Tag Archives: Geeking Out

Six Characters in Search of Free Will

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Last week, we traveled back in time, before the dawn of escape rooms, to what was nonetheless a perfect example of escape room horror: the Twilight Zone episode “Five Characters in Search of An Exit.” Now, let us jump forward, past the present, into the near-future. A clear thematic descendant of “Five Characters in Search of An Exit,” Black Mirror‘s speculative “USS Callister” takes the “everyone is a toy” premise of “Five Characters” further than the Twilight Zone episode carried it (the Black Mirror showrunners have even described the episode as “Adult Toy Story“).

In contrast to “Five Characters,” the setup of “USS Callister” is not especially simple. We begin in a clear Star Trek homage as the starship USS Callister‘s crew, helmed by Captain Robert Daly (Jesse Plemons), celebrates a victory. Abruptly, the show cuts from this slick, primary-colored setting, to a world much drabber and closer to our own. Daly is revealed to be the unassuming founder of a virtual-gaming company called Callister, and a fan of the retro sci-fi television show Spacefleet. Each of his crew members from the opening scene reappears in the Callister office as a different coworker; all, at best, seem indifferent to Daly’s existence.

Enter newly hired programmer Nanette Cole (Cristin Milioti), who is as big a fan of Daly’s work as Daly is of Spacefleet. She and Daly awkwardly hit it off, until the company’s co-founder, James Walton (Jimmi Simpson), waltzes in and steals Cole’s attention. Next thing we know, Daly returns home to sign into his VR game and reappear on the USS Callister‘s bridge. There, we see a side of him that was not immediately obvious before: he is power-hungry, violent, reveling in belittling the crew.

The next time Daly is in the office, he steals Cole’s thrown-away coffee cup and takes it home, where he uses her DNA to create a sort of virtual clone of her. This clone, despite Daly’s desire to play god, is not a mere plaything; she is fully sentient, retaining all of the original Cole’s memories, feelings, and personality. When she awakes on the USS Callister, miniskirted and vintagely coiffed, she is terrified. Without Daly present, the other crew members explain the situation, that she is stuck forever in a modded version of the VR game the original Cole programs: Infinity. They are all digital clones, all stuck.

Walton describes the situation as “an eternal waking nightmare from which there is no escape,” but Cole tries to escape regardless, running through the ship’s halls until Daly transports her back onto the bridge. She refuses to play along with the Spacefleet roleplay premise, so he uses his God-like powers to torture her until she agrees to cooperate. Still, that first flight from the bridge is not Cole’s last attempt to wiggle free of Daly’s clutches. Her schemes just get more strategic. Even when she learns that the reason Walton plays along is that Daly has Walton’s son’s DNA on a lollipop in his minifridge, Cole sees this as further motivation to take Daly’s toys away from him.

After another fumbled escape attempt that provokes Daly’s sadistic ire, Cole finally hits upon a winning plan. She spots a wormhole out the ship’s window, representing an incoming update patch to the game. Cole suggests flying straight into the wormhole, thereby deleting all of their code, killing them. Freeing them. First, however, it’s necessary for someone out in the real world to destroy the DNA hoarded in Daly’s minifridge.

The plan is for Cole to go on a mission to a planet’s surface alone with Daly, where she distracts him. Meanwhile, the crew beams up the device that Daly uses to control the game and contact the outside world. The crew is able to contact the real-world Cole, and blackmail her with the cloned Cole’s knowledge. They compel her to order a pizza to Daly’s apartment so that he’s forced to temporarily exit the game, then, while he’s occupied, to: 1. steal all of the DNA in the minifridge, and 2. replace the nodule he uses to connect to the game with a decoy that does nothing.

Cole distracts Daly by luring him into a lake.

The end result is that the crew of the USS Callister is able to successfully fly into the update patch wormhole without Daly’s interference. Contrary to their prediction, this does not erase their code; they are not killed, but they are free. They are transported from Daly’s personal, modded version of Infinity to the greater Infinity, which lives in the Cloud. Meanwhile, Daly, in his attempt to chase after them, has gotten himself stuck in his own game.

