A Year in Gaming
As 2017 draws to a close, it is time once again time to reflect upon the subject of gaming as it has remained a primary form of entertainment for me over the last twelve months. I have enjoyed most of the new titles that I’ve bought this year but not all of them. There’s been some that have failed to please and others that have proven to be flawed. Then there has been my ongoing relationship with the MMO genre as I still have a handful of these games installed on my PC. Let it suffice to say that only one of these titles has managed to maintain my interest. I suspect that the MMO genre per se is in for a year of change in 2018. As for the wider aspects of gaming, I wouldn’t say it has been an especially edifying year for the game industry or the associated fan culture. The “goodwill” based band-aid that has remained in place for the last few years was finally torn off in 2017, exposing a festering self-inflicted wound.
As 2017 draws to a close, it is time once again time to reflect upon the subject of gaming as it has remained a primary form of entertainment for me over the last twelve months. I have enjoyed most of the new titles that I’ve bought this year but not all of them. There’s been some that have failed to please and others that have proven to be flawed. Then there has been my ongoing relationship with the MMO genre as I still have a handful of these games installed on my PC. Let it suffice to say that only one of these titles has managed to maintain my interest. I suspect that the MMO genre per se is in for a year of change in 2018. As for the wider aspects of gaming, I wouldn’t say it has been an especially edifying year for the game industry or the associated fan culture. The “goodwill” based band-aid that has remained in place for the last few years was finally torn off in 2017, exposing a festering self-inflicted wound.
I started off the year by purchasing The Elder Scrolls Online Imperial Edition, as I fancied spending time in an MMO. Sadly, the game failed to grab my attention. This was mainly due to having spent so much time playing Skyrim and being somewhat burned out on the entire Elder Scrolls vibe. I also found the requirement for mods somewhat troubling, feeling that a game should have adequate UI facilities present. It’s also a very solo friendly MMO, which in some way negates its multiplayer status. Why not just play a fully customised version of one of the earlier games in the franchise? I also tried in 2017 to make a sustained return to LOTRO. Northern Ithilien held my interest but once the game moved onto the Black Gates it soon waned. Mordor is a great zone on paper but its grindy requirements and relentlessly dour environment killed my passion. STO remains a casual friendly experience and due to there being regular events throughout the year, it facilitates setting goals and achievements. I also jumped on the Destiny 2 bandwagon and was surprised how agreeable it is. Its genre spanning nature scratched several of my gaming itches.
My single player experience was also varied in 2017. For Honor proved to be exactly as I expected; gripping in principle but beyond my personal skillset to play to any degree of success. However, Sniper Elite 4 proved to be a sound buy. The main game and DLC were well conceived and their extensive game maps allow for multiple and varied play throughs. I also dabbled with co-operative play which proved a very interesting experience. Overall this was rewarding purchase as I clocked up over 91 hours in-game. Thanks to discount key sites, I managed to purchase several titles at low prices. I bought Mafia III after it was reduced by 75% and enjoyed the games central story. I also pre-ordered the Gold Edition of Middle-earth: Shadow of War and secured a discount. Although the structure of that game has been compromised to accommodate microtransactions, I still liked the gameplay and the preposterous lore-breaking narrative. 2017 also included some minor surprises. I was not expecting further DLC for Two Worlds II but Topware released both new single player and co-op content. I was also intrigued by the recent update to Star Trek: Bridge Crew, allowing the game to be played in conventional desktop mode, rather than VR.
Of course, it wouldn’t be a year in gaming without some sort of controversy and man did 2017 have one. The blight that is microtransactions which has been slowly spreading from mobile gaming to the so-called Triple A scene, reached a head November. Star Wars: Battlefront II received such a backlash from its customer base that the story even appeared in mainstream news. Disney eventually intervened and ensured that EA suspended the real money loot boxes in the game. It would appear that the genie is finally out of the bottle and loot box culture is now coming under the scrutiny of legislative bodies all over the world. Apple has recently waded into the debate as it wants loot box odds to be fully disclosed. What happens next is anyone guess but I think that game developers may have to rethink the monetisation of their games. I also think that the tide is slowly turning with regard to early access and games that launch in a patently broken state. I avoided buying Friday the 13th: The Game until six months after it’s problematic release and I still feel that it is very much a work in progress. Several high-profile gaming commentators are loudly advocating a boycott of this trend and I think it may be getting some traction. Time will tell.
2017 once again validated my position of distancing myself from parts of the gaming community. The past twelve months have shown that a substantial number of gamers remain unreconstructed, self-centred, emotionally illiterate man-children. Developers, journalists and You Tube personalities are still regularly threatened and abused if something that is vaguely controversial is said. Outdated and blinkered views about gaming and its culture still abound. You only have to see how Jim Sterling’s Commentocracy has raised the hackles of the usual suspects, to recognise that gaming culture is still far from united. However, I believe this stems from a broader malady that seems to be permeating all aspects of modern life. But the hate, bile and stupidity are not the total picture and there are still many bloggers, streamers and content creators that celebrate and promote the positive side of gaming. I intend to make such individuals my focus in 2018. I’m not one for making predictions but I have a feeling that 2018 may be a milestone year for gaming. Potentially it presents an opportunity for the industry to either get on track or alternatively implode and suffer a slow long death. Perhaps next year’s review will have the answer.
I have not watched as much TV as I usually do, this year. Mainly because I have become a little weary of the ways contemporary TV is produced, especially with regards to streaming shows. Due to the costs, shows such as Star Trek: Strange New Worlds only have 10 episodes per season. Simply put, the season begins to hit its stride and then is abruptly over. This problem (if you see it as such) is then further compounded by there being a significant wait between seasons. In the case of STSNW it was two years between season two and season three. Not all shows fall foul of this. Apple TV produces two seasons of the excellent espionage drama Slow Horses at a time, ensuring a prompt release schedule. However, even this has issues. Due to the complexity of the plots of many contemporary TV shows, something that is a marketing point, some viewers cannot remember the plot after a twelve month hiatus. Network TV shows seldom have these issues with each season being 20 plus episodes long and story arcs that are seldom as complex.
It is customary in a post such as this to list the various games that I’ve played over the last twelve months and share my thoughts on them. Wider analysis of the video game industry is also de rigeur. Unfortunately, I don’t really feel disposed to do either of those two things. My thoughts on the games I’ve played have already been published and can easily be accessed via the links at the bottom of this post. As for the video game industry, it suffers the same flaws as music, TV and cinema. There is creativity and innovation out there but it is often drowned out by mainstream products which are demonstrably inferior due to their inherent mediocrity. As for the business side of things, we once again clearly see the failings of the corporate management class. Sadly, they do not face the consequences of the mistakes that they make.
I began 2025 with a fairly strong writing streak, publishing posts about games, technology and even air fryers. Sadly, this burst of enthusiasm gradually tailed off between April and June. I can’t even recollect if there was any particular “real world” reason for this or whether it was just a case of I wasn’t especially motivated. Fortunately, I started writing again in July in preparation for Blaugust: Festival of Blogging and subsequently wrote throughout the entirety of August. Revamping my blog in September and moving it to the latest version of Squarespace proved a positive move and since then I have kept up a writing schedule of posting to Contains Moderate Peril every second day. At present I have a lot of draft posts pending and I am not struggling to come up with ideas and write in general. I intend to nurture this positive approach and see if I can build upon it in 2026.
Looking back at my various posts regarding “technology” this year, a recurring theme has been my ongoing attempts to replace certain mainstream products with alternatives that do the job in-hand better, don’t require constant updates, aren’t bloated by superfluous functionality and are more cost effective or even ethical. Needless to say, this has proven quite hard. Hence I was unable to find a suitable replacement email client for Microsoft Outlook and end my subscription to Microsoft 365 Personal. The main problem is that most alternative software won’t support my email archive due to differences in the mailbox format. One possible work around is to install an older and therefore, non-subscription version of Outlook but this raises support and compatibility issues. It would be a lot easier to divest myself of a lot of mainstream software if I was starting from scratch.
I created a Bluesky account a little over a year ago. I was initially somewhat sceptical of adopting a third social media messaging platform, because I had become quite comfortable using Mastodon as a replacement for Twitter/X. However, certain individuals that I wished to continue to follow were migrating to Bluesky, so I followed suit. It has always been my long term goal to pick one of these two newer services and make it my sole point of presence in social media terms. So far that hasn’t happened. Hence a year on I find myself juggling three such platforms. Twitter/X, Mastodon and Bluesky. I post links to my blog posts on all of these services. To be honest none of them generate any tangible traffic but this is how you promoted your website or blog 15 years ago and old habits die hard.
