Games

The Lasting Accomplishment of 'Indigo Prophecy'

The first level of Indigo Prophecy represents the Holy Grail of branching narratives.

Inspired by L.B. Jeffries’s post last week ("Plot Twist Overkill in Indigo Prophecy, PopMatters, 15 June 2010), I replayed a fair bit of Indigo Prophecy, and as much as I enjoy the game, his critique of it is spot on. The game’s narrative downward spiral is infamous amongst the gaming community, and it stands as a powerful reminder of what not to do with a game's story. However, the reason that its ending is so confusing and so infamously bad is because it has such a strong beginning. The first level of Indigo Prophecy represents the Holy Grail of branching narratives; it presents you with a problem and gives you a variety of ways to solve it. However, every choice has obvious pros and cons. Unlike most games with branching paths, there isn’t a “best” choice given the situation. The game’s lack of direction in telling us what to do and our own lack of certainty regarding what we should do make the opening scene of Indigo Prophecy one of the most memorable moments in gaming.

The game opens in the bathroom of Doc’s Diner. An older man is standing at a urinal, and the protagonist, Lucas, is sitting in a stall holding a bloody knife, deep in a trance. As the first man moves to the sink to wash his hands, Lucas attacks, stabbing him over and over again. Then he snaps out of the trance and we gain control, standing over the dead body, blood all over our hands, and Lucas thinks to himself, “I have to get out of here”.

At this moment, we’re faced with two major decisions: run or clean up the mess. Both have obvious benefits and consequences. Running gets us away from the scene of the crime but leaves the bathroom full of evidence. Cleaning may erase some potential clues but also incriminates us further. Adding to the tension is the fact that we’re under a time limit. There’s a cop near the front of the diner, slowly making his way towards the bathroom. No matter what we choose to do it may seem like a good idea to first wash the blood off our hands but even that leaves blood in the sink for police to find. Leaving the bathroom without washing causes Lucas to run into a waitress, which only gains the attention of the cop faster. Once in the diner itself we’re faced with even more options: call Lucas’s brother for help from a payphone, leaving a number for the police to trace; run out the back door, adding a homeless man to the list of witnesses; or we can just leave through the front door, with or without paying. Every choice has a clear benefit and drawback that we understand instantly, something rarely achieved in these kinds of games.

This opening scene feels even more versatile when you realize there are no "gamey" instant fail moments. If Lucas is still in the bathroom when the cop enters, it’s not an immediate game over as long as we’ve taken the right precautions. If we hid the body and knife and cleaned the blood from the floor and our hands, we’ll have about thirty seconds before the cop notices a light bloody trail leading into a nearby stall. That’s more than enough time to flee, though now our guilt is guaranteed. In most games when we’re presented with a choice, we’ll either see consequences right away or some time later but rarely both. In the opening scene of Indigo Prophecy, we’re able to see the immediate benefits of a decision (hiding the body) while still being aware of future consequences (incriminating ourselves). Our actions are both good and bad, and we realize this as we’re making the choice, not afterwards.

Yet this clairvoyance has nothing to do with how the choices are implemented or presented, rather it’s because the set up for the story is so common across all forms of media that every player has a wealth of pop culture knowledge to immediately draw clues from. Indigo Prophecy begins like any good "man on the run" murder mystery, a bystander is framed for a killing and forced into the role of detective to prove his innocence. While the game adds a supernatural twist to the story, this general premise is something that we’ve all seen or read countless times before, so we know (or mostly know) how it will play out. We already have context for our choices because of this background knowledge. At this point, all the game has to do is give us a few options that fit our preconceived ideas of what to do in this situation and the world will automatically feel more real and familiar because it’ll seem to follow a very natural logic. Indigo Prophecy just goes a step further, giving us a bundle of options that fit our preconceived ideas of what to do.

Unfortunately as you get further into the game you realize how little those choices actually matter to the story. Soon the supernatural elements of the plot become central, and all our knowledge of murder mysteries is rendered useless as the world suddenly feels less familiar. By the time that you hit the first “Simon Says action sequence” (as L.B. Jeffries so perfectly described them) you should stop playing. It’s all downhill from there.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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