Saw (2004)

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It’s mostly nonsense, but it’s an admirable piece of nonsense.

Let’s get the obvious out of the way. I still meet some people who are impressed by the ‘ideas’ in this film. Jigsaw’s ideas are retarded. Not only do they sound bullshit to anyone a little familiar with antinatalism or right-to-die (This is what happens when people are unfamiliar with pessimistic philosophy), but it doesn’t make sense. Jigsaw rambles about appreciating life, yet he clearly doesn’t. His games are cruel and impossible to win. Plenty of times other people have to die. A person who appreciates life wouldn’t put them in such dangerous situations. Moreover, these horrifying experiences leave people with PTSD. People with PTSD hardly end up appreciating life. They have a high suicide risk.

But Saw is nonsensical from the start, but it’s nonsense with spirit. Somewhere around here is a brilliant, slightly silly and slightly deep psychological thriller. This could’ve easily been Se7en‘s and Cube‘s weirder brother. Jigsaw barely has a presence here, anyway.

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What went wrong? This was before the series became pure Torture Porn. That didn’t happen until the third installment. Rather, it’s an expansion on the claustrophobic thriller. The genre has a built-in emotional appeal. We’re immediately thrown into the psychology of the characters. Human beings love puzzles by nature since, well, the world is a puzzle. Birth throws you into life and you have to figure out what to do with it. Life also happens to be as terminal as Jigsaw’s game (Oh! the Irony!).

For a while, this goes really well. The film moves like a point-and-click game. Writing characters with unique reactions to their surroundings how you avoid directing an actual video game and it works. Lawrence and Adam, even if they aren’t the deepest characters, react differently from the very beginning.

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The art direction is also important, and that’s something the franchise never lost. If you’re telling your story using visuals, make those visuals count. Saw has a rusty, industrial aesthetic. Very few scenes depart from this. Jigsaw’s concept may be moronic, but at least he has a style of his own. The ‘games’ often consist of rusty, broken-down machinery and the rooms always look decrepit and falling apart. It’s the visual equivalent of Industrial Music and I mean that in the best way possible.

Another important aspect – and Saw’s biggest contribution to the world of cinema – is the soundtrack. It’s almost sad how one of the best scores in film history is wasted on this. The ending theme isn’t the only highlight although it’s so epic it should appear in every film. Clouser did a brilliant score consisting of creepy ambiance, metallic drums and buzz-saw guitar riffs. The last 30 minutes owe half their intensity to the soundtrack. A rusty world consisting of broken machinary demands the sound of these machines in the soundtrack.

Clouser is a versatile composer, so it’s not just those noises that are effective. Throughout the films there are some melodies and rhythms. They’re just as important at adding tension. What makes Clouser’s score so different is the fact he chose a specific sound that fits the film’s visual style. Most composers just stick an orchestra that gets louder in the climax. Clouser uses a few strings, but “Hello Zepp” has those rusty electronics, too. Listening to the soundtrack alone, it’s easy to forget how the film doesn’t live up to its promise.

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The film has various flaws, but it’s hard to pinpoint the big problem. Something those hold the film back from being Very Good, but what is it? It’s not the ridiculousness of the premise. Jigsaw’s presence isn’t felt too much and the twist in the end is just too bizarre to hate. Unlike other claustrophobic thrillers there are plenty of scenes in the outside world, but that’s a better option than info dumps. The direction feels amature-ish, but the unique aesthetic and odd premise points to an undeveloped but unique mind.

Perhaps it’s the needless sadism. The film isn’t as cruel as later installments, but these moments still feel wrong. The fact we’re meant to somewhat agree with Jigsaw is plain sick. He’s a psychopathic torturer who disregards human life and basic rights. The camera often lingers on people screaming in pain, which is uncomfortable. These characters are just pawns in the game anyway. Seeing them being tortured and crying in pain isn’t easy because of that. It’s their lack of humanity that makes their suffering so hard to watch, but also unpleasant and pointless. Fictional characters don’t exist, but they’re meant to portray living human beings. The disregard the creators show for them is unsettling.

Other small flaws are easy to forgive. The characters may lack a deep psychology, but Gordon and Adam react to the world in their ways. The actors aren’t great but they do put effort. Even little utterances and phrases are spoken differently. The best example is Michael Emerson as Zep. Although the script gives him no unique lines, he imbues his character with the instability that a person in such a position would suffer from.

It’s a shame the film’s legacy was ruined. At first it was called a Se7en clone and now it’s considered the bomb that kickstarted the Torture Porn genre. What it really is, is a bizarre, deeply flawed but fascinating claustrophobic thriller. It’s worth a single watch or two, just to absorb its ideas.

