Compromise and Conceit

Infernal adventuring…

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An Australian statistician and role-player living in Japan, interested in the theory and practice of role-playing…

  • Current viewing: Ichi

    Its okay! She cant see you...
    It's okay! She can't see you…

    Ichi is a remake of the now-famous Japanese story Zatoichi, about a blind swordsman who wanders about slaughtering people. The last  version of this that I saw was by Beat Takeshi (whose Dolls I quite recommend), and it was okay until it went completely weird at the end. I also saw an excellent version with Rutger Hauer (Blind Fury – I don’t know if it’s actually the same story, but all blind swordsmen are the same aren’t they?)

    This one recreates the story with a woman, who is a blind itinerant musician, who is a victim of various hard circumstances, and who is wandering the land seeking the man who taught her to kill. In the process she gets entangled in a small matter of two warring yakuza families, which doesn’t actually concern her, but she seems to have a soft spot for a chap. So she is obliged to do a lot of killing and looking sad and then, as in many such movies, everything goes  pear-shaped.

    The movie is good for the first half but degenerates a little later on when the bad guys get involved. This is because the bad guys seem to be pursuing some kind of weird kabuki style of acting which makes them look rather silly, particularly in their slightly outlandish outfits. Maybe there’s an impression that they’re meant to actually be devils (they’re tattooed with a devil symbol and speak very strangely) but this implication was wasted on me and it just looked like bad acting. The story gets a little fanciful at times but it’s nothing that can’t be handled.

    Also, the single-slash sword-fighting style of the lead woman gets kind of boring after a  while. All she does is step out of the way and cut. It’s graceful and impressive but after the 88th kill you want her to do something interesting. Oh, my poor jaded tastes!

    The love interest, a wandering ronin, also gets a little silly near the end and seems generally useless. Also, is it only me or were his mummy issues just a little too blatant? He blinded his mother by accident and now he wants to redeem himself by saving a blind swordswoman – what’s that about? Sometimes people just really lead with the chin when they right these things, don’t they?

    The lead character is good though, suitably tragic and well acted (I thought) as a little point of calm in an otherwise hectic and chaotic set of circumstances. Some of the things she says too are very very sad. I like sad heroes. Especially if they’re pretty and they can kill you. But her sad, calm and serious figure didn’t quite work against a semi-comedic backdrop of silly ronin and crazy bandits. It was as if the movie couldn’t decide whether to be a comedy or a drama, and didn’t find a way to combine the too.

    In the end I mainly enjoyed this movie for the Japanese things – the language, the boys-being-boys style of the bandits, Ichi’s calm and polite kindness, the scenery, and the feel. If you aren’t sitting out your last 6 months in a dreary criminal town full of people you can’t trust, waiting to rejoin your partner in Japan, it probably won’t have such a powerful appeal…

  • Game diversity, object-oriented programming and consistent mechanics: Are they related?

    This is a topic which has bothered me consistently since I first played Neverwinter Nights, and I was reminded of it today when reading the debate about unified game mechanics at Jeff’s Gameblog. I have been a fan of the development of unified game mechanics for many reasons for quite a while (that is what my own modifications of the d20 system are aimed at), but I was recently reminded by a friend, who is playing OD&D, of the richness and diversity of gaming experience in some of the early games, where every aspect of the system had a slightly (or wildly) different mechanic, and different rules and outcomes. I can still almost smell my Dungeon Master’s Guide and see the dense text describing what were in essence separate game sub-systems for every character and every spell. I wonder sometimes if unified game mechanics – even those with spells – can sometimes spoil this diversity.

    What does this have to do with Neverwinter Nights? Well, I played Neverwinter Nights (NWN) purely and simply because it was by the crew who brought me Baldur’s Gate. Baldur’s Gate was a rich and diverse playing experience, with every scene, room and adventure section unique. Even game backgrounds differed from room to room. But NWN was, by contrast, disappointingly arid. Every room looked the same, every outdoor setting had the same sound and scenery, and although the mechanics were much simplified over BG, there was no sense of challenge or fantastic setting in it. The world was empty. I think this came down to the different design methods for the games. By the time NWN was released there was a rich library of graphics-cards programming methods, which I think were based on modern Object Oriented methods, which made it easy to produce scenery at a high level of interaction (visually in fact) using the editor – this sort of thing is facilitated very well by object oriented programming. These methods also enabled the consistent mechanics of action resolution. But in BG, the scenes and the monsters were built up piece-by-piece, using a more old-fashioned and time-consuming method (I think BG was from a previous generation of games which still used large amounts of specialised programming for each section). The result was art. For all the messiness of action resolution through toolbars and pausing so you could click and point and click again, there was a diversity of play and experience not present in NWN (or NWN2, IMHO).