In my teenage years, there was a social obligation to go out on New Year’s Eve. This often meant congregating in some dismal pub, queuing at the bar for 30 minutes to get a drink, then trying to find a corner where you could stand and struggle to have a conversation with your friends, above the noise of the crowd. The evening was dull, noisy and often ended in a fight. Then, around 1:00 AM we were summarily turfed out into the street and had to make our way home. Buses always run at this time of year to serve a public need but the “drunk express” was never a pleasant means of transportation. Quite frankly the whole experience was shit but the hubris of youth meant we deluded ourselves that we were having a good time. If someone suggested something similar today, I would laugh in their face. I am happy to spend New Year’s Eve indoors and away from it all.
It is customary for me to write an end of year summary of my gaming activities but I suspect that on this occasion it will be somewhat short. For me, 2024 has really hammered home the notion of the ephemeral nature of video games as well as their commercial ubiquity. The moment a game fails to satisfy for whatever reason, rather than complain or worry about it, I just move on to something else. It’s not as if there’s a shortage of games out there. I have a substantial back catalogue of games that Epic and Amazon prime regularly giveaway. I have bought numerous discounted bundles in the past, in the pious hope that I’ll play one of the games included, at some point in the future. Games may well be enjoyable and engaging but many are also disposable. That’s not to say they’re bad. While playing them you are indeed “entertained”. However, when you’re “done”, it’s amazing how you quickly find another and forget what you were previously playing.
The last time I wrote A Year in Movies post was back in 2020. That was naturally an unusual year and it certainly had a radical impact upon the film industry and the way new movies are distributed. In many ways the pandemic accelerated the inevitable move towards cross platform, same day releases. 4 years on and it is quite usual for films to have a short cinema release before becoming available on streaming media. They often appear on physical media at the same time. Effectively you can go to the cinema, or simply watch at home on the platform of your choice if you prefer. Rent, buy or subscribe, the film studios still get their pound of flesh and everyone is happy. Sometimes if a film has failed to gain sufficient traction at the cinema, its release will be cut short and it will go to streaming even quicker. Direct to video from the eighties and nineties has been superseded with direct to streaming.
It is fair to say that we live in an age where we do not lack quality TV. There are numerous shows that have garnered critical acclaim or a strong word of mouth following that are deemed “must see” viewing. No doubt you, like myself, have a long “to do” list of programs that you need to “get round to watching” on top of those shows which are staples of your viewing regime. If you didn’t have enough programmes already to catch up with, we all have friends and family telling us about a “great show” that’s on a platform we don’t subscribe to, that we really need to see. It is quite extraordinary and a far cry from my youth when the UK simply had three terrestrial channels until satellite TV became popular in the late eighties. To paraphrase the former Prime Minister Harold Macmillan “we’ve never had it so good”.
This post is not intended to be a comprehensive review of music per se in 2024. It is simply a few thoughts on what I’ve been listening to over the course of the year and my ever changing relationship with the Terpsichorean muse. As a man in his fifties who has always enjoyed multiple genres of music and it is a comforting presence in day-to-day life. Up to a year ago, I relied upon my own music collection on my PC as the source of music to which I listened. Yet, this meant that I was somewhat locked into my own existing tastes and there was limited scope for me to find new material. This changed last December when I started subscribing to Spotify and since then it has become my primary source of music. It caters to my tastes, which at times are quite niche and it gently introduces me to new material without being too invasive. This has proven most beneficial.
This is my third attempt at writing this post. The first was a little too philosophical, tackling the nature of adult life and how it is a far cry from the childish notions I had about being a “grown up” when I was seven. The second was just a list of the various shit that has gone down in my life over the last twelve months and it felt far too much like whinging. Hopefully this one is more succinct and even handed. 2022 was not a good year, personally speaking. My family and I experienced a lot of health issues and my mother died after a rapid decline. Hence there has been a lot of stress and anxiety which has left me feeling tired and somewhat jaded. Due to the subsequent changes in my personal circumstances, I now find myself at somewhat of a “loose end”. I feel the need to channel my energies into something but I’m not sure exactly what at present.
So far I have written 135 blog posts in 2022. Not much compared to previous years, but frankly I’ve become a little despondent with writing in recent months (I shall expand more upon that in a moment). Hence, since October I have been enjoying a break from regular blogging. I have written sparingly and pursued other leisure activities. Given that my post output has gone down, it would be logical to assume that there has been a commensurate drop in web traffic to Contains Moderate Peril, but this is not the case. Overall, my monthly statistics have remained the same, proving once again that most of my readership find my written content via Google searches, rather than reading new material on a daily basis. This has given me much food for thought and added to my ongoing reflection upon my writing activities.
When I wrote Goodbye 2020 a year ago, I endeavoured to be philosophical and sanguine in my approach. It was a challenging year for all of us and for me it was further compounded by a bereavement. However, I strove to keep matters in perspective and tried to look at things in a broader context. I cannot be as even handed this time. 2021 has been a very difficult year for myself and my family and I will be glad to see the back of it. Nationally speaking, things haven’t been much better. I feel that we’ve squandered the initial progress that the COVID-19 vaccines offered. Obviously, I cannot do anything about the problems that the UK faces in 2022. However, I certainly intend to address some of the issues that I and my immediate family are facing. I am going to tackle some specific problems that need to be laid to rest and set myself some tangible goals to achieve. 2022 isn’t going to be something that just happens and I passively sit back and watch.
Getting older does have a few benefits. One of them, if you are fortunate enough to embrace the concept, is a degree of self awareness and the ability to be honest with yourself. Over the years I have tried to adjust my technological habits but ultimately I am a creature of habit. My use of technology and consumption of content has been determined by the decades I grew up in. Therefore, I am a PC user and prefer to sit in my office where I write, play games and peruse the internet. I have my desk set up in a way that suits my needs and I can go about my business in comfort. When away from my office, I rely heavily on my phone as an alternative platform. In some instances phone based apps offer a superior experience to the desktop or browser based PC alternatives. Banking being one example. For better or for worse this is how I do things and I am comfortable with these choices.
Usually in a post such as this, my primary focus would be writing about the games that I’ve played over the last twelve month and what it was about them that I specifically enjoyed. However, this year I feel that I must address the wider issues that have dominated the news regarding the video games industry. Simply put, several very high profile and successful triple A video game companies have been beset by scandals over the last twelve months. And these have been of such a nature that they have finally laid to rest the myth that some still cling to, that working “in video games” is somehow different from working in more traditional industries because it’s “cool”. It turns out that it has all the same failings as TV, music and film. The people at the top are abusive and broken and maltreat those at the coalface who do all the real work for precious little reward.
I can’t speak for others but my relationship with social media has certainly changed over the last two years. Whenever new internet technologies emerge, there is a brief period when it feels like some sort of new frontier. Often such innovations become a means of empowering the marginalised and the voiceless. For a while new platforms can even be a force for good. But eventually commercial interests creep in along with rules and regulations. Hence, it all inevitably takes a turn for the worst. The frontier is finally tamed and ends up being just another corporate space. Social media is certainly not a forum for discussing social issues or politics, instead being a medium for tribalism and rancour. Because of these factors and others, I have moderated my use of social media and it has proven extremely beneficial to my state of mind.
A very wise Vulcan once said “change is the essential process of all existence”. 2020 has demonstrated that unequivocally. How our privileged, pampered lives have altered over the last twelve months. We’ve had to stay at home, curtail our social interactions and reflect upon the meaning of existence. I appreciate that things are relative, so it’s not helpful to compare the concerns that discombobulate people today with the realities that folk had to endure during World War II for example. I won’t trivialise the sense of isolation and desperation some folk have felt over the lockdown. From my own perspective, my life as a carer is regimented and focused, so 2020 hasn’t really “cramped my style” to use an old fashioned phrase. However, several things happened over the course of the year that have had an impact upon myself and my family.
Let it suffice to say that due to current “circumstances”, Mrs P and I have watched a lot more TV this year. However, rather than just reiterate what we’ve viewed, which is already covered in my recurring blog post The Idiot Box, I thought I’d take the time to reflect upon some wider issues. TV has become a major source not only of entertainment but psychological support during this year’s social restrictions. The closure of cinemas for the majority of the past twelve months has meant that TV has had little or no competition. Furthermore, many of the films that may well have drawn audiences away, have come to the smaller screens a lot quicker. Never has so much TV been voraciously consumed. There’s also been a degree of nostalgia as viewers have watched popular shows at broadly similar times, reviving that sense of a shared experience that was so common in the seventies and eighties. However, the pandemic has also caused a slow down in TV production. Will the shortage of new content that many have predicted finally manifest itself next year?
