Season Passes
If you are a gamer over a certain age, your interest will have spanned several decades of industry change. By the time I moved from console gaming to the PC, during the mid-nineties, there was already a precedence for expansions to single player games. For example, I was bought Star Trek: Starfleet Academy back in 1998, a few months after its initial release. The game had an adequate amount of content that justified its retail price. A year later publisher Interplay released an expansion pack called Chekov's Lost Missions, featured seven new missions, two new multiplayer games, and various improvements to the game interface. If memory serves this cost half the price of the full game and by the standards of the time was broadly deemed an acceptable. Despite the title of the expansion, this was not content culled from the original game and was purely an optional extra. That was the nature of expansions at the time. They provided new material to enhance a game at a reasonable cost.
If you are a gamer over a certain age, your interest will have spanned several decades of industry change. By the time I moved from console gaming to the PC, during the mid-nineties, there was already a precedence for expansions to single player games. For example, I was bought Star Trek: Starfleet Academy back in 1998, a few months after its initial release. The game had an adequate amount of content that justified its retail price. A year later publisher Interplay released an expansion pack called Chekov's Lost Missions, featured seven new missions, two new multiplayer games, and various improvements to the game interface. If memory serves this cost half the price of the full game and by the standards of the time was broadly deemed an acceptable. Despite the title of the expansion, this was not content culled from the original game and was purely an optional extra. That was the nature of expansions at the time. They provided new material to enhance a game at a reasonable cost.
Today, expansions fall under the broader marketing term of DLC (downloadable content) and the definition is not as black and white as it was two decades ago. DLC can be anything from cosmetic skins, weapons or armour. Then there are PVP and multiplayer maps as well as new missions. In certain cases, the capacity to have further game saves, inventory space or character slots is dressed up as DLC. Nowadays, there are times when a game feels that it’s been gutted of key content that is then withheld and sold back to the player. This can be bought piecemeal as and when required, or pre-ordered through the “miracle” of the season pass, which can add a further £25 or £30 cost on top of the price of the base game. Like or not, the season pass is an established part of a games lifecycle and an integral part of the business model of most major games publishers. It’s a bitter pill to swallow but once done, it should ensure that you’ve got all a games future content in the bag. Or so I foolishly thought.
Usually the lifecycle for a new triple A game is 12 to 18 months and the DLC is released every three months or so. That has mainly been my experience of things with games such as The Witcher 3: Wild Hunt. However, I’ve recently bought some titles from Ubisoft, who seem to drag out their products life cycle far longer. I got a deal on Ghost Recon Wildlands recently which was initially released in March 2017. The Gold Edition included a season pass for DLC, which I assumed (wrongly) covered everything. It would appear not. I noticed last week that there was available in the Uplay store what Ubisoft called a Year 2 pass. Yes, they had released a smattering of further content and wanted me to pay more money for the pleasure of accessing it, as I wasn’t covered by my previous season pass. Suffice to say I wasn’t impressed by this. Furthermore, I've subsequently spotted that Ubisoft have just released a Year 3 pass for further DLC for Tom Clancy's Rainbow Six Siege. A further example of striving to extend a games life and hence its financial yield.
So, it would appear that "games as a service" is slowly becoming a reality. Buying the Gold Edition of a premium new game these days does not guarantee all future content. Yearly DLC passes are a thing and if you want to access further content regardless of how superficial it may be, you have to keep paying. And although I am not alone in being critical of this egregious business approach, it would appear that sufficient numbers of gamers are happy to open their wallets, thus making this practise bear fruit. I would not be surprised if this approach continues to grow and greater functionality will be excised from games and gated behind a paywall. The free-to-play business model of mobile gaming, MMOs and co-op genres could eventually become the de facto industry standard. Ownership as a concept is slowly be erased from gaming and the product is evolving into a continuous service. What times we live in.
Losing Interest in Mainstream Cinema
Before I begin, allow me to clarify the title of this post. I am still very passionate about movies and the film industry per se. And it’s not as if I’m going to run out of content to watch over night. There’s a wealth of older material to watch and the film industry still produces a broad spectrum of new films each year. However, for several years now I have found myself increasingly disinterested in the majority of mainstream films showcased at my local cinema. In 2014 I went to Cineworld in Bexleyheath over a dozen times. The following year that number had halved, and this pattern has continued to the present. In 2017, I went to the cinema just three times. I saw Guardians of the Galaxy Vol. 2, Dunkirk and Star Wars: The Last Jedi. Yet I watched over 150 movies at home the same year. For me the problem lies with the dominance of specific movie franchises and the way they monopolise the major cinema chains.
Before I begin, allow me to clarify the title of this post. I am still very passionate about movies and the film industry per se. And it’s not as if I’m going to run out of content to watch over night. There’s a wealth of older material to watch and the film industry still produces a broad spectrum of new films each year. However, for several years now I have found myself increasingly disinterested in the majority of mainstream films showcased at my local cinema. In 2014 I went to Cineworld in Bexleyheath over a dozen times. The following year that number had halved, and this pattern has continued to the present. In 2017, I went to the cinema just three times. I saw Guardians of the Galaxy Vol. 2, Dunkirk and Star Wars: The Last Jedi. Yet I watched over 150 movies at home the same year. For me the problem lies with the dominance of specific movie franchises and the way they monopolise the major cinema chains.
Allegedly, “choice” goes hand-in-hand with the free market, or so its advocates would have you believe. However, the reality is that box office success is analysed and distilled into a homogeneous formula, leading to the dominance of immaculately produced, yet generic products. Hence, we’ve seen in the last decade, the rise of the franchise movie and every studio desperately trying to establish a sprawling cinematic universe. Reboots strive to capitalise on iconic established movies, although they are seldom interested in doing anything inventive or creative with them. Studios simply see them as hooks or brands, that are already ensconced in popular culture, which means there’s less marketing to do. Films are seldom viewed as a standalone, single piece of entertainment. Sequels can and are frequently retrofitted anywhere where they are “needed”.
During my life, there have been numerous specific movie cycles that have been and gone. All have been successful, but none of them ever seemed to dominate the movie theatres to the detriment of other genres. That seems to have changed with the current fantasy and space opera boom. Disney have robustly maintained the Marvel Cinematic Universe for a decade and are looking to do the same with Star Wars. Other major studio franchises such as Harry Potter, Jurassic Park and DC Extended Universe show no sign of abating. Furthermore, there are also plenty of new ones waiting in the wings, such as the Dark Universe, the MonsterVerse and the Conjuring Universe. Yet despite the current financial success, history shows that the law of diminishing box office returns eventually comes home to roost. Ultimately even the most ardent fans can have too much of a good thing. I would argue that part of the enduring appeal of the original Star Wars Trilogy and to a degree the prequels, stemmed from their infrequency and unique place in cinematic history. Saturating the market is a risk and familiarity breeds contempt.
Another concern I have about this matter is that an entire generation of cinemagoers are being deprived of a wider choice of movies and are subsequently learning about film making as well as establishing their tastes and preferences, solely by watching a limited spectrum of genre movies. I am not trying to pooh-pooh the merits of the MCU, as it has managed to be entertaining and a little more intellectually stimulating that some other movies. However, it does not provide you with an especially broad level of cinematic literacy. It is also raises the debate about the Disneyfication and infantilization of the medium of film, although that is a complex and nuanced discussion. Another thing to consider is the greater variety of platforms that are actively competing with traditional cinema viewing and thus fragmenting the market. The net results are multiple, independent and separate communities both creating art, that are oblivious to each other and their respective work.
Finally, I would like to address the cultural arguments that are often made regarding the “artistic sanctity” of showing films in a traditional cinema and idea of the importance of the “shared viewing experience”. Both of these concepts are notional, born of an age of commonly held social values and etiquette. For good or ill, society has changed, and cinemas are no longer quiet spaces, where the audience are purely there to focus on the film being screened. Inattentive, bored and noisy audience members regularly disrupt others and the ubiquitous mobile phone also impacts upon proceedings. The consumption of food and drink also spoils the overall experience, as far as I’m concerned yet it too financially lucrative to be abandoned. All too often, technical issues also impair a screening of a film with issues such as excessive ambient lighting, films shown in the wrong aspect ratio and loss of sound. The only time I ever have a truly acceptable cinematic experience these days, is when I go to a “specialist” outlet such as the British Film Institute or a genre film festival such as FrightFest.
So, all things considered, I fully expect my visits to my local cinema to remain infrequent for the immediate future. I recently saw Deadpool 2 and although I broadly enjoyed it, I haven’t felt compelled to write about it yet. On mature reflection, I would have equally enjoyed the film three months from now when it becomes available on VOD. A lot of films make me feel this way. There’s a tendency for such movies to be adequate but no more and which really doesn’t justify the increasing cost. I had to cancel my tickets for Solo: A Star Wars Story this week, due to a family illness. I can honestly say I wasn’t that upset by this and will avoid the media circus surrounding the film and see in August or September, in the comfort of my own home free from any disturbance. In the meantime, VOD and retail releases will continue afford me a far broader and varied home cinema experience. Westerns, musicals and human dramas are just some of the genres available to me. I can choose between populist and “highbrow” viewing because both have their respective merits. I just wish that the modern cinemas chains understood this.
Improving My Work and Gaming Environment
Back in September 2015 when I was living in a flat, I wrote a blog post about my personal work space. I touched upon the subject again in June 2016, as part of the Newbie Blogger Initiative, in a further post about the importance of a good writing environment. The reason I mention this is because today, I finally got around to replacing my old “fun size” desk with a newer, larger model. It’s nothing special, just something I saw on Amazon, that suited my requirements and more importantly budget. However, it provides a wider work surface, allowing me to write free hand (I still make notes in this way) as well as type via the keyboard. The desk also came with a matching monitor stand which raises my screen to a more suitable height, as well as a handy file shelf which allows me to stow pens, my phone and pending correspondence. It also provides a home for Pliny (the Raven). Not bad for £47.99 including delivery.
Back in September 2015 when I was living in a flat, I wrote a blog post about my personal work space. I touched upon the subject again in June 2016, as part of the Newbie Blogger Initiative, in a further post about the importance of a good writing environment. The reason I mention this is because today, I finally got around to replacing my old “fun size” desk with a newer, larger model. It’s nothing special, just something I saw on Amazon, that suited my requirements and more importantly budget. However, it provides a wider work surface, allowing me to write free hand (I still make notes in this way) as well as type via the keyboard. The desk also came with a matching monitor stand which raises my screen to a more suitable height, as well as a handy file shelf which allows me to stow pens, my phone and pending correspondence. It also provides a home for Pliny (the Raven). Not bad for £47.99 including delivery.
My “office” is the spare bedroom of our two-bedroom bungalow. My granddaughter’s cots that I have shared the room with for the last two years have been replaced with a single bed. This has freed up valuable space and provides an alternative place for me to sleep if I am working late into the night and I don’t want to disturb “Mrs. Peril”. She often turns in at a far more respectable hour. Because our main bedroom is right next door to the office, I have started using my gaming headset as an alternative to speakers after a certain time of night. It has been quite a revelation, highlighting the complexity of audio design in contemporary gaming. Friday the 13th: The Game is especially atmospheric, and the soundscape really enhances gameplay. Also, because of my new desk and its facility for cable management, I’ve now permanently attached my Xbox gamepad to my PC for convenience.