    Unified mechanics have, I think, something in common with Object Oriented programming. They essentially define a set of classes of objects, methods and properties for interacting with them, and provide the DM a toolkit for resolving actions smoothly and consistently at every stage of gaming. I think DnD 4e shows this, with every character having an “attack” method which is essentially resolved exactly the same way – only the look of it is different. Cutting out the diversity in favour of simplicity of resolution has removed some of the flavour, too. I think you can get this back through personal effort (I think the spells in my Compromise and Conceit world have a lot of flavour even though they use a common mechanic for resolution), and it is true that ultimately a lot of what happens in the gaming realm can be divided into attacks, buffs, effects or non-combat moves which simply beg for a unified resolution method. But I think it is subject to the same flaw as NWN experienced – it’s easier to bash out a very same-same set of rules, with no powerful descriptive properties or diversity, by favouring ease of game construction and task resolution over detail and the pleasure of developing a diverse and interesting system. Certainly I think D&D4e did this, and even 3.5e to some extent.

    So, I think the trick with a unified mechanic is to use the simplicity it presents to enable smooth resolution of the detail of conflict which can be missing or difficult to rule on in systems which rely on sub-systems and exceptions to function. For example, I have some ideas for balancing large and small weapons in combat which would make combat a much richer and more tactical experience, but which I think wouldn’t work well in D&D pre- third edition, a system in which differences in weapons really weren’t used even if they were in the rules. The idea I have in mind uses the unified mechanic naturally to enable users of light weapons to take risks in order to close range on, and gain an advantage over, users of longer weapons. The unified skill-check system I use makes this easy to resolve without needing any special mechanics, just perhaps a sentence or two of advice. In general DMs should be using unified mechanics in order to broaden the range of circumstances in which PCs can act, and to diversify play. But I think in reality most unified mechanics are too clumsy or not well-enough explained (or not really sufficiently unitary) for people to do this easily. So they end up feeling arid, like NWN2.

    Maybe this is food for thought in game design – don’t privilege unity of mechanical resolution over house-ruling fun stuff. Or, don’t assume that the unified mechanic will be sufficient for every DM in every circumstance, and don’t be afraid to tinker with it for the key parts of the system (i.e. combat). Or maybe it just means that those of us who think unified mechanics offer improvements need to explain how we use them and how they can work better. I might work on some examples of this from my system over the next few weeks…

  • Cyberpunk role-playing and nihilism

    I’ve played a few sci-fi and cyberpunk campaigns in my time, and DM’d some too, and I certainly enjoyed them, but I think there are some aspects of sci-fi as a genre – and Cyberpunk particularly – that encourage[1] a kind of criminal nihilistic campaigning which I don’t generally find enjoyable[2], particularly when I’m DMing. Other recent commentators on cyberpunk probably think this is because I am a bleeding-heart liberal, but this is not the reason at all. I don’t like it when I’m DMing because

    • Nihilistic campaigns tend to deviate significantly from the plot, and DMing without preparation is a much more varied practice – with greater rewards sometimes but also a lot of the time it falls flat
    • It’s really hard to set a challenge for the PCs when they can just arm up to face it, they don’t care about dying or the solution would inevitably put them into conflict with the law
    • It’s really hard to interfere with PCs actions coherently, because in any sci-fi future the power of the state is so overwhelming that the one consistent thing criminal PCs can expect is that they will die horribly and probably before they even know what happened; but there’s no reward in doing this, so you have to contort your story to enable them to escape and still be challenged

    Here are 2 examples of the type of nihilism I mean, from my DMing experience:

    1. The PCs were meant to bust a drug deal, and I set up a complex trap for them which would put them into a seriously challenging combat. This was a low law-level world in Traveller, so they simply scraped up all their money and bought a suit of combat armour.  The battle ended when the main fighter just stepped into the middle of the room, in full view of all the gang, and gunned them all down while their bullets bounced off.
    2. The PCs wanted to negotiate with a local crime boss, and his goons were hanging out the front of the disused apartment complex waiting to cause trouble. The characters, unafraid of dying, just marched up and demanded admittance. Of course I should have just denied them, but then the adventure was killed dead; so I tried to engage them in some kind of diplomacy-style intimidation effort. The players ignored it and just started a firefight in the middle of the street.