3 Industrial guitar riffs out of 5

The Three Types of Suicide Prevention

Since I’m an asher, I obviously object to suicide prevention. I find it to be a violation of bodily autonomy. It is taking someone else’s death and cancelling it, as if it were your own. Pushing yourself to the edge, overriding survival instincts is very hard. Once a person manages to do that, stopping them by force is condemning them to a miserable existence they don’t want.

But suicide prevention, like many things, comes in different forms. These are the three main types I’ve seen. They are all fairly immoral, but some are more than others.

1. Suicide Prevention by Force

This is the cruelest of all types. It shares similarities with rape and murder. ‘By force’ means in a prettier language, ‘rescuing someone from suicide’. Suicide prevention by force is holding back a person from jumping, taking away the gun when they aim it, stopping a suffocation process. When the person is already in the process of dying, intervening is cruel. Surviving an attempt is a traumatic experience. The person will have to live on with the memories of it. Surviving some methods will lead to permanent damage (Especially in suffocation methods). Not only that, but preparing the method and doing it is a lot of hard work. By stopping it, you throw all that work in the trash.

Most importantly, this type of prevention doesn’t address the underlying causes of suicide. It’s not about helping the person with what drives them to die. It’s merely about keeping them alive. If you ever used force in order to stop a suicide, you’re a horrible person.

2. Direct Suicide Prevention

This type of suicide prevention is fairly immoral, but not as harmful as Type I. Whereas Type I should be considered a crime, Type II is merely being an inconsiderate moron.

The mistake many people make is that suicidal people don’t want to die. They think that deep down inside suicidal people want to live and want help finding a reason to go on. Some people are like this. Death, for them, isn’t a desired choice but just the better of two evils. If they can, they will avoid it.

Many suicidal people don’t think this way. Death is something they’re excited about, it’s a liberating thought. Telling people that they shouldn’t die is pointless. There is a whole arsenal of argument why suicide is valid. In the end, unless you can prove non-existence isn’t better than existence, you cannot stop a suicide.

Moreover, telling people they shouldn’t die changes the conversation. It’s no longer about the suicidal person, but about the people left behind. Everyone knows suicide hurts everyone around, but that’s not the suicidal’s problems. If life is as good as you say it is, you will get over this grief.

Suicide is already stigmatized, and Type II reinforces it. It doesn’t matter how much you say ‘we need to talk about suicide’. The mere fact you reject suicide as a valid option makes you hostile. It means you disregard the person’s bodily autonomy and basic rights, that you don’t respect their choices. Groups like ASH and Sanctioned Suicide exists to get away from these people. You cannot talk people out of dying because people who are against suicide are one reason people commit suicide.

This isn’t helpful. We don’t need who you think you are. It’s pointless to talk someone out of dying when they don’t consider dying a bad thing, when life is more harmful to them.

3. Indirect Suicide Prevention

This is the type of suicide prevention that is moral. In fact, it actually benefits everyone.

Indirect suicide prevention is attempting to build a society that won’t drive people to kill themselves. Building a society that makes people want to stay won’t guarantee people won’t exit, but it be better for everyone.

Attempts to build such a society are varied. Some focus on reaching out to mentally ill people, helping them with their depression, anxiety, trauma and other things. Some focus on creating a more communal lifestyle. Some help with the economical problems. Either way, building a welcoming society is the only moral way to try to prevent suicide. Even if a person still exits, such a society will be able to provide support to those left behind.

It’s important to note that perhaps assisted suicide is necessary in such a society. A society that accepts suicide as a valid option actually welcomes suicidal people, instead of alienating them. It doesn’t push them over the edge and gives them full agency. It’s possible that by accepting suicide, you can actually lower them.

Of course, all these types exist on a scale and what people do is somewhere on them. A person who talks to a jumper on the Golden Gate bridge is between Type I and Type II – an asshole, but not a criminal. Look at this and think what you’re doing, and how you talk to suicidal people. It’s possible that all this time you were encouraging them to die by telling them not to die.

You cannot, and should not, prevent suicide. Suicide prevention is selfish. True selflessness is helping a person go through with it despite how much it hurts you. If you find this odd, wait until someone bullies you or gaslights you. Unless you’ve been to Sanctioned Suicide or A.S.H., you haven’t spoken with suicidal people honestly.

Scott Cawthon & Kira Breed-Wisley – Five Nights at Freddy’s: The Silver Eyes

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There has been a lot of transitions from video game to literature. Many were bizarre choices. Were people really interested in the stories behind Halo? Didn’t it mainly exist for multiplayer? Even video games that had potential are mostly better off as pulp adventures.

