“This land is not the sweet home that it looks”

In Praise of Limestone

If it form the one landscape that we, the inconstant ones, Are consistently homesick for, this is chiefly Because it dissolves in water. Mark these rounded slopes With their surface fragrance of thyme and, beneath, A secret system of caves and conduits; hear the springs That spurt out everywhere with a chuckle, Each filling a private pool for its fish and carving Its own little ravine whose cliffs entertain The butterfly and the lizard; examine this region Of short distances and definite places: What could be more like Mother or a fitter background For her son, the flirtatious male who lounges Against a rock in the sunlight, never doubting That for all his faults he is loved; whose works are but Extensions of his power to charm? From weathered outcrop To hill-top temple, from appearing waters to Conspicuous fountains, from a wild to a formal vineyard, Are ingenious but short steps that a child’s wish To receive more attention than his brothers, whether By pleasing or teasing, can easily take.

Watch, then, the band of rivals as they climb up and down Their steep stone gennels in twos and threes, at times Arm in arm, but never, thank God, in step; or engaged On the shady side of a square at midday in Voluble discourse, knowing each other too well to think There are any important secrets, unable To conceive a god whose temper-tantrums are moral And not to be pacified by a clever line Or a good lay: for accustomed to a stone that responds, They have never had to veil their faces in awe Of a crater whose blazing fury could not be fixed; Adjusted to the local needs of valleys Where everything can be touched or reached by walking, Their eyes have never looked into infinite space Through the lattice-work of a nomad’s comb; born lucky, Their legs have never encountered the fungi And insects of the jungle, the monstrous forms and lives With which we have nothing, we like to hope, in common. So, when one of them goes to the bad, the way his mind works Remains incomprehensible: to become a pimp Or deal in fake jewellery or ruin a fine tenor voice For effects that bring down the house, could happen to all But the best and the worst of us… That is why, I suppose, The best and worst never stayed here long but sought Immoderate soils where the beauty was not so external, The light less public and the meaning of life Something more than a mad camp. ‘Come!’ cried the granite wastes, ‘How evasive is your humour, how accidental Your kindest kiss, how permanent is death.’ (Saints-to-be Slipped away sighing.) ‘Come!’ purred the clays and gravels, ‘On our plains there is room for armies to drill; rivers Wait to be tamed and slaves to construct you a tomb In the grand manner: soft as the earth is mankind and both Need to be altered.’ (Intendant Caesars rose and Left, slamming the door.) But the really reckless were fetched By an older colder voice, the oceanic whisper: ‘I am the solitude that asks and promises nothing; That is how I shall set you free. There is no love; There are only the various envies, all of them sad.’

They were right, my dear, all those voices were right And still are; this land is not the sweet home that it looks, Nor its peace the historical calm of a site Where something was settled once and for all: A backward And dilapidated province, connected To the big busy world by a tunnel, with a certain Seedy appeal, is that all it is now? Not quite: It has a worldy duty which in spite of itself It does not neglect, but calls into question All the Great Powers assume; it disturbs our rights. The poet, Admired for his earnest habit of calling The sun the sun, his mind Puzzle, is made uneasy By these marble statues which so obviously doubt His antimythological myth; and these gamins, Pursuing the scientist down the tiled colonnade With such lively offers, rebuke his concern for Nature’s Remotest aspects: I, too, am reproached, for what And how much you know. Not to lose time, not to get caught, Not to be left behind, not, please! to resemble The beasts who repeat themselves, or a thing like water Or stone whose conduct can be predicted, these Are our common prayer, whose greatest comfort is music Which can be made anywhere, is invisible, And does not smell. In so far as we have to look forward To death as a fact, no doubt we are right: But if Sins can be forgiven, if bodies rise from the dead, These modifications of matter into Innocent athletes and gesticulating fountains, Made solely for pleasure, make a further point: The blessed will not care what angle they are regarded from, Having nothing to hide. Dear, I know nothing of Either, but when I try to imagine a faultless love Or the life to come, what I hear is the murmur Of underground streams, what I see is a limestone landscape.

