Nameless 3

Alternating Currents: Nameless 3, Drew and Patrick

Today, Drew and Patrick are discussing Nameless 3, originally released April 8th, 2015.

It’s like the goddamn “Exorcist” meets “Apollo 13”!

Grant Morrison, Nameless

Drew: One day, I’d like to write an essay defending allusions as the defining artistic device of our time. That’s not to say allusions haven’t been used well throughout history, or that allusions are ubiquitous in all contemporary art, but it’s hard to deny the prevalence of allusions in modern pop-culture, from sampling in hip-hop to the naked homages of Quentin Tarantino. It makes sense; allusions are the natural, artistic extension of the hyperlinks we’ve come to expect throughout our daily reading. In that way, remixes and pastiches are the distillation of our time, simulating the experience of living in an overstimulating world, combining countless inputs into one meta-narrative we might call our lives. Nobody does this kind of remix better than Grant Morrison, whose career is as much defined by his ability to reconcile unwieldy continuity as it is by his affinity for impenetrable density. Nameless 3 showcases both of those sides, meditating on a whole host of sci-fi inspirations before spinning into a wickedly self-aware web of confusion. Continue reading

Nameless 2

Alternating Currents: Nameless 2, Drew and MichaelToday, Drew and Michael are discussing Nameless 2, originally released March 4th, 2015.

Dave Bowman: Open the pod bay doors, HAL.
HAL 9000: I’m sorry, Dave. I’m afraid I can’t do that

2001: A Space Odyssey

Drew: Arthur Miller called betrayal “the only truth that sticks,” and it’s hard to deny the visceral power of a betrayal. Betrayals are at the center of every great tragedy, from Euripides to Shakespeare, and are still very much a driver of drama today. In it’s simplest form, a betrayal is simply someone acting differently than we expect, but “acting differently” can have dire consequences in a life-or-death situation. That’s what makes HAL 9000’s turn in 2001 so compelling — a computer with a sense of self-preservation is shocking enough, but because the story is set in outer space, there’s a lot more at stake than when your laptop decides to auto-update. Grant Morrison and Chris Burnham’s Nameless 2 clearly draws a lot of inspiration from that betrayal, as the crew remains unaware of a mutiny brewing back at the base. Continue reading