Mike Ferner took the mic. “If you’re planning on getting arrested, if you have any questions, Matt Daloisio is back here behind the stage. Come on up and see Matt.” Once arrested, you had to pay a hundred dollars to be freed, or else you had to appear later in court, Ferner advised. He introduced Chris Hedges, columnist for Truthdig, who said, “If you want to stop terrorism, you must first stop committing acts of terror.” Ferner then gave us guidance on the march. “This is going to be a silent march,” he said. “We need to keep in mind what we’re here for, which is to observe the eighth anniversary of the invasion of Iraq. We’re here for a solemn purpose. So let’s be that way, purposeful and thoughtful in our march.” He thanked us for coming and then he said, “I’d like to add one personal note to this, which has really been rubbing me raw for some time now.” The people in Afghanistan and Iraq were bearing the brunt of the military aggression, Ferner said, while our cities, our veterans, and our public institutions were all collateral damage. “Our infrastructure and our public institutions may not be being bombed, but they’re being allowed to slowly rot. And that has got to stop.”
The last speaker was Ryan Endicott, an Iraq marine veteran. He was full of powerful indignation, and he spoke at the top of his lungs. “When we joined the military, we rose our right hand, and we swore to defend the people of this country against all enemies foreign and domestic,” he said. “And the biggest enemies to the people of this country do not live in the sands of Iraq. They do not live in the caves of Afghanistan.” He gestured toward the White House. “They live hundreds of yards away!” (Roar of agreement.)
Endicott said: “We know the realities of these brutal occupations, and we know that these people are not our enemies. The fact is that these wars have cost the American people more than just our lives and our limbs.” The wars had cost trillions of dollars, he cried—trillions that could have gone toward free education and health care, that could have prevented millions from losing their homes, and that could have helped thousands of homeless veterans get off the streets. “And that’s why we’re here today in the streets! The streets that we built! With our sweat, and our tears, and our blood!”
Revolutionary change was possible, Endicott believed: Harvey Milk, Martin Luther King, the people of Tunisia, the people of Egypt, had all made revolutionary change. “We’re going to shut down our workplaces. We’re going to shut down our factories and our schools. And we’re going to tell this government not one more dollar! Not one more bullet! Not one more bomb! Not one more day of U.S. imperialism!” (Cacophony of applause.)
People began arranging their banners and signs and assembling to march. “While everybody is waiting, will you please remove your hats?” said Watermelon Slim. “Except those of us who have chemical gear on.” Then he came to attention. “Present—arms!” He played taps on his harmonica, with a slow mournful vibrato. “We must mourn, we must also show our anger,” he said. “We must also bear this war evenly. Let’s go let them bear some of it, too. Come on.”
Then we marchers set out, led by a World War II vet from the 90th Infantry Division, Third Army. We walked silently around several blocks to the west of the White House (evidently the police didn’t want us to actually circle the White House), and then half an hour later, we massed where we’d begun, in front of the black, sharp-tipped White House fence.
There were many policemen now: motorcycle cops, park police, horseback police, K-9 police, and sinister-looking SWAT teams in black hats and black uniforms tucked into high black boots. It was a strangely varied festival of police “protection.” They were hauling out segments of a metal crowd-control fence. They locked together the segments, fencing off a large area of public sidewalk and street. (The street, Pennsylvania Avenue, is normally open to public foot traffic and closed to cars.) And then they announced that if you stood on the wrong side of the temporary fence you were going to get arrested. The police created, in other words, a potential criminal infraction where there should have been no infraction. For standing on a public sidewalk, in a place where people had strolled undisturbed moments before, you could now be arrested for “disobeying an official order.” I decided that this was ridiculous and that I wanted to be arrested. But after consulting my wallet, I realized that because I’d given forty dollars to Veterans for Peace, I didn’t have enough cash to bail myself out. Next time, I thought.
