The Royal Kitchen

It could’ve been the kitchen of a showroom. The hobs were unsullied, the surfaces spotless. The floor sparkled with freshly-mopped glory. All except for the chunk of pineapple that rested upon it, surrounded by a tiny acid puddle of its own juices. It was the only sign of life in the sterile room, this sickly yellow sickle, this reaping of a slovenly midnight dalliance.

The half-moon slice lay there, splayed like it had lost the will to live. If it had eyes they would be open, unblinking, staring at the waves of plaster upon the ceiling, half lit by an outside lamppost floors below. Perhaps it would be contemplating its fate, its escape from the dharma wheel of digestion, defecation and resurrection. Was this pale green tiling its Nirvana, its being-without-suffering? No, this was surely a false enlightenment. This was not a place above the wheel. This was falling from it. This was stagnancy, being-without-movement. This was worse than death. Worse than defecation.

The buzzing of a fly interrupted the quiet, which balked at the intrusion. The early morning hush could only glare impotently, forbidden from breaking its own silence. The rasp of wings could be traced in their tainted trajectory — For naught but a second the drone would pierce the curtain of silence before it wafted back to stillness, then for some moments the darkness would go undisturbed whilst the fly corrected its co-ordinates. Then the curtain would be torn open once more as it raced ever closer to the scented prize.

The fly landed on the fruit, the squelch of its feet inaudible even to the sensitive hush. The pineapple chunk was completely unable to protest this imposition. The fly, overcome with glee, vomited copiously upon the delicate yellow membrane. Perhaps this was of some small satisfaction; being eaten even by an insect was to step back onto the wheel, after all.

The fly turned, tiny crystalline eyes flecked with madness and whatever insectoid joy it might know, and expelled another torrent of aching hot sick. When the frenzied food-lust of the fly had reached a heady peak, it thrust downward into the seething depths. Oh, Elysium! The union of fly and fruit was complete. The straw-like tongue dug deep into the mulch, and…

The swish-swish of shuffling feet cut the perfect moment to ribbons. Startled, the fly withdrew its turgid proboscis and launched itself into the waning night, never to be seen again.

With the sound of an elephant kiss, the refrigerator door smacked open and its unearthly glow poured outward. It illuminated the kitchen, the tiles, and that twinkling, glistening pineapple chunk. The silhouette grunted. Was it a grunt of disapproval to see such a sore defiling this pristine place?

The question was to be immediately answered. Thin digits stretched eagerly, and too-long fingernails skittered across the tile for purchase. In a few creaky movements the prize was seized. Sweet yellow flesh was trapped within salty pink.

The chunk did not even experience maceration, just a questing tongue forcing it to the back of the throat and to oblivion beyond. That same tongue lapped delicately at the hand that fed it, flicking up the remnants of juice and fly vomit that had deigned to stay fast upon the palm.

With the snap of a switch, the strip-light on the ceiling clinked and pinged to life. The shambling figure turned to the interloper who had come upon his dark feasting, and for the first time his face could be seen. It defied almost all description, save for the sprouting red beard and clump of unbarbered hair. He pushed the auburn thicket from his eyes as he rubbed them.

‘Princess,’ he croaked. ‘You’re awake?’

‘Sweetness, my pink pearl, my little prince! Of course I’m awake! How could I not be awake when you make such a racket!’ the elderly Valkyrie chided, bosom heaving with indignation. ‘You know midnight snacks are only allowed once a night! Naughty! Naughty little Prince!’

‘I’m sorry my love, I’m so sorry. I didn’t think I’d wake you. Your room is further from the kitchen than mine. And I couldn’t sleep because I was… hungry.’

‘I put the baby monitor on top of the fridge,’ she said, addressing his first issue with a jab of her finger toward a small plastic object. It was about the size of a fist with rounded edges, and was half-hidden behind the bread bin. She moved onto the second: ‘I know you have a lot to think about, but if you don’t take your pills and get a good rest, neither will I. I’ll be up all night worrying about you. And you know how cranky your princess gets without her beauty sleep, don’t you my sickness?’ She juddered in her most alluring manner. He smiled at her before returning to his default frown.

‘Yes, Princess. I was just… too sad.’

‘Oh! My poor soldier! Tell me why you were sad. I thought you didn’t leave the house today? You know how the Outside makes you feel.’

‘A boy came to the door. He said he was looking for his dad. he knocked and knocked but I was too scared to answer. He shouted for his dad, but I hid in my room and cried. What if he never found his dad? What if he’s still lost?’

