This past couple of weeks, we had our in-between-semesters term at The Community School: one week for students to participate in activities outside the school, then the second to present and reflect on their learning from the school year so far in front of an audience of their peers and families. As my activity for the week of MLK Day was a Game Jam at the downtown library, I had the chance to browse and borrow a few books, and to buy a few from the Friends of the Library store, while I meandered from floor to floor checking on the students. So along with making an outing to the local Jedi Alliance arcade for a further community connection, I happened to read Piranesi, by Susanna Clarke; Reader, Come Home, by Maryanne Wolf (though I had to request that one by ILL), and Solito, by Javier Zamora. I finally found a copy of I Ching, and I picked up Binti to read next on the strength of Brenton Dickieson’s recommendation. All this while finishing up the SPACE course on games, based on Tomorrow, and Tomorrow, and Tomorrow, which was awesome.Continue reading “Passages from Solito, by Javier Zamora”
The Essays of Michel de Montaigne, admirably introduced here by Guest Professor Sufjan Stevens, are some of my favorite reading, too.
Because they are about Montaigne and his attempts (essais) to know himself, holding nothing back of all he has ever thought or wondered about, they end up being about everything. The Essays, addressed to a “goal… private and domestic” and “dedicated to the private convenience of my relatives and friends,” speak to everyone and to every possible topic (To the Reader). Usually they wander far afield from what their titles purport to discuss. Prof Suf, understandably, thinks there is one called “On Socrates,” because he often makes an appearance, though he is never the actual topic. Frequently they contradict themselves and end inconclusively, brimming with ideas in tension with one another, much in the fashion of a Platonic dialogue and in line, indeed, with the time of wars of religion in which Montaigne lived and wrote. Individual sentences branch organically, in the same way striving to embrace more and more with each subsequent revision. Paragraphs are blocked off and marbled with quotations from the extensive library that kept Montaigne company in his retirement, including from those books he had inherited from his friend La Boetie, and from those mottos he had inscribed in the rafters of his tower room, overlooking the seignorial estate.Continue reading “When I play with my cat: Montaigne’s Essays”
On questions within–and in conversation with–the MOTHER/EarthBound games
My point of departure is a question: Where shall wisdom of the world be found?
I frame it like this, as a mashup of quotations–
But where shall wisdom be found? and where is the place of understanding? – Job 28:12
Show me the wisdom of the world
Tell me the secrets of the heart
And the sweet mysteries of love
– “Wisdom of the World,” MOTHER arranged album. Catherine Warwick/Keiichi Suzuki. Lyrics by Linda Hennrick
–because the works cited are very dear to me. And because I believe other people might feel the same, I wanted to sit with them awhile, to share some of the ways in which these words and these games have helped me with the very deep questions they ask.
The reader is asked to consider the role played by questions within the MOTHER/EarthBound games in an open-ended, poetic and philosophical light, both in service to replaying and wondering through the games and as a guide to related questions surrounding their significance, development, and reception. From “Which style of windows do you prefer?” to “THE END… ?” EarthBound, our principal focus, like its precursor EarthBound: Beginnings and its successor MOTHER 3, continually poses questions. Whether direct or implied, with or without affording players (to say nothing of the silent protagonists) ways to respond to them in-game, these questions present an opportunity to think more deeply about the games and what they mean for us who play them. Taken together, the games’ questions and our responses suggest a model for such thinking and meaning-seeking through play, reading, and dialogic inquiry.
The present essay expands on an article written for NES Pro Magazine, “In the EarthBound Beginnings…There was Shigesato Itoi.” That piece, in turn, augments and flows out of a long-running podcast project, Bookwarm Games: EarthBound. Illustrated transcripts from the podcast have been graciously published on The Pixels, with further course material hosted on Video Game Academy. Both online, through outlets like these, and in-person, in my video game studies courses at The Community School (Spokane, WA), my hope is that the scholarly conversation around these games should be ongoing and open to all.
