The Adventures of Robin Hood (1938)
I had the pleasure of watching The Adventures of Robin Hood recently, a film I’ve seen many times over the years. I was first introduced to this movie as a child on a Sunday afternoon when the BBC would often show Hollywood classics. My father was very enthusiastic about this movie and waxed lyrical about Erich Wolfgang Korngold iconic score. It had a profound effect upon me upon my initial viewing and set the benchmark very high for subsequent swashbucklers I saw. It has shaped my views on how a good action/adventure movie should be constructed and the fact that no matter how many impressive set pieces you may have, a strong script, written in the appropriate idiom, is always required.
I had the pleasure of watching The Adventures of Robin Hood recently, a film I've seen many times over the years. I was first introduced to this movie as a child on a Sunday afternoon when the BBC would often show Hollywood classics. My father was very enthusiastic about this movie and waxed lyrical about Erich Wolfgang Korngold iconic score. It had a profound effect upon me upon my initial viewing and set the benchmark very high for subsequent swashbucklers I saw. It has shaped my views on how a good action/adventure movie should be constructed and the fact that no matter how many impressive set pieces you may have, a strong script, written in the appropriate idiom, is always required.
I won’t waste people’s time or insult your intelligence by attempting to write a review for The Adventures of Robin Hood. It is a total classic and milestone in the history of cinema. It should not be taken as an accurate historical depiction of the times, but more as the embodiment of the concept of high adventure. It is vivid and flamboyant piece of cinema with its use of Technicolor, sumptuous production design and remarkable set pieces. The cast is outstanding with Errol Flynn giving a casual yet strong performance. But it is Basil Rathbone who smoulders as the evil and love torn Sir Guy of Gisbourne. Olivia De Haviland is dignified and suitably virginal and there is solid support from Eugene Pallette, Alan Hale Sr. and Herbert Mundin.
Seventy seven years on from its original release, can The Adventures of Robin Hood still appeal to a modern audience? Yes it can, as long as you approach the movie understanding that acting, editing and the overall pacing was approached differently in the 1930’s. This very moral tale still has a compelling story arc and is in many respects not that different from a modern blockbuster. All the essential elements are there from the hero with a cause, a socially complex romance and the triumph of good over evil. It is a common mistake to think that films from this era were heavily constrained by the social morals of the time. This is not the case. Film makers were just more subtle and adept with their craft. There is sexual tension and violence in The Adventures of Robin Hood. It is simply not overstated. For example Much the Miller’s son is slapped around the ear by a knight wearing a mail gauntlet. He bleeds quite noticeably from this casual brutality, yet it is shown in a matter of fact fashion.
The 2008 Blu-ray release has finally done justice to this movies use of “Three-strip Technicolor”. The high definition transfer is simple gorgeous to watch. The picture is detailed and free from print damage and excessive grain. The colours are rich and heavy due to the Technicolor. It looks like it was shot yesterday. One of the things that struck me while watching the movie is the sophisticated and innovative camera work. There are superb tracking and crane shots that you seldom see outside of an Argento film. These are even more fascinating when you consider the fact that the cameras used where the size of fridges. The sound design is very distinct and it’s nice to see that Warner Brothers have not made the usual mistake of replacing the original Mono soundtrack with a multi-channel remix. Many of the sound effects are still used in the Warner sound library today. As mentioned earlier the Korngold score is a stand-out feature of this movie. It embellishes the story to the extent that it becomes a character in its own right.
There are also a wealth of extras which are extremely informative. This film was a massive financial undertaking for the studio at the time and it was far from a trouble free production. The replacing of the original director William Keighley with Michael Curtiz, must have been a colossal risk, yet does not seem to have impacted upon the movie in a detrimental manner. There is also a very nice demonstration reel, showcasing the talents of master archer Howard Hill. It’s a well-known fact (but one worth re-iterating) that Hill shot real arrows at the heavily padded stunt team, never once missing the beech wood blocks concealed within their costumes. The iconic splitting of an arrow by another, a feat they couldn't reproduce properly on Mythbusters, was done for real. It should be noted that not all stunts and set pieces went well. The double for Basil Rathbone fell awkwardly on his legs at the films denouement resulting in both being broken.
The Adventures of Robin Hood is a testament to the old adage that however much things change, they remain the same. Hollywood has always known what works well at the box office and each decade has its own examples of commercially successful movies that are also of artistic merit. We do still have them even today, yet they are often hidden among the reboots, sequels and general multiplex fodder. The Adventures of Robin Hood is a fine example of honest and well-conceived mainstream film making. It still has relevance today and I would urge those who may not be familiar with this film to acquaint themselves with it.
Completing Games
The last RPG that I played was Arcania (formerly known as Arcania – Gothic IV). In total I spent about thirty or so hours playing the game. Like so many RPGs, as well as the central storyline, there’s a wealth of side quests, usually based around factions or specific zones. I think I possibly completed about a two thirds of these. However once I finished the main story, my interest in the game began to wane. I briefly toyed with the idea of installing the expansion pack but my attention was already focused on the “next game”, so I abandoned my character and uninstalled Arcania from my PC to free up some valuable hard drive space. None of this is a negative reflection on the game. I enjoyed the time I spent playing this quirky RPG. I’d simply had my fill and voted with my feet.
The last RPG that I played was Arcania (formerly known as Arcania – Gothic IV). In total I spent about thirty or so hours playing the game. Like so many RPGs, as well as the central storyline, there’s a wealth of side quests, usually based around factions or specific zones. I think I possibly completed about a two thirds of these. However once I finished the main story, my interest in the game began to wane. I briefly toyed with the idea of installing the expansion pack but my attention was already focused on the “next game”, so I abandoned my character and uninstalled Arcania from my PC to free up some valuable hard drive space. None of this is a negative reflection on the game. I enjoyed the time I spent playing this quirky RPG. I’d simply had my fill and voted with my feet.
100% game completion is a perennial subject of discussion among gamers due to the fact that so many of us never seem to do so. Titles such as Lifeless Planet, which I purchased last year, are designed to have a definitive ending. Once the player reaches it, they have completed the game. The Testament of Sherlock Holmes is another title with a very linear narrative and a specific conclusion. However although I reached the end, I didn't necessarily complete all the in-game achievements. After spending over three hundred hours playing Skyrim, I did clear all the quest content available and was eventually only left with repeatable activities. However this was a unique experience for me, as I seldom find a game that engages me to this extent.
At present I have Deadlight, Call of Juarez: Gunslinger and a host of other titles in my Steam library, all in an unfinished state. This got me wondering why exactly does this happen so often? So I had a quick brainstorming session and collated a few bullet points. There’s no particular order to them. I've simply written them as they've occurred to me.
