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Hello everyone, I'm a 30 y/o male and I've enjoyed watching airsoft videos online. As things are right now, I believe it is a good time to ask this question while the state a live in is going backwards in quarantine and most places a re-shutting down. I've bought cheap airsoft guns to compete a few costumes in the past but never really went out and played. I know of a couple of the styles play between the casual games and the milsims. My issue is it seems in the casual games the new players tend to be much younger than myself. Also the milsim games though seem more.my speed also seem to be made up of people who are more experienced in at least airsoft not to mention military maneuvers and lingo. Is there room for someone like me to join? Also I live in the Chicagoland area, and recommendations? I work a full ime job and I'm aware of the costs and time sink of this hobby, I'm looking to try something I've been floating around. Sorry for the long post and thank you for any feedback.
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In Defense of the True Detectives

Dedicated to l_torvald, who, in a thread following one of my posts, said, “Nice read man. I'm just trying to decide whether our response to it is a good thing or a bad thing. Did I bite the bait and gave power to this show or does it say something else that I am responding to it? Should I not let it take control of me, my interests or?”
This post is to you, friend, who, in the words of Rustin Cohle, kept “asking the right fuckin’ questions.”
I don’t disagree with some of the substance of the Nussbaum article, or the other articles that have criticized True Detective, but what I find disingenuous is the sour grapes humbug and the manipulative dismissal of an audience reaction that is actually quite magical. Your question, as I understand it, isn’t a simple “Am I about to be tricked like a Shyamalan movie—that O Henry of Hollywood?” Perhaps I’m reading you wrong, but it seems like you’re really asking, “Is it wrong to have pursued the genre elements of this show until it subtly shifted, like a mist into a light rainfall, from an examination of these characters into an examination of myself?”
And, to put it simply, the answer is “No, you are not wrong.” What you’re feeling is the intense pleasure of self-examination and a critical engagement with yourself in a world where art might not have invoked it before. If Pizzolato managed to sneak a type of Trojan Horse into the living rooms of 10.9 million viewers per week, right in the heart of the 19-49 male demographic, in a way that entertained and drew in that population along with everyone else, but then, through invocation of Cosmic Horror and philosophy, opened the package and it suddenly becomes a medium through which we examine ourselves, intellectually, then why should it be dismissed as so much “bro/dorm-room/101/pseudo-intellectual” philosophy? Why are the referential elements in TD, which lead us, as I’ve suggested in my posts, to Poe, to Melville, to Coleridge, reduced by the hegemonic, de-intellectualizing terminology of “Easter eggs?”
Well, I think, because it’s hard to take things seriously, and it’s scary to examine who we are and where we come from. That Cosmic Horror, or as I suggested, Poe’s (as well as Coleridge’s and Melville’s) negative and anxious reaction to the Sublime, continues to affect us with every major generational trauma. Pizzolato, in a recent interview, commented about the influence of the Vietnam War on TD. (Note that I don’t believe he “encapsulates” and gets “the finalizing last word” on even his own work because that closes off the art from the audience, who, in many ways, gets to own it as much as the author does. As Roland Barthes famously suggested, the author does get to return to the work, but only as a vaunted guest of honor.) Think about that for a minute, and let’s go back to the narratives about the Vietnam War that really struck a chord with the audiences who lived through it.
Apocalypse Now contained a character that, like the King in Yellow, existed as a phantom (Colonel Kurtz) in the jungles of Cambodia, but who had simply stripped bare the conceits of his country’s illusions about what we were doing in Vietnam. There is an allure in his monstrous insanity that only Willard’s soldierly discipline and remaining humanity could overcome. In The Deer Hunter, we see the differing responses to the emotional fallout of the POW experience on several soldiers, where one, in an insane desire for death in response to his experience, routinely engages in games of Russian roulette. These films speak to the emotional trauma inflicted on an entire generation of young males conscripted into an Imperialist act of aggression that ran wholly counter to the ideals we believed we, as a country, embodied after WWII. But, the question is, if that was the reaction to Vietnam by those who survived it, what happened to the sons of that generation after those fathers came home?
Rustin Cohle, who, in 2012, physically embodies the anachronistic, chain-smoking, intellectual, long-haired, handle-bar mustachioed image of a jaded Vietnam Veteran, reminds us that, in 1995, we hadn’t even reconciled ourselves to the sublime trauma of that war. And, as though we had simply “closed the case” on what happened there because it seemed far enough in the past to forget, 9-11 happened and our government did it again, both domestically and internationally. So, here we are watching this show that invokes in us a sense of Cosmic Horror (and what was Vietnam, 9-11, The Iraq War, The NSA, etc. if not that?) and suddenly we start looking at our own emotional reactions to what is happening in 2012. We expect TKIY to hover in the shadows and challenge Cole’s philosophy in the way Kurtz challenged Willard’s. We realize that Hart is another son of that damaged generation who tried to live the American Dream, but turned away from the healing depths of a nourishing marriage in favor of the shallows of the flesh. They embody differing responses to the trauma they internalized, passed on like a gene from their fathers, and TD vibrates with an intensity fueled by the fact that everyone of certain intellectual depth has to face their own response to Cosmic Horror at some point.
