“I'd Like to Have an Argument, Please”
This post has been fermenting for a while. I’ve postponed writing it because I've gotten somewhat tired of constantly “spitting 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 on sexism, racism or any form of marginalisation will eventually lead to a torrent of vile, ill-informed and just plain dumb comments. The list of subjects “best avoided” seems to be getting bigger each day. Politics, religion and social issues have now been joined by the likes of economics, education and healthcare. But it doesn’t end there. Critiquing a book, movie, TV show or game can be deemed contentious and open a can of worms. Frankly, soliciting comments on any subject via social media seems to be courting disaster these days. The sad reality is that some people just revel in being vile and trying to hurt others. 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.
This post has been fermenting for a while. I’ve postponed writing it because I've gotten somewhat tired of constantly “spitting 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 on sexism, racism or any form of marginalisation will eventually lead to a torrent of vile, ill-informed and just plain dumb comments. The list of subjects “best avoided” seems to be getting bigger each day. Politics, religion and social issues have now been joined by the likes of economics, education and healthcare. But it doesn’t end there. Critiquing a book, movie, TV show or game can be deemed contentious and open a can of worms. Frankly, soliciting comments on any subject via social media seems to be courting disaster these days. The sad reality is that some people just revel in being vile and trying to hurt others. 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.
Two things have occurred recently that prompted me to write this post. One is the ongoing decline of both the Official and Unofficial LOTRO forums. The other was a minor twitter exchange I was involved in recently. A simple comment made in reply to a political pundit, meant that my timeline was subsequently flooded by an argument that went on for hours, as all parties chased their own tails and frothed at the mouth. As for the two LOTRO forums, they’ve become so polarised that they now mirror each other with their own militancy and are effectively different sides of the same coin. Both of these events are far from unique. It happens every day (“no matter what you say”, according to Tom Jones). Yet they got me thinking why does it have to always be this way and is there anything that can be done?
Well I believe there is. However, don't go looking for a miracle cure in this post because I don’t claim to have one. What I am suggesting is fairly basic and certainly requires lots of time. In a nutshell, keep writing and debating. Don't throw in the towel. I know it's very tempting sometimes, hence my spitting in the wind reference. Yet if we do, then the only information that will remains out there in the public domain is misinformation. Therefore, we should not shy away from speaking out on difficult matters. In fact, I would go so far as to say that it is our duty to do so. Sooner or later you have to pick a side. The alternative is to do nothing and watch it all go to hell in a hand basket (other portmanteaus and porterage devices are available). Here are few thoughts on what specifically can be done.
Research and a well-constructed argument: Debating is a skill. There is a process applied to discussing and arguing a point, the same way as mathematics and grammar have specific rules. Unfortunately, most folk either aren’t ware of them or feel their opinions are not subject to such criteria and so are happy to jump in to arguments 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 it was the blogger Tobold who stated, "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 equality, I cannot logically see any argument to validate a contrary stance. There are no degrees of equality. You either believe in it and live by it as a concept or you don’t. I guess the same can be said regarding certain scientific discussions, where specific rules and concepts are established. Mind you that doesn’t stop some people. But that raises a different matter where some individuals like to play devil’s advocate just for the fun of it.
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 nuisance because contemporary society really doesn't like or do “complex”. Listen to most radio phone-ins, read any internet forum or just glance through a tabloid 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 less hassle to spout some superficial nonsense you gleaned from the pages of the Daily Bastard, than spend time researching a subject and actually having to think and analyse data.
So, bear this in mind when you tackle a big issue when blogging etc. Question whether you are in a position to make a substantive point. Do your research and ensure you link to the sources you quote. Check the credentials of those supplying data and statistics. Is it a reputable organisation? Do they have any reason to be bias? Too often I see links in comments and forum threads that lead to questionable sources. Therefore, ensure that when you write about complex issues you don't make the mistake of inferring that it's a binary situation and easy to fix. Unless of course it is.
Change takes time: The previous point dovetails nicely in to this one. Progress is a long and often arduous path. Entrenched social attitudes and ideologies do not change overnight. Often, it’s a generational thing. For example, my parents were born in the 1930s 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 remain 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 be any different from politics? All I can really say to the ardent campaigner or blogger with a strong social conscience, is it helps to cultivate some patience. Actually, you’ll need a lot. Bucket loads.
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 a requirement for you to engage with those who are either directly a part of the problem or those 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 your 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" of the debate. So, pick your battles, be firm, measured but always remain 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 blog about some aspects of gaming or to stray in to certain areas of debate. However, I don’t think remaining “neutral” is a permanent option. Sooner or later you’ll get dragged in through tortuous logic as “opting to not have an opinion is tacit approval of status quo”. That being said, as a blogger, podcaster or streamer you are not obliged to discuss thorny issues if you don’t want to. That is your (and Bobby Brown’s) prerogative and you are free to create content in the manner that makes you happy. I am merely suggesting that if you feel the need to do express a view that may court debate, then you should not be deterred by the facts that it is hard to engage with some groups and that change takes time and 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 would be a lot less interesting. Oh, and don’t forget that an argument is a connected series of statements intended to establish a proposition. It’s an intellectual process. Contradiction is just the automatic gainsaying of any statement the other person makes.
Classic Game Themes: Guild Wars 2
Jeremy Soule's score for Guild Wars 2 is an integral part of the games charm and appeal. It enhances the world of Tyria and is a character in its own right. As a player, whenever you visit one of the vast cities or travel the rolling countryside, it is Soule's music that breathes life into the finely crafted world that ArenaNet have made. Upon the games launch in 2012, the soundtrack for Guild Wars 2 was released in a four-disc box set, via Soule's own record label DirectSong. Sadly, this was a limited pressing and is now out of print. Copies now change hands for exceedingly large sums of money.
Jeremy Soule's score for Guild Wars 2 is an integral part of the games charm and appeal. It enhances the world of Tyria and is a character in its own right. As a player, whenever you visit one of the vast cities or travel the rolling countryside, it is Soule's music that breathes life into the finely crafted world that ArenaNet have made. Upon the games launch in 2012, the soundtrack for Guild Wars 2 was released in a four-disc box set, via Soule's own record label DirectSong. Sadly, this was a limited pressing and is now out of print. Copies now change hands for exceedingly large sums of money.
The score for Guild Wars 2 has a high production value and displays a great attention to detail. The compositional quality of each piece included on the four-disc set are musically and stylistically diverse. There are many stand-out pieces that do more than just provide ambient background atmosphere. This is game soundtrack writing of the highest calibre. It is musically literate, thoughtful and rousing. Sadly, Jeremy Soule was not involved with the soundtrack for the 2015 expansion pack, Heart of Thorns.
The track I have chosen in many ways encapsulates all the positive attributes of the soundtrack. Dawn in Shaemoor plays in the human starter zone of Queensdale and is a beautiful example of the quality of Soule's work. It has a very haunting feel to it and sets the tone for the game.
LOTRO: Mordor and Beyond
Well, I waited till this afternoon before buying the Mordor expansion for LOTRO. Unlike the song, a day really didn’t make that much difference. In true and traditional Standing Stone Games style there were still problems, glitches and hassles to be found twenty-four hours on from the launch. In fact, there’s a hot fix to be deployed tomorrow to iron some of these out. Yet, in spite of all these minor niggles, tonight I found myself officially entering Mordor, ten years after the launch of LOTRO and eight years on from my subscribing to the game. I must admit as the game wrapped up the original story and I said cheer-bye to Frodo and the rest of The Fellowship of the Ring, I did feel a sense of great satisfaction as I reflected on what my character had achieved on behalf of the free peoples of Middle-earth. Why even Gandalf himself thanked me for my courage and effort. And then a message appeared in chat, stating “You’ve earned 5 LOTRO Points”. The irony wasn’t lost and I then went on to ponder exactly why I’ve spent years being a butler to all the NPCs I’ve met in LOTRO.
Well, I waited till this afternoon before buying the Mordor expansion for LOTRO. Unlike the song, a day really didn’t make that much difference. In true and traditional Standing Stone Games style there were still problems, glitches and hassles to be found twenty-four hours on from the launch. In fact, there’s a hot fix to be deployed tomorrow to iron some of these out. Yet, in spite of all these minor niggles, tonight I found myself officially entering Mordor, ten years after the launch of LOTRO and eight years on from my subscribing to the game. I must admit as the game wrapped up the original story and I said cheer-bye to Frodo and the rest of The Fellowship of the Ring, I did feel a sense of great satisfaction as I reflected on what my character had achieved on behalf of the free peoples of Middle-earth. Why even Gandalf himself thanked me for my courage and effort. And then a message appeared in chat, stating “You’ve earned 5 LOTRO Points”. The irony wasn’t lost and I then went on to ponder exactly why I’ve spent years being a butler to all the NPCs I’ve met in LOTRO.
Joking aside, I did enjoy the final interlude where you play once again as Gollum. Standing Stone Games did somewhat stretch the lore to accommodate the player being present at Sam and Frodo’s rescue. However, it does bring a sense of closure to the player. The subsequent epilogue in The Field of Cormallen set up the premise for the next Epic Book nicely. Overall, the cutscenes were well conceived and showed sufficient of the end of the story without over egging matters. The destruction of Barad-dûr, the demise of the Ring Wraiths and the rescue of Frodo and Sam by the eagles were functional. Once again, the developers work well within the technical restrictions of a decade old game engine. It’s just a shame that they couldn’t have created a more exciting launch trailer. The hastily cobbled together effort that was created using in-game footage was very lacklustre and was far from the most effective marketing tool.