‘My foul little creature,’ the Princess said. ‘Why, that was just me, playing a joke! Is that why you’ve been so quiet all day? I thought you weren’t afraid of children any more. You’ll get used to them soon enough, I’m sure.’

‘Wait,’ he said, realisation cresting upon his indescribable features. ‘What do you mean? And… why do we have a baby monitor?.’

‘We-ell,’ she replied, chins jutting out with matriarchal pride. ‘You may not be my only special little man any more!’ She waggled her brow.

‘You mean. You’re. I’m…’ and his eyes folded neatly upwards into his skull as his body folded neatly downwards onto the floor.

‘Yes, my little prince,’ beamed the Princess. ‘You’re going to be a da-da.’

*     *     *

By the time dawn was poking her nosy red fingers into the city’s nether territories, three tins had appeared upon the kitchen counter. The once-unadulterated worktop was begrimed with sticky yellow circles. The cans had become juice-seeping husks, plundered and purposeless. Once they had contained slices of pineapple; now the only fate they could hope for was to be threaded with a string to become a makeshift telephone, listening to and passing whispered nothings across a short distance. Or recycling.

The tins heard the pitter-patter of tiny Princess feet as they tottered beneath a giant Valkyrie body. Due to an array of unfortunate phenomena (the placement of water pipes, the long distance to the nearest mast), mobile reception was unreliable throughout the flat. The only exception was the kitchen. Thus the Princess rushed in, handset clutched to her ear.

‘Yes,’ said the Princess, ‘I’m just in the kitchen now. The reception here is dreadful, just dreadful.’

She paused. The tins could hear only the murmur of response, a quiet buzz.

‘Yes dear. I told him. We’re expecting!’

Quizzical buzz.

‘Lord no, my sweetmeat! I only said it to keep things interesting.’

Angry murmur. Pause. More angry murmuring.

‘Oh my wretched creature, I prefer to think of it as wishful thinking. It is going to have to happen quite soon, after all. My,’ she paused, and hissed the phrase as if it were a deadly secret: ‘My biological clock is ticking.’

Murmur murmur. Pause. Another buzz.

‘Yes,’ she replied, poking at the cans on the worktop with her chunky digit. ‘Oh dear! I don’t believe he’s taken it too well. He’s already eaten breakfast, lunch and dinner. No my sweetness, he’s gone out. To collect his thoughts I imagine. Isn’t it divine? My little prince must be growing up if he’s going out all alone.’

The conversation continued but the tins weren’t listening any more. The Princess rang off. She picked up the three tins, and with a sniff tossed them into the bin. There was no hope for them now. Not even the agony of recycling. An endless purgatory was all that would await them.

She opened the window, and wiped up the sticky circles with a cloth. She washed her hands, and then one more time just to be sure before drying them on paper towels and depositing those into the bin. She put on her favourite coat and teetered out of the house on bright pink high heels.

The silence that followed was only abused by the twitch of a crumpled shopping bag that had fallen from her coat pocket. She always carried at least one with her. She would be in for a terrible shock come checkout time. Crinkle-crinkle went the plastic as it tried to reassert its true form. After an hour of yearning it gave in, dead on the kitchen floor.

Just then, the front door shuddered open and slammed closed. Robotic, clumsy footsteps approached. The little prince rattled in with a bag of his own, jerkily moving as if pulled by a string nailed to his forehead. Perhaps his joints were coated in rust, which had advanced so far that it had sprouted from his face and head in russet curls. He stamped impatiently on the heels of his velcro shoes and dragged his feet from their sodden innards. He heaved the bag onto the counter, hunched shoulders protesting with a series of pops. He rustled around inside the plastic and produced another tin of pineapple slices. With the tremulous movement of one who is unpracticed in the art of leaving his bed, let alone utilising the vagaries of the kitchenette, he appropriated for himself a fork from the drawer.

Implement in hand and can in the other, the prince slid down against the wall. He became something too bony to be called a ball and too grotesque to be described as foetal. His long fingernails picked at the ring-pull attached to the lid. After several minutes of staggering ineptitude, he finally found access to his Holiest of Holies.

He consumed the slices in a rage, liquid sloshing out upon his Hawaiian shirt as he shovelled pieces of chemically-treated fruit into his person. Momentarily sated, he continued his uncomfortable crouching reverie before the refrigerating monolith, knees pressed to his chest. What ghostly thoughts flitted through that mind even he would be unable to enunciate. His expression of drowsy ennui never faltered.

When he was done he jerked to his feet and placed the tin upon the counter-top beside the abandoned bag. He marched out, again with that struggling gait. The slam of a bedroom door indicated the termination of his journey.