W.H. Auden

“The killers were probably young men”

“In Solingen brannte ein Haus, Frauen und Kinder verbrannten. Betroffenheitsadressen wurden abgegeben. Ratlosigkeit herrschte vor. Wahrscheinlich waren die Mörder Jugendliche. Sie haben ihren Hass gegen das Ganze, gegen uns gerichtet – und Muslime getroffen. Wer vergiftete sie? Wir. Die Jugendlichen fielen nicht von einem stinkenden Stern, sondern wuchsen unter unseren kalten Händen auf. Wir, traditionell auf dem rechten Auge blind, verniedlichten doch die Nazischweinereien. Wir hatten drei Jahrzehnte anderes zu tun, als unserer Jugend Rede und Antwort zu stehen. Wir lehrten sie den Gebrauch der Ellenbogen, wir ersetzten Rückgrat und Anstand durch die harte Mark – und wundern uns. Wir werden uns verrückt wundern. Johannes Rau hat schon recht, wenn er sagt: ‘Wir können Gesetze schaffen und anwenden, wie wir wollen. Findet keine Veränderung in den Köpfen und in den Herzen statt, sind wir verloren!’ ‘Die Stadt liegt wüst, und die Häuser sind ohne Menschen’, sagt Jesaja.”

A house was burned down in Solingen, and with it women and children burned alive. There were expressions of sympathy; dumbfoundedness the order of the day. The killers were probably young men. They turned their hate against us, against everything, and it hit Muslims. Who poisoned these young men? We did. They didn’t fall from some stinking star; they were raised by our cold hand. In our traditional blindness toward the right, we called their Nazi thugishness cute. For thirty years, we busied ourselves with things other than forthright conversation with our children. We taught them to use their elbows, replaced backbone and decency with hardness, and now we’re astonished. We can astonish ourselves to death. Johannes Rau was right when he said that we can ‘pass all the laws we want, but if hearts and minds don’t change, we’re finished.’ Isaiah wrote: ‘the city is waste and without inhabitants, and houses without man.’

from the sermons of Peter Baier (1934-1996).

They make a desert and call it a game

Discussed in this essay:
  • Homeworld Remastered Collection, Relic Entertainment/Gearbox Software (2015)
  • Homeworld: Deserts of Kharak, Blackbird Interactive (2016)

There are games we love, and there are games we want to love. The former category are all those games we were sucked into in the first hours of play, or after careful study revealed something even deeper than we first realized. Our relationships with these games aren’t unlike the relationships with the great loves of our lives: formative, abiding, and fondly remembered for many years, even after you’ve gone your separate ways.

For me, the Homeworld series definitely does not fall into that category. No, the Homeworld games are that really hot person I dated for a few months in graduate school, with whom things didn’t work out because there fundamentally wasn’t anything beyond the first, intense, mutual attraction. You try it anyway for a while – because with a game this sexy, how could you not? – but in the end, you have to admit it was always more about the aesthetic than the game itself.

I will say it now, and I will say it proudly: I am sick to death of pretty games. I don’t want to hear another word about polygon counts, anisotropic filtering, rendering passes, camera techniques, or anything else. What I do want is a game which I can play.

When Gearbox announced that, having acquired the rights to the old Homeworld series,1 they would be tastefully updating it to run on, and take advantage of, modern graphics cards, as well as re-releasing unaltered games for that original look-n-feel, I was pretty pleased. Even though I often rail against the modern tendency to milk the fiscally irresponsible 18–35 demographic’s sense of nostalgia2 instead of creating anything new, I am also nothing if not a sucker, and bought the Remastered Collection on the day of release.

I defend this decision in a couple of ways: first, I knew exactly what I was getting. It was no more or less than promised,3 and for that Gearbox deserve real praise. The twenty-first century needs more carefully-controlled ambitions executed well. My second defence is an art-historical one. By bringing old games to modern platforms and matchmaking services, we pull them out of the damnatio memoriae that so much “new media” suffers at the hand of Moore’s Law and messed-up intellectual property legislation, and back into the light where people can actually interact with them. At a reasonable price point, I consider this a legitimate endeavour.

But playing these games again also reminded me of their problems, and about the difference between a really good real-time strategy game and one that I really wish was better. Part of the problem is that Homeworld (1999) was released before there was any such thing as a “pro” scene, or a lot of talk about a game’s “meta”.4 Like the good old days of Warcraft II: Tides of Darkness or Command and Conquer: Red Alert, really the only thing to do was play campaigns or comp-stomp in skirmish modes. If you could organize a LAN party, awesome, but that wasn’t something people were doing every night of the week.

