Primaprimaprima
US government confirms the existence of aliens in 2026: 100%
"...Perhaps laughter will then have formed an alliance with wisdom; perhaps only 'gay science' will remain."
User ID: 342
what's your opinion/review on the Hundred Line game?
It's a lot of fun! Definitely recommended. If you liked any of Kodaka's or Uchikoshi's other games you'll like this too. Especially if you liked Danganronpa, because although it's a very different kind of story than Danganronpa it's got a similar "vibe".
you called it a VN where I got the impression it's more like a TRPG. How do the two mesh together?
Yeah so it's not a "pure" VN because it does have a combat system, but most people I've talked to classify it as a VN. (The main gameplay loop is long VN segment with a chance to upgrade units -> battle -> another long VN segment -> repeat). The combat (assuming you play on normal mode, I finished the game before the patch that added hard mode) is more than just a "formality", but it never gets super difficult. It's less complex and involved than what you would find in a game like Fire Emblem or FFT. You're really here for the story, not the combat.
Plus if you keep playing long enough (meaning you explore multiple routes instead of just making a beeline for the true ending) you basically get the ability to just skip combat altogether, which means you're just free to explore and at that point the game becomes a "pure" VN.
I would drop immaturity from the conversation entirely if you want to avoid getting people's hackles up
Yeah, I have to work on my presentation. But at the same time, I really do have to ask my readers to suspend certain pre-existing conceptual and emotional associations they have around certain terms, y'know? Not erase, just temporarily suspend. Otherwise we can't make any progress.
There was a conversation here a few weeks ago where I said that love is impossible. That got a few people upset. But did I ever say that people shouldn't do things that are impossible? Did I ever say that there's no place in the world for impossible things? Not at all. Similarly, did I ever say that a certain amount of immaturity is not warranted? Not at all. (I suppose the Hegelian way of talking about it would be, you have to go through maturity to arrive at a mature immaturity.)
which VN btw?
The Hundred Line: Last Defense Academy
It feels like you are trying to intellectualise that away by referring to 'emotions'
Not at all! "Intellectualize"? Goodness gracious no.
an artist shouldn't try to manipulate the viewer, what they should do is try to express themselves
We're in complete agreement that there is an intimate link between art and what might be called "emotion". But this phrase, that an artist should "express themselves", makes me nervous, increasingly nervous, for reasons that I don't fully understand myself and have never been able to entirely articulate. There's clearly something right about it, and yet we should also be cautious. Taking a shot in the dark, some of the reasons may be:
- It implies that the principle modality as issue is expression, as opposed to alternative modes of thought and comportment.
- It implies that the work is about the artist and what he wants to express, as opposed to being about other things.
- It implies that the artist knows what he "thinks" or "feels" well enough to "express" it. (Derrida wrote some of the only good commentary that's ever been written on Nietzsche -- "the truth of Nietzsche's text is that there is no truth of Nietzsche's text". He was quite correct about this. And yet Nietzsche's text simultaneously contains an overwhelming plenitude of truth, it contains too much truth. This is what the authentic work aims at: "expressing" something while at the same time undermining what it expresses and pointing beyond itself.)
I don't just dislike horror, I don't see the point. It's either jumpscares or unending tension. It boggles my mind why anyone would enjoy this genre.
I've been planning on eventually writing an effortpost here about the horror genre and some of its problems. So I'm glad to see there may be some interest in that here.
The TL;DR is that the "modern horror film" as such has a lot of issues, as you correctly point out, but I think that works that have horror elements are quite fascinating (David Lynch films are a good example).
The fact that a magic trick falls apart if you look at it too closely
Various 20th century artistic practices that are now grouped under the heading of "abstraction" could be described in precisely this way, as an attempt to "look at the magic trick closely". Artists set out with the self-conscious intent of "breaking the illusion", of foregrounding the process of creation that normally remains hidden; in painting this took the form of abstract painting, painting that embraced the "flatness of the canvass" instead of trying to retreat from it into the illusion of 3D perspective, painting that owned the fact that it was nothing more than blobs of colored goo.
The idea was to ask whether it was possible to construct an art without illusion, an art that would endure even when the magic trick was ruined. Surely you can agree that this is at least an interesting question, even if you think it must ultimately be answered in the negative?
I'm always in an unenviable position in these discussions, because I'm always trying to bring people to a more refined and complex position than the one they currently inhabit, regardless of where they're starting out from. If I'm talking to stuck-up hipsters who say "well, there's obviously a divide between High Art and 'pop culture', the former being more valuable, more intellectual, etc" then I say, no no, let's stop and examine that assumption. But conversely if people say, "well art's just about having a good time, I know what I like, you don't have to make it complicated with all that fancy shit", then I just as forcefully say, no no, let's stop and examine that assumption. It's never supposed to be a direct denial of the starting position, but rather an invitation for us to walk the endless spiral of the Hegelian dialectic, together, as a team. But it always seems to come off as a direct denial. That's my fault; I need to work on my presentation.
