Categories
Cinema General Blog

Q1 Report on The Cinema

As March ends, we reflect on what the first quarter of the year brought us. Obviously, when historians look back on this time, they will think of it as a nightmarish clusterfuck (certainly I will), but they won’t be asking themselves the most important questions: what movies did I watch, and were they good? Luckily I’m always keeping this in mind.

My first quarter of movie-watching has been particularly productive because of the introduction of Mubi to my streaming repertoire, and I recommend it for the discerning art-cinema fan. Unlike most major streaming services they are funding and distributing movies that are actually good and so are providing a service actually worth paying for (unlike some people I could name who recently made a shit-ass movie of The Electric State for no reason).

Biggest Ws

Blessedly, this quarter brought a plethora of cinematic Ws to my doorstep, and they were fairly evenly distributed between movies I was hoping would be good and movies that arrived to me as a surprise.

I watched a lot of good movies about people going through something crazy, taking on a new identity, and then becoming a great force for justice? comedy? revenge? something in their new life. Foremost among them was The People’s Joker – if you’ve heard of Batman, you should see this movie. It is a work of full imagination and full wackiness, and thus it is full cinema. This is a movie with so much sincerity and heart and humor that even my mom enjoyed it, and she is actively trying to learn less about Batman every day.

But she’s not immune to the Batman concept, because she was just as excited as I was to go see the new movie adaptation of The Count of Monte Cristo. Were compromises made with the narrative in the adaptation? Was a lot left on the cutting room floor to make a movie that was still three hours long? Are there moments where the Count deploys disguise technology that definitely hadn’t been invented in the 1800s? Yes, yes, and yes. But as a counterpoint, I offer you this: it’s a movie about a guy going on a big adventure for basic clear emotional reasons, and on the way he perpetrates schemes and travels across glorious vistas. And it doesn’t have any threat of a sequel. They don’t make’em like this (fun to watch for the entire runtime) anymore.

I also watched several movies about video games, which should surprise no one as I am sometimes a leading scholar of cine-ludic connections. However, the two best video game movies I watched this quarter were about human relationships to game worlds, rather than Koopa or Sonic or whoever. The Remarkable Life of Ibelin reveals the World of Warcraft-based life of a young man with a serious physical disability. If you are a gamer who has ever relied on games to get you through a difficult time in life, this film will almost certainly break you. If you are interested in films that challenge popular narratives about gaming or disability, this should move to the top of your watchlist. It walks a very interesting and fine line between genuine melancholy about the limitations placed on its protagonist by his disability, while also completely upending his own family’s belief that his life was one devoid of rich emotion and connection. 

Grand Theft Hamlet is the other video game documentary which slayed me this quarter. Much lighter than Ibelin but equally concerned with video games as a place to go away from life’s pain, Grand Theft Hamlet tells the story of frustrated theatrical performers trying to stage Hamlet in Grand Theft Auto Online while IRL theaters were closed for Covid. The struggle to mount the play successfully is simultaneously stupid and tremendous. I have seen some call the behind-the-scenes drama in the film forced or overdone, but as a habitual participant in low-budget theater productions I must emphasize that this is how putting on a play really is. It is always this dramatic, it is always this stupid, you always lose hope just before you put it on and it’s great. This is why people who work on the stage are such toxic people 🙂

Lastly, I must salute our friends at PBS for supporting the film Aurora’s Sunrise. This film is an animated documentary about the Armenian genocide, told from the perspective of a survivor who was heavily involved in efforts to raise the profile of the genocide in the US after she escaped Armenia. It is simultaneously a heartwrenching genocide drama, a fascinating portrait of PR as it was done in the 1910s, and a transporting visual experience. The Armenian genocide has been repeatedly covered up and denied by the Turkish government and its allies. It is good to keep Aurora in our minds now, to remind us of what she suffered and to remind us that our bodies and minds are where we keep the truth alive, even when the powerful deny it.

Biggest Ls

Q1 2025 was not without its horrendous Ls, however. Fewer they were in number, and yet so heavily they weigh upon me. The most mind-boggling of them was Abel Ferrara’s New Rose Hotel. I looked forward to this film for some time: it’s literally a Christopher Walken/Willem Defoe cyberpunk heist adventure, how could it go wrong? But then I started watching it and I remembered that I don’t actually like William Gibson stuff, especially when it is being done in a style that is slightly jankier than a student film. The shots in this film are composed so tightly you know they were just filming it all in the same hotel room, using different corners to play different locations. I acknowledge that the film could be interpreted to have Deep Themes, but I interpret it as horseshit. But it’s not a total L because some of Christopher Walken’s line readings are sooooooo funny.