This is a much more optimistic ending than that of “Five Characters.” The characters not only are able to transform themselves from playthings to game-players; in doing so, they escape the confines of their limited world—within reason. While they are no longer imprisoned within Daly’s computer, able instead to roam the Cloud-stored game universe, they are still technically bound, forever, to the starship.

If we classify this as escape room horror, with a requirement of the genre being that someone must escape the room alive, then we are working with a more ephemeral, existential understanding of what constitutes a “room.” The characters’ ultimate goal is not to escape their physical surroundings, but to escape the game rules that have been put in front of them. The horror herein is not about literal claustrophobia, but about the gnawing psychological claustrophobia that comes from an absence of free will. They are not escaping from the ship; they are escaping from hierarchy. It is the perfect distillation of escape rooms as a team-building exercise, driving home that there is no “dictator” in “team.”

A review of the episode in The Atlantic pointed out that whereas so much of Black Mirror‘s storytelling is about “the terror of being connected,” “USS Callister” goes in the opposite direction. What begins as a seeming cautionary tale against the horrors of video games becomes, instead, an ode to collaborative approaches to gaming. The fact that the crewmembers still have each other and an infinite universe to explore is presented, unequivocally, as a happy ending. It’s a happy ending that anyone who finds joy in shared game experiences like escape rooms, multiplayer video games, or tabletop role-playing will no doubt find resonant. Hell is not other people; it is other people having undue power, and stripping us of our personhood.

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Escape Rooms and Bottle Episodes: A Condensed, Horrific History

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When they appear in sitcoms, escape rooms are played for laughs and sentimentality, true to their common real-life role as a fun diversion and a team-bonding activity. On the other hand, horror media has a lot to say about the sinister side of being trapped in a room and dependent on only your wits to free you; a whole bevy of twenty-first-century films depict escape rooms from Hell. Consider the horrific potential of pairing claustrophobia with psychologically intricate tasks, and it makes sense that the recent rise of escape rooms as a pastime would be accompanied by a rise in twisting that pastime for terrifying purposes.

Escape room horror is not, however, a new concept, despite the modern appellation. Before No Escape Room (2016), Riddle Room (2016), Escape Room (2018), Escape Room (2019), Escape Room 2: Tournament of Champions (2020), and even before Fermat’s Room—which came out in 2007, the same year as the first documented real-life escape room—there was the 1997 movie Cube. In Cube, six strangers are trapped within a harrowingly booby-trapped setup of cubic rooms, and must rely on math and logic to escape death.

“It’s like something out of that twilighty show about that zone,” Homer said before entering his three-dimensional predicament in this Halloween episode of The Simpsons.

I am not here to recommend that you watch Cube, not unless you’re a fan of creative, vivid gore. Still, it is remarkable as a precursor to escape room horror directly inspired by actual escape rooms. Back in 1994 when director and writer Vincenzo Natali first completed the script, the closest relative to Natali’s vision was the Twilight Zone episode “Five Characters in Search of an Exit.”

“Five Characters” originally aired in December 1961, sandwiched between episodes about time travel and World-War-II-era body-swapping. Compared to those premises, the episode’s set up is simple. Frustratingly so; the lack of bells and whistles is the source of the horror. The characters who wake up trapped together don’t even have names: they are simply, according to narrator Rod Serling, “Clown, hobo, ballet dancer, bagpiper, and an army major—a collection of question marks.”

These question marks play out the episode in essentially a featureless void. There are no brainteasers or riddles to unravel, no booby traps to dodge or calculations to perform. Rather, the puzzles are both larger and more bare-bones, existential: who are they, where are they, and is it possible to be somewhere else? Is it worth it to be somewhere else?

We might also call this story an example of bottle episode horror. In a 2014 interview, New Girl showrunner Elizabeth Meriweather said about the bottle episode, “Background Check,” “For a bottle episode, the stakes have to be very, very high, or else you’re feeling the claustrophobia of not leaving the loft.” This is a good rule of thumb for a sitcom, but what about a horror show, wherein you want to feel the claustrophobia? I’d argue that high stakes are just as necessary for bringing the claustrophobia home as for obscuring its presence; the line between effective comedy and effective horror, here, is thin.