But should you “bite the bait” and “give the show its power?” Well, that depends on what you believe about an examined life versus a topical one. Cornell West, in the aptly title The Examined Life said that, “There's a certain pleasure in the life of the mind, that cannot be denied. It's true that you might be socially isolated, because you're in the library, at home and so on. But you're intensely alive. In fact, you're much more alive than these folk walking the streets in New York, in crowds, which is no intellectual interrogation and questioning going at all.” But he warned that sometimes that intensity of self-examination can become overwhelming, and you need to take a break. (I highly suggest The Examined Life if you are at all starting to move toward critical self-examination.) Take a break, but don’t stop questioning. If this show leads to the experience of wanting to “throw the book against the wall,” as West said of his experience with Melville, then take a break and catch your breath, but then get back to it because, as West (again) said, invoking Plato’s maxim, “The unexamined life is not worth living.”
And if that’s your reaction to TD, then the reductivist critics need to be briefly addressed, in defense of our reaction. They tend to fall into just a few camps: the ones who decry the lack of depth in the female characters (though, I don’t remember Meryl Streep’s character in The Deer Hunter being overlooked for lack of depth—particularly because it was a movie about the effects of the Vietnam War on the men who fought it and, by extension, those who loved them). TD, a show about the sons of said Vietnam vets, similarly addresses a problem innate to the dual roles the system (whether it’s patriarchy, capitalism, Imperialism, or other) imposes on both men and women. If, at its worst, women are objectified and reduced to a sum of their fetishized sexual parts, then men, at their worst, are reduced and commodified as soldiers and killing machines meant to “follow orders” and a dictated protocol from somewhere above them in the hierarchy of power. Critical thinking and self-examination, in such systems, is suspiciously dissuaded, as it works to create a better, more informed, psychologically healthy public—in that way, art is as dangerous as it is liberating.
Regarding the “pseudo-intellectualism,” and the criticism of the lack of female depth, I’m a little suspicious of Nussbaum’s wording. In an attempt to categorize, and thus close off the proliferating conversations surrounding TD, Nussbaum writes, “Just like Rust Cohle, ‘The Fall’s’ rapist has an elaborate pseudo-intellectual lingo, full of Nietzsche quotes and talk of primal impulses. But an icy female cop, played by Gillian Anderson, sees through him...” In a clever turn of phrase, Nussbaum compares a troubled hero from one popular show to the villain of another, whose protagonist is one that Nussbaum agrees with in accordance to her ideological bias. That type of “takedown” criticism is nothing more than the author using her cultural cache to dismiss the surface elements that are clearly hiding a deeper call to critical self-examination. It might be masked, as she suggests, as “bro” philosophy, but it simply uses some of these elements as a hook to draw a viewer into a deeper engagement with him (or her!) self. But her transference of Cohle to the level of rapist in another show where the female detective (played by the ferociously talented Gillian Anderson) philosophically crushes him implies that there is something wrong with identifying with Cohle at all, and Nussbaum herself will serve as Anderson’s heroic detective to TD’s supposed banality.
TD utilizes the genre to facilitate an act of detective work on behalf of the audience, and draws us into a deeper discussion about storytelling and the way we make meaning, which Roland Barthes described as “disturbing for any monistic philosophy.” The monistic philosophy, in reducing a metanarrative in a way that never reveals its delicate textures vibrating beneath its genre distinctions, calls out what it doesn’t “like” as pseudo-intellectual and chock full of the merest “Easter eggs,” sounds more like the witty criticism at the popular table in a high school cafeteria than the exemplary pursuit of imaginative critical thinking. Monistic philosophy reduces and hegemonizes; it serves as the arbiter of cultural importance for art and facilitates the anti-intellectualism about which it complains by celebrating the cultural cache of its critics over the quality of their criticism, thus reducing the viewer’s experience as well as pointing a finger at that art’s audience, claiming that the art, as well as those who respond to it, are morally lesser than the critic.
Rust Cohle seems to have already answered to the powerful—whether they be religious icons, cultural leaders, or any cultural sentinel that aims to define for us what we ought to think about art that leads to critical engagement:
“Always a buck to be had doing that, and it's such a desperate sense of entitlement, isn't it? ‘Surely, this is all for me. Me. Me, me, me. I, I. I'm so fucking important. I'm so fucking important, then, right?’ Fuck you.”
So, as hard as critical self-examination can be, if True Detective is speaking to you in this way, don’t dismiss it: embrace it. Pursue the intellectual rabbit holes, and tease out where the genre elements transform into a philosophical questioning that bleeds off the screen and into your own life. It’s a noble thing to create great art; it couldn’t have been easy on the author. As an audience, it’s important that we show the same courage when it causes us to engage ourselves similarly. If it’s engaging an intellectual and psychological trauma that was never resolved in the first place, it’s important that it be brought back up in a fresh way before it gets swallowed by the glut of the topical drivel that passes for national discourse. In short, keep investigating.
submitted by BarbaGramm to TrueDetective

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