Most disappointing of all the Ls was Mickey 17. I had such hope when the movie was announced, I had very medium feelings upon seeing the trailers, and then I had such a crushing experience in the theater. It wasn’t a film that was all bad, but it was a film with so many elements that didn’t work. Robert Pattinson is excellent (if you like Robert Pattinson when he’s in his quirked-up white boy mode), and the alien creatures are extremely charming. So much of the rest of the movie is aimless and dopey. Steven Yeun is wasted on a go-nowhere subplot, Toni Collette grinds an unfunny running gag into absolute powder, Mark Ruffalo is doing the least compelling and most obvious Trump impression of all time, and most of the film’s female characters are trapped in an eye-rolling love triangle subplot which is both biphobic and pointless. Nothing comes of Anamaria Vartolomei’s character whatsoever. Her female love interest gets fridged, she hits on Mickey for some? reason?, and then she gets a new girlfriend at the end. To what end, I might ask? Poor Naomi Ackie, putting her all into a character whose most fun scene is her horniness for RPatz. For the rest of the film she is his emotional support GF. If you like Bong Joon-Ho doing broad comedy and heavy social satire, please watch Okja instead.

The worst L I took this quarter was Red One. It was my fault we watched it, and it sucked harder than a rock. Nothing about it was funny-bad. Everything about it was execrably bad. I hated every minute I spent experiencing it. I never want to see Chris Evans or The Rock again.

Hot Takes

I shall leave you with a few hot takes for the road, something to inspire Letterboxd Harvey Oswald to take me out. 

Hot take most likely to sign my death warrant: I still think The Brutalist is a pretty good movie. I don’t really care that they used Respeecher. I am slightly less impressed with Adrian Brody and Felicity Jones’ accent work. That’s the sum total of the effect this news had on me. There are better targets to beat up on – for example, the companies making LLMs and Gen AI bullshit engines and roasting the earth to do so. Let’s **** up a ******** instead of blowing up Brady Corbet on Letterboxd 🙂

Hot take most likely to sign my death warrant after the Libertarian takeover: Gerard Butler’s character is unequivocally the bad guy of Law-Abiding Citizen. I can’t believe this is not widely understood. When Jamie Foxx gave the killer a plea deal at the beginning of the movie, he was doing The Right Thing. He was Doing His Job, and not in a Nuremberg way. This is how the American justice system works, and fundamentally we do not actually want a world of vigilante justice, especially when Gerard – and I can’t emphasize this enough – moves on to just killing whoever he feels like to prove a point! He tries to kill the mayor of Philadelphia with napalm when she had nothing to do with his case. He is Dumb Hannibal. He is a serial killer. He is cooked (literally, at the end of the movie <3). Stop thinking killing people fixes stuff. You are smoking that shit that made America post-9/11.

Hot take most likely to make someone explain the movie to me at length even though 1) I watched it, and 2) I have a four-year degree in Cinema & Media Studies from a global top 20 university: Park Chan-Wook’s Decision to Leave is Just Fine. It is a very artfully crafted thriller that looks beautiful and goes on too long. It’s not Vertigo. It’s Vertigo-adjacent, but it lacks the melodramatic heights of improbability that made both Vertigo and The Handmaiden rock. Decision to Leave is great on a craft level and fine overall.

With those thoughts to bear you into cinema-hell, I bring Q1 2025 to a close. What does Q2 have in store? I can’t say with certainty yet, but I pray that it starts with “FFFFFFF” and ends with “rancis Ford Coppola”.

Categories
Book Review General Blog

Vorkosigan Saga: Mirror Dance

Big news in weird decisions by me: I’ve started reading a lengthy novel series by picking up a random installment in the middle. That series is The Vorkosigan Saga, and that installment is Mirror Dance.

Now, in my defense, I didn’t go in entirely unprepared. I had previously read several of the Vorkosigan short stories and skimmed a scan of A Civil Campaign, and most importantly I had received a tremendous blow-by-blow description of every single major event in the series from my sister, Daisy, a certified Vorkosigan maniac. When I happened upon a cache of Vorkosigan novels left out for the taking, I captured them and brought them back home, determined to see what enchanted my sister so.

I started with Mirror Dance because I was going on a train trip and the pile of free Vorkosigans I found included two copies of Mirror Dance, so I didn’t have to fear retribution from Daisy if the book was damaged by Amtrak’s tender mercies. At last, I would immerse myself in Vorkosimania.

The Vorkosigan Saga, written by Lois McMaster Bujold, comprises a number of novels, novellas, and short stories concerning the adventures of one Miles Vorkosigan, the son of space nobility, who is a minor genius and deals with a number of chronic health problems. As he is the son of a major Vor Lord (yeah, really) of the planet Barrayar, he has many terrible responsibilities and constantly confronts the prejudices of a planet set against people with visible disabilities. He also goes through a lot of Drama, on both the interplanetary scale and the interpersonal, as well as sometimes the cringe. The publishing dates on the series extend from the late eighties to the late twenty-tens, so journeying back into the deep archives uncovers its fair share of uncomfortable material. Mirror Dance specifically has some moments of unpleasantness regarding the narration around Miles’ nonbinary coworker, as well as some eye-rolling but comparatively minor moments of orientalism.

On the plus side, Mirror Dance is a truly soap opera or Bollywood-level plot. Miles’ somewhat deranged clone brother, Mark – originally grown by villains to kill Miles and family – comes out of hiding to suborn Miles’ private mercenary group in an ill-fated attempt to rescue other young clones who will soon be harvested for their organs. Miles discovers Mark’s altruistic treachery and rushes off to try and stop him. He catches up to Mark just slightly too late. That’s when it gets complicated.

