I work for a company that is either right at or already past a precipice that I have unfortunately lived through before. We as employees don’t know whether we are fighting to keep it afloat, or if it will still be around in the next few years. The future is scary and uncertain. As part of that process, over the past two years our ability to function as “empowered” employees has been increasingly suppressed. This means that from a practical standpoint, my colleagues and I often feel like we are trapped in a vice while simultaneously drowning in unreasonable expectations.*
The pressure waxes and wanes on an irregular schedule. When the stress gets particularly bad, I find that I tend to crawl into a certain place within myself. This retreat takes the form of a hybrid of emotional and practical behaviors akin to “battening down the hatches.”
If I look at this from a detached perspective, I find it interesting. It differs, slightly, from how I dealt with stress as an adult up through the middle of last year. Prior to that point, I had often responded to stress or anxiety by drinking heavily. Last year, I was doing a lot of that, and I reached a point during the summer where I was disgusted enough with myself that I quit drinking alcohol, cold turkey. As the months of sobriety added up, I reasoned that I would be better able to handle stress because I would always have a clearer, sharper mind than I’d had when I was drinking every night.
Of course, as the stress level ratcheted itself ever higher over the course of this year, dealing with it in a non-destructive way became more and more challenging. Rather than (re)turning to the bottle and possibly getting myself into trouble, however, I instead started what turned out to be a project that has evolved and grown throughout the year.
The stress I have with respect to my job comes from several places. Ultimately, my greatest stressor is a fear that I will lose my job for reasons ranging from corporate bankruptcy to local closure to personal failure. As such, I started a “preparation for loss of job” project.
The project has several components that I have fleshed out over the months since I started it. I laid the groundwork in March via notes I made in my phone, which I then expanded upon in both Google Sheets and a college-ruled notebook. I went back to it in July, and again on several occasions during each of the past three months, continually expanding the details. I created a budget, which has been whittled down and refined quite a bit since its incarnation, along with a plan for stretching my emergency fund; a plan for eating on a very low budget (with food price lists, meal costs and schedules, rudimentary shopping schedules, etc.); plans for how I would use my time to recover and rebuild myself; and so on. I won’t bore you with the details, but I’ve put more into it than I ever imagined I would at this stage of my life.
Thinking back on those first notes, what my detached self finds interesting about all of this is that I’ve almost exclusively worked on it while experiencing a heightened amount of anxiety. When I’m having a day like I had last Friday, where I spent my entire morning absolutely dreading going to work, I tend to draw comfort from the act of retreating into my “preparing” mental space. It’s not a positive place, per se: in times like these, I am almost always alone, anxious and withdrawn, focused on moving around pieces to potentially stretch dollars. It’s an activity driven by a reaction to fear, manifesting itself as a somewhat proactive project.
At any rate, though, time passes. Progress on the project is made. And when I get to the point where I have to get ready for work, I’m able to know that my plan is better than it was yesterday. I shower, drink a big cup of coffee, put on my public face, and try to have a great day.
*Side note: For the record, I have a great boss who fully supports us. I still feel terrible about my job most of the time.
April 10th: April Joan Jett nails “Smells Like Teen Spirit” with Nirvana at the 2014 Rock and Roll Hall of Fame induction ceremony. I proceed to write about how it made me cry.
Weeks later: I revisit my blog after weeks of not posting anything.
I replay the video of Joan Jett and Nirvana’s performance at said ceremony.
I still get chills watching that video.
Then, I bring up iTunes and listen to “Smells Like Teen Spirit” – the original recorded version from Nevermind.
I revel in the greatness that is the original song, disregarding with every ounce of my being any diminishing effects wrought by over-saturation of the song on radio and everywhere else.
The final chorus starts. I nudge the volume level – which is already high – a little higher.
The chorus resolves to the song’s finale – “A denial!…”
I slam my hands to my headphone-covered ears, as if I am trying to drive the song even more emphatically into my brain and my soul.
As a result, the highs are somewhat muted. Some of the lower mids are somewhat muted. I let up on the phones a bit, and – in doing so – reach as perfect a balance as I can muster with such an impromptu, primitive mixing endeavor (and such crappy headphones).
The mantra repeats.
The guitar and bass move in concert.
The drums have effectively doubled their urgency. I live by the beat of the drums, while I ride the repeating vocal…
It can never be like the first time… or, for that matter, like hearing it the first time after Kurt died. But it is still a heavy, powerful song.
