Selfsurprise

Unzen-Amakusa, Japan: Unzen-Amakusa is a national park in southern-most tip of Japan centred around a volcano called Mount Unzen, encompassing three of the country's prefectures, which are roughly analogous to regions in European countries. It's heavily associated with Japan's early flirtations with Christianity in the 17th century, as well as the more clandestine activities of the Kakure Kirishitan ("hidden Christian") movement that practiced these believes in the Edo period despite religious persecution. There is some real Honest Hearts style potential here, perhaps between an old school Christcentric rebellion against some sort of warped, barely human and technologically enhanced remnant army of lost Japanese imperials - with numerous small settlements and groups caught up in between. I also can't resist the concept of some sort of local kaiju-esque magma monsters periodically emerging from the volcano and various faults exacerbated by the nuclear events of 2077.

^ Surely you'd know if you were feeling happy and frivolous Jeb? :3

^ I like the "Selfie" nickname Binky, thats a nice touch... ;p Yikes! Sounds like he'd either approve wholeheartedly of this thread or bemoan it for being too demeaning of his dewy-eyed affection for political strongmen. I've learned to not argue with internet neo-nazis. They tend to be convinced that aren't infact nazis and that their world view is so hermeneutic as to be air-tight to reasonable criticism and probing. The kind of cultural fetishization that communism still receives from certain elements of the Left is baffling to me. I have no issue with people examining the potential of political ideologies in order to critique capitalism and neo-liberalism, I don't why we can't draw upon and learn from any belief system. But I find it peculiar how forgiving the Left can be of totalitarian communist organizations and individuals. I also object to that student's reasoning you mentioned regarding the poster, that somehow Hitler's genocides were less politically motivated. So what, did the Nazi's just decide to be evil without having any kind of ideological justification because they were big meanies? Whereas Stalin's genocides weren't morally motivated at all? Was he trying to imply that the two dictators were exclusive to either ethical or political concerns? Maybe I'm not articulating myself very well, but there is something decidedly "off" about lauding communism and decrying fascism in the same breath.

I've always admired the way in which his protagonists ideals slowly but inevitably fade away in the face of harsh reality and all too human inadequacy. My favourite Ibsen play is probably The Wild Duck. It's almost like an analysis of the Norway's national character, a country that survived despite being on the peripheries of most European cultural affairs, almost bypassing the renaissance entirely only to suddenly find modernity thrust upon it in the 19th century. A character built on the contradictory notion that in order to feel truly and contentedly Norwegian, many Norwegians seek solitude. Old Werle: "I believe there is no one in the world you detest as you do me." Gregers: "I have seen you at too close quarters.”

Seaside (Radio Mix) by Bobo Eyes ＡＥＳＴＨＥＴＩＣ Hey Woah_G, I didn't know you were into vaporwave music. Any favorite artists or albums?

You see I really liked the first two Bioshock games, the setting is spectacular and the plot in both is serviceable enough with some really standout characters (I like Sander Cohen, I'm a sucker for a psychopath with a flair for the artistic). That being said, retrospectively reading that bit about Suchong and the puppy just seems hilarious now, but not necessarily in a bad way. There seems to be an unspoken rule in pop culture that you can kill as many people as you like and you'll remain a pretty average villain, but as soon as you even hint at making a dog mildly uncomfortable then you're an absolute bastard.

Playing Tropico 5 sandbox with unlimited funds is great fun. It might not be overwhelmingly challenging but it's rather entertaining watching your little coastal settlement develop into a thriving island metropolis.

What, so Thatcher doesn't count? ;p But seriously, as much as it embarrasses me to admit it, you are correct in that assertion. At least in politico-ideological terms. In my defence I don't think most people would use the term precisely. I think it's safe to say that the term "fascist dictator" is synonymous with "tyrant" or "monster" in most people's lexicon. The same way the word "Nazi" is synonymous with "arsehole" for many of us. I nearly didn't add Genghis Khan, purely due to some of the historical interpretations that question just how tyrannical he was all cracked up to be. My todays standards he would certainly be regarded as a conquering villain, but his reign was only an exceptional example of the kind of attitudes and policies that were alarmingly normal at that time. I put him on there in the end because I didn't desire to make this into a serious poll, plus I figured the really interesting answers would appear in the topic itself. Star Trek TOS is best arbiter for these things. Kirk and Abraham Lincoln had to fight Genghis Khan and Kahless The Unforgettable on planet Excalbia. If Star Trek tells me someone is evil, then I accept that without question. I knew I'd upset someone! I actually added Mussolini along with Hitler in the poll when I began this thread. I sort of chickened out at the last minute and replaced them with Mao and Stalin, but I was actually worried that people might misinterpret the thread or find it in bad taste. Luckily that doesn't seemed to have a happened. I don't know if it's just continental/historical bias but the western world seems to see the comical aspects of totalitarian communists much more readily than fascist or national socialist leaders. Who knows? Maybe he'll mellow once he's in power and lead into a glorious new golden age of enlightened tolerance and universal peace. Or maybe I'll be making another of these polls with his name on in ten years time, carefully avoiding the innumerable Trump-clone-giant-scorpions that now dominate all life on Earth.

