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pocketsizedquasar · 4 years

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So, Dave Malloy’s Moby Dick Musical.

Soooo I have a long and weirdly personal relationship with this musical, in the sense that I have been following it and its production super closely for the past several months & interacted with Dave on a very memorable occasion re: potentially problematic elements of the show, and just generally have spent a ridiculous amount of emotional energy worrying about this for the past two months (I’ll get into that more later).

I went to see the dress rehearsal on Sunday, and saw the previews again Friday night. Here’s my thoughts! This will be slightly spoilery, and very long. TLDR at the bottom!

1.) Artistic/technical aspects: needless to say, wonderful. The cast all performed phenomenally, the music was great, the set was beautiful. They were such a delight to watch & you could really tell they were all having a good time and /I/ had such a good time watching them! Both shows I genuinely had fun and enjoyed myself (also shoutout to the lighting and set design, the orchestra, and really everyone involved). The show really excelled here, which really was to be expected — the songs were SO so wonderful. even though I had issues with the way some of the characters were treated, I still absolutely adored watching the actors and the performances, even if the material wasn’t always my favorite. But more on that in a bit. Like, off the top of my head? Starr Busby made me cry in Dusk, Manik and his raw nerdy energy was such a perfect Ishmael, Andrew & Manik were lovely as Queequeg & Ishmael together, Tom’s Ahab floored me, Matt’s voice as Tashtego literally transcended me from this mortal plane... on Sunday I went onstage for the audience participation bit and everyone was just so wonderful and lovely (and like I got to hold hands w some of the cast and I think I can honestly die happy now)... like seriously, shoutout to this whole cast for being perfect human beings (and so sweet to interact with after the shows!)

Anyways.

2.) Race & Moby Dick, in general, and with this musical:

So... I will preface this section with the fact that Moby Dick is already very much a story about race. It’s not always handled well, of course, but Melville deals with race and racism and white supremacy a lot in the novel. So, ANY adaptation of Moby Dick is inherently also going to be about race, and by extension, any adaptation is going to be Relevant to race in modern America. Some adaptations have dealt with it by just whitewashing the characters or otherwise ignoring the racial issues, but ignoring it is still making a powerful statement on it as it is. Cool? Cool.

The way Dave has spoken about the show in interviews & such sounds like he’s wanted to really specifically address & comment on race in modern America. Which, like, okay, cool. A little bit weird since you don’t really have to try to make MD about race, and I question the ability of a white male writer in general to comment on race and racism in the modern US, but I digress.

Around June this year, some friends & I find out about potential plans to change the races of several of the characters — white men being played instead by woc (w/ the exception of ahab), characters of color having races swapped, etc. — sort of similarly to how Great Comet was cast. This raised a few red flags, since MD and GC are Very different source materials and a lot of the characters’ of color’s stories are Inherently About Their Races (re: Pip, Queequeg) & the white characters are Explicitly Racist (re: Stubb, and to a lesser extent the other mates) — changing around characters’ races doesn’t make sense in a story so intrinsically tied to race. A couple of friends go to the preview concert in NYC, where they saw ‘the tambourine’ — a long segment of the show that was then sung by “Pip-Not-Pip” (played by a nonblack actor) and also contained a lot of racist and ableist elements, and just generally...yikes.

Soooo this is where my weird personal story comes in. I won’t get too much into it, but the TLDR of it is, I talked about my concerns w the racial casting a few times here and on twitter; I tried to go meet Dave Malloy in person at the A.R.T.’s open house in October and give him a letter that @starbuck and I wrote with our concerns, and he recognized me as That Person Who Made Those Posts on twitter/tumblr, and I was just overall a very awkward human being.

Anyway.

There Have been improvements made since then, since October, and even since Sunday, so I’m optimistic — most of the changes have been fixing the casting. However, the bulk of tambourine is still there in the show (though it has been changed), & all the mates are still played by WOC, even though they are referred to in the show as white men (I don’t strictly have a problem with this; it’s just an interesting take to have them be ‘metatextually’ white). l’m very glad for the changes that have been made thus far, & I hope he continues to take things like this into consideration. I would have loved it if Dave were a little more transparent about some of the racial issues and their changes (if only for my peace of mind because, truly, the amount of emotional energy I’ve expended worrying about this gd musical is... astounding), but also so that? His audience could know that he’s willing & able to accept critique and make changes? I don’t know; I feel like transparency with issues like this is pretty important.