Homeworld 2 (2003) didn’t really stray far from this template. It was fundamentally still single-player, and although Sierra offered an online matchmaking service for a time, you could tell where all the effort went. The fact that the game included a “pause and give orders”5 mechanic in single-player shows that it was not really designed around effective micro-management of units,6 and the paucity of multiplayer maps (and the relative lack of imagination in that set) didn’t help much.

But lest you think I am all down on these games: Homeworld 2 was a good game. I say that in all seriousness. The series has an impeccable sense of style, even though the writing is almost 100% undiluted cliché. But I’ve been stomaching that my entire game-playing life, and at least the actual gameplay mechanics are fun and different. If every RTS not being as polished as a Blizzard game means that we can have games very different from ones that Blizzard makes, then I accept that. And I accept that deep down, Homeworld and Homeworld 2 come from the “Command and Conquer” side of the RTS centum-satem line. I only wish that in addition to all the cool-as-shit art and the hotkeys that really let you take in the spaceships blasting each other to shit, they had realized what enormous potential a 3D battlescape and the rich mix of units presented for gameplay with a real crunchiness, and pushed that a bit further.

Still, not all art can be great, and sometimes we settle for “good”. And at a certain point, we must let bygones be bygones.

Except we can’t, because now we have a new Homeworld game. For when Relic perished, many of the original Homeworld developers moved on to form Blackbird Interactive, and began working on a “spiritual successor” to their cult-hit franchise, originally called “Hardware: Ship Breakers”. Billed as “Homeworld on the ground”7 they quickly generated some buzz, and then vanished. After talking to Gearbox, who brought them on board for the “remastering” of the classic games, this game emerged as “Homeworld: Ship Breakers”, the prequel to the original Homeworld that it had always intended to be, but for legal reasons Definitely Was Not. Released, finally, as Homeworld: Deserts of Kharak (literally last week), I admit that I could not spend my €45 fast enough to get my hands on this game.

Did I think it was a bit overpriced? Yeah, actually. Was I expecting an earth-shatteringly good RTS? No, definitely not. Am I happy with it now, having played the campaign and a bit of skirmish/multiplayer? Ehrm. Hm. I guess not.

The thing is, this is a genuinely different RTS. It is not any of the *-craft games, it is strategic,8 it is fun. I’ve actually had more fun with it than Starcraft 2, which is a more polished game in pretty much every respect (although the writing in both is terrible). It’s also beautiful and atmospheric and revels in the desert landscapes that have been so carefully crafted – but then, Desert Golfing is all those things as well, and for a fraction of the price.

But new game, same flaws, let’s be honest. Multiplayer, despite the fancy matchmaking and possibility of ranked matches, feels like a total afterthought. Two nearly-identical factions, with a lot of the fun/interesting unit abilities switched around and made less cool as compared to single-player, only five maps,9 no way to rebind keys, and region-locked matchmaking that you aren’t notified about.10

The campaign story11 is still vague and handwavy, and the fact that a long time ago in a galaxy far away is populated by “Nathan” and “Rachel” is pretty careless.12

That said, the missions are really fun. In fact, I haven’t had a single player experience I liked this much in a long time: “classic” difficulty was hard. I replayed the last mission on easy just so I could see the ending before having to go to bed late on a Sunday night. (In the event, I should not have bothered: the ending13 consists of “yay the game is over!” and nothing else, which has reportedly confused the hell out of people new to the franchise, and is idiotic when the cool ending is a layup that the previous two games have already cleared your way to the basket for.)

And I will admit, the game has moments when it reaches a metaphorical hand up, and for just one moment, touches the sublime face of the Gaming Diety. Somewhere around Mission 3, when I was defending a wreck site that I had to scan for artifacts, my patrol was pinned down by enemy forces. Air support is called in, and just as my little dudes in their desert jeeps are about to taste the 50-degree gypsum powder for real, the sound of screaming jet engines fills the sky, and a rain of explodey death comes down on the bad guys like that scene in Apocalypse Now. I did that over and over again in the campaign, and you know what? It literally never got old.1415

Why can’t we have more of that? Well, for one, this is an old-school game from an old-school team. The gaming world has moved on in the last thirteen years. Most of my time spent in video games is social, and I hardly ever play games alone. I want to share those “airstrike you back to the stone age” moments with friends, and to sideline that experience and put a triple-A price tag on it is too much to ask. Perhaps there are more content patches incoming, and perhaps Blackbird is really as interested as they claim in fostering a multiplayer community.

