Correspondence From Limbo

This year has been a bit shit, hasn’t it?

Between an unprecedented pandemic, rising police brutality, the ongoing climate crisis, the seemingly endless attacks on LGBT+ rights and the continuous shit show that is Brexit, 2020 has been incredibly unpleasant. But that does not mean that some great media hasn’t come out this year. From music to games to TV shows and films, 2020 has been surprisingly consistent in the quality of things that have been released. As this is my last diary entry of the year, I thought I would write a little bit about my favourite, and second favourite, things that have been released this year.

–

Game of the year: Kentucky Route Zero

Since I usually write about videogames, I thought it would be a good place to start. My game of the year is Kentucky Route Zero, which I haven’t been able to get out of my head since I first played it back in January. It is a monumental work; the game’s first episode released in 2013, and its finale was only released this year, alongside a console port that contained every episode. But that long development time has definitely helped Kentucky Route Zero. It has some of the best writing that I’ve ever seen, and not just in a videogame. While the gameplay is fairly minimal when compared to other releases, the way that it tells its story is absolutely fascinating. I found its main “gimmick”, the fact that I could, to an extent, co-author the story that the game was telling was incredibly inspired. With melancholy themes and dreamlike graphics, I would safely recommend Kentucky Route Zero to anyone, even those who have never played a videogame before.

Runner-up: Hades

I’m a huge fan of roguelikes, but it wasn’t until I watched the NoClip documentaries on Hades’s development that I got excited about the latest release from Supergiant Games, which has become their best game yet. It’s an absolute delight, blending narrative and gameplay together in a way we’ve never really seen in a roguelike. From the absolutely amazing art and graphics to the spectacular gameplay, Hades is a treat from start to finish.

–

Best TV: BoJack Horseman

I think it would be safe to say that my pick for the best TV of the year goes to the final half-season of BoJack Horseman. Yeah, I know. I’m basically a parody of myself at this point. But BoJack Horseman is a show that went from being promoted as a trashy Family Guy rip-off to a unique and often profound exploration of depression, trauma, celebrity and sexuality. 

And this half-season has been no different. Fresh out of rehab and attempting to turn his life around, BoJack has to deal with the fact that you can’t always run away from the things you’ve done. Meanwhile, Todd engages with a new relationship and tries to grow as a person, Princess Caroline finds a way to balance work and her personal life, Diane continues her career as a writer, and Mr Peanutbutter continues to better himself and reflect on his actions. This second part of season 6 is much like the proceeding half which released at the end of 2019; it is more hopeful. While it often felt like previous seasons of BoJack Horseman were overly harsh, putting the characters through upsetting and oftentimes traumatic events, season 6 feels a lot gentler. These characters have been through enough, it is time for them to find peace. But that doesn’t mean that this season isn’t devastating in places. I’ve already written about this half-season, but I think it bears repeating; when BoJack’s history is revealed, when he breaks down and reverts back to his old behaviours, the series takes a dark turn. It’s an upsetting scene, one that stands out when you compare just how much work BoJack had put into bettering himself.

The last season of BoJack Horseman has been a real treat, wrapping up a number of storylines and giving the characters real hope for the future. I’ve loved this series since I first watched it, and while I’m sad it’s over, I will say that I loved the ride.

Runner-up: The Mandalorian:

Ok, I’m late to the party when it comes to The Mandalorian. But, gosh, it’s very good! I’m a big fan of western’s and watching a uniquely Star Wars take on that genre has been a really enjoyable experience. The show has made me excited about Star Wars for the first time in ages, and a lot of that is in Pedro Pascal’s portrayal of the titular character. Mando is more than just The Man With No Name in a suit of armour, and a lot of that is down to Pascal. While he might not always be the one under the helmet, Pascal’s line readings are always superb, conveying a world-weariness that hasn’t really been seen in Star Wars before. Combine that cynicism with the scene-stealing cuteness of Baby Yoda and you get a surprisingly compelling duo, one that has carried two seasons of excellent television.

But that second season does have a major problem; it relies far too much on pre-existing Star Wars characters. What was exciting about the first season was that it relied exclusively on original characters and riffs of westerns and samurai films. But the second series leans more and more into bringing The Mandalorian, both the show and Pascal’s character, “into” the Star Wars universe. Suddenly, characters and concepts from the Original Trilogy and the cartoons are making extended cameos or becoming major players. While this wasn’t necessarily a bad thing at first (I did like that particular cameo at the end of the first episode) as the series went on it felt more and more like Mando was no longer the star of his own show. Add to that Disney’s announcement that they were creating countless spin-offs “set within The Mandalorian’s timeline”, and it all begins to feel less unique and interesting. I still like The Mandalorian, but I hope that the next series could focus just a little bit more on the title character.

–

Best Film: The Personal History of David Copperfield

David Copperfield is one of the best films that I saw in the cinema this year. With a stunning cast, from Dev Patel and Peter Capaldi to Tilda Swinton and Morfydd Clark, the film has some stunning performances. Of particular note are Patel himself, who carries the film with ease, and Ben Wishaw, who practically transforms into the unsettling Uriah Heap. The film is absolutely marvellous, a dreamlike retelling of a classic story, and is definitely recommended.

Runner-up: Emma.

I’ll be honest, I have a soft spot for period dramas. Knowing that it’s probably no surprise to learn that my second favourite film of this year is Autumn de Wilde’s adaptation of Emma. The film is beautifully shot, wonderfully acted and amazingly scored. However, for me at least, the main pleasure of Emma came from listening to the companion podcast released by Vice Games that covered the film. Honestly, if you watch Emma I would recommend listening to this podcast if only to hear how this version of the story is the only one to implicitly state that Frank Churchill is a murderer.

–

Best music: Faith Healer by Julien Baker

I’ve followed Julien Baker for a long time. I come back to her music consistently; it offers a form of comfort even as her songs depict tragic acts or elicit a melancholy atmosphere. Her new single, Faith Healer, is no exception. Released ahead of her third album Little Oblivions, which has a February release date, Faith Healer shows that Baker is still growing as an artist. While her debut album, Sprained Ankle, consisted of stripped back, simple songs and her follow up, Turn Out The Lights, was more complex, Faith Healer shows just how much Baker has grown as an artist. The song is infinitely more intricate, with multiple instruments and an increasingly experimental song structure. I’ve been listening to Faith Healer non-stop since its release, and I hope that it is a sign of thing to come from Baker.

–

And there we have it. My list of best media from this year. As I mentioned at the top, this has been an incredibly difficult year. Hopefully, 2021 will be different. We have a lot to look forward to; more games, some incredible films and amazing music. We just have to get there first.