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Tag: Staff Reviews

  • Review: ‘The Outer Worlds 2’ is a video game about unchecked corporate power

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    In The Outer Worlds 2, everything goes back to antitrust. Like the first game in the series, this first-person shooter is set in the far future in an alternate timeline in which William McKinley was not assassinated. As a result, Theodore Roosevelt was never president and the trustbusting of America’s early 20th century never happened. The result, in the game’s alternate timeline, is a future defined by sprawling mega corporations of almost comical scope and power.

    The game plays its corporate-controlled scenario for winks and laughs, extrapolating and exaggerating the power of unregulated corporations as they reach into space via interstellar colonies. The first game featured a war between a home goods company called Auntie Cleo’s and a colonial supply company called Spacer’s Choice. In the post-war sequel, they’ve merged into an even more powerful entity, Auntie’s Choice.

    The game’s satire of corporate rule is often funny. But it’s so over the top that it undermines its point: In the game world’s dystopia, corporate control is so complete and inescapable that it functions like authoritarian government power. Turns out that’s what everyone dislikes.

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    Peter Suderman

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  • Review: A rap trio fights the power in Gaelic

    Review: A rap trio fights the power in Gaelic

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    Belfast rapper Móglaí Bap was baptized under the searchlight of a British military helicopter. That’s how the movie Kneecap, a semi-dramatized biopic about the Gaelic rap group of the same name, begins. Bap’s father tells the young boy that “every word of Irish spoken is a bullet fired for Irish freedom,” and the movie initially seems like it will play that theme straight.

    The rappers use their language to outwit and snub British authority in Northern Ireland—or “the occupied six counties,” as they call it. Detective Ellis, a policewoman out to silence the rappers, makes the perfect villain. Even the name Kneecap is a reference to Irish guerrillas punishing enemies with a shot to the knee.

    As their music gains popularity, Kneecap finds a new enemy. Irish nationalist prudes think that songs about “antisocial behavior” give Gaelic a bad name. Washed-up Irish Republican Army guerrillas, rebranded as antidrug crusaders, threaten to kneecap the members of Kneecap for promoting ecstasy and hallucinogens.

    Meanwhile, sound mixer DJ Próvaí has to hide his role from his girlfriend, a pro-Gaelic activist who can’t afford any political scandals, and from the stodgy Catholic school where he teaches music. Kneecap shows how liberation is a two-front battle: The state may be the most heavily armed threat to freedom, but it’s not the only one.

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    Matthew Petti

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