Like Adam, I'm going to squeeze in some more posts before Our Lord and Master Ta-Nehisi returns to his kingdom.
Has anyone else noticed that if there's an emphasis on
blood-n-guts action, lots of 'splosions or some other supposedly déclassé
element in a movie, some film critic somewhere will be using the phrase "video game"
as a pejorative adjective? It's been a trend that's been on the rise as video-game
imagery and source material starts to permeate other like movies, TV and books.
Some of the suppositions that these critics are operating from are true,
though. Lots of big-budget video games are designed to deliver an arc of brutal
empowerment. Whether it's powers , weapons or martial arts moves, you start off
with a skill set that grows more prodigious over time and the ability to handle
more and bigger enemies comes with an increasing level of spectacle. Whether or
not the spectacle is empty depends on how other aspects of the game are
executed. One game that managed to subvert the "bigger and more bad-ass model"
and mold something deeper was the Playstation 2 game Shadow of the Colossus.
The game's the work of Fumito Ueda, an artist/designer who led the team responsible for another Playstation 2 classic called Ico. Like that game, Colossus takes place in something of a haunted storybook setting. You start off playing as a young man who solemnly carries a dead young lady into a temple. In this temple, a disembodied voice says that the girl may be brought back to life if our hero kills the 16 colossi dispersed throughout the desolate landscape. Beautifully designed and animated, the Colossi could be the lovechildren of Ray Harryhausen and Maurice Sendak. These creatures stand as tall as skyscrapers and some fly or burrow through the ground with frightening power. They're quite scary, and with good reason.
SotC got a lot of accolades for its simple gameplay design when it came out five years ago. Minimalism informs every aspect of the game. You didn't need to memorize complicated combinations of button presses, and instead of mowing your way through hordes of cannon fodder, players wandered through the world on horseback looking for their overgrown prey. It took the trope of the Boss Battle and made it the central focus of the game. But, to me, the reason it stands out as such an amazing work is because it takes you on a psychologically meaningful journey.
Part of Colossus' symbolic power comes from externalizing the coming-of-age process. The nameless hero of the game appears to be only a little older than a teenager yet the impetus for his actions is the loss of a loved one. The extreme measures he goes to--journey to a far-off-land, doing battle with giant creatures--points to an inability to cope.
Likewise, all these monsters could be read to symbolize the parts of our own natures that remain mysterious to us. They shamble along, subsisting in remote pockets of the world until we come upon them and grapple them into submission. The puzzle-like nature of the combat--hanging on while some giant beast tries to shake you off and searching for weak points to attack--makes for a nice allegory for dealing with emotional baggage. You're going to fall and you might have to hide or run to recoup your strength, but, if you want to go on with your life, you're going to have to take that sucker down. Yet, feelings of triumph are elusive in Shadow of the Colossus. What you do feel is loneliness as you stalk through the arid plains; guilt as some of the Colossi howl in pain and shame as they slump to the ground. This is rough work.
Shadow of the Colossus shows how spectacle doesn't need to be an end unto itself. The visual feasts create an allegory that stands apart from the narrative. The game seems to asking big existential questions about how to carry loss and honor love. If a body doesn't figure out how do those things, you might just be breeding some scary monsters of your own in your head. You'll be the only one that's able to put them to rest.
She lived with us for 56 years. She raised me and my siblings without pay. I was 11, a typical American kid, before I realized who she was.
The ashes filled a black plastic box about the size of a toaster. It weighed three and a half pounds. I put it in a canvas tote bag and packed it in my suitcase this past July for the transpacific flight to Manila. From there I would travel by car to a rural village. When I arrived, I would hand over all that was left of the woman who had spent 56 years as a slave in my family’s household.
The condition has long been considered untreatable. Experts can spot it in a child as young as 3 or 4. But a new clinical approach offers hope.
This is a good day, Samantha tells me: 10 on a scale of 10. We’re sitting in a conference room at the San Marcos Treatment Center, just south of Austin, Texas, a space that has witnessed countless difficult conversations between troubled children, their worried parents, and clinical therapists. But today promises unalloyed joy. Samantha’s mother is visiting from Idaho, as she does every six weeks, which means lunch off campus and an excursion to Target. The girl needs supplies: new jeans, yoga pants, nail polish.
Listen to the audio version of this article:Download the Audm app for your iPhone to listen to more titles.
At 11, Samantha is just over 5 feet tall and has wavy black hair and a steady gaze. She flashes a smile when I ask about her favorite subject (history), and grimaces when I ask about her least favorite (math). She seems poised and cheerful, a normal preteen. But when we steer into uncomfortable territory—the events that led her to this juvenile-treatment facility nearly 2,000 miles from her family—Samantha hesitates and looks down at her hands. “I wanted the whole world to myself,” she says. “So I made a whole entire book about how to hurt people.”
The office was, until a few decades ago, the last stronghold of fashion formality. Silicon Valley changed that.
Americans began the 20th century in bustles and bowler hats and ended it in velour sweatsuits and flannel shirts—the most radical shift in dress standards in human history. At the center of this sartorial revolution was business casual, a genre of dress that broke the last bastion of formality—office attire—to redefine the American wardrobe.