A trill of melancholic notes whispered through the slammed door. The sounds of an amateur piano player trailed through to the kitchen. Fits of music dampened the air. What the little prince could not say with words, he attempted to speak through earnest, clumsy melody. Words are like music; eighty-eight keys can produce countless novel tunes, just as a limited vocabulary can produce countless novel utterances. With the piano to articulate, he slurred through an incomprehensible paragraph.

~fin

Holy shit mobile updating

image

I can finally update my blog from my phone. Surely this is the opportunity I have been waiting for to kick-start this place again.

XIII III

Time for the icing on the Final Fantasy balls: The battle system.  The ATB archetype has been thoroughly revamped yet again, a fact which falls between “enjoyably novel” and “slightly pish”. Yes, a new way to play is refreshing. Yes, most Final Fantasy battles have generally been about smacking the button until the fight is over, but having the game admit that to you so readily is slightly depressing. The busty lady has unbuttoned her dress to reveal shrivelled prune tits and so much padding. This was done to similar effect in XII, of course. It’s not a new trend for the series, but it does feel like a continual dumbing down. In the good old days, you were at least free to choose your own course of action during battle, even if in most cases, just smacking the X button over and over until the enemies are all dead is the most appropriate course. It was nice to have the choice. You can still do this to an extent by queuing up abilities in stacks, but you are effectively penalised for daring to stop hitting the X button for more than a second to think. Illusions of choice boil down to the paradigm system, wherein you basically shape the course of battle by prodding gently at your team and telling them what they should generally be up to. It’s not as comprehensive as XII’s gambits, but it does allow for fast, flowing fights and occasional moments of terror as you throw everyone into medic mode and hope like buggery some healing happens in time. This is something of a weakness also. If your main character isn’t the medic, you can’t really choose how to heal. The AI is generally alright at dealing with healing, but oftentimes you want to get rid of some irritating status ailments, whereas the AI prioritises HP over all else. Hey Hope, maybe I wouldn’t need you to fucking heal Lightning so much if you fixed those fucking debuffs that have been spunked all over her dumb face? YEAH, thanks.

So it’s a bit mixed. It is fresh. It is fast. It’s a casual admittance that the tactical side is rather lacking. It feels less like giving orders and more like vague gesticulating.

Oh! And the Eidolons are pretty. Activating one is like having visual cake forced into your hungry eye-mouths.

There’s the experience system, the Crystarium, as they want us to call it. Well, it’s shiny. It makes pretty noises. It’s quite nice too. Again, lacking the illusion of freedom of choice found in  previous games. There are branches to traverse, but they aren’t very long ones, quickly subsumed in your devouring of crystals. However, the satisfying hum of pouring your crystogen points into filling out the grid almost makes up for the lack of real variety or excitement.

Are these faults symptomatic of JRPGs failing to enter into the modern era? More bullshit opinion pieces when I type them.

XIII II

We put FFXIII to bed a few nights ago. The main storyline ended in a way that one would expect from a Final Fantasy game. I won’t go into further details, since nobody likes a spoiler.

I do want to comment on the quality of the dialogue, or the abject lack of it. Whilst the last iteration suffered (in terms of plot execution) from a schizophrenic desire to do something completely different whilst shackled by the zippers of prettyboy bullshit Final Fantasy convention, at least XII had dialogue that was rich, deftly-written and seemed to befit the world in which it was spoken (despite the obvious and unavoidable anachronism of having English as a spoken language in a fantasy setting). Thirteen has a tendency towards the bland, with occasional inroads toward stultifying. A quick google reveals nothing on the translation team and whether or not it was by the same group as the twelfth game, but the sheer lack of flair, coupled with the cloying, embarrassing nature of some of the scenes, it feels much more like bad animé translation than the work of the persons involved with the textual gems of Vagrant Story and Final Fantasy Tactics. Also, Vanille makes far too much mouth noise, every breath a gasp. At least dickhead Snow got punched in the face a whole lot.

There seemed to be a pressure to make every inane voice-over or delivered moral seem profound. This is ineffective as a device when your characters are mostly bland ciphers to the plot, and their profundity is so banal as to make the scribblings of a thirteen year old goth seem cogent. Even taciturn Lightning would occasionally open her mouth to witter something cringeworthy in the general direction of the audience. This is another problem with the characterisation: given their situation, nobody acts like one would expect a person to act. Not for a moment do our cast come across as real people with real problems; nobody reacts with any emotional range or subtlety. Though there is some merit in painting your characters in broad strokes, making them easy to identify with in their simplicity, but their every reaction is alien, ridiculous, unsympathetic. Somebody’s mother dies, somebody… gets angry and mopes. Somebody is revealed as a compulsive liar. Nobody really seems to mind. It’s like we’re back at that stage of gaming plot where everyone just talks toward each other and sets off down the clearly-marked path toward the endgame. Hm, did Final Fantasy ever leave that dark age?