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Thursday night (April 10th), Nirvana* was inducted into the Rock and Roll Hall of Fame. They were inducted by Michael Stipe, who is one of my favorite singers, and they played four songs with four different vocalists:
- “Smells Like Teen Spirit” (Joan Jett)
- “Aneurysm” (Kim Gordon)
- “Lithium” (Annie Clark)
- “All Apologies” (Lorde)
Of course, the induction ceremony was not televised live; rather, HBO subscribers (not me) will be able to watch it when it premieres on May 31st. Which is more than seven weeks after the ceremony. Which is annoying, because I would have loved to have watched the whole thing.
Fortunately, I did get a chance to watch the band’s performance of “Smells Like Teen Spirit.” I came across an article on HuffPost on Friday that included** audience recordings of “All Apologies” and “Teen Spirit.” While the title, Lorde Covers Nirvana with Joan Jett, Kim Gordon and Annie Clark, was obvious click-bait (and the post itself barely mentioned the other three singers), it did include a video of Jett’s performance.
I watched the video twice.
The first time, during the second chorus, I found myself welling up. For the first time in years, a Nirvana song had moved me in some way other than simply making me want to move my head/hands/body with the music.
A few minutes later, I watched it again, and I cried almost the whole way through.
I loved Nirvana as a teenager. The first time I remember hearing “Teen Spirit” (etc.) was in the early spring of 1992, in my friend Mike’s car one afternoon after track practice. Mike went on to the Naval Academy and eventually became a commander in the Navy Seals, and he died in 2005 in Afghanistan when his chopper was shot down during a search and rescue mission.
I went on to different things. I grieved, like so many did, when I heard about Cobain’s death in 1994, and watched MTV Unplugged all day. I listened to, and devoured, whatever Nirvana music I could get my hands on until it dried up. And I eventually moved on to other music.
Nirvana’s music is awesome, but I saturated myself in it to a point where it ultimately didn’t move me like it had before, and I decided to give it a rest. I rarely purposely listen to Nirvana anymore – although “Drain You” (live, From The Muddy Banks Of The Wishkah) is a more-than-occasional favorite – but the love and appreciation of their music is still here within me.
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Watching Joan Jett with Nirvana on Friday was a catharsis of sorts.
Joan, well, she nailed it – she was the perfect choice. Her voice fit the song so well, and she was in complete command.
Krist Novoselic was the rock, the steady rumble beneath Nirvana’s howl. He bobbed and bounced and rocked out in his Krist-like way, and it was wonderful.
And Dave Grohl absolutely killed it on the drums, as always. One of my life’s great pleasures is watching him play drums, because he gets such obvious pleasure from it. Seeing his huge grin always brings me joy.
And as I watched that performance, I lost control. Kurt died 20 years ago, and he took his future with him. Many have speculated about what he might have done, had he lived: would Nirvana have continued? If so, what would their future albums have sounded like? Michael Stipe invited Kurt to work with him; how would that have turned out?
Those things will never be definitively answered, because sadly, he died before they could come to pass. But here I was – 20 years later – watching Dave with his big grin, and Krist rocking out, and Joan kicking ass… Suddenly, I was grieving again, for Kurt and his band and the people who knew and loved him. And for my friend Mike, and probably for other things. And the tears ran down my face, and my chest shook, and it felt like a relief.
In some small way, Joan Jett fronting Nirvana was the most perfect coda to Nirvana’s career.
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* Along with Kiss, Linda Ronstadt, Peter Gabriel, The E Street Band, Hall & Oates, and others.
** I say “included” because I very much expect audience recordings to be removed for copyright infringement sooner than later. I fully expect to have to remove the video at the top of this post at some point soon for that reason…
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My introduction to Soundgarden’s “Black Hole Sun” was via the song’s video, which I first saw during the early summer of 1994:
This video was both awesome and, at the time, quite possibly the most fucked-up thing I had ever seen. As a result, the song creeped me out a bit whenever I heard it, because I always associated it with all of the bizarre, psychedelic stuff going on in the video. To this day, if I watch the video, my hair invariably stands on end at points, especially when the black hole sun starts making things turn even more chaotic and weird than they were during the first couple of minutes…
Eventually, I bought Superunknown – which was released 20 years ago this month, and is being re-released as a Super Deluxe edition on April 19th (Record Store Day) – and I got to know the song and its companions a whole lot better.
This was back when the Walkman and its ilk were beginning to approach their death throes, but to a college student with little in the way of pocket money, the Walkman was great. I bought blank cassettes, dubbed my favorite music onto them, and listened to them through headphones at high volume as I fulfilled my work-study obligations. I worked a job that required virtually zero personal interaction, which made it a perfect opportunity to shut off the world and listen to rock and metal without bothering anyone. I became good friends with the likes of Machine Head, Testament, Alice In Chains, Metallica, and Soundgarden during those (many, many) sessions.