At the time of writing there are still some technical glitches with the new character animations. There are clipping and tearing issues especially with certain types of hats and hair. It was very noticeable of my primary character. There were also delays to some players receiving the Aria of the Valar level boost. I’m sure these matters will be addressed but once again it would have been preferable if these had been sorted prior to launch. The current gaming culture of early access, releasing unfinished content and fixing on the fly is hardly edifying for the game community. It is a lazy, finance driven concept that doesn’t take in to account such matters as professionalism and public perception. The LOTRO player base has proven its tolerance time and time again over the years. I’m sure they would have accommodated a delay or better still a later launch date, if it meant that they got a more polished product.
I was fortunate enough to have received the Aria of the Valar when I logged in to the game today. Not everyone has been as lucky. I applied this boost to level 105 to my Dwarf Hunter. He was currently languishing at level 50 something and loitering in Lothlorien, having simply run through Moria. As I wasn’t relishing revisiting such areas as Mirkwood and Dunland and have always fancied an alternative character at level cap, it seemed like the sensible thing to do. The boost provides adequate gear, although none of it is designed for essences and three Third Age legendary items. Virtues are also increased but not to cap and you are also given a modest quantity of skills points. These are mainly the ones you would acquire if you played through the Epic Story. All things considered it’s not a bad service and allows you to go directly to Mordor adequately equipped. However, it is no more than that and shouldn’t be considered a “pay to win” item. After using the Aria of the Valar my Dwarf Hunter had a Physical Mastery rating of 70K.
So finally, the wait is over. LOTRO has now reached the end of the accepted canonical story and is now moving in to wholly original territory, narratively speaking. It feels like a very major step in the games overall life. Yet the more I look around at LOTRO, the reality is that nothing has significantly changed. The new Allegiance system is merely an adaptation of the existing reputation mechanic. Similarly, the Light of Earendil/Shadow of Mordor System appears to be a regional buff/debuff mechanic, not to different to from the old Radiance/Gloom system. Although the Mordor expansion offers LOTRO player a lot more content, it is still just “more of the same”. For many this will be an acceptable arrangement but I can’t help but think that it would be to the game’s advantage if they introduced something truly innovative. Sadly, I think the reality is that the game is simply too old to support anything too complex.
Although I have bought the Mordor expansion and am happy to play through the new quests, I will more than likely move on to pastures new, once I’ve hit the new level cap. Then it’s a question of waiting to see what the next update has to offer. For those that stay it is then a question of levelling alts and repeating content. Due to the social nature of the game and its community, it is the player created content and activities that binds people to this virtual Middle-earth. Standing Stone Games provides the theatre and the players craft their own experiences with their friends and kinships. Although this on paper seems like a very equitable arrangement, I can’t help but feel that it excuses Standing Stone Games from pushing themselves. Rather than taking a proactive role in creating new innovative content, they seem more like paternal “groundskeepers” charged with maintaining a fertile environment for others. Although it’s a valid position I wonder if its sustainable now LOTRO moves beyond Mordor. What do players want next and can the developers provide it for them?
Middle-earth and Non-Canonical Stories
Canon and lore are sacred cows to many fans. Any deviation from the clearly established is met with scepticism and on occasions outrage. It is the hill they are prepared to die, defending. In the past I have felt equally as strong about this matter as others but over the years I have become increasingly relaxed about such things. I guess once you realise that your childhood memories cannot be ruined, despite what some claim, then you cease to worry as much. If you do not like an adaptation, extrapolation or continuation beyond the canon of a particular IP, then you simply say, “it’s not for me” and move on. Not liking an idea or concept because it doesn’t conform your preconceptions and personal tastes does not give you the right to try and quash it. So overall, I don’t mind Tom Cruise being Jack Reacher. A female Doctor Who is fine with me. I even like the movie adaptation of Raise the Titanic.
Canon and lore are sacred cows to many fans. Any deviation from the clearly established is met with scepticism and on occasions outrage. It is the hill they are prepared to die, defending. In the past I have felt equally as strong about this matter as others but over the years I have become increasingly relaxed about such things. I guess once you realise that your childhood memories cannot be ruined, despite what some claim, then you cease to worry as much. If you do not like an adaptation, extrapolation or continuation beyond the canon of a particular IP, then you simply say, “it’s not for me” and move on. Not liking an idea or concept because it doesn’t conform your preconceptions and personal tastes does not give you the right to try and quash it. So overall, I don’t mind Tom Cruise being Jack Reacher. A female Doctor Who is fine with me. I even like the movie adaptation of Raise the Titanic.
However, as I mention, I wasn’t always this easy going. Tolkien’s body of work has long been something I enjoy and hold in high esteem. Thus, when both The Lord of the Rings: War in the North and Middle-earth: Shadow of Mordor were both announced respectively in 2011 and 2014, I was highly sceptical. Initial marketing showed a great deal of imagery devoid of any context. How could a Ranger be a Wraith and why were Eagles being used as mounts? Yet over time, as more information filtered through, it became clear that these were not total bastardisations of Tolkien’s work and I ended up buying and enjoying both games. In fact, I would go so far as to say that it was their innovative extrapolation of the lore that was one of the primary reasons I liked both titles so well.
What becomes apparent when playing The Lord of the Rings: War in the North and Middle-earth: Shadow of Mordor is that although they are derived from Tolkien’s work, they are more of a continuation of Peter Jackson’s cinematic adaptations. They certainly have the same detailed aesthetic and action focus. However, the stories of both games have creative plots that are based heavily in Middle-earth lore. The Lord of the Rings makes it clear in the Appendices that the War of the Ring was fought on multiple fronts. Both Gondor and Erebor were assailed by Sauron’s forces and Dol Guldur was destroyed by the Elves. So, the threat of third front hailing from Angmar, as seen in The Lord of the Rings: War in the North, is hardly a stretch either narratively or militarily. Middle-earth: Shadow of Mordor is equally as creative exploring the fate of Celebrimbor. It delves in to many aspects of Tolkien’s work from the Blue Wizards, Saruman’s hunt for the ring, as well as the ongoing wane of Gondor.
These games along with Standing Stone Games’ Lord of the Rings Online succeed as they journey beyond established canon, due to the love and affection their writers have for the source material. Rather than abandon established ideas, these games develop them and frequently fill in the grey areas of known lore. When one considers the magnitude of Sauron’s empire, surely he would have a much wider chain of command, other than just the Nazgûl. Hence, I do not balk at the Black Númenórean Lieutenant named Agandaûr, or the three Black Captains; the Hammer of Sauron, the Tower of Sauron and their leader, the Black Hand of Sauron. All make sense and play a specific role in the Dark Lord’s military hierarchy. Furthermore, we have seen in the source text, that Orcs and Uruks have personalities, as well as aspirations and agendas of their own. Thus, I found the character Ratbag in Middle-earth: Shadow of Mordor very plausible as he tries to do a deal with Talion to establish his power base. Also, having made some checks, I cannot find any definitive proof that Smaug was the last Dragon in Middle-earth. So I have no major prejudice against Draigoch or Úrgost.
Sadly, where I am happy to accommodate the aforementioned games non-canonical narratives, I feel that I have to draw a line with fan fiction. The standard of knowledge, research and writing seen in LOTRO, The Lord of the Rings: War in the North and Middle-earth: Shadow of Mordor simply isn’t present in grassroot fan generated content. Many fan writers just don’t have the necessary skills to forge a compelling narrative. It’s something you’ll see in many Star Wars and Star Trek fan films. They will often sport exemplary production values given the financial constraints but the dialogue is usually amateurish and embarrassing. Boundless love and enthusiasm are no substitute for genuine talent. Star Trek Continues transcends the traditional fan film label, due to the pedigree of those associated with the production. The Hunt for Gollum and Born of Hope don’t quite hit that level of professionalism, although they certainly raised the bar for Tolkien based fan movies.
It was recently announced that the three-way legal dispute between the Tolkien Estate, Middle-earth Enterprises and Warner Bros. has now been settled, which raises the question of further game development of Tolkien’s IP. Middle-earth: Shadow of War is due to be released on October and I am very interested as to where the story goes next. I see from trailers that Shelob is now part of the narrative, which is a bold move indeed. If this title is as equally successful as its predecessor then surely more games of this idiom will follow. Because of the specific terms of the licence, future material is somewhat tied to the scope just The Hobbit and The Lord of the Rings. Yet because both of these books encompass a vast world of lore, much of which has never been fully explored or even fleshed out, we are potentially faced with a very creative opportunity. At present, due to the standard of what has already been released, I do not fear what may follow. Therefore, perhaps some fans should try and take a fresh look at this situation and revise their opinions regarding non-canonical stories.
Moral Relativism in Popular Culture
Contemporary Western culture is far from perfect. Although major positive changes have been made with regard to social attitudes, equality and tolerance, there is still much work to be done. Privilege is still rife, be it financial, political or societal. Just to put one’s cards on the table right from the outset, I am a white, middle class, British male in his late forties. I do not feel in any way, shape or form marginalised. At present I am in one of the most advantageous social economic groups in the UK. That statement is devoid of any emotional connotation. It is simply a statement of fact and a means of providing some context for this post. Although I am acutely aware of discrimination, I have seldom personally experienced it. I mention this because this post is about moral relativism in popular culture and thus it is only fair that I define the prism through which I experience the world.