While discussing the subject of personal work and gaming environments with friends on Discord, it became very clear how people like to embellish such spaces with personal knick-knacks and trophies. I think that it’s very important to “humanise” what is to all intents and purposes a very functional space. Having trivial items that delight us nearby can be very uplifting and a reminder of the things that we enjoy and inspire us. This can be very useful if you’re labouring over a blog post or article and it isn’t proving as easy to write as you’d imagined. Plus, this personalisation process is another means for us to express ourselves and assert our identity, if you want to get all deep about it. In the meantime, I shall look into the practicality of setting up my desktop microphone or possibly integrating a webcam into my set up. Perhaps rather than return to podcasting, it’s time to move on to streaming of some kind? It’s curious how a minor change in your work and gaming environment can precipitate such a stream of thought and facilitate new ambitions.
"Adequate"
“Why re-release a game that’s perfectly adequate but doesn’t do anything particularly noteworthy or special?” Rogue Trooper Redux review by Tom McShea. Here we have in a nutshell the ill-conceived attitude that plagues contemporary gaming reviews, although it is also applicable to other mediums. Too often these days, I find myself reading critiques of games, movies and TV shows where the author feels that the product has failed because it is not exceptional. Such reviews will frequently cite numerous positive factors or attributes and reference how the product has been competently assembled. Yet in the final summation, the author will then full back upon the stock criticism that in spite of all this, the game does not “re-invent the wheel” or set a new “benchmark”. It is just “adequate”. However, I believe that this is a much misunderstood and frequently misused word. And that its reoccurring use stems from a culture of unrealistic expectations.
“Why re-release a game that’s perfectly adequate but doesn’t do anything particularly noteworthy or special?” Rogue Trooper Redux review by Tom McShea. Here we have in a nutshell the ill-conceived attitude that plagues contemporary gaming reviews, although it is also applicable to other mediums. Too often these days, I find myself reading critiques of games, movies and TV shows where the author feels that the product has failed because it is not exceptional. Such reviews will frequently cite numerous positive factors or attributes and reference how the product has been competently assembled. Yet in the final summation, the author will then full back upon the stock criticism that in spite of all this, the game does not “re-invent the wheel” or set a new “benchmark”. It is just “adequate”. However, I believe that this is a much misunderstood and frequently misused word. And that its reoccurring use stems from a culture of unrealistic expectations.
The Oxford Dictionary defines the word “adequate” as follows. Satisfactory or acceptable in quality or quantity. The word has its origin in the early 17th century and derives from Latin adaequatus meaning "made equal to", being the past participle of the verb adaequare. Now we have a clear definition, let us consider in what context we would use the word in day-to-day life. Often, when I am hungry I will avail myself of specific chains of restaurants or fast food outlets. They provide satisfactory meals, conveniently at an acceptable price. Therefore, they are adequate. If I was unhappy with any aspect of the food or the service that was provided, then I would not use the word adequate to begin with. If you have to qualify somethings adequacy, then it is not adequate. So, with this in mind there are many things that can be classified as adequate; food, drink, a book, music, a box girder bridge or a drunken sexual dalliance. The moment you apply the term to something, you are clearly stating that it is “not shit”. If you are using the word to mean anything other than its dictionary definition, then you’re using it using it incorrectly.
Contrary to what certain quarters of the media and pop culture may tell you, life isn’t a never-ending series of high octane, boisterous, spiritually fulfilling events that engage all your senses and leave you sated. Day-to-day living is mainly routine, predictable and yes, you’ve guessed it, adequate (if you’re lucky). In fact, for an ever-growing group of the population adequacy is giving way to shit. The reason fun and enjoyable events stand out is because they are not frequent and the punctuate the mundane with brief periods of joy. Any addict will tell you that too much of your “drug of choice” ultimately negates the high you gain from it. Hence not only is adequate a functional and succinct word, it also represents a state of being that is integral too our lives. Like oxygen, it can be argued that humans need a specific amount of adequacy in their lives. An excess either way is not desirable but the right amount in your life provides a context and a scale against which other experiences can be measured and quantified.
So, returning from philosophical musings to the thrust of this post about gaming, I think people should think long and hard before they decided to label a game adequate. If you are trying to crowbar the word into your review as a pejorative, then simply dispense with it and clearly state what you think is wrong. The reality of the situation is that many game releases each year are adequate. Those like Tom McShea who seem to expect the “noteworthy and special” need to recalibrate their personal desires. It is impossible for the video game industry or indeed any other, to continuously innovate and perpetuate a market where every new title pushes boundaries. This why for every L.A Noire there is a Vendetta: Curse of Raven's Cry. Therefore, let us as a gaming community, look to our personal lexicon and start using the English language properly when framing out thoughts. I believe that it is important to precisely say what we mean, or else how can we mean what we say?
Open World Games
The Virtual Bolivia that Ubisoft have created for Tom Clancy’s Ghost Recon Wildlands is truly stunning. This massive open world is approximately 576 square kilometres (222.4 square miles) and features 21 regions and 11 distinct ecosystems. Furthermore, the world is seamless without any loading screens or phasing. You can travel from one end of the map to the other without any immersion breaking transitions. The main story missions and the regional counterparts can be tackled in any order, affording players the freedom to explore and play through content however they want. The game can be played cop-operatively via PUGS or through bespoke custom teams. Tom Clancy’s Ghost Recon Wildlands takes the textbook concept of the “open world” and augments it sufficiently to hang a narrative on. But beyond the overall task of dismantling a sprawling national drugs cartel, the player is given a superbly crafted sandbox and is left to determine their own agenda and play style.
The Virtual Bolivia that Ubisoft have created for Tom Clancy’s Ghost Recon Wildlands is truly stunning. This massive open world is approximately 576 square kilometres (222.4 square miles) and features 21 regions and 11 distinct ecosystems. Furthermore, the world is seamless without any loading screens or phasing. You can travel from one end of the map to the other without any immersion breaking transitions. The main story missions and the regional counterparts can be tackled in any order, affording players the freedom to explore and play through content however they want. The game can be played cop-operatively via PUGS or through bespoke custom teams. Tom Clancy’s Ghost Recon Wildlands takes the textbook concept of the “open world” and augments it sufficiently to hang a narrative on. But beyond the overall task of dismantling a sprawling national drugs cartel, the player is given a superbly crafted sandbox and is left to determine their own agenda and play style.
This is the inherent appeal of the open world game. The provision of a functional environment that provides a setting for events, rather than a means of corralling them. One only has to look at popular MMOs such as ESO and LOTRO and you will often find that their lavishly created regions, despite their aesthetic appeal, are primarily designed to funnel the player from quest hub to quest hub. In LOTRO, especially in the more recent zone such as Gondor and Mordor, large swathes of a map are frequently inaccessible due to topographical constraints or the old mechanic of invisible walls. Hence it not unusual to spot and interesting feature on the horizon or even in the near vicinity, only to find that it is inaccessible. The Argonath is a classic example of this. Conversely in an open world game such as Tom Clancy’s Ghost Recon Wildlands, the open world design along with the ability to travel by helicopter and land directly to remote locations ensures that nothing is out of a player’s reach. Exploring becomes an entire meta game in itself.
The first open world game that really altered my perception of gaming was The Elder Scrolls V: Skyrim. Although I had experienced well designed environments before in the MMO genre, phasing and zone mechanics always broke immersion to a degree. Skyrim with its Scandinavian style climate and terrain was a revelation and simply traversing the region with it’s ambient music and changeable climate was and remains a delight. But it was The Witcher 3: Wild Hunt that really show cased the full potential of the open world concept, with a beautifully realised, diverse yet totally credible environment. The player can walk, ride or sail across the green and verdant, war-torn lands of the South or sail between the monster-islands of Skellige in the North. They have total freedom to discover various places of interest, hunt monster, or simply gather resources and enjoy the world. It is this latter idea of being “at large” in a huge, living and thriving ecosystem is perhaps the biggest selling point of the open world concept. But it is also its potential weakness.
Not all gamers like to be presented with a huge expanse of non-linear content and told “off you go”. Some find such a system and environment daunting and confusing. Both of which are perfectly acceptable opinions. The “theme park” approach provides a means of guiding players through content, ensuring that nothing is potentially missed and providing structure. It should be remembered that some see gaming as escapism from the complexities of modern life and therefore do not wish to see it capricious randomness mirrored in their leisure activities. On a technical note, open world games are also extremely resource hungry and to enjoy them to their fullest, you do need a robust gaming PC. It is because of this issue that we do not see the same technology used in the MMO genre. The rich world of Tom Clancy’s Ghost Recon Wildlands can happily support co-operative play between 4 versus 4 players but sustaining a population of 100 is a very different matter. Yet if the rapid change in gaming hardware over the last decade teaches us anything, then there will eventually come a time when MMO genre will be able to fully embrace a fuller, truer version of the open world concept than we have now.
Looking For a New Game (Yet Again)
I’m between games at the moment, having just cancelled a couple of MMO subscriptions (ESO and LOTRO) and just finished Desolation of Mordor DLC for Middle-earth: Shadow of War. There’s a new expansion, Victory is Life, coming up in June for STO but there’s no reason to rush straight into that on launch. I may keep that as my summer gaming project. So, I have about three to four weeks to fill at present and I’ve been scratching my head as to what will best suit this gaming gap. I’ve started The Witcher 2: Assassins of Kings, but I’m not committed to it in the same way as Witcher 3: Wild Hunt. It is a far more contained and “on rails” experience. I’m mainly playing it for the narrative and to fill in the gaps in the lore. To facilitate this, I’m playing through on the easiest difficulty setting and the linear story lends itself to targeted, time specific sessions of about an hour or so at a time. However, I’m still looking for something else to scratch my current gaming itch. Something “different” by my own personal tastes and standards. At least once a year, I like to tackle a game that falls outside of my usual comfort zone.
I’m between games at the moment, having just cancelled a couple of MMO subscriptions (ESO and LOTRO) and just finished Desolation of Mordor DLC for Middle-earth: Shadow of War. There’s a new expansion, Victory is Life, coming up in June for STO but there’s no reason to rush straight into that on launch. I may keep that as my summer gaming project. So, I have about three to four weeks to fill at present and I’ve been scratching my head as to what will best suit this gaming gap. I’ve started The Witcher 2: Assassins of Kings, but I’m not committed to it in the same way as Witcher 3: Wild Hunt. It is a far more contained and “on rails” experience. I’m mainly playing it for the narrative and to fill in the gaps in the lore. To facilitate this, I’m playing through on the easiest difficulty setting and the linear story lends itself to targeted, time specific sessions of about an hour or so at a time. However, I’m still looking for something else to scratch my current gaming itch. Something “different” by my own personal tastes and standards. At least once a year, I like to tackle a game that falls outside of my usual comfort zone.
