light show. And, to my pleasant surprise, the band did the motorik “Demolition Row”, released earlier this year as part of a split 7′’ with Adulkt Life. The show served as a reminder that METZ are capable of effectively delving into different subgenres but are still at their best when bashing you over the head with noise.

Opening for METZ were two more punk bands, albeit with different aesthetics. San Francisco’s Spiritual Cramp combined screamy, political post-punk with self-aware, self-deprecating, self-hating dance jams on tracks like “I Feel Bad Bein’ Me” and “The Erasure”. Vocalist Michael Bingham was filled with banter contrasting the bitter cold lack of pretension in Chicago with California’s sadsack sunniness. “You can’t tell if I’m being sarcastic,” he said to the crowd, following up with, “I can’t tell if I’m being sarcastic.” The vagueness of tone is certainly a feature of the band, the type to artfully sample vocals at the same time as featuring a barely-audible-but-theatrically-played tambourine on stage. When Bingham declared, “Fuck the cops, fuck the president, and fuck you, too,” you could sense a sneering sincerity, one that made the band ironically even more likeable.

And taking a victory lap were local heroes Stuck, a year removed from their most recent EP Content That Makes You Feel Good (Exploding In Sound), two years from their debut album Change Is Bad (born yesterday). As such, they played four (!) new, unreleased songs, including jagged set opener “Punisher” and the disco beat-laden “Freak Frequency”. Live, lead vocalist Greg Obis’ yelped personal and sociopolitical litanies echo the urgency of someone like Squid’s Ollie Judge, backed by the band’s gnarly rhythms and burning tempo changes. The jangling tremolo and rusted edges of a song like “Invisible Wall” encapsulated what the band does best: reel you in, but not let you get too comfortable.

[theineffableoystercatcher]

Sokka, after Zuko joins the Gaang: I'm the smartest, wisest person in this group.

Zuko: Really? Then why is your hand stuck in a vending machine?

Sokka: I paid for my Mars Bar, I'm getting my Mars Bar.

[diabetesnscoliosis]

Bumi should have gotten airbending from interacting with the spirits. Everyone else got it from harmonic convergence but Bumi in my head got it from his time in the spirit world and no one can convince me otherwise!!!

[biglisbonnews]

Tiny Bread Box in Vernon, Vermont Born in Utah, Natalia Meijome spent a large portion of her childhood in her father’s original hometown of Buenos Aires. She created this most unusual bakery as an homage to the Argentine panaderías she loved as a child. In lieu of a full-scale shop, however, Meijome opted for a much more diminutive format. Locals in the area know to go early to this self-service bakery with a view of Mt. Monadnock early in order to snag the best pastries. Every Saturday morning, Meijome stocks her Tiny Bread Box in rural Vermont with goodies such as palmeritas (laminated pastries covered in caramelized sugar), maple bacon cheddar biscuits, and alfajores maicena (tender sandwich cookies filled with dulce de leche). Offerings vary daily, but tend to lean heavily on a sourdough starter for extra flavor. For her milk bread loaf and individually portioned cinnamon rolls, Meijome uses tangzhong, a flour-water roux often used by East Asian bakeries to produce an exceptionally tender crumb.  To order, customers simply need to scan a QR code and pay with a credit or debit card. Tiny Bread Box partially operates on the honor system, which inhabitants in this small New England community have always respected.  https://www.atlasobscura.com/places/tiny-bread-box

[the-badger-mole]

if you don't mind, could you explain exactly why you're so anti-pema? it seems like she'd been pressured into marrying tenzin because he wanted airbender kids. idk it makes me feel sorry for her. maybe she thought she was finding true love but really she's just kind of a baby-making machine. what's there to hate in that?

as for lin and tenzin, i think tenzin also had to reciprocate in order to break things off with lin, right? so it's not her fault so much as it is his for breaking things off? (i've only watched atla and lok, so if this is a comic thing i wouldn't know. sorry.)

What pressure? From who? Tenzin was in a serious relationship when she went after him. Was she even on his radar before that? I have never absolved Tenzin of his part what went down between him and Lin, but that doesn't mean that Pema is innocent. I'm a big believer in there being enough smoke for everyone. If a woman (or man) knowingly goes after someone in a relationship, then she is also trash. I don't buy that "oh, I wasn't in that relationship. I don't owe their partner anything" garbage. Maybe the homewrecker doesn't owe the betrayed partner anything, but then the homewrecker is also not owed validation for being a snake.