Born in Silicon Valley in the early 1980s, business casual consists of khaki pants, sensible shoes, and button-down collared shirts. By the time it was mainstream, in the 1990s, it flummoxed HR managers and employees alike. “Welcome to the confusing world of business casual,” declared a fashion writer for the Chicago Tribune in 1995. With time and some coaching, people caught on. Today, though, the term “business casual” is nearly obsolete for describing the clothing of a workforce that includes many who work from home in yoga pants, put on a clean T-shirt for a Skype meeting, and don’t always go into the office.
Isabel Caliva and her husband, Frank, had already “kicked the can down the road.” The can, in their case, was the kid conversation; the road was Caliva’s fertile years. Frank had always said he wanted lots of kids. Caliva, who was in her early 30s, thought maybe one or two would be nice, but she was mostly undecided. They had a nice life, with plenty of free time that allowed for trips to Portugal, Paris, and Hawaii.
“I wasn’t feeling the pull the same way my friends were describing,” she told me recently. “I thought, maybe this isn’t gonna be the thing for me. Maybe it’s just going to be the two of us.”
At times, she wondered if her lack of baby fever should be cause for concern. She took her worries to the Internet, where she came across a post on the Rumpus’ “Dear Sugar” advice column titled, “The Ghost Ship that Didn’t Carry Us.” The letter was from a 41-year-old man who was also on the fence about kids: “Things like quiet, free time, spontaneous travel, pockets of non-obligation,” he wrote. “I really value them.”
U.K. police said at least 19 people are dead and 50 injured following the incident at Manchester Arena.
Here’s what we know:
—Greater Manchester Police said 19 people are dead and 50 injured following reports of an explosion at the Manchester Arena.
—The venue was the scene of an Ariana Grande concert. British Transport Police said there were “reports of an explosion within the foyer area of the stadium” at 10.30 p.m. local time, but Manchester Arena said the incident occurred “outside the venue in a public place.”
—There’s no word yet on what caused the incident, but authorities said they were treating the incident as a terrorist attack “until police know otherwise.”
—This is a developing story and we’ll be following it here. All updates are in Eastern Standard Time (GMT -4).
The president reportedly attempted to enlist the head of the NSA and director of national intelligence to defend against the Russia inquiry.
President Donald Trump reportedly tried, unsuccessfully, to enlist Admiral Michael Rogers, the director of the National Security Agency, and Daniel Coats, the director of national intelligence, to publicly refute the possibility of collusion after former FBI Director James Comey announced in March that the bureau is investigating potential links between Trump campaign associates and the Russian government, according to The Washington Post on Monday.
Citing unnamed government officials, the Post’s Adam Entous and Ellen Nakashima report that Trump asked Coats and Rogers “to publicly deny the existence of any evidence of collusion during the 2016 election.” But, according to the report, the intelligence officials turned down the ask, “which they both deemed to be inappropriate.” The White House told the Post that it would not confirm or deny the allegations.
“Having a slave gave me grave doubts about what kind of people we were, what kind of place we came from,” Alex Tizon wrote in his Atlantic essay “My Family’s Slave.”
A thousand objections can be leveled against that piece, and in the few days since it was published, those objections have materialized from all quarters. It’s a powerful story, and its flaws and omissions have their own eloquence. For me, the most important failure is that Tizon seems to attribute Lola’s abuse entirely to another culture—specifically, to a system of servitude in the Philippines—as though he believes, This doesn’t happen in America. But that system is not only in America, it’s everywhere. It ensnares not only immigrants, but everyone.
An anthropologist discusses some common misconceptions about female genital cutting, including the idea that men force women to undergo the procedure.
I recently had a conversation that challenged what I thought I knew about the controversial ritual known as “female genital cutting,” or, more commonly, "female genital mutilation."
FGC, as it is abbreviated, involves an elder or other community member slicing off all or part of a woman’s clitoris and labia as part of a ceremony that is often conducted around the time that the woman reaches puberty. Many international groups are concerned about FGC, which is practiced extensively in parts of Africa and the Middle East and is linked to infections, infertility, and childbirth complications.
Organizations such as the United Nations have campaigned against the practice, calling for its abolition as a matter of global health and human rights. But despite a decades-old movement against it, FGC rates in some countries haven't budged. While younger women are increasingly going uncut in countries such as Nigeria and the Central African Republic, according to a survey by the Population Reference Bureau, in Egypt more than 80 percent of teenagers still undergo the procedure.
The story of a decades-long lead-poisoning lawsuit in New Orleans illustrates how the toxin destroys black families and communities alike.
Casey Billieson was fighting against the world.
Hers was a charge carried by many mothers: moving mountains to make the best future for her two sons. But the mountains she faced were taller than most. To start, she had to raise her boys in the Lafitte housing projects in Treme, near the epicenter of a crime wave in New Orleans. In the spring of 1994, like mothers in violent cities the world over, Billieson anticipated the bloom in murders the thaw would bring. Fueled by the drug trade and a rising scourge of police corruption and brutality, violence rose to unseen levels that year, and the city’s murder rate surged to the highest in the country.
Listen to the audio version of this article:Download the Audm app for your iPhone to listen to more titles.