The Freddy’s franchise has potential. The game is like no other. It’s not just scary but brilliantly designed and deeply psychological. Shitty YouTubers couldn’t ruin what is one of the most original games, the kind that doesn’t rely on advance technology. It’s a prime example of how video games can be an art.

Thankfully, Cawthon isn’t an exploiter. His approach to horror is unique and not just because of the lack of gore. The sequels elaborated on the themes and ideas of the games, rather than just up the shock value. The transition to other forms of media was inevitable. There was so much you could do with it.

Sadly, The Silver Eyes isn’t the novel the franchise deserves. To Cawthon’s credit, it fails mainly because it reads like a first-timer. The novel actually does try to push the franchise into a new direction. Cawthon does try to humanize the story and give us fully-developed personalities. He’s just not sure how to do with it.

If the failure of the novel surprises you, keep in mind this is completely new territory. Cawthon dealt before with general psychology. He never had to create specific and diverse personalities. Here, he’s faced with a challenge of creating a cast and giving each of them a different personality.

He tries, but he stumbles. It’s amazing how a novel can be at once character-driven, and yet not develop any of its characters. The reason it takes so long for action to happen is because the story isn’t all action. Cawthon is aware jumpscares weren’t what made the game great.

So he spends a lot of time with these characters, having them interact and show us their relationship. Sometimes it seems like it’s just postponing the moment the slasher comes alive. Then you notice Cawthon lingers on it for too long,

He’s not catering to the target audience. He spends so many pages with these characters because he’s trying to inject a face to the franchise, but nothing happens. None of them come alive. Our protagonist is the worst. There isn’t even a hint towards who she is. She’s your generic protagonist who just observes the events and acts like she should.

It’s when the novel goes to the franchise’s main themes that it improves. The main idea behind the games wasn’t horror. It’s growing up, realizing our childhood wasn’t so glorious. It’s the difference in how children see the world and how grown-ups. A description of a house early in a novel, how it decayed and how the toys are still there is powerful. The descriptions contrast the decay with the toys. They also point how the toys were never much in the first place, but just robots.

There aren’t enough scenes like that. The novel gets especially lost in the middle. Although it never slides into cliches of horror, it doesn’t know how to translate Freddy’s brand of terror into words.

The horror of Freddy’s came from not knowing. There was no gore in that series. What made it so scary is the fact we never knew what was going on. We didn’t know why Purple Guy killed those kids and we don’t see the animatronics move.

It may have something to do with the writing style. It’s not terrible, but it’s generic. Sentences lack a unique structure or tone. Similes appear from time to time, not too much to annoy but there’s nothing unique about them.

Literature isn’t just a collection of facts that form a story. You’re also supposed to use a style of language that will fit your story. It’s just like how visuals in a film don’t merely give us a setting. They don’t just show us the layout of the house, but how it’s decorated expresses something.

To his credit, he tries to do things his own way. They hint at a romance but never work on it. It wouldn’t belong, anyway. Characters that can die aren’t killed, so we’re not given a cheap death to heighten the excitement. Even the grand death of the bad guy isn’t narrated in gory detail. Fans of the game know how it happens, and just like in the game we only get the basic idea of it. The rest is up to our imagination.

The desire to go in a new direction backfires too often. Lack of cliches is fine, but the novel isn’t as weird as it should be. The lack of the Puppet is also disappointing. He’s the most frightening and mysterious thing in the series. It’s nice how the horror and mystery have a more thematic importance, instead of a puzzle for a reader to solve. These routes aren’t developed enough.

It’s a decent novel. It avoids the pitfalls of a transition. The story stands on its own and it’s written in a way that’s accessible for newcomers. It’s meant to be a stand-alone horror story and doesn’t have fanservice. The themes of the franchise dominate it – childhood and growing up – instead of the stereotypical jumpscares. The novel reads too much like a first-timer. Cawthon needed help from someone more professional. Still, it’s good to see him stretching himself. So far, he’s pushing the franchise in new direction. If it fails, at least it’s not because of a re-hash.

2.5 animatronics out of 5

Psycho-Pass

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Criminals who babble philosophically will always be present in fiction. It’s an acknowledgement that mere sadism isn’t enough. Even if a person is a sadist, there is more going on than plain cruelty there. If we can answer what makes a man start fires, maybe we won’t need fire extinguishers. Too often these stories are too fascinated with the idea of the underdog taking revenge at society. He may lose, but awareness that he’s wrong doesn’t make it any less of an escapist fantasy.

