If you read that review, or the book itself, and thought, “that was good, but it’s just not bizarre enough”, well, my friend, have I got good news for you!
Cyclonopedia is written in an academic style. Or rather, it’s what would happen if H.P. Lovecraft wrote in an academic style while on acid.
The book is framed as a found manuscript discovered by an American tourist on a trip to the Middle East. What she finds is a disordered collection of notes loosely centered on the works of a Dr. Hamid Parsani, who has developed an esoteric theory of the world, particularly the Muslim world, and the Global War on Terror.
Dr. Parsani’s thesis, insofar as it can be discerned from the many cryptic documents and references, is that the Middle East is actually a conscious organism, powered by a dark god that lives beneath its surface. This viscous Lovecraftian xeno-intelligence is the substance we know as “oil”, and it subtly shapes humanity to suit its purposes. It runs our machines, drives our economies, and provides the impetus for massive wars, all in an effort to increase its control over the Earth as it seeks to burn as bright as its nemesis, the Sun.
Scattered throughout the writing by and about Parsani are references to other characters, including an American soldier called “Colonel West”, a Kurtz-like figure who has begun to understand the bizarre and occult nature of the battlefield and gone rogue, leading a renegade Delta Force unit on brutal sorties informed by his and Dr. Parsani’s research into the esoteric nature of the desert and the demonic forces that rule it.
This West character is especially interesting to me because in certain respects he parallels the real-life Lt. Col. Allen West, who was tried for the use of unnecessary force during the Iraq War, even down to such minor details as the fictional West’s fascination with oil and the real-life West’s line that “if it’s about the lives of my soldiers at stake, I’d go through hell with a gasoline can,” which he said by way of defending his actions. Is this literary license, satire, hyperstition, or mere coincidence?
I’m probably making this sound more compelling than it is. Parts of it read like a really dry and incredibly confusing dissertation, punctuated by moments of bizarre horror that aren’t as shocking as they might be simply because they feel so out-of-left-field. Still, like CCRU, the book does manage to gradually instill a sense of gnawing unease in the reader.
And also like CCRU, most of this unease comes from the fact that its central insane thesis seems to align with observable facts. If the Middle East really is a sentient force that compels humanity to wage eternal war over the black gold beneath it, we would expect to see exactly what we do see in the real world.
More curious still are some of the things that the philosophy of Cyclonopedia implies rather than stating outright. For instance, the curious fact that the monotheistic religions Judaism, Christianity, and Islam all originated in the Middle East, and slowly but surely defeated and subjugated the sun-worshipping religions—a fact which dovetails with the supposed envy the dark god oil harbors against the sun. (“Since the beginning of time, Man has yearned to destroy the sun!“)
It’s worth noting that the basic concept here isn’t all that different from Dune: a mysterious desert populated by a adherents of an esoteric religion, and a vital resource that is key to control of the universe. Frank Herbert based his story on the Muslim world to begin with; Cyclonopedia is like what would happen if you removed the sci-fi setting, and restored Dune‘s weird, psychedelic vibe to Mesopotamia proper. Truth is stranger than fiction, and Cyclonopedia is stranger than both.
Now, this is where I need to step back and acknowledge that most people are not like me. Most people like a story with a coherent beginning, middle, and end, and do not like to feel like their understanding of reality is slowly unraveling when they read a book. So I probably have a higher tolerance for this sort of mind-bending madness than most. And even I was getting impatient after a while. In a lot of ways, the book felt like it was building up to a payoff that it never delivered.
So, should you read it? If you love bizarre esoteric theory-fiction that requires a huge amount of close reading to even begin to understand. Since I think that only describes about nine people in the entire world, it’s likely not for you. But if you’re one of the nine, you’ll probably love it.
Indie writers, take an hour of your time today to watch Saffron Asteria meet the Writers Supporting Writers group to discuss her work. Saffron is an incredible supporter of indie authors, and an all-around cool person. I encourage you to subscribe to her podcast BOOKED and watch her site Indiosyncrasy, which is currently undergoing a revamp, but which has been and will soon again be a wonderful place for indies.
You all know the story of Mothman. Well, maybe you don’t, but I do. Basically, in 1966 and ’67, there were numerous reports of a strange winged creature appearing in West Virginia and Southern Ohio. Towering and intimidating with its evil red eyes, the monster haunted the hills of Appalachia, terrifying people on lonely roads at night.
And then, in December 1967, as the feeling of fear built to an awful climax, the Silver Bridge collapsed, killing 46 people. And the Mothman was never seen again. (Or was he?)
John Keel was witness to many of these events. A Fortean writer in the business of chasing UFOs, he interviewed many of the citizens in and around the town of Point Pleasant, West Virginia during this period. As well as many other oddballs who appeared, behaved very strangely, and then vanished.
