Mild existential depression and the light in TV series Minder

Suffering from mild existential depression, you decided to watch the entire TV series of Minder again

(Being from the borough / manor as it were, the various shots of Londinium most ancient resonate to/in the core of your distributed neural network. That is, your dear old mum (gawd bless ‘er) used to drag you half way around its sprawling necropolis every week, when she dropped you off at friends houses before work. These are the very sights, sounds and signs of your past as a slightly worried child, waiting in the cold flats of strangers for your mother to pick you up and take you home for tea)

This thankfully upped the intensity of your existential depression to an acceptable level – nothing worse than Mild E.D. The cause was something to do with the quality of the light in Endland: expressed here in Minder, it’s the slow 70’s feeling of washed out naffness – a distinctly unremarkable story of misplaced human endeavour / endless financial struggle set against a backdrop of unremitting anonymity,  highstreet blues, brown carpet / orange curtain’d naffness, old dirty brick, hyper-Ballardian flyovers and imposingly apathetic Brutalist inner city architecture, contrasting heavily with suburban blandness and working class back alley abandonment

To watch Minder is to immerse oneself in a minor fringe universe of dodgy deals and back handers (of all sorts) populated by cheap cigar smoking spivs and ex-contender hard men for hire – all on the quiet, ask no porkies, no receipts available, instant finance, poncing around, twits in some upper class (gangster) nighclub, mugs and wallies each n’ all, endless corrugated galvanised iron cups of weak tooth-stained tea and zero future prospects: a forever saddening half-world, direct from hand to mouth to inside jacket pocket, say no more around the houses, depends who’s asking, a famous poster of that fit tennis bird scratching ‘er arse on the wall of your second ‘and car dealership hut, ‘orrible bacon & egg butties slathered w/ HP sauce on white bread, bring the van around the back Terrence, import-export no VAT, get your collar felt by the filth today as yet another day dawns lonely and grey. A life in remission but the final sentence (for your average punter) permanent

In short, an overcast outlook – a long stroll down the degraded memory palace to / of nowhere-anywhere-forever – a laundry list compiled by ‘er indoors – dusty bunches of ‘ooky clichés for a Pahnd to the era-displaced tunes of a mis-tuned Joanna down the rub at the end of the frog. Do what, Arfur?

Digital conceptual experience: “An Unremarkable Image”

A digital conceptual experience: “An Unremarkable Image”

An Unremarkable Image
An Unremarkable Image

Price for this virtual experience: £4.5M

Example Artistic Statement

Robert What: Straight from the hideousness of mundane everyday existence: an unremarkable image via semi-undecidedly non-professionals. Bland juxtapositions, half set against a drab modern palette: tools of war and digital typography, architectural shadows and rendering glitches – the unstated ideology however being that such images are somehow ‘no more or less’ than they appears to be, eg. An Unremarkable Image – when in fact it might simply be far less than that. False promises and time. All that does not glitter still might not be golden

On Sunset and Tale Of Tales: Artistic Evolution in/as a Dynamic Social Space

Dear TOT. Hello!

Sorry to “hear this saddening news.” But no time to wallow in the mire. “Fail Better“, etc

I’m a UK based Researcher interested in game development. I really dig your style. I’m writing in Call and Response – thinking out loud, bouncing ideas around, share some fresh perspective / alternative metaphors:

1. A holistic Systems approach: perhaps in the exact same way Valve uses Steam (expresses its internal values through Steam as a platform for User Generated Content), consider reconsidering “Tale Of Tales” itself as a social Service (game-space / open narrative / ongoing adventure)

That is to say: the most interesting dimensions of TOT are not just any specific art it produces, but the people who make up its world(s) – that is, you, Auriea and Michaël – and, all the people who follow / play alongside you

2. Perhaps the richest narratives you can offer, is that of an evolving artistic perspective – an open, creative space, expressed multiple simultaneous ways by many voices (including your own)

It’s not that one can’t Make X (eg. specific games), but that you more generally consider yourselves ‘playable players'; treat skillful Playfulness itself as a community networking platform. “Games are made of people

Specifically: “Tales Of Tales” would make an excellent open universe – an artistic ecology anyone can inhabit and add to – a distributed ‘multiplayer’ narrative, completely Open Source; to truly open up your Worldviews and invite others in