In 2019, I went to the cinema just once to see Star Wars: The Rise of Skywalker. I didn’t write a summary of the films I’d seen throughout that year, as I felt that mainstream releases had become far too formulaic and dull. 2020 has done little to change my perspective. The global pandemic has meant that Cinemas have spent most of the time closed and therefore many of this year’s major film releases have ended up on video on demand services. A few titles remain indefinitely postponed, such as the latest Bond movie No Time to Die, while Sony Pictures wait to see if “normality” resumes. But a film that is sitting on the shelf is not a film making money. Hence, Warner Bros. have announced that all their major releases for 2021 will be across multiple platforms simultaneously, thus ensuring a broader flow of revenue. This has not pleased director’s such as Christopher Nolan who argue passionately regarding the merits of cinema. But I doubt Mr. Nolan has ever had to endure an out of focus screening in the wrong aspect ratio at Cineworld, Rochester, where audiences talk and mess with their phones continuously.
Retrospective posts such as this can be a sprawling mess. There is also potential to cover the same old ground that I’ve covered in my monthly summaries “A Month in Gaming”. So I’ll try to be as succinct as I can. Firstly I won’t dwell too much on the iniquities of the video game industry as I’ve covered that elsewhere. Let it suffice to say that the notion of the “rock star developer” and the ethical publisher have proven false. Buying a triple A mainstream game is as morally compromised as buying a pair of jeans made by child labour. But let’s not get caught up in ethics. That’s another post. The pandemic meant that I, like many others, had far more leisure time this year and hence I spent that time gaming. It’s been a good year for video games publishers and the revenue has rolled in. Have I had fun while playing more games? Yes. The games have proven engaging and they also provide a lot to write about, so it’s a win, win scenario from my perspective.
In my lifetime technology has always been promoted as something that improves our lives, especially at a domestic level. The VCR in the eighties is a prime example of this. It liberated us from having to watch TV at a specific time and place. Then there the personal computer, which brought into our own homes tools, that until that point, had been exclusive to the office. And for all the ill that it brings, the internet has certainly made the world demonstrably smaller. It’s revolutionised shopping and has improved the administration of services. So overall, I still feel that technology is a force for good. However there have been changes. In recent years technology on a domestic level has ceased to be quite as transformative and become more of a disposable commodity. Tech is now a fashion accessory, with a distinct lifecycle and upgrade treadmill. It is fast becoming just another form of superfluous crap to fill your home with.
Despite the tumultuous events of the last twelve months and the accompanying emotional fallout that has followed in their wake, I’ve managed to keep writing throughout 2020. My output has been somewhat inconsistent this year and I’ve noticed some changes in what I write about. This is inevitable as one’s tastes and focus changes naturally change over time. I’m finding it tougher to write enthusiastically about the video games industry per se, as it has hardly covered itself in glory this year. However, I still enjoy writing film reviews although I haven’t set foot inside a cinema for over a year. I suspect that this will remain the case for much of 2021. My writing has broadened in its scope and I find myself writing social commentary about various aspects of life, rather than just posting articles about my hobbies. Sharing my thoughts on the pandemic itself and “caring for the elderly” has proven very cathartic. But as I’ve stated many times before, writing is one of the ways in which I make sense of the world around me.
Last year I tried to write a measured and balanced post about the passing of the year. Sadly this time round my attitude toward the departing 12-month period is somewhat binary. Yes there were a couple of highlights to 2019 but most of it was an uphill struggle and therefore not worth celebrating. It can frankly sod off and won’t be missed. The two high points were my son’s wedding in August and my renewed enthusiasm for blogging that came about due to the Blaugust writing event. But overall 2019 was a repetitive and somewhat depressing grind having to continuously deal with multiple family illnesses, numerous hospital visits and then at the end of the year a bereavement. Yes, these are things that happened to us all eventually and there is no escaping them but I appear to be trapped in this facet of the “circle of life”. Furthermore, until certain situations resolve themselves, I cannot make or implement any long-term plans. 2019 has been in many ways about just treading water.
Life is often cyclical, if you don’t believe me go watch The Lion King. I started 2018 playing The Lord of the Rings Online and by writing a post about how gamers collectively seem to repeat the same mistakes. And as the year and indeed the decade ends, I find myself once again playing the Yule Festival in LOTRO and reflecting upon how some games that garnered criticism over their egregious business models, have ended up as huge hits. It would appear that gamers are their own worst enemy. I shall leave the psychological analysis of paradox to others. From my perspective, irrespective of the iniquities of the video game industry and certain quarters of the gaming community, it has been a good year, gaming wise. I have enjoyed my time playing MMOs such as Star Trek Online, The Elder Scrolls Online and the aforementioned LOTRO. These and other titles have entertained me, provided me with an opportunity to unwind as well as affording me some much-needed social interaction. I particularly enjoy Wednesday evenings when I log into my Discord server and then chat and play collaboratively with longstanding gaming friends.
One of the benefits that comes with age (for some people at least), if the gift of realistic expectations. Having reached 51 years, I no longer harbour thoughts that each year will be a rollercoaster ride of excitement, mirth and personal gain. Nor do I count on the stars aligning so that I make my fortune and retire peacefully to the Cayman Islands, to live the life of a tax exile. If New Year’s Eve rolls round and no one has died, I’m not looking at being tried for murder and there’s still gin in the drinks cabinet, then I usually deem the previous twelve months an acceptable year. However, despite even these fairly lose and undemanding criteria I feel compelled to say that 2018 was bollocks and that I won’t be sad to see the back of it.
I did not manage to maintain my writing schedule this year and have not posted everyday as I would’ve liked. I have produced over two hundred and seventy posts but still feel I could have done more. Blaugust was a welcome burst of enthusiasm that I managed to sustain for September and October, but I lost momentum in the run up to Christmas. At least I know what the root cause is which puts me a step nearer to resolving it. Having written several posts in the past about “writers block” and the other perennial excuse of not having anything to write about, I seem to have squarely fallen into both those traps. At present I find that motivating myself is the key problem. If I haven’t started writing something by midday, then it more than often gets left for the day. If I intend to escape this malaise, then I shall have to establish a far stricter writing schedule for 2019 and endeavour to do my writing first thing in the morning, when I am most focused.
Throughout my adult life I have always gone to the cinema as a leisure activity. 2018 has been of note in this regard as it’s the year I’ve been to the cinema the least. I have visited my local multiplex just three times over the last twelve months. It’s not that good quality movies are not made anymore. Far from it. It’s just that they don’t always get released theatrically. Furthermore, the cost to entertainment ratio has simply become too much of a gamble. Standard tickets are priced between £12 to £15 locally and I resent such an outlay for a film that may only be adequate or worse. Perhaps my outlook on pricing is unreasonable but I am not going to pay such money for mediocre entertainment. I don’t expect every movie I see to be a cinematic milestone or genre classic but nor do I expect it to be an exercise in indifference. If I had paid such ticket prices to see The Predator or Death Wish at my local Cineworld, then I would have been singularly annoyed. Mercifully I saw them both at home and therefore at a much lower cost.
Classic Game Themes: Shadow of War
The soundtrack for Middle-earth: Shadow of Mordor by Gary Schyman and Nathan Grigg was a dark and brooding affair, reflecting the tragedy of its central characters. It was a score based upon haunting strings, low vocals and ominous tones. However, both composers have crafted a somewhat different soundscape for the sequel Middle-earth: Shadow of War. It should be noted that if you are an ardent fan of Howard Shores scores for Peter Jackson’s movies, that Gary Schyman and Nathan Grigg’s approach to Middle-earth is quite different, although both are orchestral works. Shores grandiose themes often reflected the enormity and history of Middle-earth. Here the music is more personal, channelling the emotions of those who stories unfold against such momentous events.
The soundtrack for Middle-earth: Shadow of Mordor by Gary Schyman and Nathan Grigg was a dark and brooding affair, reflecting the tragedy of its central characters. It was a score based upon haunting strings, low vocals and ominous tones. However, both composers have crafted a somewhat different soundscape for the sequel Middle-earth: Shadow of War. It should be noted that if you are an ardent fan of Howard Shores scores for Peter Jackson’s movies, that Gary Schyman and Nathan Grigg’s approach to Middle-earth is quite different, although both are orchestral works. Shores grandiose themes often reflected the enormity and history of Middle-earth. Here the music is more personal, channelling the emotions of those who stories unfold against such momentous events.
The first theme we encounter is with the games main menu. It is in fact an instrumental version of the song Fires of War which later plays across the end credits. This time round the music takes a different approach with a more positive and uplifting undercurrent. The stygian darkness of Mordor has been swapped for a more stoical mood and opening theme features swelling staccato strings. The central melody does still feature the high overtone along with the violins that were present in the first game but it feels very different this time, with a more optimistic spin. Talion is no longer seeking revenge but to over throw Sauron himself and this driving passion is reflected in the soundtrack.