- Finite leisure time: Sometimes there just aren’t enough hours in a day to finish a game. A game can fall off the radar due to other demands on your free time.
- Familiarity breeds contempt: Sometime it’s simply a question of over playing and burning out.
- You don’t like the game: A very straight forward reason. I bought Watch Dogs and didn’t care for the interface or controls, so I went and played something else. I walked away from Dragon Age: Inquisition due to its ponderous narrative that cease to be interesting and became a chore.
- The remaining content is not as good as the main story: When I completed the central narrative in Middle-earth: Shadow of Mordor the ending proved a little anti-climactic. The minor quests proved arbitrary so I left the game and didn't return until DLC became available.
- The grass is always greener: I think this is the greatest malady that afflicts gamers. I regularly fall victim to this and am always keeping one eye on the future. Why complete a game you've already got two thirds of the way through, when there’s something else that’s new and shiny, to do?
I also think that there has been a major shift in perception about gaming in recent years and that many titles are now regarded in a more disposable fashion. Perhaps this is something to do with gaming becoming more casual and the growth of mobile games. Gaming on these platforms is often about letting off steam and relaxing, rather than complex achievements. Discounts and bundles also have an impact. A games cost certainly influences customer’s perception of it. Abandoning something that cost only a few dollars is no big deal. Something else that may be relevant is that I don’t think that as many gamers treat their hobby as seriously as they use to. As gaming has become more main stream, it has joined the list of other popular and transient pastimes we indulge in as a society. Being top of the leader board or having 100% completion may not be as appealing as it used to be.
Even the MMORPG genre, which used to be a bastion of hardcore gaming culture with its never ending list of deeds and achievements, no longer seems as compelling. I remember a time when I use to ensure that I completed all the slayer deeds in LOTRO as well as gained kindred status with all reputation factions. In recent years, unless such tasks offer something tangible, then I don’t pursue them. A while ago, I was aiming for 100% world completion in Guild Wars 2, where all areas of the map are fully explored. The effort to reward ratio of that task was not to my liking, so I stopped trying and am happy to leave this task unfinished. Gear grinds, weapons upgrades and all the standard activities you find in MMOs are often dependent on a sizeable time investment. I think this is perhaps the biggest obstacle for many gamers these days.
It’s also worth taking a moment to consider what the game developer’s perspective is on this situation? Much of the content that they’ve laboured on often remains unseen to a large percentage of customers. From a creative and artistic point of view this must be very frustrating. However I’m sure it doesn’t matter at all to the bean counters. Once the revenue has been secured all other considerations are secondary. As I get older my compulsion towards game completion has slowly diminished. Gaming is no longer about the achievements and bragging rights but simply a question of having some semblance of fun. Therefore I’m sure that in the years to come I’ll continue to leave a swath of abandoned and incomplete games in my wake. I suspect this will become the norm for a lot of other gamers as well.
Capricorn One (1978)
In the middle seventies, America was forced to come to terms with the failure of the Vietnam War and the political fallout of the Watergate Conspiracy. It was a difficult time for the nation both socially and psychologically and naturally this manifested itself in the films of the time. The unquestioning faith in the establishment was replaced with an air of cynicism and the rise of the anti-hero. The enemy was not just the Soviet Union but potentially the national government as it pursued its own agenda. So the conspiracy theory was born and became an integral part of Hollywood.
In the middle seventies, America was forced to come to terms with the failure of the Vietnam War and the political fallout of the Watergate Conspiracy. It was a difficult time for the nation both socially and psychologically and naturally this manifested itself in the films of the time. The unquestioning faith in the establishment was replaced with an air of cynicism and the rise of the anti-hero. The enemy was not just the Soviet Union but potentially the national government as it pursued its own agenda. So the conspiracy theory was born and became an integral part of Hollywood.
Peter Hyam’s 1978 sci-fi action thriller Capricorn One, set its sights high and dared to tackle the mother of all conspiracies. Reflecting a public wane in interest in the space program, the film postulated the idea of a fake mission to mars. Astronauts James Brolin, Sam Waterston and O.J Simpson are literally taken out of the launch vehicle just moments before lift-off and informed by the program director, Hal Holbrook, that there is a major technical fault. Rather than publically admit to failure and risk the cancellation of all NASA funding (and worldwide humiliation), the powers that be decide to fake the landing.
Our protagonists are reluctant to participate, but fear for their families so grudgingly agree. The empty spaceship goes to Mars and returns while the live landing is faked in a studio. However a mistake on re-entry results in the capsule burning up, leaving NASA and sinister government forces with three live astronauts that they no longer need. Sensing that something is wrong, the crew escape and go on the run. Their only possible help comes from a persistent journalist who smells a rat.
Capricorn One is an all-star production littered with the finest character actors of the time. The script is tight with dry, laconic dialogue of the type you seldom see these days. Profanity is sparse but used effectively; there is wit, cynicism and monologues of the best calibre. Hyam’s cleverly taps into the spirit of the decade and builds the tension. The final chase sequence between a crop duster bi-plane and two military helicopters is still jaw dropping to this day. Furthermore it is the real deal and not a load of CGI fakery. The drama is aided by a tense and powerful score by the legendary Jerry Goldsmith.
Hollywood is incapable of making films like Capricorn One at present. They too often jump the shark and lose any subtlety to become the likes of Eagle Eye or Enemy of the State. Noise and bluster replace clever dialogue and bombastic hedonists are preferred over likeable but flawed characters. Capricorn One is not perfect and has some plot holes that are best not dwelt upon (I.E Wouldn’t a Mars landing would require a lifting body as it has an atmosphere and not a lunar module style lander). But it has class acting, a sense of purpose and that gritty, to the point 70s approach to film making. So watch, enjoy and remember “Keep your God damn head down”.
The Future of MMOs
There is currently an AMA (ask me anything) over at Anook which is providing writing prompts for the ongoing Blaugust event. I was asked to share my thoughts about the MMO genre and where it is going by a Stropp who asked the following question: “Where do you think the MMO genre is heading in the next 5 years? The next 10? Beyond that?” I will most certainly try to address this conundrum because it’s one that MMO gamers frequently return to and with good reason. The MMO Genre has change tremendously since the late 90s when Ultima Online took this niche market game and made it popular. Furthermore it would appear that this evolutionary process shows no sign of slowing and change can often cause consternation.