And then we have... Fedallah.

In the book, fedallah is a very poorly represented Parsi Zoroastrian man — melville really just went ham with the orientalism here. He’s just this badly written mystical exotified mess, and it’s awful.

In the musical, Fedallah’s actor gets a monologue where he talks about his experiences as a Black Muslim man & calls out both Dave & Melville on their respective racism, and just generally goes off about religion & racism. It’s not... terrible? But I’m curious as to a) who it was written BY (the actor? Or Dave? Bc it’s questionable at best if Dave) and who it was written FOR. It felt very self-congratulatory, very “hey look I’m woke for writing this and calling myself out like this, and you’re woke for hearing this.” I as a POC in the audience (specifically an ethnically persian person, so like, literally the group that fedallah is from) felt extremely uncomfortable, (1) with the erasure of Fedallah’s race & religion, (2) with his lumping of all religions together as “bad” and “fucked up” (which like, yikes, yeah you can criticize religion without lumping in indigenous religions, Islam, Judaism, etc with Christianity like that and implying that they’re all on the same level), (3) with the fact that this speech seemed to be taken as a free pass for the audience to just, like. Exonerate themselves of their own racism?? It felt like it was Dave congratulating himself for being “better” than melville (which congrats ?? You’re less racist than a white man from the nineteenth century), it felt like he was trying to Prove Something to a presumed white audience, and in doing so, alienating the audience of color. Like I distinctly remember the feeling of like “this show is not meant for me. I’m not the target audience.” And (4) because the actor did an accent whenever he was actually acting as fedallah and that just really rubbed my persian ass the wrong way.

Anyways.

Idk, I’m still on the fence about the whole thing there. Again, part of my discomfort stems from the ambiguity on who wrote it? And parts of it — calling out Melville’s racism, the actor talking about his own experience — were actually quite good. I just think it needs to be reworked, both from a racial and just a general writing perspective (which I’ll talk about next).

That and cut tambourine. The rest of the Ballad of Pip was fine, even great, without it.

3.) Writing: I’m pretty torn on this one, because there were a lot of things I really really liked, but a lot of things I really didn’t like. A lot of the added dialogue felt a bit clunky and unnatural, for one. I’m really happy with how Tashtego and Daggoo both got more development — their scenes together were great to watch — but it felt like it came at the expense of Queequeg’s character, who felt underdeveloped and like he was played off for laughs, especially in his intro. I ADORED how ishmael was characterized / acted, and I loved how he broke the fourth wall and went in and out of the show like he goes in and out of the narrative of the book, but I feel like his and Queequeg’s relationship (while, again, was acted so so sweetly & honestly made me cry) didn’t get, like, the narrative or emotional treatment it deserved? I felt baited the first time I went to see it, and I felt better the second time, but I still would’ve loved at least some kind of explicit narrative confirmation.

And I’ve talked about this before, but I really do believe that any take that reduces Ahab to just “privilege” is wont to flatten his character — and in this case it did. The performance was phenomenal, like I said, but from a writing standpoint, Ahab doesn’t really get the depth that the book gives him. I figured this would be the case going into this, especially given that he is the only white man on stage and Dave’s apparent take of “white man leading America to its doom,” but still.

So from a character standpoint I wasn’t too happy with how either Ahab or Queequeg were narratively handled (again, they were performed beautifully!)

And then both of the segments I had issues with race-wise (fedallah & the tambourine) also just from a writing perspective felt incredibly out of place and tonally dissonant from the rest of the story, to the point where they jarred me out of the show and even had a negative impact on the parts of the music that I DID like.

I think, ultimately, the show is trying hard to be too many things at once. It’s trying to be a faithful adaptation and a modernized retelling at the same time; it can’t decide which it wants to be and so it fails at both. It feels like at times Dave is trying too hard to prove a point (a point that it’s questionable whether he should even be making at all, as a white writer), and in doing so, loses us on the story. Storytelling should be about posing a question, not proving a thesis.

Anyway...TLDR:

Overall? It was a good show. I had a Lot of fun both times I went. I know the show is still changing a lot in previews, even more than the changes I’ve already seen between Sunday and Friday (apparently they’re adding an entire musical number? holy shit this cast is superhuman); I’m curious to see where it goes and what gets changed before it officially opens. Im much more optimistic about it now than I was.

But I think there’s still some pretty glaring racial issues that sort of drag the rest of it down for me, and from a writing perspective, I don’t believe that it can do the book justice without revisiting some of the characters and the way of approaching the storytelling.

