I saw my first live
SNL last weekend, and it was fantastic. (I live
twittered the show and the cast party, but was thankfully plastered enough to stop sharing anything from the after-after party. I bought Keenan a birthday drink, and that's all I'm sayin.) By coincidence, my pal
Mark who runs Defamer ended up sitting behind us. He just posted
his review of the show. The back of my head (and Kate's freshly straightened hair!) makes an appearance on the left side of
the photo of Claire Danes, who sat in front of us and canoodled
Hugh Dancy the whole time. (I only took
one photo before the page reprimanded me,
Kenneth-like.) If you ever have the chance to see the live production, it will forever change the way you watch the show.
Fittingly, NYT drops its Grand Theft Auto IV coverage in the City section of the paper today. (The other appropriate section might have been Travel.) It's a long tour of the game's version of NYC, told from the perspective of a New Yorker (Dave Itzkoff, also known for covering sci-fi for the NYT Book Review) who wants the neighborhoods to resemble his version of the city. The conclusion is effectively a topographic take of the Uncanny Valley conundrum:
And then:
I just bought the game and have only played a little. But the descriptions here and elsewhere sound like NYC run through the mosaic filter on Photoshop. This geographically-confused, post-catastrophe setting resembles Cloverfield more than anything else. (You know, that scene where they get in the subway at Spring St. and end up at 59th St.) Let's compare these two for a second: look how each toys with class, violence, geography, simulation, reproduction, terrorism, sex, and urban geography. This should be the only bar conversation we have for the next couple months.
But back to this desire to adhere to verisimilitude in game play. It's peculiar, especially given the history of the Grand Theft Auto franchise, notorious for its propagation of violence as the narrative of gaming. Yes, peculiar, but also understandable for anyone familiar with the city's grid. The question seems to be, how close of a representation do we actually want? There it is again, the Uncanny Valley, which even popped up on a recent episode of 30 Rock, in the form of Tracy Jordan (himself a refracted mirror of Tracy Morgan) trying to make the first successful porn video game.
Desire and play. I suspect this is what gets lost in the muddled debate about the interplay of reality and fiction in the super-simulation canon. The new cultural critics are "deciders," sprung from both the left (social realists) and the right (values pundits), both trying to impose "this is fiction" and "this is real" logic onto games and movies. But it's not just them -- it is we who, in various ways, all participate in this debate about reality and non-reality, seeking an answer to whether something is either too unrealistic or too realistic.
All this makes me wonder if the question of realism has been overplayed, or if in fact it is the only question, now and forever. All I really want to know is: what makes playing the game so much fun? And how much does "reality" have to do with the answer?
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