That's not why Pema gets so much of my disdain, though. No, I don't like her because she encouraged Korra to go after Mako while he was in a relationship. In front of her daughters, iirc. Pema is a pick-me who is trying to teach the girls in her care to be pick-mes. I don't feel bad about her being a baby airbender vending machine. First of all, she doesn't seem all that upset about the situation, aside from the fact that she wants a non-bender baby. Second, she's a pick-me wife. She's going to do whatever she needs to keep her man happy, probably because she knows in the back of her mind that how you get them is how you lose them. Would Tenzin have cheated on her and had more air babies with someone else if Pema didn't want anymore? We'll never know because Pema kept willingly pushing them out until some mystical Avatar mumbo jumbo made all her sacrifice irrelevant.

[danwhobrowses]

One Piece Chapter 1105 - Initial Thoughts

So we are back again, after a big impactful chapter last week we're looking to reach full incident territory now

Buster Call No. 3 here we go...

Spoilers for the Chapter, Support the Official Release

Carrot cover page is welcome but also reminds me how I wish she was Nakama

With the buster call summoned everyone is fleeing the scene, most of whom unaware of the situation

Doll suggests that Saturn and Kizaru leave too, but Saturn states they're staying

It seems that Doll is unaware of the regen, but she doesn't question Kizaru's reaffirming to do as ordered

Vegapunk confronts Saturn again, imploring him to call off the Buster Call due to how it will hamper the world's technology by a century

Saturn notes though they don't need more advancement, and can't trust that Vegapunk's hiding something else...which he kinda is but still

Apparently a ship also left Egghead, guessing it was the former inhabitants during the Labophase Among Us situation we didn't see

But Saturn had it hunted down, on the threat that they may know something about the Void Century, Akainu tactics there

Vegapunk once more is appalled but Saturn rebukes that he dug their graves by seeking forbidden knowledge

Everyone's in movement though, except the Mark IIIs who are the perimeter for the island

Sanji directs Kuma, Bonney, Franky and Atlas to the vacuum rocket, assuring Bonney that Vegapunk will be safe

He also briefs Nami on what's going on above, surprising the group that there's yet ANOTHER buster call to go through

After several months we finally see Robin alive and well...mostly, she's on a hoverbed and in clear discomfort, probably from wounds and trauma

Jinbe has been sent to get Zoro so he doesn't get lost, but apparently he's still fighting Lucci

Lilith meanwhile didn't even make it to ground, she was still with the ship and got assistance from Brook

And he's found a clever way to get the ship to the rendez-vous, using his ice powers to freeze the clouds and skate on them

There is however the matter of braking, which Lilith quickly rescinded her praise for Brook after he had no ideas, plus the Vega Force 01 is still not an option for flying out

They make a point in saying that the Labostratum still has its barrier, meaning that the place will have some safety from bombardment, but the first barrage begins even with soldiers still evacuating

As Vegapunk laments the loss of another island, the Vacuum Rocket shoots off

But once again, Kizaru's here for the intercept

Sanji sees the intercept and goes to rescue Bonney, while Saturn orders the Pacifista to fire at Bonney and Kuma

Internally he sickly enjoys the irony that Kuma gave away his life to protect his daughter, only for his clones to be the cause of her death

Vegapunk meanwhile looks on in horror, remembering his worry that even though Bonney's Kuma's daughter, a pacifista won't hesitate to kill her if ordered

And Oda makes it clear there'll be no Luffy save, the navy have found him again stuffed and unable to move right now as he lays next to the vending machine thing we saw earlier in the arc

Aren't these soldiers supposed to be running from the Buster Call though?

HOWEVER, we also flash back to the alleged sunken ship Vegapunk sent out yesterday, except it's not!

The destroyed ship is in fact the warship Saturn sent, and they have no idea how they're gonna report their failure to Kizaru

But another player is about to enter the game, they are on their way to Egghead

Until the very end there it seemed like a simpler albeit dire chapter to follow the heights of the Kuma punch, the Buster Call is here and most of our heroes are tied up in some shape or form; Zoro is still uncharacteristically dealing with Lucci, Robin our queen who I'm glad to see alive but sad to see still hurt is forced to rest, Luffy overate and is once again surrounded by marines, Sanji is running towards the line of fire even though Kuma is literally shielding Bonney anyway, Vegapunk is alone to the mercy of Saturn, Franky's falling, Brook is skating the Sunny without a brake, Kizaru's still being a government cog, it's all meant to feel like it's gonna go wrong.

