#this is mostly urban fantasy because that's been my most recent kick sorry | Explore Tumblr posts and blogs

attract-mode-collective · 8 years ago

Photo

Finally, The ET Video Game That You’ve Been Waiting For

Since there was no proper game culture wrap-up last week (again, sorry about that), along with how I’m filing this at the end of the week instead of the beginning (there’s… stuff happening, so consider this one of the more minor examples), there’s a lot to cover this time around. Including a bunch of happenings from the word of art.

So kicking things off is the latest from Amanda Visel X Michelle Valigura. Much like their Star Wars, Beetlejuice, and Heathers cabinets, here we their ideas of what arcade games based upon ET and Aliens could and should look like. And yeah, playing as Gertie is an approach that could salvage its reputation in the video game sphere, plus I totally want an Alien/Aliens video game starring Newt.

Actually, hasn’t something similar already happened? Sorry, haven’t kept up with the video adaptations; last one I played was for the Jaguar. Anyhow, and unfortunately, both pieces are sold out online. Though… and I’m not 100% certain, but… they’re both at the Thailand Toy Expo, so maybe they brought a few extras with them?

Elsewhere in Asia, Japan to be exact, are not just one but two other notable shows, and both focused on electronic entertainment. First is something you’re probably familiar with, the My Famicase Exhibition, and not just because it’s been around for 13 years. As of this writing, the entire assortment has yet to be shared officially, so you’ll have to turn to Twitter to see the participants boasting their own handiwork.

[UPDATE: 5/7/17] Actually, all the pieces are finally viewable on the Famicase homepage proper. Here are my faves…

… I particularly love Saturdays’s flavor text: “The gateway opens once a week. Tomorrow I’m going in.”

… You kinda need to see the actual cart in the wild to understand; here’s a pic courtesy of @mandimappy…

And finally...

… It’s maybe pointing out that the artist responsible for the concept above also did a piece for last year’s event as well, which ended up becoming something that’s actually playable! Hope history repeats itself cuz I really want a game about an all cat band with gross lyrics.

Now, the other show is something you may know nothing about, cuz a. the 16 Bit Models Exhibition has only been around for two years and b, was only open for just one day, hence why it’s fallen under many radars.

Admittedly, I found last year’s assortment a bit more up my alley, most due to my affinity for the obscure. Yet I can still appreciate this very realistic take on the Super Mario Bros (btw, am also sorry that I don’t know who’s responsible for what)…

Along with this realistic take on Pauline and Donkey Kong…

Yet the exhibition was a reminder that not every Nintendo game out there has been paid tribute to death, specifically Urban Champion…

The dioramas are easily the best parts of the 16 Bit Models Exhibition. Here’s an equally impressive one, featuring Castlevania…

Though once again, the obscurer the better, so this tribute to Bio Miracle Bokutte Upa gets a thumbs up from me…

Which is the lesser known game: Bio Miracle Bokutte Upa or City Connection? The latter at least was released on the NES at the time. Then again…

Moving onto fashion, UNIQLO recently unveiled an upcoming line based upon Mario and company. As one might expect from UNIQLO, they look quite nice! Here’s the campaign movie from Japan…

youtube

The best part is that UNIQLO’s entire line is headed towards the US! Was not expecting that. Alas, certain designs are not available to everyone, and I know more than a few adults who wouldn’t mind that Kirby tee. So here comes YUMMY MART to the rescue…

Somewhat along the same lines is Namco enlisting the talents of PAYNUS, who represents some of the esoteric offerings in the Pac-Store…

The constant reference to pizza is something that’s present in both the PAYNUS designs and Namco’s own in-house efforts…

Meanwhile, back at METEOR, in addition to the latest Famicase exhibit, they’ve also been busy with a collab with THUNDERBOX (which I highlighted just a few weeks ago). And from the looks of miki800.com’s post, MOUNTAIN GRAPHICS is also involved? Talk about a holy trinity…

Whereas the previous combination makes sense, the following is… unexpected. Recently discovered that R23X has teamed up with the The Yetee of all folks to produce a line of shirts showcasing glitched VHS stills. Including one that’s game related (technically two; there’s also a crop top version as well)…

Looks neat and all, but I’m less of a Final Fantasy 7 fan and more of a Wave Race 64 aficionado, and would therefore love to see this on a tee…

I’d also love to get my hands on one of these 100 yen pins that @rgb_club posted a couple weeks back, though no word on when it might be available…

Here’s another thing that’s not for sale, mostly cuz there was only one, which is of this baseball player made to look like a Street Fighter…

