Monday, June 16, 2014

Red, Blue, and Purple

1. Prior to the final level, David (the protagonist's brother and the final boss) explains the first-move advantage in chess. He does so by claiming that the first person to move has an advantage, and so the opponent should be happy to "stalemate, or tie" the game. Given that white has (very generously) a 60% advantage, in terms of wins over losses with draws discounted, and speaking exclusively at the level of professional chess, this is a clear load of bullshit.

2. Here's the issue: Killer is Dead is red, blue; and purple.

2. But then, that last doesn't even begin. Let's back up a bit.

3. Killer is Dead begins with the epilogue. More importantly, the story begins with a series of affirmations that the protagonist is working for the state.

4. There's your red.

5. A potentially infinite number of hours later brings Hitchcock.

6. Which isn't to say that it's faithful.

6. At all.

6 (Alt). Which is to say it's as broken as Freud

∅: Without comment

7. There's your blue.

8. Can you guess what color the romance is?

9. That's correct; the color of jobs.

10. David lives on the moon.

10. David dies on the moon.

11. The moon, throughout, absorbs the tendrils of the dead.

12. The state, throughout, is uninvolved; beyond those initial three, it is never mentioned again. On top of that, the firm's clients are almost entirely ghosts, who do not pay well. The protagonist still receives tens, if not hundreds, of thousands of dollars at the close of each level.

13. David dies on the moon. The moon is purple.

14. The dark shines. The tendrils return. The state and romance. The moon is purple.