But there are still the outside factors to play; the giant mecha will still have to help in some way, and there is still the slight possibility that the Mark IIIs do in fact hold an echo of humanity that resided in Kuma - which'd call back to the weaponized sea beasts still having their animal instincts - to not fire at Bonney. And now we have this other player that's coming, unless it's the Blackbeard ship from before. I do wanna hope it's Smoker but chances are low on that, why would you want to contact an admiral directly about that? Another Yonko ship on the move or the Revolutionaries seems like the Fleet Admiral would be warned so I'm still wondering if it's someone else we've not seen much of; Law & Bepo or maybe Perona & Moria.

The goose is not cooked yet of course, but our Straw Hats could do with a bit of gritting their teeth and stepping up, escaping a buster call doesn't quite have the same impact it did in Enies Lobby, stopping a Buster Call is yonko-level.

[companywrath]

@companypride

Jack stares into the bathroom mirror, rubbing lavender scented moisturizer into his face with quick, circular, motions. He spends extra time along the edges of the scar emblazoned across his face, though the scar itself is a lost cause. The skin along the edges is rough and raised, the vault symbol itself burned deep into his flesh and solidified into a metallic silver crust. It's not skin anymore; part of why it can't be repaired. His face belongs in a fucking museum- as far as his doctors can tell, nothing else like it exists.

Rhys is still in his bed, presumably. The front door won't unlock without his biometrics. It's the first time Rhys has been in his bed, though not the first time they've had sex. Usually it's in an office, either Rhys's or his own. Usually it's quick, informal. But, eating a home cooked meal alone under a enormous elaborate chandelier at an enormous expensive dinner table was feeling particularly pathetic now that the adrenaline rush of having a real flesh and blood body again was beginning to grow old. He'd bet Rhys's life on the assumption that Rhys hadn't eaten anything in days that hadn't come out of an Atlas vending machine. So, he called him up. One thing led to another.

And now he has a decision to make; leave the mask off, or put it back on. It's really not much of a decision. Sleeping with it on would be worse. Discomfort aside, refusing to be seen with it off in his own turbomansion would only highlight the fact that he's insecure. It's better to own it. He never wore the mask in the evenings with Nisha. But, Nisha was there. Nisha knew what had happened and knew to never say a word about it. Rhys is different.

When he enters the bedroom, he has only a plush, dark grey, towel around his waist. His hair is only wet around the edges; he didn't wash it, but he wasn't able to fully avoid it while washing his face in the shower. 

He strips the towel off in front of his closet, making sure Rhys gets a good view of his perfectly sculpted ass. Any excuse to show off. He pulls on a pair of super soft boxer briefs, black with yellow details, and hangs the towel on a nearby hook. Then he flops down on the bed beside Rhys, giving him a grin and a flirty inflection of his voice. "Hey."

[jgthirlwell]

playlist 03.30.24

Sleepytime Gorilla Museum of the Last Human Being (Pelagic) Kelly Moran Moves In The Field (Warp) Metz Atlas Vending (Sub Pop) Yarn Wire Currents Vol 8 (Bandcamp) CEL(Felix Kubin & Hubert Zemler) (Bureau B) Monika Roscher Big Band Failure in Wonderland / Of Monsters and Birds (Zenna) Lussuria Three Knocks (Hospital) Sleater-Kinney Little Rope (Loma Vista) Kristian Randalu & New Wind Jazz Orchestra Sisu (Whirlwind) Osnat Metzer Dot : Line : Sigh (New Focus) Gil Evans Out Of The Cool / Into The Hot (Not) David T.Little, Royce Vavrek Am I Born? (Bright Shiny Things) Ben Frost Scope Neglect (Mute) Lustmord Much Unseen is also here (Pelagic) Tim Hecker Infinity Pool OST (Milan) Jaga Jazzist Pyramid (Brainfeeder) Zombi Direct Inject (Relapse)

[thyfleshc0nsumed]

does degenerates market allow trans men? i'm in the area and interested

LOL yes omg. The market itself welcomes any adults. Vending and submitting for the mag we allow any self identified transsexuals. For more on what we mean by that check out this beautiful post written by Vi.