There is currently an AMA (ask me anything) over at Anook which is providing writing prompts for the ongoing Blaugust event. I was asked to share my thoughts about the MMO genre and where it is going by a Stropp who asked the following question: “Where do you think the MMO genre is heading in the next 5 years? The next 10? Beyond that?” I will most certainly try to address this conundrum because it’s one that MMO gamers frequently return to and with good reason. The MMO Genre has change tremendously since the late 90s when Ultima Online took this niche market game and made it popular. Furthermore it would appear that this evolutionary process shows no sign of slowing and change can often cause consternation.
The first and most obvious point regarding where the MMO genre is heading is that it’s primarily driven by economic and business concerns. This is not something that some gamers like to hear. Many still look at the industry through the prism of idealism and ultraism. Although developers themselves are creative individuals and may well want to make a truly great game, the publishers are more focused on making a commercially successful game. Finding the right balance between these two requirements is not easy to achieve. Innovation comes with a degree of risk, where as simply trying to replicate a successful formula can often be the path of least resistance.
For many years games publishers looked enviously the MMO World of Warcraft and sought to produce their own equivalent product. Yet all such triple AAA titles of this nature have failed to recreate the perfect storm of events that have made WoW the unique game that it is. As a result spending hundreds of millions of dollars on such high risk projects has now fallen out of vogue. The industry has evolved to the point where small to medium niche products are deemed to be more economically viable. A moderately sized player base that is loyal and content to support a particular product is preferred to monolithic titles and their associated population churn.
Gaming has in recent years gone through similar changes to the music and television industries. Broad mainstream appeal, a common consensus and flagship products have given way to separate markets, greater choice and bespoke revenue streams. Increasing mainstream appeal has also caused the gaming industry to adapt core gaming mechanics. Time investment is no longer the hurdle that it used to be. New revenue models have also had a tangible impact upon games development. Such evolution has been embraced by some players and eschewed by others. Gaming like many other aspects of popular culture is now subject to the cult of nostalgia from certain quarters, with some fans doggedly looking backwards rather than forwards.
A few other factors worth pondering are as follows. The term MMO itself has become increasingly nebulous in recent years. Perhaps that needs to be addressed and we need to be more specific terms for the variety of multiplayer games that now exist. Another point to consider is that this ongoing discussion is very Western-centric. The MMO market in Asia is a different beast altogether. Finally I recommend reading the following article by Brad McQuaid, a senior developer with Visionary Realms. I broadly concur with his conclusions and feel that his insider knowledge is invaluable to this debate.
Killer Fish (1979)
Newton’s Third Law of Motion states that for every action, there is an equal and opposite reaction. Similarly in the world of cinema, for every successful movie there’s always a cheap Italian cash in version, usually of inverse quality. However unlike the laws of physics, the rules governing knock off films can sometimes be wrong and occasionally you’ll get an enjoyable title. Consider Lucio Fulci’s Zombi 2 AKA Zombie or Antonio Margheriti’s The Last Hunter (L’ultimo cacciatore). Both are quite good movies in their own right, despite being shameless copies of Dawn of the Dead and Apocalypse Now. They both are quite lurid and try to pack as much sensationalism into their running time as possible but they also make a decent attempt at a story. The productions also have an exotic European charm to them. The cinematography, soundtracks and general ambience is subtly different from their US counterparts. Killer Fish shares all these qualities and despite lapses in logic is an enjoyable heist and caper movie with some Piranha thrown in for good measure
Newton’s Third Law of Motion states that for every action, there is an equal and opposite reaction. Similarly in the world of cinema, for every successful movie there’s always a cheap Italian cash in version, usually of inverse quality. However unlike the laws of physics, the rules governing knock off films can sometimes be wrong and occasionally you’ll get an enjoyable title. Consider Lucio Fulci’s Zombi 2 AKA Zombie or Antonio Margheriti’s The Last Hunter (L’ultimo cacciatore). Both are quite good movies in their own right, despite being shameless copies of Dawn of the Dead and Apocalypse Now. They both are quite lurid and try to pack as much sensationalism into their running time as possible but they also make a decent attempt at a story. The productions also have an exotic European charm to them. The cinematography, soundtracks and general ambience is subtly different from their US counterparts. Killer Fish shares all these qualities and despite lapses in logic is an enjoyable heist and caper movie with some Piranha thrown in for good measure.
Robert Lasky (Lee Majors) and Kate Neville (Karen Black) lead a team of professional thieves who break into a mine and steal a stockpile of gemstones. They cause several explosions at a nearby oil refinery to cover their tracks. They return to Paul Diller (James Franciscus), an ex-employee of the mine who provided them with inside knowledge for the heist, to determine what to do next. The group, despite some initial disagreements, agree to wait for two months before dividing up their haul. However Diller does not trust his confederates and releases Piranha’s into the lake where the stones are stashed, as an “insurance policy”. Meanwhile model Gabrielle (Margaux Hemingway) arrives at a nearby resort, along with her manager Ann (Merisa Berenson) and photographer Ollie (Roy Brocksmith). It’s not long before a tropical storm brings all parties together on a sinking tour boat. With the dam breached and the Piranhas set lose, will anyone survive and make off with the gems?
Make no mistake about it, Killer Fish is as cheesy as the plot synopsis implies. Yet the movie makes the most of its Brazilian locations and exudes late seventies kitsch. Made at the height of Lee Majors fame, Killer Fish has safari suits, macho heroics and clichéd notions regarding fashion models and professional photographers. There’s a wealth of miniature effects work and explosions as dams and power plant are flooded. Then of course there are the Piranha attacks which although initially restrained, turn more gruesome towards the movies climax. These are a mixture of real footage of the fish feeding and animatronics. There are also some brief optical process shots of the fish massing which are a little clunky, but by and large the visuals are still adequate.
As with many international co-productions, the dubbing of some of the international actors can sometime be unintentionally hilarious. However the cast overall perform well considering the material. James Franciscus carries the story as the duplicitous mastermind behind the robbery. He’s quite happy to send everyone to their death including his own girlfriend. The late Karen Black is also very watchable. The underwater photography is also worth a mention, unlike the shrill title song by Disco Diva Ami Stewart. You may wish to turn the volume down or at least secure the ornaments when she starts to belt out “The Winner takes all”.
Killer Fish lacks the wit and satire of Joe Dante’s Piranha with its clever screenplay by John Sayles. After the explosive opening sequence the movie slows down while establishing the plot and central characters. However director Anthony Dawson AKA Antonio Margheriti picks up the pace again in the final act. It also packs a lot into its one hundred minute running time with its curious crossover of genres. It has a very European sense of style with its curious camera angles and gaudy seventies excess. Yet is it very comfortable in its own skin and can be very entertaining film if you’re prepared to accept it’s ludicrous premise, sexual stereotypes, colourful aesthetic and excess of flared trousers.