Bearing this in mind, I spent some time this evening looking at recent releases to see if any grabbed my attention. Nothing really stands out at present. I certainly don’t want to spend £60 plus on a triple A title at present, such a Far Cry 5 and Monster Hunter: World isn’t available for the PC at present. Also, currently popular games such as PUBG and Fortnite aren’t really my kind of thing. I’m not looking for anything hectic. Plus, why spend money, when I have dozens of games sitting in my Steam library that I’ve never touched, as well a numerous unredeemed game keys from budget bundles. However, despite all these resources at my disposal I still failed to find anything that “floated my boat”. I was going to install Ryse: Son of Rome as the setting is unusual, but felt it was too similar to Middle-earth: Shadow of War in its combat mechanic so decided against it. I also have a farming simulator of some kind, kicking around but wasn’t sufficiently motivated to track it down. Perhaps now is a good time to finally play Alien: Isolation? Oh, the agony of choice and other first world problems, I hear you cry.
Well to cut a long story short, I managed to pick up a bargain in the Green Man Gaming 8th Birthday Sale. I was toying with the idea of buying Tom Clancy's Ghost Recon: Wildlands but as I’m not familiar with the franchise, I thought it may be prudent to buy an earlier instalment in the franchise, so if it isn’t to my liking, it won’t be a costly mistake. So, I bought the Digital Deluxe version of Tom Clancy's Ghost Recon: Future Soldier for £5.78 which is a bargain. Over this games lifecycle there have been three lots of DLC. Two of those have were multiplayer maps, but as the online community has been and gone for this game, I bought just one which expanded the solo campaign. Raven Strike cost me a further £4.25 which again hasn’t put a hole in my financial portfolio. It’s been a while since I’ve played a tactical squad based, third person shooter of this kind. The last one was Hidden & Dangerous 2 back in 2003. Hopefully Future Soldier will prove to be a positive experience. Being a five-year-old game, it shouldn’t offer any performance issues on my PC and from the various You Tube videos I’ve watched it doesn’t look and feel too dated. Let’s see if this keeps me occupied as planned.
"Grinding"
According to Wikipedia, “grinding” is defined as “performing repetitive tasks for gameplay advantage. In MMORPG, for instance, it can be advantageous to repeatedly kill AI-controlled monsters, using basically the same strategy over and over again to advance one's character level and to unlock content. Grinding may be required by some games to unlock additional features such as level progression or additional items”. Although I broadly agree with this summation, I feel that “grinding” is one of those terms that can also be very subjective. Repetitious content has a specific purpose in video games, especially the MMO genre. Not all of it is tedious or egregious. Therefore, it is a question of degrees. Killing 25 mobs of a specific species may be a tolerable number. A challenge but not a task that out stays its welcome. However, double that amount a suddenly a line has been crossed. The entire undertaking now feels like it has been inflated simply to slow player progress down, which is more than likely the exact purpose of the task.
According to Wikipedia, “grinding” is defined as “performing repetitive tasks for gameplay advantage. In MMORPG, for instance, it can be advantageous to repeatedly kill AI-controlled monsters, using basically the same strategy over and over again to advance one's character level and to unlock content. Grinding may be required by some games to unlock additional features such as level progression or additional items”. Although I broadly agree with this summation, I feel that “grinding” is one of those terms that can also be very subjective. Repetitious content has a specific purpose in video games, especially the MMO genre. Not all of it is tedious or egregious. Therefore, it is a question of degrees. Killing 25 mobs of a specific species may be a tolerable number. A challenge but not a task that out stays its welcome. However, double that amount a suddenly a line has been crossed. The entire undertaking now feels like it has been inflated simply to slow player progress down, which is more than likely the exact purpose of the task.
I’m sure we can all think of specific instances of “grinding”. I’ve always found the reputation system in LOTRO to be a ponderous slog and have not bothered with it in recent updates. The Delta Quadrant remains a gruelling zone to progress through in STO. Sadly, the MMO genre gates a lot of interesting rewards using this mechanic, which places the player in a difficult position. Endure something that you do not enjoy, which for many people mitigates the point of playing. Grinding does fly in the face of fun, leisure and enjoyment. Or bypass the content and potentially gimp yourself in some capacity. It’s a bit of a Hobson’s choice. The other option is to stop playing which raises the fundamental Achilles Heel of “grinding”. Developers often cannot create content fast enough for players to consume. So “grinding” is seen as a legitimate means to slow progression or return a player to a specific zone. It also presents useful cash shop opportunities. However, if this fine line is over stepped, it often results in players looking elsewhere for their leisure activities. I have temporarily stopped subscribing to LOTRO, specifically because of the Mordor “grind”.
According to games blogger Gevlon, all playable content is “grinding” and therefore any complaint against it is essentially a complaint against the very game itself. However, this is a flawed definition born of an erroneous binary view. “Grinding” is as I’ve previously stated both a subjective term and an activity that is perceptibly different from standard questing. For example, a repetitive activity may facilitate a scaled set of rewards. 50 kills may provide a bronze reward at tier 1, 100 kills provide a silver reward at tier 2 and finally 150 kills result in a gold reward at the final 3rd tier. Because the player can discern the maths in advanced and it is shown to be an equitable progression, they will undertake this arduous task but not necessarily perceive it as “grind”. However, if the developers decide to make the criteria for tier 3 to be 500 kills, then that cannot be quantified as a logically fair progression compared to the previous two tiers. Hence, the task will be seen as a grind to many players.
Gaming has developed a broad and esoteric lexicon over the last thirty years. Many of the terms are nebulous and interpreted differently. Gaming has become an increasingly broad church and I don’t see that changing in the future. Quite the opposite is likely. There are many mature gamers whose early experiences have shaped their perception of what exactly constitutes as gaming per se. However, times change and not everyone is subsequently exposed to the same conditions. Hence “grinding” is not a fixed and immutable term. One man’s “grind” is another man’s engaging gameplay. Be that as it may, I am prepared to suggest that there is a degree of commonality in the terms meaning. I actually think that the following definition by fellow game enthusiast and blogger Bhagpuss is possibly the most likely definition at present. He sees “grind” as “any repeatable activity you don’t want to do. “Gameplay” is any repeatable activity you do want to do”. And upon mature reflection, I concur.
Eurovision 2018
I have watched the Eurovision Song Contest regularly throughout my life. As a very young child I enjoyed it purely as an opportunity to stay up late. In my teens I loathed it as it appeared to be the antithesis of my own musical tastes at the time. So I watched it purely to mock and deride. It is only in recent years that I have learned to love it for what it is and have finally understood its purpose. Sadly, the UK has a somewhat skewed outlook on many things, due to it’s history and island mentality. We’re often too blinded by our national achievements as well as burdened with a sense of pride and “self-importance by proxy”. As a nation our accomplishments our prodigious, so subsequently we have a tendency to over think matters. With regard to Eurovision we seem to focus on a “killer song”, rather than embrace the spirit of the competition. And that spirit is camp, kitsch and frivolous. Eurovision is theatrical. It’s about tapping into your countries heritage and expressing it as a light hearted, theatrical vocal meme.
I have watched the Eurovision Song Contest regularly throughout my life. As a very young child I enjoyed it purely as an opportunity to stay up late. In my teens I loathed it as it appeared to be the antithesis of my own musical tastes at the time. So I watched it purely to mock and deride. It is only in recent years that I have learned to love it for what it is and have finally understood its purpose. Sadly, the UK has a somewhat skewed outlook on many things, due to it’s history and island mentality. We’re often too blinded by our national achievements as well as burdened with a sense of pride and “self-importance by proxy”. As a nation our accomplishments our prodigious, so subsequently we have a tendency to over think matters. With regard to Eurovision we seem to focus on a “killer song”, rather than embrace the spirit of the competition. And that spirit is camp, kitsch and frivolous. Eurovision is theatrical. It’s about tapping into your countries heritage and expressing it as a light hearted, theatrical vocal meme.
Last night, I watched Eurovision 2018 while chatting with friends on Discord. Last year I had an equally good time doing similar but via Twitter. Eurovision is so much better if treated as a fun communal experience. It is not a song contest in the traditional sense, in so far that it is not the most technically excellent, or most intelligently written composition that wins. It’s about delighting the audience with a flamboyant performance and an insanely catchy hook. That is why Netta won and SuRie didn’t. The former gave a suitably over the top and colourful performance of a song that had a refrain not to dissimilar to Seven Nation Army. A perfect “earworm”. It simply wasn’t something you were going to forget. The latter, however, was hindered by a far more formal pop song written by people that seemed to be oblivious to the core tenets of Eurovision. Although I admire SuRie for continuing her performance despite the stage invasion, song wise it was very much a case of “bringing a knife to a gunfight”. Frankly my favourite songs from this year’s show were the silliest and most ostentatious, like Moldova’s entry. Oh, and as an aside, Moldova were robbed in 2017.
In recent years Eurovision has transcended its traditional geographical boundaries and started finding a truly international audience. It’s nice to see American colleague’s reaction to the unique nature of the show. The contest has become sufficiently well known globally, that 20th Century Fox have decided to make it one of the many subjects of the Deadpool 2 marketing campaign. Frankly, if Canada wants to participate I won’t object, but it’s not down to me. On a less cordial note, due to Brexit, knee jerk nationalism and misplaced anti-European sentiment, there are many in the UK who are naturally hostile toward Eurovision by default. Such individuals even manage to leech the enjoyment out of this glorious international pantomime by muddying the waters with their petulant politics of hatred. However, the best solution to such “rage” is simply to mute the appropriate twitter feeds, ignore the tabloid press and focus on the business in-hand, namely having fun. So, I will no doubt find myself back again in twelve months’ time, marvelling on social media with like minded friends at the delicious awfulness that is Eurovision. I may even put a tenner on Moldova in advance.
Caring for the Elderly: Part 3
I have written in the past about caring for the elderly. I have approached the subject from a personal perspective, as a carer with two disabled octogenarian parents, as well as considering the broader needs of a society with an ageing population. As it has been two years since I formally became a carer to both my parents, I thought I’d share my experiences on the many challenges that my family has faced over the last twenty-four months. I find doing so beneficial and maybe my anecdotes may be of value to others in a similar situation. As I’ve said in my original post, caring for a loved one is something we all potentially face at some point in our lives, and with an ageing population it becomes statistically more likely each year.
A stylised depiction of old age and caring, far removed from the reality.
I have written in the past about caring for the elderly. I have approached the subject from a personal perspective, as a carer with two disabled octogenarian parents, as well as considering the broader needs of a society with an ageing population. As it has been two years since I formally became a carer to both my parents, I thought I’d share my experiences on the many challenges that my family has faced over the last twenty-four months. I find doing so beneficial and maybe my anecdotes may be of value to others in a similar situation. As I’ve said in my original post, caring for a loved one is something we all potentially face at some point in our lives, and with an ageing population it becomes statistically more likely each year.