I owe many of the ideas presented here, elliptically, playfully professorial and earnest, to discussions with friends and students. With thanks to them and acknowledgement that any errors or misrepresentations are my own, I invite you to join the dialogue. So much for housekeeping. Now on to a little homework, a little light reading and replaying to begin with.
Reviewing the Literature, or, Which style of windows do you prefer?
Naturally our main texts will be EarthBound Beginnings (1990-2010), EarthBound (1994), and MOTHER 3 (2008 localization patch). We should first of all and as much as possible allow the games to speak for themselves–more on that below. But besides the games themselves and the interpretations we form as we play, whose do we take to be some of the dominant voices in the conversation around EarthBound? Who are the main players in the critical discourse we are about to plunge into, around whom wavelike lines of force, whether of argument or personality, tend to concentrate?
There is Shigesato Itoi, of course. The creator and face of the franchise has gone on record many times in many contexts to share thoughts about his work. On the one hand, this makes for an invaluable source of information for fans and students of the games. Itoi is in a position to speak on his intentions, his inspirations, and tensions in the process of casting of his vision into a reality; he knows things, or can be understood to know things, no one else possibly has access to finding out definitively about these games. As I’ve argued in NES Pro despite my qualms with “the personal heresy” CS Lewis argues against in such cases, Itoi’s biography inscribes itself into his creation in unmistakable ways; as everyone who plays will discover, Itoi loves breaking the fourth wall to make us aware of his presence as writer–and of ours as player.
But on the other hand, Itoi as author, as author-insert or character, and as commentator alike must still be filtered through the same critical judgment: the player’s– “yes, you, the one holding the controller,” as Tony says. Authoritative as his statements can appear, Itoi amplifies and evolves his thinking from one interview to the next (cf. versions of the pitch to Nintendo, or meanings of the title MOTHER). He would be the first to insist upon his own human fallibility and proneness to errors of recollection, and to insist upon the importance of the players’ own memory and attention to detail (from the original MOTHER trailer to the Switch virtual console announcement). If I appeal to Itoi’s words in public pronouncements to undermine Itoi’s authorial-canonical status, let that logical tangle be the least of our worries. Instead of throwing up our hands, though, my hope is that we lend an ear to Itoi, but not so much that we close off and silence a world of other possible readings. Like the Hobonichi logo, let’s hope we have our great big ears open both ways.
Another caveat we have to bear in mind, apropos of language and logic, is the issue of localization. Whatever the games or Itoi or any of his Japanese-speaking interlocutors might actually be saying, not only are we ultimately speaking for ourselves in hazarding our judgments on the work, we’re mostly doing so in English. We’re mediated in our readings of the games’ meaning in all the ways so far considered, but also by the choices made by a chain of official and unofficial interpreters who have rendered us the service of reproducing everything about them in a language we (presumably the majority of us reading this, anyway) can read best.
In connection with this underlying concern, one whose importance can hardly be emphasized enough, let’s not go any further without bringing on board the discussion the only person whose importance for understanding the MOTHER games and their many meanings might rival Itoi’s, at least outside Japan: Clyde Mandelin, aka Tomato. After years of active leadership within the starmen.net community, concurrently running EarthBound Central, a clearinghouse for news and history, Mandelin led the team that made MOTHER 3 available to play in English. With Fangamer, he has turned his talents to publishing books on his expertise. Legends of Localization Book 2: EarthBound painstakingly walks us through nearly every line of the game’s text, providing insight and context for each choice by the developers and translators (one of whom, Marcus Lindblom, provides the foreword. Toby Fox, creator of Undertale and Deltarune, who honed his composing and game-developing skills on ROM hacks for the same starmen/ Fangamer community, contributes a lovely blurb). Let who will keeping hoping for an official MOTHER 3 release outside Japan; I’m hoping that an official biography of Itoi and translations of his books will be forthcoming from Mandelin and his collaborators.