Id say our vendors have been pretty evenly split between tmasc and tfem at all 3 events, it's definitely not a dolls club. Also like Atlas is a (trans) man and he does a lot of the planning and organizing

[gianlucacrugnola]

Metz - Atlas Vending

Il post-hardcore nordamericano ha nel trio canadese Metz un fiero baluardo, riferimento per tutto il genere. La band originaria di Ottawa ma di casa a Toronto offre una sintesi di rumore e distorsioni che ritroviamo anche nel nuovo lavoro Atlas Vending, fuori come sempre per l’iconica etichetta indipendente di Seattle, quella Sub Pop un tempo fucina per il Punk rock cittadino oggi impegnata nel…

[madhogthymaster]

I Played Every BioShock Game in One Month, And I Must Scream!

On January 2nd 2023, I made the sporadic, partially ill-begotten decision to buy all three BioShock videogames. Up to that point, I had never experienced these titles directly save only through cultural osmosis, the occasional meme and, naturally, The Discourse! I would spend the following lunar cycle playing them, writing down my thoughts and posting them on Twitter dot com. Today, after enough time passed for my heightened feelings to reset, I have collected those floating brain bubbles and transliterated them into some manner of structured essay for your reading pleasure - or utter lack thereof. Did I have anything meaningful to add to the conversation on one of the most dissected and dissertated franchises in the history of the art form? You may be the judge of that. It begins.

-

Part One: Atlas Drowned

BioShock. The first BioShock. BioShock the First. "Spiritual" successor to System Shock 2, Bioshock. Yes, that BioShock. This is most certainly not a title that requires any sort of elaborate introduction. Since 2007, there have been many videos, articles, essays, podcasts, and everything in-between, dedicated to its analysis. For better and (decisively) for worse, the concept of Videogame Discourse was birthed from the metaphorical wreckage of this opus smashing itself onto the collective consciousness. I may be indulging in prosaic hyperbole here but the point still stands: it was, and still is, a big deal. You have probably heard it all before: the game is about the Folly of "Free-Market" Capitalism as it drives Society to ruin, the inadequacy of the wealthy to lead, a satirical takedown of Ayn Rand's Objectivism as it unceremoniously flops when confronted with the reality of basic human nature and needs. It's about America, in other words. It gleefully revels in its political stance with the subtlety of a clown-faced vending machine yelling: "Welcome to the Circus of Value!" It might as well be using a copy of Atlas Shrugged to wipe its anus, at this point. That is all to say, first impressions were quite positive and I was enjoying it a lot.

The underwater city of Rapture is a poignantly depressing location: everything from its very name to its opulent Art Deco architecture screams of egomaniacal pretention. It is a monument to its founder's hubris turned into a decadent, decaying tomb for his ambition. It perfectly conveys all you need to know about Andrew Ryan, the founder of Rapture and initial antagonist. He is a rich twat who hated having to pay taxes so he created his own version of a Libertarian Blockchain disguised as a country where there would be "No Gods or Kings. Only Man." He then proceeded to make himself the god-king of his utopia; it crashed and burned along with everyone in it. "Is a man not entitled to the sweat of his brow?" he said, indeed.

Rapture is a wonderfully designed world, in that sense. The only elements that clash with the contextual aesthetic would be the aforementioned "Circus of Value" marketplaces. Let me explain. Andrew Ryan, like all demagogues, takes himself super seriously. His entire platform was built on the premise that he's a charismatic genius and everything he says is Gospel. His whole civilization was constructed on the terrible ideas he convinced both himself and many others were actually good. Seriousness, self-importance and overcompensated grandiosity were the building blocks of Rapture, the roots of its aesthetic, the basis by which this society could function - until it wouldn't anymore. As such, the presence of those vending machines, openly mocking the very foundation of Uncle Andy's Ryanworld, feel out of place within the narrative and universe at hand. They have been clearly put there so that the developers could do a little meta-humour, a wink and a nudge at the player, to redundantly point out how absurd it all was. They must have been worried the game was too subtle and some players would not get it... Anyway, this was but a minor complaint. By all means, take it with a grain of salt. Now, I have some legitimate criticism to bring forth.

Whilst a lot of the conversation has been directed at Brow Sweat Man, his God complex, his insane ambition, his "Chain of Industries" ideology and "Laissez-Faire" economics, not nearly enough analysis was ever dedicated to the other major antagonist of the game, and I can definitely gather why. I will now openly address spoilers for the latter half of the story by discussing the character of Frank Fontaine (aka ATLAS), the de-facto main villain of the piece.