At the end of March 2017, my Father was discharged back to the care of his local Doctor. He had received six months of both physical and speech therapy via various health visitors and outpatients’ clinics after leaving hospital in October 2016. Despite the severity of his second stroke, the regular visits certainly improved his speech initially. However, once these stopped I noticed that he did not continue with any of the physical or vocal exercises he had been taught, despite encouragement from myself and my Sister. As a result, my hopes of maintaining the status quo have proven rash. My Father’s physical health and cognitive abilities are slowly declining. He cannot retain information and can no longer use his computer effectively. He lacks the manual dexterity to use a mouse and keyboard and his poor eyesight further compounds matters. Thus, his leisure activities are diminishing. He mainly watches familiar TV programs and listens to audio books,
Both my parents have limited mobility and can only walk very short distances. Visits to the Doctors and such like (of which there are many each month) require the use of a wheelchair, which then requires the booking of a Black Cab. Thankfully, as both are registered disabled and in receipt of the higher rate of Attendance Allowance, they qualify for The London Taxi Card scheme which provides them both with an allowance of 60 subsidised journeys each year. Sadly, trips out are usually functional, rather than leisure orientated. My Mother had an undiagnosed stroke roundabout Easter 2017 that has damaged her eyesight and impaired her hearing. However, she can still conduct her own business at the hairdressers which she visits each week. My Father suffers from chronic motion sickness so long taxi journeys are problematic. Even being in the wheelchair is now problematic. During Summer and Autumn, I tried to encourage him to walk short distances but his habitual falling over has effectively ended such plans.
Thus, both of my parents are increasingly housebound with a decreasing list of activities that they can pursue. I find this particularly tragic, as old age and infirmity has robbed them both of their favourite pastimes. My Father was an academic and use to read prodigiously. He liked advanced Mathematics and use to do calculus for pleasure. He can now just about read the newspaper and seldom remembers any once he’s finished. The one thing he longs to do is go out into the world and interact with people. Yet he cannot do so unattended and his poor speech and emaciated physique further complicates matters. My Mother is similarly limited in her social activities due to her lack of mobility. Her passion has always been gardening which she now has to enjoy via the help of a professional gardener. Hence both of them have lifestyles with very specicifc boundaries. Where myself and my sister can provide logistical and administrative support, what my parents really crave is companionship during the day.
Managing a household and day to day life can be challenging enough when you’re relatively young and healthy. For both my parents has naturally becomes a more complex matter. The two key factors I have found to keep things ticking over, are a well-maintained routines and communication. All appointments and trips out are planned in advance and noted on multiple calendars. The most important of which hangs in my parents lounge with everything noted in bold, easy to read text. All medication is logged upon receipt, with renewals dates determined and noted in advance. There is a white board in my Father’s bedroom for the morning and night nurses to leave messages regarding medicine and such like. I open all mail and correspondence for my parents and most bills and regular invoices are now paid by monthly direct debit. Paper work is filed after it has been actioned and I only trouble my parents with essential financial matters. However, it is important for both of them to maintain a sense of involvement in their own affairs, so they are included in all discussions and decisions and naturally have final say in how things are done. However, to assist myself and my sister in conducting business upon their behalf, we have had are names added to various utility accounts and services, so there are no security issues when either of us phone these companies.
There is often a mindset common to the older generation which is driven by such sentiments as “don’t make a fuss”, or “not wanting to be a burden”. Both my parents were children during World War II and are fiercely independent. They come from an era where personal responsibility was paramount to the point where sometimes pride would cause them to refuse legitimate help. However, the reality of their lives has tempered this outlook and I have actively encouraged both my parents to take whatever assistance is available. They have paid their taxes and contributed towards society in various ways during their lives, so I have convinced them that the whole situation is simply a matter of “quid pro quo”. Hence, they have claimed Attendance Allowance and have both qualified for it at the higher rate. Extra money doesn’t make up for their loss of independence, but the funds pay for practical things that improve their life such as a stair lift, disabled friendly showers and a multitude of grab handle strategically placed around the home. My Father greatly enjoys the mobile library that calls once a month and provides him with audio books. It should be noted that this is run purely by volunteers and receives very little local authority funding. My Mother likes the relative freedom her taxi card provides and enjoys her weekly trips to the hairdresser.
Finally, both my parents are very mindful of the roles carers play and have been insistent that both my Sister and I do not give up too much of our personal time and maintain our respective hobbies and interests. In 2016 I was going to close this blog, but my Mother was adamant that I did not give up and continued writing. As a carer it is important to recognise your personal limitations and not to beat yourself up, trying to do absolutely everything. A fatigued, stressed or demoralised carer is of no use to anyone. Sometimes you have to say no or draw lines in the sand regarding what you will or will not do. At present, my family is currently looking into respite care for a week, so we can firstly refurbish my Father’s bedroom and make it more user friendly. Secondly, we have recognised that everyone needs a break and a good night’s sleep. We are currently awaiting to see if we meet the criteria for the local authorities to help us. If not, we will look at alternatives. Such is the nature of caring. Despite all the planning and organising, it remains a fluid situation that can change at any time. In some respects, recognising that helps invaluably. As does simply taking time out and sharing one’s thoughts.
The “Psychology” of an MMO Player
Before we start I’d like to make it clear that I do not have any formal qualifications in psychology. If you want specific details of research into MMO player psychology, the I would urge you to look to more academic source. For the sake of this post, I shall be using the term “psychology” figuratively. As people do in everyday parlance. In this case it is meant to refer to the motivations and foibles of the MMO gamer. Okay, that's the legal disclaimer out of the way. Let us continue with a finely-honed dissection of the topic in hand, bolstered by that impeachable source of verification, namely anecdotal evidence.
Before we start I’d like to make it clear that I do not have any formal qualifications in psychology. If you want specific details of research into MMO player psychology, the I would urge you to look to more academic source. For the sake of this post, I shall be using the term “psychology” figuratively. As people do in everyday parlance. In this case it is meant to refer to the motivations and foibles of the MMO gamer. Okay, that's the legal disclaimer out of the way. Let us continue with a finely-honed dissection of the topic in hand, bolstered by that impeachable source of verification, namely anecdotal evidence.
If you ask people what motivates them to play an MMO you will receive a multitude of different answers. Here are a few that are fairly common. I'm sure you could all add more to the list.
- The social interaction and the community. Be it friends or a kinship/guild.
- Grouping, raiding and completing content communally.
- Competitive play, PVP and league tables.
- The persistent worlds and the opportunity to explore and be immersed.
- The franchise associated with the MMO in question.
- Helping others and contributing to the general community.
Players bring a lot of passion to the games they play and the MMO genre is no exception. You only have to look at the postings on most MMO related forums and subreddits to see how seriously some players take it. The amount of dedication that is poured in to fansites, blogs and podcasts is staggering at times. I know of individuals that see the games they play as vehicles for their own personal values, ethics and ideologies. They organise, nurture and try to engage with all. Yet despite these noble aspirations, the two most fundamental driving forces for most players are either to have fun or to play competitively.
Let’s start with fun. It sounds like a very simple concept. However, we all experience it in a different fashion and it is a conduit to other emotions and motivations which are also unique to the individual. For me, I see games as an amusing diversion. However, that is not to say I see them as trivial. I complete tasks for a reward or I simply compete against myself or others. I also enjoy a good narrative. These are all essential sources of fun for me. I take a very straight forward "quid pro quo" attitude towards gaming. However, for others, fun may be derived from more complex motivations.
Competition is a very strong human trait. Western culture focuses on it heavily and often enshrines it in all aspects of society. It is therefore a prevalent facet of many MMOs and attracts a substantial player base. However, the pleasure of competing is often overshadowed by the perceived benefits of succeeding and on occasions public displays of pride. For some players there is the “winning at all costs” mindsets and the idea that it says something very specific about you as an individual. Ego and vanity are very strong motivators. This is endemic in the FPS and co-op genres and also manifests itself in MMOs, especially in the PVP side of any game. Bragging rights and posing requires another important ingredient. An audience. Something that the communal nature of MMOs provides.
The community itself offers a vast array of involvement and potential sources of fun. For some gamers due to their real-world obligations, it can become a surrogate social life in itself. As I mentioned earlier, this community offers an environment in which they can have a tangible impact and act as a force for good, unlike in the real world. I do not like the term "care bear", as its purpose is ultimately pejorative. However, it cannot be denied that MMOs do attract a lot of people who thrive on the social interaction and are compelled to help and support their fellow players. It is these very factors that defines the point of playing for them.
Because the mainstream success of video games, the gaming industry is naturally chasing the most lucrative demographic group. This is the casual gamer, although exactly what the parameters of that term are, remains hotly debated. However, negative attitudes towards gamers persists as do stereotypes. For many non-gamers, they erroneously think that those that do play MMOs and the like are not engaging with their fellow man. There is also the condescending attitude that because your leisure activity does not take place in a physical environment, that it is devoid of any merit. These are naturally erroneous and flawed ideas, but they often come up, despite the reality being the complete opposite.
To try and compensate against this sort of misinformation, there have been recent studies and reports that try to overstate the benefits of social gaming. I will happily concede the point that gaming does require players to use certain real-life skills, such a team building, communication and organisation, but to hail them as problem solving über talented collectives, that can tackle the world’s problems is a stretch. It is therefore important to keep a sense of perspective on gaming and to pretty much treat it as any other sort of leisure activity. Being a hero in the realm of Tamriel does not make you one in real life. However, nor should it pigeon-hole you as a nut.
So, it in conclusion, it would seem that despite some common factors relating to engagement and enjoyment, it is very difficult to come up with a simple set of rules that define the psychology of an MMO player or indeed any type of gamer. It should also be remembered that gamers often have other interests and mainstream pastimes such as sport, music or art. Gaming is not the sole defining factor of their non-working life. It is simply their leisure activity of choice, and as such should be afforded the same sort or regard as equivalent real world activities such as sport.
Desolation of Mordor and the Blade of Galadriel
Today the latest story DLC unlocked for Middle-earth: Shadow of War. The Desolation of Mordor allows you to play as Captain Baranor, who we now find adventuring in the deserts wastes of Lithlad in Eastern Mordor. Unlike Talion and Eltariel, Baranor does not have any Wraith Powers or the innate gifts and talents of the first born. He is merely a mortal man which subsequently adds an interesting dynamic to the game play. However, Baranor quickly meets up with Dwarven Hunter Torvin, who provides him with a several usefully Numenorean artefacts which fill his “skills gap”. These include a Gauntlet that expands to become a buckler. It also houses a crossbow that fires a variety bolts as well as a grappling hook, thus aiding Baranor with climbing. The other artefact is a kite that is stowed in a back pack. This acts as a parachute and can also be used via the hot thermal vents that litter the landscape, to ascend to vertical vantage points.
Today the latest story DLC unlocked for Middle-earth: Shadow of War. The Desolation of Mordor allows you to play as Captain Baranor, who we now find adventuring in the deserts wastes of Lithlad in Eastern Mordor. Unlike Talion and Eltariel, Baranor does not have any Wraith Powers or the innate gifts and talents of the first born. He is merely a mortal man which subsequently adds an interesting dynamic to the game play. However, Baranor quickly meets up with Dwarven Hunter Torvin, who provides him with a several usefully Numenorean artefacts which fill his “skills gap”. These include a Gauntlet that expands to become a buckler. It also houses a crossbow that fires a variety bolts as well as a grappling hook, thus aiding Baranor with climbing. The other artefact is a kite that is stowed in a back pack. This acts as a parachute and can also be used via the hot thermal vents that litter the landscape, to ascend to vertical vantage points.
