RND/ To consider that the general term “I’ve got Boglins in my hat.”
As first stated by Youtube videogame industry commentator Jim Sterling:
Read such as a statement as indicating one can’t help but unapologetically state the truth of the matter; that to ‘have Boglins in one’s hat’ is to speak honestly. As a verb, ‘Hat Boglin’ indicates the undeniable existential urge to plainly express what everyone knows and feels – to wear what is true on one’s head, so to speak. Boglins, commonly viewed as grotesque, are – much like the truth – also shunned by those easily pacified by pretty illusions. To display Boglins on one’s hat is to metaphorically counter falsehoods with a raw, direct ugliness that is beautiful, precisely because it’s based on truth and not lies. Capitalism is indeed bad. Fuck ‘Toxic’ Bobby Kotick. And thank g0d for Jim Sterling.
RND/ To consider a conceptual painting-fiction of The Birthday Party, which by all accounts was a success. There was even lemon cake. And yet his fucking soul was still deeep in social lockdown.
3148 x 2874 .jpg, from a photo by Robert What.
Ideal / Idealized Cost for such Conceptual Work: £200k – contact Rob for details
[..] she often wears plastic inflatable fairy wings on her birthday. This ensemble arrives complete with a blow up magic wand. Yet while he smiled endearingly upon witnessing this manifesting aesthetic, he said nothing, feeling a strong sense of ideology about The Scene. He suddenly wondered about the bizarre violence underlying the most innocent of our choices. It wasn’t the mere choice to wear plastic fairy wings, as the strange iron fact of their enactment within the Social Space – as if, in order for The Birthday Party to take place at all, there’s no way they could not have been worn.
All of a sudden, these wings were not the wings of breaking some protective wall and letting oneself go, expressing one’s spontaneity of feeling but rather theatrical, staged, egotistical – wings with which to regain correct social distance from those beings without with the ability to fly. Of course, nobody at the party remotely thought like this. It was by all accounts just another pleasant day in permanent social lockdown.
For a moment at least the wings appeared as a retroactive signifier of near future meaning, projected into some absurd Eternal Birthday present. The notion of all language as alien and communication as impossible began to fill his idiot mind. Despite the pleasant and convivial company, he sat there on his own with a warm beer in hand, idly wondering to what extent our very existences, the ground beneath our feet depends upon entire unacknowledged sets of dangerous and untested assumptions.
Just what is the particular plastic Reality Model we base our whole lives on, simply so we can breathe from moment to moment? On whose weary shoulders do we sit, fairy kings and princesses, merely so we can continue silently enforcing the notion that whatever we do is always perfectly Normalized – somehow universally acceptable, morally without shame or reflection – shiny chrome smiles in the dark inverted virtual light constantly projected from our own pure ontological backsides? A silent and casually cruel, wanton naivety often seems to inform every move we make as we flutter through this empty world – babes with knives and wands in the shallow digital woods.
Speaking of naive. He’d spend hours the previous day expertly curating a party playlist, adjusting the volume and bass on dozens of tracks. He imagined everyone would get busy dancing and would at some point compliment him on his amazing musical taste. But it everybody just sat there checking their evil hyper-corporate smart phone slabs. He suddenly felt like a total try-hard, a useless fifth wheel, jealous of their advanced Social Network which he couldn’t afford. He was planning to dance with Birthday Girl at some point, show off his own Cool Moves but in the end merely felt desperate and hungover. Sunburnt and alienated.
When he finally slunk off back indoors to nurse his empty skull, few noticed or mentioned the fact of his unremarkable disappearance. Good riddance, professional misery boy. Luckily a passing UFO saw his existential plight and temporarily rescued him from his pathetic suburban desires. How it’s quietly maddening, not to able to reach out and touch another lonely soul. Except he’s the only one that’s lonely. In fact he plans to stay that way.