(disclaimer: this thread might be in slightly bad taste, however my beloved friend and work colleague Greg isn't known for his restraint or tact, so blame him for giving me the idea) I'm a little bit of a history geek, and part of that appeal lies in examining the politics and situation of a given era. As such I have a terrible fascination for some of history's darker figures. Despite the rather silly title and premise of this thread, I'm actually just interested in knowing which infamous political strongmen (and occasional woman) you find the most fascinating, if only for how hideous their reign was/is or their unspeakable eccentricities. Feel free to pick from figures cited in ancient sources right through to the present day. Two personal favourites of mine are the late Ugandan president Idi Amin and the late Haitian president François Duvalier. The former being an ex-colonial soldier who seized power and bestowed upon himself many marvellous titles and honours ("His Excellency, President for Life, Field Marshal Al Hadji Doctor Idi Amin Dada, VC, DSO, MC, Lord of All the Beasts of the Earth and Fishes of the Seas and Conqueror of the British Empire in Africa in General and Uganda in Particular") whilst engaged in a brutal military crackdown on political dissidence and ethnic cleansing, as well as baiting the world's media with lurid rumours of his cannibalistic hobbies and somewhat calculated buffoonery. The latter tyrant was a doctor who led a National Unity Party in an ostensibly fair vote (despite witness accounts and rumours to the contrary) who consolidated his power by creating a spooky personality cult, drawing on the country's religious character and declaring himself " the physical embodiment of the island nation" whilst dressed as a pseudo-Baron Samedi figure, making sure to kill or exile any critics of his imposed spiritual order for added sovereign insurance. Any figures that pique your interest? If so please share them here, and please be aware that this thread is partly sarcastic in tone. I honestly hope no one is offended by the content herein, despite the obviously contentious subject matter.

Well a guilty pleasure would imply I have some standards for myself to begin with. In regards books that I know are awful I did once read the entire Dark Elf Trilogy by R.A Salvatore . For those who're familiar with Mr. Salvatore's works I can say they're at least entertaining if nothing else. Self-imposed standards are fine if they are tempered with self-effacement, I try to live by that mantra anyway.

How can I argue with two '1's' given by BTG?

Excellent work Binky The description of your BOTB set sounds like pretty much all of my favourite bands live performances, on a good day. I don't suppose you can say what festival lineup you'll potentially be appearing on?

Any of you have literary guilty pleasures? Some people would argue that my love for H.P. Lovecraft is already the guiltiest possible habit, but I'd say the one branch of literature is the phenomena of "Lovecraft pastiche". A fairer term is "mythos fiction" which several authors are renowned for, having broadly steeped their work in Lovecraft's conceptual universe and made it entirely their own. I talking more specifically about the kind of short story that so apes Lovecraft's writing style and less-than-inspired variations of his themes that it effectively becomes an unwitting parody of his output. Many literary critics use this as ammunition to bemoan his contributions to the horror genre, and even some of his devoted fans object to these kinds of stories. I have to confess my cardinal sin of secretly loving Lovecraft pastiche, which is only made worse because I'm just about smart enough to know that I ought not to. In-fact I believe I've come up with a rock steady formula to writing your own deliberately derivative Lovecraft fiction. Make sure the names of your elder gods and monsters are as unpronounceable as possible, more so than Lovecraft's ever were. Mythos lore nerds will wile away the decades arguing about it. Your protagonist has to have had a modestly upper class American midwest background, had more than adequate academic schooling, his own obscure interests in the occult and aesthetic sensibilities, as well as be imbued with a feeling of not quite belonging with modern life. He also has to be the whitest cracker you've ever imagined. Mention Abdul Alhazred at least fifty times in each paragraph. Make sure you make up your own eldritch tome with a suitably archaic sounding name written in yea oldhe aenglische. Thye mooure eunrheadebbel aund hystoryk loucking thye bheattre. Make sure you're hero has an irredeemably evil ancestor who performed vile rites and cavorted with swarthy foreigners. This guy has to be even whiter than the protagonist - if that's at all possible. Remember, asians and black people ARE EVIL! WooooHOOOOhoooooo! [^ See above] Alternatively, if your publisher isn't cool with your story containing casual bigotry and vile racial stereotypes, PRETEND LOVECRAFT WASN'T A RACIST! WooooHOOOOhooooooWOOOOHooooo! Most important of all. Remember to remove ALL of the underrated mystery and stately dread inducing pace of Lovecraft's best work that you may of accidentally imbued your own story with. Ham it up! I think I understand what you are getting at. Music, compared to other mediums, seems like something that is easily acquired. With an open mind there is now more music for a person's perusal than ever before. It can function both as a way of cutting off from the rigours of everyday life and as a headspace to project your imaginary forays, it's good for a distraction and a fixation in equal measure. I'd say my most overriding passion is art. Typically I refer to contemporary strains but I find the whole spectrum of human creativity interesting, painting, sculpture, installation, performance, conceptual, etc. I just find that I'm most content when I'm looking at, getting involved in/with, reading about or talking about art.