There’s soooooo many moments of twin hijinks in this. Mark and Miles continually switch identities, including another cover identity of Miles’, Admiral Naismith. One gets abducted and pretends to be the other, then the other gets caught and has to pretend to be the first one. Miles’ friends, romantic interests, and coworkers are tormented by the doubling of their Vorkosigan-related troubles. The Vorkosigans’ enemies are entirely reduced to despair by the end.

Mirror Dance also goes to some very dark places. The tone of the Saga as a whole is interesting. Bujold possesses a solid, straightforward prose style with a wry edge which keeps the reader bumping along comfortably with every plot twist, and she throws in jokes and humorous encounters with near-clockwork regularity. But every so often, she pulls back the curtain to remind us that humans in space are just as capable of depravity as humans here on Earth.

The vessel of much of the darkness in Mirror Dance is Mark. While Miles, despite the challenges of his youth, could count on a loving, powerful, wealthy family to support him through everything, Mark grew up in the hands of violent men with dark intentions and a profound hatred for the people from whose DNA Mark grew. He trained as an assassin, but he was also relentlessly victimized by his creators: bullied, tortured, and eventually sexually assaulted. This damage causes Mark to act in some very unwise and unethical but realistic ways. His trauma around intimacy drives him to nearly reenact his own abuse on someone very vulnerable, which will understandably turn a certain subset of readers against the character and story entirely. But Mark’s journey to redemption gives the story a hard core of genuine feeling which elevates it above a simple space romp, and his tremendous failings make him more poignant and sympathetic in my eyes. As someone who’s made my own mistakes and had my own mental challenges, I felt for Mark, even if some of the mistakes he made were much worse than mine.

I won’t try to claim that Mirror Dance is the best entry point for The Vorkosigan Saga. But it worked for me. More than any of the previous stories I’d read in the series, Mirror Dance captured my interest because of the strong and compelling central relationship between Miles and Mark. This relationship grounded the sillier and soapier moments and leavened the darkest and most serious ones. I would like to read more of Miles’ adventures, if only to make sure Mark is okay.

Categories
Guest Post Video Games

Cities: Skylines Green Cities

A Guest Post by Daisy Lupa

Introduction

Soon I will graduate with what is essentially a Masters degree in climate change and pollution studies. I graduate into a world filled with climate change, pollution, and people desperately wanting to do something about it, who have been dispossessed of the tools to make that kind of change in the world. So it’s no surprise that in my free time, I yearn to be an ultra-effective godlike eco-authoritarian mayor-monarch, and live out those fantasies in the simulated municipalities of Cities: Skylines.

In a recent attempt to buoy my mental health, and further manifest those fantasies in a digital world, I purchased the Cities: Skylines Green Cities expansion pack. A now 8-year old expansion on a 10-year old game, Green Cities sometimes illustrates a naive understanding of environmental problems, restricted by the limits of the game design. However, in other moments, the simulation reflects the dilemmas of real-life oxymoronic sustainable development, and is an illustration of some of the most important concepts our society must embrace if we are to survive the consequences of late stage capitalism.

A Disclaimer

I firmly believe that there is no way for humanity to truly solve the issues of climate change, environmental degradation, and pollution without first tackling the myths of unlimited economic growth that have been fed to us by capitalist thinkers. Today we often measure the success of a government policy or political administration by comparing GDP, with the simplistic assumption that more is better. As long as the number goes up, we are having success. Video games love to mimic this assumption, and I’ll admit, that simplicity is something that makes them so addicting to me. I love simulation games and I love to see my virtual schemes rewarded by an ever-upward ticking ‘points’ or ‘$’ or ‘:)’ bar. Unfortunately, this is not how real life works. As GDP increases, worker exploitation increases, neocolonial powers gain strength, war machines chug onward towards universal death. We will not be able to GDP increase our way out of climate change. I’m not the first or only person to think this. Criticism of the growth fixation of the open market has been around since the 19th century, which has developed into the idea of ‘degrowth’. Degrowth theorists posit that the capitalist goal of ever-increasing profits and GDP is doomed. Instead we should measure policy success by metrics that more accurately reflect human happiness, like heath outcomes or education, and we shouldn’t expect these to increase for ever and ever. This isn’t possible given the finite resources of our single planet.

City: Skylines is fundamentally anti-degrowth. The central game mechanics rely on ever increasing cycles of commercial, industrial, and residential development in the constantly expanding city. Because of its reliance on economics and financing as a game mechanic, Cities: Skylines is incompatible with degrowth as an ideology. Yet I love it anyway, because my fallible human brain loves to see the number go up. So no matter what innovations they introduced in this expansion, I knew going in that Green Cities would never propose an actual solution to the two-headed constrictor of capitalism and pollution which is bound around our planet in a death grip. But I still think there are ideas in the expansion worth exploring, ideas which reflect both the reality of sustainable development, and the way we wish sustainable development functioned. So with this disclaimer out of the way, let’s get into the content of the expansion pack.