The story is relatively straightforward, with Baranor hiring the Easterling mercenary army, The Vanishing Sons and seeking to conquer the regional fortress of Shindram. Due to a quirk of fate (and narrative requirements) The Vanishing Sons are led by Baranor’s older brother Serka. It is the dialogue between the two which makes this story better than average. Both characters are well voice acted respectively by Ike Amadi and Usman Ally. There is a good chemistry between both actors and the narrative strikes the right tone with equal helpings of high adventure and ironic humorous dialogue. It a pleasant surprise to see the Dwarf Torvin return, although his role this time is more of a functional NPC, rather than a major character. The desert environment is a welcome change from the existing Mordor zones, and the Numenorean Fortress that is occupied by Orcs is strikingly different in its architectural style.
All things considered I found Desolation of Mordor to be a superior story expansion than the previous DLC, the Blade of Galadriel. The story of Eltariel is adequate but hardly offers any major difference from playing as Talion. Instead of dominating Orcs, Eltariel destroys them using the Light of Galadriel, although several Uruks do ally themselves with her as they have common goals. In fact, the character of Galadriel come across as martinet in this story and I felt somewhat sorry for Eltariel as she struggles to please such a hard taskmaster. However, Eltariel’s fighting style with twin blades does offer some interesting variations in technique compared to Talion and her quickshot archery ability often proves invaluable. It is the story that is the weakest aspect of this DLC and it is somewhat incredulous even by Middle-earth: Shadow of War standards. There seems to be a never-ending supply of unknown, non-canonical Nazgûl waiting in the wings to act as convenient plot devices. The crowbarring of an Eastern aesthetic into the proceedings is interesting but I’m sure hardcore purists will be having kittens.
If you set aside the biggest weakness of Middle-earth: Shadow of War, which is its loot box and market which somewhat undermines the Nemesis system, you still have an enjoyable RPG which blends a variety of action and stealth gaming mechanics. Developers Monolith Production recently announced that the market would be closing and ultimately removed from the game. As of today, players can no longer buy gold and a later patch will restructure the acquisition of Orcs. No doubt all of this will be done in time for the release of the Game of the Year Edition. However, I do not regret my decision to buy the Gold Edition of Middle-earth: Shadow of War upon its release last October. Irrespective of the games business model flaws, I do feel that I’ve had good value from the entire game. I prefer the Desolation of Mordor to the other DLC and felt that it was wise to release this one last of all, thus ending the game on a high point. It will be interesting to see if this franchise will continue or whether Warner Bros. will create any similar games based on the works of JRR Tolkien.
Throne of Blood (1957)
When I first saw Throne of Blood as a teenager I was ill in bed with a fever. I found the brooding atmosphere and the use of fog, very hypnotic and was never quite sure if this ethereal quality was down to my state of health or the way the film had been crafted. Subsequent viewings have established that the dream like aspect of the film is indeed due to the creative talents of it's great director. Akira Kurosawa remains the best-known Japanese director to Western audiences, while other luminaries, such as Mikio Naruse, Yasujiro Ozu and Kenji Mizoguchi, are known mainly to aficionados and scholars of cinema. Kurosawa’s work maintains a critical consensus, although he was at one point rejected in his native country for being too entrenched in obsolete traditions and themes. On a technical level his film making credentials remain unparalleled and in many ways, Throne of Blood is a text book example of his style and technique.
When I first saw Throne of Blood as a teenager I was ill in bed with a fever. I found the brooding atmosphere and the use of fog, very hypnotic and was never quite sure if this ethereal quality was down to my state of health or the way the film had been crafted. Subsequent viewings have established that the dream like aspect of the film is indeed due to the creative talents of it's great director. Akira Kurosawa remains the best-known Japanese director to Western audiences, while other luminaries, such as Mikio Naruse, Yasujiro Ozu and Kenji Mizoguchi, are known mainly to aficionados and scholars of cinema. Kurosawa’s work maintains a critical consensus, although he was at one point rejected in his native country for being too entrenched in obsolete traditions and themes. On a technical level his film making credentials remain unparalleled and in many ways, Throne of Blood is a text book example of his style and technique.
The story focuses on Washizu and Miki, two captains that have just successfully suppressed a rebellion for their warlord Lord Tsuzuki. While riding through Cobweb Forest, they encounter an old woman who prophesies that Washizu will usurp castle, but that his reign will be brief, and his throne soon will be occupied by Miki's son. Both warriors initially laugh at these predictions, but there are soon indications that the prophesy may be true. When Washizu reveals his thoughts to his scheming wife Asaji, she urges him to take the initiative and kill Lord Tsuzuki who is to visit their home. Washizu subsequently murders his Lord and blames his bodyguards, thus usurping the throne. Yet he is plagued by guilt for betraying his honour and slowly descends into madness as he sees supernatural visions and portentous signs. However, despite concerns over his fitness to rule along with his increasing abuse of his power, Washizu has no intention of relinquishing his position.
This 1957 retelling of “the Scottish play” translates perfectly into 16th century feudal Japan. It retains much of the Shakespeare's brooding atmosphere and to this Kurosawa adds the formality and cultural intrigue of his native country. The adaptation omits most of the minor characters and transforms the witches' scenes into a supernatural encounter with an old woman spinning in a forest glade. Acted in the classic Kabuki tradition, the central performances, particularly that of Toshiro Mifune, are superb in spite of their economy of words. Intent and feelings are often conveyed by body language and deportment. The black and white cinematography, the imposing production design, striking costumes and jolting use of violence all work to create a sinister and esoteric world; an attitude still held about Japan by the West in the post war era. Kurosawa uses the camera masterfully, alternating between lengthy static takes and fluid tracking shots. There are many visually arresting scenes both big and small, such as Cobweb Forest slowly advancing towards the castle through a sea of fog as well as the sudden invasion of the throne room by a flock of birds.
Modern audiences may have to adjust their expectations, as Throne of Blood is made in the Noh drama style which relies on visual, non-verbal means convey characters feelings and the underlying mood. But it is the cultural differences of Japanese cinema that make this film so engaging, atmospheric and compelling. Along with its high contrast black and white photography, extraordinary images of rain, galloping horses, and highly charged performances. All of which contribute to an atmosphere of self-destructive inevitability for the tragic Captain Washizu. As for the ending, let it suffice to say that it is justifiably legendary and a visual triumph. As a piece of cinema, Throne of Blood goes beyond being a mere adaptation Shakespeare or even a Samurai movie. It remains a film making landmark and bastion of visual creativity, underpinned by a particularly Japanese sensibility. It is singularly thought provoking and stylish, and once seen it leaves an indelible impression.
“Geek Culture” and the Media
During my lifetime, I have seen many niche market hobbies and pastimes become mainstream activities. Much of what is now generically known as “geek culture” use to be the exclusive and esoteric province of hardcore fans back in the seventies. Comic collecting, conventions commemorating obscure TV shows and even gaming were activities that were mainly conducted under the mainstream radar, in minor conventions centres, church halls and out-of-the-way bespoke stores. Forty plus years later and all of the above are now big business, generating staggering sums of money. For example, let’s take a moment to reflect upon Avengers: Infinity War which has so far earned $1,164,106,540 at the box office since its release on April 27th. The notion of a film company investing so heavily in such a genre franchise was virtually unheard during my youth. Sure, that changed with Star Wars but if you’ve read anything about the making of that movie, you’ll know it was both a battle and gamble to get it to the big screen.
During my lifetime, I have seen many niche market hobbies and pastimes become mainstream activities. Much of what is now generically known as “geek culture” use to be the exclusive and esoteric province of hardcore fans back in the seventies. Comic collecting, conventions commemorating obscure TV shows and even gaming were activities that were mainly conducted under the mainstream radar, in minor conventions centres, church halls and out-of-the-way bespoke stores. Forty plus years later and all of the above are now big business, generating staggering sums of money. For example, let’s take a moment to reflect upon Avengers: Infinity War which has so far earned $1,164,106,540 at the box office since its release on April 27th. The notion of a film company investing so heavily in such a genre franchise was virtually unheard during my youth. Sure, that changed with Star Wars but if you’ve read anything about the making of that movie, you’ll know it was both a battle and gamble to get it to the big screen.
Yet despite the commercial viability of “geek culture” and the way it has become subsumed into wider popular culture, it is still something that is often misrepresented in the media, who struggle to understand it. Some argue that it is being wilfully misconstrued to pander to specific demographics and sell newspapers. Perhaps the TV show The Big Bang Theory is the best example of this consumerism versus perception paradox. Despite it’s broad popularity with audiences, some self-identified “geeks” strongly object to it, feeling that the show makes nerds and their associated culture the butt of the jokes, rather than the subject of them. Another objection is that it offers a caricatured vision of “geek culture”. As one Reddit contributor put it “it is a close approximation of nerd culture, but it’s not quite an accurate representation. BBT catches flack because it’s not far enough off the mark to write off, but it’s not close enough to identify with". Subsequently, representation leads to stereotypes, which is seldom a good thing.
We should also consider the cyclical tabloid hysteria about gaming that regularly appears. At present the UK popular press are running ill-informed and deliberately distorted stories about the popularity of Fortnite, which all sounds tediously familiar. Roll back the clock ten years and you’ll find identical stories about Grand Theft Auto IV. These and other examples seem to indicate that big business and the general public are happy to reap the benefits of “geek culture”, while at the same time looking down upon it and ridiculing it. Some have gone so far as to argue that its just another example of cultural appropriation but as it’s not race based it isn’t deemed to be a “problem” by big business. Yet to some who see themselves as geeks and nerds, the ongoing misrepresentation its considered deeply hurtful. The all too often cliched representation in movies, TV and the press is seen as an attack upon an important cultural part of their life. Some who feel particularly aggrieved have said it comes across as “blackface” for nerds.
Now some will instantly think that those complaining are merely “snowflakes” and that their reactions are overblown. However, I don’t like to dismiss a criticism out of hand and feel that if someone has arrived at a particular conclusion, irrespective of whether it’s erroneous or not, we should determine why they feel that way. Hence the following quote seems relevant. "Butthurt is an inherent, and important part of nerd culture. Some of us got off easy just being “weird kids,” and some of us got beaten up daily, but very few people who were deeply entrenched in typically “nerdy” things had smooth sailing in our younger years, and that, unfortunately, breeds a lot of bitterness. I think a lot of people having grown up under that kind of a weight resent seeing the culture they were mocked for adopting being played for a joke. It wasn’t funny when they got their nose bloodied because they read books during lunch. No one played it as an affable, comedic, good-hearted moment when someone slung their Magic cards off the table and laughed while they picked them up. So, I think a lot of people see this being played out as a comedy being marketed to the demographics that once mocked nerds as being somewhat of an affront, an opening of old wounds". Reddit user j0be
Misrepresentation is not the only complaint about the commercialisation of “geek culture”. An increasing number of people feel that they’ve been “thrown out of your own party”. The documentary Comic-Con Episode IV: A Fan's Hope briefly touches upon this with a few of the long term comic traders commenting on the expanding commercial scope of the event and how traditional aspects such as the buying and selling of comics are being side-lined. I can attest to something similar from my own experience. In the past Contains Moderate Peril covered a lot of UK cosplay events and between 2011 and 2015. During that time a lot of the regular attendees noted that the wider press was becoming far more interested in such events and that as a result a lot of “professional” cosplayers where joining the scene. These were frequently established models catering (or pandering depending upon your perspective) to a “broader demographic”, that tended to monopolise press attention. From subsequent discussions I’ve had with cosplayers since then, it has become far more widespread. Although I resist the concept of “gatekeepers” of “geek culture”, one cannot help but think that press attention will be somewhat skewed for example, by the attendance of “Adult Film” actress Siri at and event, cosplaying as Power Girl.
