Tear out the heart. Bleeding, throbbing, explodes.
Lost feelings and emotions. No control.
A sacrifice on a stake. Eat it whole.
The hollow man remains. No sympathy.
This cold wretched world that stole his true heart.
The priests and the temples won’t mourn his loss.
The scars won’t heal. Forever reminded.
The pieces and splatter on the sidewalk.
People trample and ignore the man’s pain.
Suffering seen, but unheard. Close their eyes.
Another staggered by life consequence.
He stumbles around, searching for someone.
They avoid his eyes, let him continue.
Along a trail unchosen, path denied.
There’s not much time left, all he wants is help.
He can hear the ticking. Incessant clock.
He hears a drum, a beat he used to know.
Another one suffers, join them in the rain.
Scream at God, maybe the cries will be heard.
United, together, fucked throughout life.
A street lamp, a hope, a whisper of change.
Precious little time. Moments flutter, gone.
When moments matter, memories will come.
A flood to fill the void, his empty soul.
Blinking, fading, waiting to start again.
Bourgeois games are characterized by an increased need for escapism, societal isolation, a lack of normal societal functions, and the focus on exploitation and capital gain. These aspects in video games will be discussed below.
Need for escapism
Bourgeois games attempt more to appeal to an older audience because of the knowledge of alienated laborers needing escapism for psychological balance to lives that are unfulfilled by abnormal social relations and work.
Bourgeois games also focus on realism as an artform in order to adhere to escapism with even the least imaginative minds.
The more serious and gritty tones, along with darker graphics and settings cue into the psychological damage caused by the alienation of the laborer and societal isolation.
Escapism is also assisted by customizable characters and their development, allowing the alienated laborer to accurately or ideally project himself into his false setting. He is also allowed to make dialogue choices for himself.
Bourgeois game developers consciously and subconsciously take into account the societal isolation and individualism that characterize bourgeois culture when they are developing games.
In order to adhere to an individualistic and socially isolated culture, bourgeois games can be characterized by an open-world setting that allows players to function alone, doing what they please without considering others.
In bourgeois games, interactions with non-player characters are limited to the exchange of commodities as in a capitalist society, and therefore NPCs are often one-dimensional, serving no other socially interactive function.
Not only are social interactions with NPCs limited by an exchange of commodities and the consequent generic dialogue associated with it, but the player-character also often lacks character development.
Characters being devoid of personality or background also indicate the xenophobia prevalent in a bourgeois society that prefers the preservation of self.
This xenophobia also results in bourgeois developers avoiding topics such as religion and blasphemy in order to appeal to bourgeois minorities by circumventing compelling topics.
Normal societal functions
Bourgeois games are also characterized by attempts to replace a lack of normal societal functions with alternatives in-game.
The feminization of bourgeois culture results from abnormal social relations and the alienation between the sexes, as well as sex being used as a means of exploitation. This causes bourgeois developers to create predominantly male protagonists exhibiting overtly masculine physical features and mannerisms in order for players to balance their natural tendencies with bourgeois society.
Real-time combat and first-person shooters are also a replacement for abnormal social relations and allow specifically males to hone in on natural instincts that are suppressed in bourgeois culture.
Focus on capital gain
The most glaring identifier of bourgeois games is the overtly exploitive nature of developers’ ventures.
Bourgeois developers ultimately seek to maximize capital through the most acute degrees of exploitation. Rather than focusing on experience, they attempt to exploit every aspect of bourgeois culture for profit and selfish gain.
This is why they are often not finely tuned or polished, when they know there is something in their sales pitch that fills a gap in bourgeois culture. This allows developers to not need to be innovative, and able to create repetitive structures and concept to appeals to the same tried and true successes in exploitation.
Developers derive game concepts from over-played ideas that have worked for other developers or even for themselves in the past. They can also focus on quantity of product over quality of product due to being positioned within a bourgeois society that makes it difficult for the petty-bourgeoisie to differentiate within bourgeois culture.
Bourgeois games are characterized by an extended lack of effort to produce games without variety, narrative strength, or mechanical intricacy because of the increased cost of labor.
The cultural exchange of music is mostly unrestricted in a capitalist economy, so the aspects of bourgeois culture will be seen most prevalent in popular music.
Most music, as with most forms of art and entertainment, is often originally created by oppressed classes, from which it is then acquired by enterprising capitalists as a means of exploitation through the demand of capital gain.
Distinct musical styles developed or acquired by the bourgeoisie can be characterized by provincialism, much in the same way that bourgeois film lacks certain perspectives.
