War mismanagement, in Helldivers

Helldivers 2 is a game that takes a significant amount of inspiration from Starship Troopers, being basically a satire of fascist propaganda. Players take the role of Helldivers, who fight on the side of Super Earth in a galactic war. Super Earth’s goal is to spread liberty Managed Democracy. Managed Democracy is basically a totalitarian government where an algorithm votes on people’s behalf, allegedly based on a prediction of how they would vote.

But where Starship Troopers is a short self-contained movie, Helldivers 2 is a game that people pour hundreds of hours into. It can’t just be a satire of fascist propaganda. It can’t be any single thing. There are many narratives that emerge from it, some of which are at tension with each other. For example, in the interpretation of Starship Troopers it is possible to argue that the bug aliens did nothing wrong, and the humans are the aggressors. On the other hand, Helldivers doesn’t lend itself to such a straightforward interpretation, because there are many clear examples where the aliens are the aggressors.

So I’d like to explain a grander emergent narrative that took me months to understand. It’s a narrative about how players are kept in the dark, and how this leads to a mismanaged war that wastes billions of lives.

For Super Earth

Part of this narrative is very front and center. Of course the galactic war wastes countless lives! The gameplay revolves around that fact.

Helldivers are elite soldiers that get inserted deep behind enemy lines. They spread democratic devastation, often by calling down strikes from their orbital destroyers. These are basically suicide missions. Every time the player dies, they switch perspectives to a whole new helldiver. So the number of lives lost numbers in the billions. And often lives are lost in comedic, pointless ways, like when you accidentally call an orbital strike down on yourself or your friends.

Helldivers are mythologized by citizens of Super Earth. However, the game’s tutorial suggests that they receive minimal training. After a short training routine, a recorded voice absurdly praises you for being the best soldier he’s ever seen, and then you immediately step into a pod to launch off into space. One imagines that they’ve lowered their standards to keep up with the demand for new helldivers.

At tension with this narrative, is the fact that players may in fact be very good at the game. Helldivers could be seen as comically strong, considering how much you can do with just a handful of them. Of course, a lot of their strength comes from absurd amounts of air support.

But if you ignore how overpowered helldivers are, the narrative seems to be about a bunch of low-information fanatical soldiers who are treated like expendable grunts.

The Galactic War

Now in a fascist satire, you might expect a strict military hierarchy where soldiers do exactly what they’re told. But in a game, of course the player wants to be given a choice in how they set up their battles. You get to choose which of the three alien races to fight, and which planet to fight them on. I don’t think this contributes to the satirical narrative, it’s just what you need in a game.

But there is a single galactic war that is shared across the entire player base. Players are given orders, and though you are not forced to complete them, you are rewarded for doing so. There are “personal” orders which are completed by individual players, for example to kill a hundred bugs with a machine gun. And there are “major” orders that must be completed by the player community. For example, to kill a billion bugs total.

If a major order is completed, then every player receives a reward regardless of whether they actually contributed to it. This can create community-wide prisoner’s dilemmas, where some players just want to have fun fighting their own way, which may be at odds with the major order. And sometimes major orders are at odds with personal orders, so that a player might choose to prioritize their personal order, leaving the rest of the community handle the major order.

On top of the fact that players don’t necessarily contribute to major orders, there’s also the question of strategy. Often there are more efficient and less efficient ways to complete an order. For instance, there was an objective to liberate planets, any planets. But some planets are easier to liberate than others! Each planet has a resistance factor which determines how much progress players lose per hour. The mechanics of how this works are simple but opaque, and barely communicated to players. So as a result, ignorant players ended up trying to liberate a planet with high resistance, while knowledgeable players were dragged along for the ride.

Without getting into specifics, attacking or defending a planet requires mass coordination. If only a few players attack a planet, then their contribution to the planet’s liberation is precisely zero. So from an individual perspective, often the best available strategy is to join whatever everyone else is doing. But once you’re in the know, you can often see that a better strategy exists, but it’s wholly inaccessible because it requires getting everyone to switch.