Contemporary Western culture is far from perfect. Although major positive changes have been made with regard to social attitudes, equality and tolerance, there is still much work to be done. Privilege is still rife, be it financial, political or societal. Just to put one’s cards on the table right from the outset, I am a white, middle class, British male in his late forties. I do not feel in any way, shape or form marginalised. At present I am in one of the most advantageous social economic groups in the UK. That statement is devoid of any emotional connotation. It is simply a statement of fact and a means of providing some context for this post. Although I am acutely aware of discrimination, I have seldom personally experienced it. I mention this because this post is about moral relativism in popular culture and thus it is only fair that I define the prism through which I experience the world.
For most of history, there have been hierarchies that have perpetuated discrimination for personal advantage. The church, nations states and all manner of other social institutions have done this in the past and continue to do so to varying degrees today. Therefore, it is foolish and factually inaccurate to try and avoid depicting this in any narrative medium. The quasi medieval world of Game of Thrones is therefore potentially justified in depicting the unpleasantness of its faux era. However, accuracy is one thing, exploitation is another. The latter often sites the former as a reason to justify "showing all". Sadly, authenticity is not really the real motivation here. It's purely a case of sex and violence sells. So, it is important to consider context. The harsh realities of slavery are shown without titillation in a movie such a 12 Years A Slave. Can the same be said about Mandingo?
There is a difficult line to tread here. Sometimes showing the stark reality of something abhorrent is the best way to make a point and to inform your audience or start a debate on a specific matter. On other occasions, depicting the specific details may not necessarily achieve this. I am of an age where I still remember the debate as to whether the rape scene in the 1988 movie The Accused actually needed to be shown, to make the film’s point about the treatment of women by the US judicial system of the time. On mature reflection, I believe that it did. Showing the assault puts a human face upon the crime and brings home its magnitude. However, can the same be said for “sensational” airport massacre scene in Call of Duty: Modern Warfare 2? Its primary inclusion seems to be to titillate, rather than to make any wider dramatic point.
Some people have very strong moral and ethical world views. These may be driven by faith or politics and they are also shaped by the prevailing social ideas and customs of the times. For example I have very different views on some subjects compared to my eighty year old parents. They are very much products of their era, as I am of mine. As a result, I believe that it is simply illogical to deny the concept of moral relativism. There are some broad common concepts that most cultures can agree upon, such as murder and theft being wrong. However, there is not a globally accepted moral equivalent of the Beaufort Scale or Periodic Table. Hence, we see disparities between men and women’s status and rites in certain cultures and religions.
As a result of this diversity of opinion, it's pretty difficult to deal in absolutes (unless you are the tabloid press). Yet that doesn't stop people from trying. Some folk feel that there are limits on the exploration of specific subjects or that certain things are just taboo. You mustn’t joke about this, never be disrespectful about that, the list can get pretty long. I cautiously take the opposite view. I don't believe anything is truly out of bounds to explore in a democracy as long as it’s done within the confines of the law. However, one must question what ones motivations are for doing so and straying in to such minefields. For me, I use the litmus test that comedian Reginald D. Hunter suggested. "Was there hate in your heart" when the controversial statement in question was said. It may not be the most sophisticated of tools but I believe it is a strong starting point.
Because so much of our perception of the world around us is visual, humans have a strong tendency towards voyeurism; thus, many people find depictions of sex and violence alluring. This is not necessarily in a sinister or unwholesome sense but possibly more due to the cultural attraction of anything designated taboo. In the UK during the early eighties, the home video market was unregulated. Hysteria and panic lead to ill-conceived legislation, namely the 1984 Video Recordings Act, resulting in lot of movies gaining notoriety as they were removed from shelves. Let it suffice to say that this state of affairs made a lot of these titles essential viewing for many teenagers. It became a rite of passage to try to seek them out and endure them. In many respects this is no different from placing an age based embargo upon smoking, drinking and other sundry vices. There is some truth in the clichés regarding forbidden fruit. It's a curious thing that the appeal of such extreme material often wanes with age. Teenagers are still drawn to such movies such as The Human Centipede and A Serbian Film. I however recognise that there is no real benefit in seeing such unpleasant and extreme material. Subsequently I now have self-imposed limitations.
Gender is also an important factor within this debate. Reactions between the sexes can differ drastically on matters such as the depiction of sexual violence and the use of pejorative language. Sadly, most media based industries are far from a level playing field and there is often gender bias when dealing with certain material. Often it is this sort of content that proves most financially viable, regardless of its moral rectitude. It’s a matter that seems to be the bane of video games industry at present. Consider the debacles over Tracer’s sexuality in Overwatch and the aesthetics of female characters in Mass Effect: Andromeda. With regard to TV and specifically Game of Thrones which has often been criticised over its lurid content, I would love to have an accurate age and gender based break down of the viewing figures to determine what aspects of the show appealed to whom. Do you think there would be any major surprises? No, neither do I.
Following on from this, I think that we need to focus on the inherent duality of contemporary society with regard to current social issues. There is still a huge gulf between what people say in public when they’re conscious of maintaining an equitable moral and ethical position, as opposed to what they may think personally. We’re all guilty of this to a greater or lesser degree. Perhaps modern life exacerbates this phenomenon. For instance, most places of employment have clear policies regarding equality and discrimination these days and usually staff publicly endorse them. However, do all employees genuinely support such ideals or is it just expedient to do so? Until recently, the prevailing politically correct mindset has silenced certain quarters. In this post Trump, post Brexit world, a lot of people who previous kept their less inclusive views to themselves now are more comfortable sharing them publicly.
Then of course there is the fact that as a species we just seem to have a knack for failing to live up to our finer principles. Consider a commonly held notion such as not judging a person by their looks. Most people will strongly advocate such an ideal, again to possible project an acceptable public image. Yet despite this, so many of us still do the complete opposite, possibly because the ideal is contrary to our genetic imperatives. I'll freely admit that I regularly fail to live up to the standards that society and more importantly myself set. We live in a world where many of us embrace concepts and ideas in principle only; because we've realised that actually acting upon them requires effort, self-denial or having to step outside of our own personal comfort zone. Morality and ethics often go hand in hand with cognitive dissonance.
There is still much more to say and explore about moral relativism and its impact upon numerous social and ethical issues. It's interesting that many of these subjects manifest themselves in genres that are appealing to gamers, geeks and nerds. Games and comics still court controversy at times with the way they depict women or ethnic groups. The debate over the casting of the first female Doctor Who still rages on. The level of sexual content in shows as American Gods still causes tongues wagging. The BBC is about to embark upon its Gay Britannia season, celebrating 50th anniversary of The Sexual Offences Act 1967, which partially decriminalised gay sex. Expect outrage from specific newspapers. There are still mutterings from some fans over both the critical and financial success of Wonder woman at the box office. This is why we see push back as some see progressive ideals as threatening and don’t want them in their social spheres.
Context and the prevailing Zeitgeist have a bearing on representation of all subjects. Why should popular culture be any different? Therefore, we should not carte blanche deny the reality of moral relativism. However, we should not just use it as a “get out of jail” card to justify an “anything goes” mentality. Moral relativism is an academic debating tool and not a life defining philosophy. Just because something taboo can be shown on TV or a controversial subject used as a plot device, doesn’t mean that it automatically should. I would hope that such a decision was tempered by the application of a good many other criteria first. Because despite what some academics, critics and pundits may think, popular culture is not necessarily trivial by default. It is accessible to swathes of the population and can shape a great many opinions. As such it can be a very powerful medium. Whether it is a force for good or not, is down to us.
Standing Stone Games: Is the Honeymoon Over?
I was not that surprised when Standing Stone Games announced that their Mordor expansion for LOTRO would be released at the end of July, just weeks after several open beta tests. This is something the developers have done for a while, with all their major updates. One has to remember that despite a change of name, to core team developing LOTRO has not radically changed since they extricated themselves from Turbine. Something that SSG went out of their way to stress when they formally announced their move, last December. The press releases and interviews at the time focused on a sense of continuity and implied that SSG was now free from the corporate yolk of Warner Bros. and Turbine. It led to a great deal of optimism among LOTRO players and sparked a resurgence in the game. The fact that the MMO has now reached the end of Tolkien’s story and is about to embark upon its own original narrative has been well received. Yet LOTRO has always been regarded both by the faithful and by those outside, as a game that never quite lived up to its potential. Perhaps the release of Mordor would remedy that?
I was not that surprised when Standing Stone Games announced that their Mordor expansion for LOTRO would be released at the end of July, just weeks after several open beta tests. This is something the developers have done for a while, with all their major updates. One has to remember that despite a change of name, to core team developing LOTRO has not radically changed since they extricated themselves from Turbine. Something that SSG went out of their way to stress when they formally announced their move, last December. The press releases and interviews at the time focused on a sense of continuity and implied that SSG was now free from the corporate yolk of Warner Bros. and Turbine. It led to a great deal of optimism among LOTRO players and sparked a resurgence in the game. The fact that the MMO has now reached the end of Tolkien’s story and is about to embark upon its own original narrative has been well received. Yet LOTRO has always been regarded both by the faithful and by those outside, as a game that never quite lived up to its potential. Perhaps the release of Mordor would remedy that?
Well it would appear that the honeymoon between Standing Stone Games and the LOTRO player base is now over. There were cracks appearing in the façade of mutual goodwill during the anniversary event, when it became clear that several activities were exclusional. However, it has been the debacle over the pricing structure of the Mordor expansion that has returned community relationships back to how they were previously. Many LOTRO players do not consider the itemisation and costs of the three different editions of the expansion to be equitable. Once again, the game developers appear to be taking their customers loyalty and support for granted. Something that was a regular complaint when LOTRO was administered under the auspices of Turbine. It would appear that LOTRO is still tied to a cycle of controversies, poor decision making and potentially biting the hand that feeds it. So much for the concept of “a new broom sweeps clean”.