To take stock of our (limited) inventory so far: playing and replaying the games absent any rigorous theory of either the author or the material and ideological grounds of game development; reading up on the developer and localization while lacking much understanding of the original language or firsthand knowledge of the culture, our scattered, slovenly bibliography evincing familiarity with only a handful of significant sources–we’ve yet to really dive in, and yet all these challenges, or indeed any one of them, could sink our project before we begin. That is, if we really were by profession academic writers, and not just amateurs pretending like this for the fun of it, we’d need to do a better job of shoring up our basic premises. Then we’d want to find a peer-reviewed journal or institution more or less in agreement with our presuppositions. Wherever we decided to land on these issues, and wherever we were fortunate enough to end up researching and teaching part- or full-time, publishing-or-perishing our way to tenure, we’d meanwhile read a good deal more specialized material in our chosen corner of the field. However, let’s muddle on in our own way.
Having spent some time playing through the games, researching Itoi–his biography, interviews on his games, and other works–and looking through Mandelin’s EarthBound book, what’s next? For me, it’s Shakespeare and the Bible. EarthBound’s opening sequence sends me back to Hamlet via Hamlet’s exclamation “buzz, buzz,” and his own late night visitor inspiring the questions he asks (and we ask) throughout the play. Buzz Buzz’s reference to the Apple of Enlightenment leads more directly still to the drama surrounding the fruit of the tree of knowledge of good and evil in the third chapter of Genesis. From there I follow the reverberations of their language and themes through the poets, Milton and Blake, much influenced in my reading by the work of Philip Pullman. Time and again this thread leads me to the conviction, in Blake’s phrase, that “eternity is in love with the productions of time.” Apropos of time-travel and the wisdom we’re after (or is it after us?), his next Proverbs of Hell run:
The busy bee has no time for sorrow. The hours of folly are measur’d by the clock, but of wisdom: no clock can measure.
Undisciplined as this may seem, I tend to agree with Pullman when in homage to Muhammad Ali he says, in the afterword to His Dark Materials, “read like a butterfly, write like a bee.” Yet all this flows from and brings us back to our opening question, still unanswered and all but unformulated. We might put it like this:
Who or what is Buzz Buzz, this bee-like being inciting the beginning of EarthBound, and what is the Apple of Enlightenment whose message he bears?
In the original MOTHER 2, Bunbuun, the Japanese onomatopoeia for Buzz Buzz’s name, is “actually a rhinoceros beetle (or not),” while the Apple of Enlightenment is called a “prophecy-telling machine” and “The Apple of Wisdom” in Tomato’s literal translation. That’s seems promising. Still more helpfully, his Legends of Localization volume explains,
Throughout the game there are mentions of a prophecy given to Giygas by something called the Apple of Enlightenment. General information about the prophecy can be surmised from bits and pieces of the game’s script, but the full details are never revealed in the game. The official MOTHER 2 guide provides those details, though! Below is a translation of the discussion between Giygas and the Apple of Enlightenment, which is described as an ‘ultra-prophecy device’.
Q: PROPHESIZE FOR ME. WHEN WILL MY PLAN REACH FRUITION?
A: THAT CANNOT BE PROPHESIZED. YOUR QUESTION IS FLAWED.
Q: THEN I WILL ASK AGAIN. WHEN WILL MY PLAN TO COMPLETELY RULE THE GALAXY SUCCEED?
A: IT DOES NOT SUCCEED. THE PLAN ENDS IN FAILURE. (187)
Wisdom found, right? A whole Apple of it. And questions answered–albeit in such a way that Giygas decides to set the events of the game in motion based on what the Apple tells him. Deep Thought meets Oedipus Rex.
Q: WHAT HAPPENS IF I GO BACK IN TIME AND GET RID OF THEM?
A: THE RESULTS OF TEMPORAL INTERFERENCE CANNOT BE PROPHESIZED.
If we are like Giygas in our dealings with this Apple of Wisdom (the games themselves unfolding Itoi’s story), or if we are like Pokey’s mom with respect to Buzz Buzz (messengers like Clyde Mandelin, bringing us new knowledge about it all these years later)–that is, if we are impatiently demanding discursive answers to these questions, they will only lead, at best, to playing the game through again from the beginning (an attempt to go back to the past), and at worst, to doing a violence to the text of the game, silencing it and moving on from its words without giving it another thought. If we are like Ness, though, these questions set us on a journey here and now to grow in “wisdom, courage, and friendship,” and to find “Your Sanctuary.”
