![]() ![]() Most of the events that have a significant bearing on the events of the game happen off-screen and outside the entirety of the game’s plot. There are no prizes for guessing that the game is rare, and in more ways than one. (Needless to say, spoilers follow from here onwards) Anticlimax the Antihero ![]() Of being in a better position to answer that tantalising question: Perhaps, by making us aware of the futility of what we do, it helps us become more aware of what we want from life. ![]() In doing so, perhaps the game does more than it was ever expected to accomplish. That the result seems nothing more than an ordinary man’s attempt to escape the drudgery. That none of those fantastic things came to being. But it all comes crashing down at the end, only for you to seethe in rage, and when calmer, to be disappointed at how it all came to be. It intrigues you at the beginning, then takes you on a journey full of stunning sights and flights of fancy. We wouldn’t like them to remind us of how deeply flawed our worlds are, nor would we like to know even more about the issues that trouble us.īut maybe sometimes, a game comes along that does precisely those things. By definition, we wouldn’t like our games to hit too close to reality. We play video games as an act of escape from a widespread drudgery that surrounds us to no end. Life is a journey of nightmares and anticlimaxes, but thankfully interspersed with some moments of genuine happiness. Instead, life is mostly made up of a few joys, some more heartbreaks, and a whole lot of sniffles. Storybook happy endings in life happen rarely. ![]() In those differences lie who we are, and although we take separate paths and experience disparate consequences for our actions, life invariably finds a way to screw us over anyway. We try to understand what we want, and we behave differently in trying to get to the place we want to go to. But how we would like our lives to be and how our lives actually are, are never the same. In a world where everyone is in a conscious or subconscious flux about how they interpret happiness, we would all like to be happy in some way. Sometimes, Willner, who served as musical coordinator, would even play mix-and-match with the guests.Of course you would. Executive-produced by Lorne Michaels and hosted by David Sanborn and Jools Holland, the program featured a stunning array of talent, from rock legends (Joe Walsh, Carlos Santana) to jazz royalty (Dizzy Gillespie, Sun Ra), visionary composers (Philip Glass, John Zorn), and inspired outliers (Screamin’ Jay Hawkins, Diamanda Galás). One of Willner’s greatest coups happened in 1989 when he engineered a team-up between Leonard Cohen and Sonny Rollins for the short-lived NBC show Night Music. As he once put it, through his curation he was “trying to to combine things that are sort of fantasy.” Through his marvelously eclectic tribute albums - which featured everything from Tom Waits yowling out Snow White’s “Heigh Ho (The Dwarf’s Marching Song)” to Debbie Harry singing a wordless tune from Fellini’s La Dolce Vita and Chuck D declaiming passages from Charles Mingus’ autobiography - he turned countless sonic what-ifs into reality. But the producer, who died Monday at 64, had a unique gift for making music happen. Hal Willner wasn’t known for playing music himself. ![]()
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