If Keel’s account is to be believed, there was something very weird going on in West Virginia, and indeed, in the United States generally, during this period. There can be no doubt that there was “something happening” there, even if what it was “ain’t exactly clear.” (You can pretty much throw in the rest of the lyrics too; they all fit. And it’s worth noting that song was written in 1966!)
Keel was an entertaining writer, and the way he starts the book is very clever. He plays around with the way an event is described to remind the reader that things are often not what they seem. It’s the literary equivalent of Gene Wilder’s entrance as Willy Wonka, establishing right from the start that you can never be sure whether you can trust this character.
Unfortunately, while Keel could spin a good yarn, and his tales are often quite interesting, he never really does manage to establish what exactly we’re supposed to make of all the goings-on that he reports. A bunch of people saw and heard unusual things, including prophecies of various disasters, some of which happened, some of which did not, and some of which are too vague to say. I’m sorry, but if some non-human intelligence wants to impress me with its ability to forecast the future, it’s going to have to do better than “there will be unrest in the Middle East.”
As an account of an eerie and surreal atmosphere, not to mention a history of the UFO craze in the late ’60s and early ’70s, it’s an engaging tale. As an attempt to prove any of Keel’s theories regarding preternatural phenomena, it’s kind of a failure, since the entire thing is nothing more than a compendium of what Keel either claimed to have seen himself or been told by others, with no supporting hard evidence.
You will find my reaction put better than I could ever hope to express it in the words of Leonard Nimoy on The Simpsons:
I heard about this book via Audrey Driscoll’s review, and she recommended it to anyone interested in information management. Well, I’m interested in information management! So, naturally I had to read it.
The book includes a brief history of libraries across the world, before zeroing in on the United States’ Library of Congress, and how it evolved from essentially Thomas Jefferson’s personal collection to housing an unparalleled assortment of books, documents, and so on. It wasn’t always an easy road, as shown by the struggles at cataloging and the efforts made by people like Melville Dewey (a man so obsessed with efficient labeling that he for a time spelled his name “Melvil Dui”) to create a system for managing all of it.
Yes, indeed; this book is paean to library science that should make any archivist proudly proclaim, like Evie Carnahan in The Mummy, “I am a librarian!”
The most interesting fact of all that I learned from this book comes from a little note towards the back, referencing the Mundaneum. The Mundaneum was, in effect, a non-electronic internet, created by Belgian lawyers in the 1900s. It was, essentially, a database. In the 1930s, there were even early plans to make it accessible remotely.
The name “Mundaneum” is just so perfect, don’t you think? We ought to start calling the internet “Mundaneum 2.0” as far as I’m concerned. It captures the spirit much better.
Now, as I said, I am interested in information management. What may surprise you is that I am interested in information management in much the same way that Robert Muldoon was interested in velociraptor management. Information, you see, is a dangerous thing.
Of course, unlike velociraptors, information is critical to human life. We need information, and a way to store and retrieve it.
The science of cataloging and accessing information now takes up vastly more of our lives than it used to in historic times. The reason we don’t notice this is that it has evolved more or less concurrently with advances in electronic systems designed to expedite this process. “Anything can be quantified nowadays.”
All of which is to say that there is something about the entire process of information management that feels slightly inhuman to me.
“Big Data,” cloud computing, advanced analytics, and of course our new friend Artificial Intelligence are all refinements on methods of organizing and cataloging information. As this books shows, from the ancient Sumerians on, information management is a practice that has been steadily progressing over time.
But when I say “progressing”… is it progressing the way a garden gradually grows and becomes filled with nourishing food and beautiful flowers? Or is it progressing the way a malignant tumor does? Marc Andreessen said software is eating the world; perhaps it’s more accurate to say information is eating the world.
You see what kind of weird and dangerous tricks you can play with information? You came here probably expecting a simple review of a book about libraries. “That seems like a dry enough topic; he can’t make too much of a mountain out of this molehill,” you may have thought. Sorry! Perhaps the wisest course would be to go outside and touch the damn grass already.
I know, I know; most of you aren’t here for non-fiction. I actually was planning to have a fiction review for you this week. I was! But then… things got busy, and my internet was down for much of that time, which caused me to fall behind on other work, and, and… well, you get the picture. “Excuses, excuses,” you say. “Next he’ll claim a dog ate his book review.”
But I ought to give you something as a reward for your loyally showing up here. So here is a review I wrote, but didn’t really plan to publish, of yet another Napoleonic history book.
As the title implies, this book is actually history of two separate events, 129 years apart, both of which occurred in the same place: Borodino, a place in Russia on the outskirts of Moscow. In 1812, Napoleon Bonaparte’s Grand Armeé finally confronted the Russian Army after a long and frustrating game of cat and mouse across western Russia. In 1941, the German army met a strong Soviet defense, fanatically determined to keep the invaders from the gates of Moscow.