Once you start following the narrative of the central story and move beyond Minas Ithil, the soundtrack feels much closer to the tense and portentous ambience of the original title, with choral parts and low register piano interludes. There are not so many leitmotifs used this time round and the score is more of an evolving soundscape. This suits the game play far more appropriately. For the sake of continuity, many of the themes associated with Talion’s specific abilities are used again. This includes the magnificent Caragor Riding with its off-kilter beat, Cello and vocalisation of the Ring Lore. Overall Middle-earth: Shadow of War boasts a very accomplished soundtrack and a worthy successor to its predecessor.
The Planet of the Apes movie franchise took a radical change of course with its third entry in the series. The first two films were set in the future and benefited from high production values to help realise a post apocalyptic earth. However, due to a substantial reduction of budget, Escape from the Planet of the Apes uses a time travel plot device to bring the ape protagonists to present day Los Angeles (1971 in this case). The result is a film with a much smaller narrative scope. However, although it lacks the science fiction spectacle of its predecessors, it features an interesting satirical exploration of celebrity culture and ponders what it is like to be deemed an enemy of the state. As ever, Roddy McDowell and Kim Hunter provide exceptional lead performances as the Chimpanzees Cornelius and Zira. Escape from the Planet of the Apes also captures the pop culture vibe of seventies America.
Ronald Erle Grainer (11 August 1922 – 21 February 1981) was a prolific Australian composer who is best remembered for his work in the United Kingdom during the sixties and seventies. He wrote numerous notable scores and theme music for several iconic television shows such as Doctor Who, Steptoe and Son and Tales of the Unexpected. He also composed the soundtrack for several major motion pictures such as Some People (1962), The Assassination Bureau (1969) and The Omega Man (1971). Grainer relocated to London from Australia in 1952 but it was not until 1960 that he gained critical success after writing the music for the popular TV show Maigret. He subsequently received an Ivor Novello award for “Outstanding Composition for Film, TV or Radio”.
The following is about a cultural change. That is not to say that it’s a value judgement or one of those posts you so frequently read by bloggers of a certain age, that essentially boil down to “things were better in my day”. It is merely an observation and like all observations it is not 100% universal. There will always be exceptions to the rule. I am simply painting with broad strokes a general truism for your consideration. My point being that people listen, experience and enjoy music differently these days compared to how they did three to four decades ago. I’m not talking about the science of hearing or anything complex like that. I am merely highlighting the change in the way we choose to experience music and how that has an impact upon its creation and presentation. So like Anne Elk, presenting her theory on the Brontosaurus, here is the axiom at the heart of this post.
Allonsanfàn (1974) is an Italian historical drama film written and directed by Paolo and Vittorio Taviani. The title of the film derives from the first words of the French Revolutionary anthem La Marseillaise (Allons enfants, IE “Arise, children”). It is also the name of a character in the story. Set against the backdrop of the Italian Unification in early 19th-century Italy, Marcello Mastroianni stars as an ageing revolutionary, Fulvio Imbriani, who becomes disillusioned after the Restoration and endeavours to betray his companions, who are organising an insurrection in Southern Italy. Allonsanfàn is a complex film that is not immediately accessible to those unfamiliar with the intricacies of Italian political history nor the arthouse style of the Taviani brothers. However, it is visually arresting and features a rousing score by Ennio Morricone.
Jerry Goldsmith’s contribution to Star Trek is immense. Yet simply listing the films and TV episodes he wrote music for does not adequately encapsulate the significance of his contribution to the franchise. His majestic, thoughtful and uplifting musical scores provide an emotional foundation that reflects the core ethos of Star Trek. They also create an invaluable sense of continuity that spans multiple shows and movies. Perhaps the most obvious example of this is his iconic title music for Star Trek: The Motion Picture (1979) that was subsequently adopted as the theme tune for Star Trek: The Next Generation. His work was held in such high regard, when Star Trek V: The Final Frontier (1989) ran into production issues, it was thought that a Jerry Goldsmith soundtrack may well elevate the film. Sadly it didn’t but his work on that instalment was outstanding and among his best.
Halloween (1978) is both a genre and cinematic milestone. It made stars of Jamie Lee Curtis and director John Carpenter as well as kickstarting the slasher genre that dominated the box office for the next 15 years. Unlike many of the inferior imitations that followed in its wake, Halloween is not a gorefest but a far more suspenseful and unsettling film. It’s shocks and sinister atmosphere are the result of sumptuous panavision cinematography by Dean Cundey and inventive editing by Tommy Wallace and Charles Bornstein. Another invaluable asset to the film’s effectiveness is John Carpenter minimalistic synth and piano score which perfectly embellishes the film with an air of menace. After 33 years and various re-arrangements in subsequent sequels, the original Halloween Theme is still as effective today as it was when the film was first released.
Tenebrae (1982) is probably Dario Argento’s most accessible “giallo” for mainstream audiences. Although violent, it is not as narratively complex as Deep Red (1975) or as bat shit crazy as Phenomena (1985). The story centres on popular American novelist Peter Neal (Anthony Fanciosa) who is in Rome to promote his latest book. Events take a turn for the worst when a series of murders appear to have been inspired by his work. The plot twists and turns, the director explores themes such as dualism along with sexual aberration and blood is copiously spattered across the white walled interiors of modernist buildings. It is slick, disturbing and has a pounding synth and rock score by former Goblin members, Claudio Simonetti, Fabio Pignatelli, and Massimo Morante.
An American Werewolf in London is a genre milestone and one of the few horror films that successfully manages to balance humour and suspense without mitigating the overall tone of the story. 40 years on from its theatrical release it still holds up well with its bitter sweet love story, tragic themes and ground breaking transformation effects by Rick Baker. Director John Landis never really bettered this concise and effective genre outing. It hits the mark in virtually every part of the production. However, there is one aspect of the film that does suffer as a result of the director’s personal choices. Whether it is to the detriment of the overall film is debatable. The point in question is the film’s soundtrack and the director’s focus upon the song Blue Moon by Richard Rodgers and Lorenz Hart.
Before we start, no I am not writing about Alexander Courage’s classic main theme for the original Star Trek show. I can add nothing further to that particular discussion and it remains iconic and inspiring, even when distilled down to just the initial fanfare. In this post I want to draw your attention to another piece of music from Star Trek that has permeated its way into popular culture. A cue that when heard, if the listener is familiar with its provenance, will instantly conjure up images of flying drop kicks, ear claps and judo chops. A piece of music that can be added to pretty much any video footage and instantly make it more heroic. Yes, I am talking about what has become generically known as Star Trek “fight music”. Or more specifically, the "The Ancient Battle/2nd Kroykah" cue from Amok Time (S02E01) composed by Gerald Fried. The scene during the koon-ut-kal-if-fee ritual in which Spock fights Kirk on the planet Vulcan for complicated “reasons”.
Classical music has often been used to great effect in cinema since the advent of sound. It has certain advantages over bespoke compositions, in that it can imbue a scene with a sense of gravitas and emotionally connect with viewers who may already be familiar with the piece being played. Legendary director Stanley Kubrick famously rejected Alex North’s score for 2001: A space Odyssey after finding the classical tracks he used for the temporary soundtrack complement the visuals perfectly. Over the years, some particular pieces of classical music have proven to be very popular and flexible, thus appearing in a wide variety of films across multiple genres. Hence, I have chosen two well known tracks that demonstrate this. I would also like to highlight contemporary classical music and have also selected one example that I feel demonstrates how the genre sublimely compliments cinema.
If you mention The Pink Panther (1963) I’d hazard a guess that most people will instantly think of Inspector Clouseau (and possibly throw in a quote in faux French about “Minkeys”) or hum or whistle the iconic theme tune. It’s blend of cool sixties Jazz and Lounge is both classy and evocative. Henry Mancini’s contribution to the Pink Panther franchise is commensurate to that of Peter Sellers and Blake Edwards. If you removed his musical scores from any of the films they would be greatly diminished. In fact one can argue that the movies made in the eighties after Sellers’ death are greatly bolstered by Mancini’s intelligent and accomplished musical accompaniment. The franchise may have run out of steam but Mancini never did so.
Back in August 2018, I posted seven of my favourite tracks from various video games that I’ve played over the years. I thought recently that it was high time that I did the same again. So here are a further five musical cues that I especially enjoy. All of which contribute greatly to the respective games that they feature in. Unlike film composers, musicians that write for video games do not always enjoy comparable exposure or attention. Yet often they have a more complex remit, having to write material for dozens of hours of content, rather than just two or three. Furthermore, the complete soundtrack to many video games often remain conspicuously absent, with fans having to data mine the game client to find the tracks that they love. Which is why it is important for those that enjoy video game music to show their support. Perhaps then more publishers will release full and comprehensive game soundtracks for digital download.