Fontaine is a grifter who played a long con at the expense of the "Kingdom of Reason." He started a smuggling ring that introduced gun violence and religious bigotry to the city, used the malcontent of the exploited working class to start a bloody rebellion, manipulated and killed people behind the scene through various aliases. His corporation is the one responsible for mass producing all the Big Daddies and Little Sisters, the iconic "monsters" of the series running around town. They are a product of Eugenics science based off Nazi Germany's human experiments. I should stress that Ryan approved all this as the city needed exploitable labour in order to run. The reason behind Frank's actions is simple: money, profit, cold hard cash. Andrew Ryan was a wealthy fool hooked on his delusional Capitalist drivel, his "daring vision" for the future of mankind, Fontaine was the reality check. The thematic exclamation point to the game's entire thesis, the depressing yet irrefutable truth behind all the cruelty and horrors caused in the name of IDEAS is good old fashioned Greed. Someone in a position of power will always be there to make a buck out of human suffering.

To be perfectly honest, I find this throughline rather pedestrian. It is the truth of Capitalism, yes, but it is such an obvious statement delivered with such un-earned gusto that it makes the entire game less interesting as a result. Here we have a compellingly detestable villain in Uncle Andy, the "good guy" of his story, a living byproduct of American Exceptionalism, Ayn Rand's poster boy, a poignant satire of the current socioeconomic establishment, being replaced by a basic money-grabbing baddie. What made Ryan so effective is how real he felt: he represented the warped worldview of the out-of-touch, obscenely rich class that rules the planet and that's going to eventually lead us to our demise - much like in Rapture itself. Fontaine, by contrast, is a mustache-twirling cartoon. He acts and talks like a typical videogame villain who doesn't have anything meaningful to say to you other than how smart he is, how he loves money and how he's totally going to get away with it (insert evil laugh here) while sporting the worst accent I have ever heard in my life. His point as a character is moot and the writing is messier as a result. Still, BioShock is a good game, perhaps not as masterfully crafted as many believed it to be, but rather innovative for the time. There is a clever (for 2007) twist right before Fontaine takes over as the final boss in which it is revealed the player's character was being mind controlled the whole time. It's a cute meta-commentary on the unique nature of our interaction with videogames.

Had I played BioShock when it first came out, I would have probably placed it atop a golden pedestal, sung its praises as the best written story in the history of the medium and angrily rejected any criticism towards it in the most obnoxious way imaginable... I think I was trying to make a point but my brain gave up half way through the tangent. As such, I shall conclude this tirade by saying I enjoyed playing this classic title but I have no interest in going through it a second time. Is that fair? Yes, it is.

-

Part Two: Tetsuo The Drill Man

I moved on to Bioshock 2: The BioShockening, a game that didn't need to exist, in many ways. On one hand, it drags the theming of the first game to unnecessary levels of dilution as its message had already been abundantly delivered. On the other hand, you play as a Big Daddy with a Big Drill. There is a new ruler in Rapture, her name is Dr. Sofia Lamb. She took over after the fall of Andrew Ryan's "Individualist Utopia" by indoctrinating its inhabitants into a cult that's equal parts Early Christian commune and Eugenics with an extra dose of fanaticism. Much like with Frank Fontaine, we have a case study as to how an unregulated, isolationist, capitalist state lays the foundations for stochastic terrorism and sociopathic grift - just in case it wasn't already obvious that Rapture is supposed to represent America. I say that but, to be brutally honest, Dr. Lamb's politics or set of beliefs are as undercooked and generically laid out as they can get. I had to interpret and extrapolate what her deal was through context clues more than anything else. It wouldn't surprise me if the game's intent was to comment on Communism instead of everything else I pointed out, which would somewhat invalidate its previous stance on Capitalism and would further bring into question the overall political stance behind the BioShock series... but let us put a pin on that thought, for now.

As far as the gameplay is concerned, I believe this is a slightly better, more refined, more challenging loop than its previous iteration. These titles are both solid First-Person Shooters with light RPG elements but the second one improves upon its many shortcomings. The ability to hold both weapons and "magical gene powers" at the same time is such a simple yet elegant mechanic that it (bio)shocks me it wasn't implemented earlier. The hacking mini-games have been simplified to the point of fruitlessness - and I'm fine with that. The big change comes with the Big Daddy himself and his huge, oversized, dominating drill that penetrates all its victims at full force, making them scream. It singlehandedly redeems melee attack as a worthwhile feature. Did I mention it's a huge drill?