Bourgeois music is of course characterized by the commodification of demographics, with the dual purpose of defining an exploitable area of the population, as well as the maximization of supply through projected demand.
Regardless of the origin of bourgeois popular music, it is all turned by the enterprising capitalist into commodities that are aimed at exploiting the lower classes through the uneven distribution of capital gain.
Law and Politics
Copyright laws in music are understandably exploitive, yet culturally accepted in areas where the petty-bourgeoisie seek signs that they may be capable of building their own capital gains through the exploitation of others.
False counterculture in music is even created by the bourgeoisie to appeal to the petty-bourgeoisie, since intuition indicates that it poses little risk of igniting populations that are reformist in nature.
The bourgeois film industry can be identified by the following three major characteristics due to it being an extension of the status quo and a method to retain power.
Bourgeois film emphasizes quantity over quality, seeks to retain bourgeois cultural hegemony, and is characterized by the ownership of the means of production.
Quantity over quality.
The first characteristic of bourgeois film is its emphasis of quantity over quality. The bourgeoisie have adopted a model that produces thousands of movies each year, which means that not every film has to be critically successful.
Often, the model is for the bourgeoisie to produce blockbusters that typically rely upon spectacle (rather than substance), star power (the commodification of individual actors), and massive advertising to attract a profitable audience size.
Further assisted by the presence of amoral heroes and ubiquitous sexuality and violence that appeals to primal instincts, films made in this manner do not emphasize nor require professional-quality acting, directing, or screenwriting.
It is in the interest of the current status quo, the bourgeoisie, to further consolidate their power through cultural hegemony. These attempts in film are most easily identified by a lack of perspective, narrow-mindedness, or ignorance, which stems from the natural tendency of the bourgeoisie to assume that bourgeois reality is more common than it really is.
There also comes a significant bourgeois apprehension against foreign-language films for these same reasons, that the bourgeoisie seek to minimize any influence that could usurp their power.
Not only do the bourgeoisie assert their cultural hegemony through bourgeois film, but they also promote imperialism through glorified depiction and practice. Films that promote imperialism, glorifying and attempting to morally justify it, are natural for the bourgeoisie to promote their own preservation. Then, the actual projection of imperialism through the imposition of cultural hegemony with the outsourcing of the film industry abroad.
If you believe this is restricted to private industry, I must interject that bourgeois governments also act in conjunction with the bourgeois film industry since their hegemonic interests adhere to the same strategy.
Means of production.
A tell-tale sign of any bourgeois venture is the ownership of the means of production, disallowing other, perhaps more capable producers of quality content in the name of hording capital.
Though there are many capable actors, directors, screenwriters, etc., only those with a relatively significant base of capital may find success in the bourgeois film industry. In later stages of capitalist development, this stifles creativity and innovation by relying on only those already within the industry who have found financial success in the past.
We see now the same creative teams working on similar films made by the same studios, creating a redundancy of efforts to produce additional capital, when in reality they are stagnating their own growth.
The independent studios not supported by larger studios’ financial resources must attempt to create professional-quality products with a minimal budget, which more often than not leads to commercial failure.
Larger studios, the more successfully exploitive capitalists, by contrast focus on extremely expensive releases every year in order to remain profitable. The financial capital invested into special effects and actor commodities require an enormous budget, offset by an audience large enough to reap considerable profits. Don’t think for a moment though, that the capitalist is risking anything. The film industry steals ten billion dollars a year from its audiences.
The advent of piracy is a logical growth with the proliferation of technology, and though it can be literally 1,000 times cheaper to purchase pirated films, the bourgeois film industry of course has had a backlash against piracy.
Their stranglehold on capital gain milks audiences for ten billion dollars a year, yet the actual cost of proliferation is miniscule in comparison, without even mentioning digital file-sharing.
Having opened this topic in “Why you shouldn’t read A Song of Ice and Fire,” I’d like to explore a couple additional aspects in this first of a series of posts about the separation between bourgeois ideas and universal reality.
Bourgeois literature comes in a variety of different forms, but they are each linked together by the fact that they seek to sustain the exploitation of man.
If anybody’s curious about my definition of ‘bourgeois literature’, this is loosely gathered from the USA TODAY’s Best-Selling Books list, which serves as an indicator of bourgeois preference.
The romance novel traditionally outsells every other genre in the paperback variety, making it the most prevalent form of bourgeois literature.
Its overwhelming popularity is assisted of course by relating to our primal instincts, feelings shared across the world that transcend any natural boundaries we may encounter.
