LOTRO: Progressing Through Mordor

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It was in May that I last subscribed to LOTRO and attempted to progress through the Mordor expansion. I was under geared and under powered and the initial zone of Udûn was proving to be an up-hill struggle. So, I decided to level elsewhere in the game and managed to get as far as 111 (the current level cap is 115). I still couldn’t improve my gear so there was no point bypassing Mordor and going straight to the Dale-lands which were released in June in Update 22. So, I decided to spend my gaming time elsewhere and left LOTRO. However, the recent Bullroarer preview of Update 23 rekindled my interest in the MMO. Surely Mordor wasn’t the immovable obstacle that I thought? So, I subscribed once again, and returned to the game on Friday evening. Luckily, there were several kinship members online and they generously helped me until I reached the “tipping point” of the Mordor expansion. Two days later and I’ve nearly hit level cap and the game although challenging, it’s no longer the grind that it was a few months ago.

In a nutshell the key to success in Mordor is gear. Specifically gear that has the “Light of Eärendil” defensive stats. This is designed to counteract a cumulative debuff known as the “Shadow of Mordor”. This is simply a new version of the Radiance stat that was found on Moria and Mirkwood raid sets back in the day. Without “Light of Eärendil” a player is severely gimped. Mordor is essentially a major gear check for LOTRO. You start getting random pieces of new armour by clearing regional quests but it’s all very piecemeal. Hence the initial few levels above 105 are a slog. However, once you get to level 112, you become eligible to buy gear sets via the High-enchanter NPC, using the “Ash of Enchantment” barter currency. Players obtain this currency by deconstructing surplus gear they’ve obtained via quest, loot drops or Gorgoroth Steel-bound Lootboxes. Any item that has the “Light of Eärendil” can be broken down into “Ash of Enchantment” by using “Flame of Ancalamír” crystal.

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To cut a long story short, I was given several lootboxes and keys which provided me with enough “Ash of Enchantment” to buy a level appropriate gear set. I chose the “Light Tower Set” which favours DPS builds. Upon equipping the gear, my stats were significantly boosted, thus making questing in Mordor significantly easier. I have subsequently progressed through the Epic Story and some of the regional quests and expect to hit 115 in the next day or so. I have even gone so far as to plan ahead and determine which set I shall buy next. I estimate that to obtain all armour and jewellery for the “Light Expedition's Vanguard Incomparable Set” will cost about 4,800 “Ash of Enchantment”. The irony is however, that I shall only enjoy the benefits of this set for about a month or so, because once Update 23 is released the level cap is increased to 120 and they’ll be new gear.

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Now what has become apparent to me as I’ve progressed through Mordor over the weekend is the way that lootboxes have become more significant in LOTRO and I suspect that this may only get worse in future updates. A player can grind quests to get gear to convert to ash, but lootboxes offer a “far quicker solution”. I suspect that we are now finally seeing the consequences of Standing Stone Games “business relationship” with the Daybreak Game Company. However, that is a different blog post entirely. For the meantime, I’m back in LOTRO, making progress and having fun. Now that I’m no longer fixed upon the grind of the game, I must say that the various storylines in the Mordor expansion are very good. I like the way the SSG draws upon characters we’ve seen before in the game. It was a pleasant surprise to see Alti Spider-bane again. So, to those of you who have also fallen victim to the Mordor grind, there is a solution available, although it is not necessarily one that benefits the solo player. Being in a supportive guild and having access to shared resources helps immensely. Good luck.

The Awakening (2011)

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The Awakening has a strong opening with a scene involving a seance. Set in the post WWI years of the early twenties, the film explores the concept of a nation coming to terms with grief. It is here that we are introduced to Florence Cathcart (Rebecca Hall) a professional hoax exposer and paranormal investigator. Is she solely dedicated to debunking the supernatural or does she have a yearning to encounter something genuinely supernatural? This opening sequence is perhaps the highpoint in The Awakening, as it is clever and thought provoking and could have been developed into a story in itself. Although the narrative moves on and maintains a strong grip on the audience for the next two acts, it never quite recaptures the atmosphere and depth of its opening. 

She is subsequently commissioned to investigate the strange happenings at a boarding school, by schoolmaster Robert Mallory (Dominic West). A boy has reportedly died of fright at seeing a ghostly apparition of a child with a "twisted face". Florence naturally suspects mass hysteria or some distinctly earthly subterfuge. Yet matters are obviously more complex that they first seem, and the plot unfolds into realms of PTS, sexual repression, self-harm. Along the way much ghostly literature is referenced (think M R James, Algernon Blackwood and Shirley Jackson) along with some classic films of a similar idiom, such The Orphanage, The others and The Devil's Backbone. 

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The Awakening is professionally constructed with a handsome production design and sinister atmosphere. The cast is exceptionally strong, and the film is dominated by Rebecca hall's performance. There are nods to other genre classic and a scene that appears to have been lifted directly from The Changeling, but we will consider this a homage rather than plagiarism. Yet the third act sees the film over reach itself and stray into the realm of incredulity. Considering how much the film initially gets right it is somewhat surprising that such a mistake could have been made at this point. The screenplay co-written by director Nick Murphy and Stephen Volk (Ghostwatch) is very much at fault here and perhaps the least experienced of the pair, Murphy, is the culprit. The twist ending is unfortunately not so much of a surprise and seem to rush to fill in the logical gaps in the plot.

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However, despite its faults, I applaud The Awakening for daring to be more traditional in its approach to the genre and for eschewing cheap shocks and tricks that are so prevalent in contemporary horror. The period production design is also authentic and adds to the movies ambience. If you can forgive a somewhat flawed ending you will be rewarded with an atmospheric and thoughtful supernatural drama with solid performances and an understanding of the genre. This film with all its failings is still in a different league to that which Hollywood is currently producing.

LOTRO: Update 23 Preview

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I managed to spend an hour or so today, exploring the latest preview of Update 23 for LOTRO, that is currently being beta tested on the Bullroarer server. Sadly, due to my schedule, I did not get to spend as much time as I would like, exploring the new zones, and by the time I reached the Withered Heath, the server closed. However, I did see sufficient for me to be able to gauge progress. Overall this is an interesting zone which offers new iterations of Dwarven culture. Standing Stone Games once again have found the right balance between using established in-game assets and integrating them with newer designs. The results are two regions that are bright, roomy and distinctly Dwarven. However, it should be noted that as ever with these beta previews, the build is subject to change.

Update 23 focuses on the Longbeards, descendants of Durin the Deathless. To begin with, there is an expanded version of Erebor, which adds far more to this Dwarven capital. There are now ornamental gardens, Gemcutter’s court and even a theatre. It certainly feels more like a thriving community. SSG have also added the legendary mines where the Arkenstone of Thrain was found. For those expecting tunnels and diggings like those seen in Peter Jackson’s The Hobbit movies, we’ll you’re in for a disappointment. They are depicted here in the same way as they are elsewhere in LOTRO, IE in a functional and practical fashion, with linear tunnels and mine car tracks. It may not look as opulent as other depictions, but it feels authentic.

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East of Dale, SSG have created the fabled Iron Hills. This zone is spacious with a mixture of green plains and brown “hills” filled with iron ore. Hammerstead is the major Dwarven settlement of the region and there is ongoing conflict with the Easterlings, who have occupied one of the other towns in the area. It should be noted that there is a clear influence of Easterling culture on Dwarven armour and weapons in this region. This is also apparent in the Grey Mountains to the North of Erebor. Here we find another Dwarven enclave, Skarhald. This area has clearly suffered under the depravations of Dragons and the zone is littered with their ancient bones. There is a nearby mine, Glimmerdeep, that has fallen to Orcs from Mount Gundabad. This delving is very reminiscent of the Silvertine Lodes in Moria. The Witherted Heath is an interesting addition to the game, featuring bleak and fire blasted steppe region with a large glacier extending down from the mountains. It is also populated with drakes and worms.

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As well as new zones and Epic Story content, there are two new Instances for up to three players, and one new Instance for up to six players, in development. There are also ongoing changes to the Hobbit avatars, to bring them in line with the updates made to the other races in recent months. It should be noted that Update 23 will bring an increase in level cap, from 115 to 120. Naturally, the chnage will bring about new gear and cosmetics items, and no doubt there will be yet more factions to gain rep with. Overall, it seems very much like business as usual for LOTRO with this forthcoming update, but as this seems to be what players enjoy, then it is by no means a problem. Certainly, these new zones are a welcome addition to the game and an uplifting alternative to Mordor that still remains a crossroad (or dare I say stumbling block) in the game for some players.

Cinema, Risk Aversion and Creativity

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Paramount Pictures’ recent decision to forgo a worldwide theatrical release for Alex Garland’s innovative science fiction movie Annihilation and to sell it directly to Netflix, is still a matter of debate. It raises a wealth of issues from the current culture of financial risk aversion that dominates Western society, right the way through to gender politics. It certainly highlights the fact that the bottom line is now the primary motivator of any mainstream studio film production. All other considerations be they artistic, socio-political or just telling a good story are now subordinate to whether or will not a movie will make a predefined return on investment. It can therefore be cogently argued that many classic films from the sixties and seventies such as Bullitt, Deliverance and Dog Day Afternoon or would not be approved for production if they were pitched to studios in the current climate.