Beyond that, there isn't much to add to The Discourse. To reiterate, BioShock 2 is a thoroughly pointless sequel and it barely qualifies as one. It's a glorified expansion pack that adds nothing of substance to the narrative, lazily resting on the laurels planted by its predecessor. It's a more polished and fun title to play, undoubtedly, but it's otherwise easy to see why it is considered the forgettable middle child stuck between an era-defining first outing and whatever Infinite turned out to be. Speaking of which, it's time to get into that one.

-

Part Three: Infinite Mysery

WARNING: the following few paragraphs represent my initial impressions on the game, left mostly unaltered as I experienced it for the first time back in January 2023.

So, Infinite, BioShock numero tres but technically a prequel set in 1912, the flying city of Columbia, and all of that. All I knew about this game beforehand was that its engine was used to revolutionize 3D pornography for years to come... Do not ask how or why I know that.

Our "Andrew Ryan" for this episode is played by Father Comstock (oh, brother), an evangelical, white supremacist prophet who gathered his "flock" to live in a conferedate utopia closer to the "Kingdom of Heaven" and far above the "Sodom Below." I used to think the first game was unsubtle and heavy-handed with its commentary, impassioned in its righteous indignation if a bit simplistic by the end, but this game takes that sharp edge and slashes the US flag with it, literally!

This game appears to have things to say about American myth-making, the religious zealotry fueling the glorification (and alteration) of history as a means for Power, The White Man's Burden and the dangerously real threat of Christian Nationalism. It seems to condemn it all with the fervor that bespeaks decapitating a cop with a portable blender - which Infinite is all too eager to provide. What makes the experience truly effective is the setting itself: a far cry from the claustrophobic doom of Rapture. The misery of that place served as a remainder that Capitalism is unsustainable and leads society to ruin. That's an obvious statement by this point and, as such, it left me lukewarm on the experience. All it did was reinforcing my beliefs. Columbia, however, is a different beast. It is not the sunken tombstone to the hubris of a rich fool, it is the realm of the "Chosen Race" thriving under the watchful gaze of the deified Founding Fathers. It's a thriving, gorgeous vision right out of Jules Verne's mind, and it runs on the back of slaves.

That's what makes it truly horrifying and infuriating. The fact that it works, that its ruler managed to build a community for "good white Christians" thanks to the power of religious indoctrination and the exploited labour of the "lower races" that keeps it afloat. It is unsettling, bone-rattling, how inviting the city looks at a first glance, its Victorian architecture bathing in the sun as a barber shop quartet entertains curious onlookers. It's a grotesque dream of Dixieland as filtered through Gone with the Wind lenses.

As such, getting to disrupt the perfect little order of this bigoted, racist 19th century style town through acts of wanton violence is INFINITEly more cathartic than killing random junkies in an already disrupted, dead society. Sticking it to an unjust hierarchy by murdering cops and destroying property elevates the enjoyment of playing this title tenfold. It's exactly what was missing from my ideal BioShock experience. It's simply more compelling to defeat that which is yet to be even challenged. Another major element in the game's favour is a main character with actual agency, as opposed to a silent protagonist whose whole deal was his tragic lack of agency. It's much easier to be invested in the narrative when my guy has a literal say in the matter.

I sure hope the game does not somehow ruin everything in the second half. That would be so disappointing...

WARNING: the following are my real, unfiltered opinions on BioShock Infinite.

Do you know what is the most egregious, baffling, aggravating turn a narrative like this could have made after all it's done, after putting out such an inflammatory takedown of the American conservative institutions? Why, Bothsidesing, of course! According to this game's oh so wise writing, when those rebelling against their literal slavers do it by employing Direct Action instead of "the right, non-violent way" then they're just as bad as them. That is how Infinite chooses to frame the Anarcho-Socialist revolution of one Daisy Fitzroy (the only named black character) as she's compared to Father Comstock (the racist theocrat) with the all too familiar adagio of "Both sides are in the wrong." I am seething with rage.