What It Gets Wrong

New Construction

Placing buildings is one of the central play activities in Cities: Skylines. In Green Cities, there are plenty of new buildings to place: education and health centers, green energy power plants, efficient water purification systems. However, if I could snap my fingers and become the mayor/dictator for life of my municipality, I wouldn’t spend my first days in office greenlighting the construction of a thousand new yoga parks throughout the land, because fundamentally building new structures is a highly emitting process. Building materials have to be manufactured and transported, heavy machinery must be used to construct new buildings, and new fixtures and furniture have to be made to fill these buildings. All of these come with a cost of carbon or other pollutant emissions. We will not be constructing new yoga parks, we need to be refitting other structures. A green city will not have fundamentally new and different buildings from a non-green city. Rather, it will have many of the same old structures refitted to be more efficient and eco friendly.

The Green Aesthetic

Similarly, energy efficient buildings are not all stark glass windows and xeriscaped landscapes. Of course, sometimes these design elements can be very effective in achieving goals of water use reduction or increasing the use of daylighting, but these are often location and even orientation-specific. They also often require entirely new construction, which as I have explained above, is not sustainable. In Green Cities, when you zone residential areas to be eco-friendly, the normally colorful neighborhoods become very brown and black, the buildings coated in solar panels and glass and surrounded by lifeless xeriscaping (which is not how xeriscaping works), regardless of whether your city is in foggy boreal setting, lush tropics, mild temperate zone, or a stark desert. Similarly, the Green Cities education buildings, which offer energy and water efficient alternatives to the Elementary School, High School, and University, have a futuristic aesthetic with big shiny walls and abstract art protrusions. This is not what a green building revolution will look like. It will look like the same old buildings but with a more rigorous plumbing maintenance schedule. It will look like the same old buildings but there is a weedy garden out back. The green revolution will not be aesthetically pleasing.

Economic Success

So far, I’ve found that using the Green Cities expansion, it’s not too hard to make an economically successful sustainable city. Policies that limit water and electricity means I have to build less structures, which cost less in upkeep. The lack of pollution makes property prices rise and my city is rolling in funds it can use to build more and more eco-friendly homes, businesses, and industries. This aspect is a great fantasy fulfillment for me. Sustainability and economics are often pitted against each other, but, as I’ve tried to explain countless times to classmates, grandparents, and guys at bars, there won’t be anyone left to buy your widgets when the planet is a ball of flame. So I really appreciate that Green Cities has decided to highlight sustainability and economically friendly aspects. After all, ‘economy’ and ‘ecology’ come from the same Greek root, ‘oikos’, meaning home and family. But unfortunately, this is not an accurate depiction of what would happen to a city undergoing a green overhaul. Unless done very, very, carefully, government bailouts, subsidies, and free services at high cost to the municipality will be necessary to achieve necessary changes. But frankly, I went into this knowing Green Cities and Cities: Skylines more generally, was a fantasy, so I’m not too upset by this. Plus, later I’ll get into how the game mechanics perhaps unwittingly, but accurately, reflect the economic turmoil associated with large scale, top-down reform.

“Edisons”

When you zone a commercial area to be eco-friendly using Green Cities tools, one of the new buildings that pops up can be “Edison Dealerships”, where your city residents can buy electric cars that are strikingly familiar to the ones I just saw outside of the White House a few days ago. These will not be included in a green revolution. Whenever I see these dealerships in my game, I bulldoze them.

Shipping Containers

Many of the commercial eco-friendly buildings are modelled to look like shipping containers refitted to be buildings. I won’t go into detail here, but this doesn’t actually make a lot of sense, and I don’t know why so many ideas of a green future (especially in video games – looking at you, The Sims 4: Eco Lifestyle) are all about turning shipping containers into buildings. While yes, a more localized economy is certainly more sustainable, which I’ll discuss more later on, so there will be reduced need for shipping containers, that doesn’t mean we’ll all be living in them. Significant modifications need to be done to shipping containers for basic things like windows and piping for electricity and plumbing. Maybe in an apocalyptic scenario we’ll be living in shipping containers, but if this is a happy deep green future, I’d rather be living in an eco-brick structure, or, once again, the same damn building but with solar panels and rain barrels and highly efficient appliances.

What It Gets Right

Economic Turmoil

In my first game with the Green Cities expansion, I was excited when my city finally leveled up enough for me to zone my commercial and residential areas as eco-friendly. Wanting to get to the new content as soon as possible, I promptly made a new district in the heart of my city and implemented the new policy. Immediately, the successful businesses that lined the streets disappeared, and my tiny citizens flooded out of them, newly unemployed and unable to buy the goods they needed. My unemployment rate skyrocketed, and I lost several thousands in tax revenue that I had been getting from those businesses. Since I happened to rezone at a time when demand for business was low, it took years for that area to repopulate with new, eco-friendly businesses, and the development of my city was set behind as my income dropped. All of this, because I had implemented a new policy without fully understanding the consequences. I LOVED THIS!!! This was a great illustration of what happens in real life when massive reforms are put in place by overpowered leaders. These things have far-reaching consequences that, even when well-intentioned, can have awful, sometimes deadly consequences on the population, with ramifications that echo for years. This was exactly the kind of simulation I want from City: Skylines. It made me totally rethink my zoning strategies, and knocked me down a notch in my own estimates as the eternal leader of Lakewood. If I were a real mayor, I would hope that I would not be re-elected again after a policy blunder like that. Luckily, the people of Lakewood have no voting rights, and I’ve had Chirper silenced since the start of the game.