The person’s actions should follow his worldview. If they contradict that, then this contradiction must be addressed. People are messy so of course they will contradict themselves. If they do so in the story, it’s because the author made it so. If he made it so, he needs to connect it. Don’t put contradictions where they don’t belong. People don’t always contradict themselves.

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There’s a scene where Makishima gets into a fight and we see he’s a professional. It’s like before he went to star in Psycho-Pass, he stopped at Naruto and learned the ways of the ninja. I was supposed to be impressed, though. Not only is Makishima pretty and can predict people’s actions, he’s a champion at MMA.

It’s hilarious. It reminded me how Lisbeth solve an equation in the middle of the climatic fight. It’s so easy to give your character skills. You just look up the cheat codes, write the lines that say “add 50 points to Melee Skill” and you’re done.

Just because your character is skilled at a lot of things doesn’t mean the author is skilled. Character skills are often substitutes for personality. Makishima is your stereotypical Pseudo-Philosophical Villain. Forget about how the series quotes a lot of books. None of Makishima’s speeches are related to his actions.

All of his actions involve death and destruction. He gives people who want to hurt others the means to do so. When Makishima does something of his own, it’s also to cause hurt. The dominating theme is hurting others. He gives them the freedom to hurt others, but that’s as far as it goes.

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For freedom to be a theme, it needs to be expressed in different ways. The only freedom people gain is to hurt others. The violence is more varied. The characters include a bullied man, a girl sucked in her art and a person who loves the thrill of the hunt.

Makishima is not very differernt from the Jigsaw Killer. Despite talking about appreciating life, his traps were so dangerous (some can’t be complete without somebody dying) that it’s obvious he doesn’t value these people’s lives. Makishima babbles about freedom and the prison of the Sybil System, but he’s fine with killing an innocent person. There’s no worse way of ripping freedom from someone than killing them.

It’s all shock value without substance. The result is entertaining at first, but goes downhill fast. The anime goes south when it expected me to stare at a helpless, half-naked woman begging for mercy and take the villain seriously. It’s not dark, because true darkness is understandable. A villain whose motives we can comprehand and find reasonable is scarier.

If Makishima tells people to live free or die, how much of a choice is it?

What a shame. The series never chose whether it was a thoughtful story or a wild, exciting one. Either of these would’ve been fine. Being pretentious is the valley between the two.

The other side of the horseshoe fares better. The Sybil System is questioned, but it never becomes a strawman. The System is totalitarian, but it’s not an evil regime bent on oppressing everyone so the protagonist will have something to fight. Every system of government comes to power because it benefits someone.

The System doesn’t just benefit the Rich & Powerful. It benefits the simple people. The society has order, but it’s good order that leaves a lot of room for joy and wonder. Creativity may be restricted, but creativity isn’t everything. The artist may want to draw violence and the rocker wants to tell everyone to fuck off. Some would prefer to have a steady job and enough money to go for drinks with their friends.

The System also presents an alternative moral system to current society. We live in a society that praises people for getting money, having a lot of sex and being physically fit. Somehow all these promises of sex and money don’t prevent the high rates of suicide. So Sybil is not very friendly towards outcasts and has less room for creativity, but what if it’s a price worth paying for mental health?

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It’s a society where you see advertisements for ways to improve your mental health. Everyone is talking about their Hue and Psycho-Pass. If you think this is going too far, then take a look at our own society. We do the same only for physical health. Physical health is a giant industry of protein shakes, gyms and promises of social status.

No system exists without its outcasts, and Sybil has its own. Only how it casts out people isn’t so different than ours. We rage against models who aren’t stick-thin, as if being fat is a moral offense. Later, we’ll hang out with sexual harassers just because they’re charismatic. Sybil is harsh to the mentally ill, but forgets about the actions.

For a    series where mental health is a big issue, it’s surprising how lacking it is in character development. A flashback tries to develop one character. All it tells us is that she used to play guitar. Why did she take a different road than her friend? Why are their worldviews so different?

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Akane gets some development, but she’s an archetype they play with rather than a psychological portrait. Ginoza is slightly better, but everyone else spits exposition without modifying it. There’s a wild card, a bisexual analyst, a cliched noir dude who remains tough and an old geezer. Their personalities clash more than your average detective story, but there aren’t even hints towards a psychology they didn’t have time to develop.

Psycho-Pass has interesting ideas and a pretty fun story, but it has Makishima. It’s a pin in the tire that let all the air out. The ideas are too undeveloped and there aren’t enough of them to make up for this. It’s not a case of a series that’s too short, but a series that focuses on the less interesting parts.

3 dominators out of 5