This game went out of its way to pontificate against America's history of bigotry and racism up to including actual horrendous ethnic caricatures to drive its point home. Then it cowardly decided to throw it all away by taking the "Enlightened Centrist" stance. Essentially, the people in charge of the project have demonstrated to me their unwillingness to commit to a difficult subject as soon as it came to addressing the Real American history, opting thusly to an implicit endorsement of the Neoliberal Status Quo. The message now reads: "Slavery was bad but the slaves should not rebel against it! They should debate the slavers in the Market Place of Ideas!" You could take such a blanket statement and apply it to every sociopolitical scenario where there is a clear Oppressor with a clear Oppressed and expect it to be uttered by those who benefit from the Oppression.

I understand this title is more than a decade old but I will unendingly rag on the plate of unfulfilled potential due to cop-out writing. In fact, this whole situation has forced me to reevaluate my thoughts on the first title, as well! All of a sudden, the dichotomy between Andrew Ryan and Frank Fountain (the latter pretending to be on the side of the working class with a "clever" pseudonym) starts to feel like a less immediately obvious form of political bothsidesing. It wouldn't surprise me to learn that the game was cherry-picking its themes as if they were somehow divorced from the larger critique on the Establishment. Implying, in other words, that concepts like the "The Invisible Hand", Objectivism and Manifest Destiny could be extricated from the very fabric of American Society when the inconvenient truth is that they are as much a part of it as Racism, Slavery and Genocide. I am not necessarily changing my opinion on that first iteration, mind you, but I do find myself dubious over my initial read given how the series ultimately panned out, with all the poise of a bald eagle covered in blood-soaked feces! It has just occurred to me, as I was writing this down, that Infinite is basically a remake of the first BioShock but dumber in every conceivable way. More over, BioShock 2's main antagonist, Sofia Lamb, was presented as the total opposite to Andrew Ryan (but just as bad) which reinforces the aforementioned Centrist stance the series now appears to champion while serving as a prelude to what would become the profoundly stupid thesis of the third one! It is astounding just how bad Infinite is turning out to be: horrible in a manner that makes me retroactively question my own ability to understand media literacy. This, dear readers, would be the time when I start screaming.

That said, it's not even the worst part. No, the most offensive aspect about any of this is that None of it actually matters, by the end.

WARNING: That Ending.

It turns out Father Comstock and your main character are the same person but from a different timeline when an Important Choice was made because of Guilt which led to becoming a Reborn Christian and the foundation of Columbia. You had a daughter which was taken from you by your evil doppelganger from another dimension and you were left trapped in a pocket world of some kind and then the rest of the game happens. Something, something, Regret. Something, something, commentary on Player Agency. Something, something, you must stop existing in the past in order to erase all the bad timelines, Sonic '06 style. By the way, there are timey-wimey bollocks, in case it wasn't clear. This is garbage and I do not care for it.

To see what this game was actually about, all along, further undermines whatever "political position" was presented to me throughout the diegesis. Depictions of oppression, racism and human suffering very much rooted in actual history were used as a mere thematic red herring. Meaning that there never was any real commentary, it was a "distraction" from the true narrative. Let this thought consume you for a spell. The game will have you slaughter fascist cops as well as recently liberated black men in the same gruesome, sadistic fashion while framing both groups as "equally bad", only to then pull the rug from under you and tell you it was all window dressing for the Real Story, which was about our (white) protagonist being tormented by his bad life decisions. I am beyond done.

The best I can say about the third and final chapter of the thoroughly tainted BioShock saga is that its contentious presence can be applied to a broader discussion about the nature of Art, namely if or when certain lines should be crossed, for what purpose should they be crossed and, especially, by whom. Infinite was built on the foundation of bad ideas and irredeemable execution. It presented a vapid vision of political radicalism from the obvious perspective of White Privilege and managed, bewilderingly, to not have anything to say about said politics, at all! It's the kind of idiocy that should have been nipped at the bud before wreaking untold damage - much like the main character himself. Nevertheless, it is a real piece of media that exists, a piece of gaming history and, like all history, we can learn something from it... Never Again! That would be the lesson to learn here.

-

Part 4: Something, Something, A Conclusion

As I am about to put this series inside the proverbial Tomb of Amontillado, I suppose this would be the right time to enlist my many gameplay pet peeves, my general pedantries, starting with the hacking mini-games: annoying in the first game, pointless in the second. In general, dealing with turrets, cameras and security robots was an unpleasant experience throughout the trilogy.