There’s a sort of comedy in this, seeing strategic blunders over and over, but being unable to do anything about it. And it seems to build on the larger narrative of expendable low-information soldiers.

Managed Democracy

I’ve described an emergent narrative, where Super Earth’s military might is undercut by poor information and poor organization. Is this narrative… intentional?

The orders are specifically chosen by the developers in order to construct a larger narrative. The developers want players to sometimes win, sometimes lose, but it is not predetermined when players should win or lose. So what the devs are doing, is trying to predict what the player community is capable of, and setting objectives which are on the knife edge between victory and defeat.

Sometimes, developers miss the mark, and a major order is far too easy or far too hard. So the devs often make adjustments after the fact. For instance, there was a major that required completing certain number of operations on a planet, but it quickly became clear that players would only reach about 10% of the goal. So the developers came up with a story reason to remove that part of the objective. Other times it seems like players are winning too easily, so the developers create tension by declaring new objectives that spread helldiver forces thinner. Intentional or not, this creates a sense of military disorganization.

Now the downside of all this, is that it seems to generate a lot of community toxicity. Some players basically moralize about contributing to the major order. They complain that players who play the wrong way are actively detracting from the major order.

If you think about it, this toxicity doesn’t make much sense. Hypothetically, if the number of players focusing on major orders decreased over time, the devs aren’t going to say, “players never deserve to win a major order again”. No, in the long run, the devs would just adjust their expectations, and set objectives accordingly.

In my view, community-wide challenges are inherently “unfair”. Win or lose, it’s not really up to you. It’s up to all the players, and you’re just one of them. If the community fails to meet the challenge, I don’t take it personally, because it doesn’t mean I personally failed a challenge. It’s hardly even a challenge, it’s more of a background story.

Of course, it’s worth asking, is a fictional narrative worth real world player toxicity? Watching strategic blunders and being unable to do anything about it is frustrating. Players take out that frustration on other players. That’s not great.

Ultimately, the problem with my interpretation is that players identify too strongly with Super Earth. It’s widely understood that players are taking the role of the baddies, it’s not remotely subtle. But when you’re in the game, you’re thinking of it as a game, not a story. The goal of the game is to win. There are material rewards for winning. The way to have fun with games, is by playing to win. Nothing wrong or unusual about that. But when the community loses a challenge, players don’t seem to see past the game, to see the humor in a story about baddies losing.

Four reviews of musical sequels

In my family, I have a reputation for hating movies. To some extent this is humorous exaggeration, but it has been a noticeable pattern since my teenage years. What is true is that I do not go out of my way to watch many movies. I only watch a few per year, usually as part of a family outing. And the part of movies I enjoy the most is talking shit about them afterwards. When I have shared this trash talk online, it’s not always well-received, because people love their darlings, and my reasoning is not necessarily well-founded. But I also enjoy reading imdb reviews and laughing at all the weird reasons people like or dislike movies, so it’s only fair that you get to laugh at my weird reasons.

What I have here are a small collection of reviews of musical sequels. In all of these cases, I only saw the second movie, I did not see the first. You are welcome to think that this is the improper way to see them. But it seems like all the movie industry makes anymore is sequels (fact check: sequels are about 40% of the movie market). So isn’t this just the logical conclusion?

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Review: Revenge of the Phantom Press

Revenge of the Phantom Press is a novel by FTBlogger William Brinkmann. It is the sequel to The Rift, which I previously reviewed, although it may be read as a standalone.

To recap The Rift, it follows Tom Larsen, a young man in the skeptical community who goes full men’s rights activist after propositioning a woman in an elevator. It’s a fictionalized story about Elevatorgate and the feminist wars in the skeptical/atheist community. I recommend it if you have any sort of feeling about that topic.

In the Bolingbrook universe, not only is there a skeptical community, but also the paranormal is real. There are psychics, aliens, ghosts, the Illuminati, machine spirits, and more. Many of the leaders in the skeptical movement are participating in the coverup. By the end of the previous book, Tom Larsen has discovered the truth of the paranormal. It goes against his skeptical/humanist values to cover it up, so instead he leaves the skeptical movement to join the unbelievable-yet-true tabloid, The Bolingbrook Babbler. Most people, including his parents, think he went nuts.