Now, regarding my own capacity for "suspension of disbelief". I just finished up playing a VN recently. Fun game. I binged it as fast as I could, I was on the edge of my seat waiting for each plot twist, I got weirdly obsessed with one of the girls and wanted to waifu her, I cried when important characters died (yes I am a grown man who cries at video games). So am I incapable of enjoying stories like a "normal person"? Not at all! There's nothing I love more than a good story, it's basically what I live for. But, you know, you eventually want something more, you want to move the conversation forward. So you ask yourself: yes, I had this experience, this particular type of experience, but what of it? Well for starters, we can question the "naturalness" of this type of experience. We can ask ourselves if this type of experience might not be historically and spatially delimited. (Did the Iliad have "fans" in ancient Greece? How was their experience of the Iliad different from how we "experience" "stories" today? On the one hand, I think it may not be as different as some might suppose. But on the other hand, it might be utterly alien.) I had this experience, but what is this experience, really? What does it mean? What is it symptomatic of? Where did it come from, and where is it going?
It's as much about making your self and your own experience an object of critical inquiry as it is about inquiring into the artwork and the artist.
It is prioritising emotional connection over intellectual dissection
Not at all! Not in any way. Not that the two could ever be separated to begin with.
But, you know, this question about the connection between art and what might be called "emotion", it's a highly complex and fraught question. The way forward is not at all clear.
Adorno defined "kitsch" as "art that tells you how to feel". Genuine artworks don't tell you how to feel. Meaning, there's something fundamentally manipulative and coercive about an artwork that sets out with the explicit goal of inducing a certain emotional state. When the sad music plays and the camera zooms in dramatically and all the characters start crying, you know you're supposed to feel sad. The work is telling you to feel sad. We've left the domain of art and we've entered the domain of the "culture industry", the domain of pseudo-art and pseudo-emotion, the domain of mass market objects produced to fit utilitarian specifications. Or so this theory would have it.
Is this the same as saying that art should be "emotionless"? Not at all. Adorno was a great lover of Mozart after all, and Mozart's music could hardly be described as emotionless. But I do think he correctly identified a very real and very serious problem here, namely that an attempt to control the emotional resonance of a work too tightly can collapse into simple didacticism.
Do you think it’s ever reasonable to infer that the government is lying about anything, prior to it being vetted by “official” sources?
I distinctly remember thinking “damn why are training missions so dangerous?” at several points in the past. And this seems like a pretty reasonable explanation for why they’re so “lethal”. I don’t think that the government lying about cause of death for service members is on the same level as moon landing and UFO theories.
AAQC'd even though it doesn't fit the "normal" profile of an AAQC because I really appreciate these types of comments that tell me about something interesting I didn't know about before (especially on topics that don't fall within the ambit of what normally gets discussed on TheMotte) and I want to encourage more of them.
In order to genuinely enjoy any sort of fiction, you have to be able to suspend disbelief.
No not at all. "Suspension of disbelief", as if you were hoping that you could be "taken for a ride" if you could only make yourself believe that the story really was a window to another world, is an immature way of approaching art (immature in the sense of pre-critical, pre-reflective, pre-self-consciousness).
The mature, critical way of approaching art (which actually just turns out to be straight up more fun) is to start from the recognition that the artwork was deliberately constructed as a product of human intentionality. Like all other artifacts of human labor, it was designed according to certain specifications in order to serve certain purposes. So our analysis begins with questions like, why was this created, what narrative did the artist tell themselves about why it was created and is it in any sense different from the truth of why it was "actually" created, what is the background casual chain of social/material conditions that lead to the production of this specific work in the specific way that it was produced, how are its formal features related to the conditions of its production, how do its formal features relate to its conceptual features, etc...
Some works reveal themselves to be richer and more amenable to this type of analysis than others, which is how the term "genre fiction" came to take on a derisive connotation.
How do I survive in a world where the heuristics people hold holy on both sides end up being wrong so often?
Von Neumann said "you don't understand things in math, you just get used to them". It's similar in philosophy. You never actually solve philosophical problems, but you can outgrow them.
Most of the questions here are ones you'll eventually outgrow, assuming your development is not prematurely arrested.
Regarding the "Why Modern Art is so awful" essay: Luke’s explanation of “it’s a reaction to photography” is too simplistic. Any theory of "modern art" (bit of a vague term but we'll roll with it) has to account for the fact that there are people who really do like this stuff. Genuinely. It's not (always) a scam.