For the last seven years, LOTRO players have been left to assume (often by the inference of Turbine themselves) that a lot of the problems associated with the MMOs development have been down to Warner Bros. interference. However, according to information garnered from staff who have either left Turbine or been laid off, it would appear that has not been the case. Turbine were left to run things pretty much as they liked by their corporate owner, who it would seem were merely interested in obtaining the licence. Thus, we must deduce that all the controversies that have happened with the game since 2010, such as the barter wallet, mounted combat and the skills tree revamp, can all be laid at Turbine’s door. It would appear that Standing Stone Games, despite separating themselves from Turbine per se, have brought with them the same business mindset because it was theirs to begin with.
As ever with matters of this kind, unless the public are given specific information gained from inside the company in question, it really comes down to deductive reasoning and making “educated guesses”. We do not know the exact details of the relationship between Daybreak Game Company and Standing Stone Games. Are they just a publisher or are more involved and control the purse strings? Did they have any say in deciding the pricing of the Mordor expansion? We do not know for certain. However, while these questions and others are debated on the forums and gaming websites, LOTRO players once again find themselves robustly supporting a game that still seems to be failing to meet its potential and at odds with a developer that doesn’t seem to listen as well as it claims. When one stands back and objectively looks at the life cycle of LOTRO, it really has dodged several major bullets mainly due to the goodwill of the players, who seem to be exceptionally forgiving. Perhaps too much so. If this MMO was an original IP with a different audience, then I do not think it would have lasted the ten years that it has.
Money Changes Everything
When I look back at the various posts I’ve written about gaming over the past decade, several themes regularly occur. Player toxicity, marketing hype and industry shenanigans are three that never seem to go away. Pre-order culture, fans enthusiasm and launch day disappointment are also perennial bad pennies. However, there is one point that I constantly find myself reiterating. Yet despite its staggeringly obvious nature it is habitually overlooked and ignored. Namely that money changes everything. Regardless of the nature of a situation, be it the cost of an item in the cash store, alterations to a games mechanics or the relationship between a You Tube personality and their audience, if it involves some sort of financial exchange then it fundamentally alters the dynamic of that given situation.
When I look back at the various posts I’ve written about gaming over the past decade, several themes regularly occur. Player toxicity, marketing hype and industry shenanigans are three that never seem to go away. Pre-order culture, fans enthusiasm and launch day disappointment are also perennial bad pennies. However, there is one point that I constantly find myself reiterating. Yet despite its staggeringly obvious nature it is habitually overlooked and ignored. Namely that money changes everything. Regardless of the nature of a situation, be it the cost of an item in the cash store, alterations to a games mechanics or the relationship between a You Tube personality and their audience, if it involves some sort of financial exchange then it fundamentally alters the dynamic of that given situation.
People are motivated to blog, podcast, live stream and make videos for a variety of reasons. Some do it to please themselves, where some like to please others. It is actually possible to achieve both. If you are persistent in your endeavours and communicate with your audience positively, then you will get some traction. But there are consequences to being successful and I’m not talking exclusively about having an audience of millions. Even a modest site such as Contains Moderate Peril can be subject to some basic internet cause and effect mechanics. Audiences, or readers in my case, consume content voraciously. They also foster expectations regardless of whether you’ve directly instigated them. If you create new material daily, your audience will grow to expect it daily. If you significantly deviate from such a schedule there are consequences. In my case, between March and April last year I took a break from writing and as a result my traffic tanked. It has taken a year plus to recover. Interruptions to the podcast schedule also killed the listener numbers.
Now the reason I mention this is because, even before you’ve got to the point of taking money from your audience, you have to deal with their expectations, regardless of whether they are founded or not. I have known several fan related sites that have been criticised for changing direction, deviating from perceived schedules or having the unmitigated gall to cease producing their free service. But the moment you accept money from your audience, then your independent status is lost. You are no longer providing content but a service. Fans are often blighted by a malady which seems to equate support with direct input. Add money to that spurious equation and you will inevitably have problems. It doesn’t matter what route you take or what platform you use to raise capital, paying is perceived by some as buying a share in “You Incoporated”. Thus, we have Twitch streamers who are criticised for how they spend the money they are “given”, fansites lambasted for championing or not championing specific issues. And at present, popular You Tube personality Joe “Angry Joe” Vargas is at war with a faction of his so-called “Angry Army” of subscribers.
I have in the past toyed with monetising both this site and the associated podcast(s). For a brief period of time, I asked for PayPal donations when the hosting costs were getting extravagant. However, that ended when I was offered a sponsorship deal with Host1Plus. When I moved the site in 2015 to Squarespace I decided it was easier to simply bank roll all my projects myself because it just guaranteed that I could do my own thing free from any external constraints. That’s not to say that I don’t support the notion that people providing content on the internet should be paid, because I do. It’s just that the Huffington Post business model and the fallacy of “exposure” has done a lot of damage. Sadly, Joe Public has become use to getting “free stuff” and it’s very hard to try and overcome that mindset. So, for the present I look upon my online projects as “indulgences” and will fund them myself to maintain my creative control.
If one broadens the scope of the argument that “money changes everything” it is clear that it permeates everything in life and alters are relationship with it. In the UK, university education used to be selective and free of charge. However, now it is more accessible but as more people use it, is chargeable via a deferred loan. Some students no longer see education as a self-determined process of personal improvement but simply as the buying of a service. Thus, academic under achievement is seen not as a personal failure, but as a business dispute. Such a mindset shows how money alters the perception of any undertaking. Thus, some MMO gamers want bespoke content that suits their needs, You Tube subscribers feel that they should dictate what content is posted on a channel and the entire field of crowdfunded projects is rife with complaints, acrimony and misplaced demands.
Now it is fair to say that there is nothing inherently wrong with the traditional business and customer relationship, as long as both parties accept it as such. The same can be said regarding the free content providers and their audiences. Both are perfectly equitable arrangement as along as everyone understand their respective role. Sadly, the internet has impacted upon this perception. Fans think they’re on the board of director’s, Patreon subscribers fail to understand what “donation” actually means and support for any undertaking in general is seen as a point of leverage. Plus, any sort of financial transaction means some sort of contract. Adding a legal veneer to a situation only adds to its complexity.
As I’m writing this very post, someone on my Twitter timeline has just tweeted about how their patrons can now vote on what they review next. If they are happy with this situation then that is fine but it highlights exactly how “money changes everything”. Contains Moderate Peril is never going to make me rich or even break even. But for the present it is exclusively my platform and that makes the operating costs worthwhile. If you feel the need to tell me what I should or should not be doing on my personal site then that is your prerogative. However, I can also ignore your demands and tell you to fuck right off with a clear conscience. So, my advice to any budding blogger, podcaster or You Tuber, is to think long and hard before you take the proverbial “King’s Shilling”. A source of revenue may well be all fine and dandy but at the costs of your independence?
The Trivialisation of World War II?
I have enjoyed Sniper Elite 4 and all of the sundry DLC immensely since its release in Spring. The game presents an interesting alternative to the traditional shooter with its stealth based level design. The latest instalment, Obliteration (the third part of an ongoing story), is set in an empty Bavarian town and has an intricate map with an authentic period feel. It offers opportunities for both long range sniping and close quarters stealth kills. Overall, I have found that the franchise provides engaging and complex gameplay, as well as satisfying the players baser need for blood and violence. However, playing this and other similar titles got me thinking. It would appear that World War II, one of the defining periods of the last century that still has ramifications today, is in certain quarters now simply a setting, a plot device or a Hitchcockian MacGuffin. Is the broader subtext of this major event now irrelevant to a generation of players because they have no immediate connection to this period in history? If that is the case, exactly when does it become acceptable for something of this magnitude, to be trivialised in this manner (if that is indeed the case).
I have enjoyed Sniper Elite 4 and all of the sundry DLC immensely since its release in Spring. The game presents an interesting alternative to the traditional shooter with its stealth based level design. The latest instalment, Obliteration (the third part of an ongoing story), is set in an empty Bavarian town and has an intricate map with an authentic period feel. It offers opportunities for both long range sniping and close quarters stealth kills. Overall, I have found that the franchise provides engaging and complex gameplay, as well as satisfying the players baser need for blood and violence. However, playing this and other similar titles got me thinking. It would appear that World War II, one of the defining periods of the last century that still has ramifications today, is in certain quarters now simply a setting, a plot device or a Hitchcockian MacGuffin. Is the broader subtext of this major event now irrelevant to a generation of players because they have no immediate connection to this period in history? If that is the case, exactly when does it become acceptable for something of this magnitude, to be trivialised in this manner (if that is indeed the case).
If memory serves, in early 2010 EA ran into some PR problems during the run up to the launch of Medal of Honor, when it was revealed that in the multiplayer mode players could play as the Taliban. Needless to say, this decision was robustly challenged by sections of the “popular” press, politicians and many bodies representing servicemen and their families. Eventually, EA capitulated and changed the multiplayer game so that the enemy was known as the Opposing Force or OP4 in military jargon. If we dispense with the tabloid hyperbole and faux moral outrage from blustering politicians, it would appear that the main objection to this situation was that there are still many servicemen and women as well as their families that have suffered directly or indirectly at the hands of the Taliban. It is the current and ongoing human connection to the associated events in Afghanistan that were problematic and thus causes potential public outrage.