At the start of the book, we learn that Tom isn’t very good at his job. He radiates mediocre white dude energy. He struggles to form contacts in the Department of Paranormal Activity, and can’t seem to capture a photo of the local lake monster.

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Heated Rivalry

Heated Rivalry is an M/M hockey romance TV series based on the book of the same name. It’s some sort of popular sensation, supposedly the #3 most popular TV show online. At time of writing, four out of six episodes have been released, and we’ve been keeping up with it. We’re used to accepting a lower quality standard when it comes to gay film. But this is surprisingly high quality, having good writing, good production, and amazing acting.

It’s about two hockey players on rival teams, Shane Hollander and Ilya Rozanov who are having sex with each other. But their relationship has to be kept secret because it would be bad for their careers. Fair warning, these are explicit sex scenes, and there are a lot of them, to the point of being pornographic.
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Review: The Fifth Head of Cerberus

The Fifth Head of Cerberus, by Gene Wolfe is a work of anticolonialist science-fiction published in 1972. Personally, I am suspicious of anti-colonialist fiction of that age. Books may inadvertently take on certain colonialist assumptions and perspectives even while attempting to reject others. (Of course, we continue to do this today.) I was interested to see how Gene Wolfe’s first major book fared.

The book is structured as three novellas taking place in the same universe. There is a pair of twin planets, Saint Anne and Saint Croix, colonized by humans a few generations ago. It’s said that there was an indigenous population on Saint Anne (the Annese). However, there is barely any trace of them left. What’s there is veiled by layers of folklore, hearsay, and charlatanry.
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Hell is Us: War and emotional distance

Hell is Us is a recent action adventure video game, with an emphasis on puzzles and exploration. I really like the game, but this is not a review.  See other sites for reviews. I am here to discuss story and themes.

Hell is Us is about war. But it’s not some high fantasy war, disconnected from reality. It’s a flat out genocide.

It takes place in the fictional country of Hadea, geographically isolated from the rest of the world. There are two religious groups, the Paloms and Sabinians. After years of forced resettlement, racist propaganda, a vote for Sabinian indendence, and so much more, the country has erupted into violence. The Sabinian army now is attempting to eradicate the Paloms. Even otherwise sympathetic characters, even young children, often express hatred for the other side, viewing them as less than human.

Paloms and Sabinians have a history that deliberately evokes Catholics and Protestants. But whether intentional or not, there is ~another~ genocide that very strongly comes to mind.

The player character is Rémi, who was born in Hadea but escaped as a small child. He never fights any humans, instead only fighting the demonic invasion that the war seems to have provoked. He is a heroic character, often helping civilians, and even saving lives. But as for the war itself, he mostly gives it the silent protagonist treatment, giving space to the player to have their own emotional reaction.

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Hating the artist, hating the art

(Disclaimer: to the extent that this article was inspired by a specific creator, it’s not a creator you’ve heard of, and not one that I mention anywhere in the article! I mention a few authors as examples, but I was not setting out to specifically comment on any of them.)

When a creator falls into disrepute, there tends to be a public re-evaluation of their work. “Oh, I re-read their book, and it’s aged terribly.” “I’ve always thought their work was bad.”

This is reminiscent the story of sour grapes. In the Aesop’s fable, a fox tries to eat some grapes, but cannot reach them. So the fox says the grapes were sour anyway, and he didn’t want them. So when an artist falls from grace, people can no longer wholly enjoy the art. So they say that the art was never good in the first place, and nothing of value was lost.

But there is a major difference between the fox’s re-evaluation of the grapes and the public’s re-evaluation of the art. The “public” is made up of more than one person. There may be some individuals who first liked the art, and then stopped liking it. But more often, what happens is we first hear from individuals who liked the art, and then later we hear from another set of individuals who did not like the art. Perhaps no individual re-evaluation took place, and it’s just a matter of listening more to the haters.

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