It was Friday the 13th yesterday, so I thought it was about time that I added Harry Manfredini’s iconic score to the annals of Classic Movie Themes. The 1980 slasher movie Friday the 13th has become as legendary in the pantheon of cinematic horror history as John Carpenter’s Halloween. Although there are marked differences between these two films, both use minimalist musical scores extremely effectively to punctuate the proceedings and embellish the overall atmosphere. However, Manfedini did not want to provide viewers with obvious audio cues during scenes of building tension. He preferred to focus his score upon the activities of the franchise's iconic killer, Jason Voorhees, and hence have strong musical cues when he was on screen. This approach meant that he had to use a unique musical motif to denote potential tension, without diminishing its effect on the audience by excessive use of obvious and melodramatic cues.
Game of Death was Bruce Lee’s fourth Hong Kong martial arts movie. Due to the success of his previous films he found himself in a position where he could finally write and direct a project himself. Filmed in late 1972 and early 1973, the film was put on hold midway through production when Hollywood offered him a starring role in Enter the Dragon. He died shortly after completing the US backed movie that made him an international star, so Game of Death remained unfinished. Several years later the rights to the raw footage were sold and recycled for a new movie, that kept the name but bore little resemblance to Lee’s original vision. For most of Game of Death, Kim Tai-jong and Yuen Biao double for Bruce Lee and it is only in the final act that audiences actually get to see about 12 minutes of material that he shot himself. The 1978 release of Game of Death, directed by Robert Clouse, is a mess but remains a cinematic curiosity. The scenes which genuinely feature Bruce Lee are outstanding, even in an abridged form.
The Long Good Friday not only launched then career of Bob Hoskins but remains a uniquely British take on the gangster genre. Featuring authentic performances and a credible plot, the screenplay touches upon many of the social and political issues of the time; police corruption, the IRA, urban renewal and the decline of industry, along with EEC membership and the free-market economy. It’s a gritty and unrelenting drama that is still relevant today. Furthermore, the film is filled with quotable dialogue and has several stand out scenes that showcase Bob Hoskins’ smouldering performance. It’s also offers of “who’s who” of British character actors and there is one sequence still has the power to shock even today.
A few years ago, I wrote a post about cult movie soundtracks and how many of these movies are often blessed with a high quality score from an established composer. The subject came up again recently when I was visiting the British Film Institute with friends, and several other examples were discussed. Hence, I thought it would be prudent to write a follow up post with another selection of material, as it continues to amaze me how often the most appalling films can still have outstanding soundtracks. With this idea in mind I've collated five films that are for various reasons are labelled “cult” and have suffered the “slings and arrows of outrageous fortune” over the years. All have scores of interests and note, though for different reasons. I have chosen a track from each soundtrack which I think highlights the musical excellence and integrity of the composers involved. The genres are varied as are the musical styles and nuances of each piece. All clearly demonstrate how a well-conceived score can embellish and enhance a movie, effectively becoming a character in its own right.
Lords of the Fallen is an action role-playing game from 2014, played from a third-person perspective. It is broadly in the same idiom to Darksiders and Dark Souls with the emphasis on complex and challenging combat. And it is for that reason that I didn’t get on with this title when I bought it in a Steam sale a few years ago. I felt that the long, protracted fights were an impediment to the narrative, which I quite enjoyed. However, the game was designed this way to appeal to the combat focused gamer and “git gud” culture. But I think that it’s important to try different genres of games from time to time and to step occasionally out of your comfort zone. I would cite the Hand of Fate series as a positive example of this. Both of those titles are from a genre I wouldn’t usually consider and playing them turned out to be a very positive experience
Alien is a unique genre milestone. It challenged the established aesthetic created by 2001: A Space Odyssey of space travel being pristine, clinical and high tech and replaced it with a grimy, industrial quality. The space tug Nostromo is also a conspicuously “blue collar”, civilian venture, underwritten by a large corporation. As for H. R Giger’s xenomorph, it redefined the depiction of extraterrestrial life in movies. Director Ridley Scott brought visual style and atmosphere to particularly unglamorous and dismal setting. He also scared the hell out of audiences at the time with his slow burn story structure and editing style that hints, rather than shows. Overall, Alien is a text book example of how to make a horror movie and put a new spin on a classic and well-trodden concept.
James Horner was a prolific, yet consistently good composer with a broad range of styles. Consider his score for 48 Hrs with its Jazz under currents and then compare it to his grand swashbuckling approach to Krull. They are radically different soundtracks, but both are extremely effective in embellishing their respective motion pictures. That was James Horner great talent. He knew when to be theatrical and bombastic but could also dial it back and be subtle, gentle and delicate. It made his body of work very diverse and memorable.
James Horner, although possessing a very broad and eclectic musical range, was in many respects a very traditional composer. He was certainly au fait with works of such giants as Miklós Rózsa, Korngold and Bernard Herrmann and it often manifested itself in his music through his use of the leitmotif. Perhaps the reason James Horner was so consistently good and crafted so many outstanding pieces of music, is because he never saw his profession as just a means to an end. As he said in an interview once, “I don’t look at this as just a job. I see music as art”.
Star Trek: Enterprise was the first show in the Star Trek pantheon to have a song performed by an established artist play over the opening credits, rather than a traditional theme tune. Up until 2001, the franchise had maintained a more formal approach, established with the iconic introduction to the original series composed by Alexander Courage. Needless to say, such a radical departure from established practise brought about consternation and debate among fans. In some respects, you can argue that point about the entire show itself, but that as they say, is an entirely different blog post. Needless to say, the dislike and hatred that the song Where My Heart Will Take Me engendered in certain quarters, lead to a petition to have it removed. Needless to say, this movement failed, and the show continued using it for four seasons. Seventeen years on this particular debacle has now died down and the song is often just referenced ironically by fans as an amusing anecdote and piece of Trek trivia.
According to Wikipedia “Hawk the Slayer is a 1980 British sword and sorcery adventure film directed by Terry Marcel and starring John Terry and Jack Palance. The film has developed a cult following”. That doesn’t do the movie justice by any reckoning. Hawk the Slayer is a quirky, low budget, high camp fantasy movie that compensates for its budgetary shortcoming by being so preposterously silly. It is loaded with hard boiled, fantasy steeped dialogue that parodies well known genre tropes. It treads a fine line between utter bilge and stupid fun. It is very much a product of its time and is also filled with British character actors. Some viewers will see nothing more than a cheap and cheerful cash-in on the eighties Sword and Sorcery boom. Others will delight at this inventive, stylised and silly fantasy orientated outing. Such is the nature of cult movies.
Film producer Julian Blaustein had a long-standing desire to make a film that addressed the fears and concerns of the post war Atomic Age. With the backing from Fox Studio Executive Darryl F. Zanuck, he hired screenwriter Edmund North to adapt the short story Farewell to the Master by Harry Bates. The screenplay provided a moral commentary about the ongoing arms race and featured an alien visitor with Christ like qualities who delivers an apocalyptic message. Veteran director Robert Wise was brought in head the project and a fine cast of established characters actors such as Michael Rennie, Patricia Neal Hugh Marlowe and Sam Jaffe was assembled. The finished movie has proven to be one of the greatest science fiction movies ever; it is The Day the Earth Stood Still made in 1951.
King Solomon’s Mines is a 1985 Cannon Films production based on the pulp works of H. Rider Haggard. It was quickly made to cash in on the ongoing success of Indiana Jones franchise, although the finished movie bears little resemblance to the classic original novel. Like most Cannon movies from that boom era, it was a cheap and fast enterprise that superficially sported a good cast, but ultimately didn’t do much with them. Veteran director J. Lee Thompson favoured a light and comic approach to the material, as the film’s budget could hardly sustain any major notable set pieces. Yet, it proved popular enough at the box office to warrant a sequel the following year. Allan Quatermain and the Lost City of Gold proved to be as equally silly but by then the public’s interest had waned.
A ten months ago, I wrote about the LOTRO soundtrack and listed some of my favourite tracks. This time round rather than just limit myself to music from one game, I thought it may be more interesting to broaden the remit. So, I have decided to upload seven of my favourite tracks and music cues from various games I have played over the last two decades. As with cinema, the soundtrack of a game plays a very important role. It can make a substantial impact on the players perceptions and enjoyment. The following tracks are examples that I feel have greatly enhanced a game. They’re also ones that I find particularly enjoyable. They are not in any order of preference.
Paul Verhoeven has seldom made a movie without some semblance of controversy associated with it, and his 1992 neo-noir Basic Instinct was no different. Even before its US release, Basic Instinct courted controversy due over its overt sexuality and graphic depiction of violence. It was strongly opposed by gay rights activists, who criticised the film's depiction of homosexual relationships and the portrayal of a bisexual woman as a homocidal narcissistic psychopath. The opening murder with an icepick is still shocking twenty six years later and is an excellent showcase for makeup FX artists Rob Bottin.