So, it would seem that time and an emotional link to the matter in hand, decides whether a historical event is either a bonafide setting for a game or nothing more than tasteless exploitation. Because when you apply these criteria to World War II then we find that many people, especially those under twenty-five, have no living relatives that served or grew up during that era. Hence the passage of time renders these profoundly important events into abstract, textbook history. Effectively it becomes something to be read about, but with no immediate bearing on one’s current existence, although obviously the complete opposite is true. This sense of disconnection with the past is further compounded by socio-political and economic change. Culturally speaking contemporary London, as seen through the eyes of a twentysomething, is a world apart from what my Father’s generation experienced, seventy plus years earlier.
Both my Grandfathers served during World War II. One was an Army Surgeon and the other served in the Eighth Army. My Father was born in 1929 and lived in South London during the Blitz. For him and his peers, World War II was a defining point in his life. He still uses to this day the phrase “before the War” as a means to reference the societal difference between then and now. I grew up in the seventies knowing many men and women who had served. There was a Theology teacher at one of my schools who had spent several years in a Japanese P.O.W camp. One of our neighbours when I was growing up, was a veteran and a member of The Burma Star Association. I would conservatively estimate that for at least four decades after the end of World War II, British society was still tangibly experiencing its fallout in some shape or form.
Yet, time and tide wait for no man. Call of Duty will be releasing their latest instalment of their game in November this year and the franchise is returning to its roots with a World War II setting. Due to the immense popularity of this FPS, a substantial percentage of players who are young, will be introduced to a historical setting that they are not overly familiar with. What will they make of the Normandy landings, the scale of the loss of life and the fundamental causes for World War II itself? Will they simply see the Germans as “baddies” by cultural default? Has the inherent evil of Nazi policies and of Hitler himself any immediate significance, or are they now nothing more than clichéd exemplars of stereotypical notions of evil. Have the passage of time and popular culture simply neutered them of their potency?
As I stated at the start of this post, this article stems from a train of thought and still remains a point to ponder, rather than a working theory. Such a subject needs to be explored by greater thinkers than I and no doubt have been. Already I’m pondering counterpoints to my own assertion. For example, I grew up at a time when a substantial number of comics still had stories set in World War II. Precious few were of any note. Where these also contributing to the trivialisation process I have suggested? What about the films and TV dramas that filled theatres and broadcasting schedules during the post war decades? Are comedies such as 'Allo 'Allo! or Hogan's Heroes artistically justified or potentially just as offensive and exploitative as games such as Sniper Elite (assuming you see them in such terms)?
As someone who tries to avoid the binary or a tendency towards knee-jerk responses, these are all difficult questions to answer. Especially at a time when rationality has been usurped by the cult of virtue signalling and an addiction to “finding offense”. I would like to think that common sense may prevail but even that seems to be a term that we cannot agree upon these days. As for the trivialisation of World War II and potentially many other important events and causes, I think that it will remain a hotly debated topic. If you’re looking for games publishers to act and think responsibly then I’m sure the majority will disappoint you. Morality seldom deters and as we have seen, change is usually only embraced if there is risk to the bottom line. As for myself, I have sufficient gumption not to allow the depiction of World War II in video games to impact upon my real-world perspective of those historical events themselves. Yet I still have a nagging feeling from time to time that something about these titles is somehow “troubling”.
"You're Playing Wrong"
There’s one particular topic that appears with tedious regularity on MMO subreddits and forums. That old chestnut about how the genre has become too solo friendly and that it’s to the ruination of the genre. It usually hails from the raiding community and follows a predictable path about high end gear and those who do and don’t deserve it. When you look beyond the initial arguments, you’ll frequently find that such positions are very emotive, couched in judgemental terms and often end in the sentiment “why even play an MMO?” or something comparable. The reason I mention this perennial debate is because it appeared recently on a forum that I still occasionally visit. It saddens me to a degree because, this point has been debunked so many times, yet it still persists (a bit like many political talking points). It also smacks of that attitude I see all too frequently these days. A concern and borderline resentment of what others are doing, irrespective of whether it impacts upon you or not.
There’s one particular topic that appears with tedious regularity on MMO subreddits and forums. That old chestnut about how the genre has become too solo friendly and that it’s to the ruination of the genre. It usually hails from the raiding community and follows a predictable path about high end gear and those who do and don’t deserve it. When you look beyond the initial arguments, you’ll frequently find that such positions are very emotive, couched in judgemental terms and often end in the sentiment “why even play an MMO?” or something comparable. The reason I mention this perennial debate is because it appeared recently on a forum that I still occasionally visit. It saddens me to a degree because, this point has been debunked so many times, yet it still persists (a bit like many political talking points). It also smacks of that attitude I see all too frequently these days. A concern and borderline resentment of what others are doing, irrespective of whether it impacts upon you or not.
So how shall we tackle this question of “you’re playing wrong” because that is effectively what it boils down to. Well, let us start with that very question. Is there a definitive way to play an MMORPG? No is the brief answer. Sure, each MMO has a set of rules and procedures that set out a path of progression. However, nowhere in these rules will you find a statement saying it is mandatory to play this particular way. Humans like to adapt things to suit their own needs. Play is under pinned by imagination and creativity. Therefore, role-players are free to pursue their particular play style in an MMO. Players can create alts and continuously replay specific content only if they wish. It is not essential to be in a guild or to raid and not everyone wants the best gear. Furthermore, I have never seen a major objection towards varied play styles from the developers of an MMO. They usually just seem happy that people can find joy in their creation and the publishers are content to have your money regardless of what you do.
As for the question "why even play an MMO?" it is utterly irrelevant to the debate. A player’s motivation for playing and indeed the very manner in which they play is no business of anyone else as long as it remains within the TOS of the game. Another common argument and variation upon this theme is that MMOs are meant to be social games and that the very foundation of the genre is the need for continuous interaction with other players. I remember Massively OP writer Jef Rehard claiming not so long ago that “this is a social genre. This is not your world. It's our world, and how you interact with and ultimately shape it is most definitely my concern". Yet the reality is that a MORPG is only social in so far as it includes game mechanics that can facilitate group interaction. They are there as an option and are seldom mandatory. Therefore, MMORPGs are not solely "a social genre" and it is worth noting that the word social does not feature in the acronym. It is also a common misconception that the social dimension that can be found in MMOs, is a result of the game itself. It is not. The game certainly provides a framework for group interaction but ultimately the social element is organically generated by the players themselves. The game at most is a conduit. Gather people together in any social interaction, friendship and fun will present itself.
As for the issue, as to "who's world is it", the answer is simple. It's the publishers. Gamers frequently make the mistake of believing they have a far greater stake in the object of their affection, beyond their consumer rights. We are all nothing more than a customer and any claim suggesting some vicarious form of collective ownership is nonsense. Fandom is a wonderful thing and has many positive aspects but at times it does cause a form of “tunnel vision” that impacts upon some players sense of perspective. MMORPGs are products created to make money. That is their primary purpose. They are not there to provide a social service nor are they under any obligation to foster a morally righteous community. Such activities are simply a byproduct of their use by the player base. There is equal scope for the community to go in the other direction and become toxic.
The MMORPG genre has changed greatly over the last decade and is now quite different from how it was. All consumer products evolve over time. Why is this situation any different? If one finds oneself aggrieved by such change surely it would be logical to blame it upon market forces and the nature of capitalism, rather than on those players that have elected to pursue their entertainment in a different way to you, as is their right? Thus, the argument that “you’re playing wrong” is a fundamentally flawed concept based on faulty data and incorrect assumptions. It also stems from fundamental misunderstanding of what a players role is within the traditional business and customer relationship.
So, in conclusion, concerns over other MMO players habits are misplaced. Beyond abiding by a games TOS (and hopefully maintaining good manners and common decency), a solo player has no obligation to anyone else and is free to pursue their own endeavours within a game in whatever fashion they see fit. As ever with debates of this kind, it is largely a matter of semantics and logical thinking. As a player who predominantly plays MMORPGs solo, the only way my actions affect other players is through the indirect medium of prevailing business trends. IE being part of a group that offers more business potential to the developers. Carping about this is a bit like complaining that not enough people buy a particular brand of coffee that you like and as a result the supermarket no longer stocks it.
Finally, there is a slight hint of a sense of moral outrage associated with this re-occurring argument. Such sentiment is misplaced in a reasoned and rational argument. This is ultimately a discussion about business decisions and how market forces govern product change. Personal indignation based upon perceived injustices does nothing more than cloud the debate. Developers know that they can't please all customers and it would be beneficial is gamers reciprocated. If as a gamer find yourself on the wrong side of a change of policy or game mechanic, then that is sad for you but beyond that it is of no more significance. However as reasoned and rational discussion is not de rigueur in any public arena at present, let alone just in gaming, I suspect we haven’t seen the last of the “you’re playing wrong” debate.
The Myth of the Perfect Video Game
Jim Sterling posted an interesting video this morning exploring the ongoing obsession of major games studios with trying to find the perfect video game and how they’re on a hiding to nothing. He cites market research conducted by the food industry in which two rival companies tried to find the perfect pasta sauce. To cut a long story short it turns out there was no universally favoured product and a third of those polled actually wanted a type of pasta sauce that wasn’t even available. The conclusion of this analysis was that success was dependent on offering a broad range of products. To quote Mr. Sterling, “there is no perfect pasta sauce, just perfect pasta sauces”. Let it suffice to say this anecdotes parallels with the gaming industry are obvious. Games perpetuate features that work, which end up being adopted by other rival products. This leads to a lack of innovation and constrained creativity.