In many respects this is about morality, principles and ethics. Things that are frequently common to directors, writers and actors, especially those just beginning their careers. But such qualities can be conspicuously absent in twenty first century businesses. And their scarcity subsequently impacts upon the scope and quality of movies currently in production. It is worth considering that if current attitudes had prevailed seventy-eight years ago, then Chaplin may well have never made one of the greatest political satires ever, The Great Dictator. Something he did at considerable risk to himself. The thing is that when cinema is at its best, it is art. Art has always been an invaluable means of challenging the status quo. It can highlight new ideas, critique social and political issues or simply just bring matters to the publics attention, for their consideration. Art is therefore political and very much a question of expressing an opinion. Sadly, to Hollywood politics and “opinions” are risky. Disney’s recent parting company with director James Gunn highlights this.

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Not all movies meet the nebulous criteria to be deemed as art and many more are happy just to entertain and to provide audiences with an amusing diversion. But even a mainstream production can still have a positive impact on audiences’ opinions and influence change. For example I Am a Fugitive from a Chain Gang shed light on a topical issue at the time of its release in 1932, and helped instigate change with regard to such penal practices. The studio and the film makers behind the movie made political enemies as a result but it still did not deter them. It is this moral component that seems to be conspicuously absent these days. Perhaps such notions of ethics and social responsibility have finally been driven out of mainstream US film making. If that is the case, then it is a tragedy for both the industry and consumers alike.

In recent decades we have scene a reversal of roles between TV and cinema. TV is now the home of cerebral, character driven narratives that explore complex and difficult themes. Commercial cinema is now about light and undemanding entertainment. Hence, we have seen the rise of the lucrative PG-13 rating, which has been tailored to satisfy the need for a degree of adult themes and violence, yet still accommodates broader audiences to ensure maximum box office returns. Yet demanding that movies conform to such a strict set of content criteria is extremely restrictive creatively. Furthermore, the growth of international markets, especially China, also impacts upon the scope and tone of movies. Striving to create a generic product that fits all international markets, usually means divesting them of local flavour and style. It can certainly impact upon content. The Red Dawn remake of 2010 sat of the shelf for two years after the collapse of MGM studios. When it was finally released in 2012, the Chinese market had grown lucrative, forcing the new owners to repurpose the film and change the main antagonist from China to North Korea. The final release is a dog’s dinner.

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It would appear that this cultural reticence to engage with certain subjects, less they harm sales, is so great that even A list directors are now being shown the door. Hence, we find alternative platforms such as Netflix, providing an environment where a director can pursue a “higher risk” project more freely. Naturally independent film makers will still pursue their own agenda and will not be perturbed by commercial considerations and constraints. In the long term, the current culture of risk aversion versus creativity will result in films simply moving to the platforms and out lets that suit their needs best. However, while the current trend remains dominant, it does mean that mainstream choice will become increasingly homogenous. Yet such a policy is ultimately sowing the seeds of its own destruction. There will come a time when the market for Super Hero movies and Star Wars sequels will be saturated and once again, Hollywood will look to the independent sector to innovate and fill the gaps in the market. Movie making is after all, cyclical and governed by trends like all other leisure industries.

Spock

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I’ve written in the past about the problems that can arise from untempered fandom. If enthusiasm and inspired love are not balanced by contextual reason and a healthy dose of reality, then it can get a little bit over zealous. Need I cite Star Wars fans and The Last Jedi as an example of unchecked fandom. However, I am now going to stray a little into the “Twilight Zone” of fandom myself, although I shall attempt to apply a healthy dose of realism into the proceedings. Because I want to discuss the fact that Ethan Peck has been cast to play one of the most iconic characters in popular culture. Yes, Gregory Peck’s grandson (and there’s plenty of “baggage” there) has been cast to play Spock in season two of Star Trek: Discovery. Furthermore, rather than be concerned, I am very excited by this development and I really look forward to seeing how this pans out.

As a fan of not only Star Trek but wider popular culture, I believe that specific iconic characters are extremely pertinent and in their own way, beacons of hope and cultural touchstones for good in contemporary society. I personally believe that Spock as a fictious character is a positive force in the world, comparable to the likes of Sherlock Holmes. These characters are inspirational, provide hope and area source of introspection and self-reflection. The genius of Star Trek and other science fiction vehicles is that they provide alien characters and culture as a medium to examine the human condition. Leonard Nimoy struggled with this complex conundrum throughout his life, but he ultimately reconciled himself to the positive aspects of embracing such a multifaceted character as Spock, and saw him as a force for good. I sincerely hope that Ethan Peck has a similar opportunity, because we really need the wisdom and “humanity” of Spock in the wider world at the moment.

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I like many others, was initially flummoxed by the aesthetic changes that came with Star Trek: Discovery. However, after a while I adjusted to this shift and focused upon the narrative of the new show and soon found that it embraced much of what I consider to be the core values of classic TOS. Considering the timeline and the specific lore that this new show has chosen to explore, ignoring Spock Prime is not really an option and I had a gut feeling that the character would have to be brought into the narrative at some point. It’s a bold move considering the esteem in which Spock is held by fans and the fact that only two other actors have ever played the character as an adult. I personally am not au fait with Ethan Peck’s previous work as an actor. However, I am prepared to continence the fact that the showrunners of Star Trek: Discovery are not going to doing anything rash when it comes to casting such a key role in Star Trek lore.

So rather than wringing my hands and focusing on the negative, I am prepared as a Star Trek fan to take a calculated gamble and remain positive about not only the casting of Ethan Peck, but the fact that the current writers wish to explore this legendary character further. So, I shall be looking forward to season two of Star Trek: Discovery when it premieres at the end of the year. I’m sure that the exploration of Spock’s career, prior to him meeting James T. Kirk will be insightful and informative. I believe that the essential character of Spock still has much to teach us and that this significant period of his life, associated with Captain Christopher Pike will be an most illuminating. As for actor Ethan Peck, welcome to the Star Trek family and I hope that this iconic role that you’ve bravely accepted will be both challenging and rewarding.

Classic Movie Themes: Basic Instinct

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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.

The plot is a text book example for the genre. Troubled police detective (Michael Douglas), returns from suspension to investigates a brutal murder, in which a manipulative and seductive woman (Sharon Stone) could be involved. Events quickly get out of hand as detective Nick Curran becomes personally involved in the case. The script by Joe Eszter has smoulders with sexual tension and is further punctuated by explosions of violence. Performances are universally good, elevating what is essentially a rather sleazy murder mystery into a far classier undertaking. The film also offers an interesting social commentary on contemporary US sexual politics. Let it suffice to say that beauty often harbours a dark heart.

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Regardless of your views on the merit of the movie, Jerry Goldsmith score for Basic Instinct is absolute gem, finely balancing the suspense and the on-screen sexuality. He brilliantly blends mystifying strings, woodwinds, harp, along with piano to build a sense of tension. The soft, wistful title theme is both alluring as well as ominous; a subtle warning of the events that follow in the movies opening scene. The strings section carries the burden of the work, as they do for every other cue throughout the remainder of the score. Basic Instinct remains a text book example of the craft of the late Jerry Goldsmith, bringing distinct elements of class and maturity to the raw passion of the movie.

Basic Instinct Title Theme

Jerry Goldsmith

The Land That Time Forgot (1975)

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I first saw The Land That Time Forgot way back in 1975 at the Odeon Isle of Wight, when it was first released. We were on holiday at the time, which was cause for celebration in itself, as these were few and far between during my youth, due to the state of the UK economy at the time. But to then go to the cinema and see a fantasy film, filled with action, adventure and monsters, was the icing on the cake for an over excited eight-year-old. Adapted by Michael Moorcock and James Cawthorn from the 1924 the novel by Edgar Rice Burroughs, The Land That Time Forgot is a classic example of high adventure on a low budget. Its technical shortcomings were even apparent to me as a child, yet there was a charm and honesty to this curious British production, that had the audacity to try and compete with the likes of more expensive US productions such as The Golden Voyage of Sinbad and Island at the Top of the World.

The Land That Time Forgot has a rather unusual production pedigree as it was financed by Amicus Productions who were best known during the seventies for their series of portmanteau horror films such as Tales from the Crypt (1972), Asylum (1972). It boasts a robust cast of British characters such as the late Keith Barron (Captain Bradley), Susan Penhaligon and Anthony Ainley. Barron got the role because he bought a house from the producer John Dark, who was casting at the time. Seeking a “known quantity” for the US market, actor Doug McClure secured the lead role as Bowen Tyler. McClure was popular due to his regular appearance in the successful TV western series, The Virginian. British actor John McEnery who played U-Boat Captain Von Schoenvorts, was not deemed to be “sufficiently German” when the movie entered post-production and subsequently had all his dialogue re-dubbed by Anton Diffring.

