Eversion is a short horror platform game I downloaded in 2010.
That last part – me downloading it – is very important. From a certain reference frame (mine), the game did not exist until I downloaded it. So you could say I created the game by downloading it. No, don’t thank me. It was no trouble.
Eversion is a Mario clone with a unique concept: you transport yourself between variations of the same stage that exist in different realities. Fluffy clouds in Dimension 1 might be weight-supporting platforms in Dimension 2, while a solid roof might be breakable tiles in Dimension 3.
In most games you move a character around a level. In Eversion you move a level around a character. Much of Eversion consists of toggling between various layers of reality, seeking the one that will allow you to advance. New dimensions become available as you progress deeper in the game, and sometimes the game forcibly dimension-shifts you no matter what you do.
It’s like the game exists in 3D space without having 3D graphics: you can traverse the game in four directions, plus go “inward” and “outward” into slightly-different universes. As you might have guessed, the dimensions become increasingly dark; the music scarier, the monsters replaced with nastier versions of themselves, and so on.
Eversion proves a fact that’s already proven to hell and back: less is more with horror. Many of the mid-tier realities are creepy, with their slightly-off color schemes and slightly-cracked music. In the lowest dimension you’re picking up skull items while VERY SCARY horror music shrills in the background, and the result is more comical than frightening.
The production qualities are reasonable for a one-man game originally developed for a contest. The pixel art is okay, the music is really good, and the mechanics feel solid. The game’s not long – after memorizing the puzzles I could run through Eversion in about 30 minutes – and it has two endings, a happy and a sad one (perhaps sad and happy?). The least fun parts are the tiny hotspots that often have you running all over a level, jumping infuriatingly at air, trying to trigger the magic pixel.
Super Mario Bros is such a cliche that even its ripoffs have cliches. You’ve got the super-hard game that sadistically kills you every 2 seconds (and then taunts you with a kill-counter), a’la Syobon Action/Cat Mario. Then you have the parody or subversion, such as Super Hornio Brothers (or arguably Nintendo’s own Wario).
Eversion has elements of the latter, but it’s also that rarest of birds: a SMB copy that conceptually evolves Super Mario Bros in an interesting way, and thus deserves existence. You wouldn’t think improving on a 1985 platform game would be an achievement, but I’ll be damned if 90% of indie games can manage it.
You play as a flower. I never noticed I was a flower until I re-read the game’s description on Steam today – it was a detail I’d totally overlooked despite it being the central part of the game and the one thing I should have seen. I assumed I was a weird furry character. But then, how familiar are you with the details of your own body? Without looking, could you draw (or describe) your toes in such a way that they’re distinguishable from other toes? How much σεαυτόν do we γνῶθι?
Eversion was released for Windows in 2008, and has since been ported to Mac OS, Linux, and real life. Why real life? Because when I watched a Youtube playthrough of it to refresh my memory in 2021, it was nothing like I remembered. It’s possible that the graphics and sound were spruced up in a later version, but I think you’ll agree it’s more likely the world really works like the one in Eversion and I travelled to another dimension without realizing it.
“The future wants to steal your soul and vaporize it in nanotechnics” – “CyberGothic”
This philosophy book is intended for readers with four years of training in continental philosophy; I have 0 years and found it hard going. But then again, Nick Land belongs in the company of Sam Harris, Slavoj Žižek, and Jordan Peterson – rogue thinkers who have amassed a following outside of academia.
Nick Land was once a teacher at the University of Warwick, but he did not flourish beneath the scholar’s cope. He published just one book – 1992’s The Thirst for Annihilation: Georges Bataille and Virulent Nihilism – and his time as a lecturer was marked by vicious academic infighting. His interdisciplinary research group CCRU earned a reputation as a disruptive force, and his 1998 “resignation” might not have been entirely voluntary.
A divisive, polarizing figure, he provoked both adulation and execration. His jabs at the holy trinity of ‘continental philosophy’ – phenomenology, deconstruction, and critical theory – drew enmity from his more orthodox peers; and while his virulent anti-humanism affronted philanthropic conservatives, his swipes at institutionalized critique earned him the opprobrium of the academic Left. Marxists in particular were outraged by Land’s aggressive championing of the sociopathic heresy urging the ‘ever more uninhibited marketization of the processes that are tearing down the social field’ – the acceleration, rather than the critique, of capitalism’s disintegration of society. – Ray Brasser
Mainstream philosophy finds him unacceptable. Unacceptable the way tall poppies are to lawnmowers? As economist Garrett Jones observed, “read the room” is often an argument against the room.