Contemporary media still embraces and propagates very traditional archetypes. Gamers, cosplayers, comic nerds, Star Wars and Star Trek fans along with many other groups of geeks are still considered to be fair game for the most arbitrary of stereotypes and are happily mocked by the film industry, television and the press. These stereotypes go hand-in-hand with a list of other enduring clichés. Obesity, myopia, sexual inadequacy, social isolation and dysfunction, under achievement and poor personal hygiene are the most common. When Hollywood (or any other platform) wishes to bolster the credentials of a traditional archetype with all their assumed “positive attributes”, within the framework of a story, all they have to do is introduce a stock nerd into the narrative to get the Job done. Everyone laughs at the “loser” (as perceived by the mainstream zeitgeist) and feels better about themselves. Ribbing and satire are one thing, but this sort of lazy writing is neither. As a plot device, geeks are the less politically damaging equivalent of the “dumb Irish” or “jive black” characters (although the latter still prevails). It is always healthy to laugh at yourself. However, too often such introspection is replaced by spite and marginalisation. I’m sure many self-professed geeks are not afraid of humour through shared experience. But instead they find themselves being ridiculed.
In a perfect world, film makers, television shows and the mainstream press should realise that gaming, fandom and general geeky pursuits are now very much part of mainstream culture and reflected that in their coverage fairly. Thirty-something year old, white collar professionals make up a substantial part of “geek culture” now and they do not so obviously conform to entrenched stereotypes. But the problem with stereotypes is that you can always find one or two individual that meet the criteria and then that becomes a disproportionate means of validation. Plus, the media loves being able to pigeon hole and compartmentalise people and groups. So, the reality of the situation is that “Geek culture” is going to continue to be depicted on their terms. Its a case of those who do not self-identify as a geek, looking in upon their world as observers, as opposed to those who are nerds presenting their environment from within. This is the bane of so much reporting on identity politics, in that it often comes from the mainstream, outside of the specific groups being scrutinised, with an inherent baffled air.
The only real way to bring about change by those who feel demeaned or marginalised by the status quo, is to lobby against it. That means challenging every negative depiction and having to endure the slings and arrows of your critics, while you’re doing so. It takes time to bring about change but that is pretty much the only proven way to alter perceptions. However, “geek culture” is not seen as the same as identity or sexual politics, so it may be harder to achieve. Those causing offense will not necessarily take any complaints seriously. Not until it starts impacting upon their bottom line. However, a generation of grown up geeks, nerds and gamers are now making an impact within the world of TV, film making and internet personalities. This does present an opportunity to leverage perceptions and to change the way things are portrayed. Ultimately it is through the normalisation of activities and pastimes that negates any prejudice against them. Over a period of about twenty years the internet has gone from being a curious niche market platform to an everyday, common place aspect of most people’s life. Bearing that in mind perhaps there is a scope for the mainstream media to recalibrate its perception and relationship with “geek culture”.
Motion Control Gaming
I was reminiscing with a friend the other day about time we spent playing Wii Sports in summer 2007. Golf and bowling were our favourites out of the five games available. Over the period of a year we squandered numerous hours breaking ornaments, frightening the cat and having immense fun, while separating our respective shoulders. Yet, motion control gaming never quite became the phenomenon it was touted to be. It took three years before Microsoft entered the fray with the Kinect and Sony with the PlayStation Move. Once all three platforms had the necessary technology there was much posturing and conjecturing about retrofitting existing franchises and marketing of new bespoke games that would capitalise on the “novelty” of motion control. The addition of physical exercise to a leisure activity traditionally associated with sloth, was going to revolutionise the health of an entire generation. Motion control gaming was also to have a major impact of sports training and medical physiotherapy. Yet none of these “dreams” came true and today it’s merely a curious postscript on the history of gaming.
I was reminiscing with a friend the other day about time we spent playing Wii Sports in summer 2007. Golf and bowling were our favourites out of the five games available. Over the period of a year we squandered numerous hours breaking ornaments, frightening the cat and having immense fun, while separating our respective shoulders. Yet, motion control gaming never quite became the phenomenon it was touted to be. It took three years before Microsoft entered the fray with the Kinect and Sony with the PlayStation Move. Once all three platforms had the necessary technology there was much posturing and conjecturing about retrofitting existing franchises and marketing of new bespoke games that would capitalise on the “novelty” of motion control. The addition of physical exercise to a leisure activity traditionally associated with sloth, was going to revolutionise the health of an entire generation. Motion control gaming was also to have a major impact of sports training and medical physiotherapy. Yet none of these “dreams” came true and today it’s merely a curious postscript on the history of gaming.
If you ever need an example of a novelty concept and a niche market product, then look no further than motion control gaming. It’s integration with Wii Sports was sublime. But beyond that game it’s use ceased to be enjoyable and instead becomes a major headache. The Wii console shipped with a bundle of games on launch; one of which being Call of Duty 3. Let it suffice to say that this game didn’t port well to motion control. Driving with the Nunchuk and Wii remote was manageable but aiming a gun, throwing grenades and interacting with the environment was very chaotic, haphazard and difficult. It was also extremely tiring. A few years later, I got to try Kinect Star Wars at a trade show. It was a horribly sluggish affair and far from the seamless experience that the trailers promoted. It was also very apparent that the NPCs in the game were noticeably nerfed to accommodate those players who were less “agile”. Once the initial fun of “being in Star Wars” dissipated, again plating in this way quickly became a chore. At the time it crossed my mind that games of this nature would never lend themselves to lengthy play sessions, like regular titles.
I can remember watching a video roundabout this time by Clinical Psychologist Albert “Skip” Rizzo. He was a big advocate of the health benefits of motion control gaming and made some bold statements about its application into popular games. He proposed that if a child was playing World of Warcraft for six hours a day, then the parents should insist that at least one of those hours should be done in conjunction with a motion control system. At the time Blizzard did briefly flirt with adapting their flagship MMORPG to this system. Yet again the project ran out of steam as gaming of this kind simply didn’t catch on because people like sitting on their butts while playing. Although there are health issues associated with sedentary gaming, they can be overcome by the application of common sense, rather than a cultural shift to motion control. Selecting an appropriate chair and desk, ensuring they are at the right height along with investing in good quality, ergonomically designed keyboards, mice and game controllers, can contribute significantly towards avoiding RSI, eyestrain and back related issues. Taking breaks, avoiding “snack culture” that often goes hand-n-hand with gaming and generally acting with restraint also helps avoid obesity, social isolation and death. I done it. So have countless others.
Motion control strikes me as being very similar to 3D in movies and TV; being a technology that is only pertinent to niche markets and of no real value or tangible benefit to the mainstream. Hence Wii Sports remains a unique experience. One that I am happy to return to even today (does anyone still own a Nintendo Wii?) But the notion of motion control permeating all other genres has really bitten the dust and the only viable avenue left for it is in conjunction with VR; another concept that has had an equally chequered past. Frankly, motion control gaming is just one of those things that always seems better on paper than in reality. The idea of playing some sort of team deathmatch FPS and having to leap behind the sofa in real life to avoid some threat in the game itself, is as cool as hell, but that’s not how it’s going to play out in real life. Some corpulent child is going to end up a tetraplegic after nose diving through a glass coffee table and then the lawsuits are going to start flying. So, this is why motion control gaming never really took off. Dignity and indolence are other contributory factors. Mind you, if you embrace the concept of the multiverse, somewhere there’s an alternative reality where Twitch TV is a lot more entertaining and the gamers a lot healthier.
Thoughts on the 2018 Local Elections
There are numerous local elections taking place in England today (not Scotland, Wales and Northern Ireland). 150 councils are electing new councillors, and there are six mayoral contests. They include all the seats in all 32 London boroughs, as well as every seat in the metropolitan districts of Birmingham, Manchester, Leeds and Newcastle. Specific seats are also being contested in areas such as Liverpool, Sheffield, Sunderland and Wigan. All the major UK political parties are fielding candidates with an aim of gaining the majority of seats in a specific area and thus controlling the local councils. These local authorities then subsequently control and administer the borough budget for services such as policing, local schools, refuse collection and such like. The budget is raised through a borough council tax, which is based upon property banding.
There are numerous local elections taking place in England today (not Scotland, Wales and Northern Ireland). 150 councils are electing new councillors, and there are six mayoral contests. They include all the seats in all 32 London boroughs, as well as every seat in the metropolitan districts of Birmingham, Manchester, Leeds and Newcastle. Specific seats are also being contested in areas such as Liverpool, Sheffield, Sunderland and Wigan. All the major UK political parties are fielding candidates with an aim of gaining the majority of seats in a specific area and thus controlling the local councils. These local authorities then subsequently control and administer the borough budget for services such as policing, local schools, refuse collection and such like. The budget is raised through a borough council tax, which is based upon property banding.
Local elections are often considered a litmus test of public opinion for the incumbent national government. If the Prime Minister and their party is perceived to be failing in its duties or suffering any major political set backs or scandals, then voters can and will punish party candidates at a local level to show their displeasure. However, this is not always the case and voter turnout for local elections can at times be very low, due to apathy or the fact that a local borough has a strong majority favouring a specific party. Where I live in Bexley Borough, in Greater London, there is an inherent leaning towards the Conservative Party, due to the demographics of the area. The borough is still perceived as a leafy suburb where the professional middle classes go to raise a family. It is also a relatively affluent borough which is often an indicator of political affiliation in the UK.
However, local elections are frequently determined by unique local factors and issues. The closure of a school or fire station can galvanise the electorate. Again, where I live, the sale of several public parks to property developers has been a contentious issue for several years. The poor handling of this matter by the majority Conservative held council has been strongly contested by local residents and some have even gone so far as to stand as independent candidates in today’s elections. Similarly, across the country various smaller parties are either collaborating or deciding not to stand against each other in an attempt to maximise the number of seats they can win and thus work collectively against the larger parties. Often at a local level, tactical voting becomes far more effective and it will be interesting to see if and how it is used when the results of today’s vote are known over the course of the next 48 hours.
From my own perspective, local politics has declined as much as national politics over the course of my life. My local council has demonstrated in recent years the exact same failings as the national government. Political discussion has become trivialised and infantilised, focusing on trite soundbites and disseminating false information. Councillors often inhabit a completely different “world” and have no conception or interest in the reality of constituents’ lives. Policies are frequently self-serving or driven by “lobbying culture” and all its iniquities. Furthermore, having visited the council chamber and watched proceedings from the gallery, I can confidently say that many councillors lack any debating and public speaking skills. They are often ill-mannered, bellicose and generally over enamoured with themselves. Remember these are not professional career politicians, with degrees in the subject and media training under their belt. Most councillors are simply local residents from varied backgrounds and professions.