Nancy McWilliams described modern art as essentially being "by schizos, for schizos":
Sass (1992) has compellingly described how schizoid conditions are emblematic of modernity. The alienation of contemporary people from a communal sensibility, reflected in the deconstructive perspectives of 20th-century art, literature, anthropology, philosophy, and criticism, has eerie similarities to schizoid and schizophrenic experience. Sass notes in particular the attitudes of alienation, hyperreflexivity (elaborate self-consciousness), detachment, and rationality gone virtually mad that characterize modern and postmodern modes of thought and art, contrasting them with "the world of the natural attitude, the world of practical activity, shared communal meanings, and real physical presences" (p. 354). His exposition also calls effectively into question numerous facile and oversimplified accounts of schizophrenia and the schizoid experience.
If modern art is primarily produced and enjoyed by people who naturally feel at home in these modes of thought and experience, whereas the majority of the human population does not recognize themselves in this experience, then that could help explain some of the disconnect.
I once posted Klee's Angelus Novus here on TheMotte as an example of a first-rate painting, and was met with disapproval and incredulity. But you'll have to take my word for it that I really do find it to be quite lovely!
I really hope this was the entire intended post because that would be hilarious.
Seething contempt is fine if it’s expressed politely, which Turok has done imo.
Well feelings are always important. They aren't always "valid", if "valid" means, they should be unconditionally affirmed, or that a person's interpretation of their own feelings is always correct. But they're certainly always important -- as symptoms, as signposts, as signifiers. There's no accurate model of any interpersonal interaction that excludes feelings.
Mostly trolls whose names I've forgotten. That guy who keeps making alt accounts here to post WN articles and then delete them is kinda like that.
Apparently darwin was kinda like that, although I never interacted with darwin personally.
I said that I disagreed with the ban (suspension, really, not even a ban).
I have repeatedly argued for "affirmative action" for left-of-center posters here. I think they should explicitly be given more leeway before mods dole out punishments, because their viewpoints are underrepresented.
Personally if I was a mod I'd take a pretty hands-off approach. Permabans essentially never, suspensions only rarely. And I would not have suspended Turok for anything he's posted so far.
I also disagree with the ban, but I do understand the frustration.
We have a history on TheMotte of people who show up and intone in a solemn voice, "I'd like to play a game..." At which point they begin constructing an elaborate series of arguments and hypotheticals that are high on word count but light on content, the aims of which are never entirely clear. And when people point out that it seems like they're being evasive about their own genuine beliefs, and they're not being entirely forthcoming about their intentions, they respond with "oh don't mind me, I'm but a humble explorer of political thought-space, my only aim here is to educate..."
For obvious reasons, interacting with these people is very obnoxious, and their threads generate more heat than light. So tolerance for these characters is low. And Turok, while not one of the more extreme examples, does pattern match to this sort of archetype.
Final Fantasy
Well yes there is a significant monkey's paw aspect, that's why I said it's a problem. If the answer was obvious, it wouldn't be a problem. I'm not a utilitarian or a consequentialist, I don't adhere to an "anti-suffering ethics". But I also appreciate the gravity of the problem and I understand why people do become utilitarians.
Well, there's suffering and there's suffering.
A pain signal that tells you to pull your hand away from a hot stove is "suffering".
This, on the other hand, is suffering:
The New Mexico State Penitentiary riot, which took place on February 2 and 3, 1980, at the Penitentiary of New Mexico (PNM) south of Santa Fe, was the most violent prison riot in U.S. history. Inmates took complete control of the prison and twelve officers were taken hostage. [...]
Events spiraled out of control within the cell blocks in large part due to the actions of two gangs. The first were the Chicanos, who protected each other and dished out targeted retribution for specific grudges. The other gang was loosely labeled the Aryan Brotherhood and was led by some of the most dangerous inmates (who by this time had been released from segregation in Cell Block 3). They decided to break into Cell Block 4, which held prisoners labeled as informers. Cell Block 4 also housed inmates who were mentally ill, convicted of sex crimes, or otherwise vulnerable, and held a total of 96 prisoners. [...]
During an edition of BBC's Timewatch program, an eyewitness described the carnage in Cell Block 4. He saw an inmate held up in front of a window; he was being tortured by using a blowtorch on his face and eyes until his head exploded. Another story was about Mario Urioste, who was jailed for shoplifting. He was originally placed by officers in a violent unit where he was gang-raped by seven inmates. Mario had filed a lawsuit against his rapists, so prison officials had housed him in Cell Block 4 for his own protection. Urioste was one of the targets for revenge. His body was found hanged, with his throat cut and his dismembered genitals stuffed into his mouth.
