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") skip to main content facebook twitter menu search search home longreads fiction interviews contributors strange light magazine culture the state of the bestiary is stable by chris randle twenty-five years after its release, magic: the gathering still strikes a balance between performance and commodity—a mix of chess’s chilly purity and poker’s social theatre. memoir night wandering by deborah levy i somehow thought my mother would die and still be alive, somewhere in that distant sound that resembles the sea in which she taught me to swim. but she is not there. interview 'how can you get out? that's where things get started': an interview with iain reid by adam nayman the author of foe on marriage, having charlie kaufman adapt your work, and why he likes stories that remind him of manu ginobili. most popular 1 the state of the bestiary is stable chris randle 2 the nuclear fail emily harnett 3 the real lolita sarah weinman 4 the secret of the impossible stairwell linda besner 5 night wandering deborah levy latest culture 22.08.18 the state of the bestiary is stable by chris randle twenty-five years after its release, magic: the gathering still strikes a balance between performance and commodity—a mix of chess’s chilly purity and poker’s social theatre. few people spent 1938 feeling very playful. even while he tried, the dutch historian johan huizinga confessed that such efforts felt futile: “the fun of playing resists all analysis, all logical interpretation.” his book homo ludens approached games as an awed pilgrim, describing them in terms of myth and ritual. “there is no distinction between marking out a space for a sacred purpose and marking it out for purposes of sheer play,” huizinga wrote. “the turf, the tennis-court, the chess-board and pavement-hopscotch cannot formally be distinguished from the temple or the magic circle.” like holy liturgy, play is “pointless but significant.” huizinga made his own arrogant distinctions, arguing that “savage” societies conflate mimicry with reality—whereas europeans would never get so enthralled by ceremony. i doubt his research took him inside the nearest casino. fixated on the secrecy and mystery of games, huizinga missed their role as public spectacles: when his subjects play, there’s never any money at stake. he wanted to map out impossible territory. chess and roulette are both games, although one involves methodical skill and the other shifts fortunes on a chance bounce. you can play with a piece of chalk or a $2000 computer. none of these definitions are coherent, but they do remain useful. the philosopher ludwig wittgenstein used games as an analogy for his theory of language: we move words around following arbitrary rules, their meaning determined by our shared circumstances, trying to express the indescribable. “if a lion could speak,” he said, “we could not understand him.” imagine teaching that lion how to play poker. or picture a creature bent low against the tundra, with flesh striated like dead bark, as if even the trees were starved for prey. from snowdrifts it feeds on a corpse frozen mid-scream. the first magic: the gathering card i ever saw also came with a quotation, the last words of one saffi eriksdotter, all gothic camp: “ach! hans, run! it’s the lhurgoyf!” i didn’t know what a lhurgoyf was, and i certainly couldn’t decipher any of the symbols or rules on that card, but monsters i understood. i lingered over books full of harpies, demons, and basilisks. when other boys teased me for watching sailor moon, i would protest, not very convincingly, that the show wasn’t girly at all; it had a whole bestiary of monsters, and those belonged to everybody. as a kid i used to get myself in trouble for running onto some neighbour’s porch and exploring the terrain. by middle school i had turned into a fat, awkward dork, not bullied but rather ignored, and i resentfully shunned the world back. magic was a perfect excuse. i spent my allowance money on the lottery of booster packs; i tinkered with decks at the local game shop; i even read the awful tie-in novels, which followed the adventures of a lesser captain riker. (i do love magic’s longest-running villains, the phyrexians, an empire of techno-organic horrors stitching together the borg and the cenobites, with dialogue like: “father of machines! your filigree gaze carves us, and the scars dance upon our grateful flesh.” someone from the storyline team must realize how horny this sounds.) there was never any sudden reckoning, as the subjects of a more tangible addiction might describe. the obsession just exhausted itself. other interests caught my teenage mind, like weird art movies, or sexual confusion, or talking to strangers. for over a decade i barely thought about magic at all, so that when i started playing again last year it felt both familiar and uncanny, like returning to a house amended by generations of owners. * “the question is,” richard garfield once asked, “can systems be dramatic? can math be breathtaking? can numbers move your soul?” when your work involves things like “the distribution of the binomial coefficients modulo p” (his phd thesis), these are cosmic problems, but garfield figured out how to make aesthetics from mathematics. he comes from an unusual family; one great-great-grandfather was james garfield, the president only remembered for getting himself shot by a deranged office-seeker (before gruesomely lingering two more months as america’s finest surgeons prodded the wound). another relative invented the folding milk carton. garfield’s own father was an architect whose job took them across the world, and his lonely son noticed how people would play board games together when they had nothing else in common. the seattle games publisher peter adkison later recalled their first encounter in 1991: “then as now, [garfield] wore mismatched socks, had strange bits of thread and fabric hanging from parts of his clothing and generally looked like someone who had just walked into the salvation army and grabbed whatever seemed colourful.” still a doctoral student at the university of pennsylvania, garfield approached him with the idea for a board game called roborally, but adkison’s new company wizards of the coast had only published traditional rpgs—he feared they didn’t have the resources, and asked to see a simpler concept. garfield realized that you could use trading cards to expand and complicate a universal set of rules. back in pennsylvania he began to mock up prototypes, enlisting friends or strangers as playtesters. garfield wanted every match of magic to feel like a different experience; he thought that people would only buy one or two starter decks each year, discovering unseen cards on the other side of the table. when you read about how those earliest players spent half the time trading pieces of scrap paper, it sounds a little naïve. the cards themselves were more sophisticated: magic’s rules have hardly changed in twenty-five years. simplified here and there, rephrased, but fundamentally consistent. you still start every game with twenty life and a sixty-card library, pulling out an opening hand of seven. each turn you draw one fresh card and get to play a single land, “tapping” them for mana to cast your spells. if you run out of life, typically from creatures attacking it, you lose. instead of nation or species, garfield arranged magic’s factions into five colours, a far more abstract and elegant design. white preaches order, community, and sometimes cruel orthodoxy. blue pursues knowledge as if that can solve everything (a blue mage would definitely respond to personal essays with “citation??”). green’s nature sprites might dance you through flowers or trample you underneath elephants. red passion rouses, liberates, scorches. black admires ambition, but not scruples. wittgenstein once wrote that “i treat colour concepts like the concepts of sensations,” and garfield knew how evocative that palette could be.