I know what I am, I'm a psychotic ninja, so watch out! I constantly surprise myself. :3

Wenn Alles Wehtut Und Nichts Mehr Geht by The International Nothing Quickly followed by... No Escape by Stoic Violence Does anyone else shuffling through your music?

I really ought to book an appointment with my opticians, I've had the same pair of NHS discounted spectacles for over a decade now. Curse me and my vestigial grimlock eyes!

I'm afraid I'm not a very practically minded person, a lot of that kind of technical information would more than likely go in through my eyes and immediately take flight out of my ears I read because I'm drawn to viewpoints and perceptions that I may never have come up with myself. I also just have an aesthetic attraction to language, a particular arrangement of words, a descriptive text or a quote will haunt my thoughts for days after reading it.

It's been years since I actually went to see a play, but I enjoy reading certain playwrights work. I especially like the "harrowing normalcy" of Scandinavian authors, the Norwegian Ibsen and the Swedish Strindberg in particular. "Talk about the weather? Which we know... Ask how we are? Which we know... I prefer silence. Then you hear thoughts, and see the past. Silence can conceal nothing, which words can. - August Strindberg, The Ghost Sonata

Nothing Gained by Stoic Violence

I'm leaning towards this character.

Maldoror Ceases To Exist by Dogs Blood Order

This is a subject and a genre I've grown to like and become increasingly excited about, especially in regards to the idea of VR compatibility - which previously I was rather iffy about. I think the genre is somewhat virgin territory, despite the advanced graphics and open potential of current gaming tech. I suppose it won't be too long before the genre gains an established niche (maybe people will call it "rapturelike", the same way folks say "roguelike" to describe a certain class of RPGs) which is a double edged sword in terms of content. It could lead to more substantial and lengthy titles with quality narratives as good as many other INE/WS games around at the moment, or it could lead to overinflated subpar material with more funding than artistic integrity, not that both scenarios couldn't happen simultaneously in future markets. Misanthropy and pessimism aside this is a genre and a tendency in games that I happen to enjoy. As a modest gamer (i.e. a "filthy unskilled console peasant") I tend to prefer games that draw me into a cryptic and atmospheric plot rather than give my fragile ego a vicious shoeing by being a serious button-noodling challenge. I think that's why I was always been attracted to point n' click games growing up, because the challenge was to engage with other characters and solve problems with cunning and logic. In retrospect INE/WS games seem to be a logical progression and a game-engine middle-ground from a contemporary culture inundated with first person shooter games, as well as a natural need from gamers and developers alike to play/create something with more literary ambition than most games. I personally thought Everybody's Gone to the Rapture was excellent and well worth the wait. It may of been "too short" by traditional gaming standards (it struck me as being a visual/interactive equivalent of a good short story) even I was slightly disappointed with that aspect, which unfortunately felt intrinsic to that game's particular story. I can also see why many would of found it overpriced for what they received, but that price didn't (for me at least) detract from the overall integrity of the game. It felt like an experiment that succeeded outside the usual gaming market, in order to be enjoyed one had to disregard a lot of the usual gaming entitlements and prejudices. For all it's apparent "failings" I couldn't help finding it a succinct and damn near perfect example of a walking simulator. I found Firewatch a bit underwhelming, which isn't to say it wasn't initially very engaging and instilled a sense of the uncanny, plus the banter between Henry and Delilah actually proved to be more amusing and heartwarming than I thought it would be. It also looked gorgeous. Despite the excellent scripting and atmosphere, this one (for me at least) has a an extremely unfulfilling ending. Had it been a traditional game it may of been able to get away with a mundane culmination, but narrative is this genres bread and butter, I wanted some of the mystery and majesty to remain with me at the end. That's not to say the story is bad though, someone else with different tastes might really enjoy it. One of the most accomplished INE/WS titles I can think of must be The Vanishing of Ethan Carter. It feels like a lengthier and broader-scoped proper story than other games in the field, the equivalent of a short novella than a short story. The supernatural themes and psychological thriller elements sat extremely well with me, plus it retained some puzzle solving elements that made it feel less like a hike around a virtual world and more like a "proper" horror adventure. Plus the ending of this one is shockingly good, or bad, depending on how you look it. This one left me enthralled from beginning to end.

