Author Archives: Daniel Podgorski

About Daniel Podgorski

Daniel Podgorski is a Californian author, essayist, researcher, and web developer. On The Gemsbok, he provides art analysis (on literature, games, and films) and philosophy articles. His areas of expertise are literature and philosophy, with most of his academic research (as well as most of his informal research) focusing on intersections between the two. He has had poetry, short stories, and articles published in various academic and literary journals—and his short fiction has placed first in both competition and conference settings.

[Game: The Binding of Isaac: Rebirth, Edmund McMillen/Nicalis, 2014]
Bound and Determined:

The Binding of Isaac as a Worthy Successor to the Original Legend of Zelda

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Introduction:

Edmund McMillen Sketch by M.R.P. - The Binding of Isaac: Rebirth - The Legend of Zelda - Edmund McMillen

Caricature Sketch by M.R.P.

Since its original release as a subversive flash game way back in 2011, The Binding of Isaac has ascended from a cult classic to a mainstream success. In the time since that release, all of the elements which made it subversive, from its dark themes to its biblical allusions, have been covered and analyzed by critics from numerous angles.

Theories about the meaning of the game’s obscure, sparse narrative have ranged from wild ad hoc hypotheses about Isaac’s family history to carefully built cases tracing themes across several earlier games made by designer Edmund McMillen. Regardless, it has seemingly all been said (until the upcoming Rebirth expansion brings new evidence, at least).

I see that sort of analysis as highly valuable, and I find myself largely in agreement with commenters who interpret The Binding of Isaac as a portrait of a particular type of upbringing, with all of the entailed positive (i.e. creative and skeptical) and negative (i.e. repressed and threatened) effects. Acknowledging that as trodden ground, however, I would like to discuss an aspect of the game which is often gestured toward, but seldom discussed at length: how the roguelike gameplay lends itself to the game’s homage and spiritual succession of the earliest Legend of Zelda games.

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[Game: The Binding of Isaac: Rebirth, Edmund McMillen/Nicalis, 2014]
Bound and Determined:

The Binding of Isaac as a Worthy Successor to the Original Legend of Zelda

 was last modified: October 24th, 2024 by Daniel Podgorski

[Work: Never Let Me Go, Kazuo Ishiguro, 2005]
Til’ Death Soon Us Part:

Love as an Intrinsic Good in Kazuo Ishiguro’s Never Let Me Go

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Kazuo Ishiguro Sketch by M.R.P. - Never Let Me Go - love, memoir

Caricature Sketch by M.R.P.

Introduction:

Kazuo Ishiguro is one of the foremost living novelists of memory and regret. Although this was clear when Ishiguro wrote the masterpiece of reflection that is The Remains of the Day, which won the prestigious Man Booker Prize in 1989, it was his 2005 science fiction novel, Never Let Me Go, which cemented his talent in my mind. It may strike you as odd to hear that this writer of poignant literary fiction produced a work of sci-fi, but the work is handled with no less sensitivity than his other subjects, and perhaps—given the stigma against ‘genre fiction’ in literary communities—even more courage.

The nature of this article is such that it requires spoiling basic plot details of Never Let Me Go, so you should only continue reading after this paragraph if you either do not mind spoilers or have already read the book (or seen its 2010 film adaptation).

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[Work: Never Let Me Go, Kazuo Ishiguro, 2005]
Til’ Death Soon Us Part:

Love as an Intrinsic Good in Kazuo Ishiguro’s Never Let Me Go

 was last modified: October 10th, 2022 by Daniel Podgorski

[Topics: Absurdity, Meaning, Morality]
When Mattering Matters:

Thomas Nagel, Final Outcomes, and Considering Actions on Different Scales

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Introduction:

Thomas Nagel Sketch by M.R.P. - final outcome argument - absurdity - meaning

Caricature Sketch by M.R.P.

Where is one left, after four weeks of discussing morality, if the conclusions reached are primarily that humans would do well to approach situations of moral choice with earnest, humble attention to nuance and detail? Well, some of the background assumptions which have led to this formulation are somewhat grander, such as that the apparent objectivity of some basic moral strictures may be an expected piece of a socially evolved mind, or that the justifications for trusting most proposed sources of moral knowledge are on equally dubious footing.

So, if by some chance you are willing to grant that I might be on the right track with both the grand propositions and the simple conclusions, then you might think that we are actually left in a somewhat sorry state, as moral actions then lack the special significance for which they are often revered. In responding to that charge, one can refer to some remarks of Thomas Nagel on the experience of absurdity, and on when mattering matters.

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[Topics: Absurdity, Meaning, Morality]
When Mattering Matters:

Thomas Nagel, Final Outcomes, and Considering Actions on Different Scales

 was last modified: October 10th, 2022 by Daniel Podgorski

[Film: The Blob, Irvin S. Yeaworth Jr., 1958]
A Repurposed Drive-in Delight:

Irvin S. Yeaworth Jr.’s The Blob, and How a Horror Movie Becomes a Comedy

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The Blob movie poster - unintentional comedy

Introduction:

Almost everyone is familiar with some instance of the so-bad-it’s-good phenomenon of watching movies that are enjoyable because of how terrible they are. There is fame and fortune for anyone who sincerely tries and laughably fails to make a good movie. But today I want to talk about a subtly different phenomenon: movies which were good in their time, but which have aged into a different genre (usually comedy) or else not aged well. One such film which has undergone this comedic fermentation process is The Blob, a short 1950s drive-in science-fiction movie.

A film loved by audiences in its time (if not by critics), The Blob still offers viewers a very enjoyable experience, but for very different reasons. What was once a semi-horror, science-fiction creature feature (with Red Scare political allegory undertones) has become a schlocky, humorous melodrama.

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[Film: The Blob, Irvin S. Yeaworth Jr., 1958]
A Repurposed Drive-in Delight:

Irvin S. Yeaworth Jr.’s The Blob, and How a Horror Movie Becomes a Comedy

 was last modified: August 26th, 2020 by Daniel Podgorski

[Game: SpaceChem, Zachtronics, 2011]
Lost in SpaceChem:

The Atmosphere, Aesthetics, and Narrative of Zachtronics’ Breakout Success SpaceChem

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Introduction:

Last week was another slightly heavy entry into this series, focusing on the interpretation of pixel art, and pixel art as an artistic movement. So, just like my post on Offspring Fling! from two weeks ago, I will be making this post another lighter recommendation. The game which I would like to recommend, however, is hardly light, and it goes by the name SpaceChem.

No fan of puzzle games should go through life without having experienced SpaceChem. It’s an amazing piece of software, elegant in the simplicity of its design and yet awesome in the potential complexity of its mechanics. And the way that the game’s challenges ramp up not only from the mechanics themselves, but from the consistent space constraints in which the mechanics have to be used, is brilliant.

It is not the genius primary gameplay of SpaceChem, however, which is the focus of this article; instead it’s everything else about SpaceChem that I want to talk about—the stuff that the core gameplay routinely overshadows in discussions of the game, and which folks have sometimes been inclined to dismiss or even criticize: its story, music, boss fights, and visuals.

Yes, this game’s mechanics provide a satisfying abstraction of programming which (in addition to Zach Barth’s freeware releases, and earlier rarities like ChipWits) arguably inaugurated—and certainly popularized—its own unique subgenre of games. But I would contend that it was only able to do that because of its aesthetics and its atmosphere.

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[Game: SpaceChem, Zachtronics, 2011]
Lost in SpaceChem:

The Atmosphere, Aesthetics, and Narrative of Zachtronics’ Breakout Success SpaceChem

 was last modified: March 6th, 2024 by Daniel Podgorski