Jim Sterling posted an interesting video this morning exploring the ongoing obsession of major games studios with trying to find the perfect video game and how they’re on a hiding to nothing. He cites market research conducted by the food industry in which two rival companies tried to find the perfect pasta sauce. To cut a long story short it turns out there was no universally favoured product and a third of those polled actually wanted a type of pasta sauce that wasn’t even available. The conclusion of this analysis was that success was dependent on offering a broad range of products. To quote Mr. Sterling, “there is no perfect pasta sauce, just perfect pasta sauces”. Let it suffice to say this anecdotes parallels with the gaming industry are obvious. Games perpetuate features that work, which end up being adopted by other rival products. This leads to a lack of innovation and constrained creativity.
After watching this video, I immediately thought of the MMORPG genre and how it is an exemplar of this theory. Since World of Warcraft established its dominance of the market, all major Triple A titles have sought to replicates Blizzard’s success. Thus, there are numerous franchise based and non-franchise based theme park MMOs, running on hybrid B2P and F2P business models. Most are couched in generic fantasy trappings, all offering skills trees, crafting, reputation factions, as well as major or minor quests. MMOs can be entertaining but after you’ve played through three or four, the similarities soon become apparent, with the only major difference being the setting and theme of the overall game. At present, if you want innovation in MMOs you have to look to the independent gaming scene.
The search for a winning formula and how it often leads to generic products, is sadly common to most consumer industries. Boy Bands, Reality TV shows and junk food are just some of the examples of where this can lead. Producing “more of the same” ultimately stagnates the market and so the revenue stream is far from indefinite. The slasher boom of the eighties was lucrative but ultimately ran out of steam. So will the MCU and other major movies franchises. Therefore, why should gaming be any different. However, one thing Jim Sterling doesn’t explore in his video is what happens after the inevitable crash that comes from doggedly pursuing an unobtainable business goal, such as the “perfect video game”.
History shows that when the mainstream ceases to innovate and engage with its customers, creativity emerges from the fringe. It happened in the film industry during the late sixties and early seventies when independent films started to gain both critical and commercial success. The conventional music industry was similarly side lined by the emergence of punk and then later with hip hop. The rise of the internet has facilitated a wealth of content outside of commercial television. It caters to bespoke and niche markets. So, although mainstream gaming may well be heading for a commercial crash, what comes after may well be worth the wait and the current inadequacies of the market. In the meantime, if we as gamers wish to expedite these changes, we need to look to ourselves and what we buy. Exercising consumer choice sends a potent message.
Running Around Shooting Things
I took advantage of the current summer sales and pre-ordered the next instalment of Call of Duty, succinctly named WWII, due to be released in Autumn. After straying far from the established model, it’s nice to see CoD returning to its roots. The Second World War is a tried and tested formula and will no doubt be well received by fans of the franchise. As I have said before, COD is not a revolutionary product and as far as I know has never claimed to be. It provides a standard formula with sufficient variation, which is commercially viable and demonstrably popular. Those gamers that constantly rail against these games are on a hiding to nothing. You might as well complain about pop music being mainstream and accessible.
I took advantage of the current summer sales and pre-ordered the next instalment of Call of Duty, succinctly named WWII, due to be released in Autumn. After straying far from the established model, it’s nice to see CoD returning to its roots. The Second World War is a tried and tested formula and will no doubt be well received by fans of the franchise. As I have said before, COD is not a revolutionary product and as far as I know has never claimed to be. It provides a standard formula with sufficient variation, which is commercially viable and demonstrably popular. Those gamers that constantly rail against these games are on a hiding to nothing. You might as well complain about pop music being mainstream and accessible.
Over the years I played numerous FPS franchises such as Doom, Quake and Battlefield. Recently I’ve strayed in to cooperative variants such as Overwatch and For Honor. They all have their respective merits and downsides. But they all have to be offset against my relative lack of skill with the FPS genre. Map familiarity, optimising your load out and effective tactics are required skills if you want to get the most from the games. Skills that I lack. As a result, many of these titles have never fully satisfied me and lived up to the frenetic experience that the marketing depicted. However, COD, particularly the Treyarch produced instalments, have not fallen into this category.
The barriers to success are lower due to the mechanics of the game. Weapons physics and map designs are less esoteric and there is also an opportunity for luck. Even the most myopic of players will be presented with a chance to get kill sooner or later, even if it is simply by a player spawning in front of you. What some see as dumbing down is the foundation of the games appeal. For those that want a more challenging experience there are harder game modes. But for those that don't want a strict learning curve or the intricacies of more sophisticated games, COD provides a quick fix. There is also the offline multiplayer option in some instalment for those who wish to play against bots.
I have spent time in various incarnations of Battlefield where the multiplayer experience has been very good. But that has often been dependent on the server I was playing on. I have also had times when endless running across the map only to be shot the moment I arrived at the action, became very trying. The way certain players monopolise some of the vehicles is also a pain at times. Simply put, being a poor player inhibits your enjoyment of the game. With CoD, this simply doesn't arise as often. You may at times chance across some tedious troll but this can be addressed with the judicious use of the mute button. Overall you can jump into the action and quickly start enjoying the game without having to think to hard or worry about tactics. Overwatch has a similar accessibility about it. If you desire a greater challenge you can always find it with the variety of options these games offer.
The FPS genre provides a variety of products, catering to a broad range of tastes. Each has its place in the market and arguing that one is better than another seems as senseless to me as saying apples are better than oranges. There are times when I will knuckle down and attempt to up my game when playing something like Red Orchestra 2 Heroes of Stalingrad. It often helps in a more complex environment to be part of an organised team. On other occasions, I am happy to take a more leisurely approach because sometimes, all I want to do is run around and shoot things. It is then that I recapture that enjoyment I had when playing Unreal Tournament, back in 1999. Because isn't having fun what gaming is supposed to be about?
LOTRO: High Elf Preview
I was more than a little surprised when Standing Stone Games announced the addition of a new race coming to LOTRO. As Elves are already a popular option in the game, I really didn’t see any merit in adding a subtle variation of them, with High Elves. However, as I had time this weekend, I thought I’d take a look at the new introduction for this race, that is currently available for preview on the Bullroarer test server. Like all races in LOTRO, there is a bespoke opening quest line, that orientates players and provides a degree of lore and backstory. Although aspects of the High Elf race are yet to be completed such as the character visualisation, the introduction is in place and has a rather unique narrative compared to the rest of LOTRO.
I was more than a little surprised when Standing Stone Games announced the addition of a new race coming to LOTRO. As Elves are already a popular option in the game, I really didn’t see any merit in adding a subtle variation of them, with High Elves. However, as I had time this weekend, I thought I’d take a look at the new introduction for this race, that is currently available for preview on the Bullroarer test server. Like all races in LOTRO, there is a bespoke opening quest line, that orientates players and provides a degree of lore and backstory. Although aspects of the High Elf race are yet to be completed such as the character visualisation, the introduction is in place and has a rather unique narrative compared to the rest of LOTRO.
After creating your High Elf character and choosing a suitable name, the action moves to The Battle of Dagorlad, during the end of the Second Age. As part of the Last Alliance and in true LOTRO fashion, you find yourself running errands for none other than Gil-galad himself. This presents an opportunity to name check a lot of iconic characters from Tolkien’s work and certainly provides an interesting story line. High Elves have at present some curious parkour style animations when running and jumping. It actually seems quite fitting, considering the physical and tactical abilities of the race. It should also be noted that your character is at level 110 at this point in the proceedings.
SPOILER ALERT:
Now this is where things get curious. SSG have had to find a suitable plot device to bring your character from SA 3434, to a TA 3001. A passage of time of about three thousand plus years. I must admit, I did laugh out loud at the temerity of their solution. Effectively, your character is stabbed with a Morgul blade with the intent of turning them into a minor wraith. However, you’re rescued and brought to Imladris and healed by Elrond. Due to the severity of your wound, you’ve been convalescing in an Elven coma all this time. Overall, it works and does have a degree of plausibility but it’s all somewhat hokey and somewhat “Buck Rogers”. Furthermore, because your strength has been weakened by this experience, you’ve been reduced to an appropriate level for the starting zones of LOTRO.
Much to my surprise, I did enjoy this opening gambit for the High Elf race. Although it is unpolished in its current state, it is clear that some thought has been put into it. However, like the Beorning class that was introduced into the game in late 2014, once the initial excitement of the introduction has passed, you once again find yourself in the Ered Luin starter zone, forging through familiar territory. It’s a shame that SSG cannot maintain a slightly more customised story play through for each race, as Cryptic do with Star Trek Online. At present High Elves may only appeal to Elven enthusiasts and altoholic completists. In the meantime, I am looking forward to the next preview build to see the new facial options and ongoing refinements of the class.
LOTRO: Mordor Preview
I decided to take a look at the second Mordor preview today, that is currently available on Bullroarer test server. Due to technical issues, I could not initially log into the game. The game client stuck at installing “pre-reqs”. However, by the evening SSG had resolved the problem and I managed to successfully login and copy my level cap character from Laurelin. Access to Mordor is via a teleport horse at the Slag-Hills. As with Helm’s Deep and the Battle of the Pelennor fields, this system of transitioning between multiple phases set at different times, can be a little confusing. Irrespective of this, it was rather droll of SSG to have Boromir as the NPC that bestows access to the Mordor quest line. I subsequently spent several hours touring the region. This post is specifically about my initial impressions of the area and is not a critique of all the new features and systems.