The author interweaves accounts of both battles, to build an almost eerily symmetrical story of how each developed. Of course, the combatants in 1941 were aware of the historical significance of the 1812 battle, and noted the ominous feelings the word “Borodino” evoked. (Ironically, many of the monuments to the earlier conflict had already been destroyed by the Soviet government, who saw them as symbols of the Tsarist era.)
The 1812 battle, while technically a French victory, has got to be one of the worst moments for Napoleon as a strategist and as a tactician. The book is unsparing in its assessment of the Emperor’s many errors. While Waterloo will always be The Battle that ended Napoleon’s career, it’s pretty clear to me that his single worst miscalculations as a general came at Borodino. (Indeed, it’s tempting to wonder if the doomed last charge of the Imperial Guard at Waterloo was partially in reaction to his failure to deploy the Guard at Borodino.)
As for 1941; it’s hard to even get into things like tactics. Two technologically advanced, fanatically indoctrinated, tired, hungry, and desperate armies were hurled together into an unbelievably brutal slugfest in snow and ice. Nowhere is the relentless march of technology made more apparent than in the contrasting of what “artillery” meant in the Napoleonic era versus in World War II.
The author mostly does a very good job of weaving the two campaigns together, highlighting both the changes as well as the broader point that, well, as Ron Perlman would say, “War. War never changes.” There were a few points when I would be reading an account and honestly I wasn’t sure which battle they were in for a few sentences. (And the names are no help; there are men with Polish names fighting for the French, French names fighting for the Germans, and German names fighting for the Russians.)
Is it a good history? I think so. But what makes a good history? After all, even if you knew literally nothing about either battle, just by reading this far you have got a reasonable summary: Napoleon invaded Russia, and he lost. Then later Hitler invaded Russia, and he lost too. Bam, there’s your history! When we have the quiz, you should be able to ace it. Now, we can safely say that we have covered both campaigns when it comes time for our standardized tests.
But perhaps, if you are an inquisitive sort, (a rare thing these days!) you suspect there is more to this story. Maybe there is; but first, a trademark Ruined Chapel-style non-sequitur!
In response to any environment of extraordinary gratification and pampering, the insatiable-infant part of me will simply adjust its desires upward until it once again levels out at its homeostasis of terrible dissatisfaction. And sure enough, after a few days of delight and then adjustment…, the Pamper-swaddled part of me that WANTS is now back, and with a vengeance. By Wednesday, I’m acutely conscious of the fact that the A.C. vent in my cabin hisses (loudly).
That was inthe ’90s. Wallace didn’t even have a smartphone!
Compared to any other point in recorded history, we in the modern West live lives of unparalleled luxury. Kings and queens of yesteryear had not 1/100th of the amenities available to modern people today. And are we happy? No, we are not! We are righteously dissatisfied that the quality of our entertainment is not as good as we imagine it could be. I’m as guilty as the next guy. I write a whole website dedicated to critiquing entertainment.
Which brings us back to Borodino and the book in question. The sheer, unrelenting, all-encompassing amount of horror and suffering described by the accounts of those who went through these battles are difficult to even comprehend. The modern middle-class American, which I am, struggles and fails to appreciate the sheer misery of men marching first in dry heat, and later sub-freezing cold, only to fight and die horribly hundreds of miles from their home. Civilian farmers, old men, women, children driven from their homes by the violence of these same starving soldiers and totalitarian regimes, people ruthlessly gunned down merely for expressing fear in the face of hopeless situation, or refusing to work as slave labor for an occupying enemy force.
It is Hell. It is the stuff of nightmares. I literally cannot, on a visceral level, understand how anyone survived these experiences. What would a soldier, shot with grapeshot and bleeding to death while buried in snow, even say if he could see the modern world, if he could see me? It’s the sort of question that haunted me while reading this book.
Sorry, no book review this week. Haven’t had much reading time lately. But I will try to have something next week.
In the meantime, tomorrow is Veterans Day in the USA, and so in recognition of this, I thought I’d provide a list of books authored by military veterans. I know a few warrior-bards whose work is worth your time:
Peter is a U.S. Marine Corps infantry veteran, and this comes across in his books. He writes some of the best action scenes I’ve ever read. I recommend starting with his Mandate of Heaven and going from there.
A sprawling, epic time-travel novel with some heavy religious overtones. McTiernan does a good job of bringing the harshness of medieval life home to the reader.
Look, I know this book is about American football, and I know most of my readers couldn’t care less about American football. But hear me out, okay? Because this post isn’t really about football. I mean, there will be references to some football-related matters, but you can skim past those if you want. No, this post is actually about something deeper, more essential… this post is about aesthetics.
What do I mean by that? Time will tell. For now, let me begin by summarizing: Paul Brown was the coach of the Cleveland Browns, who dominated the sport during the 1950s. Brown’s teams racked up records and championships during the first few decades of their existence. Until a new team owner, Art Modell, took over and fired Brown after a few bad years.