In the first two entries, some wise guy had the "great idea" of mapping the jump input to the upper button of the controller. I positively loathed that. They finally fixed it in the third game, just in time for it to stain the bed with several more horrible decisions! Why can't I hold more than two weapons at once in my inventory? That is such a backward step compared to the rest of the series!

Infinite must have also been one of the first AAA games to implement the hideous, horrendous, hackneyed sprint feature that would have you press on the left analog stick while the character is moving. Why was this ever considered an acceptable design choice?

I guess there were a few DLC. They sure exist.

... And with that underwhelming post scriptum, I shall now set my sights elsewhere - away from "Great Chains" and "Kingdoms of Heaven." New games await but we will always have the memories.

The memories of the giant drill, specifically.

---

BioShock and BioShock: Infinite were developed by Irrational Games. BioShock 2 was developed by 2K Marin.

You can find Madhog on:

YouTube

Twitter

Bluesky

Blogger (blog archive)

Also, here's a helpful website: https://arab.org/

[atlasnolan]

Be honest... what is the most bat shit thing you have ever done?

"When I was 10 and Scottie was 6, we were staying in a motel with the biggest prickfaced manager I'd ever met. He was always on our case over nothing so one day when he was distracted, I managed to unclip his keys from his belt. I was going to raid the storage closet for the vending machine supplies but then I saw the car key and his mad ugly red car out in the parking lot and thought life would be great if I could drive me and Scotch around."

I'm not an idiot though so she wasn't in the car when I started driving it, but maybe I am a bit of an idiot because I couldn't see over the steering wheel. And I know what you're thinking, Atlas, can you see over the steering wheel now? You're only a little fella. And for that you can eat my ass, but as I was saying. I'm both hands on the wheel, pedal to the metal flooring it.

Made it across the big road out front and directly into a Ponderosa across the way. There wasn't a scratch on me but his wheels were fuuuucked. You should have seen his face, he had me in a headlock straight out the car and everything until I bit his arm so hard it broke the skin. He was going to make us wait there for the cops and social services but Nina said she'd call them too for putting hands on her kid. He backed down like a bitch at that 'cause she can be real scary when she's about it. We had to book it out of that motel, obviously. But that was a really good day. One of our best, I reckon.

And I'm a real good driver now, don't let not having a license fool ya." @scottienolan

send me “be honest…” with a question your muse has been dying to ask mine and they’ll answer truthfully.

[psn-stalling]

Vista mail! She again tiptoes in verrrrry quietly, and again immediately starts squawking up a storm as soon as the package is removed from her beak. She does not seem to understand the concept of sneakiness. She also seems to be holding what appears to be a small, metal rattle. She does not give this to Atlas.

She does, however, hand him the package containing a 6 pack of orange flavored soda. Enjoy!

-@elite-amarys

Thanks!! This makes me feel a lot better-

Not an option in the hospital vending machine unfortunately, so it's nice to have some again- Thank you!

[destinygoldenstar]

New Years Eve At The Snow Festival!

It’s New Years Eve! Everyone’s throwing confetti everywhere!

And apparently something love related happened at the table.

(Or they’re all staring at Sun, so maybe it’s an awkward aroace moment)

Whatever, I didn’t figure it out cause Mercury invited us over.

I also realized THIS

I was wrong

Laurant is NOT the oldest of his siblings. Atlas is. Atlas is an elder now.

One of our in laws is an elder now…

We came over. Had wine.

Peridot and Emerald are teenagers, but they’re having wine…

Eh I’m sure it’s fine

While Sun decided to upgrade their sink to avoid talking.

Nice of him

And then I found the festival of snow pop up as a notification.

We HAD to go to this

Look at how nice it is

Mt. Komerobi makes me so happy whenever I see it, and I hate snow in real life

Yamachan was dancing

We got selfies with them.

And they were really riling up this stranger.

Laurant played guitar the whole time. For no reason

The spitfire twins got stuff from the vending machine.

At random, they chose ANOTHER cup of coffee today, and Green Tea.

Ruby, at random, decided she wanted Green Tea.

That’s so random.

Kian went skiing with Mercury and Peridot

Emerald left. Disappointed.

Then those two retreated to the bath house

And the adults had even more wine

Now I’m concerned about them from how much wine they’re drinking

I love how Kian moved seats so Ruby could be with Kaori. Such a supportive brother

And this is where Ruby asked Kaori to be her girlfriend.

To which she said yes.

Happy New Year!