The former is a useful biological mechanism; the latter raises suffering to the level of a genuine philosophical problem (as in, should we sacrifice everything else to make the elimination of suffering our primary goal? If the choice is between a universe with suffering and no universe at all, would it be better to just not exist at all? etc).
Liberalism (meaning, not socialism and not hard right) is the dominant position here, and pretty much everywhere else too. Libertarianism is also popular here.
You were probably looking for a term like “progressive” or “woke” instead of “liberal”.
If anyone thinks ChatGPT is ready to replace programmers then just like... ask it to build some software for you. Enough to run a sustainable business. It's ready to be an employee, ok then, go employ it. That's free money for you that's just sitting there for the taking.
I'm a mischling, which "soft WN" is full of.
Ah! Well, that's certainly an important piece of information that was elided. You should have simply started there and been honest about your concerns and worries, instead of going for the "500 IQ pwn everyone with facts and logic" play. The dialogue is so much more insightful and constructive when we cut the bullshit and just talk about what's actually bothering us.
I'm not unsympathetic to you, because I'm not without my own anxieties about race. Although I've received 99.9% (non-Ashkenazi) European (and 0.1% SSA/MENA/etc) from multiple ancestry tests, my appearance is rather on the "swarthy" end by white standards, which lead to teachers and other kids at school asking me on multiple occasions if I was mixed with anything. It gave me doubts about what I actually was, or if other white people even saw me as white at all.
Combine that with the fact that I never knew my birth father, and I'll never be able to be truly certain about what I am and where I came from.
But in some sense none of that matters, because I believe that the way that white people are treated by modern wokeness is wrong, and I believe that they have the right to have their own political movement, on their own terms. Even if those terms were so strict that they excluded me. I'd still believe that regardless of whether I was black or Chinese or anything.
Now, my situation is different from someone who is knowingly and visibly mixed (especially someone whose "other half" is both non-white and non-Ashkenazi). But the point is, you're not the only one with anxieties, and honest political dialogue starts with facing those anxieties and putting them at the center of the conversation, because they're essentially the major determining factor of your political orientation.
In this post, you condemn and criticize the concept of white solidarity. This is a sentiment that you share with almost everyone else in the Western "first" world today, except for a tiny minority of self-conscious white advocates.
Your primary motivation for writing the post was your negative sentiment towards white solidarity, rather than your positive support of an alternative political program. We can tell this by the way you framed your post: almost the entirety of it is dedicated to criticisms of the white identitarian right. If your goal was to give people positive, substantive reasons for supporting your own preferred political program, you would have instead titled your post "why I think the right should support pure meritocracy / free trade neoliberalism / race blind Nietzschean will to power / whatever terms you would use to describe your own ideology".
Why does the concept of white solidarity make you uncomfortable? It can't be a purely "formal" concern like, "I think the Online Right is wasting their time pursuing a futile and unhelpful set of policies; they could instead be devoting their time and resources to my cause instead". The Online Right is small and powerless; you can't be that eager to enlist their help. Whatever your preferred political program is would probably find itself right at home in the agenda of Ramaswamy, or Musk, or Thiel, or the Koch brothers, or maybe even Trump himself. You have far more powerful and influential backers you could be appealing to, instead of wasting your time trying to persuade the "Online Right".
So, again, let's start with the heart of the issue: why does the concept of white solidarity make you uncomfortable?
OP’s a woman
Yes but this is a topic that comes up with some frequency and there are certain male posters who have strong opinions on it as well.
they’re more upset that the women aren’t being promiscuous with them
Yes but the point is that they care about it at all, regardless of their motivations. (The motivations are at least somewhat complex and multilayered. Yes at the end of the day it’s really about “all the women should belong to me” but I think there’s at least some genuine pro-social concern mixed in as well.)
Clearly on TheMotte, it’s the men who are writing most of the posts about the ills of promiscuity. (I have specific names in mind.)
That attitude may ultimately stem from their Christianity. But there are also a lot of atheist manosphere types who get REALLY upset about female promiscuity. You can’t dismiss it as a purely female concern.

They ARE the movement bruh.
People have been asking this for at least a century. "The Nazis listened to Wagner and read Goethe and they still plunged the entire planet into total war, how is that possible?"
Philosophy in the Socratic tradition (and if we can speak of a "western tradition" at all, as distinct from other traditions, then we must start with Socrates) never promised wisdom. It promised a love of wisdom; it promised a critique of those who pretend to wisdom. But wisdom itself is for the gods alone. So it is unsurprising when mortals do things that are unwise.
You have to be something of a weirdo to violate social consensus as publicly and flagrantly as Peterson did.
Because the experts wanted it to happen, they couldn't perceive it as a threat if it wasn't threatening to them in the first place.
More options
Context Copy link