Next time, let’s talk about the mechanics.

VIII & XIII

I was trying to explain the plot of Final Fantasy XIII to a friend of mine last night. I opened my mouth to speak, and realised I had no idea where to start. What seemed quite straightforward in my head became a tangled mire when I attempted to explicate it. Then I realised that this is because I have been suckered in; all this bullshit flying around made perfect sense because I was engrossed in said bullshit. It’s not the characters or the plot that does it. Not that I don’t like some of the characters – I do. I quite like the kick-arse female leads. I also appreciate the fact that the most annoying character is quite reviled, and continually beaten.

There seems to be issue with the way the plot is threaded out, with so little explanation as to things like “character motivation” or even world-building. We have terminology thrust upon us, free of context. There are l’cie, there are fal’cie, people are branded. The complaint appears to centre around the fact that Vanille doesn’t turn around to her colleague and say “A fal’cie? You mean that ancient race of blah de blah blah blah forced explanatory dialogue &c.” Instead, the characters walk, talk, and act like they live in this world. This is not a bad thing, nor is it new to the Final Fantasy series. VII, for instance, only tended to explain things inasmuch as the plot demanded it. To have the characters explain every detail, or reveal their every thought, that would drag the narrative down even further, and it’s hardly a masterpiece as it is. Anyway, it’s not as if the game doesn’t sport a hefty and continually-updated encyclopaedia of every fucking thing you idiots need to know, so maybe if you’re feeling a bit stuck, you could go into the menu and have a quick peek.

So it’s not so much the plot or characterisation that draws me in. I think, like VIII, it’s the world that they’ve created here. Final Fantasy has, since the end of the 16-bit era, strived to marry the system to the state. That is, Square attempt to explain the machinations used, for instance, in combat, in terms of the world and the story. Magic isn’t just a thing that your mage does because he’s a mage character – it’s a part of the world. VIII does this with panache, and, I think, so does XIII. There’s a real sense in both games of why and how your characters can tear a hole through an armoured unit with ease. There’s a good reason why nobody else has access to big fucking demonic entities that shred everything in their path. There’s the history too; you don’t feel like you’re being dropped into a world that only just began to exist with your arrival in it.

Hopefully more, after this essay.

Ugh

This is stagnant.

TERRORISE THIS.

I went to London and I destroyed it.

I took a very last-minute, unplanned journey to the centre of the universe at the behest of my significant other, who had to travel down there for work. I also wanted to go and gawp at the Beowulf manuscript in the British Library, which I did. History doesn’t do a great deal for me, but staring at the ornate handwriting did make me feel something. Maybe it was indigestion; I’d just had a large burger.

It was a good weekend, and a good holiday, which I have yet to recover from. I spent much of my train journey playing Half-Minute Hero and not doing enough homework. It’s a thoroughly enjoyable trinket, one which I covet entirely to myself, despite not owning the PSP which I play it on. It makes me wonder about the definition of the “hardcore” gamer. I don’t think I’m particularly hardcore. I certainly don’t find any joy in spending weeks or months honing my ability to have Ryu kick someone in the face with a fireball or dodging bullet hell armies of laser death in a tiny spaceship; but I’m not sure how much enjoyment one can get from this title if one is not fully educated in the tropes and idioms of the JRPG genre that Half-Minute Hero lovingly mocks. Still. It’s very cute.

In London I raped and pillaged and drank my fill. I went to some awful places with some great people, and some middling places with them too. We talked of times past, and of the future, people we’ve lost, people we’ve met, and a lot about sodomy and cocksucking. We would manage to get home around five in the morning, because London is a big place, and the buses aren’t very regular at three when the clubs chuck out. Highlights included: Meeting new people, reforging old friendships, and watching Log drunkenly fall asleep on a picnic table outside The Griffin, one arm propping his head up in a mockery of consciousness.

When I came back from London my copy of Borderlands was there to greet me, as well as a friend who had stayed at my house playing Mario Kart and Prince of Persia and eating all my noodles. Sadly, I don’t have any time for games this week. Apart from maybe some more Princess 30 on Half-Minute Hero before sleep. I’m almost ready to unlock the first secret mode. It doesn’t count if you’re already in bed, right?