In spite of its prevalence, it has been recognized since ancient times as a genre generally lacking substance and literary merit.
Developed primarily in England, and later the United States, the genre is the exploitation of women who are increasingly alienated from normal social relations with men due to latter’s exploitation by the societal pervasiveness of easily accessible sexually suggestive content. Evidenced by its production almost exclusively within bourgeois nations, the genre serves as a balance to the decline of normal social interactions in a capitalist society.
Romance serves to provide a simplistic notion of social relations that are less-experienced in bourgeois culture due to the projection of the individual and the growth of abnormal social relations.
I will group together the sub-genres of mystery, crime, and psychopathic thrillers in order to analyze the genre’s effect within a bourgeois society.
Again appealing to primal instincts, thriller exploits the lack of physical activity and adrenaline-producing elements, which were natural to hunter-gatherer societies, but are largely absent from bourgeois and capitalist culture.
Its secondary purpose is to exploit again the abnormal social relations created by bourgeois conditions of exploitation and the commodification of the individual. Bourgeois society produces abnormal social conditions that create specifically psychopathic behaviors, the intrigue of which is then exploited by the thriller genre.
This genre is relatively newer than the previous two, but a natural development due to the proliferation of exploitation within bourgeois and capitalist society.
The inspiration genre grew out of the commodification of the individual, which was then translated into a means of exploitation. The inspiration genre is the glorification and exploration of the individual as a commodity. Other capitalists then consume the genre in an effort to perfect themselves as commodities in order to more successfully exploit their fellow man.
We must differentiate and acknowledge that there exists both a bourgeois fantasy genre and a universal fantasy genre, the characteristics of which will be described here.
Bourgeois fantasy is characterized primarily by the commodification of the individual. Authors who contribute to this genre create envision their characters as an end-state commodity affected by the world through character actions and experiences.
This differs from universal fantasy in which the authors create characters that represent ideas and notions of the world. Such characters are acted upon and allowed to change as the world affects them, coming into conflict only when the ideas that characters represent contradict another’s representation of ideas.
Secondarily and less commonly, bourgeois fantasy can also be characterized by feminism, which a natural growth in the progression of a capitalist society. Feminism allows bourgeois institutions access unfettered by gender in order to more effectively exploit the whole of mankind.
Feminism in bourgeois fantasy literature, then, is the celebration of equality between men and women, or even the occasional dominance of men by women within this particular genre. This is a societal construct perpetrated by bourgeois institutions in order to culturally normalize the exploitation of women in addition to the continued exploitation of their male counterparts.
Feminism is somewhat lacking in universal fantasy due to the celebration of normal social relations contained within this particular genre.
The self-help genre is comprised of the most unapologetic attempts at capitalist exploitation, presented as previously unknown ‘facts’ that the author seeks to present for the greater good. This is a false premise, as the author is unwaveringly exploiting the reader for capital gain. If not, the books would be offered for free.
Self-help is a growth from the commodification of the individual similar to the inspiration genre, but differing slightly because of the pursuit of additional capital gains resulting from the purchase of prescribed remedies, cures, etc.
It still adheres to the principle of the improvement of the individual as a commodity intended for exchange, and serves to promote the importance of the individual for such an exchange.
Self-help books also often contain information teaching opinions of the most effective means of exploiting others for self-preservation. This style of self-help book does not truly help the reader because of the omission of the reader’s need for a base of capital, which the reader is ironically supplying to the author instead.
Up Next: Loss of Reality (2/4): Bourgeois Film
She still haunts my dreams like a demon.
Remembrances shared even though she’s lost.
I try to forgive but I can’t forget.
The traitor, the fool, and the aftermath.
Try to let go, but my arms hold her tight.
We used to be one, prancing, holding hands.
Lovers that wonder, and embrace the moon.
She has since moved on, forgotten our lives.
When will I be freed from her wicked spell?
The salvation turned into her greed.
Left me sick, unbecoming who I am.
My life became something that was not hers.
Different minds, though we loved each other so.
I was married to work and to the world.
She was engaged with feelings and herself.
Separate but together. Not for long.
Unsuited for us, we could not adapt.
Unable to sustain what was not there.
Brimstone and fire the world could not heal.
Chaos reigns when emotions rule supreme.
We tried so hard, but effort is not fate.
False, artificial, it was just too late.
Diverging paths. No time to say goodbye.
Find another, replace what we can’t have.
And I will still dream, as though nothing passed.