Land cuts a disquieting and even apocalyptic figure – a human lightning rod, channeling power from the outer dark. Whether he’s is writing fiction or philosophy or indistinguishable meshings of the two, reading his prose can be unnerving experience – as though you’re inviting a shadow to hang over your head.
Fanged Noumena gathers up his writings from 1987 to 2007, a period that encompasses his academic career, mental breakdown, and move to Shanghai. In brief, Land is an accelerationist: a piece of jargon that means different things to different people.
It might reflect a goal to bring about a technological singularity, or it might reflect a realization that this process has already begun and is now too late to stop. Human bodies evolved over millions of years. Human society, over tens of thousands. But capitalism, catalyzed by technology, moves still faster, faster than anything we’ve seen before. More importantly, it’s becoming faster faster than anything we’ve seen before. It’s picking up speed like a gale-force wind, howling and sucking things off the ground, causing humanity’s mooring lines to snap one by one. Some people want to slow down capitalism via things like government, centralization, and tradition. We were never made to go this fast. We have to slow down. Nick Land’s response is “cut the lines. Let’s ride.”
Accelerationism became a topic of some discussion in the late double zeroes. The notion of increasing speed was an appealing one. Silicon Valley buzzwords like “disruption” and “growth-hacking”, and Mark Zuckerberg’s infamous “Move fast and break things” quote are accelerationist in outlook. Then the word began showing up in the manifestos of mass murderers. Since then accelerationism has become a shibboleth: having an interest in it makes you ideologically suspicious. The thing about accelerating is that it’s undefined what you’re accelerating toward. To some it’s a techno-singularity, to others it’s race war. Both Charles Manson and Elon Musk were (and are, respectively) in accelerationists in some sense.
As is typical for Land, Fanged Noumena isn’t straight philosophy, and sometimes not even slant philosophy. “Narcissism and Dispersion” begins with a discussion of Heidegger’s analysis of George Trakl’s poems. “CyberGothic” is a reverie on William Gibson.
Other sections are brutal flamethrower attacks that leave huge swathes of mainstream philosophy blazing. “Making it with Death” features caustic tirades (“If Deleuze is to be salvaged from the inane liberal neo-Kantianism that counts as philosophy in France today…”) that couldn’t have earned Land many friends, and it might be intentional strategy that his point is often obscure.
I’m not able to offer cogent analysis of anything here. There are some fictional prose pieces, such as Ballardian/Burroughsian pastiches . “KataqoniX” is a work of poetry seemingly created while watching Apocalypse Now on acid – it predates Kenji Siratori by years but treads over the same ground. There’s an interview with one “Daniel Charles Barker” who is almost certainly a nonexistent person, perhaps a collective identity for the CCRU.
“Delighted to Death” was particularly of interest, in the way it doesn’t just point to accelerationism’s future, but traces the movement’s opposite.
Cioran quotes Lao Tsu’s maxim ‘the intense life is contrary to the Tao’ and compares the tranquility of the modest life with the thirst for annihilating ecstasy that has possessed the Western world. However, acknowledging the compulsion of his Occidental heritage, he remarks ‘I can pay homage to Lao Tsu a thousand times, but I am more likely to identify with an assassin’. Our culture, he argues, is essentially fanatical.
Is Taoism reversed accelerationism? And does it follow that Eastern philosophy is reversed western philosophy? Their slow to our fast? It might all be a game of speed, and identifying the plus and minus modifiers. One the main concepts in accelerationism (particularly the part of it Land dwells in) is “deterritorialization” – a windy word that basically means unwriting and uncodifying outdated concepts that exist to hold back the hand of history. Or something. As Land himself “explains”.
For accelerationism the crucial lesson was this: A negative feedback circuit – such as a steam-engine ‘governor’ or a thermostat – functions to keep some state of a system in the same place. Its product, in the language formulated by French philosophical cyberneticists Gilles Deleuze and Félix Guattari, is territorialization. Negative feedback stabilizes a process, by correcting drift, and thus inhibiting departure beyond a limited range. Dynamics are placed in the service of fixity – a higher-level stasis, or state. All equilibrium models of complex systems and processes are like this. To capture the contrary trend, characterized by self-reinforcing errancy, flight, or escape, D&G coin the inelegant but influential term deterritorialization. Deterritorialization is the only thing accelerationism has ever really talked about.