THE END… ?
I can understand how that trajectory may seem idiosyncratic. Let’s hope that wherever you turn for help answering underlying questions of this sort, besides replaying the MOTHER games you’ll try reading and revisiting for yourself some of the literary stepping-stones thrown out there above, arrayed as it were in mid-air like the platforms in ur-NES games, Mario Bros. and Donkey Kong. I hope you go clambering Shadow of the Colossus-like onto the shoulders of those giants and enlist the aid, Breath of the Wild-like, of those divine beasts we’ve been citing. But it really depends on what interests you, what scholarly questions you’re pursuing.
In lieu of Shakespeare and the Bible and the rest, the student of MOTHER/EarthBound interested in canon-completionism might want to turn first to the official novelizations by Saori Kumi, recently made available in English translation, and to other paratexts accompanying the games, such as published scripts, advertising materials, trade show videos, box art and instruction booklets, and the official (and official-esque) player’s guides.
For another sort of research, what matters most is fandom and reception, so diving into decades-old forum posts, viral tweets (Terry Crews’ “localize MOTHER 3” @ Reggie Fils-Aime), fan productions, and discussions of the influence of these games on social phenomena, like online communities, and works significant in their own right, like Undertale. The secondary sources shedding light on the games and bringing more attention to them, (in much the way EarthBound, for me anyway, brings attention and light to Shakespeare and the rest), might include the likes of The Angry Video Game Nerd in one of his more heartfelt efforts; Ken Baumann’s memoiristic account of the impact EarthBound has had on him; the gonzo journalism of Tim Rogers; and other video essays, analyses, and blog posts loitering unassuming yet insightful somewhere down the lists generated by the almighty search algorithms.
More academic studies of EarthBound do exist, but the conversation on the game and its place in history remains in its infancy, for the simple reason that we’re still too close to it to really appreciate it. What we’re attempting here is a prophecy or a promise that these games will remain significant, as much as an essay seeking to explicate their possible significance.
Does a place called paradise
Wait beyond the azure skies
Bright as day?
Look into your crystal ball
Read the future in the stars
Does it say?
– “Wisdom of the World”
To paraphrase the not-bee himself, thanks for listening to my long prolegomena. On to more questions.
The poetry of earth is ceasing never. Same goes for the discourse of games. It’s never dead. Long may it live! The fun of playing and thinking, writing and reading about video games; the critiques on more general topics opened up thereby; the further discussion that in turn entails… chef’s kiss. Influential texts in game studies, promising new releases, and wild cards–and the meta-discourse. The nitty-gritty, the airy-fairy. Philosophical presuppositions. Utopian politics and metaphysical claims. The poetry of earth and the poverty of spirit–it’s all there in your podcast feed with Games Studies Study Buddies, which releases new episodes monthly.
As Jacotot noted long ago, but not so long ago as Plato, everything is in everything. But let’s not just quote dead white men. Let’s break the canon open and dismantle this. I mean, Universal Teaching: Mother Tongue and Meno are pretty good, but maybe Lauren Hill says it best in her Miseducation:
After winter must come spring
Everything is everything
Long-awaited summer of classics, let me know what your vibe is.Continue reading “The Grasshopper and Cricket – Podcast Review: Game Studies Study Buddies”
One time, investigating in the backyard of our house in Temuco the tiny objects and minuscule beings of my world, I came upon a hole in one of the boards of the fence. I looked through the hole and saw a landscape like that behind our house, uncared for, and wild. I moved back a few steps, because I sensed vaguely that something was about to happen. All of a sudden a hand appeared–a tiny hand of a boy about my own age. By the time I came close again, the hand was gone, and in its place there was a marvelous white sheep.
The sheep’s wool was faded. Its wheels had escaped. All of this only made it more authentic. I had never seen such a wonderful sheep. I looked back through the hole but the boy had disappeared. I went into the house and brought out a treasure of my own: a pinecone, opened, full of odor and resin, which I adored. I set it down in the same spot and went off with the sheep.