So, yeah.

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blessuswithblogs · 6 years

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The Forest, Subnautica, and Survival: The Wages of Building a Cool Tree Fort

Spoiler Warning for both games as the article goes on! Do exercise caution.

I love survival games. That's just kind of a part of how my taste in games has developed over the years. I adore Minecraft, Terraria, Starbound and any number of creatively inclined "build and explore" games. I could think of a couple of reasons for this, the most prominent being that this kind of game is extremely good at making incremental progress feel rewarding, and that I've always had a fascination with habitation in extreme environments like the deep sea, space, and Magical Block Land where the Cacti Explode. Lately, I've been playing an streaming both Subnautica and The Forest, two games that belong in a sort of subset of the genre: Survive and Escape.

Both games start out with a cataclysmic (space)plane crash that deposits you and a number of other doomed survivors in a hostile world that wants to eat you. With Subnautica, you crashland on planet 4546B, an ocean world in which something has gone terribly wrong with the ecosystem. The Forest instead pops you out on a vaguely Canadian peninsula out in the middle of nowhere and cannibals kidnapped your son. Subnautica, as it is in most respects, has the more solid premise of the two. The Forest can scratch a kind of The Hills Have Eyes itch if you have one, but the overall setup of the game is sssssslightly too racially charged for my tastes.

In deference to alphabetical order, let's discuss the Forest first. Of the two games, it has the more robust crafting system. While it has overall less moving parts than Subnautica, you can still build a cool houseboat and you have a great deal of freedom in the overall shape and function of your buildings. In fact, that's originally what sold me on the game - I found the idea of having to build a base not only capable of sustaining you but also withstanding attacks from monsters to be very appealing. Base building can take a long time on your own (2 player co-op is a definite point in favor of the Forest versus Subnautica if you're one of those people that has to quantify the better game) but there are some things that can speed it along and make you feel like a regular Swiss Family Robinson - with all of the cultural baggage that entails. Completing a fort and finally creating a safe haven from the mutant hordes is a rewarding feeling, but it is one that the game almost immediately undermines.

The Forest is a game working at cross purposes with itself. It gives you the tools to create elaborate custom buildings or entire complexes if you so choose to do so, but there is also The Narrative, and The Narrative is most insistent on Finding Timmy. Timmy, your son from the beginning of the game, is assumed to be the player's top priority, but in actuality it's really easy to just forget about him. The game gives you a checklist of things to do as a sort of compromise between total freedom and a more linear experience. Most of the items on this list are some variation of "explore this cave". Cave Exploration is kind of where The Forest fragments into two separate halves: the crafty buildy survivey game, and a different sort of first person metroid slash cannibal murder simulator. The minute you enter a cave you basically go completely blind and have to rely on a variety of deeply inadequate light sources just to fumble your way around. The gameplay loop is simple - go into a cave, kill all the mutants, find a point of interest, go as far as you can until you find an impassible barrier, then retreat back to the surface. The points of interest are often interesting, to their credit, vaguely telling a story about A Deep Secret Beneath the Peninsula as you find various photographs and torn magazine clippings to gawk at for a few seconds, but it is impossible to shake the feeling that these spelunking expeditions have nothing to actually do with any of the other things you've been doing. You can find a number of useful objects in the caves - a flashlight, a map, a compass, a fine piece of hanzo steel - that will make your life easier, but are primarily designed to let you go into the caves Better and Deadlier.

Here's where we get to this stark divide: you don't actually have to make a base in the first place. All of the fantastic tools The Forest gives you to make your own log cabin city are, beyond Basic Fire and Temporary Shelter, utterly superfluous to actually progressing in the game. The weird thing about the caves is that they are actually borderline overflowing with supplies. The Forest has you spend your first couple of hours thinking that you're gonna really to have to grapple with the land in a titanic struggle for survival but actually you can just go into a cave and find like six respawning boxes of Fun Drink! soda and Snack brand snacks which work just as well if not better than like. Hunting for food and purifying your own water. Sleeping is entirely optional, too, something that becomes readily apparent down in the caves where it's always pitch black regardless of the day night cycle. You can easily manage just by building the occasional temporary shelter to save your game or just find one of the many tents already in the game world. There's a whole complex system of substats and sanity meters that you can basically just ignore as you go careening through the depths.