That's the thing, I hadn't even heard of the Tropico franchise until this one came out, so I guess I came to it without any real expectations. That being said I have played better strategy/management genre games than Tropico 5. It strikes me as being a very casual take on the game style, which for a console format actually suits me just fine. I must confess I rather enjoy playing sandbox mode with unlimited funds just see how enormous an island metropolis I can dredge up. Your comments though - and some other negative reviews made by fans of the series - makes me curious about the fourth installment.

There is a line that has to be drawn. And it's perfectly morally defensible too. If the guy is a danger or he disrupts the classes for others - there is no place for him there. It's for his own good as much as for others' And it seems this person is just too mentally "diverse" to fit. The teachers need to act here... Regards I agree with your comments about the teacher's responsibility, he sounds as though he needs a higher degree of care than the average person world. But who wants to be the first person the test the bounds of political correctness? Especially in regards to so vulnerable a subject? I think sentiments cited here demonstrate how slippery of a slope the idea of "normality" can be. I think at this point I need to explain I'm not saying anyone is wrong on the subject or even calling any of you guys out, I think I'm just a little too aware of easily the disabled can be written off. My best friend (a gentleman I've known since nursery) has cerebral palsy and I have several other good acquaintances with various physical disabilities or minor learning difficulties. I guess my camp is pitched on the more left-wing "heal teh world" side of the debate...

^ I also have far too many books than I know what to do with Binky :3 I get around to reading everything eventually, but in the meantime all of these new publications and second-hand items aren't going to purchase themselves. Here are three recent acquisitions which are formatted for easily nit-picked chunks of habitual reading. London's Whitechapel Gallery have an extremely informative series of books called Documents of Contemporary Art of which I own a large number, sitting in a multicoloured pile on the desk next to my bed. Each one is edited by a guest art writer, critic, artist, etc and they contain textual material loosely themed around a given concept in art terminology, an artistic practice or a cultural lexicon - i.e. "Colour", "Documentary", "The Gothic", "Ruins", "The Market", "The Cinematic", "Abstraction", etc. Recently two new ones came out entitled The Magazine (edited by Gwen Allen) and Queer (edited by David J. Getsy). The former book focuses on how artists and writers have utilized both mainstream and D.I.Y. art press to promulgate their ideas, and even how the magazine format has been appropriated as a medium for art in of itself. The latter book collates together various writings from LGBT artists and theorists, as well as the modes and manifestos of so called "queer art" that tend to function as an incited and/or implied criticism of political and social structures. "Columns of type sink into the whiteness of paper. Arctic zones surround isolated clumps of meaning. The edges of any paragraph is menaced by the margins of another ice age. Snow white spaces cut glaciers into layers of words. Here maps have no direction because they are scattered from cover to cover. Maps within maps are seen where no maps are supposed to be."- Robert Smithson, Hidden Trails in Art (1969) "We don't touch money. In fact, what we host has never made any money. Instead, the site is filled with the detritus and ephemera of great artists - the music of Jean Dubuffet, the poetry of Dan Graham, Julian Schnabel's country music, the punk rock of Martin Kippenberger, the diaries of John Lennon, the rants of Karen Finley, the pop songs by Joseph Beuys - all of which was put out in tiny editions and vanished quickly. However the web provides the perfect place to restage these works. With video, sound and text remaining more faithful to the original experience than, say, painting or sculpture, Ubu proposes a different sort of revisionist art history, one based on the peripheries of artistic production rather than on the perceived, or market based centre.[...]" - Kenneth Goldsmith, UbuWeb at Fifteen Years (2011) "This is the irony: there are more Black male filmmakers and rap artists than ever, yet their works display a persistently narrow, even monolithic, construction of Black male identity. 'You have to understand something', explained Professor Griff of the controversial and highly popular rap group Public Enemy, in an interview. 'In knowing and understanding black history, African history, there's not a word in any African language which describes homosexual, y'understand what I'm saying? You would like to make them part of the community, but that's something brand new to black people' (Melody Maker, 31 March, 1990). Thus Black Macho appropriates African history - or rather, a deeply reductive, mythologized view of African history - to rationalize homophobia." - Marlon T. Riggs, Black Macho Revisited: Reflections of a Snap! Queen (1991) "I was surrounded by people who were suffocating under the burden of normal life. I knew I'd rather be wrong than safe." - Holly Hughes, Breaking the Fourth Wall (1996)