You can write pages on Gerry Anderson's 1968 Supermarionation series Joe 90. There's the morally ambiguous premise of giving an emotionally immature nine-year-old the experiences of an adult. Then the psychological effects of allowing him to kill at will. Then there's the perennial issue of scientists prostituting their skills to the intelligence community. One can also reflect upon the absence of any major female characters in the series and how that may impact upon Joe himself. Finally, when one finally arrives she's a gold-digging bitch who tries to exploit Joe’s Dad, Professor McClaine. Joe 90 is certainly a psychiatrist’s dream subject.
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.
I grew up during the seventies when network TV shows still put a lot of thought and effort into such things as their theme tune. It was a decade littered with memorable tracks that captured the essence of the shows they came from. Many have now become integral aspects of popular culture, leading to countless internet memes as well as becoming the ringtones of choice for many a fortysomething. However, things are very different now. You can have a staggeringly good theme for your show, but it can't possibly be longer than thirty seconds. And don’t think for a moment that viewers can listen to it again at the end, as it has now become standard practice to compress the credits into a third of the TV screen and preview what's coming next, while some link announcer spouts inanities. Mercifully, cable and streaming companies tend to treat their TV shows with greater respect. The lack of commercial advertising ensures a longer program duration and hence more focus on a theme tune. However, network TV still commands big audiences, yet hasn’t in recent years produced any TV show themes of note.
Middle-earth and Non-Canonical Stories
Canon and lore are sacred cows to many fans. Any deviation from the clearly established is met with scepticism and on occasions outrage. It is the hill they are prepared to die, defending. In the past I have felt equally as strong about this matter as others but over the years I have become increasingly relaxed about such things. I guess once you realise that your childhood memories cannot be ruined, despite what some claim, then you cease to worry as much. If you do not like an adaptation, extrapolation or continuation beyond the canon of a particular IP, then you simply say, “it’s not for me” and move on. Not liking an idea or concept because it doesn’t conform your preconceptions and personal tastes does not give you the right to try and quash it. So overall, I don’t mind Tom Cruise being Jack Reacher. A female Doctor Who is fine with me. I even like the movie adaptation of Raise the Titanic.
Canon and lore are sacred cows to many fans. Any deviation from the clearly established is met with scepticism and on occasions outrage. It is the hill they are prepared to die, defending. In the past I have felt equally as strong about this matter as others but over the years I have become increasingly relaxed about such things. I guess once you realise that your childhood memories cannot be ruined, despite what some claim, then you cease to worry as much. If you do not like an adaptation, extrapolation or continuation beyond the canon of a particular IP, then you simply say, “it’s not for me” and move on. Not liking an idea or concept because it doesn’t conform your preconceptions and personal tastes does not give you the right to try and quash it. So overall, I don’t mind Tom Cruise being Jack Reacher. A female Doctor Who is fine with me. I even like the movie adaptation of Raise the Titanic.
However, as I mention, I wasn’t always this easy going. Tolkien’s body of work has long been something I enjoy and hold in high esteem. Thus, when both The Lord of the Rings: War in the North and Middle-earth: Shadow of Mordor were both announced respectively in 2011 and 2014, I was highly sceptical. Initial marketing showed a great deal of imagery devoid of any context. How could a Ranger be a Wraith and why were Eagles being used as mounts? Yet over time, as more information filtered through, it became clear that these were not total bastardisations of Tolkien’s work and I ended up buying and enjoying both games. In fact, I would go so far as to say that it was their innovative extrapolation of the lore that was one of the primary reasons I liked both titles so well.
What becomes apparent when playing The Lord of the Rings: War in the North and Middle-earth: Shadow of Mordor is that although they are derived from Tolkien’s work, they are more of a continuation of Peter Jackson’s cinematic adaptations. They certainly have the same detailed aesthetic and action focus. However, the stories of both games have creative plots that are based heavily in Middle-earth lore. The Lord of the Rings makes it clear in the Appendices that the War of the Ring was fought on multiple fronts. Both Gondor and Erebor were assailed by Sauron’s forces and Dol Guldur was destroyed by the Elves. So, the threat of third front hailing from Angmar, as seen in The Lord of the Rings: War in the North, is hardly a stretch either narratively or militarily. Middle-earth: Shadow of Mordor is equally as creative exploring the fate of Celebrimbor. It delves in to many aspects of Tolkien’s work from the Blue Wizards, Saruman’s hunt for the ring, as well as the ongoing wane of Gondor.
These games along with Standing Stone Games’ Lord of the Rings Online succeed as they journey beyond established canon, due to the love and affection their writers have for the source material. Rather than abandon established ideas, these games develop them and frequently fill in the grey areas of known lore. When one considers the magnitude of Sauron’s empire, surely he would have a much wider chain of command, other than just the Nazgûl. Hence, I do not balk at the Black Númenórean Lieutenant named Agandaûr, or the three Black Captains; the Hammer of Sauron, the Tower of Sauron and their leader, the Black Hand of Sauron. All make sense and play a specific role in the Dark Lord’s military hierarchy. Furthermore, we have seen in the source text, that Orcs and Uruks have personalities, as well as aspirations and agendas of their own. Thus, I found the character Ratbag in Middle-earth: Shadow of Mordor very plausible as he tries to do a deal with Talion to establish his power base. Also, having made some checks, I cannot find any definitive proof that Smaug was the last Dragon in Middle-earth. So I have no major prejudice against Draigoch or Úrgost.
Sadly, where I am happy to accommodate the aforementioned games non-canonical narratives, I feel that I have to draw a line with fan fiction. The standard of knowledge, research and writing seen in LOTRO, The Lord of the Rings: War in the North and Middle-earth: Shadow of Mordor simply isn’t present in grassroot fan generated content. Many fan writers just don’t have the necessary skills to forge a compelling narrative. It’s something you’ll see in many Star Wars and Star Trek fan films. They will often sport exemplary production values given the financial constraints but the dialogue is usually amateurish and embarrassing. Boundless love and enthusiasm are no substitute for genuine talent. Star Trek Continues transcends the traditional fan film label, due to the pedigree of those associated with the production. The Hunt for Gollum and Born of Hope don’t quite hit that level of professionalism, although they certainly raised the bar for Tolkien based fan movies.
It was recently announced that the three-way legal dispute between the Tolkien Estate, Middle-earth Enterprises and Warner Bros. has now been settled, which raises the question of further game development of Tolkien’s IP. Middle-earth: Shadow of War is due to be released on October and I am very interested as to where the story goes next. I see from trailers that Shelob is now part of the narrative, which is a bold move indeed. If this title is as equally successful as its predecessor then surely more games of this idiom will follow. Because of the specific terms of the licence, future material is somewhat tied to the scope just The Hobbit and The Lord of the Rings. Yet because both of these books encompass a vast world of lore, much of which has never been fully explored or even fleshed out, we are potentially faced with a very creative opportunity. At present, due to the standard of what has already been released, I do not fear what may follow. Therefore, perhaps some fans should try and take a fresh look at this situation and revise their opinions regarding non-canonical stories.
Sometime in August 1979, I was travelling with my father by train to London, when I first saw posters advertising the Ralph Bakshi animated version of J. R. R. Tolkien’s The Lord of the Rings. The film had been released in the US the previous November and I aware of its existence because I had read articles about it production in Starburst magazine. Even at the age of 11 I was interested in genre films and television, having been raised on Doctor Who and Ray Harryhausen’s back catalogue of fantasy movies. Furthermore, I was familiar with Tolkien’s first novel, The Hobbit, as my father had read it to me when I was younger. I was impressed by the poster in that way that only an 11 year old can be. Why was Gandalf do gigantic? Also the A rating was enigmatic. Most animated films were usually rated U. Yet despite my interest, I didn’t see The Lord of the Rings at the cinema during the summer holidays.
On Tuesday 11th April, Aspyr Media rather surprisingly re-released The Lord of the Rings: War in the North, a co-op action-RPG from 2011. This game was delisted in late 2019, possibly due to changing rights ownership or a license expiring. Hence, I was somewhat discombobulated by the return of this title to all major gaming platforms. Mind you, the Embracer Group (through its subsidiary Middle-earth Enterprises) still controls the worldwide commercial and video game licensing rights for The Lord of the Rings and The Hobbit. Furthermore they have explicitly stated that they have plans for more games. It would appear this also means re-releasing and updating old favourites. It is also worth noting that they own Aspyr Media, which is also a bit of a giveaway. Let it suffice to say that this re-release and sparked enthusiastic online debate as to whether any other he Lord of the Rings themed games from the same era will receive a similar makeover. Judging by the internet chatter, there’s potentially a market for them.