Progress in the caves is gated by two things: environmental obstacles, and enemy mutants. You will occasionally find a novel map feature like a climbable wall or an underwater pool too deep and dark to go swimming through without some help that will keep you from moving forward. You can blow up walls occasionally too, but not often or clearly indicated enough to make that feel like a genuinely well implemented system. To overcome these obstacles, all you have to do is find the right items - the climbing axe and the rebreather will let you go basically anywhere, once you get your hands on them. The world of The Forest is big, and it plays a dirty trick on you - most of the stuff aboveground is useless bullshit for idiots. Basically everything you want or need is down below, and if it takes you a while to realize that, I imagine that it would be pretty frustrating to feel like you had basically accomplished nothing for the last however many hours of exploring the lush but ultimately very empty forest floor.

Speaking of the game playing dirty tricks on you, there is one more instance of needing an item to get to where you need to go. But instead of some neat piece of exploration gear or a Really Big Stick of Dynamite, it's a keycard. The door that requires a keycard is at the bottom of an incredibly long and grueling run through several cave systems that empty out into the bigass sinkhole that dominates the landscape and taunts you with secrets and mysteries from basically day one. The keycard, regrettably, is not nearby. It's halfway across the world hidden in one of the many Super Fucked Up and Scary mass graves the mutants like to keep in their cave systems, requiring either foreknowledge or impressive pixel hunting tendencies to find beforehand. The game gives you a clue where to find it in the form of an old photo - located right before the door itself. It is a slog and a half, to put it bluntly, and since this is a survival game, you're working on a constantly ticking timer of hunger and thirst, and this particular cave system is quite stingy with soda and snacks where the other caves were giving them out like it was an afterschool baseball game. It might have actually been faster to simply reload a save file from before I even attempted the journey and just go get the keycard first, but I didn't think of that at the time. I'm harping on this because it's a huge departure from the fairly natural flow of cave exploration that came before and also a HUGE waste of time. Like, why. Fuck you, that's why.

The endgame sequence is kind of a mess, basically the devs realizing that the game had been in alpha for like literally 3 years and they needed to have some kind of conclusion in place for the full release. While I have no doubt that through the game's development history they had been most diligent about slowly developing and uncovering secrets about what's really going on in The Forest, the actual part where they have to put their money where their mouths are and provide some answers it's just. Kind of. Ehhhhhhhh. Basically you tumble headfirst into a SeCrEt PhArMaCeUtIcAl LaBoRaToRy where they were toying with ancient alien artifacts to create anti-aging cream or some bullshit which, somehow, ended up creating a race of weird mutants without private parts except in certain individuals who have like. ALL of the private parts and probably more besides. The Sahara Labs company even had this fucking supervillain Relic Laser System that shot down passing planes so they could abduct more test subjects away from prying eyes and honestly its like if you want to be that evil and kill people just jacking up the price of insulin is way more efficient and easier on the PR department.

Basically it boils down to you finding Timmy inside some alien bullshit device, dead as fuck, and pantomiming being very distraught about it. However, it comes to light that actually the machine he was hooked up to can bring people back from the dead in exchange for a sacrifice, so you continue deeper into the facility with even more murder than usual on your mind. You eventually find Megan Cross, the girl that Timmy's life force was used to bring back from the dead. Unfortunately, because ancient alien technology never works right, probably by design because ancient aliens are fuckers, Megan mutates into this fucking Resident Evil limbs monster and you have a fucking final boss fight. I aallllmost put the game down there because like. Seriously? Seriously seriously this is what we're doing? I have to use this game's janky ass combat systems to kill an angry little girl monster that can kill you in like 5 seconds if you get within 5 feet? I stuck it out because the devs were kind enough to just kick you back outside the Big Final Boss room with a health and energy penalty whenever you died (which was frequently). Eventually the thing dies and you go rushing back to Timmy with the corpse in hand. But, alas! The machine requires a living subject! After that you just kind of shuffle through some more cave systems with spooky skeletons in them until you find the control tower for the Airplane Killing Laser Beam and you are presented with... a choice.