Like Coriolanus, Brown decided to raise a team of his own in the south, and take his revenge. And thus the Cincinnati Bengals were born in 1968, and instantly became a major rival of the Browns. Throughout the ’70s and ’80s, the Bengals and Browns met twice a year, usually with one team having something to play for and the other merely playing out the string on a lost season. Oddly, surprisingly often, the team with nothing to play for would win.
The ’80s were peak years for the rivalry, with both teams enjoying considerable success during the decade, although neither ever managed to win the Super Bowl. Twice, the Bengals fell short to San Francisco 49er teams coached by a former assistant coach of theirs, Bill Walsh.
And then, in 1991, Paul Brown died, and the two teams collapsed. The Bengals became a perennial joke throughout the ’90s and the Browns–well, remember that Modell fellow from before? He packed up and moved the team to Baltimore, rebranding as the Ravens. Not until 1999 would Cleveland be granted a new team, with the colors and records of the old Browns, but most certainly not the tradition of winning.
And this is Knight’s thesis: the Bengals and Browns are haunted by the man who essentially created them both. Somewhere out there in the ether, the ghost of Paul Brown hovers over them, looking down with grim disapproval at his once-proud teams. Neither can succeed until this angry spirit is appeased.
Of course, this is all a manner of speaking, in the grand tradition of sports curses. There are plenty of obvious materialistic explanations for the Bengals’ and Browns’ many failures. Although, there are some things that do strain probability…
This book was published in 2018, and since then both teams have enjoyed some success. The Browns finally broke their playoff-less streak in 2020, and the Bengals actually made it to the Super Bowl in 2021. (Losing, it must be noted, in very much the same way they did to the 49ers in 1988.) So perhaps the curse is lifting. But can it really be said to be ended until at least one of these teams holds aloft the Vince Lombardi trophy?
Knight’s prose is light and enjoyable, and he has a knack for clever phrasing and for highlighting amusing instances of ironic misfortune in the histories of both clubs, of which there are many. I’m pretty well-versed in football trivia, but I still learned a few new factoids.
All well and good, you say; but why am I dedicating one of my October blog posts, normally reserved for reviewing Halloween-related stories, to this book?
Watch this clip of the Browns/Bengals game from Halloween of last year. You don’t need to know a thing about football. All you need to know is that it’s Halloween night, and two teams whose colors are orange and brown and orange and black, are battling it out under the lights, amid a sea of roaring fans, many of whom are rigged out in costumes befitting All Hallows’ Eve.
The whole spectacle is weird and eerie, and, I’d argue, perfect for Halloween. The NFL should make it a tradition: every year, on the Thursday, Sunday, or Monday night closest to October 31st, the Bengals play the Browns. It’s really the perfect uniform combination for the occasion.
Now, it’s true that other teams, including the Broncos, Bears, and Dolphins have orange in their uniforms. (And indeed, the Bengals played a memorably weird game against the Dolphins on Halloween a decade ago.) But only the Bengals and Browns have that added (pumpkin?) spice of being arch-rivals. The memories of past triumphs and defeats echoing in every hit; the vaguely Biblical theme of two feuding brothers, and the added passion of the costumed fans, all combine to make a potent brew for epic gridiron madness.
And, in my opinion, football is as much a part of the Halloween season as jack-o’-lanterns and candy. Granted, I live smack dab in the middle of the state where the sport was effectively invented, but it is impossible to imagine midwestern Autumn without the thwack of offensive and defensive lines smashing together, seeing replica jerseys everywhere, team banners and pennants flying amid the Halloween decorations, and hearing the Monday morning radio shows buzzing about how the season is going. There’s a reason why, when I wrote a short story as a love-letter to the Halloween season, I had to include a scene at a football game.
And, as some of you may know, I am not even primarily a fan of either of these teams. (Though I will always have some fondness for the Bengals.) My team plays further north, and is more associated with the “something of winter in their faces” that John Facenda once spoke of, than with the warm orange-and-brown hues of Autumn. Yet, my judgment remains the same: the Bengals and Browns are the perfect Halloween teams.
This is a cozy mystery. I don’t read a lot of cozy mysteries, unless you count Zachary Shatzer’s Roberta and Mr. Bigfluff stories, which are really parodies of cozies, rather than straight-up cozy mysteries. That said, this is a genre where the line between serious and parody is sketchy at best. More on that in a bit. But c’mon, it’s a Halloween book. How could I not read it?
The protagonist of the book is Tessa, a 30-year-old woman who has moved back to her small Minnesota hometown after the death of her husband. To take her mind off her loss, she has thrown herself into the job of helping out at her family’s B&B and helping run the town’s annual Halloween hayride.
The latter becomes more complicated when Earl Stone, the rather unpleasant fellow who owns the land for the hayride, is found run over with the tractor. Tessa is forced to use the detective skills she’s learned from listening to True Crime podcasts to solve the case. And all this while juggling deciding which of her two admirers–Clark the handsome football coach or Max the handsome policeman–she will favor with dressing up in a couples Halloween costume.
