What exactly “counts” as an apocalypse? This is what we attempted to define in this week’s podcast. While the answers and viewpoints varied, this I believe is tied to the general aura surrounding the concept itself. A point brought up in the discussion that I would like to expand on further here is the idea of ‘The End’ being endemic of all humanity, from the time we stopped banging rocks together and realized we could stop existing.
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In lieu of the apocalypse, we humans have created an absurd number of golden calves to the idea. A concept so repugnant that our stories find it nearly impossible to follow to its realistic and logical conclusion, the world’s end has been a fascinating study of the human capacity for denial since the invention of narrative. These days, everyone has their own doomsday survival plan. And as cool as it is to pretend you’re going to be one of the people who is strong enough to survive, here’s a simple fact: You’re not. You’re going to die. Don’t believe me? Well come find me after it all goes down and prove it. Read More
In one of my more banal existences, I made sandwiches at a local delicatessen for a modest wage. While not as soul-crushing as other professions I would later occupy, the job offered enough idleness to foster angst-ridden, pseudo-philosophy worthy of Updike’s A&P cashier. One of my tasks was to dispose of unwanted sandwich meats at the end of the night. I would weigh them, tally the loss and toss.
The Order: 1886 was the catalyst for our first podcast, but it certainly wasn’t the first time I’ve heard the argument. Does the length of a game impact its value? Or is it what is packed in – the gameplay, the narrative, the art, the soundtrack — that ultimately defines what that game is worth? Of course, it’s a tough question, and if you read reviews about any mass media, it’s one that you’ll hear repeated over and over again.
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