RND/ To envisage a plastic parody figurine of the psychotic white serial killer character “Ellie”, from post-apocalypse simulator The Last Of Us I & II.
The Last Of Us Part II can be very disturbing. Enemies feel lifelike as you stab them in the throat, and watch the lights slowly drain from their eyes. Blood seeps from wounds as bodies lay on the ground, staring back at you. The people you fight often call each other by name, adding weight and meaning to each life you take.
– Easy Allies Review
How such an image might symbolize or open up important political discussions about White Violence in video games, especially given the people in The Last Of Us – like the self righteous psychopaths in The Walking Dead – act like ruthless right wing survivalist prepper wackjobs. (Almost as if they wouldn’t even really need the flimsy excuse of the world ending to act like they do, and simply love murdering people.) Where exactly are these ‘philosophical questions asked about the cycle of violence’ promised by developers Naughty Dog? What a joke. Mere batshit power fantasies R-US part II, more like.
I’m gonna find, and I’m gonna kill, every last one of them.
– Ellie, The Last Of US II
No. You got it wrong. It’s not about sounding all nasal. It’s about sounding like you don’t have a care. Like your bills are paid and you’re happy about your future and you’re about to jump in your Ferrari when you get off this call. Put some extra breath in there. Breezy, like you don’t need this money, like you never been fired, only laid off.
– Langston, Sorry To Bother You (2018, Director Boots Riley)
– In which a series of metaphysical poses direct from zone psychic-zero plays out in oh-so predictable manner, never once challenging precious long held unconscious assumptions, a soulless, frothy decaf life set in untouched marble where only fake dirt and minor scratches and other deliberate ‘retro-filter’ flaws flaws exist to keep it all P.C – a hermetically sealed image bubble of five star international holidays in the warm faded and lightly grainy sun, where nice new kicks, and simply delicious pseudo-spontaneous recipe ideas are forever lightly tossed online for / as effortless, mass corporate vampiric consumption; perfectly professional and cosmically uninspiring
RND/ to consider the co-incidental or algorithmic emergence of the (default, in-built) malignant narcissistic personality of social media platforms like Youtube, and the default psychopathological ‘media personalities’ (now there’s an insult) who preach there to ditto headed Stan armies with an ever louder political voice
Gamers are pathetic!
– Dr. Disrespect
First a brief stable genius article, highlighting how when it comes to the modern political notion of Popularity, no fake news you’re at the center of is bad news:
And now, the ‘King Of The Derps’, back in the news again. Gee, almost as if it’s his very (socioeconomic) function – a warning (3840×2160 .jpg):
It’s Always A Question Of Journalistic Ethics
Notice how this darkly fascinating ‘Pewnews’ spectacle precisely heralds the rise of the kind of global political platform in which the owner of, and power behind that very platform consistently states they themselves have nothing whatsoever to do with politics, are utterly apolitical and neutral (kinda like taste free beige cardboard) – continually denouncing the shadowy figure of ‘mainstream media’ and saying it’s no wonder ‘the [ordinary, just-like-me] people’ are turning away from its inherent (read: left wing) bias
All this is often mis-contextualized in the by-now standard form of the ‘apology-not-really’; obviously not an apology, because there’s always the blindly psychotic, champagne-media-bubble understanding one is far beyond simple good and evil – a new social media god, their own perfect creation, divorced utterly from society and politics, whose holy ‘third-way’ role is to repeatedly bring the terrible news of one’s own sinister innocence down from the “LOLtube” subscriber mountain to the masses, who (just like them) also always understand that ‘Nobody understands or loves you like I do’; two lightly cracked mirrors facing each other, a violently empty echo chamber – a fabulous, true, pure ‘Radio GAGA’
Scenario: in which it seems the biggest (anti-philosophical) draw for PewDiePie’s fans is that Pewd’s biggest fan is and always was himself; that, there’s never just one PewDiePie, but millions – all simultaneously dreaming of their own impossibly unique, untouchable Pewd-like (/leet gam3r) status, ie. as though permanently ‘acting up around the house when your mother’s out’
Easy then to imagine such a dense massing crowd of anonymous individuals lurching from one casually destructive politics-free campaign to another, all quietly saying ‘Oopsie!’ A desperate little age in which every dangerously, woefully naive, painfully ‘misunderstood’ (oh-so complex and mature) miniature violin-playing ‘who-me?’ shed-heel gets there 1.5 minutes; where one’s forever-young, internal adolescent / screeching terd, straight out of Charlie And The Adderall Factory effortlessly beams themselves right and center onto the world stage – future once and forever sociopathic billionaire leader of the free fisting world of (equally) super passive-aggressive ‘free speech’ chuckle-funk overedgelords
All hail (/heil) Emperor Pewds. Achtung, Bros – remember citizen, “It’s just a joke™!!”
Ur-Fascism is based upon a selective populism, a qualitative populism, one might say. In a democracy, the citizens have individual rights, but the citizens in their entirety have a political impact only from a quantitative point of view — one follows the decisions of the majority. For Ur-Fascism, however, individuals as individuals have no rights, and the People is conceived as a quality, a monolithic entity expressing the Common Will. Since no large quantity of human beings can have a common will, the Leader pretends to be their interpreter. Having lost their power of delegation, citizens do not act; they are only called on to play the role of the People. Thus the People is only a theatrical fiction. To have a good instance of qualitative populism we no longer need the Piazza Venezia in Rome or the Nuremberg Stadium. There is in our future a TV or Internet populism, in which the emotional response of a selected group of citizens can be presented and accepted as the Voice of the People.
– Umberto Eco, Ur-Facism