Which had the better Spinning Bird Kick; Street Fighter: The Legend of Chun-Li…

Or City Hunter (yup, that’s Jackie Chan; via tenshokyaku)…

Sticking with leggy video game stars, thanks to thevideogameartarchive, we finally have an answer as to whether Link is boxers or briefs…

And sticking with Link for just a bit more, I particularly dig nozovis’s summary of the fun times him and Zelda have in Breath of the Wild…

Along those same lines is a zine that @WPR_haru made that’s filled with all the photos he took, one that I’d love to have a copy of…

Which fan art featuring a character from behind do you prefer; this Breath of the Wild piece by James Kochalka…

Or this Overwatch piece by some unknown artist (if anyone knows, plz let me know)…

Here we have @RAStyle85’s Astro City with a lots of buttons, for playing whatever game that requires that many inputs…

And here we have former Taito graphic designer Atsushi Iwata’s custom-built device, for producing pixel graphics!

Such things were used in other places, like SNK. Here we have a quote from someone who worked there, courtesy of videogamesdensetsu…

“The sprite editor used by artists for a number of SNK fighting games (Art Box) was written for the Neo-Geo, and uses the Neo-Geo as the interface. As in, you would use the joystick and the buttons to draw the sprite. He didn’t believe this when he started there, until one of the higher ups showed him by firing up one of the machines and drawing a kickass sprite of Robert Garcia in like 10 minutes”.

Does the Art Box sound familiar? Well, it should be.

The latest from The Gaming Historian, on the creation of the d-pad, answers the one question I’ve had for ages: if Nintendo was able to patent the control input, how were Sega and others able to get away with something seemingly similar?

youtube

Remember the 8bit Harmonica from last week? Well here’s another project involving the Famicom by Ugoita that’s a bit more… random?

youtube

This post has gone on for far too long without any Sega. Time to fix that with some gifs of Sonic from Sega Saturn de Hakken!! Tamagotchi Park, which as you may have guessed is a Tamagotchi title in which you can raise Sonic (and sorry, chilli dogs was Sonic’s fave food in the US, though I believe Sonic Generations would later recon that; via pr0jectneedlemouse)…

Though you can also raise other Sega personalities, like Opa Opa and Alex Kidd, plus even a Mega Drive cart (via grooveonfight)?

Super obscure Sega humor doesn’t get more obscure than this folks (note to self: on the next car trip, bring along the soundtrack to Super Hang-On cuz repeated plays of OutRun and Daytona USA tunes can get old after a while; via dnopls)…

I know the following has been shared liked crazy (hell, even NPR posted the damn thing), and for good reason. All I can say is, Pikachu #14, get your sh*t together…

youtube

Speaking of Pikachu and his pals, The Pokemon Center released a line of Ditto Gachapon figures that are supa kawaii (via retrogamerblog)…

Though the one piece of plastic I want the most is the also recently unveiled Samus from Metroid Prime figure by Good Smile Company, which looks hella cooler than the previously released Other M Figma…

Am embarrassed to admit that I have no idea where this following screenshot is from, nor the tune that accompanies it, both courtesy of radicalhelmet. If anyone would be kind enough to clue me in, would be supremely appreciated…

I wonder what the cover girl of this issue of Spoon is playing (via sixteen-bit)…

And this week’s recommended reading comes courtesy of mah boi Don Miller, and is actually something that Oliver at Minus World also picked up on, which is a book produced by the creator of LSD: Dream Emulator, among other things, and someone I’ve mentioned quite a few times around these parts. It’s called The Art of Computer Designing: A Black and White Approach and is available via archive.org…

As someone who has always planned on transforming an old iMac into a fish tank, thanks to Phazed, I know have other ideas…

And finally, and I also know that I’ve been saying the same thing over and over again, but Super Attractive Club members will be receiving another round up game culture snapshots, hopefully very soon! Until then, please enjoy this still life courtesy of peazy86…

BTW, peazy86 also does music, plus music videos…

youtube

Don’t forget: Attract Mode is now on Medium! There you can subscribe to keep up to date, as well as enjoy some “best of” content you might have missed the first time around, plus be spared of the technical issues that’s starting to overtake Tumblr.