    This kind of stuff is fun when it happens occasionally[3] but when the players start to do this too much, not only does DMing become a bit boring but one gets the felling that the main pleasure the players are deriving is from bucking the DM’s plans (which they must consistently be, since the main way they wouldn’t buck your plans in most sci-fi worlds is by being eviscerated from orbit). So why do I think this nihilism-drift happens?

    • Guns and money. There is a mechanic in sci-fi gaming – and particularly in cyberpunk, but also quite blatantly in Traveller – in which guns are easy to come by, and so is capital advantage. In fantasy role-playing you have to work long and hard up a chain of increasingly powerful bad guys[4] to get your +3 vorpal sword; in a lot of sci-fi games, you just need a PC in your group who has a rich mummy, and a jaunt to the bad side of town/Mexico/low law-level planet. And when players rock up to their law level 3 planet and you won’t sell them Battle Dress they always seem to get pissy. This is because they, like you, expect consistency in the game, and a consistent feature of much of the sci-fi genre is dirty guns done dirt cheap
    • Crime as necessity: Fantasy role-playing games have a much more odious property than this, because they have genocide as a good outcome. But this isn’t nihilistic because the people you slaughter are chaotic evil, right, which is the definition of anarchic badness. On the other hand, in sci-fi games committing criminal acts is either part of the genre (Cyberpunk) or a necessity in some places. It’s just like the problem of illegal dope – you just want a small high, but to get it you have to associate with shady people. In time the criminality sticks, or the players spend a lot of time pushing the grey line. This is fine – it’s nice that we can play criminals in our fantasy worlds and don’t have to in real life – but I have noticed that it tends to lead to a kind of fatalism about the necessity of crime. Once you’ve committed a few frauds, gang-banged some lowly perps, and hacked someone’s computer, why not mug a passer-by?  And, especially, once you’ve run into trouble with the law, all bets are off. A lot of cop-killing and gratuitous stuff happens as the law enforcement pressure increases. Morally not an issue, I suppose, since it’s only a game, but it’s at this point – the “hung for a sheep not a lamb” part where players realise there’s no going back – that force starts to rise up the list of solutions to common problems, and the main solution to this – killing them as chastisement – falls into my definition of bad DMing. [5]
    • Isolation and neo-piracy: There’s a strong sense of cultural and social isolation in the underbelly of cyberpunk, and a strong sense of physical isolation in Space Opera campaigns, which encourages people to think of their PCs as a law unto themselves. Space Opera often has a strong feeling of semi-legal privateering about it, kind of the 17th Century in space. Again, this is fun to play and offers lots of opportunities for adventure; but it also encourages people to go native/ go AWOL/ go psycho/ go pirate. And this can spoil the fun. Fantasy role-playing tends to remove this sense of isolation by setting the characters as heroes in a religious and cultural context, or giving them an alignment they pay dearly for straying outside of. No such luck with sci-fi.

    I am a big fan of morally grey settings – this blog is named after one – but I think they are easier with constraints on them in order to keep some basic structure in the role-playing. Fantasy role-playing has a lot, built in through levelling and monster power and alignment and scarcity; but, short of constantly chastising the PCs through the use of heavy weaponry (which is no fun) it’s much more difficult to maintain these constraints in a lot of sci-fi settings, and especially in cyberpunk. And unless your idea of fun DMing is “this week will be a bigger battle than last week”, the relentless pursuit of heavier firepower and more money begins to look a bit boring after a while[6]. Which is why I am leery of DMing cyberpunk campaigns.

    —
    fn1: Note the use of the word encourage here, as opposed to other words like require or support or valorise.

    fn2: Although recently I played in a Traveller campaign where I was the one encouraging the nihilistic criminal enterprise. Oh look! A kettle!

    fn3: I still maintain that my nihilistic criminal suggestion from footnote 2 would have been more interesting – and have delivered a lot more virgins – than the campaign written in the book

    fn4: Quite improbably, obviously, but because it’s part of the genre style no-one really cares

    fn5: Serenity is an example of a story in which this happens, but it’s an adventure or a short campaign only, and there are quite a few moments in Serenity where Mal has a brilliant idea that 99% of players would completely fail to think of. Instead, they would decide to arm up and face down the next fleet to come their way, which gets really difficult to DM in a way that’s fun. This makes it hard to have the kind of over-arching mystery-story campaigns – like Serenity – in reality, because the PCs spend too much time finding blunt, brutal “solutions” to the elegant problems you set them. Though if you can carry this off, the feeling at the end of the campaign is truly awesome.