You can either shoot down a passing airplane to kidnap a viable sample to resurrect Timmy, dooming every single passenger to a gruesome, cannibal related death... or you can just shut the damn thing off, which is really the only reasonable thing to do. Like, who the fuck even is Timmy? I don't know Timmy. Timmy can fuck off. Timmy wants to guilt me for building a gazebo? He can stay dead. It's the Fallout 4 problem all over again - you can't just take it for granted that the player is going to care about someone because you screamed "THIS IS YOUR SON" in the first five minutes of the game and then immediately deprived you of any meaningful interactions with them. It is the unfortunate tendency of parents to believe that their children are things owned by them, brought to the logical extreme. You have no reason to feel particularly compelled to rescue either of these kids aside from the simple fact that they're Yours, whatever that means. So when Shawn is actually the sleazy, amoral director of science fascists, fuck him. When bringing Timmy back to life means putting somebody else through what I just went through, keycard bullshit and all, fuck him! Enough! Time to move on! So I turned off the machine and escaped through some more caves and then I burned my picture of Timmy and got the crafting blueprints to a Timmy effigy made of cloth and sticks which was, admittedly, kind of hilarious. You also get one for your dead wife, which is just labeled "Wife". That was less hilarious and more of another look into the mindset of the people who make these games and why they are a problem. Also you can find another alien obelisk in a boat and open up a door to find a god mode sphere or something but I did not have the patience to go do that.

So I've been down on this game quite a bit, but I actually enjoyed my time with it a lot because what it gets right, it gets very right. Plumbing the dark depths of the cave systems with nothing but a shitty lighter for illumination and an airplane axe for protection, straining your ears for any noises that might break the deafening silence of the underground, constantly scanning the edge of your vision range for the signs of movement in the shifting shadows - it's a fantastic horror experience that a lot of games could learn from. Similarly, the crafting and survival elements, superfluous as they are, are also a lot of fun. You can hunt game for meat and skins, find berries and learn to tell the difference between the poisonous ones and the edible ones, make a bunch of improvised weapons like a fishing spear and a shitty bow and arrow set, build fires to cook food and boil water to make it safe to drink - all of these systems are well thought out and fun to engage with. Like I mentioned earlier, base building is fun and The Forest gives the experience a very down to earth feel by having you chop down trees and transport the timber by hand. You can also build a wide variety of traps and defensive structures, but that brings us to another major sticking point. The Forest wields silence and darkness like an assassin's blade, but falters completely when it comes to actually fighting things.

Combat. Do you ever wish a game didn't have it? I do. A lot. The Forest is one of those games. Fighting the mutants that inhabit the peninsula is as tedious as it is distasteful. It's mostly just a bunch of wild flailing about with an axe or other bladed instrument in the general direction of the enemy. If you're feeling frisky you can use molotovs or poison arrows or even TNT, tactics that become necessary when fighting the game's Creepy Mutants (name not mine i swear). The Creepy Mutants are large, monstrous enemies usually comprised of several individuals fused together. They're big and tough and they have soooo much fucking health god christ ass. You can skin them and use their mutated hides as armor which is pretty metal but fighting them is just not fun. Which is the same for all the other enemies honestly. You just kind of get the enemy into a stunlock and try to finish them off before another mutant puts two and two together and stops running around in circles and actually tries to hit you. Your enemies are hindered by very curious AI and stunlock vulnerability, but to even things out you have to deal with some of the same vulnerabilities, as well as certain lighter related limitations when it comes to explosives and incendiaries that really makes using them a chore.

It feels odd to say this, but The Forest doesn't need its mutants. It's better off without them, to be frank. The dangers inherent in spelunking and surviving in a cold wilderness are more than sufficient to create a sense of vulnerability. Like if you really had to you could just put more crocodiles in the game and make them more aggressive, those fuckers hurt. The story wouldn't even have to change that much - the real movers and shakers of the plot aren't mutants at all. They serve very little purpose except to be the architects of a number of grisly tableaus we've already seen in other games with aspirations of environmental storytelling. There are no toilets in The Forest but if there were, by god would they just be filled to the brim with skulls. There's a severed head in a water cooler at one point. That's in the same spirit. And, of course, there's the elephant in the room: the mutants, as a concept, are deeply racist. Facing down a horde of hooting and hollering brown and black miscreants clad in tribal body paint and loincloths while brandishing various sticks adorned with skulls at you cannot be separated from our bloody colonial past and demonization of native peoples. It's just not happening. This game is about the White Man versus the Savage, whether or not the devs meant it that way. They probably didn't, trying to offer assurances that these aren't actually natives, they're mutant hell cannibals with no dicks. But like. Nah. Not buying it. The mutants will occasionally marshal a big attack on your base or settlement, bringing a big creepy mutant or two with them to try and knock down your shit. What should be one of the game's selling points is marred both by really unfortunate historical imagery and the fact that it's really hard to actually defend anything from getting broken because none of your weapons can actually hit straight down a wall without either lighting them on fire or blowing them up. If they really needed to have an enemy faction in the game, there are five million other angles of mutant they could have gone with - lizard men, tentacle monsters, psychic fuckers, zombies, a Mitch McConnel clone race - but the fact that they went with "tribals" instead of something even moderately less racially charged says a lot.