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The Land That Time Forgot is a fairly faithful big screen version of the source novel. Set during World War I, the survivors of a torpedoed British merchant ship manage to capture the German U-Boat that sunk them. However, the German second officer Dietz, sabotages the compass resulting in the U-Boat straying into uncharted waters. Low on fuel and supplies, the combined crew find a strange volcanic sub-continent amid the frozen sea. Captain Von Schoenvorts surmises that this may be the “lost” island of Caprona, which was referenced by Italian explorer Caproni in 1721. Finding an underwater channel, the U-Boats manages to penetrate the outer cliff wall only to find a lush tropical zone, populated by both Dinosaurs and prehistoric people. While Captain Von Schoenvorts and Biologist Lisa Clayton contemplate the mystery of Caprona’s curious ecosystem, Engineer Bowen Tyler searches for a viable source of oil that they can refine and so escape back to civilisation.

The Land That Time Forgot is very much a product of its time, being made on a very modest budget. Yet despite its technical shortcomings the movie holds up very well. Roger Dickens dinosaur effects, which are mainly rod puppets, have a certain charm about them. They are not as sophisticated as Ray Harryhausen’s stop frame animated marvels, but they get the job done. Praise was heaped upon Derek Meddings’ superb miniature effects at the time and they are still impressive today. But what The Land That Time Forgot manages to achieve that many modern equivalent movies fail to do, is being honest and respectful towards its source material. Just because the movie is based upon a pulp fiction novel, it isn’t trivialised or presented in an ironic and self-deprecating way. The cast obviously took their roles seriously and delivered a very sincere film, irrespective of its humble origins and restricted production values.

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The Land That Time Forgot is an excellent example of low budget, but creative independent film making that was common place in the seventies. It has a simple plot, with clearly defined characters. The action scenes and dramatic scope of the film are ambitious considering the financial constraints and although casually violent, as so many family films ironically were at the time, it is never gratuitous. Susan Penhaligon’s role sadly reflects gender-based attitudes of the time. The movie doesn’t make any attempt to accurately reflect the state of geopolitics of the period. The hero is robust, masculine and decisive. The Germans are “bad” because the film requires an arbitrary set of antagonists. Naturally they also reflect the prevailing stereotypes and prejudices common to the UK society at the time. The film poster certainly overstates the scope of the production, promising action of a far more spectacular nature and a lot more dinosaurs. Yet it all works very well and is still very entertaining, if you accept it for what it is and when it was made.

Video Games: The Broadest of Churches

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I started playing video games in the eighties, mainly coin-op arcade machines. By the time the nineties console boom began, I was out of school, working and therefore bought several generations of home entertainment systems. By the late nineties I moved over to the PC and subsequently got access to a wider variety of games. I came relatively late to the MMO boom, although I had played other types of multiplayer internet-based games. Thirty-five or so years later, I find myself a mature player of games (I do not identify as a gamer per se but that’s another blog post entirely) with a bunch of views, opinions and expectations shaped by the decades I’ve lived (and played) through. Simply put, my head is at a different place to those who are ten, twenty or thirty years my junior. Games have evolved, just like popular music, TV and movies. The associated culture around video games has also been subject to change. You may well think I’ve just stated the “bleedin’ obvious”, but in my experience it doesn’t hurt to re-iterate this point when addressing a new trend or craze that on first inspection seems somewhat abstract to us.

The cue for this post came from Wolfy over at Through Wolfy’s Eyes. He stumbled across a video from a young Fortnite player and then wrote about his general bemusement of the Battle Royale scene and its associated popularity with younger gamers. I broadly agree with his sentiments about this particular genre. Battle Royale games have become ubiquitous and are now the de facto style for most forms of multiplayer PVP. They are also frequently egregiously monetised. Because they are founded upon competitive play, bragging rights and bellicose self-pride are an integral part of the associated culture. Like many other game genres, this too has developed its own a lexicon of slang and associated tropes and memes. If you are not part of this “world”, it can look quite alien and bewildering. What is the appeal of Battle Royale? Why has Fortnite found such a fanbase among the under twenty-fives? Why are “kids” (like the one Wolfy references) writing songs and posting them on You Tube. However, if you take a step back and reflect less on the game and more on the culture, it does start to fall into place. Wolfy reached his own conclusion, and I would like to expand upon it further.

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Fortnite Battle Royale was in the right place at the right time. PUBG initially whet competitive gamers appetite with a simple innovative new spin on PVP. Fortnite simply refined that formula further with a game that looks more appealing, colourful and dynamic. Hence it found its home with the youth audience and because of its chosen visual style, it doesn’t at first glance look problematic to the passing parental glance. The fact that the game is also accessible across multiple platform is another reason why it’s taken hold. It also has a degree of cross platform support. And let us not forget that it’s a free-to-play product, so the initial barriers to entry are low. All things considered it’s hardly a surprise that it found success with its current demographic. Developers Epic Games have subsequently ensured that the game has regular tie-ins with other franchises that match its customer base. Thus, the game has keeps growing and making money. Lots of money.

Humans are social creatures and our teenage years are a time where we seek to establish our own identities and affiliate with some social group to find a sense of belonging. Fortnite, although boasting players of all ages, has most certainly been claimed by the youth market. It is a fast and frenetic game that requires quick reflexes, both physically and mentally. Such gameplay favours the young. And like anything else that the youth market claims as it own, a bespoke culture has quickly grown around it. And that culture is by exclusionary by design. Teens want to have things that are their own. Unlike the adult world that they inhabit, here is something that they can control. They broadly remain gatekeepers to this sub-culture. Frankly they want adults to be bamboozled and sceptical of it because the last thing they want is to share it. Cast you mind back to when you were young. The quickest way to kill your interest in a band would be for one of your parents to claim to like them.

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So it’s hardly surprising that videos such as the Fortnite Anthem Rap Song spring up on You Tube. Although it is obvious that the kid in the video has had a lot of assistance from others older than him, this is simply just a contemporary example of fan culture. It’s about bragging rights, cultural ownership and it’s also a clear snub to those who are not part of the “in crowd”. Far from being something alien it is in fact utterly and even re-assuredly normal. It wouldn’t be difficult to write 500 words as to why this phenomenon is just a question of “same meat, different gravy”. However, I could also write a comparable amount about why this sort of fandom can also segue way into less desirable territory. Fortnite can bring people together and offer them fun, as well as a sense of belonging. But this video reflects elements of the associated hubris that can come with competitive play. Ego, winning at all costs and smack talk are only a stone’s throw away from tribalism, bullying and prejudice. Some schools are at a loss as to how to deal with things like the “floss dancing” and insults couched in Fortnite terminology. Perhaps some are over reacting, but any popular craze can always be used as a means of exclusion and oppression. Children can also be notoriously cruel.

So, I broadly understand these new manifestations of gaming culture. Whether I like them or not is a separate issue and not really relevant. However, I don’t see them as unfathomable because they’ve happened before, and they’ll happen again. Battle Royale games are enjoying their moment in the sun, just as MMOs did and traditional FPS titles like Call of Duty. Gaming despite pushback from certain quarters, has grown from a niche market pastime to a mainstream leisure industry. It is now an extremely broad church which simply reflects the diversity of society. If I were 15 years old now, I no doubt would be playing Fortnite and being a little shit about it. But as I’m 35 years older than that, I am content to let this game pass me by, as I clearly see it’s not targeted at me. The games selling points are focused elsewhere. But paradoxically, if you analyse a fan’s rap song about Fortnite and then do the same with a two-hour documentary about the works of Ennio Morricone, that I’d really enjoy, you’ll find that they’re not that different. Although we wouldn’t want any reciprocal enjoyment of each other’s work.

The Games (1970)

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The Games is the story of four marathon runners and their preparations for the Olympics. Harry Hayes (Michael Crawford) is a British runner with a highly demanding coach (Stanley Baker). US athlete Scott Reynolds (Ryan O’Neal) is reaching the end of his career and continues to run, even though it might kill him. Czechoslovakian world record holder Pavel Vendik (Charles Aznevour) is “encouraged” out of retirement to competes for the glory of his country, and then there’s Aboriginal Australian runner Sunny Pintubi (Athol Compton) who competes as a way of escaping his life of poverty and racial oppression. All come under media scrutiny and must confront their own demons before competing in the race that will possibly define their life.

X is an extremely interesting snapshot of the world of international sport during the early seventies. It is a fast paced, tightly edited movie (like many of Michael Winners movies) and features many international locations. The cast is eclectic but strong and the dialogue tight and to the point. It is a revelation to see Michael Crawford, best known in the UK for his seventies comedy hijinks, playing against such internationals stars as Ryan O’Neal and Stanley Baker. It was also the first time I’d seen Sam Elliot before he was grey and grizzled. Winner gets the most from his location shooting and creates a genuine feel for what it is life to actually participate in such an Olympic event. Although many of the characters are not particularly sympathetic there is a compelling quality to their respective stories and subsequent fate.

