“Strange things happen at the one-two point,” is a proverb based on the ancient East Asian board game Go. As summarized by cybernetic Cameron (played by Summer Glau) in Terminator: The Sarah Connor Chronicles,“It means the usual rules don’t always apply.” More specifically, the proverb refers to the strategic idiosyncrasies of certain playing positions on the Go board; “the heuristic principles of fighting along the sides or in the [center] often fail in the corner,” Go wiki Sensei’s Library clarifies. When we fight our way into tight corners, the laws of reality that we previously knew shimmer and warp. The more boxed-in we become, the more we need to expect the unexpected.
This is a fitting sentiment to feature in Terminator: The Sarah Connor Chronicles, the fourth installment in a media property dealing with time travel and its resultant paradoxes and alternate timelines. The show depicts its characters having fought their way deep into tight, reality-bending corners in their attempts to prevent apocalypse. By the second-season episode titled for the Go proverb, the rules established in 1984’s The Terminator—what we can expect from time travel, who’s an ally and who’s an enemy, what to do if you want to live—have been thoroughly warped.
In the episode “Strange Things Happen at the One Two Point,” Sarah Connor (Lena Headey) is deeply fixated on a pattern of three dots. Earlier in the series, another time traveler left her a message in blood on a safe house wall: a list of important names with three dots next to it. Seeing these dots in her dreams, Sarah is convinced that there’s more to them then the smeared fingerprints of a dying comrade; her investigation leads her to Dakara Systems, a tech start-up with a logo of three dots. She and Derek (Brian Austin Green) break in late at night, stealing all of the computers’ hard drives and bringing them back to Sarah’s teenage son, John (Thomas Dekker), an accomplished hacker.
On the hard drives, John discovers designs for an artificial intelligence system, a find that sets off Sarah’s internal alarms, but John explains that the designs are useless in light of Dakara Systems’ lack of processing power. Derek calls it a dead end, accusing Sarah of instigating a wild goose chase, an accusation she rebuts with, “Artificial intelligence, the company logo, the three dots—”
“Are fingerprints,” Derek says. “It’s just blood.”
“Everything on that wall has meant something,” Sarah argues. “It’s all blood.”
Sarah is sure that The Turk, the chess-playing AI that she’s been hunting for since it was stolen from inventor Andy Goode, can be traced to Dakara Systems. Derek has lost faith. While John initially has his doubts too, by the next morning, he’s made Sarah and Cameron an appointment to meet with the heads of Dakara Systems. He explains his change of heart: “Andy Goode was building a chess program . . . It always starts small.”
Dressed up in their best wealthy-investor chic, Sarah and Cameron meet with father-and-son team Alex (Eric Steinberg) and Xander (Eddie Shin) Akagi of Dakara Systems. Probing for connections to The Turk, Cameron poses a crucial question to Xander while Sarah and Alex grab coffee: “Do you like chess?” Later, when Sarah asks her what all of the evidence is adding up to, Cameron says, “Not The Turk. Xander doesn’t play chess. He prefers Go.” She pulls out a folding wooden board inscribed with a grid. “Xander said it’s been calculated that there are more possible Go games than atoms in the universe,” she continues, laying out black-and-white discs in the board’s center. “He’s offered to teach me how to play.”
Sarah counters, “Did he offer to tell you about his AI?” and when Cameron reiterates that Xander’s AI is not The Turk, Sarah says, “But it could be a piece of the puzzle. We’ve seen that before.”
Cameron responds, “Strange things happen at the one-two point.”
I won’t spoil for you which strange things happen here, at this point where Sarah Connor and her allies have boxed themselves in strategically by changing reality countless times in an effort to stave off nuclear apocalypse. Instead, let’s dwell together on the beauty of that phrasing, the “strange things,” as a way of describing action in a game so deceptively simple: black and white stones laid out on a grid. They don’t seem like they should stack up next to the strange things that happen in a work of science fiction—the way the air crackles and sparks with blue light whenever a new time traveler tears a hole through the decades; how a Terminator’s robotic skeleton designs a chemical bath for itself that allows its flesh and skin to regrow; the liquid metal CEO played by Garbage lead singer Shirley Manson, whose arms extend at will into gleaming daggers.
By placing Go on the same playing field as these miraculous, speculative sights, Terminator: The Sarah Connor Chronicles reminds us that games needn’t be elaborate to be magical, needn’t be novel to be surprising. As long as each player is an elaborate, novel human being, an ancient game like Go can continue to startle and move, to belong meaningfully alongside us in the twenty-first century—and further onward still.
have thought to look for otherwise.
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