4 notes · View notes

how2to18 · 6 years ago

Link

THEY SAY literary novelists can’t do genre. This is perhaps most acutely felt with mystery and noir, which has fascinated and occasionally defied postmodern eminences from Pynchon to Auster and beyond. Antony Lamont, antihero of Gilbert Sorrentino’s incredible Mulligan Stew, stands out as the funniest case study, albeit fictional. A fading, minor experimental writer immersed in an awful fusion of the new novel and a noir potboiler (the same sort of novel it seems Paul Giamatti’s character is working on in Sideways — his “Robbe-Grillet mystery”), the pompous Lamont’s tilt is equal parts cynicism and desperation — his radical approach really just a bald-faced cash grab, so smugly assured is he that the dark ambience, gratuitous sex, and abrupt violence of his meandering and largely content-free novel will finally nab him the hit he deserves. This is not, thankfully, the sort of novel that Jonathan Lethem gives us in The Feral Detective. Though you can be forgiven for imagining otherwise if you’re not familiar with his work, Lethem is no stranger to noir, or genre fiction in general — he came from genre, and is, in fact, a genre writer, especially when he promiscuously blends genres together as he’s been doing since his fantastic Philip K. Dick-meets-Raymond Chandler debut, Gun, with Occasional Music. In short, Lethem is a master, the sort of master for whom narratives about genres, as opposed to genres themselves, are the quarry. That he’s reached a high degree of mainstream success within the genre of literary fiction only burnishes his bona fides as a master of form.

The Feral Detective follows Phoebe Siegler, a thirtysomething New Yorker and former Times staffer who has traveled to the West Coast to track down Arabella, the missing daughter of her friend Roslyn. Arabella, a freshman at Reed College, stopped answering Roslyn’s attempts to contact her a few weeks into her first semester, and Phoebe — newly liberated from her job — decides a trip to Portland to pay the girl a wellness call is just what she and Arabella need. Arriving to find her gone and school officials oblivious, Phoebe digs in and discovers a slim trail of several-weeks-old credit card transactions leading down the coast to Los Angeles’s Union Station and finally, cryptically, to a travel plaza purchase in an unfamiliar corner of San Bernardino County, where the lead goes cold. Because she is worried about Arabella, and because she loves her friend — Roslyn is herself a mother figure to Phoebe — and because she is not ready to go back home, Phoebe decides to extend her vacation. The reason she is not ready to face New York — the reason she quit her job — haunts the novel from its first pages:

Blame the election. I’d been working for the Great Gray News organization, in a hard-won, lowly position meant to guarantee me a life spent rising securely through the ranks. This was the way it was supposed to go, before I’d bugged out. I’d done everything right, like a certain first female nominee we’d all relied upon, even my male friends who hated her, as a cap on the barking madness of the world. Now she took walks in the hills around Chappaqua and I’d checked into the Doubletree a mile west of Upland, California.

The Feral Detective is not only a novel of the Trump era, it is a novel largely about it — specifically, how the Trump era has felt for a certain set of us who woke up on November 9, 2016, with a newfound appreciation for the arguments of reality simulation theorists. If noir is at its core fundamentally the cruel stripping away of illusion, there could hardly be a better subject than a liberal coping with the Trump era. So thoroughly and suddenly was the narrative of Hillary Clinton’s inevitable victory evacuated, so traumatic was the puncturing of the optimistic Obama-era bubble, and so bizarre and even nightmarish have been the subsequent years that it’s easy to think of the whole world as having taken a noir-ish turn: worst timeline confirmed, doomsday clock ticking ever closer to midnight. For Phoebe, it is all too much to take:

My room reminded me of a gun moll’s wisecrack, in some old film I’d seen, on entering an apartment: “Early Nothing.” I was left with Facebook, where my friends had responded to the election by reducing themselves to shrill squabbling cartoons. Or I could opt for CNN, where various so-called surrogates enacted their shrill hectoring cartoons without needing to be reduced, since it was their life’s only accomplishment to have been preformatted for this brave new world. Television had elected itself, I figured. It could watch itself too for all I cared. I read my book.

There is, in her quest to find Arabella, more than a little self-interest — it is also a quest to find, if not the fictional world she thought she inhabited, a way to understand the one she never knew she lived in all along.

Her guide in this is Charles Heist, the eponymous feral detective, so called because of his penchant for tracking down lost, troubled, cult-brainwashed, and otherwise disappeared or off-the-grid kids. Working out of a nondescript strip-mall office in Upland, Charles Heist takes Phoebe’s case with a typically non-committal “no-promises” sort of attitude, but also with a decidedly nontypical disinterest in any sort of upfront payment. Other unusual details include the presence in Heist’s office of a wounded possum, which Heist is doggedly though unsentimentally nursing back to health, and a ragged, mute young girl named Melinda, apparently recently and quite literally feral herself. Phoebe is nonplussed but also, she must admit, intrigued — and Charles is a looker in a flinty, sunburnt sort of way:

He resembled one of those pottery leaf-faces you find hanging on the sheds of wannabe-English gardens. His big nose and lips, his deep-cleft chin and philtrum, looked like ceramic or wood. Somehow, despite or because of all of this, I registered him as attractive, with an undertow of disgust. The disgust was perhaps at myself, for noticing.