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Michael Winner is not the first name you think of when considering a movie about sport, but his style compliments the subject matter. The Games manages to take what is essentially a not particularly interesting spectator sport and it into an intriguing and somewhat sleazy drama. The first two acts focus on the respective characters and their own personal challenges. As the main event draws near we see the financial and political pressure that comes to bear on each of them and how they each deal with it. The last act of the movie depicts the marathon through Rome as the gruelling endurance test that it is. Yet the editing and pacing build a strong sense of drama as to who will win the race. The depiction of drug abuse, along with the unbridled egos of some of the athletes still rings true today. As does the insidious influence of big business and corporate sponsorship.

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Curiously enough the print of The Games that I recently watched sported the original BBFC rating which was curiously a U certificate. I do not think the movie would be so fortunate today. The use of habit forming performance enhancing drugs, the casual sexual undercurrent as well as depictions of institutional racism would possibly attract a higher rating. However, all of these themes are explored cogently. The depiction of aboriginal runner Sunny Pintubi (Athol Compton) was particularly good and was in some way the most interesting character in the movie. The way he turns the tables on those who seek to exploit him is suitably satisfying. Overall, The Games is an accurate assessment of the state on international athletics at the time, reflecting the political propaganda wars of the East and West. It also portrays the hubris of US sports from the era, as well as the blinkered and misplaced notion of English exceptionalism that still remained among some UK athletes.

Are You Not Entertained?

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I distinctly remember when I finished the main story in Saints Row the Third and had completed the majority of the content available. I’d bought the game as part of a bundle for a mere £3.99 and had spent over sixty hours in-game, so overall, I considered this money well spent. But what made the experience particularly memorable, as I logged out of the game knowing that I was effectively done with it, there was an overwhelming sense of satisfaction. Not only was there the sheer value for money that I have mentioned, but I felt that I had been entertained (hence the Russell Crowe reference in the title of this post). This happened again recently when I completed the final DLC for Sniper Elite 4 and also when I finished the main story in Tom Clancy’s Ghost Recon: Wildlands. Although there was a sense of achievement, I predominantly felt pleased by the fact that I had fun. The latest expansion for Star Trek Online, Victory is Life made me feel this way too.

Subsequently, these ruminations have got me thinking about such issues as satisfaction, entertainment and public declarations that a game has been an overall positive experience. The latter is especially of interest to me because it is something I seldom see in my news feeds, twitter time line, or featured in the blogs I read. It could be a case of I'm looking in the wrong places, but I can't help but think that the notion of “entertainment” as a selling point is in some way overlooked. Too often criteria such as game mechanics or visual aesthetics are focused upon and deemed to be a game’s selling point. Is there an underlying message to the narrative or does the title in question have a killer new feature? Entertainment seems to be erroneously associated with perfection. Or dependent on mastering the skills to succeed when playing a game. Sometimes, trying to pin down exactly why a game in entertaining is difficult. But if it’s lacking in a title, it won’t be long before I put it aside and look elsewhere.

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There are many things in life that when scrutinised, measured and analysed are judged not to be of the highest standard. However, that does not mean that they cannot be entertaining. A pop song may well be uninspired musically but can still infectious. A meal at a fast food chain may not be the most nutritious but it can be extremely satisfying. Movies often recycle the same old ideas and themes, but a new spin can lead to an entertaining diversion. Have lost sight of this with regard to games?  I'm not averse to criticism so if a game is lacking in some capacity, then by all mean draw attention to it. But surely, if a flawed product has proven entertaining, then surely that needs to be reported and reflected upon. I think this issue is somewhat akin to the post I wrote recently about the use of the word “adequate”. I get the impression that is some quarters terms such “fun” and “entertaining” are considered superficial. 

Gaming is very much about hype, marketing and "the next big thing" these days. Sometimes the public is let down by the developers failing to deliver on their promises and on other occasions the players themselves have unrealistic expectations. Yet despite both perceived and actual problems, titles still sell, and players spend substantial amounts of their money and time. Surely, they must derive some pleasure from these games and gain a modicum of enjoyment from their overall experience? Or do people play through titles, enduring an uninspired games inadequacies and inherent mediocrity with stoic fortitude? I certainly think the price that you’ve paid has some bearing on the matter. I recently bought No Man’s Sky at a considerable discount. I’ve subsequently discovered that it’s not really for me, but I’ve still had some fun messing around within its procedurally generated worlds. I suspect though that I would have enjoyed it less if I had paid the full price at launch.

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I do see some of my fellow bloggers writing about games they’ve enjoyed and clearly exploring why they had fun and found it entertaining. But I do not see such sentiment as often within professional games journalism. It seems to be an aspect of gaming that is overlooked. Reviews will breakdown many facets of a game but neglect to state clearly whether it is fun or not. I'm not advocating mandatory evangelising about games, but I don't think we should be reticent about publicly declaring if a game has entertained us. Even if a game has flaws, that doesn't mitigate the fun we had while playing it. Perhaps that is why it is something that is dwelt on less. The subjective and nebulous nature of fun and entertainment are hard to quantify. And we do so live in an age that likes to render everything in to statistics and neatly label it. However, I think we need to eschew the binary and the penchant for taxonomy. A bit of honesty about whether we did enjoy a game may even help future development. After all, as Mr. Crowe said, "Is this not why you're here"?

Appaloosa (2008)

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I have been revisiting the western genre and reacquainting myself with some of its more cerebral examples. Ulzanna’s Raid (1972) and Tom Horn (1980) certainly helped remind me of the diversity of themes and the scope of subjects that this genre has explored over the years. Obviously due to the westerns decline in popularity, there are fewer examples to cite from recent years, although I would single out Open Range (2003) and 3:10 to Yuma (2007). However, Appaloosa (2008) is a movie that embodies all the narrative qualities that a good western can achieve and furthermore it does so without the need to re-invent the wheel. In structural terms, this is old school cinema and all the better for it. 

Ed Harris directs, co-writes, co-produces, sings (a ballad over the end credits) and stars in this traditional Western, based on a book by Robert B. Parker. Unlike other revisionist or deconstructionist westerns, Appaloosa feels more like a genre classic like John Ford’s My Darling Clementine. The film focuses on the characters rather than action and although there are shoot-outs, they are not overstated. The production feels very authentic (if there is such a thing to be found in the mythology of the cinematic western) and the cinematography by Dean Semler is outstanding, reflecting the harsh landscape and stark functional towns.

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Central to this film is the friendship between Harris’ marshal, Virgil Cole, and Viggo Mortensen’s deputy, Everett Hitch. It’s the sort of deep understated relationship where one character can finish another’s sentences. Often more is conveyed by what’s not said. Such friendships are based on loyalty and this is an integral theme in Appaloosa. The status quo is sorely tested by the introduction of Widow Renée Zellweger and crooked rancher Jeremy Irons. Harris and Mortensen, who co-starred in A History of Violence (2005) are superb and there is solid support from the likes of Timothy Spall and the underrated Lance Henriksen. 

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Harris directs well and focuses on modern parallels, especially the distinction between enforcing the law and just killing people. His film extols the old-world virtues of honour and loyalty. He also explores the theme of a woman trying to survive in a man’s world and the tough choices she has to make to get by. The climatic showdown is more about the battle between a man and his conscience, rather than two dimensional notions of good versus evil. This is a thoughtful and somewhat old-fashioned film, that will suit those in a reflective mood, rather than action fans. It also clearly showcases why the western is such a broad and flexible genre that never grows old.

Opinions, Debate and Courting Controversy

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This post has been sitting in “draft” for a while and for the want of Blaugust Reborn, it may well have remained there. I guess I've held fire on writing it because I've gotten somewhat tired of pissing in the wind. Because that is what speaking out on certain subjects frequently feels like these days. There is a sense of tedious inevitability that any post that expresses an opinion on social issues or any form of societal marginalisation will eventually lead to a torrent of vile, ill-informed and just plain dumb comments. It puts me in mind of that quote from Platoon "Hell is the impossibility of reason". And you'll find precious little reason on the internet. What bothers me about all this is why does it have to always be this way? Is there anything that can be done? Well I believe there is.

Before I start don't go looking for a miracle cure in this post because I don’t have one. What I am suggesting is fairly basic and certainly requires lots of time. In a nutshell, just keep writing and debating. Don't throw in the towel. I know it's very tempting sometimes, hence my pissing in the wind reference. Yet if we do, then the only information that remains out there is misinformation. Therefore, we should not shy away from speaking out on difficult matters. Furthermore, we can also do a lot to minimise the resulting shit storm that will more than likely will arise. Here are few thoughts on the matter.

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Research and a well-constructed argument: Debating is a skill. There is also a process to discussing and arguing a point, the same way as mathematics and grammar have rules. Unfortunately, most folk don't consider either of these points and are happy to jump in feet first. It's a shame more schools do not teach critical thinking as it is an invaluable skill that can be brought to bear on so many aspects of life. However, it is prudent to consider that logic and objectivity cannot always be imposed upon a debate. Emotions do play a part and cannot necessarily be set aside. Especially if you have first-hand experience of the very matter being debated. 