As I made my way through my college years, I developed some pretty specific memories of “Black Hole Sun.” The details of what I was doing while listening are both fuzzy and irrelevant by this time; what I remember vividly is the small epiphanies I would have while listening to Superunknown (which is an album that, if you’re in the right mood, will blow your mind in many very pleasant ways the first several times you listen to it).
“Black Hole Sun” has several interesting elements, some of which are:
- It’s a slow, steady, heavy rock song, but is well-polished and multi-layered, both vocally and instrumentally.
- The lead guitar melody has a somewhat haunting, yet beautiful and ethereal quality that contrasts nicely with the heavy parts of the song.
- The “black hole sun!” screams in the last chorus are pretty awesome.
- The hard alternate-panned “black hole sun!” vocals during the “won’t you come?” part at the end of the song are pretty remarkable to listen to on headphones… especially the first time you hear them.
- The John Lennon-inspired vocal harmonies in the choruses sound great.
And there are others – those are just off the top of my head. I didn’t discover each of them on the first listen. When you hear the song come at you from directly in front – as with a music video on TV – you don’t necessarily hear everything. But on headphones, the stereo space revealed nuggets such as the ones I listed above, and from a musical perspective, it was heaven.
Superunknown has several gems. I’m not usually partial to the big hits by an artist – and “Black Hole Sun” was probably Soundgarden’s biggest – but in this case, the song stands on its merits. But there are other great songs on the album. “Like Suicide,” for instance, is not only a great song, but has one of my favorite Soundgarden treats: Chris Cornell singing/screaming at the beginning of Kim Thayil’s guitar solo… and the solo itself is, in my opinion, one of the most emotionally powerful solos I’ve ever heard. He does a smiliar thing at the beginning of the solo in the album’s opener, “Let Me Drown,” which I also love. Other favorites abound… “Head Down” has a great intro; “Fell On Black Days” is just a great song; “Spoonman” needs no explanation; “Fresh Tendrils” (the “shame! shame! throw yourself away” chorus-y part is incredible); and “4th of July” with its down-tuned sludginess that I struggled to comprehend at the time.
From front to back, it’s one of the strongest albums I own. In my humble opinion, there isn’t another Soundgarden album that’s as dynamic and well-written as Superunknown, and 20 years later, it’s still an album that I can enjoy from start to finish.
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I was ecstatic when Lionhead Studios announced Fable Anniversary last June. The original Fable – the game that sparked my interest in video games (beyond racing, sports, etc.) as an adult – turns ten years old this year, and remains one of my favorites. A long-hoped-for, remastered-for-HD version of my favorite Xbox game, originally expected to release less than five months after its announcement? I was 100% there.
Of course, it was pushed back to February, ostensibly so that Lionhead could add some final polish and make it the great remake that it deserved to be – and that its fans deserved, and craved.
I picked the game up on its release date (February 4), but I didn’t get around to starting it for a couple of days. Since then, I have put approximately 25 hours into it over the course of a half-dozen play sessions. I’ve spent my time in-game savoring the HD graphics, basking in the soundtrack, and exploring every nook and cranny of Albion. It’s wonderful to see the original Fable in its updated glory. The adventure can be completed in a relatively short amount of time, but I’ve been taking my sweet, sweet time, and I have no regrets about doing so.
The not-real review:
Graphically, Fable Anniversary is a pleasure, although this is expected: in the Xbox 360 era, we’ve already had Fable II and Fable III, which both look bright and colorful; Anniversary feels right at home when compared to those two.
The gameplay is faithful to the original, with the added option of using the Fable II controls. Personally, it’s a pleasure to play a 360-quality Fable game with the map on-screen again, and while the menu interface design has been updated, it still feels like old times, in a good way.
I won’t go into detail about every aspect of the game. I’ve been thoroughly enjoying myself, and I’m sure most fans of the original game would have a lot of fun revisiting Albion in Anniversary. Plus, this is not a real review.
However, I will note a handful of troubling issues with the game.
1. The original game’s “trade between shops for gold” “bug” – where a player can buy out a vendor, instantly increase that same vendor’s demand (and buy price) for items, and then resell those items back to the vendor for a profit, instantly re-lowering that vendor’s demand (and sell price), ad infinitum – made it into the remastered game intact.
It’s fairly obvious that Lionhead isn’t terribly concerned with the ease of gold-making in the series. After all, Fable II and III both had fairly simple, repetitive job systems that made gold-making a mindless afterthought after players put in a little bit of initial work. However, I would argue that this a broken system that needed to be fixed. They did fix it to some extent in Fable II, which had a much better “sale” system, but in remaining faithful to the original in this case, they trivialized several other systems. For instance, with basically unlimited gold, the use of Health/Will potions and Resurrection Phials goes from somewhat strategic (in the first hour or two of play) to completely trivial: when you’re sitting on 500+ Health/Will potions, you can use them like candy and it’s not challenging. Additionally, getting very good armor and weapons becomes simply a matter of opening up new areas (and thus, new vendors), with little-to-no real cost. And getting the “Choosing My Religion” achievement for donating at least 100,000 gold at the Temple of Avo (which also rewards a very strong melee weapon) is a drop in the bucket. There is no real choice necessary there (unless you deliberately choose not to make gold that way); instead of making choices have consequence, you simply buy what you need – even an achievement – while suffering virtually no effect on your overall gold balance.
