Here are some things I enjoyed online this week.
// STUFF //
Grantland // The Raid
A piece analysing True Detective and modern TV through the lens of one exceptionally well-crafted one-take scene.
It’s as if True Detective happens in a diorama. Walking out of a coroner’s office, Cohle tells Hart, “This place is like somebody’s memory of a town. And the memory’s fading.”
Staring at this diorama like a blinking god, watching these men at a crossroads, watching their cars coursing across gray highways is Fukunaga’s camera. With the wonderful cinematographer Adam Arkapaw (Animal Kingdom, Top of the Lake), he captures the two protagonists as they are pulled toward their inevitable reckoning.
In the early episodes, this perspective has a unique power. It’s like Cohle and Hart are the only two people on earth. True Detective’s pacing mirrors Cohle’s drug use. In the first three episodes, it’s moody and ponderous, as Cohle pounds cough syrup and swallows ’ludes. But as Cohle hooks back into the “Crash” persona and meets up with his old Iron Crusaders cohort, switching to speed and coke, Fukunaga tightens the vise — the cutting gets quicker, the scenes play faster, and the camera movement goes from languid to frenetic.
Grantland // The Birdcage
An examination of the movies that are being made, and just how little originality is out there. I love this description of a scene from the movie Birdman.
“Now, in a hospital bathroom, he finds himself face to face — or really, beak to beak — with not only his own remade reflection but Birdman himself, who has, in full costume, made himself comfortable on the commode in a way that reawakens questions about certain superhero practicalities that have crossed the mind of every kid who ever read a comic book. So there they are, the two of them, taking each other in: silent, irritated, perplexed. Whatever kind of contest between Riggan and Birdman we’ve just been watching, it seems to have ended in a futile tie.
What does this moment mean? In the movie’s artistic scheme, it means Riggan can’t ever truly free himself of the needy, frail ego that his sturdy, gruff alter ego represents. But if you work in or follow the movie business, what we have here is a grim joke with a grimmer punch line: There is no escape anymore. We will never get away from Birdman, even as he threatens to poop all over everything. If movies have, for a century, been the repository of our dreams, and every generation gets the dreams it deserves, then ours is Rodin’s The Thinker reimagined as a superhero poised on the edge of the crapper, and the rest of us poised on the edge of … well, it may be a little extreme to invoke the abyss. But we’re on the edge of something, and thesomething is big and dark and annihilating. So call it what you will, but come up with a name fast, because we’re all about to get sucked in.”
I’ve spent a bit of time wondering about how, given the emerging sense that video games are an art form, we’ll start to see some interesting stuff that goes beyond the ‘games make young men violent’ trope exploring the idea that how we approach games, and in game decisions, might reveal something about our own character, and also teach us about the world around us. This is an interesting exploration about how games where you play as someone not like you, or very like you, might do different stuff for you. I’ve also read some cool stuff like the dad who watched as his four year old played GTA, just as an emergency services worker (alternatively, there’s this violent cussing grandma playing it very differently – language warning), how another guy played Skyrim committed to non-violence (there’s a whole movement of non-violent gamers, more), a guy who played Far Cry 2 as though he only had one life (then wrote a 391 page book about the experience), and a piece about a war photographer who found playing a war game hit too close to home for him when he conducting an in-game photo shoot. What’s interesting to me is the way the approach we take to games completely transforms our experience of those games – such that when people talk about how a game necessarily produces X result for all people who play it, those people are talking about games from a much more linear time, and not really understanding the medium.
But while the solitary experience of reading a book is mitigated by the ability to share it with other people (since everyone more or less experiences the same events in a book in the same order and context), the solitary experience of gaming increasingly loses the sense of being a shared experience the more choice is presented to the player; when you can choose not only whether you traverse none, some, or all of the optional side-quests, when you can choose whether or not to romance one or more of the other characters, when a vital character might die halfway through for me but live to the end for you, when even the name, race, gender, appearance, sexuality, specializations and abilities are certain to be different for every player who takes on this protean persona, a game risks exchanging an increased sense of empathy for a draining-out of the sense of community that comes from having the very same aesthetic and narrative experience as countless other experiencers out there in the world.
I’m not sure that’s a game design problem, exactly…but it’s a design decision that’s important to consider and to keep in mind, whether you’re making a game or just playing one: what does this game force me to be? About what or who does this game compel me to care? Just how far can you abstract empathy? If Hawke can be whoever you want, who actually is Hawke?
An interesting story about the persecution of Christians around the globe, but especially in the Middle East, with a pretty anthropocentric conclusion.
“Just as important is a resolute stand for the principle of religious freedom everywhere. Religious belief is fundamental to many human identities. Freedom of faith must be defended, irrespective of whether the attacks come from totalitarian atheist regimes or theocracies. For the faithful, what they believe about God is inseparable from what they understand about human beings. But God’s rights must never be allowed to trample on human rights.”
I hover between thinking the argument from fine-tuning is compelling evidence for God, and finding Douglas Adam’s sentient puddle quote a useful antidote to overreaching with the explanatory power of this kind of thing.
“This is rather as if you imagine a puddle waking up one morning and thinking, ‘This is an interesting world I find myself in — an interesting hole I find myself in — fits me rather neatly, doesn’t it? In fact it fits me staggeringly well, must have been made to have me in it!’ This is such a powerful idea that as the sun rises in the sky and the air heats up and as, gradually, the puddle gets smaller and smaller, frantically hanging on to the notion that everything’s going to be alright, because this world was meant to have him in it, was built to have him in it; so the moment he disappears catches him rather by surprise. I think this may be something we need to be on the watch out for.”
I find most of the tit-for-tat arguments around the existence of God based on natural evidence neither here nor there. The bits that show how incredibly complex the natural order of things, which I believe are naturally ordered by God, fascinate me, and reveal something to me about the nature of the God I believe in, but I feel like, if I try to unpack why I believe in God, I can see things from the other side of the fence.
I feel like science, the data it produces and our understandings of the mechanics of life in this world, will only ever support the view of the person interpreting the data. I might be wrong. But I think it’s only when we’re able to say that finding out about the universe God made doesn’t actually do anything but describe the world God has made that we can properly talk about science and God. We’re not going to find God’s signature in the mathematical improbability of our existence if we’re not looking for God, and a better place to look for God’s signature is in the way he marks the world with word and image. Jesus. His word made flesh, the man made in the image of the invisible God. And people being transformed by God into bearers of this image.
I think, when I read articles like this, and when I think about why I believe what I do, that I don’t necessarily believe in God because I’m alive, as a product of my very existence, I believe in God because I am convinced Jesus lived, died, and was raised.
// THINGS //
This Hipster Business Name generator is pretty awesome.
I don’t know why I find this sort of video as funny as I do.
At church in term 1 next year we’re experiencing the Gospel of Mark as though social media was around when Jesus was alive. Through the eyes of the characters who feature as eyewitnesses in Mark. It’s potentially going to be a lot of fun. Join in from afar. Or near.