    fn6: Actually, this sounds quite a bit like a lot of peoples’ fantasy RPG campaigns, doesn’t it? Especially, dare I say it, old-school campaigns…

  • Munchhausen by Internet

    I stumbled on this story at a blog I’ve never read before, and – though not surprised – was profoundly horrified at the content of the deception it involved. Truly, the possibilities for nastiness on the internet are endless, and the ingenuity of people in ferreting them out to be admired and pitied simultaneously.

    Also, is it not interesting that Lord of the Rings Online uses terms like “kin”, and is it not interesting how that blog post, written using the language of the game, sound strangely insular and, well, nordic-folkish? It’s as if it reflects something I’ve been commenting on recently…

  • current Viewing: A Bittersweet Life

    Every girls favourite gangster...
    Every girl's favourite gangster…

    My partner has discovered something of a fascination with Korean actors recently, so we have been through a bit of a spree of Korean movies (i.e. 3), two of which were gangster movies by the same director. This movie, A Bittersweet Life, stars the same stunning actor as The Good, The Bad, The Wierd, in a similarly besuited style of ruthless gangster.

    In this movie, Lee Byung-Hun plays Sunwoo, a loyal gangster who is given the task of spying on his boss’s young lover. He catches her flagrante delicto but, showing a sudden and uncharacteristic moment of compassion, lets her and her boyfriend live. His boss discovers this and unleashes the full fury of his gang on the now dishonoured Sunwoo. However, Sunwoo is no wimp, and manages to survive a fiendish round of tortures and humiliations to wreak his revenge on the whole superbly dressed gang. The movie also involves a rival mob, their boss, one of their brothers, and a gang overlord, all of whom descend on the same place in the climactic scene. This is a similar plot device to The Good, the Bad The Wierd; except it’s a little harder to work out who is who in this one.

    The violence and fighting is mostly very smooth and fluid, but brutal rather than comedic – this movie is quite brutal. There is a continual elegance about the gangsters too, which distinguishes them from the brutal gangsters of a lot of Western crime movies. Lee Byung-Hun is particularly stylish and elegant – even the way he counts to three before he kills someone is simultaneously feminine and threatening. The action is fast-pace and the plot believable, if a tad confusing, and some of the bad guys, even though quite stylish, come across as very deranged and unpleasant individuals. The cinematography is at times very beautiful and, in some sense I can’t quite put my finger on, very East Asian. Overall, I strongly recommend this movie, and I think Korean gangster movies in general could be well worth investigating.

  • Current Viewing: Hanjo and Hellscreen

    I’m not a theatre buff but it seems I’ve been seeing a little more than usual! Last week I went to see a pair of plays based on the works of two Japanese authors. The link suggests that these plays were based on the work of Yukio Mishima, famous gay fascist author who committed suicide; but in fact the second play, Hellscreen, was based on the work of Akutagawa Ryunosuke. It would appear there was a small error here…

    … anyway, the two plays are very interesting, with quite beautiful language (they were in English). However, the acting was quite ordinary. I am such a phillistine that I didn’t notice – I just thought “why do people always have to be so wooden in plays?” but in fact, apparently, according to my ever-so-knowledgeable friends, the acting was “amateur”. To me all theatre is amateur. Haven’t these guys seen Home and Away? In the first one the hammy acting was bearable; in the second, not so much. But the stories and language were nice and it only cost me 6 pounds. I recommend it for those interested in seeing some very nice Japanese work brought to life. But I should warn you, gentle reader – the subject matter is murder and sadism. You go warned!

  • Current playing: Exalted

    I started playing in an Exalted game yesterday. Until yesterday I didn’t really know much about Exalted or the World of Darkness games, which are apparently related to it, and I had heard rumours that it is a little too complex to be played sensibly. However, I like the basic idea for the world, which has the characters playing mortals who have been exalted to semi-godlike status. I also like the world itself, which feels like something between Hyboria and Atlan.

