“If you are able to forget something is happening until another oppressed group is talking about their oppression, you are probably not oppressed.”—bibliogrrl, saying one of the smartest things i’ve ever heard about people who complain about reverse racism, misandry, thin-shaming etc.
Another month where the first day falls on a Saturday means another month that you get the new episode of Radio BG a day early. This month’s show has no real theme, per se, just a selection of new stuff i’ve been listening to and old stuff i continue to listen to. Fear not, though, as the lack of a unifying thread does not keep it from being a great set, if i do say so myself. Hope you enjoy it, and if you’d like to download a copy, you can do that here.
1. Venice Is Sinking - Azar Two
2. Pretty Girls Make Graves - Speakers Push The Air
3. Charli XCX - SuperLove
4. Beta Band - Squares (Bloah Remix)
5. Waxahatchee - Brother Bryan
6. The Range - Postie
7. The Mountain Goats - The Best Ever Death Metal Band In Denton
This seems like an insult to the hundreds who worked on these games, but it’s not. It’s not that these workers didn’t create value, it’s more that even though they were making creative decisions over a variety of problems all the time, their actual profession has been rationalized, streamlined, and scientifically managed to the point that their particular creative skills are replaceable and interchangeable. The only person who wasn’t disposable, according to Take-Two, is the creative lead.
Levine’s intent with the first BioShock was to skewer the Randian hero whose supposed individual success was actually built on the backs of the worker, yet he has lived that exact Hero’s life. Under cognitive capitalism the goal for any good manager is to undermine autonomy and unpredictability as much as possible, and keep the actual creative work in the heads of a tiny select few who rule by fiat. That Levine isn’t looking for a job while the rest of the assembly line workers are says a lot about how empty the promise of skilled professionals sharing in the success and wealth of high tech capitalism is.
I don’t give a shit what Ken Levine does next. I want to know what Irrational’s art directors do next. Let me know where they land.