The Community episode “Cooperative Calligraphy” makes no effort to obscure the claustrophobia of the situation; rules were made to be broken.

Does “Five Characters” offer the emotional depth and palpable claustrophobia necessary to bring out the horror of the situation? A review posted on The Twilight Zone Project seems divided on the issue, speaking to the episode’s building suspense but also calling the characters “cartoonish” and the twist “cheap.” “Five Characters,” you see, concludes with the reveal that the clown, hobo, ballet dancer, bagpiper and army major aren’t just playing a game of escape; they themselves are playthings, dolls in a charity toy drive bucket.

I have seen this episode several times, and still don’t know what exactly to make of this twist. What meaning can be gleaned from it, what metaphor? Uncertain what exactly the cast’s toy status tells us about humanity or anything else that lofty, I’d rather think of the episode as an historical artifact, and situate the concept of the players as the playthings in the context of the escape room and/or bottle episode horror television that has followed in its wake. Stay tuned for next week, when I examine a clear, modern descendant of “Five Characters in Search of An Exit.” (No, it’s not Cube.) Let the suspense build . . .

In the meantime, you can find delightful deals on puzzles on the Home Screen for Daily POP Crosswords and Daily POP Word Search! Check them out!

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Puzzles in Pop Culture: Person of Interest

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In 2011, speculative CBS thriller Person of Interest began with the premise that a computer genius named Finch (played by Michael Emerson) had built an AI that could tell when acts of violence were about to occur in New York City. In order to intervene, he hired a former special operative named Reese (Jim Caviezel). The only information that the AI ever provides is a social security number; each episode, this leaves Finch and Reese to solve the central question: does this SSN belong to a victim of an impending crime, or a perpetrator? Do they need to be stopped, or saved?

Solving this question typically involves a veritable cornucopia of guesswork, research, hacking, plot twists, and pieces of paper taped to walls and connected by webs of string (one of my favorite TV tropes, featured in Supernatural and It’s Always Sunny in Philadelphia). Chess also features prominently, as do various secretive systems of communication. No episode is quite as likely to appeal to your inner solver, though, as season four, episode two, “Nautilus,” which aired on September 30th, 2014.

In this episode named for its chambered nautilus shell motif, Finch and Reese receive the SSN for chess grand master and college student Claire Mahoney (Quinn Shephard). She’s AWOL from school and chess in pursuit of a mysterious game’s prize. The game began with a post on an obscure message board: an image of a nautilus, captioned, “If you seek enlightenment, be the first to walk through the chambers.” There was data hidden in the image of a nautilus, and it sent Claire off down the rabbit hole.

Following her, Finch watches as she pulls a tab of paper from a lost dog sign, with a nautilus watermarked behind the numbers. After calling the number leads to nothing, Finch realizes: “It’s not a phone number . . . it’s multiplication.” Multiplying produces GPS coordinates, pointing to a location in Harlem.

There, a mural of seemingly random shapes (painted by artist Apache Gonzalez) covers a wall. Once again, there’s the nautilus. Back in his office, Finch studies a photo of the mural, finally recognizing it as a variation on a Bongard Problem. He explains, “This particular type of puzzle presents two sets of diagrams. The diagrams in the first set share a common feature. The blocks never overlap with the curved lines. Conversely, in the second set, the blocks do touch the curves, but there’s another common element.”

Reese interjects, “There’s a different number of blocks in each diagram.”

“Using this pattern,” Finch continues, “I can fill in the blank space with the only number of blocks left out, which is three, thus solving the puzzle, creating a sort of three-pronged arch.” Googling, Reese finds a matching photo of an arch in Central Park.

That night, Claire is near the arch, standing in traffic. When Reese interrogates her about her apparent death wish, they’re interrupted, but later, the answer comes to light. If you stand at the right point in the street, banners for “motorcycle safety month” visually blend together to show the faint image of a nautilus. Beneath the nautilus: pictures of traffic lights that Finch correctly identifies as the equivalent of Braille dots. They spell out, “184th and 3rd.”