2. The game freezes way too often, which is a problem. It’s happened to me more times than I’ve cared to count. On Sunday, for instance, I played for just over two hours and had to shut off/restart my 360 three times. The first time it happened was early on in the game, when I was halfway through the “Twinblade’s Camp” core quest. I was mollified when I realized that I could load from the latest checkpoint, but that doesn’t mean it’s acceptable. I’ve had to hard-restart my 360 almost 20 times with Fable Anniversary, and even though Lionhead came out with a stability update a few weeks after release, I’m still having many of the same problems.
3. There are some annoying jagged edges in the game. The one that has annoyed me the most – probably because I’ve used it so many times – has been a problem where, if I run straight into a cullis gate (usually at the Heroes Guild), I can’t actually get onto it. I have to approach it in a semi-circular manner in order to avoid the jag, which is just a pain. There are some other ground jags, but nothing that has been as consistently frustrating as the cullis gate issue. Fortunately, we have the Guild Seal, and I’ve taken to using it almost exclusively for teleportation.
4. On that note, I’ve also noticed some instances where, when attempting to use the down button on the d-pad (Guild Seal) to teleport, the game instead reflects that I’ve used either the right or left d-pad buttons, which means I use some type of expression (usually a fart, which I guess is hilarious in its own way), eat something I didn’t want to eat, or something to that effect. At certain points, that has been frustrating, particularly at times when I was some distance from the nearest cullis gate. Since the update, this seems to have toned down, although I don’t know if that’s just a coincidence.
There are other gameplay elements that aren’t the cleanest, but these bugs are the ones that have bothered me the most, because they’re particularly immersion-breaking and because I would think that, aside from #1, Lionhead would have been able to smooth out the game’s rough edges (bugs) with the extra time afforded them by the delay.
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In general, I’ve had a heck of a lot of fun playing Fable Anniversary. It’s been great to revisit the old stories, places, music, and choices. I’ve laughed a lot, and enjoyed the coziness of the game. At the same time, I’ve found myself getting chills during certain quests, even though I’ve done them before: the quest sequences where you a) find out Lady Grey’s secret at Grey House and b) fight through the graveyard on the way to Bargate Prison were, in particular, very cool combinations of atmosphere, music, and spooky situations.
Looking back at the original through this fresh experience, it’s easier to see how Lionhead took some big leaps forward from Fable to Fable II, with jobs, the vendor sale system, combat system, expanded pub games, and the social/Renown/relationship overhauls. While I still sort of want to look back on my experiences with the original and tell people that the first Fable was the best game in the series – and I do think that it’s still my favorite – I have a much greater appreciation for the changes in game mechanics that Lionhead made in the second game now. Fable Anniversary is great, and it’s a loving tribute to the original classic, but it also shows both its age and its limitations when compared to its newer brethren. As such, it generally deserves its decent-but-not-smokin’-hot review scores.
I would definitely recommend Fable Anniversary to fans of the original Fable, as well as fans of Fable II and III who haven’t played the original, if for nothing other than to experience the original story. Albion is rich with lore, and for those who never played it on Xbox (or never owned an Xbox), this is a wonderful opportunity to visit that era in its history.
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My experience with Fable Anniversary:
- Previous Fable experience: played the original several times. Also played II several times, and III once.
- General game thoughts: beautiful – and still a lot of fun – but also a bit buggy, and shows its age.
- Graphics: not cutting-edge anymore, but generally on par with other 360 Fable entries.
- System/game performance: generally consistent with the original, and very playable, but – again – has some unfortunately frustrating bugs.
- Music: excellent, as usual – a game soundtrack worth buying.
- Xbox Smartglass: I didn’t test the Smartglass features. Additionally, I didn’t feel like spending extra money for the premium features, and they aren’t totally necessary anyway (although from what I’ve read, they’re pretty cool).
Note: Not a real review is a new series here at Dischordant Forms, where I write about my experiences playing through various video games – usually older games that I can get at bargain bin prices (although this game is something of an exception in that regard). These posts should not be considered actual reviews, which are usually written by people who are both competent gamers and decent writers. These are simply my impressions, and the context in which those are formed may be vastly different from that of most other players/readers.
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