    We are playing in the far East, in a city which is built around a huge alabaster bridge over a river and a gigantic waterfall. Our characters consist currently of a mad, shaggy priest/martial artist, a thief called “Dark-eyed Mouser” and me, his barbarian comrade “Ellgan”. The latter two characters are based on Fafrhd and the Grey Mouser, which is fun. We have strange memories from past lives and, being quite new to exaltation, are visiting an ancient ziggurat to see if it can teach us something about our new situation. In game terms we are one Zenith, one Dawn and one Moon caste character (I think).

    My character is essentially a destroyer, with few skills except cutting stuff up, which he seems to do very well. Choosing what he can do is a little bit challenging, because he has about 12 different “charms” with which he can break people, and a complex system of assigning points to them, and an even more complex system for combat resolution. The system is cluttered and clumsy, with too many dice (a big problem with dice pool systems, obviously) and lots of things to remember at every stage. However, it seems to be coherent so once one comes to terms with the way it’s done it should be fairly easy to adapt to new situations. There are grumblings that missile weapons are broken, but we’ll see… we are still learning after all.

    The one session we played produced very vivid images of the setting and the combat. This may be partly the DM’s fault, with well-prepared descriptions and an interesting setting; but I think it may be the careful attention to detail in the background, the names of every aspect of the character traits and skills (so the character sheet is not just a technical document), and the sense of heroism imbued in the game. Plus it encourages stunts, which we saw in Feng Shui encourages descriptiveness and engagement on the part of the players. So far I’ve been having fun with this game despite its complexities and occasional heavihandedness.

  • Compromise and Conceit 13: Abortive revolution

    Diary entry: Father David Cantrus, September 1755

    Written by one of my players (and regular commenter), Paul.

    Dear Diary…

    We returned to Albany after killing the messenger to find that Washington’s followers had taken over part of the town and were being hemmed in by our followers and the English. They controlled access to the downstream river and were going to get reinforcements in about 2 days. Washington had been leading repeated attempts to break through to the docks, where he would have expected the amulets to be. This is in contrast to the were they actually were – being worn by our colonial allies and their families. After a comparatively short planning session we let Russell attempt to convince the English leader to assist with a plan (largely on the basis of we thought that convincing the inbred idiot wouldn’t work anyway). The result was a resounding success (a roll of 00) and talk of field promotions for Russell.

    The plan was duly implemented, English feigning a retreat to allow Washington to pass before cutting behind him to remove his allies. Most of us were lurking in secret around Washington’s presumed target, save Russell drinking in the middle of the street. After several hours of fighting occurring in the distance, we managed to notice that the sky had been turning an Infernal red for several hours, right before Washington, his sidekick Williamson and his little dog were upon us. Battle was joined with huge amounts of firepower being poured onto Washington’s dog by everyone, on the basis that Russell was toast if this didn’t happen. Despite an excellent start in getting rid of Old Yella via ranged attacks and summoned demons, we were blindsided by a hidden Madam Custis, who inflicted the second de-arming on the group by successfully targeting Brian, removing him from the fight. We rallied and expressed our outrage at this offence by first having fellow one-arm Cantrus channel his hatred of that spell into stunning the heartless woman, then having David Black graphically demonstrate how, if cutting people into parts, you can do it thoroughly with a sneak attack that left the b*tch scattered across upper western Albany.

    With some measure of revenge extracted for the inferior quality booze we were served at her party, we rounded back onto Washington and Williamson. Despite some heavy performance enhancing drug usage (giving her 2 attacks a round and immunity to fatigue), Anna LaBruce was unable to rip any villain’s arm from them. In the chaos of the melee around the dog, Russell seized the opportunity to move towards Washington to engage him directly. This stage of the fight ended when we caught a break with Fr Cantrus exposing himself to the remaining blackguards and stunning them (“Reveal the Spirit” has now been renamed to “Hung like a Horse”).

    As we prepared for the celebratory slaughter of helpless foes and the now standard healing of Brian, Washington surprised us by vanishing from sight. Black’s rapid mind reading of the overwhelmed Williamson didn’t point to his location and we started to make alternative plans to track him (after killing Williamson). To the parties great fortune (though not Anna LaBrousse’s), Washington had not gone far and re-emerged from hiding to attempt to gank Anna. Fortune favoured the beautiful over the bold though as he inflicted only minor damage and Anna snatched breathing space by summoning a demon to engage him. Meanwhile the rest of the party made haste to engage the cur and Fr David sent an (immediately dismissed) Angel of Death to attempt to gather Washington up.