La Femme D’Argent – Air
Birthday – The Sugarcubes
Feels Like Summer – Childish Gambino
Had To Hear – Real Estate
Stiff Upper Lip – ACDC
Guess Who’s Coming To Dinner – Black Uhuru
Ziggy Stardust – Bauhaus
Snoop Dogg ft. Pharrell – Beautiful
Blue Suede Shoes – Carl Perkins
Jammin – Bob Marley
Teaser – Brad Wilson
Wot – Captain Sensible – Wot
Express Yourself – Charles Wright
From Nowhere – Dan Croll
Let It Whip – Dazz Band
Need U (100%) – Duke Dumont
Girls on Film – Duran Duran
A Little Respect / Oh L’Amour – Erasure
Good Thing – Fine Young Cannibals
Inner City – Good Life
Good Thing Going – Sugar Minott
Altered Images – Happy Birthday
Nakamarra – Hiatus Kaiyote
Like To Get To Know You Well – Howard Jones
I Need A Roof – The Mighty Diamonds
Need You Tonight – INXS
Baby I Love You So – Jacob Miller
Papa’s Got A Brand New Bag – James Brown
Cavalier (Samuraii Remix) – James Vincent McMorrow
The Harder They Come – Jimmy Cliff
August 10 – Khruangbin
Fresh / Get Down On it – Kool & The Gang
Into The Groove – Madonna
Midnight Special – Creedence Clearwater Revival
Night’s Introlude – Nightmares On Wax
Nuthin’ But A ‘G’ Thang – Dr. Dre
Paid In Full – Eric B. & Rakim
Forget Me Nots – Patrice Rushen
Above The Clouds – Paul Weller
West End Girls – Pet Shop Boys
What’s The Frequency, Kenneth? – REM
La Bamba – Ritchie Valens
Miss You (Long Outtake) – Rolling Stones
Mandinga – Rubén González
Evil Ways – Santana
Soul Limbo – Booker T. & The MG’s
Rockin’ Me – Steve Miller Band
Tequila – The Champs
She Sells Sanctuary – The Cult
Let’s Go To Bed – The Cure
Bohemian Like You – The Dandy Warhols
Louie Louie – The Kingsmen
J’aurais Toujours Faim de Toi / The Bed’s Too Big Without You – The Police
Talking In Your Sleep / What I Like About You – The Romantics
The Way You Do The Things You Do – UB40
The Hardest Button to Button – The White Stripes
Under the Boardwalk – The Drifters
Money’s Too Tight (To Mention) – Valentine Brothers
RND/ To consider the wider meaning of the end summary by Eurogamer, in their memorable AAA videogames industry embargo review of Death Stranding (Hideo Kojima):
3994 x 2314 .jpg
Both the Likes and Sam’s job – a kind of heroic, public-service version of a gig-economy courier – have a deliberately mundane and contemporary resonance in this otherwise otherworldly setting. I think it’s deliberate, anyway, and Kojima does have something to say about how we are engineering ourselves into a state of busy isolation (though some might question his thesis that the best way to bring people together is by expanding network coverage). The commentary is earnest, if a little on the nose. Sadly, it gets lost in a froth of stoned-undergrad-grade existential waffle towards the end of the game, as Kojima strains unsuccessfully to make something meaningful of his nonsensical story and garbled lore.
As the credits roll on Death Stranding, heavy with unearned pathos, the impression you’re left with is of a self-congratulatory monument to the ego of a creator who is high on his own supply. Has Kojima always been this full of it? Maybe. But then you return to the game proper, select a humble delivery order, lace up your boots and plan another reckoning with those unforgettable, haunted moors. And you realise that this game has got under your skin in a way few do.
Death Stranding: a *cough* ‘unique vision’ delivered by state-of-the-art technology. A absurdist, satirical remix of an article by John ‘Frame Rates’ Linneman, Staff Writer Digital Foundry:
When Death Stranding was first unveiled in 2016, its ‘unusual design’ left us in the #K0J1MADEATHKULT all with questions that would persist and multiply with the arrival of each new trailer like a collective nut rash. As Kojima Productions’ first independent release, it’s clear from its marketing hype-cycle that the team was focused on ‘upending traditional AAA expectations’. What this means is simply more of that old ‘disruptive’ shit that Capitalism loves so much. With most games, you know what you’re in for before you even pick up the controller and start to sigh. By contrast, Death Stranding is an enigma – but some of the feigned mystery lifts today, and it’s a stunning achievement – only from a technological perspective.
In many respects, showing is far more effective than telling, so I would suggest watching the videos embedded on the internets for some idea of how Death Stranding delivers *cough* a truly unique experience. (Sorry, I have a bad cough.) Going into this one, I thought I was done with open world games – the genre has devolved and homogenised into the kind of experience gamers love to hate. However, we’re being sold the idea that “Death Stranding is different and stands apart, bringing back the magic of discovery in a way gamers haven’t experienced in years.” Ok, whatever you say. Sure, it’s one of the most visually striking games of the generation – another new, bland benchmark for the medium – and this dark, isolated world adopts a style that leaves an itchy mark on your stinking #K0J1MADEATHKULT genitals long after you’ve finished with playing.