I believe Tobold asked the question "There cannot be any meaningful discussion of any subject if you start out by declaring only one side of the argument as valid". That is perhaps true of some subjects, especially if you are debating a matter that hinges on subjectivity and personal taste. However, in a debate regarding a subject such as racism, I cannot logically see any argument to validate a discriminatory stance. Some questions may well be open and shut cases but not all.

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Life is not simple: If you are intending to hold forth on a particular subject, it never does any harm to remember that most problems are what they are because of their complexity. Which is a bummer because contemporary society really doesn't like or "do" complex (Brexit for instance). Listen to any radio phone-in, read any internet forum or just glance through a newspaper and you'll find many of the most difficult and contentious problems the world currently faces, distilled in to some rather glib and factually questionable sound-bites. Furthermore, the public lap these up because they're easy to remember and trot out. It's far easier to spout some superficial bullshit you gleaned from the pages of a tabloid, rather than spend time researching a subject and actually having to think. 

Bear this in mind when you tackle a big issue. Question whether you are in a position to make a substantive point. Seek guidance from those who know what the wider implications are, such as academics and associated experts on the matter. Invite people to consider your views and reflect upon your stance. Do not just arbitrarily hector them or be excessively judgemental. There are actually times when being blunt, forceful and even rude are justified, but it need not be your default position and standard opening gambit. Aim to be disarmingly persuasive.

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Change takes time: Progress is a long and often arduous path. Entrenched social attitudes and ideologies do not change overnight. Often it is a generational thing. For example, my parents were born in the Thirties and both have specific views on social status, race, religion, politics, patriotism and that other old favourite drugs. A quarter of the world was part of the British Empire during their most formative years and this era definitely shaped their world view. They have made some changes over the years but on some matters their beliefs hold strong. No amount of arguing will ever change that. However, such views are not so endemic with my own or my son’s generation. Simply put, some of the more unsavoury views from my parents’ generation will die with them. Change doesn't always come by winning "hearts and minds". 

However, as with complexity, many people these days can't be doing with "long waits". Thus, we live in a time where knee-jerk reactions and crass, ill-conceived quick fixes abound. Why should gaming (or whatever else you’re advocating or lobbying for) be any different from politics? All I can really say to the ardent campaigner or blogger with a strong social conscience, is that it really helps to cultivate some patience.

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Be measured and fair: If for example, you as a gamer want to lobby the games industry with regard to the depiction of women in games, there is ultimately a requirement for you to engage with those who are either a part of the problem or who seem to be indifferent to it. It's all about winning the middle ground and generating a head of steam. This process needs to be handled with subtlety and tact. Although passion is inspiring, and anger can be power (or so The Clash said), step too far over the line and perceived militancy (whether it is real or not) will work against you. It scares people and it may even drive those you need on-board to the other "side". So, pick your battles, be firm, measured and civil. 

Another thing to be considered is the use of knowledge. Some gamers (and bloggers) are not as smart as others. Some folk are smart but driven by their emotions. It can therefore be easy sometimes for the intelligent or knowledgeable party to run rings around the other. Be careful in how you "wear" your intelligence. There's being clever and then there's wanting to be seen as being clever. Crushing a person publicly through Vulcan like logic does not necessarily mean that they will immediately recant their views and embrace yours. Quite the opposite. You may have made matters worse. Just watch them dig their heels in.  You can be smart and make your point without being condescending or smug. However, that can be a difficult path to tread. Like it or loathe it, dealing with people in these situations requires a degree of diplomacy.

I sure we can all think of other points to add to the list. There's also an element of finding an approach that is right for you. Then of course there is always the option to simply not create content about anything controversial or to stray in to certain areas of debate. Whether you run a website, visit forums or partake of Twitter, you are not obliged to tackle the big issues. If you want to create content that simply focuses on the things you enjoy, be it kittens, making jam or grave robbing, then by all means do so. I am merely suggesting that if you feel the need to broach more complex subjects, then you should not be deterred by the facts that it is hard to engage with some groups and that progress and effecting change takes time as well as work. 

As I get older I do find that my passions have tempered over time. I do not find the need to go on that many demonstrations, nor to hold an "absolute" opinion on everything under the sun. I do tend to focus on more immediate issues that affect myself and my family (like the closure of my local A&E) rather than wider international matters. But even in my most sceptical of moments, I cannot truly advocate a total withdrawal of interaction on social issues. Because that means handing the floor over to the idiot brigade and therein lies madness. Plus, if we all did that then blogging and most other forms of online content would be a lot less interesting.

Nightbreed: The Cabal Cut (2012)

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I originally saw Nightbreed upon its UK cinema release in 1990 and like so many others, was disappointed by the inconsistencies of the theatrical version. Over the next twenty-two years, the movie evolved its own mythos regarding the infamous studio interference that left Clive Barker's original vision undermined and neutered. However, in early 2012, Russell Cherrington, a senior lecturer in film and video production at the University of Derby, created a composite cut of the film using two workprints of the original movie that were sourced from VHS tapes, as well the DVD of the standard theatrical release. This version offered the most complete version of Barker's film available. It ran for 155 minutes and was been dubbed Nightbreed: The Cabal Cut. It was never intended as the director’s definitive version of the film and was primarily created to “encourage” the rights holders to allow Clive Barker to produce a director’s cut of his magnum opus.

Nightbreed: The Cabal Cut was subsequently shown at various film festival around the world in 2012 and I saw it at a screening at FrightFest in August 2012. Despite issues with the picture quality of most of the new material, horror fans were more than happy to view this new version of the movie. There were high expectations that this cut would be a major milestone in horror cinema and that Nightbreed: The Cabal Cut would finally present Clive Barkers vision as he intended. However, that was not the case. Upon viewing the expanded version of Nightbreed, it became very clear that a lot of the flaws of the theatrical version were still present because they were inherent to performances and the screenplay. Although it was clearly a superior cut of the film, Nightbreed: The Cabal Cut was not the Citizen Kane of horror that so many fans had dreamed of.

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The additional footage featured in Nightbreed: The Cabal Cut expands upon the relationship between Boone (Craig Scheffer) and his girlfriend Lori (Anne Bobby). There is more footage off Midian and a wider exploration of its various inhabitants. Then there is the extended finale and the original ending as opposed to the resurrection of “Buttonface”. These extra scenes are interesting and really helps clarify the story and further develop the characters. It certainly feels far more like a literal adaptation of Clive Barker's original novella Cabal. Some scenes in particular standout such as "Buttonface" calling to Dr Decker (David Cronenberg) to be "let out". Another change is that Detective Joyce (Hugh Quarshie) survives in this version, receiving only an injury rather than dying. His character shows a little more depth, as he objects to the Midian genocide. Overall Nightbreed: The Cabal Cut has more substance and there is a specific tonal shift that makes for a more thoughtful movie, whereas the theatrical print is mainly weighted toward spectacle.

Expanding the running time from 109 minutes to 155 minutes for Nightbreed: The Cabal Cut results in a movie that is too long. The expanded action driven third act seems to be the main culprit. It actually drags after a while. Also, despite more content, the central character of Boone is still somewhat thin. His initial dreams of Midian are somewhat glossed over and there is still a lack of gravitas in Craig Scheffer’s performance. The black humour and quips of Narcisse (Hugh Ross) are still divisive, either delighting or annoying the audience. However, the character does dies in this cut of the film. The rather poor song and the nightclub scene at the start of the movie really don’t help much either. Film makers seldom seem to be able to successfully capture the atmosphere of music venues or portray their audiences credibly.

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It should also be noted that the Nightbreed: The Cabal Cut is certainly not a gorefest and does not appear to include any major increase in violence. The film is relatively understated in that respect, electing to focus on the grotesque rather than explicit. The most notable change in terms of violent material occurs during the flashback montage depicting the persecution of the “Nightbreed”. It is longer in this edit of the film and slightly more graphic in nature. There are more decapitations and a greater focus on trial by ordeal. The most unsettling scene in the movie still remains the forcible removal of a nipple ring, but that was also present in the theatrical cut. It can be argued that irrespective of depictions of physical violence, Nightbreed: The Cabal Cut is darker in tone and more unsettling, due to the expanded narrative.

Overall Nightbreed: The Cabal Cut is an interesting curio, but it is not the horror masterpiece that it could have been, because there are still fundamental problems with both the old and new material. However, it still has much to recommend it. The creature designs are outstanding and there is a sense of history and community among the denizens of Midian. The story does not quite have the same impact as it did two decades ago, because society has become more familiar with the notion of tolerance, which is one of the core themes. However, with its religious imagery, sexual undertones and inversion of good and evil, you can understand why this film bothered the conservative studio executives at the time of release. Nightbreed: The Cabal Cut puts meat on the bones of narrative and removes some of its major shortcomings. Although the shamelessly commercial original ending with the resurrection of Decker remains, it has been tempered with a message of hope as Boone seeks a new home for the “Nightbreed”.