I never saw either the hand or the boy again. And I have never again seen a sheep like that either. The toy I lost finally in a fire. But even now, in 1954, almost fifty years old, whenever I pass a toy shop, I look furtively into the window, but it’s no use. They don’t make sheep like that anymore.
I have been a lucky man. To feel the intimacy of brothers is a marvelous thing in life. To feel the love of people whom we love is a fire that feeds our life. But to feel the affection that comes from those whom we do not know, from those unknown to us, who are watching over our sleep and solitude, over our dangers and our weaknesses–that is something still greater and more beautiful because it widens out the boundaries of our being, and unites all living things.
That exchange brought home to me for the first time a precious idea: that all of humanity is somehow together. That experience came to me again much later; this time it stood out strikingly against a background of trouble and persecution.
It won’t surprise you then that I attempted to give something resiny, earthlike, and fragrant in exchange for human brotherhood. Just as I once left the pinecone by the fence, I have since left my words on the door of so many people who were unknown to me, people in prison, or hunted, or alone.
That is the great lesson I learned in my childhood, in the backyard of a lonely house. Maybe it was nothing but a game two boys played who didn’t know each other and wanted to pass to the other some good things of life. Yet maybe this small and mysterious exchange of gifts remained inside me also, deep and indestructible, giving my poetry light.From “Childhood and Poetry,” by Pablo Neruda
I find this passage cited in an edition of Neruda and Vallejo: Selected Poems, edited by Robert Bly (p 12-13). Fittingly the book was a gift from Don Teodoro of the Spanish tertulia, formerly meeting at Lindaman’s in Spokane, Friday afternoons. I should have given a pinecone in return, but I took some time getting around to reading it and the restaurant has changed hands, and the group no longer meets regularly, so far as I know. So instead I pass the gift on; as for a pinecone, how about this one by Vi Hart, Doodling in Math Class.
Though this lovely passage from Neruda, presumably in Bly’s own translation, gets cited here and there online, I haven’t found a full English version of the text from which it is taken. Perhaps for this reason, his echoers, of whom I am one, do not bother to give the full citation. But the almighty algorithm and the Chilean Proyecto Patrimonial 2020 have us covered.
Conferencia pronunciada en la Universidad de Chile.
Publicado en revista Capricornio N°6. Buenos Aires, junio – julio de 1954
A pdf can also be found at AmericaLee. Muchas gracias, amigos!
Little by little I’ll work on a full translation (or search harder, the old-fashioned way, including books). Either way, whatever I come up with, I’ll link it here. Update: Another version of the story appears in Confieso que he vivido (1974), translated as The Complete Memoirs.
Meanwhile, with due respect for the great service he has done bringing Neruda’s words to a wider audience, I have to diverge a bit from Bly’s reading of this passage. Sandwiching the text, he adverts, “In ‘Childhood and Poetry,’ Neruda speculates on the origin of his poetry”; “This curious and beautiful story, which Neruda carefully links to the origins of his own poetry, is a conscious rejection of the connection between poetry and sickness, so often insisted on by Europeans.”
Leaving aside the contrast posed there, which seems more rhetorical than accurate, I don’t think any sort of “conscious rejection” or even the “origin of his poetry” is Neruda’s main concern. Rather, the essential thing here seems to me to be this “game,” as Neruda puts it, of gift-giving between strangers. This is what goes to the roots, not just of Neruda’s poetry, but of all poetry as it is given to us in the tradition from Homer and the Bible on. And not just poetic inspiration is at stake for Neruda: it is his “precious idea: that all of humanity is somehow together.” As a glance at Neruda’s life will show, he sought to unite the poetic with the political, the ideal with the practical. Understandably, the poet-translator might seize upon the poetry side of things; for the student of games, though, and of their significance, the passage in its fuller context becomes intriguing for what light it might shed on our playful and serious subject. What is poetry, politics, or language itself but a kind of “game of two kids who don’t know one another and who want to communicate the gifts of life”? (My translation and italics, because I don’t know a better way than the literal cognate for this phrase, “comunicarse los dones de la vida.” Cf. NT on gifts; St-Ex on sheep; Ana Maria Matute, Shaun Tan, and Shakespeare on looking through holes; bell hooks on belonging; Robin Wall Kimmerer on reciprocity).