URL analysis for hazlitt.net

https://hazlitt.net/authors/sharine-taylor
https://hazlitt.net/authors/nicole-chung
https://hazlitt.net/content/contact-us
https://hazlitt.net/masthead
https://hazlitt.net/authors/adam-nayman
https://hazlitt.net/hazlitt?page=1
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https://hazlitt.net/longreads/nuclear-fail
https://hazlitt.net/feature/state-bestiary-stable
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https://hazlitt.net/feature/fatal-naming-rituals
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https://hazlitt.net/feature/word-america-pretty-ugly-interview-catherine-lacey
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Whois Information

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Domain Name: HAZLITT.NET
Registry Domain ID: 1483862138_DOMAIN_NET-VRSN
Registrar WHOIS Server: whois.tucows.com
Registrar URL: http://www.tucowsdomains.com
Updated Date: 2018-05-30T09:40:33Z
Creation Date: 2008-05-31T10:17:14Z
Registry Expiry Date: 2019-05-31T10:17:14Z
Registrar: Tucows Domains Inc.
Registrar IANA ID: 69
Registrar Abuse Contact Email:
Registrar Abuse Contact Phone:
Domain Status: clientTransferProhibited https://icann.org/epp#clientTransferProhibited
Domain Status: clientUpdateProhibited https://icann.org/epp#clientUpdateProhibited
Name Server: EMILY.NS.CLOUDFLARE.COM
Name Server: SCOTT.NS.CLOUDFLARE.COM
DNSSEC: unsigned
URL of the ICANN Whois Inaccuracy Complaint Form: https://www.icann.org/wicf/
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  REGISTRAR Tucows Domains Inc.

SERVERS

  SERVER net.whois-servers.net

  ARGS domain =hazlitt.net

  PORT 43

  TYPE domain

DOMAIN

  NAME hazlitt.net

  CHANGED 2018-05-30

  CREATED 2008-05-31

STATUS
clientTransferProhibited https://icann.org/epp#clientTransferProhibited
clientUpdateProhibited https://icann.org/epp#clientUpdateProhibited

NSERVER

  EMILY.NS.CLOUDFLARE.COM 173.245.58.155

  SCOTT.NS.CLOUDFLARE.COM 173.245.59.230

  REGISTERED yes

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