Gaming and Personal Health
Gaming and personal health at first glance appear to be mutually exclusive subjects. News coverage about these issues more often than not implies that gaming is detrimental to both ones physical and mental well-being. Apart from titles that utilise motion sensing devices such as the Kinnect and require the player to physically move, gaming is a sedentary pastime. Combine that with a society that has an already broken relationship with food and their own personal health in general and there is scope for a wealth of medical problems.
Gaming and personal health at first glance appear to be mutually exclusive subjects. News coverage about these issues more often than not implies that gaming is detrimental to both ones physical and mental well-being. Apart from titles that utilise motion sensing devices such as the Kinnect and require the player to physically move, gaming is a sedentary pastime. Combine that with a society that has an already broken relationship with food and their own personal health in general and there is scope for a wealth of medical problems.
There are many notable issues associated with prolonged periods of time spent sitting down. Back, posture and circulatory problems immediately spring to mind, as well as conditions such as RSI and eye strain. Then there are wider issues associated with long and regular periods of gaming, such as its impact upon the quality of a person’s diet. This in turn can lead to both weight gain or weight loss. There is also scope for adverse psychological issues such as addiction; although I think this simply manifests itself through the medium of games, rather than directly because of them. Overall, although gaming can be great fun, it does have the potential to have a negative impact upon our well-being.
Outside of the obvious health issues, gaming can also keep you from other activities. Although people are free to live their lives how they see fit, it is broadly recognised that engaging with real life does have positive benefits. I often hear gamers talk about how virtual worlds offer a retreat from the hardships of life and I understand that this can be a useful safety valve. However I do have concerns that if this becomes a preferred environment to real life, then it may well have knock on effects for society in the long run. If people are not engaged with their immediate world, then how can they affect any change? I worry about a return to the Roman ideology of bread and circuses. It is also saddening to think that so many people turn to gaming because they simply do not feel they have a stake in the society.
Like many things in life this issue is a question of trying to strike the right balance; ensuring that you game responsibly, while maintaining a healthy body and mind. This can be quite a challenge. Imposing time limits and a schedule upon gaming takes discipline. We live in a world were self-regulation and denial are frequently avoided and in some quarters even frowned upon. Some people seem content to embrace their cognitive dissonance, rather than address it. Unfortunately it is the gamers that fall victim of their own excesses, that always seem to grab the headlines and shape the wider public perception of gaming.
However it is not all doom and gloom and we should take time to focus on the positive benefits that gaming can have upon your life and personal well-being. Through gaming I have met a wide variety of people from diverse backgrounds. This has been very illuminating and has broadened my personal horizons. We often have friends in real life that mirror our own lifestyles. Gaming can bridge socio-economic divides in ways that other real world activities cannot. Such situations can lead to unlikely friendships and a greater understanding of people who have different points of views and ways of life.
When I first started playing online games, I was initially struck by how many other gamers were dealing with varying degrees of medical, psychological or personal issues. However I have learned since that online gaming is often very beneficial for them. It provides a controlled environment for measured social interaction and a means to build confidence. It can also offer physical and mental therapy, through group activities and simply chatting. Online communities are an invaluable social lifeline for some. The ability to log on and hear a friendly voice can in extreme situations mean the difference between life and death. However it should be noted that the opposite is also true. Sadly online bullying is common and there are predatory individuals who see online gaming communities as acceptable hunting grounds.
Over the years that I’ve greatly benefited from my time spent gaming. I have met a lot of people whose company I enjoy and through my involvement in the wider gaming community, learned a lot of new technical skills that have been transferable to real life. Gaming has also had some negative effects upon me. In recent years I've become self-employed and work from home. This has reduced my levels of exercise and gaming has compounded this further. As a result I am currently embarking upon a personal health plan to get myself back it to shape. So I am playing a little less, attending to my diet and doing more exercise.
Gaming is in many ways is a microcosm of the world we live in, for good or ill. It can teach you things about yourself that have a real world application. From time to time it will remind you that you cannot always succeed or get exactly what you want. It makes you reflect upon what you are good at as well as what you are not. Gaming sometimes plays with a loaded deck, just like life. I may not like all the lessons I’ve been taught but it would be unwise to ignore them. Gaming and personal health do not have to be mutually exclusive. Both can be enjoyed and even work together. Make the right decision and you can enjoy quality gaming along with good health for years to come. The alternative is not so appealing.
Zombi 2 (1979)
If you are a fan of horror movies then sooner or later Lucio Fulci’s Zombi 2 (also known as Zombie, Island of the Living Dead, Zombie Island, Zombie Flesh-Eaters and Woodoo) will appear on your radar. For good or ill, this movie looms large within the genre and has a mixed reputation. Even by current cinematic standards, this movie is a gore-fest and it still has the ability to make viewers squirm. It is a curious phenomenon that a relatively low budget and obscure Italian cash-in on George Romero’s Dawn of the Dead, has managed to achieve such an infamous, iconic and cult status.
If you are a fan of horror movies then sooner or later Lucio Fulci’s Zombi 2 (also known as Zombie, Island of the Living Dead, Zombie Island, Zombie Flesh-Eaters and Woodoo) will appear on your radar. For good or ill, this movie looms large within the genre and has a mixed reputation. Even by current cinematic standards, this movie is a gore-fest and it still has the ability to make viewers squirm. It is a curious phenomenon that a relatively low budget and obscure Italian cash-in on George Romero’s Dawn of the Dead, has managed to achieve such an infamous, iconic and cult status.
The film was released by Blue Underground on Blu-ray on 25 October 2011 with a 2K transfer. An alternative Blu-ray edition was released by UK distributors Arrow Films with a brand new high definition restoration of the original negative, recently. Both versions come with a wealth of interesting extras and documentaries about the movies production and chequered history. It’s rather ironic that a movie that at one time was labelled a “video nasty” in the UK and banned, is now subject to such a conscientious high definition transfer and scholarly analysis.
The relative merits of Zombi 2 ultimately come down to personal taste. I know fellow horror fans who hate the movie with a passion. It was rather interesting that Mark Gatiss’ recent Horror Europa documentary chose to not dwell on this or any of the director’s other movies. Personable I like the film although I do not consider it to be a cinematic masterpiece. Yet despite its obvious exploitation roots, Zombi 2 does have moments of creativity. The underwater zombie and its subsequent shark attack are truly surreal. The infamous splinter in the eye scene still shocks and it’s actually quite suspenseful. The film soundtrack by Fabio Frizzi and Georgio Cascio is very evocative and suits the movies ambience perfectly.