Already, you perhaps begin to see what I mean. The news of the murder, and the news that two of her suitors want to dress up in matching costumes, are given equal emotional weight.
Also, the writing style itself is a little… curious. Generally, it’s thought to be bad form to repeat the same word too many times in a sentence. Yet, this happens frequently here. Indeed, it happens so often it’s almost like a kind of literary device. Mark Paxson once wrote a story where he would pick a word out of the dictionary at random, and use it as a prompt for what would happen next. It feels like something similar is going on here, only the challenge is to see how many times you can use the word in the same paragraph.
But again: it’s a cozy mystery. Cozy mysteries are, by their nature, not that serious. That’s not to say it’s an outright comedy like Shatzer’s books are. At least, I don’t think so.
Perhaps the best way to describe it is as camp. Camp is always a difficult thing to define, though; and one man’s camp may be another man’s… whatever the opposite of camp is. But offhand, I’d say this book is more camp than Mr. Humphries.
I was able to figure out who the killer was about 70% of the way into the book, but again: “Zis is a cozy, ve don’t surprise here!” Cozies are about the familiar and the comfortable; surprise and suspense are antithetical to this. Perhaps the whole concept of a cozy mystery is inherently contradictory, like asking for “safe danger.”
Then again, isn’t this the whole concept behind amusement parks, too? The illusion of danger, while actually being rigorously designed for safety? No, faulting a cozy mystery for being too predictable is like faulting water for being too wet.
You know what this story needs? A change of narration. Instead of being told by the investigator herself, who makes all the deductions plain to the reader right away, we needed a framing device. Someone telling the story of Tessa’s investigation through their own bewildered eyes. A Dr. Watson, a Captain Hastings, a (to use that memorable phrase of Stephen Leacock’s) “Poor Nut”:
Here, at once, the writer is confronted with the problem of how to tell the story, and whether to write it as if it were told by the Great Detective himself. But the Great Detective is above that. For one thing, he’s too silent. And in any case, if he told the story himself, his modesty might hold him back from fully explaining how terribly clever he is, and how wonderful his deductions are. So the nearly universal method has come to be that the story is told through the mouth of an Inferior Person, a friend and confidant of the Great Detective. This humble associate has the special function of being lost in admiration all the time. In fact, this friend, taken at his own face value, must be regarded as a Poor Nut.
That’s from Leacock’s essay “The Great Detective,” which I highly recommend.
Still, the acid test of any book is whether or not the reader enjoys it. I actually did enjoy this. Perhaps I enjoyed it in the same way I enjoy Captain Corelli’s Mandolin or Elvira’s Movie Macabre, but I enjoyed it nonetheless. And so ironic enjoyment comes right around to being sincere again. Strange how that works.
Anyway, if you like cozy mysteries and/or Halloween, give it a whirl.
Last week’s review was of a techno-thriller video game tie-in novel. This week’s review is of a techno-thriller video game tie-in novel. By thunder, I hope I’m not turning into one of those people who only reads one type of book. Hopefully, this review will prove interesting enough to justify it.
I should tell you up front: this is going to be long. Brace yourselves accordingly. I’m going Full Berthold on this one.
First, we need a bit of grounding in the universe of Metal Gear, which I’m guessing most of my readers have never heard of, and it may strike the uninitiated as a bit weird. So let me provide some background: as the “2” in the title suggests, this story is a sequel. The original Metal Gear Solid is about a commando named Solid Snake, who infiltrates a military installation in Alaska called Shadow Moses Island, where an elite terrorist unit has taken hostages and captured a huge walking battle tank equipped with nuclear missiles called “Metal Gear Rex.”
Well, long story short, Solid Snake ultimately defeats the terrorists, led by his cloned twin brother Liquid Snake, and destroys Metal Gear Rex. This summary doesn’t even begin to do the story justice, but a proper synopsis would take forever, and it’s not even what we’re discussing today. By the way, here’s your warning that I’m going to spoil MGS 2 in this review. The game came out in 2001, so I feel comfortable discussing every aspect of the plot.
Sons of Liberty begins with Solid Snake infiltrating a huge tanker on the Hudson River, in search of a new Metal Gear prototype. He’s assisted by Hal “Otacon” Emmerich, a scientist who worked on the original Metal Gear, whom Snake rescued during the events of MGS 1.
In short order, the tanker is seized by Russian commandoes, working with Revolver Ocelot, the lone terrorist to survive Shadow Moses. In what has become a hallmark of this series, complicated betrayals occur in rapid succession, and the tanker is sunk to the bottom of the river, seemingly with Snake aboard.
Two years later, a huge cleanup facility called “The Big Shell” has been created on the site to contain the environmental disaster. And–are you sensing a pattern here?–it’s been captured by a terrorist unit called “Dead Cell,” which has taken hostages, including the President of the United States, and is threatening to detonate a nuclear device. A new operative from Snake’s unit FOXHOUND, codenamed “Raiden,” is sent to defeat the terrorists and rescue the president.