Efficiency Is Everything

Probably the most accurate aspect of the Green Cities expansion is the focus on water and energy efficiency. These are two of the core utilities in Cities: Skylines and can be big drains on your city’s finances in the early game. With the changes made using the new zones and buildings that come with the expansion, cities can become much more efficient, requiring less infrastructure construction, and less pollution production. This is a great lesson for the game to illustrate. The four R’s apply to much more than just waste removal: we must Refuse, Reduce, Reuse, and Recycle our energy and water too, and in that order. One of the best ways to make any building more eco-friendly is to simply ensure proper maintenance, especially in plumbing systems. This is great to see represented in video games.

Locality

Anyone who has played a few hours of Cities: Skylines knows that traffic is the one of the great enemies of any would-be city planner. The larger your city grows, and the more advanced the industries develop, any ill-advised roundabout or badly-placed bus stop can develop into a huge problem, holding back your city’s growth. There’s lots of ways to address these problems, from building massive superhighways to investing in highly efficient rapid public transit. Just like real life, these logistical and infrastructure problems are multi-faceted. One way of addressing these problems though, is by making your supply chains more localized.

Instead of importing all your raw materials, and exporting the goods the city manufactures, City: Skylines Industries expansion allows cities to produce agricultural, paper, metal, and plastic products all within the bounds of your territory, by extracting resources from the land. Of course, sometimes this can make traffic much worse, but if carefully planned, it can be highly lucrative for your city, and take pressure off the main import/export routes. But like everything, it comes at a cost. Most of the manufacturing associated with the industries, and some of the extraction itself, is highly polluting. This pollution can become a detriment to your citizens’ health, sometimes working its way into the drinking water, or seeping over land from industrial sites into neighborhoods. In today’s climate change mitigation discourse, there are many advocates for more localized production, especially of food products. These are often proponents of the idea of ‘food miles’ or the distance your food must travel before it reaches your plate. Many people seek to reduce food miles as much as possible, and while this is not a highly effective strategy to reduce agricultural carbon emissions by itself, it does create beneficial stimulation to local agricultural firms, which is desperately needed for small farmers trying to compete in today’s Big Ag dominated world. City: Skylines reflect the advantages of increasingly localized economies.

However, it also reflects the dangers of this localization. You must plan your city carefully to protect your citizens’ health. No matter how hard you try, even with the Green Cities expansion, there will always be areas of your map that are polluted, from waste disposal, manufacturing, and wastewater disposal. This is true in real life. Even before the industrial revolution, before the rise of capitalism, before the growth of empires, human settlements have alway had to deal with waste, creating middens and junkyards at the peripheries of society. Often, these locations are weaponized against the most vulnerable, seen in today’s city planning of ‘sacrifice zones’, areas intentionally allowed to be polluted so that the rest of the city, or nation, can thrive. Marginalized people often end up living in and around these areas, although the chicken/egg nature of this relationship is still a topic of hot debate among environmental justice researchers, and likely is highly dependent on specific scenarios.


In Cities: Skylines, it’s tempting to create one large sacrifice zone, so the rest of your city can enjoy pollutant-free living. But this has ramifications, especially on traffic. Dump trucks, or, with Green Cities, biofuel-powered trash collection vehicles, stream out of waste facilities, and must route paths past every single building in the game. Even if waste facilities are sited in the center of the city, it can lead to traffic jams, and issues with service delays in more remote communities. If a city planner is concerned about traffic, which Cities: Skylines players should be, a much more efficient plan is to have many, smaller polluted areas, so these vehicles don’t have to travel as far.

As always, this plan is not without its problems. A city with many small polluted areas may have worse health outcomes as opposed to a city with one large sacrifice zone. Such a city must be carefully planned with good zoning, and a robust medical system to avoid higher rates of pollution-related disease among all populations. Yet the alternative is the injustice of sacrifice zones that we see in today’s reality. And this problem is not confined to cities. Globally, the capitalist system has created sacrifice zones around the world: the Great Pacific Garbage Patch, the sprawling e-waste and clothing dumps that mount in areas of the Global South, the cities and towns smothered under pollution produced in the manufacture of goods that will be sold half a world away. In the Global North, in wealthy, privileged countries like the United States, many people are able to live luxurious lives with pollution and waste of their lifestyles exported ‘away’. However, as environmentalists have preached for more than half a century, there is no away. Unlike in Cities: Skylines, where exports and imports simply pop off the map to go to hypothetical other cities, essentially all of the waste and pollution on this planet stays on this planet, just moved around. Whenever a person throws something away, someone else will end up living next to, or even inside, that trash.

If you build a city in Cities: Skylines, and vow not to invest in polluting industries, confining yourself to the pollution-less basic levels of the agricultural industry (a feature of the Industries expansion that does not reflect real life conditions), your city will still import wood, metal, and plastic product from off the map. This is fine and good for the wish-fulfillment aspect of the game, and is how I played for a long time. I loved making perfect eco-cities with the smallest amount of pollution possible. But it’s not an accurate simulation. If we want to have paper, there will always be a woodlot, somewhere. If we want metal and glass for building and furniture production, we will have to have mines, somewhere. If we want the plastic products that are essential for life-saving medical devices, then we will, as much as it pains me to admit, have to have some kind of petroleum mining and production.