So that's The Forest! Promising game, fun for the most part, but intrinsically flawed in some very inescapable ways. What about Subnautica? Well, I have good news: Subnautica is much better. It starts the same way, with the spaceship the player is riding on suffering a catastrophic crash landing in an inhospitable world, with most of the other crewmen missing or just dead outright. You start with a life pod fabricator and a sassy corporate issue PDA to point you in the right direction, but aside from that, your only real goal is to survive. Crafting is much more hands off in Subnautica - it's handled almost entirely by way of fabrication stations where you input raw materials and it spits out a finished product in a very scifi way. The way you progress in Subnautica is quite organic: you find a recipe in your databanks you want to build, you go searching for the materials, and in doing so you uncover more of the world. You build an enhanced air tank to stay underwater for longer so you can go deeper and farther. You build a seaglide vehicle to go faster, you build a little underwater seabase to hold your growing collection of rare materials and creature eggs, and so on and so on. Unlike The Forest, where the survival aspects can be basically ignored, learning how to maximize and streamline your food, water, and power production is quite pivotal to getting anywhere.

There are a number of ways that Subnautica arrests your progress, from hostile megafauna to severe radiation leaks to hiding important blueprint fragments behind laser cutter doors. The big one, however, is depth. Appropriate for a game about the sea, I think. At first, depth functions as a barrier of how deep you can go before running out of air - the seas are pretty deep, and after some changes from beta, you can only have so many air tanks equipped at once. Once you learn how to get around that by making some sweet submarines, depth becomes a matter of water pressure. Oxygen is no longer a problem, but crush depth certainly is - take your seamoth below 200 meters and you start to have problems real quick. This necessitates a search for ways to better withstand the pressure. Subnautica is a masterclass in making incremental progress feel rewarding. Instead of having your numbers go up slightly, you get extremely tangible benefits from the various gear upgrades you create or find in the world. The Seamoth is both extremely fast and convenient for getting around and your only practical way to bring an oxygen generator with you, and installing a depth module just increases your freedom and utility that much more. Finally putting a Cyclops together is actually just building an almost self-sufficient mobile base. Even something as mundane as learning how to make a planter represents a big boost to your food production and can expand your operational range by a great deal.

Subnautica is a game that delights in its own world. The vibrant underwater ecosystems you explore and uncover range from beautiful to the slightly terrifying, but there is a genuine love of nature - even scary nature - evident in Subnautica that's infectious. Subnautica does not really have combat, as such. You have a survival knife and a couple of space age tools like the Stasis Cannon which you can use to defend yourself in a pinch, but there is no mutant menace to contend with on 4546B. Hungry Reaper Leviathans and Crabsquids, maybe, but wild animals are wild animals. No moral judgment is cast upon the Stalker's tendency to try and take a bite out of your ass. In fact, you can learn to pacify and even play with them by bringing them fish to eat or scrap metal to sink their teeth into. There is only one entity on the planet that is actively and determinedly hostile to the player, and it's a real fucker, but there's a good reason for it.

The reason for your unexpected visit to the ocean planet is revealed to be the work of a planetary quarantine system installed by Ancient Aliens (again) a long time ago to prevent the spread of a particularly virulent and deadly variety of bacteria. You gradually find evidence of the Kharaa bacteria and the involvement of a precursor civilization as you explore: certain fauna will be covered in green pustules, the PDA will inform you of the presence of infectious agents in the water and how some biomes are curiously lacking in biodiversity, and you'll occasionally find vents and structures of an obviously alien design. A refreshing thing about Subnautica's Ancient Aliens is that they aren't depicted as magic space gods. They have advanced technology compared to that of Earth's, but ultimately they were just some dudes who got caught on the wrong side of a very nasty bacterial plague and didn't quite figure out how to cure it in time. At this point, you have two goals: get rid of the infection, and find some way to disable the giant quarantine laser gun and get off the planet. Finding a cure for the kharaa bacteria requires going deep into the depths with a heavily armored PRAWN suit designed to withstand crushing water pressure and even the most angry and enormous of predators, where you can find a number of alien facilities using the abundant geothermal energy of the planet's magma layer. Finding a way off world involves putting on a radiation suit and exploring the wreck of the Aurora to both fix the catastrophic radiation leak and to get in contact with the home office, who in between ordering ham and cheese sandwiches are gracious enough to send you the blueprints for your very own interplanetary rocket ship.