There’s a singular vision here, all right – based on nothing whatsoever but a strong technological foundation. When Kojima Productions started work on the title, the team had the opportunity to select from Sony’s stable of tools and technology, eventually settling upon Guerrilla Games’ Decima Engine – the same technology that delivered the brilliantly bland Horizon Zero Dawn. As an open world game with a focus on the cinematic, Decima is a perfect fit for Death Stranding. Many of the key technical and visual features supported by Decima are utilised to er, effect, while the few shortcomings found in Horizon such as water rendering, are improved.
Like Horizon, Death Stranding delivers excellent image quality using Guerrilla’s bespoke interpretation of checkerboard rendering. Pixel counts suggest the same 2160p resolution as Horizon Zero Dawn, with the checkerboarding remaining ‘one of the best in the business’. This directly mirrors Death Stranding’s overall marketing hype, with its clean edges and minimal artefacting. Combined with excellent texture filtering and temporal stability, the marketing team produce a very filmic image that looks almost pre-rendered. Rest assured though, nearly everything about the game’s hype is generated in real-time by the #K0J1MADEATHKULT, augmented greatly by a top tier HDR implementation. What impresses most with Death Stranding hype is the blend between small details and a vast sense of scale. It doesn’t feel as if the minutiae has been sacrificed in pursuit of its wider fanbase environment – and while Kojima’s worlds are too often little more than deserted husks, there’s certainly plenty of life to find in the characters which make up its rabid fanbase – and how they are told to realize the game’s standout technological triumphs make up most of the very meaning of Death Stranding itself.
Since its inception, Kojima Productions has focused heavily on a cast of minor b-movie stars, including Norman ‘Fetus’ Reedus, ‘Mad’ Mads Mikkelsen, Léa ‘Warm Blue Exploitation’ Seydoux and the violently talentless Nicolas ‘You Must Be Winding Me Up’ Refn, so it’s no surprise that the importance of rendering these characters as ‘important’ is a huge focus for the hot #K0J1MADEATHKULT. The first thing that stands out is the quality of the eyes – this is where their virtual models often fall flat, but the eye material and way in which light penetrates the outer layer feels remarkably realistic to nerds who imagine It All Must Mean Something. The area around the eye of the cult itself is just as impressive, with superbly detailed eye lashes and skin. We’ve seen a lot of progress in this area from many gamers this generation, who often come across as human, but this is one of those rare moments where you almost feel as if you’re looking at other real human faces when the presentation camera pans back to the crowd.
Skin shading is similarly impressive – with realistic sub-surface scattering present as light plays off the surface of the marketing simulation. Multiple texture layers are used to simulate skin folds as characters animate, while small hairs can be observed across the surface, glistening in the light of global[ marketing reach and AAA games industry penetration. Even aspects such as allergic reactions and goose bumps whenever new Death Stranding trailers appear, are represented beautifully and realistically. Again, many gamers do a great job with their own skin rendering, but I feel the #K0J1MADEATHKULT behind Death Stranding is a step above, while its ability to realistically render a variety of psychotic fan types without artefacts is also highly impressive. Yes, in-game models of players pissing into rivers aren’t quite on the same level, but they still hold up – retaining a great degree of incidental detail.
Equipment and cloth rendering in members of the #K0J1MADEATHKULT are also first class, with a consistent level of detail right down to every buckle, strap and piece of fabric you see at fan conventions. So much work has been poured into every inch of every model and it’s almost unbelievable to see this much detail in a fanbase – even in an era where most gamers already feature highly detailed characters. Put simply, ‘the bar has been raised’. Death Stranding Marketing Incorporated also features a layering system for dirt, grime and rust: fanboys becomes increasingly dirty during gameplay and the real-time nature of their cutscenes ensures that this muck remains visible until they hop in the shower for the inevitable Norman Reedus shower jerk sequence. Yes, there’s a often lot of walking to the shops and back in order to buy multiple copies of Death Stranding to sell on ebay, but even this has been approached in a unique fashion with a complex animation system designed to simulate weight and movement across a rocky urban surface. As cult members run from Nintendo fanboy throwing rocks, they precisely plant their bare feet according to the terrain type and incline. When hiking up or down a steep hill, watch with pride as they shift their considerable weight into slopes realistically.