Still, I’m not holding my breath. I’ve been through this cycle too many times, and I am perhaps too cynical. I have learned that the real path to happiness is accepting situations for what they are, rather than what you would like them to be. It was never going to work out with that smoking-hot graduate school colleague, and the Homeworld series will probably always be relegated to “cult” status. That’s okay, I guess. But I can’t help but find myself wondering if Warcraft III is on sale.


  1. Well, to the two games developed by Relic anyway. Apparently Cataclysm was a different set of intellectual property imaginary objects, and has thus been consigned to the dustbin of history, despite having a reputation as a rather good improvement over the original game. [back]

  2. Although as of this writing, Homeworld 2 is just over twelve years old. Can we reflect on how psychopathically short the cultural attention span has become when we are “reviving” works from just the last decade as if they were lost treasures? [back]

  3. Well, minus the as-yet-to-arrive bug fixes. [back]

  4. Starcraft (1998) was released the year before and really created that space, but not overnight. And anyway, Sierra’s online matchmaking was nowhere near as sophisticated as even the late-90s Battle.net. More than good RTSes, Blizzard made a truly excellent online service, and that is what is responsible for its success. [back]

  5. Which I confess I did not know about until literally yesterday, when people were moaning in a comment thread somewhere about how this feature was missing from Deserts of Kharak[back]

  6. To paraphrase Larkin, “micromanagement began / or at least it did for me / in the year 2003 / with the end of the sodomy ban / and release of Warcraft III”. Micro was pretty much codified in gameplay mechanics by Warcraft III: Reign of Chaos (2002), and then instantly gave birth to the MOBA, which has outstripped all the RTSes put together in terms of attention. [back]

  7. Or, as I originally thought of it, “finally, Homeworld with some fucking terrain”. [back]

  8. Although I keep seeing it billed as a “tactical RTS”, and I have no idea what that means. What RTS isn’t tactical? [back]

  9. Seriously. Five. As in “I can count all of the multiplayer maps on one hand”. More have been promised, and for free rather than as DLC, but I mean Jesus H Christ. Are we so obsessed with “ship early ship often” that we can’t even try a little? [back]

  10. These games were never popular enough to warrant region-locking the multiplayer. As it is, logging in from Europe and Asia you are present with, er, one or two game lobbies. That everyone is switching their Steam download servers to the US to find games only makes the problem worse. [back]

  11. As a supplement to the “sick of pretty games” comment, let me add: I do not care about your Bible/Tolkein/Asimov rip-off of a story, or your crappy world building. Give me a game that I can play[back]

  12. All the more since at no point in the other games do people have the names of perky Californians. [back]

  13. Don’t you dare bitch about spoilers in a prequel[back]

  14. That is, until you unlock the cruise missle ability on the Mothership, er Pride of Hiigara, I mean the Galactica, uh, your main ship. Remember the first time you launched a tactical nuke in Starcraft? Yeah, it is that much fun. Repeatedly. BOOOOOM[back]

  15. The game also has (thankfully very rare) moments when the whole “everything is basically a tank” schtick descends into something like “Parking Simulator with guns”. Both the macro and the micro AI is servicable but not fantastic. [back]

RIP Marvin Minsky

“When intelligent machines are constructed, we should not be surprised to find them as confused and as stubborn as men in their convictions about mind-matter, consciousness, free will, and the like. For all such questions are pointed at explaining the complicated interactions between parts of the self-model. A man’s or a machine’s strength of conviction about such things tells us nothing about the man or about the machine except what it tells us about his model of himself.”

(Matter, Mind, and Models, Proceedings of the International Federation of Information Processing Congress 1965)

Do we not all feel the tug of some distant, eccentric perturber?

“On the day before the press announcement on Planet Nine, Laughlin told me that he was feeling nervous. “I’m worried whether it’s out there,” he said. “This morning, I was having trouble focussing on the task at hand. My thoughts were being drawn to this massive, frigid object in the outer solar system that might or might not be there.” He added, “I believe there’s a 68.3 per cent chance that it’s there. That’s the perfect frustratingly plausible yet not-assured chance. It’s perfectly tuned for maximum mystery and a heightened sense of possibility.” Do we not all feel the tug of some distant, eccentric perturber? Give it a name: God, mathematics, a parent, a child; the search for truth, or peace, or beauty. “We haven’t seen it,” Brown said of Planet Nine. “But we have felt it.””