Number of Reviews: 7
Write a review Hate all the characters, like most everything else, January 16, 2023A confession: I don't like slasher movies, and I don't like reality TV/unscripted drama. Whichever you call it. I find it cynical and exploitative and it can sucker us into wasting our emotions on people who don't deserve it. Though I have another small confession. I enjoyed the first season of The Apprentice, mainly because Carolyn and George actually gave helpful advice, before they were fired and replaced with the, um, star's children. So it did unravel! And there were two other series: one got canceled halfway through the first season, and the other dropped off quickly in the second.
Details on what I liked, hidden as a possible tangent and not really a spoiler: (Spoiler - click to show)The first was My Big Fat Obnoxious Boss, which took The Apprentice to extremes. The host, Mr. N. Paul Todd--note the anagram-–seemed impossibly sleazy by the innocent standards of 2005 or so, with the tasks such as selling "The Windy City Blows" mugs in Chicago that were stupid and nearly impossible. The firings were random. I missed the first few episodes, it was canceled before the end, and I was thrilled to find the missing videos a couple years later. It was beautiful satire, especially when Todd explained he trusted his supervisors so much because he didn't trust him at all. Then the actor playing him said "I don't know what I was saying, but whatever it was, I started to believe it." The second was a show called average Joe, where men of average attractiveness tried to buy for a woman's romantic attention. What I liked about the second was that the men involved decided to just have a good time, for the most part, and the guy who actually competed was a real jerk and got kicked off. Of course, they ran the formula into the ground, and it quickly became unwatchable, as the producers focused on what seemed to make it profitable and kept trying to turn the volume to 11. The only reason I watch these shows is because they were on the televisions where I worked out. But I was well aware of how addictive they could be.
So you can see that what I like generally subverts expectations or is different from what the average viewer likes. Also, ChoiceScript isn't my favorite platform, since I prefer to use a desktop–though I have definitely enjoyed such games–and from my experience, the statistics taken didn't really add much to the game. Maybe they blocked out some options at the end.
So on paper, I should not have liked BI. But I remembered the author from last year, and they had a very strong first entry called The Waiting Room. And it touches on why the shows I liked fell off--they got too self-aware, or aware of profit, among other things. And BI provides distance from the whole rubbernecking-at-an-accident views that sucker so many people into reality TV, along with reasons why it happens. And while the Big Reveal may not be as surprising as a movie it reminded me of (spoilers later,) it's still satisfying. But I can confidently say I hope to see the author back, but not with a BI sequel. Once is enough, and not in the "THAT'S ENOUGH, ALREADY" sense.
But how do we get to The Big Reveal? Well, you're a contestant on Passion in Paradise, the reality dating show that had a hiccup: a slasher with a Barbie mask ruined the (relative) peace of the dating and backstabbing that kept people's eyeballs glued to the show. Though, of course, a clip of it somehow racked up a crazy level of views. You've added to said number, and Chloe, the producer, assures you nothing will happen again. She asks some introductory questions about your personality, and then you have the obligatory introduce-yourself-to-the-audience interview. It's possible to try to subvert the whole show, but Chloe always seems to have a cheery response, and I enjoyed seeing how the character got boxed in by praise they didn't want until Chloe decided to get on with things. With what I know of reality TV, which is comparatively little, there is certainly a lot of the contestants being goaded into doing things, all the while seeming like they are free spirits and nobody can tell them what to do, and that's part of what makes them so exciting. So the lack of agency here seems very appropriate. Also, Chloe's "isn't this disgusting?" reminded me of teenage classmates who talked of certain, um, impure acts. And I realized how badly they were covering up their own questions or secret actions or desires, in the same way Chloe was hinting that you should be looking for something darker.
I had trouble telling a lot of the prospective dates apart at first. There are a lot of them! Maybe that's part of the point, that they all sort of run together and they're generically physically attractive and they aren't really going to offend anybody, and people can like them or hate them as need to be. It sort of underscored how awful I would feel being on one of those shows. But get a date I did, and I made small talk and so forth. And I felt a certain tension when the first scare came! No, I wasn't surprised Knife Barbie reappeared, and yes, the fear went beyond "oh no I don't want to have to reload and do this."
And fellow contestants started dropping. More than knives were employed–nothing like guns, that'd be too corny. Of course, confederates were suspected, and sometimes BI suggested who it might be, and sometimes it didn't. There's drama at a hospital and many other places that, well, help give a show variety. It seems no matter what you do, the producers like you, and I even got called back for a "where are they now" moment–properly compensated, of course, but I needed to pay my hospital bills some way or other.
As I replayed to see what would change if I behaved differently or, indeed, if the randomizer chose a new knife-wielder or confederate, it struck me. I was, to some degree, like the people who would watch such a show for ironic value and then get swept up in it, and then maybe swear that, oh, they're only watching it for the laughs, but they do get emotionally involved. No, really! But they Wouldn't want their friends to miss out on all the excitement, so they bring their friends over, and eventually they have a party. Perhaps it's a good thing that I didn't have a huge group of friends to call over to play this, and hopefully my checking the source after replaying showed that I wasn't emotionally connected with any of the characters. This isn't to rag on the author failing to give us relatable characters but rather to say, well, the focus is on making such a morally and aesthetically reprehensible show plausible. And BI did. I found a far different ending the second time I played through. And it struck me: Chloe had been chatty and encouraging and all the first time through, and so I thought that was a relatively good end. But I got a lot more praise, in quality and quantity, for behaving badly. It brought back memories of people who were telling me I was nice and all, and of people saying "that's too scary for you, right?" and I figured I had to say yes and they wanted me to say no, and they probably looked down on me for that.
As a skewering of bankrupt values in "unscripted dramas" BI works very well. Such skewering is not strictly needed, and it can be overdone, but if it's done well, it does have more to say than "reality TV is very cynical." It's about what you need to do to get and stay popular, and how encouragement from people who seem to be your friend, or who are letting you be their friend on a trial basis if you are exciting and acceptable enough to them, can really backfire. It's about being pulled into something and knowing you should escape, but you can't. Certainly there are ways to try to escape in BI, but you're both physically and emotionally manipulated into staying. The final moment of both the relatively normal and more exaggerated ending reminded me of Network, and I had a hard time pulling myself away. I was glad I got to see the wizard behind the curtain with the source code. And I think bi wound up appealing to me as someone who might have run screaming from the blurb had I not played it in IFComp. Perhaps fans of the genres will feel differently, because they understand more nuances, and what are revelations to me are it's-been-done fodder to them. Perhaps it overemphasizes things people already know, or should know. Sometimes the fourth wall revelations strained a bit. But in that case, I enjoyed what I saw.