Perhaps what I find most galling about today’s local elections is the total lack of credible campaigning by any of the major parties. The only candidate that has had the courage to knock on doors in my street is an independent. The rest have just taken the path of least resistance and simply attended minor rallies at local church hall’s populated by a handful of the party faithful. There have been no debates, no concerted efforts to meet and engage with the electorate, no discussion of policies and future planning. Instead we are left with conspicuous displays of hubris and entitlement along with a barely suppressed contempt for the electorate. It would appear that many that currently hold office seem to be oblivious to the mood for change that is currently abroad in the country and are merely focused on business as usual and all the financial benefits that go along with it. All too often the aspirational and ideological aspects of party politics are lost over time, leaving just a self-serving imperative to maintain the status quo.
However, the UK has had a noticeable falling out with the status quo and is currently enduring a period of major political upheaval and societal divide along with a general disliking of most establishment institutions. Regardless of where you stand politically at present, a new “wild card” approach has been introduced into contemporary politics. Subsequently, traditional political certainties are not so reliable. The electorate has shown that it will upset the existing “apple cart” if it sees fit, even if that is ultimately an act of self-harm. Therefore, we may well see some interesting results and political fallout by the weekend. These elections may well be the final nail in UKIPs coffin. Brexit, The Windrush Scandal and a multitude of bespoke local issues could result in the government being punished and the Conservative Party losing control of several “safe” councils. We will also finally find out if Jeremy Corbyn’s leadership has any impact upon Labour support at council level. On a positive note, perhaps this set of elections will mark the beginning of a cultural shift away from traditional bi-partisan politics towards a broader system with more independent and minority party candidates.
The Iniquities of Mobile Gaming
The original title for this post was to be “the unfathomable iniquities of mobile gaming”, but when you pause to think about it, it’s hardly unfathomable from the publisher’s point of view. Mobile games are primarily designed to be money syphons, swathed in a superficial veneer of interactive entertainment. If you want a contemporary example, then look no further to the newly released Harry Potter: Hogwarts Mystery. The game capitalises on a popular franchise and quickly introduces a pay wall which hobbles those players who elect not to spend money. What I find “unfathomable” are those who do not consider this an egregious business model and are happy to sink substantial amounts of cash into this pitiful caricature of a game. Sadly, the core demographic for this and many other mobile titles, are the youth market, who therefore may not even be picking up the tab for the game. As a result, irrespective of my and other gamers disdain and subsequent boycott of mobile gaming, these sorts of products continue to be financially lucrative.
The original title for this post was to be “the unfathomable iniquities of mobile gaming”, but when you pause to think about it, it’s hardly unfathomable from the publisher’s point of view. Mobile games are primarily designed to be money syphons, swathed in a superficial veneer of interactive entertainment. If you want a contemporary example, then look no further to the newly released Harry Potter: Hogwarts Mystery. The game capitalises on a popular franchise and quickly introduces a pay wall which hobbles those players who elect not to spend money. What I find “unfathomable” are those who do not consider this an egregious business model and are happy to sink substantial amounts of cash into this pitiful caricature of a game. Sadly, the core demographic for this and many other mobile titles, are the youth market, who therefore may not even be picking up the tab for the game. As a result, irrespective of my and other gamers disdain and subsequent boycott of mobile gaming, these sorts of products continue to be financially lucrative.
My vocal dislike for mobile games if often met with cries of “why worry about something that doesn’t affect you”, which on a superficial level seems like a legitimate question. Well the answer is that games of this type are monopolising the mobile market, stifling innovation and normalising abhorrent business practises. Again because of the age group of core mobile gaming customers, an entire generation of gamers are growing up in an environment where game play is regularly disrupted by pay restrictions. Normalising such practises is dangerous. 2017 saw the console and PC game market try to adopt similar business practises with games such as Middle-earth: Shadow of War and Star Wars: Battlefront II. Mercifully, the consumer push back was sufficient to stall these initiatives but the cultural shift towards “live services” that Ubisoft and other developers frequently reference, shows that there’s more than one way to skin a cat. I don’t expect the likes of EA to give up so easily on the dream of bringing the mobile gaming business model to the console and PC market.
In 2016, the mobile gaming market was estimated to have taken $38 billion in revenues, compared to $6 billion for the console market and $33 billion for personal computing gaming. By 2017 the mobile gaming market increased to $46 billion. It’s a market with a broad spectrum of quality. Mobile gaming at it’s best can be as engaging and creative as other platforms. The inherent restrictions of the platform often mean that developers have to think outside the box. Yet a precedence has now been set early on as to how these game finance themselves. In a very short space of time this has gone from being an aspect of game development, to its very foundation with game mechanics being driven by the business model. I argued in a recent blog post that the very definition of a “game” needs to be redefined to encompass the variety of genres and the various different approaches to playing them. However, this evolving perception of exactly what is a game is equally open to negative factors. Hence if we are not robust and vocal in our opposition to the iniquities of mobile gaming, they will simply become the norm for all platforms.
Classic Movie Themes: Thunderbird 6
Despite the popularity of the TV show in 1965, the two spinoff Thunderbirds feature films were both box offices failures. This has often been attributed to the indifferently written screenplays that seem to have completely missed the sense of suspense that the fifty-minute episodes achieved. Both feature films feel rather slow and like extended episodes rather than big budget extravaganzas. They fail to do anything different with established characters and apart from showcasing more extensive miniature effects in a widescreen format, don’t really have much more to offer. It’s curious that the winning, character driven formula that worked on television was overlooked for these big screen outings.
Despite the popularity of the TV show in 1965, the two spinoff Thunderbirds feature films were both box offices failures. This has often been attributed to the indifferently written screenplays that seem to have completely missed the sense of suspense that the fifty-minute episodes achieved. Both feature films feel rather slow and like extended episodes rather than big budget extravaganzas. They fail to do anything different with established characters and apart from showcasing more extensive miniature effects in a widescreen format, don’t really have much more to offer. It’s curious that the winning, character driven formula that worked on television was overlooked for these big screen outings.
However, there is one aspect of both film productions that is flawless. Composer Barry Gray’s musical scores. Thunderbird 6 was his favourite of the two, as it afforded him a wider range of musical themes with its globetrotting storyline. Through the use of a 56-piece orchestra he successfully managed to vary many of the classic Thunderbird themes, using them as motifs to reflect either impending danger or regional locations. All of this is done with a generous helping of typically 1960s lounge jazz. The various locations visited throughout the film also provide local ethnic idioms to further embellish the score. As usual there are humorous pastiches to underpin comic moments by Parker or Brains, all of which are interpreted in Barry Gray’s very literal musical style.
It's all very well crafted and ingeniously orchestrated as you would expect from a master composer at the peak of his career. It may lack some of the more urgent style of the TV series, but this is down to the somewhat ponderous narrative that drive the score. Below are two musical cues that are my personal favourites. The first is the main opening theme from Thunderbird 6. It is not the traditional tune associated with the series, but a bespoke track designed to capture the spirit of international travel which was still considered “glamourous” at the time.
The next track was written for when Skyship 1 travels over the Grand Canyon. It is designed to reflect the beauty and awe of this geographical feature. It then segues into a more mysterious piece as the villains’ plot against International Rescue. The cue again embodies the class and flamboyance of Barry Gray’s talent.
Policing Out-of-Game Toxicity
“A game company has no rights or responsibility to police Discord, Reddit, et al. The company should not ban in game someone because they are bad (misogyny, racism, homophobia) about OOG people in OOG public forums. But what about people who are obviously ‘bad’ about in-game people/groups? I get the not wanting to police the world and certainly resist the nanny state more than most. But what if someone says something offensive about players/employees on a very public Reddit or Discord? It’s not a free speech issue; in the US you can say most anything. But the game company certainly can determine who can play its game. Do they make more money by letting these people play? I guess at the end of the day, CCP is correct, but it does not feel quite right.” Sally Bowls MOP Reader.
“A game company has no rights or responsibility to police Discord, Reddit, et al. The company should not ban in game someone because they are bad (misogyny, racism, homophobia) about OOG people in OOG public forums. But what about people who are obviously ‘bad’ about in-game people/groups? I get the not wanting to police the world and certainly resist the nanny state more than most. But what if someone says something offensive about players/employees on a very public Reddit or Discord? It’s not a free speech issue; in the US you can say most anything. But the game company certainly can determine who can play its game. Do they make more money by letting these people play? I guess at the end of the day, CCP is correct, but it does not feel quite right.” Sally Bowls MOP Reader.
This is one of the more intriguing questions that’s been explored of late, over at Massively Overpowered. I find it particularly interesting because it can be considered as part of a wider ongoing cultural change. It is not uncommon these days for employers to check up on potential job candidates beyond their resume. There have been cases of interview boards and HR departments trawling through people’s social media accounts checking for anything “unsavoury” that could potentially embarrass or compromise their company. Traditional notions of privacy are changing and the “joined up” nature of social media platforms means you theoretically have far more data to act upon. This may be checking to see if your new head of PR is a member of the Flat Earth Society or whether a player of an MMO is continuing to be problematic towards the community outside of the game itself. But just because you can do something doesn’t mean that it should be done, as Sally Bowls states in her question.
Whenever someone of some institution raises the spectre of implementing new rules and regulations to address a problem, I always ask about those that are already in place? Are they sufficient and are they being utilised effectively? More often than not the answer to these questions are “yes” and “no”. In the case of policing out-of-game toxicity there is already adequate provision in place through use of existing legislation. Racism, hate crimes, threats of violence, and other forms of intimidation are all criminal offenses and if they can be proven then the culprit can be dealt with accordingly. Depending on where such individual is causing problems outside of a game, there are usually existing provisions to take care of the problem Twitter, Reddit, Facebook and other platforms all have TOS which should cover such behaviour and deal with it. Sadly, these companies are neither quick or consistent in implementing such checks and balances.
However, all the above is based in law and therefore has to be managed within such a framework. If a game developer or publisher is looking to police out-of-game toxicity beyond the confines of the law, then it becomes more problematic. For example, consider a hypothetical disgruntled gamer who fell out of love with their favourite MMO because the developers changed the running animation on the Steampunk Pangolin mount. This fictitious gamer now runs a blog or You Tube channel and regularly posts negative comments about the game, the developers and the wider gaming community. None of it is technically libellous or in breach of the law, but due to the high profile of this angry gamer, it does impact upon community relations and broader perceptions of the game. The publishers may well want to see if they can “contain” or even “shut down” this individual because it may impact upon their bottom line. They may also wish to do so to simply protect their community. However, we now find ourselves faced with a classic freedom of expression conundrum. The allegedly “toxic” gamer may well be an asshole but as far as I’m aware that’s not yet a hanging offense. To try and stifle that individual right to express themselves is wrong. If you want a true democracy and all the benefits it brings, then enduring assholes is the price of admission and ongoing collateral damage. Until this fictional individual breaks the law, as much as it pains me, we have to let them run around and bark at the moon in their own back yard.
Now I’m not advocating that we just throw in the towel at this point. Trolls and such like should not go unchallenged and we should call them out and highlight what we consider to be wrong. However, we must do so in an appropriate manner. If we wish to occupy the moral high ground, then we need to act accordingly. Some folk may well see this as fighting with one hand tied behind your back but again, this is the price that you pay if you want a free and just society. Therefore, challenge any allegations, lies, or straightforward shitty behaviour. But be gracious, factually correct and never get down in the mud with the source of toxicity. A games publisher can certainly refuse an individuals business or ban them from forums. The TOS that accompany most player accounts usually give the publisher the whip hand in such situations.