More than a thousand of us stood against the new barricade, shouting, along with the hoarse-voiced bullhornist, “This is what democracy looks like!” And “Money for jobs and education, not for wars and occupation!” And “Stop these wars! Free Bradley Manning!” And “From Wisconsin to Iraq, stand up, fight back!” And “They say more war, we say no more!” I suddenly felt the rising power of an outraged crowd. It has a different kind of persuasiveness than any verbal argument does. I watched a blind man in a wheelchair, missing several fingers, chanting “U.S. out of the Middle East, no justice no peace.”
A hundred and thirteen protesters were eventually arrested in front of President Obama’s White House that afternoon. (Obama, meanwhile, was down in South America trying to sell F-18 warplanes to Brazil.) The arrests took hours. Someone called out, “You’re arresting the wrong people! Arrest Bush I, arrest Bush II, arrest Obama!” One of the women, when she was out of sight in the arrest tent, began a series of blood-curdling screams of protest. “Let us see what’s happening,” someone called. As a paddy wagon drove off, someone called out, “The Jell-O’s no good in the slammer, don’t eat it.”
In the end the SWAT team had to summon two city Metro buses, in addition to the wagons, to carry off the detainees. Both buses carried ads for breakfast at McDonald’s: PUTS THE A.M. BACK IN AMAZING. The police so parked the paddy wagons and the buses that the crowd couldn’t witness the arrests. As a man with a ponytail was pushed into the back of a paddy wagon, a woman in our crowd read from the Constitution, the part about how Congress cannot abridge the right of the people “peaceably to assemble and to petition the government for a redress of grievances.” I applauded her. There was no question that the police were denying the public the right of peaceable assembly.
There were cheers when Daniel Ellsberg, forty years after his arraignment for leaking the Pentagon Papers, was led toward the arrest tent. He turned toward the White House, obliging a policeman who wanted to take his picture. His wrists were zip-corded behind his back. He flashed us a double peace sign from his cuffed hands.
When the arrests were all done, one of the cops collected some FREE BRADLEY MANNING signs and put them in a garbage bag in the trunk of his cruiser.
(2011)
Painkiller Deathstreak
I’d never held a video-game controller until last fall. Which is a pretty sad admission, as if I’d said in 1966 that I’d never watched Bonanza or heard a song by the Rolling Stones. My sixteen-year-old son and his friends—his male friends, that is, all of them polite, funny, good-hearted kids—play video games just about every day. They don’t watch much TV; they don’t have time. Most of the games they play are on the Xbox 360 console—not the Wii or the PlayStation 3—and most involve killing and dying. The big one for the first half of last year was Nazi Zombies, a mini-game included with the best-selling Call of Duty: World at War. In it, you and your friends, linked by audio headsets, hide out in a ruined building, and yellow-eyeballed zombies in Nazi uniforms lurch toward you, mumbling and waving their arms and trying to eat your head. You have to shoot them or stab them or set them on fire, and they never stop coming. If they swarm you, you call out, “Dude, they’re on me!” and a friend struggles over to save you. If you’re near death, you call out, “Dude, revive me!” and a friend jabs you with a revivifying hypodermic. There’s a lot of wild laughing.
I still haven’t played Nazi Zombies. But since last fall I’ve been buying some of the biggest new game releases and trying them out. I say “trying” because the first thing I learned is that video games—especially the vivid, violent ones—are ridiculously ha
rd to play. They’re humbling. They break you down. They kill you over and over. Eventually, you learn how to crouch and crawl through grass and hide behind boxes. You fight your way to a special doorway and you move up to the next level. Suddenly, you feel smart and euphoric. You reload, with a reassuring metallic click, and keep on going.
To begin, you must master the controller. On the Xbox 360 controller, which looks like a catamaran, there are seventeen possible points of contact. There’s the left trigger and the right trigger, the left bumper and the right bumper, two mushroom-shaped joysticks, a circular four-way pad, two small white buttons, each with triangles molded into them, and a silver dome in the middle that glows green when you press it. Then, there are the very important colored buttons: the blue X, the green A, the red B, and the yellow Y. On the slightly smaller Sony PlayStation 3’s controller, the buttons are similar, except that in place of the colored letters you’ve got the green triangle, the pink square, the red O, and the blue X. (The PlayStation 3’s blue X button is in a different place than the Xbox 360’s blue X button—madness.) In order to run, crouch, aim, fire, pause, leap, speak, stab, grab, kick, dismember, unlock, crawl, climb, parry, roll, or resuscitate a fallen comrade, you must press or nudge or woggle these various buttons, singly or in combination, performing tiny feats of exactitude that are different for each game. It’s a little like playing “Blue Rondo à la Turk” on the clarinet, then switching to the tenor sax, then the oboe, then back to the clarinet.
