A few days ago I beat what is among the best games to be released in the last decade: Disco Elysium. The title functions on so many levels of nuance it’s disgusting, as many as the game itself does, and hits them all straight on. I won’t be delving into what makes it a great game. Better and more prominent (and actual) games journalists have pried into that subject with more depth and expertise than I have any desire to match. Rather I want, like the narcissist I am, to explore how the game made me feel.
But first, a brief explainer: You are Harrier DuBois, a washed-up cop who was once a Rock Star Supercop, a Disco aficionado and creature of the night, renowned for your legendary benders and borderline insane commitment to The Truth. But that was many years ago. Now you’re like an aged bloodhound: You’ve still got the nose, but not the get-up-and-go. You need copious amounts of speed for that, and alcohol to bring you back down to earth. That sordid tumble from cocaine-fueled stardom has led you to Martinaise, as much of a backwater of a town as you are a wreck of a man, a filthy port town in the nation of Revachol. Martinaise’s geography is not one that many in America have to look far to find in the Real World. For those in the Rust Belt, it’s right outside their door. People struggling, hanging on; buildings decaying; trash collecting but never overflowing; just the right side of dismal to keep from collapsing altogether. In essence, a ghoulish behemoth struggling on if only for the fact that its muscle memory reads no other way.
Martinaise, and Revachol with it, however differs from your standard post-industrial American shithole in one key way: It was once host to a revolutionary vanguard. The communards of Martinaise overthrew the local syphilitic monarch and so invited the wrath of the MoralIntern, the game’s stand-in for the IMF/UN/Globalists, who proceeded to annihilate the upstart militiamen in search of a new world and a new future for themselves. To anyone with a glancing knowledge of history, particularly lefitst history, this is a tale told again and again and again. South America is rife with American interventionism in its leftist movements, frequently precipitating violent crackdowns from right-wing factions. Both Russia and China saw foreign intervention in their civil wars in pursuit of a communist state. I’d also be remiss if I did not mention the many movements crushed by domestic police violence a la the Paris Commune of 1871.
This is something we do not know or rightfully understand in America. The protests and organizing of the 1960’s and 70’s pale in comparison to these others, who came far nearer the sun than we could ever have dreamed. To have achieved something, only to see it laid waste by some vast and insurmountable power, is a pain we perhaps will never know. Only this most recent primary can conceivably come close and put that pain into perspective, this massive upswell of organized power only to be dashed by legally illegal election rigging and party apparatchiks. The only way we can truly experience this feeling of defeat and dread, outside Bernie having won and subsequently shuttled off by a military coup, is through media. And Disco Elysium, like Les Miserables before it (yes, I went there), captures this perfectly.
It presents the sort of ideological vacuum that takes hold in the aftermath of the destruction of a popular movement. That sense of directionless, a mindless plodding onward without any heading but that which the bare necessities of life obligate you to pursue, shelter and sustenance, brilliantly exploited by a capitalist system. A void is opened in the heart that any light struggles to escape: We had come so close and were struck down. How do you recover from such a blow? How do you rally the people when charge upon charge of “Look what happened before…” may be levied against you? I don’t have the answer. Disco Elysium did not have the answer and that is perhaps the most poignant, sorrowful note of the game. At the end of all this soul-searching, this uncovering and confronting the ghosts of the past, both your own and the city’s, you are left only with the simple and grim clarity that comes after realizing a thing cannot be put right again. The old wars are lost, and a terrible peace was sown a long time ago despite all your fighting. There is simply the present, wan and plodding, and you simply must get on with it. No amount of amphetamines or alcohol will transmute this washed-out landscape back to its fresh glory. It’s over. They’ve won. And here you are.
It is not so difficult, then, to read this as the dirge of leftism as we have come to know it in the real world. What are all our wars but ones that were fought long ago, with surer hands and many more besides, and still lost? I’ve asked already how we recover from such a blow, but a more brutal question is perhaps how do you build upon ruins? How do you hew a new edifice when the foundations are already cracking beneath you? You can’t, and anyone who tells you otherwise has his hand in your pocket. It’s so very hard to see by the light of the sunset, let alone the dawn. But if we hope to see the full brightness of another day, we’ve got to let the dawn come. We’ve got to realize the sun is setting on the old days and all that the old days entail. We’ve got to embrace the dawn, even if that means embracing the night. We’re living through the twilight as it is–the gotterdammerung of ideology.
If I were to attempt to accurately sum up this current predicament, I’d say modern leftism is the Disco Cop. Run-down, tired, clinging onto the bright tapestry of the past in hopes that it will impart some magnificence to our lives today. And so this is a moment in time with only two outcomes: Either we transcend this crisis point and forge ahead with a new path, a new heading; or we descend, squabbling amongst ourselves and the world around us, into Armageddon. But trying to remain where we are will destroy us. Like the Disco Cop, failing to move on and acting against inertia will only exacerbate the agony when the world chooses for us.
I am of the mind, after all the shit we’ve gone through from 2016 to now, that an entirely new approach needs crafted and pursued. No Democratic Party, no Green Party ticket. Throwing our lot in with either is to embrace the old, the old that hasn’t worked in decades and by no discernible logic looks to work in the future. It is tantamount to willingly take on baggage that isn’t yours. I’d go so far as to abandon the DSA, the SRA, the PSL, and all acronyms in between. Throw the colors in the trash and forget all the thinkers and writers, themselves whales beaching themselves on the shores of history. Retain the theory, reject the fountainheads that only encourage infighting and factionalism. If it casts aspersions or burdens us with iconography that does more to dissolve than to adhere, leave it in the dust bin. The cause is all, and everything is a tool and means to facilitate that cause. Nothing else and no more.
There’s no time or choices left but the one, as near as I can tell. We’re at the finish line, if not as a movement then as a species. This is a war, solely ideological at present, but that does not change the fact that we need to treat the cause as such. All our resources and machinery and infrastructure must be retrofitted to achieve the aim of a socialist state, whether electorally or otherwise. If we don’t right the ship soon, we’ll be living in the same nihilistic hellscape the Russians are right now. Our sense of individual reality will be courted and manipulated by an ominously nebulous state that exists beyond the bounds of electoral action or organizing, in which need to enforce a police state with open brutality is almost nonexistent. Indeed, a political landscape so efficiently managed and crafted to vent frustrations without resulting in substantive change that popular uprisings simply will not occur. I fear, like the Disco Cop, we may be at the precipice already.
So, which way are you gonna jump?