And this bring us to the execution of traversal of Kojima criticism in general, which I feel is handled in an interesting way. In most democratic open world critiques, you spend a lot of time moving from point A to point B, but doing so requires little effort from the player – it’s usually a matter of just holding your ideas about Kojima forward towards a waypoint. In Death Stranding however, negotiating the terrain of critique itself is a key challenge and carrying extra existential cargo increases that challenge still further. There’s actual momentum to the movement toward being brave enough to present non pro-Kojima based ideas which the #K0J1MADEATHKULT may find remotely palatable – yet when you’re weighed down, you can’t just stop on a dime, especially on a steep hill formed of raw pulsating hype. It’s all about the management of speed, balance and positioning: this makes the act of hiking through the world of fanboys and their psychotic internal Kojima-based fantasies more complex and engaging and the quality of the animation really helps sell this.
Death Stranding Marketing focuses on creating a huge sense of scale and its mountains tie directly into the movement and physics systems. Of course, motion blur helps improve overall fluidity as fans run down hills like bare assed monkeys with copies of Metal Gear Solid stuck up their shitty backsides.
The same philosophy of applying equal focus to both macro and micro detail to the fanbase also extends to their environments. The AAA videogames industry hype landscape of Death Stranding may take place across the ruined landscape of America, but it’s clear that its world design was inspired by monolithic mountain ranges of Iceland. This unique scenery is breathtaking from minute one, with an apparently immense sense of scale. The Decima Engine supports GPU-based procedural hype placement – something we saw in action in Horizon Zero Dawn. Kojima Productions has crafted a wide range of hype formations and other assets and this system is likely used to create a ‘natural procedural marketing landscape’. Every piece of that landscape is intricately detailed – from the snarling fan formations that fill the landscape on social media, to the stony fields of raw love and uncritical admiration pooling at the base of the mountains.
All are a sight to behold but it’s the smaller stories of personal obsession found alongside rivers and in dry lake beds that impress the most. I’m not sure how these are generated – perhaps a mix of bizarre cognitive maps and emotional geometry – but it’s clear that the level of detail is off the charts. More impressively, object pop-in is kept to a minimum – and the transition between between near and far-field detail is handled smoothly.
The private interior world of the #K0J1MADEATHKULT also features detailed grass and plants at certain points, and most of this foliage reacts to player collision – so you’ll notice plants and blades of grass moving as you make your way through your daily cycle of worship. The terrain is offset by the sky above which plays a key role in defining the overall atmosphere: the cloud system available in Decima is the ray marched volumetric solution crafted for Horizon Zero Dawn that Kojima Productions takes full advantage of. It’s designed to be fast but flexible – variable cloud types and thickness are present while light penetration is simulated as the clouds absorb and scatter this light that shines from the ass of Kojima Himself.
Eventually, the cloudy skies give way to rain or – as gamers refers to it – Time Fall – rain that accelerates time. The rain simulation produces thick droplets that react to light and soak everything caught within its grasp, while a wet shader is applied to surfaces and materials as the rain continues, with droplets forming on Sam’s gear. There exists a lighter, less damaging rain as well – the rain of tears of joy – the difference lies in the thickness and colour of the droplets. The depiction of accelerated time is fascinating, with fan tears rapidly ageing everything they touch. This is where the rust mechanic comes into play. In combination with some interesting surface effects such as wrinkling skin, but it also impacts plant life: when caught in a storm of fanboy admiration and-or rage, strange plants rapidly grow before you only to wilt seconds later. It’s a remarkably effective emotional marketing technique.
A lot of attention has been poured into other fan based fluids and malleable materials as well. Mud deforms beneath your feet as you trudge through it to the nearest fan convention, with proper trails left in your wake. Meanwhile, based on content in the preview trailers, it seems that Decima’s ‘psychic fecal snow system’ is also present and accounted for (content limitations in place pre-launch limit the scope of the game we can actually cover). The most significant improvement of the Kojima Hype Cycle this time around however, stems from water rendering. Large bodies of water dripping from the sides of player’s salivating mouths are now more visually attractive with improved screen-space reflection and highly realistic surface detail – and the streams and rivers truly stand out in Death Stranding. This is a difficult thing to get right, but gamers deliver a real sense of current and flow to watery dribble as it cuts through the mountains of their expectations. Sam interacts naturally with its surface, leaving ripples in his wake as he moves through it and in fact, water itself plays a role in the game design as moving through deep dribble results in losing footing and being pulled forever downstream into Positive Future Sales Figures.