Throughout all of this, you'll get intermittent distress calls on your radio giving you the coordinates to various points of interest like other lifepods and bits of the Aurora that were unceremoniously scattered to the four winds upon impact. You can also find evidence of people who came to this planet before you and learn their story from PDA logs and the condition of the temporary shelters they left behind. I am not especially fond of the whole audio log method of storytelling, but in Subnautica it's framed less as "the entire population of earth compulsively records their thoughts on tape recorders" and more "corporate issue malware will obsessively observe and catalogue all interactions between you and your fellow employees." There is a definite undercurrent of anti-capitalist criticism in Subnautica, from the Alterra Corporation's insistence on framing interpersonal relationships as business transactions to your PDA's intermittent reminders that all of the things that you are building to survive and get off the planet with are steadily incurring a ridiculous amount of debt to your employers due to exploitative contracting. It can get a little on the nose, but more and more I am finding that even the most on the nose satire is leaps and bounds more subtle and nuanced than actual reality so I can't complain too much.

As the game goes on, a rescue attempt by the Sunbeam freighter ship goes terribly awry when the quarantine enforcement platform blows it the fuck up and your own level of infection steadily progresses. You start to receive periodic telepathic messages from a mysterious being, who claims that it wants to help you. When you finally make your way through the briny Lost River and into the dangerous Active Magma Zone, you find the alien's primary containment facility housing a remarkable organism: The Sea Emperor. The Sea Emperor is an enormous leviathan class entity, twice the size of the gigantic magma spitting Sea Dragons hanging out nearby. However, like the enormous cetaceans of Earth, the Sea Emperor is an intelligent, sapient being that feeds by filtering microorgansisms from the surrounding seawater. The story of the last remaining Sea Emperor is a sad one, contained by the precursor aliens for over a thousand years in order to study the mysterious Enzyme 42 that it produced. This enzyme was the only compound they had ever found with the ability to neutralize the Kharaa virus, but due to the Emperor's advanced age and their inability to communicate with it, they reached an impasse. The Emperor was no longer capable of producing large amounts of the enzyme, and its eggs were trapped in a sort of indefinite stasis due to the conditions of the holding tank not being optimal for their hatching. So its basically been waiting all alone for a good millenium or so for somebody to come and help hatch its eggs.

Fortunately, the survivor of the Aurora's crash is a determined and compassionate soul, and by working together with the Sea Emperor, manages to put together a vial of artificial hatching enzymes by gathering samples of flora from the outside ecosystem. The eggs hatch, giving both the Sea Emperor species and planet 4546B writ large a chance at a future. The adult Emperor dies of Being Over a Thousand Years Old shortly after. Most likely, it was only its determination to see its children grow and flourish and save the planet that kept it going this long, so once that purpose was fulfilled, it finally felt able to go to its final rest. The Emperor is a philosophical individual, with complex ideas about other minds and the potential of life after death and reincarnation, idly wondering as it dies if it might come back as an ocean current or a tiny being that fits between the grains of sand. It's an affecting sequence that taps into a lot of our hopes for maybe one day being able to truly communicate with and understand our own huge marine life. Once the young are released into the wild, you follow them and obtain a sample of Enzyme 42, which completely cures you of the Kharaa infection. All that's left after that is to disable the quarantine platform and build the neptune escape rocket.

After you complete the rocket - an impressively large construction, even bigger than the Cyclops submarine - you are prompted to create a time capsule before you take off. The time capsule includes space for a few items you can leave behind , a screenshot, and custom text note. The idea is that other players might discover it on their adventures and find what you left behind, another surprisingly emotional touch to the game. Admittedly it was slightly ruined for me because when I exited the cockpit to go and take a screenshot the entire launch platform was flung into the sky for no reason, me along with it. I did have the presence of mind to take a blurry screenshot of the several tons of plasteel sailing through the air as if by magic. We both eventually landed and I managed to climb back up and (properly) launch the rocket. As you leave the atmosphere, the spirit of the Sea Emperor contacts you one last time to thank you once again for giving its family a future. As the credits roll and you reenter Alterra space, your PDA happily congratulates you on making it back and assures you that you will be cleared to dock just as soon as your outstanding debt of several trillion credits is settled. As the music fades and you return to the main menu, you can't help but think: man, maybe I should have stayed.