There is a lot we can do to mitigate the harm of these industries, mostly by reducing production to just what is absolutely necessary and enforcing strict systems of licensing and regulation. These policies must be put in place. And when they are, perhaps the global north can stop exporting its pollution, and begin dealing with it. More localized waste, industry, and manufacturing systems, when paired with a robust healthcare system and strict regulation, may help us address the environmental injustices that have become a hallmark of human civilization. Crudely put, instead of sending our shit to sit next to the people we have decided to persecute, we will send our shit…next door. Again, this must be done carefully, in a society where healthcare is a priority, but I believe that in a more local system, our communities can deal with our own waste, without burdening others with it. After all, they all produce their own waste too.

Conclusion

Cities: SkylinesGreen Cities expansion imperfectly captures the dynamic of green transition. Yet, the fundamental lessons the game teaches its players ring true to the messy, multifaceted nature of human development. This 10-year old game, with its 8-year old expansion, shows a better understanding of the dynamics of ecology and economy than most of today’s political leaders.

And that’s not surprising to me. Systems of ecology and economy aren’t easily summarized in a policy memo, or communicated in a rousing speech. They are complex relationships which rely on each other, any change in any aspect having massive ripple effects down the line. It’s really hard for our mind to comprehend this. Luckily, video games like Cities: Skylines can help us bridge this gap. It’s not perfect, but it’s as good as we’ve got right now.

Categories
Book Review General Blog

Stations of the Tide: Intimate Apocalypse

Two questions, to begin with: Do you wish there was more Disco Elysium? And do you wish the original Disco Elysium had contained more tantric sex rituals? If you answered yes to both questions, 1) I never want to meet you, and 2) boy howdy, do I have a book recommendation for you!

That book is Stations of the Tide by Michael Swanwick. Stations won the Nebula for Best Novel some time back in the ‘90s, which is interesting because it is completely nutty and fairly baffling. The protagonist is “The Bureaucrat”, both in that bureaucracy is his job and in that he has no other name revealed in the text. He lands on the planet Miranda days before the vast majority of the planet is to be flooded by a recurrent world-ending deluge. His assignment: hunt the fugitive wizard Gregorian and recover powerful technology Gregorian stole from the floating space government which (apparently?) rules humanity.

Along the way, he has weird and consistently sexual encounters with Gregorian’s friends and family, with various Miranda locals (all of whom are mildly Cajun?), and with a giant monster woman who is the puppet mouthpiece of the AI collective which now rules the Earth (maybe? Or she’s something weirder?). The Bureaucrat spars administratively with his rival bureaucrats, who are all safely ensconced within the Puzzle Palace, their spaceborne headquarters. He becomes obsessed with the species which previously occupied Miranda, a type of fish people called “Haunts”. He gets anally fingered by a hot witch named Undine. Throughout it all he keeps looking for Gregorian.

The reason this book reminds me of Disco Elysium is its cusp-of-the-apocalypse setting and its consequently unusually philosophical take on the science fiction procedural. Throughout Stations, the Bureaucrat is confronted by the local people of Miranda, who, rather than help him with his manhunt, probe his motivation and self-conception until they break him down into something new, someone who sees the limits and flaws of the system he serves. He is forced to confront the destructive vacuity of the culture which formed him. Behind these revelations the hovering threat of the jubilee tides rises. The tides will sweep away centuries of development, restoring Miranda to something like it was before humans arrived. For those of you who would have preferred to see Disco Elysium end with a more emphatic rejection of policing and control, this book may reward you in ways the game did not.

But I must address the elephant in the room: wow, this book has a lot of explicit sex and sexuality in it. I have no objections to the right of authors to include sex and sexuality in their work, including pornography, but the descriptive material surrounding the book did not telegraph this part of the narrative very effectively, so I am telegraphing it to you now. There are several extended, plot-essential sex scenes, and by plot-essential I mean the acts themselves are critical to the development of the Bureaucrat’s character. If that’s something which is hard for you to read, you may need to pass. On the other hand, if you wondered how hard a middle-aged space bureaucrat could get down, wonder no longer.

Aside from the value of a fearless approach to putting the horn one wants to see in one’s own work, I’m not sure what to take away from Stations of the Tide. Swanwick is a very talented descriptive writer (though he shades into the purple every so often), and his worldbuilding for Miranda is fascinating, its true shape revealed slowly and deliberately over the course of the novel. The subtlety of the Bureaucrat’s evolution as a character is impressive, taking the protagonist out of his dogged loyalty to the affectionless government he serves and into…something else, I won’t spoil it. Let’s say, something earthier. The book is a compelling one, and a strange one, and for some of us that alone will make it worth reading. There’s not much else like it, except Disco Elysium, in my estimation.

Oh, and the Bureaucrat’s sidekick is a talking briefcase. It’s no Kim Kitsuragi, because nobody is, but it has a notable supporting turn nonetheless. Its final fate is perhaps the most powerful moment of the book.

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Comics General Blog

Rebuilding My Relationship to Comics #1: Suicide Squad

I used to really love comic books. I used to really love superhero comics in particular. But somewhere in the avalanche of movies and tie-ins and reboots I got buried and I never dug myself out. Perhaps the massive increase in volume did not correspond to an equally massive increase in quality. 