Claire’s next found in a biker bar at 184th and 3rd, staring at a bulletin board decorated in gang logos. One features a skull with nautiluses for eyes; letters surround the skull in a seemingly random arrangement. At an otherwise dead end, Reese sits at his desk, rewriting the letters over and over, seeking a scrambled word, until Fusco (Kevin Chapman) determines that the letters refer to musical notes, forming the tune to “New York, New York.” Reese is able to deduce a location: the Empire State Building’s observation deck.

Here on out, the puzzles become simpler, less compelling; from a Doylist standpoint (referring to author Sir Arthur Conan Doyle’s perspective, as opposed to fictional character John Watson’s), we might assume that the writers have decided that it’s time for the plot to dominate, turning the puzzles into mere perfunctory means to an end. I’m convinced, however, by the Watsonian explanation, that Claire has sufficiently proven herself, and the AI game-master is content now to lead her by the hand.

But why the nautilus shell? In the episode, computer hacker Root (Amy Acker) refers to the nautilus as one of nature’s examples of a logarithmic spiral. It’s commonly also referred to as an example of the golden ratio, but as explained in “Math as Myth: What looks like the golden ratio is sometimes just fool’s gold,” that’s not so true. Is that they key—that the prize Claire seeks is fool’s gold?

The episode’s primary puzzles have been solved, and the series has come to an end (though it can be streamed on HBO Max). Still, this one question of the nautilus’ significance remains. What is the symbolic connection between a nautilus shell’s chambers and the “enlightenment” the game promises? Is enlightenment encoded in the logarithmic spiral, or in something more particular to the mollusk itself? I don’t have the answers, but as the nineteenth-century poem “The Chambered Nautilus” by Oliver Wendell Holmes Sr. shows, Person of Interest’s screenwriters were not the first to see something spiritual in the nautilus, and I doubt they’ll be the last.

In closing, I offer the following excerpt from Melissa Febos’ Body Work: The Radical Power of Personal Narrative to mull over in your own pursuit of the nautilus shell’s deeper meaning:

The spiral does not belong to the nautilus shell, unless it also belongs to the whirlpool, the hurricane, the galaxy, the double helix of DNA, the tendrils of a common vine. If there are golden ratios that govern the structures of our bodies and our world, then of course there must be such shapes among the less measurable aspects of existence.

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The Monster at the End of This Blog

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This past Sunday, Instagram user @muppethistory posted that PBS had newly released a Grover-centric game called “The Monster at the End of This Game.” Based on the classic children’s book of a similar name, the game joins assorted other Sesame Street fare such as “Show Me the Cookies,” “Ernie’s Dinosaur Daycare,” and “Oscar’s Rotten Ride” on the PBS Kids website and in the PBS Kids Game app.

Gameplay is unsurprisingly straightforward, designed as it is for small children. On most screens, challenges are as simple as clicking a glowing item; the imperative to draw a triangle notches the difficulty up barely a smidge. The most complex obstacle to reaching the game’s end (and the monster therein) is a shattered arrow that must, like a tangram, be restored to wholeness. As the player rebuilds the arrow, Grover despairs, “I did not know you were such a skilled puzzler!”

While I have no doubt that many of our readers’ puzzle skills outstrip my own, I do, at twenty-seven, have a significant edge on the game’s intended audience of preschool puzzlers. Why, then, did I find “The Monster at the End of the Game” so captivating? It wasn’t nostalgia for the fuzzy blue Grover’s picture-book antics fueling my determined clicking and dragging—I did not read “The Monster at the End of the Book” as a child. I had only the dimmest suspicion, via cultural osmosis, that a mirror would feature prominently in the conclusion, and could not say for certain if Grover would be the monster in the mirror, or if I would be.

From Lynda Barry’s Making Comics

Without this particular childhood memory on my side, Grover’s pleading that I not finish the game, his insistence that only woe and horror waited for me as I progressed past the stumbling blocks he placed in my path, reminded me of nothing so much as Lemony Snicket’s narration in the A Series of Unfortunate Events books. Maybe the driving factor in convincing me to keep playing wasmy uncertainty as to how exactly it would end. But maybe it was a different branch of childhood nostalgia, fondness for the perilous problems plaguing the Baudelaire children in Snicket’s series.