The second thing I learned about video games is that they are long. So, so long. Playing one game is not like watching one ninety-minute movie; it’s like watching one whole season of a TV show—and watching it in a state of staring, jaw-clenched concentration. If you’re good, it might take you fifteen hours to play through a typical game. If you’re not good, like me, and you do a fair amount of bumping into walls and jumping in place when you’re under attack, it will take more than twice that.
On the other hand, the games can be beautiful. The “maps” or “levels”—that is, the three-dimensional physical spaces in which your character moves and acts—are sometimes wonders of explorable specificity. You’ll see an edge-shined, light-bloomed, magic-hour gilded glow on a row of half-wrecked buildings and you’ll want to stop for a few minutes just to take it in. But be careful—that’s when you can get shot by a sniper. Stay frosty.
The first game I bought was Halo 3: ODST, developed by Bungie and published by Microsoft Game Studios last September. It’s not one of the really beautiful games, but it’s instructive. Halo was Microsoft’s first hit on the Xbox, in 2001, and this is the latest offering in the long-running series. It’s set in 2552, during a space war. ODST stands for Orbital Drop Shock Troopers—people who say things like “You know the music, time to dance,” and then drop down through the atmosphere into battle. I plummeted into the city of New Mombasa, Africa, which looked like a dim, cast-concrete parking garage but with grand staircases. An alliance of bad creatures called the Covenant had killed billions of people, and this drop might be an opportunity to save humankind.
Mostly I glided up and down ramps and stairs, shooting at enemies, listening to chilly electronica. I played the game in “easy” mode, as opposed to “normal,” “heroic,” or “legendary”—the menu option reads “Laugh as helpless victims flee in terror from their inevitable slaughter”—but it didn’t seem all that easy to me. Short-statured, stocky aliens called Grunts popped up frequently, and with hostile intent—they had munchkin voices and cackled nastily and they said things like “Die, heretic!” I had to kill many of these. Other alien enemies, called Brutes, said, “I will split your bones.” They sounded as if they had ripped up their vocal cords by popping steroids. I used several different weapons to kill them, including the needler, which shot explosive needles, and I plundered dead alien bodies for more guns and ammunition. The Grunts and the Brutes jeered and tried to end my life. I got lost and hit cul-de-sacs and said bad words and hopped up and down near a burning car. Sometimes I died.
Whenever you’re injured, the screen begins to go red and you hear yourself gasping. Red arrows point in the direction of your attackers. As you near your end, your gasps come quicker and they become odd little yips and yelps of pain. Finally, you die, and the camera lifts. For the first time in New Mombasa—this being a first-person shooter—you see yourself from the outside: a rookie in a helmet falling to the pavement. Another life consumed in this endless war. But immediately you “respawn”—that is, you reappear, ready to try again, at a point a little earlier in the game.
The good thing about Halo 3: ODST is . . . I don’t know. If I was fonder of 1970s cast-concrete architecture, I’m sure I would have enjoyed the experience more. The game seemed to me to be both desolate and repetitive, with incomprehensible biblical and race-war undermeanings. I flipped through the game guide, published by an imprint of Random House, and read a list of some of the medals you can earn. Killtacular is what you get if you kill five enemies in quick succession in fire-fight mode; Killtrocity if you add a sixth; Killimanjaro if you reach seven. “Dash about with the Gravity Hammer,” I read, “killing large groups of enemies for lengthy kill chains and hammer sprees before swapping to the Magnum and running to the next group of foes, plugging Grunts and Jackals in the head to keep the kill chain going.” Forget it.