The main problem with such problems is that they’re seldom binary issues. Games publishers are not always bastions of morality and champions of consumer rights. Business is designed to look after its own needs first. Let us not forget that some games publishers have actively tried to prevent game reviewers from expressing their legitimate opinions. Also “toxicity” is a difficult term to exactly quantify. As gamers I’m sure we could agree on a lot of common ground but there is a lot of scope for grey areas around the periphery. Exactly who should ultimately get to define the exact parameters of the word? And, we shouldn’t forget that the smart troll can always stay one step ahead of any real problem especially if they mask their identity effectively and compartmentalise their various personas. A ban is hardly the most difficult thing to bypass.
Overall, unless an individual is breaking the law, then I’m not in favour of a game developer or publisher attempting to police the wider community outside of the confines of the game itself and its official social media platform. Blizzard announced earlier this year that they would be proactively policing You Tube with regard to their games, as a way of seeking out toxic behaviour in them. Again it is a notion born of an honest intent. But they weren’t specific as to what criteria they were using. At present, Overwatch players can be suspended simply due to the weight of in-game complaints against them. Although genuine toxic players may be identified and sanction, will it all end there. Will we reach a point where players will simply point to external comments and views they do not like and request that Blizzard sanction the author? Furthermore, beyond gaming, we have seen sports pundits and other media personalities fired for things they’ve said and done outside of their employment. Sometimes it has been justified but on other occasions it has been questionable and raise a lot of wider societal issues. So, I believe caution is required in any form of wider policing, be it in gaming or elsewhere in modern life. Sadly, we do not live in enlightened times and reasoned responses are all too often replaced by knee jerk reactions and baying mobs.
LOTRO and Daybreak Game Company
Over the past eleven years The Lord of the Rings Online has faced many business-related issues that has prompted its player base to speculate over the games future. These include the MMOs transition from a subscription to a free to play service, Turbine’s acquisition by Warner Bros. Interactive Entertainment and then there were the issues with the license expiration in 2017. However, all these problems were resolved in one way or another and the game endures. That is not to say that Turbine or Standing Stone Games (SSG) are business geniuses. Absolutely not. They’ve made plenty of mistakes over the years and continue to regularly shoot themselves in the foot with their community relations. LOTRO survives because of its core playerbase who have made this virtual Middle-earth their home and they support the game come hell or high water. A lot of this core group are fully aware of SSGs shortcomings, but they are wedded to this game and hence they sustain it. It’s a curious yet fascinating symbiotic relationship.
Over the past eleven years The Lord of the Rings Online has faced many business-related issues that has prompted its player base to speculate over the games future. These include the MMOs transition from a subscription to a free to play service, Turbine’s acquisition by Warner Bros. Interactive Entertainment and then there were the issues with the license expiration in 2017. However, all these problems were resolved in one way or another and the game endures. That is not to say that Turbine or Standing Stone Games (SSG) are business geniuses. Absolutely not. They’ve made plenty of mistakes over the years and continue to regularly shoot themselves in the foot with their community relations. LOTRO survives because of its core playerbase who have made this virtual Middle-earth their home and they support the game come hell or high water. A lot of this core group are fully aware of SSGs shortcomings, but they are wedded to this game and hence they sustain it. It’s a curious yet fascinating symbiotic relationship.
Two days ago, Massively Overpowered reported on an interesting situation that has potential to impact upon LOTRO (and DDO) as it is to do with SSGs current “publisher” Daybreak Game Company (DGC). On April 6th, the U.S. Department of the Treasury commenced the freezing of assets of several Russian businesses because of alleged “destabilizing activities” such as interference in the 2016 U.S. election. This includes Viktor Vekselberg, who owns the Renova Group conglomerate along with its subsidiary, Columbus Nova. Columbus Nova, is the parent company of DGC. Renova has until June 5th to “wind down operations, contracts, or other agreements” according to The U.S. Office of Foreign Assets Control. Approximately $1.5 and $2 billion assets from Vekselberg have been frozen because of these sanctions. It now remains to be seen whether this process extends to Columbus Nova’s assets and DGC. At present, DGC is trying to distance itself from Columbus Nova. Tweets and press releases are being deleted and Wikipedia entries are being “edited”. Yesterday, DGC’s Chief Publishing Officer and former Senior Vice President, Laura Naviaux, announced she’s left the company.
Naturally, those who play EverQuest II and PlanetSide 2 are “concerned” as to whether this situation will impact upon these games as they are owned by DGC. Which then brings us back to the LOTRO community. It has naturally got wind of the situation and players are asking SSG for clarification on the games official forums. Naturally, SSG are being tight lipped about the matter using marketing speak to brush concerns aside. Putting the potential gravity of the situation aside for the moment, most businesses are smart enough to keep details of their internal machinations behind close door, so it’s highly unlikely the current community manager Jerry “Cordovan” Snook, is going to go public and spill the beans as to what’s going on. Some players are adamant that DGC is simply SSGs publisher and even if there is a problem, it’s just a case of finding a new one. Certainly, on paper DGC is SSGs publisher and further details about the business relationship between the two is not clear. However, history doesn’t always favour the “wait and see” approach and there is nothing wrong with some intelligent and measured speculative analysis of the situation.
The potential for this matter to affect LOTRO depends on two key factors. First off, is DGC directly linked to Columbus Nova and therefore at risk of having its business assets frozen? This is ultimately one for the lawyers to decide but it is curious that DGC’s Chief Publishing Officer has chosen now as a time to make a career move. It could be coincidence. If further senior staff resign, then perhaps that may be a clearer indication that the company is at risk. There is also plenty of company information in the public domain these days that allows even the layman to remain informed. If we see any movement of corporate assets to outside of the US, then again it may be a clear indication that DGC is subject to The U.S. Office of Foreign Assets Control.
The second point to consider is the exact nature of SSGs relationship with DGC. Many games journalists and gaming community commentators have suspected right from the outset, that DGC was more than just a publisher for SSG and that they bankrolled their entire extraction from Turbine/Warner Bros. in late 2016. In a recent interview with with Jean "Druidsfire" Prior for MMO central, LOTRO Executive Producer Rob Ciccolini AKA Severlin stated that Jake Emert is his direct boss. Emert is CEO Daybreak Game Company Austin Texas Studio. Such a statement certainly puts DGCs status with SSG in a different light. When you consider the whole matter of how staff from Turbine set up their own company, then bought the rights for DDO and LOTRO, as well as the infrastructure and then settled all associated legalities, it must have taken a substantial amount of capital. I am not aware of SSG having raised that money themselves, which therefore means there must have been a major investor involved. It is not unreasonable to suggest that DGC was and remains that investor.
If both of these points are correct and that DGC underwrites SSG and is in imminent danger of having its assets frozen, then there is scope for problems in the weeks to come. And it is at this point that there is less data available to speculate upon. What exactly would be the consequences of removing DGC from SSGs business plan. How easy would it be to find a replacement investor? Would there be a one who was interested and readily available? Would there be a disruption of service to both LOTRO or DDO or would it be worse than that? Or are there caveats in the fedral asset freezing regulations to prevent collateral damage such as this hypothetical scenario? At present there is insufficient information for any of us to know definitively what is going on. However, if we reflect upon information that has emerged from former Codemasters employees about the business practices surrounding LOTRO, we can be assured that both the grass roots staff and the playerbase are always the last to know what is really going on. I’m sure in the meantime, LOTRO players will continue with their activities as usual and quite right to. It is however a worrying situation and it would be foolish to ignore the matter out of hand.
Remember Game Stores?
Over the weekend, I was meandering around my local shopping centre while paradoxically pondering the iniquities of consumerism, when I noticed a game retailer. In this particular case it was the chain store ironically (or not) called Game. Now it's been a considerable amount of time since I've been inside a dedicated gaming store, because I buy pretty much anything of this nature online these days. So, in a fit of nostalgia, I decided to go inside and have a look around. The first thing that struck me was how console-centric the store has become with substantial floor space given to both new and previously owned PS4 and Xbox One titles. The PC section was relatively small and focused upon the latest releases. However, there were numerous PC multi-buy offers for older titles. The store also sells a lot of hardware for both consoles and the PC as well a wider gaming and pop culture memorabilia. They also buy and sell consoles, phones, tablet and the like.
Over the weekend, I was meandering around my local shopping centre while paradoxically pondering the iniquities of consumerism, when I noticed a game retailer. In this particular case it was the chain store ironically (or not) called Game. Now it's been a considerable amount of time since I've been inside a dedicated gaming store, because I buy pretty much anything of this nature online these days. So, in a fit of nostalgia, I decided to go inside and have a look around. The first thing that struck me was how console-centric the store has become with substantial floor space given to both new and previously owned PS4 and Xbox One titles. The PC section was relatively small and focused upon the latest releases. However, there were numerous PC multi-buy offers for older titles. The store also sells a lot of hardware for both consoles and the PC as well a wider gaming and pop culture memorabilia. They also buy and sell consoles, phones, tablet and the like.
I had a chat with one of the guys behind the counter and he was quite open about the state of business, describing the regular ebb and flow of customers centred around the release of top titles. PC related sales were obviously not as important as they use to be, although he did indicate that there had been a lot of interest about the PC release of Monster Hunter: World. There is a healthy trade in second hand console games as well as phones, which seems to help business immensely. Big spenders are often parent or grandparents who come in to the store and seek advice regarding what to buy as gifts and birthday presents. Certainly, the company’s core business model has changed radically in recent years and they have had to expand their remit to stay both relevant and profitable. This store was also experimenting with gaming and “geek culture” themed events to try and attract customers.
So as a sign of solidarity for high street retailers, I bought a copy of Assassins Creed (yes, the original game) at the bargain price of £1.99 and a new bog-standard Microsoft keyboard (I get through about one a year) then went about my business. Out of curiosity I noted what other stores in the area sold games and found that both Argos and supermarkets ASDA and Sainsbury’s were aggressively competing with prices. As for the copy of Assassins Creed, this is the first physical copy of a game I've bought in over six years. The last time I bought a game that I installed from media was in December 2011, when I pre-ordered the MMORPG Star War: The Old Republic. I had forgotten about this aspect of gaming. I briefly became nostalgic as I removed the shrink wrap from the packaging. However, installing the game from the DVD-ROM quickly erased any goodwill. I was surprised at how long this process took, having been spoilt by the speed a direct download via Steam over a fibre connection. Once Assassins Creed was installed I consigned the physical media to a cupboard along with Max Payne, Half-Life 2 and TOCA Race Driver 2.
Like many others, I have adapted to the digital age and have outgrown my affinity for physical media. The majority of my film and music collection are now digital and I’ve sold off most of my DVDs and CDs. The only ones that I’ve kept are rarities that cannot be replaced. There’s no nostalgic sentimentality as far as I’m concerned, regarding having something “tangible” and being able to “hold” the media. It’s all gone because I want the space and I hate clutter. However, I fully understand those people who still have a strong bond with hard-copies. I come from a generation that bought vinyl for a while before CDS became the norm and I appreciate the sense of ownership that having a physical copy of an item brings. But I also like the benefits of online services, such as fast downloads and installations as well as the automatic patching. I also like the fact that I can take my music collection with me and access it any time. With this all in mind, I wonder if my local Game store will still be there this time next year?