Or perhaps I just reflexively start hating things when other people like them.

Either way, now I only go to the comic book store by a sort of rote impulse – I look at the books on the shelves, I make eye contact with the familiar cowled faces, I buy nothing, and I go home.

I’m trying to avert this nullification by diving back into my comics collection and reconnecting with the material that made me crazy in the first place. And we’re starting at maybe the worst possible place for this journey to make any sense: the John Ostrander/Kim Yale/et al era of the Suicide Squad.

The Squad has gotten a bad rap in the last few years because of the godawful David Ayer movie, and then the, like, very okay James Gunn movie, and then the video game (I can’t remember if it was supposed to be good or bad, and I don’t care). But back in 1988, the Suicide Squad was just becoming itself, and the awkward wild nasty process of its birth is one of the most fascinating serial narratives in comics history.

The Suicide Squad is the brainchild of Amanda Waller – if you’re reading this, you probably know that. The Wall’s been getting a bad rap of late, with depictions of her in other media tending toward the utterly villainous. But Waller is more complicated than this, and in the hands of John Ostrander and Kim Yale she becomes one of the most challenging and interesting characters in the DC Universe. She’s not a good person, definitely not a hero, and she knows it, but she believes wholeheartedly that she is a necessary evil, that all the ways she’s mortgaged her soul were required to safeguard her children and her country. And she might be right: Ostrander and Yale write with surprising sensitivity (BY 1980s STANDARDS, NOT 2020s STANDARDS) about the struggles she faces as a Black woman in the non-stop white boy winter that is the American government. The dislike other characters hold for her is probed and considered, revealing ugly and unflattering and deeply real aspects to characters who might otherwise get away looking squeaky clean. I appreciate that.

There’s so much shading to each member of the Squad, and many of their adversaries too. Bronze Tiger, Deadshot, Nightshade, Count Vertigo, even Captain Boomerang – the stupidness of their gimmicks and bits elevates the poignancy of their mistakes and failings. The characters of the Suicide Squad, being disposable on an ontological level, are allowed to fail big, much bigger than more mainstream heroes. And they’re allowed to change significantly, sometimes for the worse. They are a mess of competing goals, desires, and schemes, and frequently that mess escalates into a total trainwreck. They do not slide into the currently popular (and perfectly fine when it’s used well) trope of Found Family. The members of the Squad hate each other and their masters at the beginning, and they still hate each other at the very end. Their relationships are all diseased by the power they wield over each other. In that way, this book is very honest about how ugly human relationships can get.

The thematics of power scale up in fascinating ways throughout the story, escalating into a type of late Cold War foreign policy kitsch which I find endlessly fascinating. The decision to depict the actual Reagan and actual HW Bush deploying the Squad to battle Commie superheroes will never not amuse me. The Suicide Squad trots the globe like a CIA-trained circus, wrecking up the place and usually making things worse for everyone around them. Much like the real CIA. This relationship between the Squad and the US government is a beautiful/ugly inversion of the relationship constructed every time Superman mentions that he’s fighting for Truth, Justice, and the American Way. Superman uses his god-like strength to maintain the ever-crumbling pedestal of American exceptionalism, papering over American evils with his own incontrovertible goodness. Conversely, anyone who associates with the Suicide Squad is dragged down to their level, made venal and violent by association. And since it’s the US government which invents the Squad, one must wonder who was the really venal and violent one in the first place.

I have to be clear that this book is full of plenty of material which now reads as cringe. Ideas that were progressive or groundbreaking in 1988, 1990, 1992 feel wildly embarrassing in 2025. The decision to color the skin of everyone from South Asia and the Middle East grey is consistently baffling to me. I know you guys had brown ink. All the Black characters have human-colored brown skin. Surely it couldn’t have been that hard to make a slightly lighter brown??? There is a lot of discomfort to be had here.

I still love the book, though, because of the thrill of its best and biggest moments, as well as the fervor of its convictions. Even cynicism was brighter and more alive in prior days.

Very, very, very few pop culture works, especially goofy old comic books, have the strength to confront and condemn their core concepts. The 2004 Battlestar Galactica is one of the few TV shows to risk this, and to my mind the penultimate mutiny storyline is one of the show’s all-time best. Similarly, the final arc of the Ostrander-Yale Suicide Squad is a complete deconstruction of its central premise, a final judgment delivered on the idea of government-enslaved supervillains press-ganged into performing “righteous” violence (and when you put it like that…). I have no qualms about spoilers for a work that concluded before I was born, but if you have that kind of fixation, keep scrolling until you see Batman again.

The last operation is a battle between the original Squad and a new, even worse Suicide Squad developed by another, especially shadowy arm of the US government. In the wake of the conflict, Waller dissolves the Squad and frees its members, admitting that her scheme did more harm than good. Deadshot and Count Vertigo confront each other atop a hill: Vertigo earlier asked for the option to be killed by Deadshot, rather than continue to live with bipolar disorder. Deadshot asks Vertigo one more time whether he wants to live or die. Vertigo hesitates, hesitates, hesitates, and then refuses Deadshot’s offer. They both depart.