    The final round of combat saw us facing Washington on a leaky fishing smack, 5 party members (sans Brian) against Washington and his re-summoned b*tch. Some inconclusive exchanges later, Anna abandoned trying to rip Washington apart and simply sent him to dream with Morpheus. 1 action later David Black re-routed Washington’s course to a form of more permanent sleep and our greatest adversary was naught but assembled body parts under heavy guard (to prevent any attempted resurrection) or hungry mouth (we wanted to get Brian’s health back up).

    Even with the foe laid low we still faced the darkening of the skies, so made away to a Church to endeavour to parley with Washington’s departed soul. The unctuous priest there was unable to assist, reporting that dear George’s soul was held in the depths of Hell and would not be yielded up for the answers we sought to tear from him.

    Hope seemly gone we left the church to find a familiar, dinner jacketed man (he’s a man of wealth and taste) riding a man o’ war up the river, firing indiscriminately onto all in sight, even as a dark mass of foul spirits massed outside town and began to fatally flow through all ranks un-protected by our stolen amulets. In a last roll of the dice we took ship and directed our trajector to target for the stone so wisely given to the evil opposing us and two true shots ended the water bore villainy. Simultaneously, allied Indians returned to Albany, immune to the dark spirits’ touch of death and ripping native justice through the unnatural night’s black magic. Magua and the Prophet saved the remnants of the British and Washington-allied colonials.

    After that, assorted mopping up occurred, including marvelling over Washington’s equipment and stats, David Black donning a dinner jacket and taking a stand at the bow of the man o’ war (so it’s true that evil is eternal) and hearing reports that the death spirits had attacked across the continent, but been repelled by Indian forces, who had established their place as the greatest power in the land. Apparently the “ghost dance” they had departed to engage in some weeks earlier had been preparation for this very battle, showing in deed the truth of The Prophet’s name, and perhaps indicating that he had seen a use for the characters since the very beginning…

  • Notes on British racist politics 1

    This is a complete departure from normal programming on this blog, for which I apologise unreservedly, but it seems coherent with recent posts (which are on topic) and, as an Australian of British descent living in the heart of “multicultural” london, I feel I actually do have something to say on the topic of why, exactly, the British Labour Party is in meltdown and the far right (as represented by UKIP and their odious little brother the BNP) are doing so well.

    And the BNP is doing well:

    • In percentage and absolute terms, the BNP share of the vote has increased, from 800000 votes in 2004 to 1 million in 2009
    • Their vote increased despite lower turnout, which requires some real mental gymnastics to justify away
    • The right in England now controls 45% of the popular vote, with half of that being the loony racist right
    • This has occurred at the expense of labour, not the Tories[1]

    This means that now the BNP has European Parliament representation, European parliament money, airtime on the BBC, and a public face for their leader, who is clearly a bastard but is not an idiot.  The theory that once elected they will shoot themselves in the foot and convince voters they can’t be trusted no longer holds – they have over 50 council seats and their vote held up in areas where they had previously won these seats. It also means that Nick Griffin’s policy of keeping the fascist sentiments very quiet is justified, which means that the old street-fighting-skinhead faction will be less likely to betray the party, something I think too many in mainstream politics were assuming would happen.

    So the period of post-war British history when one could laugh at the far right and gather round to cheerfully watch their self-immolation is past. Sniffing huffily at these “ruddy ignoramuses” is no longer an option. The mainstream parties have to confront the BNP properly, and they need to do it successfully before the general election. This is particularly the responsibility of the British Labour Party, because the BNP vote has increased in Labour heartland areas, which are suffering from industrial decline and recession at a time when labour has been in power and immigration has been increasing. Labour needs to confront the consequences of this head-on, but instead they have been dog-whistling past their own graveyard.

    In short, Britain needs to come to a racial settlement, much as Australia did in the 70s  when it  introduced the government policy of multiculturalism. The Labour party needs to enter into a direct conversation with the electorate about immigration and race, which means that:

    • The British left needs to admit that Britain is racist: There is a lot of racism in Britain, much more than in Australia or Japan[2]. This racism is more prevalent in the working class, and it needs to be understood and confronted. Pretending that it’s not there, or that Britain’s famous “tolerance”[3] is the same as non-racism is just ignorant and naive. The BNP and UKIP understand this sentiment, and they are exploiting it very nicely
    • The left needs to get real about immigration: I see the leaders of all 3 parties claiming that the people who voted BNP aren’t racist, but I don’t see them talking clearly about immigration. If the British people aren’t racist, then it should be easy to explain clearly and directly why immigration is good; if they are racist, then either immigration policy needs to change to match the desires of the British public, or the explanation of its benefits needs to be made even more urgently. And the left needs to recognise that immigration is generally at least perceived to be a problem in this country, and that it is at the centre of peoples’ fears in a recession.
    • The Labour party needs to confront anti-immigration sentiment: and either agree to the bulk of UKIP’s demands, or debate them clearly and show why the current policies  are better. They also need to show leadership[4], and take a clear stand against racism and anti-immigration sentiment.
    • The war on terror has to end: Nick Griffin can only talk about “terror in Salford” and terrorist immigrants because of the war. War is not the best bedfellow of tolerance, particularly when half the population thinks that the other half wants to blow them up. The war on terror is singularly unpopular in the UK, and after 8 years it hasn’t achieved anything. Ending this war and bringing the troops home will take the wind out of a lot of right-wing sails
    • The Labour party needs to get real about education: British education is crap[5]. British people don’t understand their own language very well and they don’t speak other languages well. They have to compete with Europeans for jobs in Britain but they don’t have the language skills to compete for jobs in Europe, which pretty much knocks for six any claim that Europe is good for British workers, except that very small group of Oxbridge graduates who can go anywhere. In my experience, British job applicants aren’t very well qualified in post-graduate, numerate degrees either. If the labour party is serious about Europe they need to find a way to have an education policy for Europe, not for a parochial light-manufacturing England of the 70s.
    • The British need to have a serious conversation about class: which is at the heart of all their problems, and is killing the country[6]. With limited social mobility and a managerial class who don’t care about the working class, the “opportunities” and economic growth that Europe and immigration offer the lowest classes can’t be grasped. So, knowing they can’t fix the class system (and seeing now that Labour won’t try), is it any surprise that instead they kick out against their foreign competitors?

    Labour also, obviously, needs to start looking at the infrastructure and social cohesion of its heartland. Instead they’re paralysed, like a rabbit in the headlights of the oncoming general election juggernaut. It’s guaranteed that the Tories are going to win that election; Labour need to struggle now to ensure that the far right don’t become a permanent fixture of British domestic politics – and the way to do that is not to steal their politics, but to smash it. If UKIP become a serious fixture in parliament, and the Tories have the BNP snapping at their heels and no serious competition from the left, the national culture will take a significant, permanent step to the right, and at the very least the European project will be dead.

    —

    fn1: It’s true that the Tory vote didn’t increase, but it didn’t decrease. The labour vote collapsed.

    fn2: It’s true that in Japan you can still advertise flats and jobs explicitly for the Japanese, but overall I’ve seen much less racism there than here. There are laws to prevent that sort of thing in the UK, and if they weren’t in place you can bet that British landlords and employers would be using the same methods vigorously

    fn3: I don’t think the British are tolerant anyway; they’re just reserved. This is why people tolerate things (like brawling in public, really nasty behaviour by other peoples’ children, and really nasty language by adults) that are really quite intolerable. I think being reserved is nice; but confusing it with Tolerance doesn’t help.

    fn4: We elect our leaders to show leadership. When this issue was live in Australia, the political parties of both stripes confronted it and had a strong debate about it. The result was the policy of multiculturalism, which has been supported by leaders of both mainstream parties ever since. As Paul Keating said, when you change the government you change the country, and if Labour and the Tories don’t change to a more open opposition of anti-European and racist sentiment, the country will change.

    fn5: Disagree? Then why is the Sun the top-selling British newspaper?

    fn6: Literally. Class determines life expectancy in the UK; the difference in life expectancy between social class 5 and social class 1 males is 70% of the difference between white and Aboriginal Australians – this is our national shame, but a similar difference affecting a great many more people is barely remarked upon in Britain.

  • Notes on the militarisation of action scenes

    Terminator: Salvation was a fun movie but, as I observed in my review, the director had changed the nature of the resistance subtly so that they were more militaristic and much, much more heavily armed. This militarisation is a two-fold thing, and in both of its aspects it annoys me. I think there has been a creeping militarisation of action movies over the last 10 or 15 years, and I think it represents primarily a failure of imagination, though there are (of course!) some political reasons, I think.

