On U-Udios Three, Doubler becomes sentient. Our
heroes, Jason Letkiewicz and Mike Petillo, enter into their laptops and
electronic gear at the atomic level, communing with the wires and nodes and
chips and drives, finally ejecting a sonic blueprint called “Lines of Force”
that will hopefully pave the way for scientific breakthrough. See, Doubler
squirts beyond friction, beyond combustion, and shoots like a plastic capsule
through some kind of futuristic pneumatic tube, generating awe and wonder and
probably just a little bit of jealousy from every non-future person they happen
to come across, like farmers or whalers. Or they’re what plays over the
loudspeaker at spaceports – it’s all a blur right now, I don’t know.
“Lines of Force” is both twisty and smooth, a
kind of playground for your kids who’ve had too much juice, or whose juice has
been spiked with too much Dimetapp. It exists in dreamworlds and race tracks,
on motorbikes and in isolation chambers. It’s both chill and vibrant at once,
and it fills up your mind with weird visions of the future, kind of like the
ones that are spilling out of my mind and into this review right now. But
that’s the kind of thing you have to allow for, the unusual, unruly response to
hits of adrenaline and dopamine. We like to feel good, and Doubler doubles,
triples, and quadruples down on the magic goo, slime coating ears and
solidifying into a characteristic assimilatable via evolution to the human
condition. How’s that for future mind slop!
--Ryan
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