Uncharted 2: Among Thieves, a production of the Naughty Dog studio, in Santa Monica, was the next game I tried, and it’s good. It was a Sony exclusive, meaning that I needed a PlayStation 3 to play it, and I didn’t have a PlayStation 3. Just coincidentally, in October my son’s Xbox developed the famous red ring of death, a total hardware failure signaled by a warning light around the On/Off button. This seemed a sign from the gods of war to get a PS3, which I did.
Uncharted 2 is about a blue-jeans-wearing male model, Nate, who wakes up with fresh blood on his hands and climbs around on a cold train wreck that is hanging off a cliff. It’s literally a cliff-hanger, you see. Nate (whom we can see, because this is a third-person game) is remarkably good at climbing on things, and his hands never stick to frozen metal, because he’s an action hero. He grunts realistically when he hurls himself up and over the edge of something—the voice actor who plays Nate, Nolan North, is an inspired grunter, and there must be a hundred different expressions of strain on this soundtrack.
Then the screen goes white, and we’re in a flashback. We learn that Nate, who can sight-translate medieval-Latin prose, is in search of Marco Polo’s lost treasure and that he must break into a museum in Istanbul, dart-gunning or punching or choking its numerous flashlight-wielding security guards. His goal is to find an ancient, precious green lamp that holds a clue. He finds it and, being an American action hero, immediately breaks it like a piggy bank on the floor. The clue within leads him to the jungles of Borneo, where he shoots some Russian-accented mercenaries—people are always shooting Russians in video games—and then it’s time to hurry off to sunny Nepal, where there are prayer flags, more mercenaries, and incredible vistas. The acting is often good and includes some funny ad-libs—not just by Nolan North but also by Richard McGonagle, who plays a crusty cigar-puffer. Two women appear in the game—one a tanned Aussie with black unruly bangs and sparkly eyes, who wears a red crop-top shirt that we see a lot of, and the other an old flame of Nate’s, an American journalist with Jennifer Aniston hair pulled back—both of them joshing and likable.
It’s a visual glory hallelujah of a game. Zebra shadows on leaves and rocks never looked better, nor did sunlit onion domes, nor bombed-out laundromats with puddles in them—and the shirts of the guards glimmering in the plum-purple half-light of the Istanbul Palace Museum are a sight to behold. I wish so many foreigners didn’t have to be shot, so many historical sites damaged without comment, but evidently they do or the game wouldn’t exist, and it’s diverting to clamber around on stone Buddhas, solving (or repeatedly failing to solve) spatial puzzles. When you die, the image desaturates to black-and-white and there’s a ta
ctful moment of funereal bagpipery.
The best time I had with Uncharted 2 (which went on to win several game-of-the-year awards) was while eating a submarine sandwich and watching the making-of videos that came with the game disk, fantasizing about what it would be like to work for Naughty Dog as a late-afternoon-lighting designer or a stony-ledge-placement specialist. These people know how to have fun. They’ve even included an optional zero-gravity mode, in which mercenaries, when shot, flip up rag-dollingly in the air and drift there. After one battle, there were two riot shields and six bulletproof-vested dead people peacefully hanging like barrage balloons in the air in front of a temple.
After Uncharted 2 came the biggest release of the year—Call of Duty: Modern Warfare 2, developed by Infinity Ward and published by Activision on November 10. My son and his friends went to a local GameStop at midnight to get their reserved copies; they played it all night and then fell asleep in school assembly. Modern Warfare 2 sold fast—it reportedly made more money in its first twenty-four hours than Titanic or Avatar did. Millions of people play it every day. In less than a year, it has become the second-best-selling video game of all time, after Wii Play.
Here’s what it’s about. It’s about killing, and it’s about dying. Also, it’s about collecting firearms. And it’s modern warfare, which means it’s set in places like Afghanistan. As in Halo, you are a gun that moves—in fact, you are many guns, because with a touch of your Y button you can switch from one gun to another. But this game has a much crisper, brighter look than the murky Halo, and the graphics engine is better, and the telescopic rifle scopes, their lenses pale blue and curvingly reflective, are a delight to peer through. “Yesterday’s enemies are today’s recruits,” says the narrator, General Shepherd, who is full of little bits of wisdom like that, until he slides over to the dark side.
The Way the World Works Page 24