I remember when this game came out, even though I didn’t play it, that this was a huge controversy. Fans were outraged that they were playing as the androgynous, awkward rookie Raiden instead of the grizzled, tough, high-testosterone action hero Solid Snake. Even reading the story in novel form, it’s still jarring to go from the stoic confidence of Snake to the amateurish bravado of Raiden. (By the way, the pronunciation of “Raiden” rhymes with the name of the 46th President of the United States, and not with “maiden” as I initially thought.)
Raiden is guided on his mission through communications with his commanding officer, a Colonel, and, bizarrely, Raiden’s girlfriend Rose, who insists on calling him “Jack.” This is also in keeping with MGS 1, where Snake was guided by a number of officers and intelligence analysts. But whereas they formed a coherent unit, the dynamic with Raiden, the Colonel, and Rose just feels… odd.
Speaking of odd things, the Dead Cell terrorists make the villains from the 1960s Batman series seem subtle and understated. They include a woman named Fortune, who is apparently immortal and only wishes to die, an obese explosives expert called… wait for it… “Fatman,” who wants to become notorious as the maddest bomber in history, and finally, an actual vampire.
While things are initially presented as realistic, and as in a Tom Clancy novel, great care is taken to ensure that the weapons and other military technologies feel authentic, the whole Big Shell is teeming with the surreal and the bizarre. It doesn’t take long for Raiden to start feeling like he’s living in a waking nightmare.
Adding to the strangeness, Snake and Otacon also show up to help him, despite the fact that Raiden has been told Snake is either (a) dead or (b) the leader of the terrorist group. This is a running theme in the story: everyone is lying all the time. Raiden is constantly being deceived by every person he talks to. Poor guy; at some point you have to feel sorry for him.
Remember when I said the universe of Metal Gear may strike you as weird? Guess what, ladies and gents: I haven’t gotten to the weird part yet!
Raiden eventually finds the President, who explains that the Big Shell is camouflage for a new Metal Gear, codenamed Arsenal Gear, being built under the water. POTUS had been hoping to seize control of Arsenal for himself, to use it as leverage against a group known as [ominous music plays] “The Patriots.”
Raiden asks who the Patriots are, and the President explains:
“The power controlling this country… Politics, the military, the economy – they control it all. They even choose who becomes President…
The Space Defense, income tax reduction and the National Missile Defense (NMD) programs -– every policy that’s been credited to me was actually done according to their instructions.”
“Wait a second. Space Defense was initiated by Congress!”
“That’s what the Patriots want the country to believe… It’s all a show. ‘Democracy’ is just a filler for textbooks!”
The President then outlines the Patriots’ intentions for Arsenal Gear:
“Arsenal Gear is more than just a military tool. It is a means to preserve the world as it is… The Arsenal plans include a system to digitally manage the flow of information, making it possible to shape the ‘truth’ for their own purposes. In short, the Arsenal system is the key to their supremacy.”
“The key?”
“Yes, the ‘GW’ system. Short for George Washington. GW is the Patriots’ trump card… once operational, it will be a completely new form of power for the Patriots to wield.”
The President explains he was going to bargain with the Patriots, but he was overruled by his predecessor, who is now the leader of the terrorists and is also yet another clone of the Snake brothers: this one named Solidus Snake, and he intends to seize Arsenal for himself and defeat the Patriots.
The President tells Raiden to find Emma Emmerich, Otacon’s sister, who is somewhere in the Big Shell, and who has created a computer virus that can destroy the GW system. Then he gets killed by Revolver Ocelot, leaving Raiden more befuddled than before.
Anyway, Raiden works with Solid Snake (not Solidus, who is seemingly the bad guy, remember) and eventually they find Emma and upload the virus. Unfortunately, at that point Raiden gets abandoned by Snake and a mysterious cyborg ninja, and captured by the terrorists.
I feel like I need to pause to catch my breath. I bet you do, too. You know, there’s an old webcomic that graphically shows the narrative structure of famous movies. You can see it here. Some of these are pretty involved, but can you even imagine what a graph like this for Metal Gear would look like? I’m not sure two dimensions is sufficient to render it. And let me be clear, I’m giving you just the bare-bones outline here. MGS is famous for deep dives into the backstories of even secondary characters. There are a couple in this one, Peter Stillman and Olga Gurlukovich, whom I haven’t even discussed but who are actually some of the most interesting people in the story.
By the way, this is where I should probably mention that, although the novel I’m reviewing here is by Raymond Benson, who is a respected author of spy thrillers, including some James Bond books, the fact is he largely just transcribed the dialogue and added some minimal description. When it comes to the labyrinthine plot of this thing, “one man deserves the credit, one man deserves the blame,” and Hideo Kojima is his name.