At the start of the 2001 film, The Fellowship of the Rings, director Peter Jackson has crafted a compelling and visual stunning prologue. It distils a great deal of Tolkien’s text and conveys the essential history of the One Ring succinctly. Cinematically it works extremely well but it is sadly far from canonical due to all the practical considerations a film maker has to make when adapting a lore dense text. I have often wondered exactly how Sauron was defeated at the end of the Second Age because Tolkien is somewhat vague in The Lord of the Rings. Gil-galad, Elendil and Isildur all seem to be involved in physically fighting the Dark Lord. Gil-galad died due to being burned by Sauron’s touch. Elendil also died in combat and his sword Narsil broke beneath him. Isildur claimed to have delivered the killing blow after his father was defeated. However, no character in the story provides a definite, linear account of these event.
Tolkien enthusiasts may recollect Athlon Games, a subsidiary of Leyou Technologies, announcing that it was developing a new MMORPG, based upon The Lord of the Rings, back in September 2018. The following summer, it was revealed that Amazon Game Studios was the partner developer for the project. In late 2020, Leyou Technologies (a Hong Kong-based company), was acquired by the Chinese conglomerate Tencent. This triggered a contract clause with the license holder, Middle-earth Enterprises, allowing them to terminate the existing arrangement if a new deal could not be met. Amazon and Tencent were unable to agree upon how to proceed with the project, leading Amazon to withdraw from negotiations. The project was subsequently scrapped. No details or images of the MMO have been released.
Song is a fundamental aspect of Tolkien's writing, serving the same role as it does in our own cultures. It is a means of documenting history, expressing cultural heritage and maintaining traditions for the people of Middle-earth. The Ents sing lists of lore. The Rohirrim sing of battle and heroic deeds and the Shire folk, of ale and frivolity. Let us not forget that Tolkien’s fictitious world, Arda, was effectively sung into existence via the Ainulindalë, the divine music of creation sung by the Ainur. The cultural significance of song is also a key element of Tolkien’s world building. The songs within the narrative bolster the authenticity of the various cultures of Middle-earth, embedding their history and heritage into the story. Music, rhymes and songs also help define characters. The lighter ones sung by hobbits, provide lighthearted moments, contrasting with the dark and dangerous tones of the larger narrative. It also reinforced their rustic heritage.
I have always found it curious that there haven't been more feature films set in Middle-earth, after the success of Peter Jackson’s The Lord of the Rings trilogy. However, a little research shows a very complex set of rights regarding Tolkien’s work, with different material being controlled and administered by different bodies. Hence, the market has not been saturated with officially licensed material. Thus, when The Lord of the Rings: The War of the Rohirrim was announced to be in production, it aroused a great deal of curiosity both among fans and those with an interest in the wider film industry. To base an entire feature film on something that is effectively just a few paragraphs in the appendices of The Lord of the Rings is quite intriguing. The producers claimed it afforded them greater artistic freedom not to be constrained by an excess of lore. Industry pundits theorised that the film was being produced solely to ensure that wider rights were retained.
Two years ago, The Lord of the Rings: The Rings of Power premiered on Amazon Prime to mixed reviews and a tedious and predictable internet brouhaha. I have no interest in that debacle as I consider it spurious, to say the least. Representation is a commercial imperative for any big budget television production. As for any deviation from the established canon, that’s due to the show being an “adaptation” of Tolkien’s work. At no point were viewers promised a literal interpretation of the source text. Therefore I am only interested in legitimate critiques of the show based upon its production, writing and acting. As far as I’m concerned, the first season was broadly entertaining and had outstanding production values. Overall I enjoyed The Lord of the Rings: The Rings of Power as an exciting and inventive take on Tolkien’s legendarium. Hence, I have been looking forward to the second season, which began today.
Having watched the first two episodes of The Lord of the Rings: The Rings of Power, I wish to express my thoughts on what I’ve seen and my overall impressions so far. I do not think it would be fair to frame this post as a review as the two episodes only constitute 25% of the show’s total content. A formal review of the first season seems more appropriate when I have seen it in its entirety. Before I begin commenting on specific points about the two premier episodes, I wish to point out that I have no problem with “representation” and have expressed my thoughts on this matter in a previous post. It also covers the matter of “adaptation” and how complex texts can at times require augmenting to be made accessible to wider audiences. Hence those viewers who want 100% canonical purity are unrealistic in their expectations. Objections based in racism and sexism can simply be ignored. NB I shall endeavour to keep my thoughts spoiler free.
In February this year, I wrote a blog post about how Middle-earth Enterprises were seeking to auction off the various rights they hold for the works of J.R.R. Tolkien. Today the Embracer Group announced that it was buying these rights as part of an ongoing acquisition strategy. The Swedish video game and media holding company has also purchased Limited Run Games, Tripwire Interactive as well as Middle-earth Enterprises portfolio. They recently acquired premium titles such as Tomb Raider, Deus Ex, and Thief. The Embracer Group currently owns more than 100 studios including Borderlands developer Gearbox, Saber Interactive, and THQ Nordic. Saudi Arabia recently bought a $1 billion stake in Embracer, which is around 8% of the company’s total shares. Embracer’s recent purchasing spree comes months after it acquired Square Enix’s three major Western game studios. In a press release the cost of buying the right to Tolkien’s work is £653,000,000 ($786,000,000).
I was perusing my Twitter timeline last night and a tweet appeared from someone who doesn’t seem to care for the casting of Lenny Henry as a hobbit in the upcoming Amazon Prime TV show The Lord of the Rings: The Rings of Power. If you’re not familiar with Lenny Henry he’s a British comedian and actor of Jamaican heritage, who was one of first people of colour to establish himself as part of the cultural mainstream in the UK. He’s funny, smart and well respected. However, this particular individual on social media (we will not dignify them with a name check) was not happy about canonical authenticity being subject to the whims of representation. They tried to portray their objections as legitimate criticism based on a good faith argument, but some of the terminology they used clearly showed their true intent was passive aggressive dog whistle racism.
In 1969 J.R.R. Tolkien sold the motion picture, merchandising, stage and other rights to The Hobbit, The Lord of the Rings and other literary works to United Artists. UA were riding high at the time with the success of In the Heat of the Night and The Graduate. Allegedly Tolkien made the deal to pay off a tax debt, although this may be apocryphal. He was paid £100,000 which is equivalent to £1,680,000 today. He also retained a 7.5% royalty interest that has now been transferred to the Tolkien Estate. UA toyed with the idea of adapting The Lord of the Rings and many cinematic luminaries were associated with the project. In the early seventies British film director John Boorman was tasked with writing a screenplay. Boorman, an established director with a track record of being experimental, set about developing a script with his long term collaborator, Rospo Pallenberg. However, the project was cancelled due to costs and the studio getting “cold feet”.
Finally the first teaser trailer for Amazon Prime’s forthcoming TV show set in the Second Age of Middle-earth has been released. The Lord Of The Rings: The Rings of Power will be released weekly on Amazon’s streaming service commencing September 2nd 2022. The first season consists of eight episodes. The series is a prequel to the events of The Lord of the Rings, depicting "previously unexplored stories" based on Tolkien's works. The show will include such iconic locations as the Misty Mountains, the elf-capital Lindon, and the island kingdom of Númenor. The Lord Of The Rings: The Rings of Power maintains the visual and design aesthetic of the existing Peter Jackson movies. Furthermore, composer Howard Shaw maintains his involvement as does artists and designer John Howe. Apparently, due to the Tolkien Estate being happy with the development of the show, Amazon had gained access to certain elements and passages from The Silmarillion and Unfinished Tales to include in the narrative arc.
In December it will be the twenty year anniversary of the release of The Fellowship of the Ring. The first entry in Peter Jackson’s trilogy of film adaptations of Professor Tolkien’s iconic novel, The Lord of the Rings. I was utterly swept up in the hype and media frenzy that persisted for three years around these movies between 2001 and 2003. I certainly have fond memories of seeing each film on the first day of its release at the prestigious Leicester Square Odeon in London. Broadly speaking I was very impressed with all three films at the time of their release. However, over the years excitement and fandom has been tempered with a greater degree of critical analysis and appraisal. Having recently watched the Extended Editions of all three films, remastered in 4K, I now think it would be pertinent to revise my thoughts on them and repost them here on Contains Moderate Peril. This initial post is intended more as an overview on the trilogy. I shall write three new in depth reviews in due course.