I have not yet seen the new UK restoration of the movie but I have seen the Blue Underground release. Zombi 2 has never looked so good and the lush tropical locations and mud caked, blood soaked, decaying corpses are extremely vivid. The high definition image does show some of the shortcomings of Gianetto De Rossi’ make up effects but considering the budgetary constraints and the environment the movie was shot in, he and his team worked miracles. To review this film in a formal fashion really is somewhat redundant. It has survived over thirty years of censorship, hyperbole and controversy and has proven to be indifferent to both criticism and praise. My advice is not to just see it but to “experience” it and then make your own mind up accordingly.
Support Your Local Podcasts
A recent discussion between the various contributors of The Gaming and Entertainment Network highlighted a recurring g theme; that of listener comments and reviews. My own experiences are that you only get any real feedback and an indication of whether you’re doing a good or a bad job, when you announce that you’re quitting. This issue never seems to go away and despite a wealth of tools to make the process easier, it’s still hard to address. You can’t force your readers or listeners to leave comments and you don’t want to start badgering them over it. Often if your audience is listening to your show while at the gym or commuting, then they can’t always address any call to action immediately. Yet feedback, both good and bad, can have a positive impact upon bloggers and podcasters. Creativity abhors a vacuum and echo chambers are also unhealthy.
A recent discussion between the various contributors of The Gaming and Entertainment Network highlighted a recurring g theme; that of listener comments and reviews. My own experiences are that you only get any real feedback and an indication of whether you’re doing a good or a bad job, when you announce that you’re quitting. This issue never seems to go away and despite a wealth of tools to make the process easier, it’s still hard to address. You can’t force your readers or listeners to leave comments and you don’t want to start badgering them over it. Often if your audience is listening to your show while at the gym or commuting, then they can’t always address any call to action immediately. Yet feedback, both good and bad, can have a positive impact upon bloggers and podcasters. Creativity abhors a vacuum and echo chambers are also unhealthy.
Not so long ago many pundits where predicting the death of podcasting but it remains a popular medium. You Tube and live streaming seem to have found their own niche and in some respects it’s a case of never the twain shall meet. Visual mediums have specific strengths and this is especially true when it comes to gaming. However audio content has distinct advantages, allowing listeners to focus on the topic in-hand. I think this is one of the major selling points of podcasts. The medium also requires the hosts of shows to marshal their thoughts and be far more coherent in their discussions and analysis. Or at least it does on those that I listen too.
Social media is constantly evolving and often new mediums go from being the province of fans and niche markets, to standard business tools. Podcasts, blogs and streaming channels are awash at present with corporate white noise. That may not necessarily be a bad thing, but they have an agenda and are often far from impartial. This is why it is essential that fans, amateur broadcasters and other fringe groups continue to make their voices heard. They may not always be impartial or without bias but they can provide a much needed counterpoint and a degree of balance. They also have less reason to lie to you. Obviously there are always a few individuals who are driven more by ego and personal gain than by fandom. However these can be easily filtered out.
So I strongly advocate rigorous support for podcasts. Sure I have a vested interest but I also do so out of principle. It is always good for consumers to have choice and alternatives. Gamers are also more likely to listen to recommendations from friends and shows that they feel they have a rapport with. So next time you enjoy a podcast that you downloaded for free, that someone else has taken the time and effort to prepare, please consider providing feedback by leaving a comment or a review. Also, tell your friends and other potentially interested parties. Reaching a greater audience can have all sorts of positive benefits for content creators; benefits that can be passed on to the listeners.
Hannibal Brooks (1969)
POW Stephen Brooks (Oliver Reed) is assigned to work in a Munich zoo, where he becomes the keeper of Lucy the elephant. After a heavy bombing raid, it is decided by the Zoo’s director to transfer Lucy to a safer location in Innsbrook. The journey must be done on foot, so Brooks is accompanied by two German soldiers and a female cook. Brooks however has other plans. He intends to follow in the footsteps of the Carthaginian general Hannibal and lead Lucy over the Alps, to Switzerland. Along the way, Brooks frequently runs into an American saboteur named Packy (Michael J Pollard) with his team of misfits and often ends up involved in the war he’s trying to escape.
POW Stephen Brooks (Oliver Reed) is assigned to work in a Munich zoo, where he becomes the keeper of Lucy the elephant. After a heavy bombing raid, it is decided by the Zoo’s director to transfer Lucy to a safer location in Innsbrook. The journey must be done on foot, so Brooks is accompanied by two German soldiers and a female cook. Brooks however has other plans. He intends to follow in the footsteps of the Carthaginian general Hannibal and lead Lucy over the Alps, to Switzerland. Along the way, Brooks frequently runs into an American saboteur named Packy (Michael J Pollard) with his team of misfits and often ends up involved in the war he’s trying to escape.
Hannibal Brooks is a film that straddles several genres. It‘s a post-modern war film with a lot of late sixties idiosyncrasies. One minute there are actions scenes and the next humour and pathos. Tonally it is somewhat inconsistent. I often wonder how this concept was sold to the financial backers. It may also come as a surprise that this film was directed by Michael Winner of Death Wish fame. Yet it does surprisingly work. Despite the narrative pulling in different directions, the film manages to stay the course through the sheer force of Oliver Reeds personality and his on screen chemistry with the elephant Lucy. Curiously the US distributors tried to sell this as a Michael J Pollard movie due to the recent success of Bonnie and Clyde.
Setting the story’s failings aside, the Bavarian landscape is beautiful. Director of photography Robert Paynter certainly captures the essence of the lush and verdant forests. There’s also a pleasant soundtrack by French composer Francis Lai. Again it has more of a sixties vibe to it, rather than a traditional military style but it works. It is also worth noting that a train crash is staged for real, something that you don’t see so often these days due to the proliferation of CGI. Overall the key to this movie is Reed himself, disproving the old adage about working with children and animals.
Director Michael Winner strays from several cinematic conventions with Hannibal Brooks. Firstly the German contingent of the cast predominantly speaks in their native tongue and the linguistic divide is used to dramatic and comedic effect in the screenplay. Secondly not all Germans are portrayed as Nazi sympathisers. In fact the film provides an interesting overview into German rural life showing how domestic affairs continue despite the ongoing war. Winner also briefly explores the notion of the average UK conscript who once captured, isn’t in a hurry to escape and re-joins the war. When Brooks’ volunteers to help out at the zoo, his CO is not that impressed , where Brooks sees it as a way to improve his current situation for the better.