Then, concluding Bly’s June 12, 1966 interview with Neruda as transcribed at the end of the selected poems, there is this exchange:
[Bly:] In one of your essays you described something that happened to you as a boy which you thought has had a great influence on your poetry. There was a fence in your backyard. Through a hole in it one day a small hand passed through to you a gift–a toy lamb. And you went into the house and came back and handed back through the hole the thing you loved most–a pinecone.
[Neruda:] Yes, that boy passed me a lamb, a woolen lamb. It was beautiful.
You said that somehow this helped you to understand that if you give something to humanity you’ll get something else back even more beautiful.
Your memory is wonderful, and this is exactly right. I learned much from that in my childhood. This exchange of gifts–mysterious–settled deep inside me like a sedimentary deposit.(163-4)
Neruda’s poetry reading on this occasion, or rather the day before, is available online, but I can’t find a recording of this interview. Perhaps it will turn up, like this. I’m mainly curious whether it was conducted in English or Spanish, or both… In any case, Bly insists this time on the reciprocity of giving. In the intro he does also remark, along the same lines, “it was clear from that reading that his poetry is intended as a gift” (14). That I would certainly agree with, and I’d add that entering into a dialogue with it can be as playful as any game, earnest as any gratitude.
The first article I remember reading about EarthBound–in the sense of seeking out more information about the game, not just seeing it written up in Nintendo Power–bears the unforgettable title “It’s Not Bokista.” In it, the author, Tomato, explains the audio clip that plays several times in the opening naming sequence for a new game. He corrects misconceptions and lays out the facts in a way that has its own shorthand now in internet parlance: a Well, actually, but a gentle one.Continue reading “MOTHER don’t go”
Some light reading for you: Boss Fight Books are on Humble Bundle at the moment. Enjoy!
And for listening, a conversation with C. Thi Nguyen on The Ezra Klein Show, in which they talk about The Grasshopper, by Bernard Suits, and Baba Is You, among many other things.
If you’re feeling inspired to do a little writing, a CFP came out recently for a volume on the theme of “Gardeners of the Galaxies.”
Reading, writing, listening–whatever you’re up to, hope it’s going well!
I first became aware of Johan Huizinga and his keywords homo ludens via the upper warrens of the video essay rabbit hole a few years ago, but once I was on the lookout for him, I started to see him everywhere. Not only in references and footnotes from other amateurs and scholars in the field of games studies, where his work is foundational, but all around me, subtly: in everyday interactions, in the fiction I read, in politics I couldn’t tune out; in just the way when you learn a new word, you suddenly find it coming up serendipitously left and right. Even where his name is absent, Huizinga’s key insights and concepts–the play aspect of culture, the game-like nature of human reality delineated by the magic circle or field of play–are so universal and so interesting as to crop up almost of their own accord and in the strangest places.Continue reading “In the Shadow of Huizinga: Games Studies and Cultural History”
Continue reading “Though the seas threaten, they are merciful – The Tempest”
In this last tempest. I perceive these lords
At this encounter do so much admire
That they devour their reason and scarce think
Their eyes do offices of truth, their words
Are natural breath: but, howsoe’er you have
Been justled from your senses, know for certain
That I am Prospero and that very duke
Which was thrust forth of Milan, who most strangely
Upon this shore, where you were wreck’d, was landed,
To be the lord on’t. No more yet of this;
For ’tis a chronicle of day by day,
Not a relation for a breakfast nor
Befitting this first meeting. Welcome, sir;
This cell’s my court: here have I few attendants
And subjects none abroad: pray you, look in.
My dukedom since you have given me again,
I will requite you with as good a thing;
At least bring forth a wonder, to content ye
As much as me my dukedom.
Here PROSPERO discovers FERDINAND and MIRANDA playing at chess