This is an obvious literal denial of the book’s title. No more suicide, no more death. Count Vertigo, for all his SIGNIFICANT flaws, gets to live, and wants to. Deadshot, for all his depraved obsession with slaughter, does not kill again, and he makes that choice of his own volition. Both men are better than we have been led to believe.

Stalnoivolk, Soviet superhero, yeets Batman over a fence. Batman looks like he's saying "Oh crap!".
I love seeing Batman eat shit.

Supervillains are supposed to represent an outsize evil and perversity, the exact mirror to the outsize good of superheroes. But in the Ostrander-Yale Suicide Squad, whatever heights of villainy our Squaddies achieve, none of them match the craven brutality of The State – America, Russia, Israel, all of them that appear in the book. 

That idea, more than any other from this book, feels sharper than ever. And yet imagine hearing that from a comic book or a superhero movie today.

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Book Review General Blog

Report on Best American Science Fiction & Fantasy 2024

Every December (or January) I buy the annual Best American Science Fiction & Fantasy (BASFF) collection. Every year I suffer a certain amount of trepidation, knowing that the guest editor will swing the pendulum on the selections in an unpredictable direction which may or may not align with my tastes. Some years it has been a real trainwreck (for me; I’m happy for anyone who enjoyed the years I didn’t [even though they’re wrong]). The risk is the point. I want to read stories I wouldn’t read elsewhere or of my own volition. Otherwise, I would just edit my own anthology every year.

This year the guest editor was Hugh Howey, the author of the Silo series. I’ve not read the Silo books or seen the Silo show, but my sister hates the show. My trepidation level was medium. Thankfully, Howey pulls it off. I enjoyed about 75% of the stories in this year’s anthology, which is a very solid run. I’ll restrict myself to mentioning only my very favorites here.

There are some big names here doing stylish bits. In “How It Unfolds”, James S.A. Corey pull off one of the only constructive SF stories about a guy being extremely divorced that I’ve ever read. Ann Leckie does colonization, evolution, and most importantly slug life in “The Long Game”. With “John Hollowback and The Witch”, Amal El-Mohtar delivers an account of restorative justice via witch which proves, for the perpetrator, even more painful than retributive justice aims to be.

There are a couple compelling stories in throwback styles. I deeply enjoyed the pulpy refreshments of Jonathan Louis Duckworth’s “Bruise-Eyed Dusk”, with its swamp witches and ride-able gators and hovering sadness. This is a fantasy that is willing to play and explore and surprise so we can enjoy its strange world. Christopher Rowe’s “The Four Last Things” is an explicit Cordwainer Smith tribute, and that’s a great taste. Wild and literary and straining at the edges of conception and perception, Rowe’s story sets all the brain bits sizzling, hopefully to productive ends.

If there was something to criticize in this year’s BASFF, when the vast majority of the stories were ones I enjoyed, it is that most of the work included is Not That Deep. The themes, the meanings, the feelings elicited are Right There. You get it at the beginning, you get it in the middle, and in the end you Get It. There’s nothing wrong with that; there are lots of things that shouldn’t be veiled or disguised or thematized until they’re hard to see. But after a while the thundering horns of right-thinking get a little hard to distinguish from the thundering horns of wrong-thinking. It’s all just thundering horns.

When I think about the best that speculative fiction – sci-fi and fantasy – is capable of, I think of a shadow play. When you watch shadow puppets, you’re not looking where the light is shining, you’re looking at what appears behind, the shape made by the play between light and object. It’s hard to write about real life, what literally is. It’s even harder to write about the things that are hidden behind real life: the abstract, uncertain, and ineffable. The mysteries. The addition of the blatantly unreal is the bright light producing the shadow of a mystery, which is what allows us to contemplate it.

There weren’t a lot of stories about the shadows in this year’s BASFF. But there were a few. Thomas Ha’s “Window Boy” draws up a unique and weird dystopia to ponder the mechanisms which close people off to the suffering of others, ending in an appropriately ambiguous place. Kel Coleman’s “Disassembling Light” confronts the selfishness of mentors who fail their students, using a wondrous and disgusting fantasy discipline as its canvas. The final two stories included deliver an exceptionally strong and troubling ending to the collection. In “Falling Bodies”, Rebecca Roanhorse pushes the limits of what we might consider agency for the truly alienated with a protagonist pinned between colonizers and manipulators on all sides. Sam J. Miller, a reliably strong contributor, closes up the shop with “If Someone You Love Has Become a Vurdalak”, a story that takes the vampire addiction metaphor to a truer and infinitely more painful place as it questions what lengths we ought to go to when imprisoned by poisonous love (and for once, when it comes to vampires, it is specifically familial love). 

It’s these last few stories I’m still thinking about after finishing the anthology. They press at uncertain and uncomfortable places, artfully, and ask something in return for the imagining. That’s the high heights to which sci-fi and fantasy can aspire. And the other stories in BASFF 2024 rest comfortably at the medium heights of sincerely entertaining and compelling and interesting, which is a height to which all of us unpublished writers must aspire 😂

If you read this year’s BASFF and have something to say, comment. I dare you. I will respond. Even if you didn’t read this year’s BASFF, comment-I-dare-you-I-will-respond.