I decided to take a look at the second Mordor preview today, that is currently available on Bullroarer test server. Due to technical issues, I could not initially log into the game. The game client stuck at installing “pre-reqs”. However, by the evening SSG had resolved the problem and I managed to successfully login and copy my level cap character from Laurelin. Access to Mordor is via a teleport horse at the Slag-Hills. As with Helm’s Deep and the Battle of the Pelennor fields, this system of transitioning between multiple phases set at different times, can be a little confusing. Irrespective of this, it was rather droll of SSG to have Boromir as the NPC that bestows access to the Mordor quest line. I subsequently spent several hours touring the region. This post is specifically about my initial impressions of the area and is not a critique of all the new features and systems.
The first thing that struck me about Mordor immediately after the fall of Sauron, was how dark and gloomy it was. I’m sure lore experts will correct me if I’m wrong but wasn’t the storm of Mordor supposed to dissipate after the ring was destroyed? I was hoping that the smoke and dust from the ruined Morannon would lift as I travelled into Udûn and beyond. Sadly, this was not the case. Mordor is dark, smokey and depending upon your monitor and graphics card, a strain on the eyes. I had to pull the curtains in my office to be able to see clearly. LOTRO has several other regions that have low lighting and are dismal; Moria and Angmar. However, visibility is still sufficient to navigate. Mordor is very much like Mirkwood, as in it’s not just dark but blurry.
Standing Stone Games have a lot of placeholder NPCs at present. I found myself battling a Blackwold Ruffian at one point, which was somewhat incongruous. But as the expansion is work in progress one has to expect such workarounds. The architecture of the region is in the same idiom of the Dagorlad and Angmar. It looks appropriate but a lot of assets are simply being reused. There are some new beasts roaming Gorgoroth, such as the Sulokil but most else are just variations on existing themea. Rock worms and fire drakes make a return, along with Fire Grims and Fumaroles. There is a swamp like region to the South East of Mount Doom and the area around Cirith Ungol is heavily populated by the Spawn of Ungoliant. Straying from the road or approaching enemy camps triggers the new Light of Eärendil/Shadow of Mordor system. This is a buff/debuff mechanic that isn’t fatal but does diminish your stats.
From what I have seen so far of Mordor, it certainly seems to fit the aesthetic described in Tolkien’s source text. Once you’ve initially gotten over the excitement of simply walking into Mordor, it really becomes apparent that SSG have provided more of the same. That’s not a bad thing per se. The formula has proven to work. Mordor will have some subtle differences from other zones in LOTRO and bespoke mechnics but it will ultimately have Epic and standard quests, rep factions and new items to obtain or craft. For me, the real test will be how engaging the narrative is, now we have stepped beyond the canonical story. The dark and oppressive nature of the new area may also be an obstacle for some players. I certainly do not see myself engaging in lengthy gameplay sessions as did in Northern Ithilien.
As of yet, SSG have not mentioned a price point for the Mordor expansion. They’ve also not yet clarified some details regarding various new game mechanics. The allegiance system for example seems to be an advance variation of a reputation faction. There is also no news on alleged instance cluster and whether it will be included in the expansion or come after. The price may also be an issue. Although the overall Mordor map looks big, much of it is a rocky barren wasteland. I hope the areas to the South of the Sea of Núrnen are more temperate, as these are supposed to be fertile and the bread basket of Mordor. I do not want to pay an excessive amount for a potentially un-diverse region. Hopefully further information will be forthcoming shortly.
I remain for the present, relatively optimistic about this pending expansion as we’ve not had one for several years. It should be remembered that not every LOTRO player has level cap characters, so for them there is no immediate need to buy more endgame content. The introduction of a new race is therefore an interesting development and I shall write more about this in my next blog post. It’s appeal to altoholics is a practical source of revenue for SSG. I’m also looking forward to the revised character animations and aesthetics. LOTRO was never cutting edge with regards to its avatars so an overhaul is more than welcome in my opinion. In the meantime while we await more news and a third test build, here is a small gallery of screen captures taken throughout Mordor today. Please note I have adjusted the brightness, as they were incredibly dark.
Gaming and Semantics
Language is an evolutionary thing. It changes over time, reflecting the needs of the culture that use it. Furthermore, each unique sub-set of society seems to create and utilise its own bespoke lexicon. From business, science, politics, religion, to sports and other leisure activities, all use terminology that is pertinent to their own group. Overtime some of these terms crossover from one niche to another to eventually find broad mainstream acceptance. It is a fascinating process and one I think has accelerated in recent years due to the growth of social media.
Language is an evolutionary thing. It changes over time, reflecting the needs of the culture that use it. Furthermore, each unique sub-set of society seems to create and utilise its own bespoke lexicon. From business, science, politics, religion, to sports and other leisure activities, all use terminology that is pertinent to their own group. Overtime some of these terms crossover from one niche to another to eventually find broad mainstream acceptance. It is a fascinating process and one I think has accelerated in recent years due to the growth of social media.
Gaming as a culture typifies this linguistic trend, although some terms are ambiguous and not clearly defined. This subsequently leads to skewed debates and discussion, as there is not mutually agreed frame of reference or definition. Furthermore, when discussing wider issues such as game content, particularly political or social themes, there is often a great deal of pejorative terms and ill-conceived labels bandied about, which are used not to describe but to discredit. This seems to reflect the increasingly bi-partisan nature of all public debates these days, especially politics. Sadly, such language taints the gaming community and damages its reputation.
Something that comes up habitually is the term "carebear". Initially this was a term that was jokingly employed to describe players that preferred the social interaction of PVE content and avoided player versus player gameplay. Now it seems to be a routine epithet to negatively label anyone who doesn't advocate any of the competitive aspects of gaming. If you do not like PVP, or end-game raiding, warzones, skirmishes or the like you are a "carebear". The implication being that caring and compassion are negative things and potentially a sign of weakness. It’s a blanket term design to belittle and standard ammunition in ad hominem attacks.
During the seventies, UK national politics was extremely binary. The right was focused on privatisation, small government and the free market. The left advocated the welfare state, social responsibility and equality. It was during this period that I first became aware of the term "do gooder"; a term broadly meaning a well-meaning but unrealistic or interfering philanthropist or reformer. Yet overtime it simple degenerated into a pejorative label for anyone who's politics were not sufficiently right wing. Any sort of policy that advocated fairness or parity was lambasted with this term, to the point where it became nothing but a vacuous buzz word. The reason I mention this is because the exactly the same thing is happening today with the trite label "social justice warrior".
Like social and political controversies, gaming debates usually grind to a halt under the weight of these pejorative terms. Any sort of meaningful and mature discourse is obscured under a swath of pointless and ultimately meaningless buzzwords. "Feminazi", "delicate snowflake","filthy casual gamer" and other such names are bandied about, dragging the debate away from a level playing field and into the playground. Combine this sort of rhetoric with the prevailing mindset that eschews reason, critical thinking and the scope to disagree in a civil fashion and all rational discussion ends. The winner is simply those who shout loudest. History has shown us that such groups are seldom the best informed.
When this sort of philosophy prevails it ultimately does more harm than good. Sadly, at present, too many gamers are so busy indulging in territorial pissing that they are oblivious to the fact that they are befouling their own waterhole. It's only a matter of time before the well is truly poisoned. If gaming culture genuinely wants to improve for everyone's benefits then it needs start thinking. That begins with the language that we use towards each other. The alternative is to continue down the current road and let those who want to watch Rome burn, do so to the detriment of all. In the meantime, there will be those that disassociate themselves from the mainstream and set up isolated safe havens for likeminded gamers. However, that doesn't really fix the long-term problems. Are smaller more fragmented markets and communities ultimately good for gaming?
Secret World Legends
Writing a lengthy article as to why you don’t like a game is often a bad idea. It seldom makes for a good post unless you are humorous or have a cogent point to make. Often all the anger, bile and vitriol can be distilled down to the following. “I wanted X and they (the developers) gave me Y”. Its a simple question of differing expectations and personal taste. Well that is what we have here. Simply put, the changes made to The Secret World in its transition to Secret World Legends are insufficient for me to change my overall view of the game. Specifically, I still do not like the combat system and find the UI esoteric and unintuitive. It is easier to play the game now so theoretically I can soldier on to see the narrative that I previously missed. But I still have to endure an unsatisfactory fighting style to do this and that is a big enough hurdle for me to possibly conclude “it’s not worth it”.
Writing a lengthy article as to why you don’t like a game is often a bad idea. It seldom makes for a good post unless you are humorous or have a cogent point to make. Often all the anger, bile and vitriol can be distilled down to the following. “I wanted X and they (the developers) gave me Y”. Its a simple question of differing expectations and personal taste. Well that is what we have here. Simply put, the changes made to The Secret World in its transition to Secret World Legends are insufficient for me to change my overall view of the game. Specifically, I still do not like the combat system and find the UI esoteric and unintuitive. It is easier to play the game now so theoretically I can soldier on to see the narrative that I previously missed. But I still have to endure an unsatisfactory fighting style to do this and that is a big enough hurdle for me to possibly conclude “it’s not worth it”.