It is this sentiment, I think, that truly separates the quality of the two games as experiences and statements on the human condition. The Forest presents you with a superficially beautiful peninsula swarming with Evil Tribal Cannibals that must be overmastered in order to rescue your darling son object, that exists to be exploited and despoiled in your quest to build a Sick Fort that isn't even really necessary. You can even get an achievement called "climate change" for cutting down 100 trees and like. Fuck off. Not funny. You can legitimately deforest huge swathes of the game world if you find the chainsaw and some fuel. In the Forest, you are an invading conqueror masquerading as a victim of circumstance. In Subnautica, you are an observer and survivor. The primary building material is titanium, which you get mostly from salvage from the Aurora, occasionally supplemented with some more exotic ores and corals found naturally on the seabed. The ecosystem of 4546B, even though it is devastated by plague, is bigger than you could ever hope to be. It's beautiful and fascinating and glorious, and the attempts that your predecessors made to exploit and subjugate it ended in abject failure. Your seabases are compact and efficient affairs, equipped with machinery for survival and research. The game specifically forbids you from building most kinds of weapons, citing a historical massacre that necessitated all weapon blueprints deadlier than the survival knife to be scrubbed from the database. Combat is fruitless and difficult, even in the PRAWN suit - it's better to just evade hostile fauna and slip by undetected with silent running. The only way to survive and escape is to work in concert with the indigenous life, not thoughtlessly destroy it.

I didn't expect, going in, to feel so compelled to compare and contrast these games, but when presented with the reality of the situation and how similar they really were, I didn't have much of a choice. They're almost dark mirrors of one another, the Forest presenting a Bad Future where the nazi sound designer from Subnautica was in charge of the entire project. I enjoyed the Forest, but there is a deep moral emptiness within it that I have trouble compartmentalizing, especially when Subnautica offers an alternative outcome that doesn't make me feel vaguely monstrous for playing it. Subnautica is, at its core, a more beautiful, more engaging, more thoughtful and even more frightening work than The Forest. The Forest comes close to offering a genuinely scary experience during the cave sections, but undermines its own premise by filling the haunting void beneath the earth with giggling naked canninbal men. The dark, trackless depths of the ocean, however, remain a fundamentally terrifying environment, populated by the strange and terrible lifeforms adapted to living deep beneath the crush depth of even the hardiest submarines. The Ghost Leviathans that lurk in the endgame areas and in the tremendously unsettling open ocean beyond the crater's edge are frightening to behold and terribly dangerous, but their presence is almost comforting, a reminder that other beings still exist in the lightless void. The hooting and hollering of The Forest's mutants simply cannot compare to the otherwordly cries of Subnautica's megafauna, and indeed, The Forest is at its most tense when all is silent.

I would be awfully interested in a game that took The Forest's robust crafting, building, and survival mechanics and transplanted them somewhere far away from the wretched peninsula and its ravening caricatures, perhaps a kind of Subnautica that took place in an alien jungle, or an earth jungle, for that matter. Anywhere less relentlessly ugly and hateful would be fine. Subnautica makes good on most of its lofty promises (except when it crashes. Stability is an area where The Forest has an unquestionable advantage) and presents a strong, unified experience. The Forest is a jumble of compelling systems mashed together in an unconvincing way with set dressing straight from the production of Birth of a Nation. A missed opportunity at best, an extremely questionable exercise in tone-deaf xenophobia at worst. I would be interested to know how the developers of the game justified their design decisions as not-racist, or if they even bothered. Subnautica is reflecting and uplifting, while The Forest, in all of its cynical attempts to push boundaries and put blood and titties on the screen, ironically only ends up feeling safe and derivative, contradicting itself and wasting the genuinely strong mechanics it developed. With certain statements from E3 about how certain developers try to distance themselves as much as possible from political statements while simultaneously creating deeply political games fresh in our minds, I think we should be more insistent than ever that this kind of cowardice is both ridiculous and transparently self-serving. All culture is political, because all human experience is political, inextricably intertwined with the struggles and conflicts between nations and groups that serve as the backdrops of eras. Subnautica knows this. The Forest either does not, or does not care.

#subnautica #the forest #games #survival games #games criticism

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