In 2004, HarperCollins released a collection of puzzles called The Puzzling Puzzles: Bothersome Games Which Will Bother Some People, based on the Baudelaires’ trials and tribulations and framed as a training manual for a secret organization from the series. According to the Snicket Fandom wiki, many of the puzzles are designed to be unsolvable, and the letter to the reader from Snicket himself describes the book as “distressing,” and “frustrating,” the polar opposite of “The Monster at the End of This Game” (at least, if you’re outside Sesame Street’s target demographic).

Before signing off, Snicket writes, “I have dedicated my life to unraveling the puzzles that surround the doomed Baudelaire orphans. Why should you?”

Violet and Klaus Baudelaire in the Netflix adaptation of ASoUE

Why indeed? Why try to solve the unsolvable? Why try to solve the extremely easily solvable? When the story is so good, why not try? Who can resist a compelling narrative, especially one brimming with pathos and puzzles, mystery and monsters? Whether the primary focus is on Muppets or murders, whether the monster is Grover, Count Olaf, or myself, I always want to reach the end. I’ll untie any rope, click any brick, trace any triangle—if it means gazing into the mirror at any good story’s conclusion.

If you also love the intersection of stories and puzzles, our Book Smarts, Movie Madness, and TV Time Daily POP puzzles are probably right up your alley! 

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The Sestina and You

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Last week, we began to explore a rich riddle together: “How is a poem like a puzzle?” We discussed a couple of important answers, but overlooked the immediately obvious answer that both begin with “P” and have—at least, for a significant portion of English-speakers—two syllables. This may seem overly superficial, but those similarities are nothing to sneeze at! When we’re talking about puzzles and poems, letters and length are deeply important.

With regard to syllables, our post discussed the puzzly limitations of forms like haiku, which become increasingly challenging as you write. Even more challenging than the haiku is the sestina, a French form that requires expert-level problem-solving skills.

Typically unrhymed (though rhyming would only add an extra fun brain-bending element), a sestina is a thirty-nine-line poem made up of six six-line stanzas plus a final three-line stanza known as an “envoi.” The same six line-ending words appear in each stanza, though mixed up like a Boggle cube into a different, strict order in each stanza. If we label the last word of each of the first six lines 1, 2, 3, 4, 5, 6, then the last word of each of the stanzas afterward follows this pattern:

Stanza two: 6, 1, 5, 2, 4, 3

Stanza three: 3, 6, 4, 1, 2, 5
Stanza four: 5, 3, 2, 6, 1, 4
Stanza five: 4, 5, 1, 3, 6, 2
Stanza six: 2, 4, 6, 5, 3, 1

The final envoi of three lines must contain all six of the ending words. Three of the words will come at the end of the lines, and the other three words will be contained within.

Thus, once the six ending words are established in the first stanza, the ending words of the following stanzas are set in stone, turning the exercise of writing poetry into an elaborate game of fill-in-the-blank. The more wedded you are to having your poem make a lick of sense, the more crucial it becomes to tap into your puzzle brain to determine what jigsaw pieces of language could possibly go inside the parameters established by the “corner pieces” that are these ending words.

Sestina diagram via http://aka-arcadia.blogspot.com/2009/03/sestina-and-double-sestina.html. What other brainteasery poetic limits might we invent if we start placing numbers on different labyrinthine shapes?

Sestina examples that follow the rules of the puzzle:

Farm Implements and Rutabagas in a Landscape by John Ashbery

A Miracle for Breakfast by Elizabeth Bishop

Forage Sestina by Marilyn Hacker

And one sestina example that breaks them:

Deleting Names (A Decaying Sestina) by Lawrence Schimel

Even if you don’t consider yourself a poet, if word puzzles are your jam, we invite you to try your hand at a sestina, and watch as it unlocks the puzzler inside!

First—consider warming up your verbal, puzzling centers by taking our crosswords or word searches for a spin!

You can find delightful deals on puzzles on the Home Screen for Daily POP Crosswords and Daily POP Word Search. Check them out!

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The PN Blog 2021 Countdown!

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2022

It’s the final blog post of the year, so what do you say we revisit all of 2021 with a countdown of my ten favorite blog posts from the past year!