Hannibal Brooks is as much of a curiosity now as it was at the time of its release in 1969. The World War II movie genre was no longer just a vehicle for historical exploration, as with The Battle of Britain released the same year. It was becoming broader and erring towards action and drama with big budget movies such as Where Eagles Dare. In some respects Hannibal Brooks shares similarities with Kelly’s Heroes in the way the popular culture of the decade that it was made, bleeds into the narrative. It is certainly one of Michael Winner's better movies. It also has appeal outside of its genre, simply because pairing Oliver Reed with an elephant is either an act of genius or utter madness. Either way it works resulting in a film that despite being a curate’s egg, is engaging and entertaining.
DPS Meters – The Gateway Drug of Gaming?
DPS meters are often perceived as being controversial and divisive, especially in the MMO community. Like most tools the problem doesn’t lie with its function but how it is used. A claw hammer is not inherently evil per se but it can be used to bludgeon your Grandma to death. Similarly DPS meters provide data which can be used either positively or negatively. They can inform and prompt change or they can be used as a means of segregation and discrimination.
DPS meters are often perceived as being controversial and divisive, especially in the MMO community. Like most tools the problem doesn't lie with its function but how it is used. A claw hammer is not inherently evil per se but it can be used to bludgeon your Grandma to death. Similarly DPS meters provide data which can be used either positively or negatively. They can inform and prompt change or they can be used as a means of segregation and discrimination.
After returning to Star Trek Online in April, I’ve currently hit the proverbial MMO sweet spot. My primary Federation character is at level cap and has full reputation with all factions. I’m currently experimenting with different Tier 6 ships builds and having great fun. That is to say I was, until I read an article last week about achieving 10K DPS within the game. Alas this set off a chain of events that lead me to installing a Combat Log Reader; a decision that very nearly derailed my enjoyment of STO.
Measuring ones DPS output in a game is similar to measuring the length one’s own penis *. Both start from a position of excessive optimism and over expectation and end in disappointment and hurt pride. Let it suffice to say I was expecting to have numbers of about 5K DPS on some of my ships in STO. After running the DPS meter across multiple vessels and alts, this turned out not to be the case. What happened next is a curious thing. Instead of trying to determine what the average figures where for a casual player; something that would've soothed my injured pride because they are quite low, I jumped straight into the deep end. I mean why have a measured response when knee-jerk reactions are far more fashionable?
So I started to peruse the back waters of Reddit, where people share intricate, esoteric starship builds and a love of anal retention. This lead me to conclude that there were equipment and console sets that I needed to procure, that were only available from the reputation crafting system. Such gear cannot be obtained quickly and requires a great deal of resources and grinding. I soon realised that such an undertaking would require a lot of logistical management. If only there was some way to keep track of it all; a spreadsheet perhaps?
I have stood on the edge of the abyss and I have looked in. As I did so the words of Merlin (Nicol Williamson) from the movie Excalibur rang in my ears. “Look into the eyes of the Dragon and despair”. Mercifully common sense prevailed and I managed to prevent myself from stepping into the void at the last moment. I passed the test. I will diminish, and go into a nursing home and remain moderately perilous.
Hyperbole and self-indulgent jokes aside, this entire episode did reveal some interesting aspects about gaming, my competitive nature and the culture associated with DPS meters. There is nothing wrong with min-maxing. Seeking personal satisfaction in achieving a high DPS output and being top of a league table are valid pursuits. They are not however the preserve of all players. I very quickly realised that chasing above average DPS required a lot of time and effort and that undertaking such a task would kill my enjoyment of the game. I fortunately recognised this before I embarked upon a very self-destructive course of action.
Now the title of this post is meant humorously. I’m not positing a serious academic question; merely pointing out that a simple chain of events did divert me from my somewhat placid and laid back approach to gaming. This story is based upon my experiences in Star Trek Online but it is easily applicable to many other MMOs. Usually I’m not a fan of “ignorance is bliss” policies but with regard to casual gaming, if it ain’t broke, don’t fix it. If you’re happy with your character build in a game, can happily undertake PVE content and have no desire to enter into an arduous competition with yourself and others then don’t ever install a DPS meter (or measure intimate parts of your anatomy). You’ll be far happier.
*This is a very male-centric metaphor. I don’t believe there’s a female equivalent. It’s just some strange facet of biological specific psychology and social conditioning. I wouldn’t be surprised if the bulk of gamers that use DPS meters and seek to be the “best” are male.
The Island (1980)
After the commercial success of Jaws and The Deep, Universal Studios decided to explore the works of Peter Benchley a little further and adapt his novel The Island. Benchley wrote the screenplay himself and director Michael Ritchie was given the job of bringing this rather dour tale to the screen. A substantial budget of $22 million was assigned to the production and a somewhat eclectic cast was assembled. The resulting movie was very poorly received and subsequently pilloried by the critics who found it both risible and revolting. 35 years on is The Island as bad as some would have you think?
After the commercial success of Jaws and The Deep, Universal Studios decided to explore the works of Peter Benchley a little further and adapt his novel The Island. Benchley wrote the screenplay himself and director Michael Ritchie was given the job of bringing this rather dour tale to the screen. A substantial budget of $22 million was assigned to the production and a somewhat eclectic cast was assembled. The resulting movie was very poorly received and subsequently pilloried by the critics who found it both risible and revolting. 35 years on is The Island as bad as some would have you think?
Upon watching The Island the first question that crosses one’s mind is did any of the studio executives have the vaguest inkling about the content of the source novel? Where they seeking a traditional swashbuckling “man versus pirates” action movie, with the pirates firmly being from the school of Robert Newton? I would surmise they were oblivious to the true nature of the book. Despite the film’s commercial failure, director Michael Ritchie delivered quite an honest adaptation that captures the unsavoury themes and elements of the novel. The key to appraising this movie’s merits depends on how you approach it.
Newspaper reporter Blair Maynard (Michael Caine) travels to the Caribbean to investigate a spate of missing boats and pleasure craft. His young son is far from happy with this change in itinerary, having been promised a trip to Disney World. The trail leads to an uncharted island where a group of pirates have lived in isolation from society for hundred years. This inbred, semi-literate group of murderer’s have remained faithful to their traditions of looting and pillaging. However, with their numbers dwindling due to their closed gene pool, they keep Maynard for breeding stock and look to his son as a possible future leader. As Justin (Jeffrey Frank) is slowly brainwashed and turned against his father, Maynard desperately tries to find a means of escape.