3. Rather than ‘a game’, “Sunset” could be even more interesting as a whole Setting – a place which fans can then add to, explore and play with/in from multiple angles – expressed many ways at once, a rich multimedia mulch for new artistic forms to organically emerge

Imagine the equivalent of Unity Asset Store / Steam Workshop for Sunset (this however does not necessarily mean Everything is fated to be a FTPMMORPG ;-)

4. Indie Devs are already a highly developed collective intelligence (a ‘Soviet’ in old Marxist terms – and a Rhizome in terms of new Biology) but still seem to woefully under-utilize themselves as a living networked resource / energy-potential

A pervasive rockstar / lone-wolf mentality still exists. Merely being online and having a website isn’t nearly enough: one now has to explore and expose the deeper meanings and implications of truly Social (artistic) networking as a modern concept-space

= = =

The short version: be ‘susceptible to evolution’

If this was interesting andor remotely relevant, feel free to contact Alien Fiction for a friendly chat

Sincerely, Robert H. Dylan

Improving the Brutalist Mytho-Psychology of Doom E3

[..] an installation of non-organic, often impossible smells — oxygen, flash of metal, fire energy, washing drying in the wind, mineral carbon, sand dunes, nail polish, cellulose, pure air of the high mountains, ultimate fusion, burnt rubber, flaming rock”
~ The smell of Doom: of the use of artistic labels in perfumery

Consider that with “Doom E3“, the once awesomely dark (psychic) landscape of the original now feels slightly too generic and unmemorable

To improve Doom as it currently stands, is to understand its awesomely Brutalist mytho-psychology (ie. how its ancient mythic landscapes directly inform the psychology of the player as the main character)

A retro-spective

“Oldskool Doom” had a strongly defined sense of itself – it was very much “its own thing.” Players suddenly found themselves somewhere they could not account for using traditional Rationality models: Doom was a nightmarish fever dream with its own cryptic ill-logic, terribly alive with exacting, Baroque angular menace

Perhaps it wasn’t just the immediacy of the violence of the game that provoked the early controversies surrounding it, but the fact its very look and ‘gamefeel’ were disconcerting, disorienting – “Uncanny” in the Freudian sense

Despite the wickedly advanced lighting, the landscape of “New Doom” is however no longer enough of a character – does not have much character – and feels a mere convenient backdrop that ticks off the required boxes (mainly “Industrial.”) In this regard, it could be set anywhere

Even the trailer logo has been bleached, as if to subconsciously reflect a slightly more directionless and flavourless ‘design by committee’ aesthetic

Doom E3 Wallpaper
Doom E3 Wallpaper

Feeling Doomed

To move through the Oldskool lDoom was to move through an elaborately signalled Gothic landscape – a grand occult theatre of heavy (/handed) teenage symbolist rock-power drama. Let’s rock!

Original Doom Poster
The right idea: Original Doom Poster

Gliding smoothly through New Doom however, feels a little too much like pushing an armoured shopping cart through a sprawling mall of mildly antagonistic fellow shoppers, double-jumping around ala Unreal Tournament while hoovering up Mario-style powerups

The strong sense of warped style and horrifying place of Oldskool Doom is here only given a perfunctory nod. Even New Doom’s ultra-gory finishing moves somehow seem a parody of the ambient dread offered by the original; OD felt genuinely odd, ND feels.. OK, nothing unexpected or bizarre

How to improve / tweak New Doom in this regard:

What New Doom might get right

In an endlessly masturbatory age of apparently limitless ‘Self™ Improvement’, it is the very body of Doom Guy which offers the most potential in terms of expressing truer Doom-like Narrative and meaningfulness

There is a need to make him a fleshy expression of the ontological terror of the lone individual thrust into a darkly horrifying situation against impossible odds – yet armed with extreme toughness, a thick necked indomitable muscularity and an iron hard mental will – to Terminate With Extreme Prejudice

How to improve New doom in this regard:

  • An industrial hell is full of crushingly heavy objects; up the feeling of weight and inertia in the player (eg. how he lands), in the monsters and in the percussive force of the impact of the awesome weapons
  • Allow the player to be punched right over or through the air, smashing against the walls
  • Use the weighty shaking of the BFG as a design metaphor
Doom Guy
Doom Guy (from Brutal Doom)