Everyone wants to talk about vampires.

It’s Friday. I’m trying to take stock of the things I need to do. I’m not even dressed yet. I’ve had two espressos and a bowl of cereal, and I’ve made a list. The list looks like this:

  • Syntax up to chapter six.
  • Sociolinguistics reading and rough draft of response.
  • Old English Exercises.
  • Rote learning of noun, verb and adjective paradigms.

Nowhere on this list is writing a blog post, or any actual creativity at all. I suppose the rough draft for my sociolinguistics response could involve some, but this process has been curtailed by my having no idea where to find the readings. It may involve a library trip. I ought to get dressed.

I made a promise to myself to limit my gaming until I was on top of my coursework. Unfortunately I obtained Half-Minute Hero and I cannot stop playing it.

  1. Study
  2. Job
  3. Creative endeavours
  4. Socialising
  5. Videogames and fucking about on the Internet

This is the order in which I should be doing things every day. However, currently my ordering tends to thus:

  1. Videogames and fucking about on the Internet
  2. Socialising
  3. Job
  4. Study
  5. Creative endeavours

Somewhat of an inversion. Creative endeavours don’t even get a look in right now.

I blame the perversity of the human condition. That which improves us, we ignore. That which is important to us, we leave until last. Please note, this is my own human condition. Yours may vary. Perhaps you had a better upbringing or a trauma that makes you a better person than I, I’m in no position to know, understand or judge.

I’m going to have another coffee now, before I finish doing the washing, and vacuum the house. Perhaps I should amend my list.

  1. Videogames and fucking about on the Internet
  2. Tidying
  3. Laundry
  4. Socialising
  5. &c.

This is more accurate.

I almost feel envious of people who have a job to go to. Not that I have anything but contempt for having to wake up to an alarm, but imposed structure does offer some solace to the terminally lazy. How else will I finish my teen vampire fiction for the 9-13 and depressed housewives demographic?

Today’s theme is: Brevity.

Ugh.

This is a very good mod for this.

ODST IDST

Apparently Halo: ODST is out or is coming out soon or something.

You can probably gauge my reaction to the game by the previous statement.

I’m sure it’s a very solid, polished and well-produced piece of merchandise. I’ll probably pick it up when I’m not so poverty-stricken and when I’ve worked out just how much I can slack off this year (so far the outlook seems bleak). I try to approach videogames with as much neutrality as possible, but it’s nigh-on impossible not to allow one’s experiences to inform one’s expectations.

Take Scribblenauts for example. Perhaps if the entire internet hadn’t jerked off all over its cute wee gimmick – the concept of being able to make any object one can think of appear for use – perhaps it might have seemed more novel. But novel enough to distract from the appalling controls? Novel enough to overshadow the fact that the DS just isn’t powerful enough to pull off what the game engine is straining to do? Such thoughts are lost to another time, and another world that I can never know. But I digress.

If the Halo franchise has given me one expectation for any game in the series it is thus: A Halo game will have a banal, sci-fi-lite narrative in which nothing interesting happens, ever. Does it really have to be this way? Does even the story have to pander to the lowest common denominator? Well, I suppose it does, since that is who they are selling it to. But FPSes don’t all have to be macho pig swill. I’ve been playing some Half Life 2 mods in which one does not just fucking shoot up the room full of aliens. Some of them don’t even have any aliens at all! I know! Fucking madness. I hadn’t really touched the mod scene at all until last week, for the same reasons I wouldn’t bother touching a game like Little Big Planet: I don’t want to trawl through an ocean of faeces to search for those possible hidden diamonds. My time is a precious commodity, even more precious than diamonds and pearls and rubies, and I can’t spill a second second of it upon stony ground. So I was quite pleased when people whose opinion tends to closely match my own were able to recommend some little pieces of joy for me to play with.  Here, I’ll tell you about one of them.

Dear Esther: A thoroughly interesting experiment by some chaps (and possibly even chappettes) over at the University of Portsmouth. Can be summed up by the following review, taken from the linked page:

THIS LOOKS REALLY WELL DONE THE ONE PROBLEM IS THAT THERE SEEMS TO BE NO ACTION.

Indeed. You don’t even get a gun. Doubleyou-tee-eff is up with that shit? Instead, the game relies on building atmosphere as you traverse a strange, deserted island. A narrator speaks from nowhere. What does he represent? Why are you here? The questions immediately draw you in, and although the graphics are pretty basic Half Life 2 mod fare, the quality of the script and the polished voice-acting gently varnish over the low-res textures.

More to come when I, you know, play them.