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Due to the success of Nightbreed: The Cabal Cut in 2012 as it was showcased around the world, a deal was struck between the rights holders Morgan Creek and Clive Barker. After finally gaining access to all material that was originally shot, Barker subsequently produced Nightbreed: The Director’s Cut in 2014. This is a third iteration of the film. This includes some additional expositionary scenes at the beginning of the movie, which have never featured in any other version. Barker’s aim was to further focus more on the occupants of Midian and reduce the slasher element involving Dr Decker as well as the action driven finale. Nightbreed: The Director’s Cut is the Barker’s preferred version of the movie and nearest to his original vision. It should be noted that in this 120-minute edit, Narcisse lives and Detective Joyce dies. It certainly removes some of the narrative bloat found in the third act of Nightbreed: The Cabal Cut.

Although much is further put right in Nightbreed: The Director’s Cut, the movie remains a flawed but intelligent experiment in cross genre film making. Ultimately the only real way for Clive Barker to overcome the shortcoming of the original troubled production would be to effectively remake the entire movie from scratch, but of course that will not happen. As a matter of personal choice, I prefer Nightbreed: The Cabal Cut out of all three versions of the movie. Mainly because I prefer the way the story pans out in this edit and the more substantial role played by Detective Joyce. All versions remain an interesting case study in the perils of studio-based film making. The only similar case of a movie that has been retooled to such an extent, is the Paul Schrader movie Dominion. Curiously enough this was yet another troubled Morgan Creek production. Need I say more?

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Director Clive Barker has always been appreciative of the support that fans have shown over the years for this movie. Although Nightbreed: The Director’s Cut is his preferred version of the movie, he was aware that some fans had a fondness for Nightbreed: The Cabal Cut, with its everything but the kitchen sink, approach. After some negotiations with Morgan Creek, he was able to recreate Nightbreed: The Cabal Cut after producing Nightbreed: The Director’s Cut. This time round, it has less material sourced from VHS tape but still has some scenes of low visual and audio quality. So, there are at present, effectively three version of the film in circulation, although some are limited editions. The theatrical release of Nightbreed is still available on DVD and is shown on such platforms as Netflix. Nightbreed: The Cabal Cut and Nightbreed: The Director’s Cut have both been released on Blu-ray in the US. The former is an extremely limited pressing purely because Morgan Creek did not wish this version to impact upon sales of the director's cut. For those seeking a far more comprehensive breakdown of the difference between all versions of Nightbreed, there’s an exhaustive analysis over at Movie-Censorship.com

The Selfie

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In recent weeks, I’ve had several conversations with friends and colleagues about photos, privacy and social media. All of which have undergone significant changes during my lifetime. I was asked why there are no photos of me on my Instagram account, or on my blog or Twitter profile? Well the answer is it has never occurred to me that there needs to be any, which probably seems like a dreadfully “old fashioned” attitude to those who our half my age. Privacy is another factor. I come from a generation where people by default, would address anyone they didn’t know formally as Mr or Mrs [insert surname here]. You didn’t call someone by their first name until you were invited to do (Despite being given permission to do so, I still call my relatives “Aunty” or “Uncle” instead of by their names). I’m also inherently distrusting of giving too much information away and still bear in mind the old adage that “familiarity breeds contempt”.

As for my attitude towards photos and especially “the selfie”, that’s been shaped by the decades I grew up in. As a child in seventies Britain, photographs were mainly the province of family gatherings, day trips and holidays. Although cameras weren’t that expensive and were fast becoming common place, the development process carried out by your local pharmacist didn’t foster that sense of immediacy and intimacy that smartphones now provide. Photos were orchestrated; an awkward and embarrassing social convention that we felt obliged to observe. They were then placed in albums and viewed during moments of introspection. Occasionally, those that were deemed of enough merit were framed. As for those awful people who had their holiday snaps of Sorrento converted into slides, which they then subsequently inflicted upon unlucky guests along with cheese and wine, well they were social pariahs.

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Similarly, I took lots of photos of my own family when my son was growing up. Again, these were often stilted and of poor quality. However, by now we had entered the digital age. The main virtue of this technology is the ability to take “lots” of pictures. By the law of averages, some have to be adequate. But once your children reach a certain age and suddenly become physically allergic to their parents, then the family photos tend to stop. And so, it did with our son. Ironically, this is also about the same time he got his own phone and started copiously documenting his own life because by then it had become a social norm among his peers. Roll on another decade and he’s now a parent and has his own family. To this day, I am still amazed at the volume of data, photos and videos that he, his partner and their social group share. Furthermore, they’re also really laid back about notions of privacy and such like and so I find myself following a bunch of people half my age on Instagram and Facebook, being regaled on a daily basis about their holidays, tumultuous love lives and cosmetic surgery.

I recently visited Lyndhurst in the New Forest to see family. Mrs Peril and I (this is the designated name I’m authorised to use with reference to her. See again it’s all about maintaining privacy) stayed in a nice country hotel and I took a few pictures which I then tweeted. The point of the pictures where to highlight the hotel. From my own perspective adding myself into the frame, striking an exotic pose wouldn’t really add any value. If I were on holiday in Tuscany, viewing the historical remains of Etruscan culture, again I wouldn’t consider adding myself into the picture because I am not the subject matter. I certainly don’t need for myself to be in any holiday photo to verify that I was actually there and to make it more “real”. At the age of fifty, I’ve not yet visited anywhere via astral projection and tend to do my travelling in the traditional manner. As I tend to vacation with others, I usually have a reliable witness who can vouch for the fact that I did visit Clappersgate, should I suffer a head trauma or memory loss.

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Now one of the commonest points that always comes out of conversations about “selfies”, is “don’t you like how you look”, or “are you worried people will think you a bit of a munter” or something to that effect. Well sorry to disappoint you Doctor Decker but I’m quite comfortable about my personal appearance. Am I an oil painting? No. Have I got a face like a smacked arse? No. Am I unhappy about myself in some psychological way? No. Could I do something to improve my appearance? Very possibly, but as I no longer have deal with clients, or play the dating and mating game, having a makeover isn’t my highest priority at present. As I haven’t recently been asked to appear in a Dickensian Freak Show, I suspect I am broadly acceptable to the wider public. Plus, what bearing do my looks have on my writing? Also, the moment you publish a “selfie” online, regardless of looks, you are handing ammunition to the online hate police and union of internet crazy people. Don’t fashion a stick and then hand it to others to beat you with.

So despite not indulging in the practise myself, I am still very intrigued by the rise of the "Selfie". Is it indicative in a major shift in our culture and collective psyche? Why exactly do people these days feel the need to maintain some sort of visual record that catalogues of all their deeds, that puts them at the heart of all external events going on around them? Is this just another sad reflection of the reality TV fuelled, wannabe, "me, me, me" culture, as some have posited. An opportunity to compete for some virtual title, by appearing to have a perfect life? A means to get validation from one’s peers and stifle feelings of inadequacy, fear and self-loathing. Or is it a far deeper emotional response to the end of numerous established socio-political shared values and a sense of societal stability? Are people posting their own brief moments of joy online as a way to assuage their own existential dread? Are “selfies” a plea for the universe to remember us as we all journey toward utter annihilation? Or is it simply a case that some people are just twats?

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The “selfie” is something that we can joke about (as I have) or take seriously (I also like to do that to). Cultural changes happen for specific reasons after all. Perhaps this particular shift stems from a fundamental rethinking of who exactly a photo is intended for? In the past it was designed to preserve a memory, note an occasion or capture the image of something inherently beautiful. A visual equivalent of a journal entry of sorts. Hence when a photo was shared with others twenty-five years ago or more, it was often done in a face to face environment. Therefore, the photo was not made public and posted in an open, universally accessible environment. Now the opposite happens. Which makes me wonder (and Robert Plant as well) whether our photos our now primarily intended for others? In a world where our online presence is becoming as equally important as that based in real life, are photos documenting who and what we are, slowly becoming part of an ongoing virtual resume? It’s certainly food for thought. But I’m still not doing “selfies”.

Outrage (2010)

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Multi-talented Japanese actor, director and comedian Takeshi Kitano has gained a global reputation due to his cerebral exploration of Yakuza culture. In recent years he has moved away from this specific sub-genre and has focused his attentions on a series of human dramas, exploring such complex themes as the nature of reality and mortality. With Outrage (Autoreiji, 2010) he returns once gain to the subject of criminal clans. This time round, director Kitano has opted to reduce some of the more spiritual and philosophical elements of the narrative and has focused far more upon the brutal and political nature of Japanese organised crime. As a result, Outrage is horse of a very different colour, compared to earlier examples of his work, such as Boiling Point (1990) and Sonatine (1993). 

The plot follows a struggle for power amongst Tokyo's Yakuza clans, who live in a curious world between legitimate business respectability and conventional criminal undertakings. The Sanmo-kai clan holds sway in the face of continuous betrayal and ever-changing allegiances from both other gangs as well as banks and corporations. The Sanmo-kai chairman learns that his deputy Ikemoto has struck an alliance with the drug-dealing Murase family and is displeased by this breach of discipline and etiquette. The ensuing retaliation triggers a wave of killings, territorial invasions and score settling while local law enforcement officers struggle to intervene, due to corruption and political conflicts. Takeshi Kitano plays an enforcer, Otomo, who finds himself caught amid these escalating events.