The pirates in The Island as a far removed from Jack Sparrow as can possibly be. They are a dirty, violent, unwholesome bunch led by David Warner and a curious array of British character actors like Don Henderson, Colin Jeavons and Dudley Sutton. Their credibility is bolstered not only by the quality of the cast but the fact that despite their nature, they do follow a code that has been passed down for generations. Australian actress Angela Punch McGregor is the sole female character, playing a widow to whom Michael Caine is given in compensation. It’s all rather sordid and unpleasant. The sort of film that makes you want to take a shower after watching. However it’s not sleaze for the sake of sleaze. There’s a curious air of honesty to it all; from the pitiful shanty town where the pirates live to their curious hybrid language.
Yet the movies tone and moral ambiguity ultimately alienated the alleged target audience. The advertising campaign for the movie was also ill conceived. Jaws and The Deep are the embodiment of high adventure. Universal obviously thought that was what they were going to get. Instead they took custody of a bleak, grotesque adult adventure that most certainly was (and still is) an acquired taste. Michael Caine is an unlikely hero playing a weekend Dad who puts his career over the needs of his parental obligations. The film is also quite violent. Although not excessively graphic, the oppressive atmosphere and sordid ambience does heighten the impact. There is a jarring axe attack at the beginning of the movie and the final plot resolution is hard hitting. The current vogue for romanticising pirates glosses over the fundamental reality that pirates were by nature, murderers, robber and rapists. The Island does not shy away from the truth.
The international nature of The Island does make the film a horse of a different colour. American director Michael Ritchie, French cinematographer Henri Decae and Italian composer Ennio Morricone along with a global cast all manage to pull in the same direction, offering a dark but coherent experience. The film also reflects the culture of the times. Journalism is driven by newspapers. The notion of isolated and uncharted island was still tangible due to the technological restraints of the time. There’s also a nice reference to contemporary drug culture. After the pirates raid a schooner they find a large stash of cocaine, which they have no need for. When asked what it is, Michael Caine informs them that it is a drug. “What does it cure” he is asked. “Insecurity” he replies.
I usually don’t like to make obvious comparisons to other movies and try to distil a film into a simply analogy. Under Siege, it’s Die Hard on boat for example. But if I were to cite a few examples of films with a similar vibe to The Island I would perhaps include Deliverance, The Naked Prey and The Light at the End of the World. Don’t be mistaken, The Island does not fall into the “hidden gem” category. It is a competently made piece of cinema that may be of interest to those viewers with a more robust constitution and tolerance for the bleak and grimy. For those expecting a comparable companion piece to Peter Benchley’s previous cinematic outings, you may prefer to look elsewhere.
Gaming and Time
Time is a very unique factor in gaming. It is also a very personal commodity that is far from equitable. The player that has more time to invest in a game has an advantage. It is the one factor that game developers can’t really mitigate through game mechanics. In fact often the opposite is true. In the MMO genre most titles are positively skewed to favour those with more time at their disposal. Time is a gating device. If used wisely it motivates players to pursue in-game goals and keeps them engaged with the overall product. However, if time based gating is clumsily implemented it drives a wedge between the player and the game.
Time is a very unique factor in gaming. It is also a very personal commodity that is far from equitable. The player that has more time to invest in a game has an advantage. It is the one factor that game developers can’t really mitigate through game mechanics. In fact often the opposite is true. In the MMO genre most titles are positively skewed to favour those with more time at their disposal. Time is a gating device. If used wisely it motivates players to pursue in-game goals and keeps them engaged with the overall product. However, if time based gating is clumsily implemented it drives a wedge between the player and the game.
Not only does each individual player have a specific amount of personal leisure time to invest in a game, they also have their own unique perspective on how that time is utilised. Patience is a very subjective thing and a totally separate issue from available leisure time. A gamer that has lots of leisure time may still balk at having to invest a specific amount to receive a reward. Yet another player with only a few hours to spare each week may still diligently pursue a personal goal and schedule the time to achieve it. Everyone has their own internal equation that governs how much time they are prepared to invest in any game related undertaking. As you can imagine they vary drastically and for multiple reasons.
After six years of playing MMOs, my attitude to time investment has changed quite radically. This is due to my own personal outlook and personal circumstances evolving and also down to changes in specific games themselves. In the past, I would happily grind content if it provided what I deemed was an adequate reward. For example I worked towards both the Moria and Mirkwood Radiance gear sets in LOTRO. Furthermore I was happy to do so, as there were raids to be completed and having such gear was mandatory. I also laboured to obtain the Hytbold armour set, although it quickly became obsolete and I never felt I reaped the benefits of my hard work. However two years on, I will not grind for the current Gondorian reputation factions simply because it takes too long and the rewards are insufficient in my view. The game in its current state has no requirement for players to have the top tier gear.
It’s a delicate balancing act for games developers, trying to find the optimal blend of time investment and accessibility. Players usually do not want challenges and rewards given to them on a plate. However many do not wish to be compelled to repeat content numerous times. I was impressed by a simple mechanic that was included in L.A Noire in which if you attempted a challenge and failed it more than a certain amount of time, the game would allow you to progress to the next stage, without sanction. The developers did not want the player to feel frustrated and abandon the game entirely.
At present I am playing Marvel Heroes. Like many games of this ilk it has a skills tree that is unlocked with points gained from completing content. Naturally the skills allow you to take on more demanding missions. The game is well balanced and I have earned most of the skills that are available over a period of fifty hours of game play. This has not felt excessively demanding or too trivial. Although there have been challenges along the way, I have not resented the time spent in any way and have felt the overall investment to have been rewarding. The Sniper Elite series takes this a stage further by offering a game that by its very nature provides a superior gameplay experience to those who are prepared to play slowly and spend time using stealth and tactics. Again I found this to be a rewarding experience and did not consider the time frame required to be punitive.
The move towards more causal gaming in recent years has meant that a lot of developers have become more cognisant of time sinks. Yet the more relaxed approach to time investment of games such as Guild Wars 2 has not met with universal approval. Some gamers look at long term dedication to a specific game as an integral part of their enjoyment. It is a badge of honour and an achievement in itself. For some committing to a game is as important as being successful within it. It’s a curious thing how some players even ascribe a personal moral judgement to time investment. Those who eschew it are labelled “lazy” or “entitled” and are deemed as lesser players.
From a business perspective this inequality in available time among players, often presents lucrative opportunities. Lots of games with cash stores offer items that will mitigate time based gating. This can be something as simple as weapons unlocks in lobby based shooters, to gaining multiple levels in an MMO. The latter genre is specifically designed for long term investment, so players usually expect a minimum time investment before they get to the proverbial “good stuff”. However there are occasions when you get the distinct impression that some developers have deliberately this game mechanic, so they can introduce a store item to bypass it.
