White Knight


In 1539 the Knight Templars of Malta, paid tribute to Charles V of Spain, by sending him a Golden Falcon encrusted from beak to claw with rarest jewels – but pirates seized the galley carrying this priceless token and the fate of the Maltese Falcon remains a mystery to this day –

With
Humphrey BOGART as Dashiell HAMMETT
and/or
Sir Lanzilot on the Bridge of Swords

“He did what he thought was right.”

Also Starring
Mary ASTOR
Peter LORRE
Sydney GREENSTREET
Gladys GEORGE
Elisha COOK, Jr.
&
Space MONKEY as The Demiurge

Screenplay by
Wolfram von ESCHENBACH

From a Story by
Chrétien de TROYES

“World of Shit” is from the album Souljacker by Eels (2001).

Creative Agenda

Social media has turned into a game of dodge the 200 Word RPG Challenge entry, so I haven’t been online quite as much. Judging begins on April 26th (Wednesday), so I’ll probably release Issue 2 of Machineries of Joy on Monday or Tuesday. It’s on roleplaying games from the Nørwegian Surreal and includes work from the following array of wonderful people:

Colin Beaver
Elizabeth Lovegrove
Jeanette McCulloch
John Rose
Matthijs Holter
Ole Peder Giæver
Ralph Lovegrove
Steve Dempsey
Tore Nielsen

City of Eyes
“City of Eyes” by John Rose

Character Sheet Version 6 Image

The OA


Already, during the first episode of The OA, one of the integral tethering points of Fantastika to a logic of sense – that events inside the fictive space should be read as literally happening – is disrupted. Transgression and Equipoise are put to fantastika’s traditional purpose of subjecting the fixity of the world to “fruitful instability” but there is little ontological framework by which to direct The OA’s system of Metaphysics: everything is diegesis and doubt. The fact the viewer does not know The OA’s true origin story means that we cannot properly invest in The OA‘s narrative arc; unless perhaps it is to question the very basis of consensual narrative. A film like Guillermo Del Toro‘s El laberinto del fauno [“Pan’s Labyrinth”] (2006) by contrast begins and ends its tale of a fallen princess oppressed by all-too-real forces in a Secondary World [see The Encyclopedia of Fantasy under links below], making itself all the more concrete by turning its narrative full-circle. The OA‘s refusal to let its audience know where it stands complicates any attempt at interpretation, a decision accentuated by placing credit sequences at unusual junctures in episodes of unequal lengths, disjunctive pacing and switching between points-of-view and, most tellingly, by alternately supporting The OA’s version of events and throwing them into doubt. We are not showing you the literal truth, the makers of The OA are saying, because a human being literally does not know where she comes from or why she is here.

A science fiction story – even one written by a fabulist – would not play the game in quite the same way. Russell Hoban‘s Fremder (1996) uses a fictionalized version of quantum Physics to assert a subjective understanding of reality:

Centricity of event as perceived by a participant in the event is reciprocal with the observed universe: the universe configures the event and the event configures the universe. Each life is a sequence of event-universes, each sequence having equal reality subjectively and no reality objectively. Objective reality is not possible within the sequence, therefore subjective reality, regardless of consensus, is the only reality.

The OA

the-oa-trailer-1

the-oa-netflix-brit-marling

 

End of Year

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The rules of money are precise and invariable. Money attracts money, money seeks to accumulate in the same places, money is naturally attracted to scoundrels and those who are entirely bereft of any talent. When, by an exception which proves the rule, money finds its way into the hands of a man who, though wealthy, is neither a miser nor has any murderous proclivities, it stands idle, incapable of creating a force for good, incapable of even making its way into charitable hands who would know how to employ it. One might almost say that it takes revenge for its misdirection, that it undergoes a voluntary paralysis whenever it enters into the possession of someone who is neither a born swindler nor a complete and utter dotard.

When, by some extraordinary chance, it strays into the home of a poor man, money behaves even more inexplicably. It defiles immediately what was clean, transforms even the chastest pauper into a monster of unbridled lust and, acting simultaneously on the body and the soul, instils in its possessor a base egoism, not to mention an overweening pride, which insists that he spends every penny on himself alone; it makes even the humblest arrogant, and turns the generous person into a skinflint. In one second, it changes every habit, upsets every idea, transforms the most deep-seated passions.

Money is the greatest nutrient imaginable for sins of the worst kind, which in a sense it aids and abets. If one of the custodians of wealth so forgets himself as to bestow a boon or make a donation, it immediately gives rise to hatred in the breast of the recipient; by replacing avarice with ingratitude, the equilibrium is established again: a new sin is commissioned by every good deed which is committed.

But the real height of monstrosity is attained when money, hiding the splendour of its name under the dark veil of the word, calls itself capital. At that moment its action is no longer limited to individual incitations to theft and murder, but extends across the entire human race. With a single word capital grants monopolies, erects banks, corners markets, changes people’s lives, is capable of causing millions to starve to death.

And all the while that it does this, money is feeding on itself, growing fat and breeding in a bank vault; and the Two Worlds worship it on bended knee, melting with desire before it, as before a God… Either money, the master of the soul, is diabolical or else it is beyond explanation.


– J K Huysmans, Là-Bas (1891)

200

David Schirduan’s 200 Word RPG Challenge is available to download online. Any donations go to Doctors Without Borders.

My games Deconstruction and Vampire Dark made the finals in both categories. I’ve read at least two dozen games better than either and I’m sure there are dozens more. Please don’t tell the judges.

The thing I most enjoyed was engaging with people via the G+ community. The hyper-factionalised world of RPGs can be a strange and lonely place for a newcomer but the occasional outbursts of beauty make it worthwhile.