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There is an almost clinical approach to the proceedings in Outrage and the introspective musings of Takeshi Kitano's earlier work are now replaced with a far slicker, rather stylised American approach to this particular genre. Hence the production boasts convoys of luxury vehicles and a cast clad solely in designer suits. This contrived designer aesthetic at times verges on parody. Frequently Outrage seems to play out in a faux and derivative representation of organised crime, which is itself already an artificial construct to begin with. Certainly, this aspect of the production does not greatly compensate for the films reduced narrative. The story mainly focuses on the traditional staples of the gangster genre. This is a study in greed, revenge and violence of which there is a lot and it is not for the squeamish. In a world were violence is common place, the film cleverly explores how ever-increasing acts of abhorrence are required to maintain the status quo.  

Yet despite the films scaled down aspirations, it should be remembered that this is a Takeshi Kitano production and his work is streets ahead of many other mainstream directors, even when he's not on top form. The biggest saving grace of Outrage is the streak of gallows humour that runs through the entire film. As ever Kitano's performance is utterly compelling. This man has a quality that is hard to define but he definitely holds your attention. His can inspire loathing as equally as he can move us with his honest sentiment.  Viewers who are new to this film makers work, should note that the prolonged sequences of people staring at each other or into the middle distance are perfectly normal and common place. They are also often precursors to acts of extreme violence or a major emotional outburst.

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For western audiences, Outrage is very accessible, reminding me in a way of his earlier film Brother (2000) which was more tailored for the international market. But for those who are expecting the cerebral character studies of his earlier work, then you will not find it here. The film is a far more formulaic and somewhat predictable undertaking (apart from the end). It is a handsome if clichéd production but is bolstered by the presence of its director both in front and behind the camera. Fans of the Yakuza sub-genre and Japanophiles will still find much to enjoy. Note well that if you have more than a passing fear of the dentist and dental equipment then this movie may not be for you. For those who do find Outrage to be their “cup of tea”, then note that it is the first in a trilogy of movies.

Dream House (2011)

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Despite being derivative of several other well-known notable genre films, Dream House has several positive attributes. With its strong cast and capable director, the movies offers a well-made and tense tale with solid production values. But like so many contemporary psychological thrillers and baroque stories with a twist, your overall enjoyment depends on how familiar you are with the genre. The biggest problem I encountered while watching Dream House was my own over familiarity with films of this kind. Hence, I saw the first major plot twist coming a mile off and subsequently accurately predicted the film’s outcome. Because of this it does make it somewhat difficult for me to be as objective as I should about Dream House. However, that is not to say that the movies multi-faceted plot won’t be a source of surprise to the more casual viewer.

Will Atenton (Daniel Craig) quit his job as a publisher to spend more time with his wife Libby (Rachel Weisz), their two daughters (Taylor and Claire Geare) and start writing a novel. They move into a large new house, which unbeknown to them was the scene of a mass murder several years prior, in which a father allegedly murdered his entire family. Will subsequently learns that this man, Peter Ward, spent five years in a psychiatric hospital and has recently been released back into the community. Their neighbour, Ann Patterson (Naomi Watts), knows something about Peter Ward, but seems very reticent to discuss the matter with them. Wills daughters soon start seeing a stranger hanging around outside in the street and staring at their house. It’s not long before events take a sinister turn.

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Director Jim Sheridan deliberately takes his time with the story telling, in an attempt to build tension and allow the audience to connect with the central characters. However, despite being an accomplished director of human dramas, he is burdened with a particular workman like script by David Loucka, which lacks any major polish. Still he manages to avoid a great many of the genre clichés that are rife in this type of movie and the production design, cinematography and general ambience are extremely competent. Dream House is therefore a very functional cinematic experience but not an especially atmospheric one. The strong cast (Elias Koteas, Marton Csokas) try their best to fill the narratives gaps but overall the premise and payoff are somewhat lacking in punch. The film does not push the boundaries of its PG-13/12 rating. There are some jolting moments and brief images of gunshot wounds. Prior to release the movies was re-edited from a “R” to a lower rating.

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Dream House is very much a film of three very acts and sadly they don’t quite hang together as well as they could. The ending doesn’t quite provide the dramatic payoff that some may expect. There are also some logical plot holes that are best not pondered on too long. Once again these can all be attributed to the bland screenplay. Yet despite all these issues, the talented cast and professional production manage to keep the film afloat. So again, I return to my point that your familiarity with the genre will pretty much determine how much you’ll enjoy Dream House overall. For viewers who are not particularly well versed with similar films from the past thirty years years, the premise and twist ending of Dream House, and may prove adequate and sufficiently entertaining. For those who have more than a passing interest in the genre, there are shades of The Twilight Zone, and The Man Who Haunted Himself to be found.   

The Silent House (2010)

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The Silent House (La Casa Muda) takes a very traditional haunted house story and develops it in a distinctly postmodern fashion. This Uruguayan horror film hinges on the concept of the entire film being shot in one take. Hence the tag line of “real fear in real time”. This takes the recent trend of filming with handheld digital cameras one step further, in an attempt to outdo the likes of Paranormal Activity and its subsequent sequel. It certainly creates a minimalist feel to the proceedings, similar to the myriad of supernatural reality shows that are currently popular on TV. By using the medium of digital cameras, smart phones and internet searches, the movies initially manages to sustain an authentic atmosphere. However, as the narrative proceeds the films flaws become more apparent.

The plot is simple and revolves around Laura (Florencia Colucci) and her father Wilson (Gustavo Alonso) while they endeavour to renovate an old family home to prepare it for sale. Vacant and derelict, the house has no utilities, forcing them to rely on battery-operated lanterns to light their way. Laura becomes separated and soon finds she is trapped inside the house, with no contact with the outside world. It soon becomes clear that leaving may not be as easy as thought and that a supernatural presence is behind events. Director Gustavo Hernandez has technically constructed a competent production that certainly benefits from being set outside of the US. Minor cultural differences and references add an interesting veneer to a common place plot device and make it at first more palatable. However, once the initial premise has been set, the film fails to be anything more than be a series of well-executed set piece and never truly frightens in the manner the advertising suggests.

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This seems to be the main problem with some contemporary horror cinema. It has lost the ability to illicit an emotional response from the viewer by the exploration of difficult themes and concepts. Instead those making the movies seem a little too focused on crafting a technical rollercoaster ride at the expense of character and emotional investment. Thus, with The Silent House we are simply subject to frequent acts of misdirection followed by an obligatory “boo” moment. It has been a substantial amount of time since I have seen a film that I found genuinely disturbing or suspenseful. I was hoping that this more obscure production would yield better results, but sadly it was not to be. What remains is a interesting international curiosity that squanders it's premise. The US remake that followed a year later maintains the same failings.

Blaugust Reborn: Event or Cause?

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The Blaugust Reborn is an event, which promotes blogging and offers advice and guidance to those who have just started or who are toying with the idea of doing so. It has no agenda beyond providing encouragement and support. The advice that is offered through various veterans’ content creators collective experience, is just that, advice. It can be taken or ignored, because ultimately blogging is a very personal pastime and there really isn't a right or wrong way to do it. If doing what you do and the way that you do it brings you pleasure, then you've pretty much well nailed it.  I see Blaugust Reborn as a benign undertaking. It has no agenda that I am aware of. In fact, I could argue that my involvement is a little self-serving, in so far as I hope that some great new blogs emerge from this year’s event that I can read on a regular basis. Overall, I see the Blaugust Reborn as a simple exercise in offering a helping hand. For me it's not any more complex than that. 

However, may not see it in such straight forward terms.  A few years ago, when the equivalent event of Blaugust Reborn was the Newbie Blogger Initiative there was criticism from some quarters of the Blogosphere, who saw the it as an organised attempt to try and stamp some sort of standard identity upon new writers. It was even labelled as some sort of Orwellian Groupthink. There was a great deal of hyperbole involved and very little clear thinking. This view stemmed from the fact that a lot of those at the time participating in the NBI had written about their indifference to GamerGate and thus there was the ubiquitous binary backlash from those who equated ambivalence with holding a contrary view. However, this matter did highlight the fact that something as simple as benign as trying to offer help and support could be misconstrued. 

I think what I found curious about the pushback that happened in NBI back in 2015 was the fact that someone saw fit to label the event as a "cause". This has got me thinking whether anyone thinks that Blaugust Reborn is a cause instead of an exercise in self-help? A supportive event is optional and non-threatening. A "cause" is a much more subtle beast. It has socio-political connotations. There is usually an undercurrent of moral rectitude. Causes seek to correct something. Something that is deemed to be currently wrong, hence the ethical undertone. Events simply facilitate, whereas causes will by their very nature have those that are diametrically opposed to them. Suddenly an activity goes from being functional (and fun) to something far more partisan. 