In socio-historical terms, the line of deterritorialization corresponds to uncompensated capitalism. The basic – and, of course, to some real highly consequential degree actually installed – schema is a positive feedback circuit, within which commercialization and industrialization mutually excite each other in a runaway process, from which modernity draws its gradient. Karl Marx and Friedrich Nietzsche were among those to capture important aspects of the trend. As the circuit is incrementally closed, or intensified, it exhibits ever greater autonomy, or automation. It becomes more tightly auto-productive (which is only what ‘positive feedback’ already says). Because it appeals to nothing beyond itself, it is inherently nihilistic. It has no conceivable meaning beside self-amplification. It grows in order to grow. Mankind is its temporary host, not its master. Its only purpose is itself.
I’m not sure how sensible this is. “Negative feedback circuits” aren’t necessarily inhibitory forces: they might hold one part of a system at stasis, but that might be necessary for another, larger part of the system to function. I am writing this using a computer that’s powered by electricity. The electricity first passes through a series of op-amps, rectifiers, and transformers to shape and regulate its power – ie, negative feedback processes. A PSU made of positive feedback voltage draws wouldn’t “exhibit ever greater autonomy”, it would instantly draw 220 volts from the wall and kill itself.
And it seems that much of Land’s “deterritorialization” requires reification of other sorts of territories. Capitalism might be an awesome disruptive force. However, it relies on laws, rules, concepts, codified language, etc. Are these not territories? What’s a dollar? How do you verify that I own this dollar? How do you stop me from spending my dollar twice? Unless you have fast and legible answers to these questions, the whole system falls down. A hundred thousand years ago, humans had absolute de-territorialization. It was an interesting period. But it wasn’t a technological singularity.
It’s possible these are stupid objections that would only be raised by a naïf. It cannot be emphasized enough that Fanged Noumena is not for the casual reader. Land will accuse something of being a “grotesque recapitulation of Kant’s compromise with onto-theological tradition” and it’s like a game of tennis where I can’t see the net – what compromise did Kant make? Where would I begin looking? Someone with more than a casual interest in philosophy would get more out of these essays.
Land would later become grouped into the “alt right” by journalists, but he doesn’t seem to take conservatism very seriously. He mocks religion and traditionalism frequently, and almost nothing in the book seems to fit into a left/right schema. Either his views changed, or he moderated them to avoid total censure at Warwick.
He opposes many fruits of the enlightenment – such as egalitarianism, democracy, and feminism and so forth – largely because he identifies them as the aforementioned “negative feedback”. He lives in a world where technology itself is an agent. Technology itself as the agent. Or rather, the everything. The entire system. The soul. Can we decode? What does it want? What is it propelling us toward, if anywhere? Wherein lies the aggregate trend? Is there a point to understanding accelerationism? By definition, it’s moving too fast to understand.
Whenever its name has been anything but a jest, philosophy has been haunted by a subterranean question: What if knowledge were a means to deepen unknowing? It is this thought alone that has differentiated it from the shallow things of the earth. Yet the glory and also the indignity of philosophy is to have sought the end of knowing, and no more. And what if empowerment was a means to deepen weakness? – “Shamanic Nietzsche”
What if indeed.
That would be a funny fate for humanity. Groping around in the dark, looking for a light…and finally everything becomes bright. It’s a train rushing down on us. Inescapable. Land wants to rip the bandaid off, and get it over with. If that’s what’s going to happen, then let’s let it happen. He wants those realities to become real.
The nice thing about accelerationism is that it doesn’t turn you into a drudge for any particular philosophy or social movement. I once read about an avowed communist who voted for George W Bush in the 2000 election. His reasoning? Bush would hasten the fall. That’s smart. Sociopathic, but smart. It’s also accelerationist.
Among the most personal pieces of writing in Fanged Noumena is “A Dirty Joke”. Nick Land relates a series of anecdotes that maybe give the strongest sense of where he’s coming from. The world of today isn’t much to write home about. Land’s allegiance is to the world of tomorrow. He wants the sky to go dark as soon as possible, by this or any means, and he doesn’t care what it takes to draw down the sun.
According to public opinion Richard Adams wrote just two books. Guess the first one, don’t win a prize. The Plague Dogs is his other one. It has parts that are audacious, tense, exciting, and well-written, but it has no parts as good as Watership Down. Read it for a greater appreciation of Adams’ debut, because it shows some of the ways Watership Down could have gone wrong.