While playing the game of “Watching The #K0J1MADEATHKULT At Play”, I found its average level of performance was predominately stable – frame-rate mostly holds steady at 30fps but it’s clear that minor dips in attention and interest can occur. Vertical sync is thankfully enforced as well – meaning no tearing of posters seen on walls at conventions – and when combined with correct marketing motion blur to smooth any rough edges, gamers manage to feel mostly stable and in control – their performance as blind consumers of Digital Content is rarely an issue here. But with that said, cutscenes have more of an emphasis on spectacle over fluidity, so there are more dips beneath the target 30fps here. I can say that my enjoyment of the experience of the #K0J1MADEATHKULT at play hasn’t been impacted much at all by their performance level.
Rounding off this piece, I wanted to share some final thoughts on the experience beyond slick, spotless technology masquerading as a game’s only real source of meaning. For me, this is one of the most intriguing fanboy events of the year and – perhaps – of the entire console generation. It’s rare that such a large budget is allocated towards a *cough* unique concept and with that in mind, I appreciate that it exists at all. While on the surface, this is a gamer culture that’s essentially focused on transporting fanboy cargo from one area of the internet to another, and it’s what happens on that merry shit trail that works so well. Traversal of the various fanboy posts and comments is fun, the A.I you engage with is exciting and the wide range of tools available results in a similar type of bizarre behavior you may expect from the arrival of a Metal Gear game.
Death Stranding’s mix of standard marketing horror and the quiet exploration and unique storytelling generated by the #K0J1MADEATHKULT, is something very different and it may not appeal to everyone. In that sense, despite playing the game of being an Electronic Archaologist for a while now, I’m still fascinated to see how the reviews play out, and what the reception to the game really means. For me, this is a release that captures the solemn holy atmosphere of a Team Ico release or even something like Silent Hill – it’s an exceptional technical achievement and a frankly brilliant marketing experience. And no more than that.
RND/ To consider a Control game / story design assessment.
Via Visiting Resident Bureau Theorist Robert What.
Some 4K Virtual Photography:
Subjective philosophical note fragments arising after recent virtual engagement with Control simulation. Forward to Director Trench eyes only (Astral Plane.)
00: To consider Control as violently mediocre and terminally overrated by easily impressed agents and-or parties acting within this agency. Suggest they ‘run a check’ to see if critical cognitive functioning is at optimal. (Good example: the laughably shill-like, pseudo-philosophical ‘Concrete & Control’ video by Inside Gaming.)
01: In which the real Control game is only ever vaguely symbolically hidden within the drab simulation we got.
02: The voice of Agent Jesse Faden is so stunningly awful, so amazingly bland, it’s a wonder she isn’t shot on sight by other bureau staff for acting so badly – like some Hisser, badly pretending to be remotely human. Janitor Ahti’s broom has more of a believable backstory and personality. Indeed, every time one sees a (pointless) closeup of her dead-eyed mug asking dumb questions to itself, one feels an overwhelming urge to slap it blind with the dirty wet business end of said broom:
03: There is next to zero deep interrogation of the themes Control purports to examine – only by accident and by oblique implication are the notions and idea spaces of (say) Cosmic Horror and Brutalist Architecture remotely engaged with.
04: The Bureau itself is one of the more interesting aspects of the game and feels criminally under represented.
05: Other than Janitor Ahti, former Director Zachariah Trench is the most interesting character and has the best voice acting. His removal so early in the game was a big mistake. (Right from the outset, Agents / Players know about and care less than nothing for Jesse, and her instant promotion at the very beginning is arbitrary and without emotional impact.)
3840 x 3840 .jpg – Ideal / Idealized Cost for such Conceptual Work: £160K – contact Robert What for details:
06: While often mildly entertaining, the video based appearances of former Head Of Research Casper Darling do little to actively improve the game, since they feel distinctly incongruous with Controls’ overall aesthetic. Recommend immediate suspension of all live action video in video games.
07: Control would work best as a whole speculative ‘theory-fiction’ space, the video game being only one key aspect of the internet-diffused narrative mega-structure. Instead, there’s very little to go on after a couple of hours playing and one feels highly bored of the whole thing.
08: Rather than a shitty cut-scene, the ‘claiming of spaces’ back from their Hiss state should have been rendered in real-time. In fact the bizarre physical mutation of the structure of The Oldest House should have been rendered in real time as part of the gameplay – like a form of ‘control point capture’.
09: Narrative elements such as contexual lore and back story feel cynically and lazily shoe-horned in. Few want to read a heavily redacted screenshot of a text file nowadays. Why aren’t such elements presented dynamically in-world, live, fully integrated into the game itself, rather than a mere dumb ‘overlay’? The same goes for audiotapes. Nobody listens to them.