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Consider something like advice on weight loss and eating healthily. In essence it is a harmless stance to take and advocate. Yet if it is promoted in an overzealous and judgemental way and treated as a cause rather than optional guidance, it suddenly becomes a political football; something that is strongly resisted and reviled in some quarters as a form of social engineering. I don't want the Blaugust Reborn to fall into this trap. I don't want it to become burdened with ideologies and dogma. I want it to be perceived for what it is; an event that offers a helping hand and facilitates the participant to blog in a manner that suits them.

The thing about Blaugust Reborn is that the advice offered can be used in whatever way the author wishes. I could be argued that Blaugust Reborn could even end up facilitating writers who produce hateful content filled with bigotry and prejudice. So far from what I’ve seen of those who have signed up to participate, that seem unlikely but it’s not impossible. However, that goes with the territory and I do not fear those who have contrary views to my own. Blaugust Reborn is just a process. What people choose to do with the information they can obtain from it is their decision. It's a bit like running a woodwork class. If someone wants to use the knowledge they’ve gained to fashion a club instead of a chair, then that is their prerogative (feel free to add your own Bobby Brown gag here). 

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Now I realise that Blaugust Reborn is not defined by just one person's perception of it. It runs due to the involvement of multiple people, all of which probably have a unique view of exactly what the event is and what it aims to achieve. Yet I think that its inherent simplicity adds to its appeal. Therefore, I have made the assumption that other participants do not see it as a "cause". However, I may be wrong.  I've been round the block several times and in my youth been involved in politics, trade union activities and various social issues. Yes, I have supported "causes". Sadly, none of them has been without problems or remained 100% true to their roots and goals. It is just the nature of ideologies and concept, that implementing them often requires compromise. But I don’t see Blaugust Reborn falling into this category though.

Age has taught me to be both mindful and sceptical of such things as "causes". Too often they can be a Trojan Horse for something more sinister. But again, I don’t see Blaugust Reborn being like that. So, I'm asking the following question out of curiosity to all who may be involved with Blaugust Reborn to a greater or lesser degree. How do you perceive this event? Or is it simply an exercise in self-help. Do you see it as part of a wider undertaking with greater meaning? Do you consider it as a cause? If so what do you want the event to achieve beyond helping content creators? Is it an open invite to all, or would you be concerned if someone with a “radical” online presence wished to get involved? It’s certainly food for thought. Feel free to comment.

Blogging and Self-Discipline

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Although blogging is great fun and a very rewarding hobby, it is also at times hard work. I don't say that to discourage you, but it is a fact that needs to be considered by all embarking upon their content creation journey. Writing per se requires a degree of self-discipline. Without it, your aspirations will remain just that. Nothing will get done, posting will become irregular and you'll readers will simply lose interest and look for material elsewhere. So, what exactly do you need to be self-disciplined about? Well if you want to write posts regularly that are engaging and of a good standard then consider the following points:

• Set aside a specific time to write, that is free from distractions.
• Find an environment that is conducive to writing.
• Establish a schedule that suits you and is sustainable.
• Strike the right balance with self-criticism and editing.
• Commit to your writing. Don’t do it half-heartedly.

I would also add not rushing or writing in the "heat of the moment". It is often a mistake to go off “half-cocked”. Also ensuring that you are factually correct and have linked to any source material that you may be discussing.

Now adhering to these criteria requires commitment and adds another layer of work to the process of writing. Ignoring them is often very tempting. However, you will not produce your best material by doing so. The writer that knocks out a post at the end of a busy day, while the TV blares in the background is likely to make mistakes. The writer that pens a vitriolic reply to an article they've misread will end up with egg on their face. Plus, there is no shortage of self-appointed internet policemen who will happily write a comment of epic proportions, pointing out how you made a schoolboy error over some minor detail. Poorly conceived posts and bad argument won’t gain you any traction with readers.

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It is possible to do all the above and still have immense enjoyment from blogging. None of these suggestions have to be a chore. If you can factor them into your writing process, then they will become a lot easier. Your output will certainly be better as a result. Don't beat yourself up if you deviate from them from time to time. We're all human. I have on numerous occasions done the complete opposite of what I have suggested. In fact, while I was writing this post I wasted several minutes being side tracked by You Tube videos and a Discord thread featuring pet pictures. 

Exactly how much of a process you impose upon your writing is ultimately up to you. There is no one size fits all. It may take some trial and error to find a routine that suits your specific needs. But having no process whatsoever is not likely to be beneficial. Therefore, do not see self-discipline as being a burden but more of a practical tool that contributes to your overall blogging experience. Self-discipline leads to a routine and a routine is great way of polishing your writing process. Please feel free to share any ideas you may have on writing routines or how you maintain self-discipline and motivation in the comments section below.

Time For a Makeover

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This is another post for Blaugust Reborn prep week, that’s primarily aimed at the returning blogger. Again, there is advice here that is relevant to those just starting out with a new blog but there’s already a ton of good advice available for them. I’m focused more upon trying to encourage those who once had a blog (and subsequently abandoned it) to dust it off and start producing content again. In my last post, I offered some advice regarding such things as writing schedules and having a basic plan as to what subjects you want to explore and goals you may wish to achieve. This time let’s consider some simple and practical aspects of your actual blog template and hosting package.

Adaptive and responsive web design. Although there is a difference in methodology, both adaptive and responsive design formats ultimately deliver the same results. IE Webpages that are best suited for the device viewing them. Therefore, I would urge returning bloggers check their respective blog templates to ensure that they are mobile friendly. Why is this important? Go take a look at your stats and you’ll notice that a lot of traffic is coming via phones and tablets. 38% of the traffic to Contains Moderate Peril comes from mobile devices. Having a site that optimises the presentation of content to these platforms is essential. I’m amazed when browsing the web at how many sites still have a “one size fits all” approach. They’re a pain to read and it’s not especially professional.

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Your blog logo. Branding is a major subject in itself. It makes sense to establish a consistent look and feel. However, unless you are producing merchandise, business cards, or have need of a portable booth for a trade show, you do not need a fancy scalable logo. Furthermore, they cost a crap ton of money if you use a professional design company. Therefore, I would recommend that everyone go check out Fiverr.com for reasonably priced alternatives. The website is a haven for freelance artists and designers. If you hunt through the crazy people (and there are a lot), you'll find plenty of quality talent available at extremely reasonable prices. Over the years I’ve used the site for website banners, podcast logos and voiceovers. If you’re über cheap you may even see a design that you can subsequently replicate yourself.

Purge your plugins. Holy crap, WordPress has plugins for everything. If you need to know what the temperature of your butt is as you sit in your chair gaming, there's a plugin for that. It's very easy to get carried away when installing them (a bit like mods for Skyrim). However, despite the benefits they do have an impact upon your site. They can interfere with template functionality and slow loading times. If your blog takes too much time to populate a page, then readers will move on. There's a lot to be said for running a lean and mean site. There's less to back up and less scope for stuff to go wrong. So, do yourself a favour and think twice before adding that plugin that tells you how many readers called Trevor are currently logged into your site.

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Keep static content up to date. Quite a lot of blogs have static pages. These usually consist of things such as "about this blog", who the "contributors" are and how to "get in touch". Fairly straightforward content but it can change over time. For example, if you expand the scope of you blog you may need to update these individual pages. Contributors can come and go or expand their resume. Readers like to know who's who. It also adds a personal touch. Don’t forget to keep your "small print" or "disclaimer" page up to date as well. Rules change constantly online and as a blogger you don't want to be breaking laws unnecessarily.

Sharing and social media.  Most blogs come with some sort of facility to promote your posts via social media. However, platforms come and go quite quickly so you may wish to ensure that you include the most relevant options. This can be done by either updating your blog template, keeping your Word press install up to date, or by using an appropriate plugin (although bear in mind the above point). You may also wish to use an internal thumbnail linking service such as LinkWithin if your own template doesn’t support one. This facility adds a selection of thumbnail pictures with links to older content on your site that is relevant to the post you are publishing. A WoW article will therefore generate a selection of links to similar material. This can be invaluable for keeping readers on your site and boosting page views, if that’s what your aiming to do.

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Reader comments service. I have discussed the pros and cons of reader comments before. If you do decide to allow them you may wish to use the facility that comes with your blog or use a third-party service such as Facebook or Disqus. Choose wisely. Some of these facilities can be problematic as they are located elsewhere online and can impact on your sites loading times. Should you change services at a later date you may also lose your back catalogue of comments. I personally like any system that allows you to add the URL of your own site when leaving a comment. One of the great ways of raising your profile and generating traffic to your own site is by leaving comments elsewhere. It also contributes to that sense of building a community.

If you are seriously thinking of returning to your old blog (and I sincerely hope you do), all the above can be dealt with quite simply and does not have to be an immense chore. The simpler your blog, the easier it is to maintain it, although not everyone favours such a minimalist approach. But big or small, fancy or simple, giving your blog a practical makeover ensures that it loads and runs efficiently, leaving you free to write your content. It also means that readers can just get on perusing your posts and leaving comments without impediment.