Kojima is, in my opinion, the ideal person to write techno-thrillers. He’s clearly obsessed with American action movies, references to which abound throughout his games, but at the same time he brings a very different perspective to the topic of American military technology, being as how he’s Japanese.
All right, have you got your second wind? Good, because it’s time to delve into the last act of Metal Gear Solid 2, and it is not merely a doozy, but, if I may be so bold, a real humdinger. The disturbing personal revelations and insane plot twists come thick and fast at this point.
Raiden is freed from a torture chamber that mimics a facility where Solid Snake was captured in MGS 1. Then he learns that the entire operation has been designed by the Patriots to replicate the Shadow Moses incident, in order to demonstrate that with proper psychological conditioning, anyone can be molded into a tough-as-nails super-soldier like Solid Snake. Not only that, but it is also revealed that Raiden was once a child soldier in an army under Solidus Snake’s command, although he repressed the memories.
(Say what you want about Solidus, but the guy has quite a CV: from fighting a civil war in Liberia to leading a terrorist organization, with a brief stint as U.S. President in between.)
Finally, Raiden discovers that the Colonel and Rose, with whom he’s been communicating throughout the mission, are actually merely AI constructs, generated from his own memories and expectations via the GW system. And since the system is now infected with a computer virus, the AI is beginning to talk nonsense to him, as in this (in)famous message from the Colonel:
I hear it’s amazing when the famous purple stuffed worm in flap-jaw space with the tuning fork does a raw blink on Hara-Kiri Rock. I need scissors! 61!
Has anybody gotten ChatGPT to say this yet?
But, there’s no time for Raiden to grapple with all this now, because Solidus Snake and Ocelot are busy betraying each other while raising the Arsenal Gear from beneath the water and crashing it into downtown Manhattan. The book diverges a little from the game here: there’s no animation of the huge fortress crashing into the skyline in-game, because it was cut at the last minute. Remember, this came out in late 2001, so I bet you can guess why. But Benson does give a little description of the horror and devastation.
Of course, Raiden and Solidus are both still alive and standing in the wreckage. Solidus explains that he has done all this to try and liberate humanity from the digital censorship regime the Patriots are about to impose. And then Raiden gets another call from the Colonel and Rose.
This is the moment that made me decide I had to review this book. Not for nothing has this scene been called by some “the most profound moment in gaming history.” And for this reason, I’m going to ask that you watch the clip as it appears in the game. I don’t consider this “cheating,” because all this dialogue appears verbatim in the book, but I do feel the voice acting and sound effects add something here. This is quite simply required viewing. I promise, it’s worth thirteen minutes of your time:
In 2001, most of the buzz around MGS 2 was the outrage about Raiden replacing Snake. And if it wasn’t that, it was that the story was too damned strange and bizarre. I mean, I glossed over some of the weirder stuff, like a guy who is possessed by a dead man because he had an arm transplant from him, or the really creepy incestuous backstory involving Otacon and Emma. And did I mention the vampire also does flamenco dancing?
And so this moment at the climax, about AI controlling the flow of digital information to manipulate human thought, just seemed like yet more incomprehensible techno-babble in 2001.
But as the years have turned into decades and life has gone on in these United States, people have started to reevaluate this scene. Some of these lines, as they say, “hit different” now:
“Trivial information is accumulating every second, preserved in all its triteness… all this junk data, preserved in an unfiltered state, growing at an alarming rate.”
And even more pointedly:
“The untested truths, spun by different interests, continue to churn and accumulate in the sandbox of political correctness and value systems. Everyone withdraws into their own small gated communities, afraid of a larger forum. They stay inside their little ponds, leaking whatever truth suits them into the growing cesspool of society at large. The different cardinal truths neither clash nor mesh. No one is invalidated, but nobody is right.”
To say nothing of the suggestion of inhuman intelligences gradually gaining control of society. Of all the fascinating lines in this dialogue, the one that intrigues me most is probably the one at the beginning:
“To begin with, we’re not what you’d call ‘human.’ Over the past two hundred years, a kind of consciousness formed layer by layer in the crucible of the White House. It’s not unlike the way life started in the oceans four billion years ago.”
Okay, hold up. In-universe, the events of Metal Gear Solid 2 were supposed to take place in 2009. Two hundred years before that puts us in the Madison administration. I don’t think even Kojima is prepared to claim there were AI supercomputers then, so what does this line mean?
Well, if you think about it, a government is actually a bit like an artificial intelligence. It is a series of processes, aimed at administering a population. Theoretically speaking, government as a process could be carried on with no independent thought at all, merely the “correct” application of laws and rules.
But when you put it that way, doesn’t it all sound rather inhuman? Well, there’s a reason Thomas Hobbes named his famous book on government after a legendary sea monster. Even before the computer age, there was a recognition that “the State” was something different than just a bunch of folks getting together to talk.
“The Colonel” then elaborates:
“We are formless. We are the very discipline and morality that Americans invoke so often. How can anyone hope to eliminate us? As long as this nation exists, so will we.”