    Some of it, of course, is just because directors have to find something new to do; but this militaristic stuff is hardly new anymore. Movies like Mad Max, Terminator 1, even Predator didn’t really have a very militaristic feel to them[1]; while more modern movies like Transformers, Terminator: Salvation, the latest Star Trek, had a real military flavour. Sometimes it’s only the bad guys, or its done with a twist like in The Hulk. But I think it’s there. Now, I like shit blowing up and bad-arse jets and tanks as much as the next nerd, but I don’t like it when they come with a big associated package of throbbing pre-teen dick-slapping macho, and I don’t like it when they are put into movies in place of actual tension ‘n thinking ‘n stuff, and I really really hate the speeches that go with it. What really bothers me is the possibility that the militaristic macho crap will spill over from the war scenes and into other genres – particularly fantasy and horror – and spoil their particular characteristics. So, here are my two explanations and why they shit me.

    1. We’re at war. There’s a war on folks, and often when there’s a war on culture tends to turn a bit militaristic. Can’t be helped, it’s just part of the backdrop. In this case, though, we’ve got cgi and big movie budgets and experience, so it’s easy to put militarism where it wasn’t before. Even if the soldiering is low-key, the temptation for macho posturing is there. It’ll pass, it’s annoying to be reminded that we’re in a war of choice that I think is completely wrong and pointless, but hey! It’s better that I’m being reminded of it than being in it (or worse still, being bombed by it)[2].

    2. Militarism is an easy option for crap directors. I think it’s really easy for crap directors to think “this conflict doesn’t have dramatic tension, I’ll throw in some explosions”. Particularly if – because they’re  crap directors – the characters, plot and setting are all crap, so you have nothing invested in the final conflict. The best cover for this is to make the fight bigger. It’s been happening for years, but the availability of cheap cgi has led to a blown’-shit-up death march, where the military scenes just keep getting bigger and more action-y. But they aren’t real action: real action is the intense, believable conflict between a small number of unique and named antagonists, who feverishly try to outwit and/or kill one another. This is why the end of Star Wars doesn’t seem very militaristic at all, because it’s really just a tense chess match between DV and Skywalker. But when Lucas’s directing went to shit we got Return of the Jedi, where he threw 88000 more ships at the final battle, to hide the fact that he’s not a very good director. But in that case they were the backdrop for the real battle, between DV and Skywalker, in whose final confrontation we already had a great deal of emotional energy invested.

    Number 2 bothers me a lot more than number 1, because number 1 doesn’t have to hamper good directing, but number 2 does. The temptation to cut corners is huge. I think it happened in Terminator:Salvation, which would have been a different, more intense personal conflict between a man and a machine if the screen wasn’t being stuffed full of jets, submarines, jeeps, helicopters, rocket launchers and soldiers being given rousing speeches. And the Terminator series is fundamentally not about stuff blowing up (though there is an obligatory scene where the machine rises from an explosion) – it’s about a greek tragedy, where a mortal strives against fate knowing he’ll fail. It’s about a desperate skinny guy from the future against a big, nasty machine. It’s hard to get the feeling of that when you’re too busy watching the jet fighters blow up the massive hovercraft. And it’s particularly hard to get the feeling for that when the guy who directed it probably wasn’t up for the task, and threw in all those heavy battle scenes to keep you from noticing that you didn’t really care that much about why John Connor was doing what he was doing.

    It’s also  frustrating when you get this feeling like the only reason you are meant to have any sympathy with a group of characters is that they are soldiers. This is what happened to me in Transformers. I knew the soldiers were good guys and I should want them to live, but why? Simply because they were soldiers. I knew Mad Max was a good guy who needed to live because Mel Gibson made  me believe it. I don’t like it when movie directors leverage military conflict opportunities to achieve low-cost emotional outcomes. i.e. when they use my residual feelings for the rightness of guys in uniform to make me believe that otherwise cardboard characters deserve my emotional attention. It’s not the soldiers’ fault, I just wish the Director would try to make a good movie[3]. It would be less insulting.

    —

    fn1: Wierd, I know, but Predator was basically just a bunch of guys hanging out in the jungle and getting shat on by a beast; even their interactions were more like a bunch of mates than the army, and they were pretty low-tech compared to your average futuristic rebels.

    fn2: with or without my attempt at being self-effacing, this paragraph makes me sound like a right little snot. Too bad, I didn’t ask for this war and, like most of the rest of the world, I knew it would go pear-shaped and I didn’t want the people (of either side) who are there to be there. So I think it’s fair enough that just once in public I complain about it infecting my entertainment choices.

    fn3: Not that I didn’t like any of these movies, but I could have liked them a lot more.