His services are retained. With nothing to go on except the travel plaza purchase, and a hunch that Arabella — a devoted fan of Leonard Cohen — might have ascended nearby Mount Baldy where the late, great songwriter frequented an isolated Zen retreat, Charles sets out and Phoebe returns to her hotel to brood on the case and the mysterious dashing man onto whose broad shoulders she’s laid her last, best hope.

These introductory chapters are incredible — it truly is a lot of fun to see Phoebe fall so quickly and so hard for Heist. Making Heist the honest and unapologetic object of Phoebe’s post-Obama rebound fantasy is a delicious complication of the femme-fatale tradition, and it’s great to see her unapologetic voraciousness respectfully, even somewhat meekly, received by the terse but game Heist. Lethem wrings plenty of comedy out of the improbable culture-clash romance that rapidly develops between the two, but there is something troubling that develops, too. For a writer who is normally so good with voice and so adept at playing off types while still imbuing his characters with enough specificity and depth to keep them from becoming cartoons, Phoebe begins, as the novel progresses, to feel at times much too broad — a weird gestalt of awkward comedienne, working girl, and other tropes whose presence isn’t entirely exorcised by cheeky self-consciousness:

I’d go home with a California story or two in my back pocket. No, sorry, I didn’t ever set eyes on the ocean or the Hollywood sign, but did I tell you the one about the porta-potty levee? The trailer park blowjob? Oh, what a Manic Pixie Am I! I pictured telling this over late lunch at Elephant & Castle.

Through Phoebe, Lethem means to implicate himself and by extension the whole cohort of urbane, liberal, upwardly mobile folks too assured of victory and too preoccupied with themselves to imagine the failure of their certainties in 2016. But although Phoebe’s preoccupation with what Heist thinks of her, for example, is funny, it began to worry me. On the one hand, it is great that Lethem allows Phoebe to be shallow — as he does — and to seem at times to forget about the search for Arabella while daydreaming about her new gumshoe boytoy — as she does — but is this an unvarnished caricature of complacent white feminism of the sort that both the left and the right now routinely flog for predictable results?

The plot, depending on how well the conceit works for you, congeals, or thickens — it is discovered that Arabella is caught between two warring cultish groups of desert dwellers, the feminist “Rabbits” and the boorish “Bears” and some genuinely funny moments, striking passages, and typically excellent walk-on characters follow. Each band is a primal caricature of the current partisan divide and not much more nuanced than what you’d get from reading Daily Kos or The Daily Caller. It’s mostly burlesque, but there are hints at a deeper reckoning. Phoebe, who spends much of the book in sidekick mode, gets a memorable “flower-pot” moment. The gesture — which Phoebe names after the belated contribution of a corseted heroine in a half-remembered Western she used to watch with her dad, which involved the woman throwing a flower-pot down on the head of a villain from a second-story window — kicks off an extended denouement that pleasurably complicates the existing dynamic between Phoebe and Heist. By the novel’s end, most of my doubts were, if not totally expunged, at least leavened by the complex affection I’d begun to feel for Phoebe.

Heist, a kind of subterranean Trump foil — a paragon of non-toxic masculinity — is the more lovable character, but Phoebe is ultimately more interesting. The feral detective, true to form, spirits Phoebe away from the old assurances and dead narratives to which she reflexively, repeatedly, retreats, even, in the end, the old one about the guy getting the girl, and she realizes ultimately that learning to live in the new world means letting go of the old.

Perhaps the ultimate truth of noir is that no matter where you’re standing, there is always another floor to fall through. If there is a central lesson of The Feral Detective, it might be simply to embrace this fact; as the Cohen-head Arabella might quote: “You want it darker.” Yes, and for a reason. Darkness can be a renewal, death and inversion driving out the old to make space for the new.

Seth Blake is a writer from New Hampshire living in Los Angeles.

The post Always Another Floor to Fall Through appeared first on Los Angeles Review of Books.

from Los Angeles Review of Books http://bit.ly/2WD7hbA via IFTTT

#Blogger

0 notes