10: Once players are exposed to the Hiss for the first time, their subsequent and repetitive reappearance is nothing but mindless grind and a useless obstacle to free movement throughout the Bureau.
11: OK, it’s ‘supposed’ to be a confusing, maze-like labyrinth, but holy Hissing Jebus the map given to agents must be the most useless ever designed. One is better off getting a notion of where North is by the flicking lights seen in a nearby toilet.
12: The game’s often just too fucking dark, and the ray tracing option frankly boring, smeary and grainy. Also without a 2080ti, 16megs and a quick SSD minimum, the fame rate chugs during intense action.
13: One eventually logged off in boredom (waiting for a spore vaccine jab from the good Doctor), feeling unable to continue due to the painfully slow and frustrating speed of traversal and exploration. There simply wasn’t enough emotional engagement or genuine intellectual interest on display to keep one playing and engaged; all the available (/implied) elements of Control never quote gelled to the point one was totally aware of a unified story space being successfully presented. Indeed one felt ‘Control’ should have been simply named ‘Tedium’. (Just check out how bored the last guy looked):
RND/ In which this very very morning you consider and analyse yourself – whatever it is you imagine your doing artistically, via the Youtube lens of George Weidman aka ‘Super Bunnyhop’:
First, a Venn diagram that tries to capture the unique, slightly oddball appeal of George’s ‘content’.
By fun, perhaps you mean “Existentially speaking, is any of this odd shit remotely meaningful or worthwhile?” George seems well placed to answer such a challenge and philosophical provocation – more specifically, explore the interesting overlap between the various areas of his expertise.
Yet, if it’s true that ‘the artist creates the taste by which they are to be enjoyed’, then perhaps (at for new viewers) George still has some way to go in more firmly establishing his brand, which seems to currently (and non-ironically) bunnyhop between ‘Videogames’, ‘Japanese Culture’ and.. ‘The Mundane Oblique’ (?) That is, George regularly comes across as a form of sincere door-to-door salesmen, selling you the very subject areas he discusses.
And that appears a hard sell for many, given that it’s difficult to formalize and contextualize ‘areas of my cultural expertise’ that virtually nobody else is discussing – or has yet to even recognize as interesting and important.
Here’s a ‘hope’ style portrait of George: 440 x 616, 6 col .png
George’s opening intro video (parody ‘informercial’) in which he sells Weidman themed socks, does little to help his unique artistic cause, and appears as some kind of slightly crappy, ‘file under #random’ style shit that used to appear regularly on AOL or Geocities. It does not clearly convey what George is ‘about’. It’s only by regularly getting into his content that one is able to ‘correctly read’ this intro video as “Yes, that’s very Bunnyhop.”
Another somewhat obscure channel you used to enjoy was “Zero Achievements” – a videogaming channel starring two posh blokes from the UK called Tom and Dave.
It would have been cool to see such a from-leftfield channel grow into it’s own style – to more fully ‘become what it always was’, but alas the lads don’t post videos anymore. Likewise with George, there’s the perception of something good and distinctly unlike anything else on the verge of emerging. (Just not yet?) Perhaps George is content to Super Bunnyhop around. Maybe the notion of being a ‘Non Expert’ or (Brian Enoesque?) ‘Generalist’ appeals to him. It’s just that his own explanation for what precisely he does on his channel – “pseudo-journalistic content about video games” – neither seems entirely accurate, nor very engaging..
Here’s one alternative, official, formalized take on George:
“Consider George Weidman aka ‘Super Bunnyhop’ an existential ideas salesman, traveling door to door sharing his well researched thoughts about Videogame (/Industry) and-or Japanese Culture, shining his intellectual spotlight on varied Mundane-Oblique topics of similar interest.“
In a synthetic environment where consumerist goldfish eyeballs seemingly must have you and your ‘stuff’ successfully labelled in under a second – “Oh, it’s about X” – perhaps channels like Super Bunnyhop are unique in the very way they don’t appear to be ‘about’ anything much at all. Indeed the best videos on Youtube are often precisely about ‘Nothing’; the as-lived, day-to-day experience and mundane strangeness of being alive.
– Or perhaps nobody even cares about whatever S.B is ‘about’ – and will indeed watch literally anything. He does has a sizeable 31.2K following on Twitter, however.
It’s just that, one hopes Mr. Weidman can become even more self conscious of his own ‘Super Bunnyhoppingness’ and dig in even deeper to his own uncommon vibe. In short – George Weidman as the very (and only) subject matter of his own interior universe..