Perhaps the most elusive factor in this debate is the value that each gamer places upon their own leisure time. I would hazard a guess that this is determined by the personality of the individual and their individual psychology. I consider gaming to be primarily about fun, relaxation and entertainment. Challenges and bragging rights are of far less importance to me. This outlook has raised a few eyebrows over the years when I have grouped with others. My objection to researching game mechanics by watching videos or reading third party websites has often met with bemusement. I’ve even been asked “Are you like this in real life with things like work”? To which my answer is a resounding “no”. The major difference being that challenges and the investment of time are financially rewarded in reality, which is a far more practical form of motivation.
As a self-employed person with a marketable set of skills, I set a specific value on my time within a work capacity and that possibly colours my perspective in other aspects of my life. I am reticent to invest time in a game if there is no clear quid pro quo. Yet I know other players who are not a gamer per se, who are dedicated to a particular MMO as it is their primary leisure and social activity. They have invested far more time into their game of choice and have not once regretted it. Furthermore they fully recognise that this is something that suits them but is not necessarily right for anyone else. Whatever your perspective on this issue, regardless of how busy or laid back your life is, time still seems to be a scarce commodity these days. Therefore it is pertinent to pause and reflect upon how we spend our time in-game, to ensure that it is not squandered but used wisely and to our personal satisfaction.
The Naked Prey (1966)
In 1951 Hungarian-born Cornel Wilde became the second major Hollywood actor after Burt Lancaster to form his own production company. A travelled man, proficient in six languages, he considered the two-dimensional heroism of Hollywood an insult to audiences. Tiring of the studio system, Wilde wanted to make movies about characters with substance and stories that challenged, rather than preached, so he created Theodora Pictures.
In 1951 Hungarian-born Cornel Wilde became the second major Hollywood actor after Burt Lancaster to form his own production company. A travelled man, proficient in six languages, he considered the two-dimensional heroism of Hollywood an insult to audiences. Tiring of the studio system, Wilde wanted to make movies about characters with substance and stories that challenged, rather than preached, so he created Theodora Pictures.
The Naked Prey was originally conceived to tell the story of John Colter, a trapper with the 1809 Lewis and Clarke expedition who survived an altercation with Blackfoot Indians in Wyoming. When Wilde became aware of substantial co-production funds available in South Africa, he and screenwriters Clint Johnston and Don Peters reworked the “western” into an allegory set in the veldts of South African Zulu country. This was a controversial move that at first glance looked like shameless profiteering on the back of the apartheid system. However, the resulting film with its use of indigenous black actors and measured treatment of African culture is not your typical exploitation fodder.
Wilde plays a safari guide anticipating retirement after one last expedition. When his elephant-hunting client (Gert van den Bergh) refuses, despite his warnings, to comply with a Zulu warrior’s (Ken Gampu) demand for tribute, the expedition camp is promptly attacked. Due to the perceived “insult” the hunters are brutally slain. This leaves only the 54-year-old Wilde who is stripped naked and chased into the bush, where he must elude wild animals and his vengeful pursuers and attempt to return to “civilisation”. Because the Nguni dialect is not subtitled, we, like the hero, fail to understand all the considerations governing this “trial by ordeal”. Wilde’s is in mortal danger, but because he had argued in favour of paying tribute, the tribesmen afford him the honour of proving himself their equal as a warrior.
The Naked Prey is an important example of independent US film-making. It is too often ignored on several counts: its pulp-storyline, the matter of fact directorial style and its scarcity of dialogue. The stock footage of animal deaths and the bleak way it was marketed (see one of the original film posters below) also didn't win it many friends upon release. The post-modern sensibilities of many contemporary critics, has often led to wilful misinterpretation. This engrossing adventure is a serious statement about the nature of “civilisation” and a plea for racial understanding. But the prevailing political attitudes in 1966 (at least in the US) chose not to see this and simply took it to be an exploitation film.
Wilde’s directorship is sympathetic of the Zulu people and explores the nature of power and alpha male status. Yet the introduction of a female character, a young girl whose village is enslaved, counter balances the male-centric narrative. Although clumsily implemented, their ensuing friendship, despite a language barrier, is quite endearing. The spectacular South African vistas become an additional protagonist in the story that proves hostile to all parties. During the end credits Wilde’s character is identified simply as ‘The Man'; a clear metaphor reflecting man’s constant struggle with his environment and himself.
If you have an open mind and are not swayed by the propaganda that has dogged this film, you will find a rewarding and powerful piece of cinema. Films like this are not made any more, at least, not in Hollywood. You can see the clear influence this film had on Ruggero Deodato’s 1980 exploitation piece, Cannibal Holocaust. It is also worth considering what reception this film would have received, if it had stuck closer to the source story and had been a traditional western. The genre was at its height in the 1960s and attitudes towards the depiction of Native Americans in movies were changing.
Same Meat, Different Gravy
After a short break the time has come to relaunch Contains Moderate Peril. Ironically I've returned to blogging just as the Blaugust has started, so bang goes my plan to reduce my writing schedule. So for the next month I shall be writing everyday but once this event comes to an end on the 31st, I will defer to my original idea of writing several times a week.
After a short break the time has come to relaunch Contains Moderate Peril. Ironically I've returned to blogging just as the Blaugust has started, so bang goes my plan to reduce my writing schedule. So for the next month I shall be writing everyday but once this event comes to an end on the 31st, I will defer to my original idea of writing several times a week.
I've written in the past about the importance of finding a writing schedule that is both comfortable and achievable. It is beneficial for both the writer and readers. If your audience knows that there is going to be regular content then they will visit consistently. The moment you cease posting articles then the traffic will abruptly stop. The old incarnation of this site has seen a 75% reduction in traffic over the last fourteen days.
There is something quite invigorating about a new website. As of yet, there are no broken links or missing images and the blog has a lean and streamlined feel to it. I certainly am impressed with Squarespace and can see why they are rapidly becoming the website host of choice. It was very easy to create Contains Moderate Peril 2.0 and get things up and running. Too often the aesthetics of a blog can become a distraction and hours can be lost tweaking templates rather than writing.
Overall it will be business as usual for Contains Moderate Peril. I will continue to write about movies, TV and gaming as well as other aspects of popular culture, only this time round I shall be more candid and forthright. This is after all a platform for personal opinion and expression. The site may also on occasion stray into other contemporary issues and news stories. Simply put if it’s something I'm thinking about then it may well turn up here.
So now that I've set out my stall, I guess it’s just a case of getting on with the content creation. There’s no need for a mission statement and I'm not going to hamstring myself by setting unnecessary goals. I'm just going to write and share my thoughts. If there’s one lesson I've learnt after seven years of blogging is that it doesn't need to be any more complicated than that.