I have reviewed several audio recordings of J.R.R. Tolkien’s The Lord of the Rings over the years. My personal favourite is the BBC Radio adaptation from 1981, which has a superb cast of British character actors and does a wonderful job of adapting the text without diminishing the scope of the narrative. This is a dramatisation, rather than a straightforward reading of the book. However, if the latter is what you are looking for then the go to version is 1990 recording by Robert Inglis. He provides unique voices for all characters and even sings the songs included in the source text. And then there is the quirky Mind’s Eye Production from 1979, which is another dramatisation. This is a flawed version with a focus upon the character dialogue with much of the lore removed. Yet it has its charm and includes the often omitted Tom Bombadil. However, quite recently I accidentally stumbled upon a fourth adaptation and was surprised not only by the quality of the production but the curious history associated with it.
In late 2018 it was announced that Amazon Game Studios and Leyou were collaborating on massively multiplayer online game for PC and consoles set in Middle-earth. Ongoing development is being handled by Athlon Games, a global developer and publisher of free-to-play console and PC games. The studio is a subsidiary of Leyou Technologies Holdings Limited. But beyond the fairly vague press releases that can be found on the Athlon Games website (the last was posted in July 2019), little detail has emerged about the project. There has been unsubstantiated rumours that the project may well tie-in with the forthcoming Amazon Prime TV show that is set in the Second Age of Middle Earth. However, there is little information at present in the public domain to fully substantiate this or any of the other ongoing speculation. Hence, the entire situation raises some interesting questions and I’m sure like me, you have probably pondered some of them. Here are just a few that have crossed my mind.
In recent years there has been a shift in position of both Middle-earth Enterprises and the Tolkien Estate. Saul Zaentz died in 2014 leading to a relaxing in licensing requirements and Christopher Tolkien stepped down as the director of his father’s estate in late 2017, further contributing to increased commercial use of Tolkien’s intellectual property. Since then we have learned that Athlon Games are developing a new MMORPG set in Middle-earth and that Amazon Prime is producing a major TV show set in the Second Age. It would appear that the firm grip that has prevailed over the last forty years is now waning and that Middle-earth Enterprises and the Tolkien Estate are more disposed towards expanding the reach and financial potential of the Tolkien franchise.
Ralph Bakshi’s 1978 adaptation of Tolkien’s The Lord of the Rings often polarises fan opinion. There is much to admire and there is also much to dislike in this 133-minute animated feature film. However, for many of us, this was our first visual foray into Middle-earth and for good or ill, it had an impact. You’ll certainly see several homages to it in Peter Jackson’s trilogy. And like so many cinematic adaptations of iconic books, The Lord of the Rings journey to the big screen was far from easy. Here are ten anecdotes regarding the film and its production.
The Hobbit (1977) is a curious beast. It’s a made for television animated film, which despite its budgetary constraints, strives to comprehensively adapted one of the most beloved children’s books of the last century. I remember reading an article about this television adaptation of The Hobbit, in Starburst Magazine during the late seventies. There were rumours that this Rankin/Bass production, which had already premièred on US network television, would gain a European cinema release. This was presumably to cash in on the success of Ralph Bakshi's animated feature film adaptation of The Lord of The Rings. However, this never happened to my knowledge. In fact, The Hobbit was not commercially available in the UK until 2001, when Warner Bros. released it on DVD to capitalise on the success of Peter Jackson’s The Fellowship of the Ring.
There are and always will be books that have a clear political agenda or make a very particular statement. Orwell’s 1984 springs to mind as an obvious example. Then there are also books that attract political interpretations by the nature of their plot or the subjects that they explore. Whether the author intended such a debate about the work or not, is a secondary issue. I have always taken Tolkien’s work at face value and to be what he stated they were. Epic and intricate faux histories, free from allegory. Furthermore, I appreciate that the moral position and themes of his work stem from the authors world view, personal experiences as well as the prevailing social dogma of the time. I find it interesting how his work attracts praise and adulation from a wide variety of groups. Catholics will naturally gravitate towards Tolkien’s writings due to his faith and that is the prism through which they will critically view his work. There are of course other examples about how The Hobbit and The Lord of the Rings appeals to different people in different ways. It is a common aspect of fandom.
Canon and lore are sacred cows to many fans. Any deviation from the clearly established is met with scepticism and on occasions outrage. It is the hill they are prepared to die, defending. In the past I have felt equally as strong about this matter as others but over the years I have become increasingly relaxed about such things. I guess once you realise that your childhood memories cannot be ruined, despite what some claim, then you cease to worry as much. If you do not like an adaptation, extrapolation or continuation beyond the canon of a particular IP, then you simply say, “it’s not for me” and move on. Not liking an idea or concept because it doesn’t conform your preconceptions and personal tastes does not give you the right to try and quash it. So overall, I don’t mind Tom Cruise being Jack Reacher. A female Doctor Who is fine with me. I even like the movie adaptation of Raise the Titanic.
When Peter Jackson finished filming The Hobbit trilogy, there was some idle speculation by fans as to the possibility of a movie adaptation of The Silmarillion. It was meant mainly as a talking point, rather than a serious proposition and there certainly was an enthusiastic response from some quarters. Three years on, the fantasy genre is still a commercially successful genre both at Cinemas and on TV. Furthermore, production studios are regularly looking to existing literary properties that they can convert into viable long term franchises. Bearing all this in mind, is it possible that Tolkien’s complex mythopoeic work could be adapted for either the big or little screen?
Tolkien's use of song and verse are an integral part of his writings. I am not musically talented myself, nor am I a scholar of song structure but I appreciate how he uses them for plot exposition and character development. In The Lord of the Rings, the medium of song is also used as a means of conveying the enormity of Middle Earth and the wealth of history therein. They give us a sense of the realms lore and heritage, stretching back over millennia. The respective sophistication of each song also reflects the culture that created them. Songs from The Shire are rustic and quaint. The songs of Men are bombastic and bold. Whereas Elven music is often melancholy and complex.
In a fit of nostalgia I recently found myself perusing several retro gaming websites, pondering on some of the titles that I use to play on the Super Nintendo Entertainment. During the early nineties when this platform was my primary source of gaming I use to meticulously research new titles before purchasing. This was the pre-internet age and console cartridges came at a premium price, so you did not want to waste valuable money on a poor game. Magazines featuring previews and in-depth reviews were the main source of information. The other would be your local gaming boutique where you could hang out and discuss such matters with fellow gamers. Broadly this system worked and I enjoyed most of the games I played on the SNES.
In 1981 BBC Radio 4 produced an ambitious adaptation of The Lord of the Rings, presenting Tolkien’s novel in twenty six, thirty minute episodes. As with all adaptations some material had to be removed, but overall the BBC production was not excessively abridged and followed the plot faithfully. The characterisations and dialogue were extremely well realised and music by composer Stephen Oliver was very much in the style and idiom of Tolkien. This was a production of the highest pedigree and a major event for the BBC at the time. The series was heavily promoted, receiving front page status in The Radio Times, the UK’s premier TV guide and bestselling magazine. Although initial reviews were varied, the series immediately gained a cult following with fans trading episodes recorded on cassette tape. Word of mouth and substantial listening figures soon lead to revised opinions from the press, along with the immortal slogan "Radio is Hobbit 4-ming".
n 1969 JRR Tolkien finally sold the film and merchandising rights of The Lord of the Rings to United Artists for approximately £104,000. A year later the studio asked director John Boorman if he could make the books into a viable film. Boorman, an established director with a track record of being experimental, set about developing a screenplay with his long term collaborator, Rospo Pallenberg. What emerged was a one hundred and fifty minute script and possibly the most radical adaptation of Tolkien's work. Some of the ideas and concepts it contained were extremely innovative but others where simply too radical a divergence from the source text. I’ve collated a few of these for your consideration. If you are familiar with Boorman's 1973 film Zardoz, then you will note both similarities and re-occurring themes.
When discussing the various audio dramatizations of J. R. R. Tolkien's The Lord of the Rings, people often think of the BBC Radio adaptation by default. However it should be noted that it was not the first. An earlier version was made and broadcast in 1979 on US National Public Radio and was subsequently released as an audiobook. It was produced by The Mind's Eye, a company who were responsible for numerous adaptations of classic literature for radio at the time. The script written by Bernard Mayes is a somewhat abridged version of the book. The eleven hour running time focuses significantly on the dialogue, with much of the back history, lore and expositionary narration removed.
I don’t really celebrate New Year’s Eve anymore. By that I mean, I don’t go to the pub or any other social gatherings. Nor do we have guests ourselves. Mrs P often doesn’t stay up to midnight. Mainly because she tends to go to bed relatively early, by default. One year changing to another seems a somewhat arbitrary excuse for a celebration to me. However, I realise that New Year is a big deal for some. I used to work with someone who said, very philosophically, that Christmas was for the children and New Year was for the adults. He was of Scottish antecedents and so New Year’s Eve was of more cultural significance to him. Also if you’ve had a difficult, problematic or traumatic 2025, then I fully understand that you may well be happy to see the back of 2025 and look to 2026 to be a significantly better year. Or at least, not to be as shit.