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#10 The Man Who Found Forrest Fenn’s Treasure

One of 2020’s most baffling stories was the announcement that Forrest Fenn’s treasure, a mystery sought by thousands for most of a decade, had been found, but the lucky solver was remaining anonymous. Lawsuits were filed, fraud was claimed, and what should have been the resolution to a great mystery ended up sparking several more.

This year, we finally received some information from the solver himself, and it seemed to resolve those lingering questions and quiet the conspiracy theorists (for the most part, anyway). It seems poetic to start off our countdown with the conclusion of another puzzly endeavor.

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#9 Bringing People Back to Puzzles

It’s always disappointing when one bad experience with a new hobby or endeavor spoils an entire world for someone. I’ve seen it happen with puzzles more than once, and I always consider it a privilege to get a second chance at introducing someone to the world of puzzles.

So it was a real treat to write this post and offer some advice to other puzzle fans, helping to equip them when and if the opportunity arose to reintroduce a friend to one of our favorite pastimes.

#8 Holiday Puzzly Gift Guide

Every year, one of my favorite activities is putting together our Holiday Puzzly Gift Guide. I get to include the best products sent to me for review by top puzzle and game companies, mix in some of my own favorites, and draw attention to terrific constructors, game designers, and friends of the blog, all in the hopes of introducing solvers (and families of solvers) to quality puzzles and games.

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#7 First Look: The Case of the Golden Idol

Sometimes, we get to be pioneers, trying out new games, new products, and new puzzles before anybody else, and that’s always a treat.

This time around, not only did we get an early look at an in-progress investigation-style puzzle game, but we brought in a friend of the blog to give it the full review treatment. (We’ve done this in the past with video game and app reviews.) We get to share new voices with our marvelous readership and venture into exciting new puzzly frontiers while we do it.

house-rules

#6 Board Game House Rules

It’s always fun to ask the PN readership to contribute to posts, and this was a fun topic to explore with the readers. We asked for house rules used in popular board games, and the sheer variety and creativity employed by game fans to spice up classic board games made for a terrific blog post and one of our favorite discussions of the entire year.

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#5 5 Questions

Across dozens of interviews over the years, we’ve talked to game designers, pop culture figures, and puzzle luminaries about what makes them tick, and each time, we learn something new about puzzling and those who puzzle.

This year, we focused mostly on folks that were relatively new to puzzles, not only to give them greater exposure, but to get a glimpse of where the world of puzzles is headed in the future. And based on those we had the wonderful opportunity to sit down with, the future of puzzles is very very bright.

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#4 Superman and Crosswords

Puzzles are lurking anywhere and everywhere in popular culture if you know where to look. Often I find them in television shows, mystery novels, odd historical moments, and many other places, and I thoroughly enjoy chronicling those experiences for the readership.

And one of the highlights of the year for me was discovering an old Superman radio show adventure where he literally had to solve crosswords in order to save Lois Lane and stop the bad guys. It was silly and delightful all at once, providing yet another example of how puzzles find their way into all aspects of life.

bad puns

#3 Puns

Puns come in all shapes and sizes, running the gamut from clever and hilarious to shameless and groan-inducing. So it was long overdue to write a post discussing the role of puns in puzzles and defending puns from some of their many detractors.

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#2 Ten Years

We marked ten years of PuzzleNation this year, and to get to celebrate that milestone with our loyal fellow solvers was absolutely a high point of the year.

We delved behind the curtain for a brief history of the company, and released a special puzzle pack for readers to enjoy.

original

#1 Fairness and Accessibility

Throughout the year, we discussed efforts to make puzzles more inclusive and accessible than ever. More women, people of color, and members of the LGBTQIA+ community are constructing than ever before, and we happily contributed to the discussion of fairness in puzzles wherever possible.

One of my favorite posts on the topic this year was our dissection of the concept of “the average solver,” and pointing out how this concept can be helpful or hurtful, depending on how it’s employed. We received a lot of great feedback and some very kind words of support on these posts, and it was incredibly worthwhile to participate in these discussions with our fellow puzzlers.

Thanks for spending 2021 with us, through brain teasers and big ideas, through treasure hunts and trips to the past, through puzzle launches and landmark moments. We’ll see you in 2022.

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