Rowf and Snitter are laboratory dogs subjected to horrible medical research. After a careless janitor allows them to escape, they take refuge in the hills of England’s Lake District, preying on sheep to survive. Rowf is a weary, cynical mutt who’s given up. Snitter is a fox-terrier driven insane by experimental brain surgery. Combine their parts and you would have a single healthy pedigree animal. Their chances of survival aren’t good, but Snitter (who is a visionary similar to Fiver) has an idea that he might have once had an owner. Is it true, or another ghost from the crack in his head?
Meanwhile, scientists at the laboratory try to contain the story of the escaped dogs (and instead throw gasoline on the blaze at every turn). Soon Rowf and Snitter are mistakenly believed to be carrying a superplague, and half of Cumbria is out hunting them with rifles.
The Plague Dogs is indecisive, never sure of what it’s doing. At once it’s a grim satire, anti-vivisectionist propaganda, a “naturist” ramble through rural England, and a thrilling animal adventure. The parts sometimes work on their own but don’t become a harmonious whole.
The satirical scenes are as subtle as a gunshot to the face. The laboratory is called Animal Research, Science and Experiments (ARSE), the dialog between government bureaucrats sounds like Yes, Minister, muckraking journalist Digby Driver makes Rita Skeeter seem like Truman Capote, there’s a fat Fleet Street magazine editor whose name is Hogpenny because he’s fat, etc. It echoes Evelyn Waugh’s Scoop at times.
The ARSE scientists are comically evil, torturing animals on behalf of makeup and cigarette companies. The place is clearly intended as Pawschwitz: some day animal rights activists might abandon the Holocaust as a comparison, but not this day. Rowf and Snitter receive identifying numbers at the lab, which was alread troweling on the subtext, but Adams also can’t resist telling us that ARSE’s Dr Goodner used to be Dr Geutner and came to England via Buchenwald, at which point it stops being “subtext”, transcends being “text”, and becomes “clubbing the reader across the head”.
Digby Driver is implausibly lucky; always at the right place at the right time, always getting the right person to say the right thing. He should ditch journalism and buy lottery tickets. He’s also stupid: after unmasking Goodner’s identity, he blackmails him for information on the lab escape, as if a Nazi war criminal on the government payroll wouldn’t be a far greater scandal than two dogs running across the countryside.
It’s probably that most of The Plague Dogs’ readers wanted another animal adventure, but The Plague Dogs has little of Watership Down’s optimism. Adams’ rabbits were as capable as Navy SEALs and that book’s happy ending felt deserved, because Hazel and Bigwig and Fiver had earned it through their courage and cleverness. Rowf and Snitter are just helpless mutts by comparison, relying on luck and a helpful fox to survive. The Plague Dogs contains a lot of “the dogs are in trouble again, deus ex machina coming in 3…2…”
This might be The Plague Dogs’ big problem; the protagonists are animals in a story that only has room for humans. Rowf and Snitter can’t even understand (let alone influence) their circumstances, and this thrusts them into a passive role. To advance the plot Adams has to draw back the camera onto the human cast, almost to the point where Snitter feels abandoned by his author as well as his master. The Plague Dogs ends up being a cynical, dark, and sometimes funny book about human politics…between scenes of dogs huddling under a bush feeling scared.
Watership Down had the right idea by only giving us the rabbits’ point of view. Humans existed as supernatural forces akin to Greek titans: terrible monsters that left devastation in their wake. We didn’t need scenes of Berkshire politicians taking bribes and authorizing a construction project in Sandleford. That would have thrown the spotlight in too many different directions and onto too many characters, instead of the ones that mattered. The Plague Dogs commits this error, and becomes an extremely murky book.
And it lacks the largeness of its predecessor, its mythical heft. There’s no equivalent to the lapine language, no counterpart to the El-ahrairah stories. The only fantasies are the ones coming from Snitter’s damaged prefrontal cortex – and these aren’t thrilling, they’re sad, because we know what caused them. Animal experimentation is dreadful, and Adams’ show-offy allusions to classical literature seem out of place. The Plague Dogs is no epic in the mold of Virgil and Homer: it’s a bleak book about a bleak world where heroes don’t exist.
In 1982 Martin Rosen “adapted” The Plague Dog to film in his inimicable way. I remember a TV screen full of endless gray. It might be the most miserable film ever made about dogs (or tetrapods in general). At least Old Yeller spent most of his film not getting shot behind a barn.