“This description was similar to the Japanese philosophical concept of kokutai or civic soul, which is derived from the mytho-political past of Japan, in which the Japanese emperor is held to be a direct genetic descendant of the sun goddess Amaretsu. This living presence of the soul of a nation has no precise analogue in Western culture, the closest match in American political language being ‘patriotic spirit’.”
Perhaps. But I think we’re all familiar with the idea of a national soul, a figure embodying the fabric of the country. What are Uncle Sam or John Bull, if not the soul of their respective nations? Does it matter that these characters don’t actually exist? In a way, if everyone believes in them, or rather what they represent, don’t they kind of exist? Then again, isn’t that pretty much what O’Brien tells Winston regarding Big Brother at the end of Nineteen Eighty-Four? Hm.
See, there is certainly a lot to take in here. I mean to say, game dialogue came a long way since “our princess is in another castle,” what?
Inevitably, it all leads to a final fight with Solidus, which Raiden wins, and then Solid Snake gives a schmaltzy speech about how you are what you choose to be, your decisions make you who you are, and so on. I admit, everything after the last chat with the Colonel seems perfunctory to me.
Then again, how could it be otherwise? There are whole books’ worth of ideas in that scene. (If you want to read one, I recommend The Meme Machine, by Susan Blackmore. And if you want a deep dive into Metal Gear Solid 2, I recommend this video.)
As a final note, I want to say I’m glad they did this novelization, because the story on its own is interesting enough to be worthwhile for non-gamers. In fact, I’d argue it’s a better story than it is a game. I actually own a copy of the special edition, Metal Gear Solid 2: Substance, which I got for ninety-nine cents at a used game store that has since been demolished. I’ve never been able to make it very far in the game.
Well, that’s that. If you want a mind-bending techno-thriller, see if you can get yourself a copy of this. If it all just made your head hurt, well, I can understand that, too. In any case…“sayonara, kid! Have a nice day.”
This is an amazing book, I’ll just say it right up front. It’s a clever blend; part fable, part post-apocalypse, part fantasy, it tells the story of Anastasia, a rabbit who is un-warrened–that is exiled from her home–and left to be “Glorified” by the “Blessed Ones”. Which is the way the rabbit religion describes being killed by predators. The rabbit religion is a pacifistic one, which views a rabbit’s purpose in the world as food for larger animals.
But Anastasia decides to fight back. After a chance encounter with a fox ends with her stabbing it with a sharp stick, she realizes that perhaps rabbits need not be helpless prey animals. And as her legend begins to grow, more rabbits, mice, and other animals flock to her side, slowly building a coalition that fights back against the foxes, coyotes, and wolves.
The world-building is phenomenal. The reason why there are no humans in this world is explained gradually, through little hints glimpsed once in a while through the eyes of animals. The rabbits study the writings of the “Dead Gods,” as a way of understanding the world, largely through scholars known as Readers and Rememberers. They also interpret the meaning of the rabbit scriptures, which include the word of the supreme being “Dah,” and indeed, one part of the plot hinges on the interpretation of a particular passage.
This is what I loved best about the book: the philosophical issues it explores. Nature vs. technology, the right of self-defense, and the ethics of killing are all explored in great detail here, and don’t think for a moment that because the characters are woodland creatures the philosophy loses any of its punch. In the grand tradition of Aesop, St. John has used non-human characters to explore big questions of meaning and morality.
But at the same time, the characters never feel like mere puppets. They are all carefully crafted and engaging. I especially enjoyed Wendy, the floppy-eared and savage rabbit heretic, and Bricabrac, the cunning rat who helps the bunnies forge their arsenal.
I know, some of you are like, “A book about talking animals? Heck no!” But… I encourage you to give it a chance. As of this writing, it’s free, so you’ve got nothing to lose. And what awaits you is a book that makes you think about old ideas in new ways.
Finally, I rarely do this, but I’m just gonna say it: I got this book after I saw an ad on Goodreads and thought “That looks like something Lydia Schoch might like.” But of course, I had to read it first to make sure, before I recommended it to her. Having read it, I feel even more strongly she’d like it.
Remember that book, CCRU Writings: 1997 – 2003 that I reviewed last Fall? The one full of weird occult philosophical ramblings about AI, techno-demons, and inhuman pseudo-mythology?
You all know the story of Mothman. Well, maybe you don’t, but I do. Basically, in 1966 and ’67, there were numerous reports of a strange winged creature appearing in West Virginia and Southern Ohio. Towering and intimidating with its evil red eyes, the monster haunted the hills of Appalachia, terrifying people on lonely roads at night.
Look, I know this book is about American football, and I know most of my readers couldn’t care less about American football. But hear me out, okay? Because this post isn’t really about football. I mean, there will be references to some football-related matters, but you can skim past those if you want. No, this post is actually about something deeper, more essential… this post is about aesthetics.
