Introduction:
I have previously written, on more than one occasion, about games with simple premises or gimmicky attributes, which succeed due to the high quality of their execution. Today I would like to talk about a game with a great, interesting premise that fails due to the low quality of its actual design and execution. Pixel Piracy, a pirate-based RTS RPG with roguelike elements, is a game that was in an abysmal state at launch, but which has come a long way since then; the problem is that it has come nowhere near far enough, and does not seem likely to ever do so.
One of my biggest problems with the game is that its most grievous flaws are not apparent to the player until after a few hours in-game. In fact, Pixel Piracy is almost enjoyable, if a little repetitive, for almost half of its campaign. At that point, however, the small cracks widen into crevices, into which fall all of your hopes of ever completing the game with a positive opinion of it. I have completed the main campaign, and it was no easy task to do so (although the gameplay is easy as cake, the game’s technical problems and repetitive design made progress difficult). Now let me discourage you from doing the same.
Swashbuckling Bored:
in the history of literature is easily forgotten. The novel seems to modern readers, after all, a conventionally Victorian exercise in listening to the inner struggles of a person navigating a highly ordered and repressive society. But I consider that perspective to be akin to 
are myriad, touching on everything from the philosophy of science to metaethics. As it stands, Brave New World is often named one of the three great dystopian novels of the twentieth century, alongside 
and 
. The subject of today’s article is an interview with daring young theatre director Nabra Nelson. What interested me in pursuing this interview is that I became aware that Nelson—approaching Brave New World from what in philosophical terms is essentially an existentialist and pragmatic perspective—considers the society in Huxley’s novel to be a utopia rather than a dystopia. So I sat down with Nabra Nelson at the Casa Escobar Inn in Malibu, California to ask her about her peculiar take on this classic novel.
) as a vision of an actual utopian society—regardless of Huxley’s own position. Could you start by talking in general about your experience of reading the novel, and how you came to this conclusion?
—in all of its campy, corny glory—is a hugely enjoyable film. But most of the film’s fans are likely unaware that the novel on which it was based (
) has almost the literal opposite themes of the movie. Indeed, unlike the blatant anti-propaganda and anti-conformist messages of Dutch director Paul Verhoeven’s comedic and hyperbolic offering, Heinlein’s 1959 novel is a fascistic and militaristic critique of diplomacy, diversity, and (by extension) peace.
, despite having one of the bleakest and most nihilistic plots of any of Kurt Vonnegut’s novels, manages to be one of his most hopeful, charming, and humorous works.![[Game: Dark Souls, FromSoftware, 2011] Unchosen Undead: A Thorough Existentialist Philosophical Analysis of FromSoftware’s Original Dark Souls](https://i0.wp.com/thegemsbok.com/wp-content/uploads/2019/04/Dark-Souls-screenshot-with-Darksign.png?fit=722%2C406&ssl=1&resize=200%2C200)
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