One of the things that attracted me to The Secret World when it was initially being beta tested was the idea of the supernatural being countered with modern technology. Thus, firearms were and remain my weapons of choice. However, combat was clunky and awkward at that stage in the games lifespan. I never got the sense that the assault rifle was doing any substantial damage and had to constantly back pedal to stay alive. It was dull and time consuming to clear mobs and make progress. Sadly, despite a streamlining of the combat system in Secret World Legends and a noticeable reduction of skills bloat, combat with pistols and the like, still feels woefully unsatisfying. Yes, foes do now die quicker and I now have a reticule to aim but that is about all that has changed.
What I expected, hoped for, wanted (and I accept the inherent fallacy of thinking in such terms with regards to gaming. After all you get what you’re given and nothing more) was a tangible gun mechanic. Something that felt substantial IE when you fire the gun the enemy took major damage, or recoiled, or at least gave the impression that this was inconvenient for them. However, the problem is where you can credibly scale the DPS of certain weapons or types of attack to suit an MMORPGs progression system, it’s far harder to do with the arbitrary functionality of guns. Firearms do damage per se, based on calibre and rate of fire. Scaling their damage to fit in with the games levelling system renders them tediously impotent at the initial stages of the game. This may come down to perception and they’re probably doing a comparable amount of damage to any other weapon type. But it just feels off and I don’t like wearing mobs down gradually with a pea-shooter.
So, I’ll try to look beyond this “obstacle” and see if I can muster up the interest to persevere with Secret World Legends in the next few days but there’s a fifty-fifty chance I’ll just get bored and move on to pastures new. Oh, and to address some of the inevitable comments one expects from the gaming cognoscenti, firstly, no I don’t want to try any other weapons. I chose guns for a reason. If there was something else I liked I would have picked them. Secondly, no I’m not saying that Secret World Legends is an awful game etc. I am simply highlighting that it has failed to “float my boat” and that comes down to a simple question of taste. As for catching up with the narrative, I’m sure I can probably watch all the relevant cutscenes on You Tube. It wouldn’t be the first time I’d done that to check out a game’s story, without having to go to the hassle of playing it.
PVP in MMOs
There has been an interesting debate this week about PVP in MMOs among several of my fellow bloggers. Syp AKA Justin Olivetti wrote an article for Massively OP referencing “gankbox culture” of EVE Online which then garnered a series of reciprocal posts from the likes of Bhagpuss, Jeromai, UltrViolet and Wilhelm Arcturus. Good points have been made by all but I think Bhaggie hit the nail on the proverbial head when he said that the term “PVP”, like so many in the gaming lexicon, is ill-defined. Player versus player can manifest itself in many forms, such as duels, arenas and zerg against zerg. Some games do offer an open world were players can be preyed upon or “ganked” but it is usually regulated to some degree. However, the thing that came out of this discussion that was of the most interest to me was why some people dislike PVP so much?
There has been an interesting debate this week about PVP in MMOs among several of my fellow bloggers. Syp AKA Justin Olivetti wrote an article for Massively OP referencing “gankbox culture” of EVE Online which then garnered a series of reciprocal posts from the likes of Bhagpuss, Jeromai, UltrViolet and Wilhelm Arcturus. Good points have been made by all but I think Bhaggie hit the nail on the proverbial head when he said that the term “PVP”, like so many in the gaming lexicon, is ill-defined. Player versus player can manifest itself in many forms, such as duels, arenas and zerg against zerg. Some games do offer an open world were players can be preyed upon or “ganked” but it is usually regulated to some degree. However, the thing that came out of this discussion that was of the most interest to me was why some people dislike PVP so much?
Cowardice, risk aversion and conflict-phobic are just some of the terms used by my blogging colleagues to explain as to why some players do not like PVP. Some have argued more simply that the mechanic is just a question of taste. However, I think it is more complex than that, as PVP isn’t a passive game mechanic like a buff or a DoT; something you endure due to the design of the game. PVP is another player impinging directly upon your gaming and I think this is the key to the issue. A lot of gamers do not like the idea of another individual having such a tangible impact upon their experience. Especially if there is nothing they can do to control it. The loss of items or experience is one objection but I believe the most fundamental issue is that no one likes being a victim.
I personally have no objection to the PVP mechanic in principle or its presence in MMOs. As long as its optional and consensual or in a bespoke zone then it can be an enjoyable gaming experience for those who pursue it. Duelling, competitive game play and league tables are legitimate modes of play and totally acceptable in other pastimes. Let us also dispel the myth that PVP is the exclusive province of sociopaths, malcontents and the dysfunctional. My experience of group PVP in games such as Overwatch, Battlefield or Call of Duty, has been broadly positive. Sadly, there is a certain type of person that spoils this overall experience and skews the wider reputation of PVP. A minority of players gravitate to this type of gameplay as it offers a platform for bullying and bragging. PVP is seen by some as a rite of passage and a means to bolster their self-esteem.
I play games for fun. Yes, I like a degree of challenge and to work towards specific goal but overall, they are a form of recreational entertainment. As in real life, I do not want to be inconvenienced by others or for them to have a negative impact upon my experience. I want to be segregated from those who could be potentially problematic and I wish to control as many of the variables as I can. Thus, I do not care for open world PVP, where I could be preyed upon at any time and lose items. Plus, another honest reason why I don’t pursue one on one PVP in MMOs, is that I don’t like losing. Who does? I prefer the safety of the zerg or being over powered. Let us not trot out these tired old arguments about “building character” or “it’s the taking part that counts” because neither hold up to close scrutiny.
There is another factor that impacts upon our attitude towards PVP and that is financial. Most games involve some sort of payment and the majority of players meet those costs at some point. As soon as money enters the equation, the dynamic of our gaming experience changes. Being a customer radically alters your perception of what is and what isn’t desirable. The loss of items and XP have a financial cost, as does the time spent earning them. The appeal of being “ganked” by someone and having to pay for the “experience” alludes me. However, we all ultimately view the world, gaming and thus PVP through the prism of our own experience. I’m sure there are bloggers whose opinions are the polar opposite of mine. As for PVP, I am happy for it to be part of gaming, as long as it is never forced or inflicted upon those who do not want it.
LOTRO 10th Anniversary: Remembering LOTRO Part 2
When reminiscing about LOTRO, there are many personal highlights for me to consider. Raiding in the Rift, completing the epic story in Shadows of Angmar, or even getting my first mount. Yet, if I had to pick a personal favourite experience, it would be the great charge across the River Anduin, into Mirkwood. This happened on Gilrain server on Monday 25th of Janurary 2010, the night before Siege of Mirkwood expansion was launched. An enterprising player by the name of Mikeemoo arranged the event via the forums and at the designated time a hundred plus players assembled on the Western bank of The Great River. Once the signal was given we swam en masse to the Eastern shore and swarmed up the bank into the woods. As the zone was not yet accessible the developers had placed NPCs in the vicinity; Mirkeves Fell Arrows that could one shot any player. However, due to the sheer number of players in the zerg and the resulting lag, many made it across. Eventually the server kicked everyone but it was immense fun while it lasted.
When reminiscing about LOTRO, there are many personal highlights for me to consider. Raiding in the Rift, completing the epic story in Shadows of Angmar, or even getting my first mount. Yet, if I had to pick a personal favourite experience, it would be the great charge across the River Anduin, into Mirkwood. This happened on Gilrain server on Monday 25th of Janurary 2010, the night before Siege of Mirkwood expansion was launched. An enterprising player by the name of Mikeemoo arranged the event via the forums and at the designated time a hundred plus players assembled on the Western bank of The Great River. Once the signal was given we swam en masse to the Eastern shore and swarmed up the bank into the woods. As the zone was not yet accessible the developers had placed NPCs in the vicinity; Mirkeves Fell Arrows that could one shot any player. However, due to the sheer number of players in the zerg and the resulting lag, many made it across. Eventually the server kicked everyone but it was immense fun while it lasted.
This anecdote in many ways encapsulates all that makes LOTRO so enjoyable. Teamwork, a sense of community, an environment that lends itself to more than just the scripted gameplay. This is why player generated events thrive in the game and why Standing Stone Games are wise to support such undertakings. Although over the years, the relationship between the player base and the development team hasn’t always been good and it’s fair to say that mistakes have been made on both sides. The transition to F2P was far from smooth for the European players and both Enedwaith and Dunland where hardly highpoints in the games ten-year journey. Then there was the introduction of the skills tree with Helm’s Deep which divided the player base. However, unlike other fickler communities, LOTRO players tend to take a more pragmatic approach to the ups and downs of gaming. They have rolled with the changes over the last decade mainly due to their passion for Tolkien’s work.
As soon as I had bought LOTRO in 2008, I started blogging about the game. In many respects, it was instrumental in my writing on a regular basis, as it tends to be a rule of thumb that you should write about what you enjoy. What quickly became apparent was that there existed a very dynamic and friendly blogging and podcast community associated with the game. Everyone was extremely welcoming and only too happy to help promote each other’s content. The LOTRO Combo Blog was an invaluable source of information, aggregating dozens of fan related sites. There was also a wealth of LOTRO related podcast and shows, all dealing with a unique facet of the game. But I think we can all agree that the jewel in the crown of fan related productions was “A Casual Stroll to Mordor” with Merric and Goldenstar. The show presented LOTRO related news and views each week with a healthy dose of enthusiasm and honesty. It very soon became indispensable listening among fans and in many ways, did a better job of informing players and promoting the game than Turbine.
On a personal note, one of the most agreeable aspects of playing LOTRO over the years has been the friendship that I’ve formed with fellow bloggers, podcasters and guild mates. The kinship system in LOTRO is a subtly different beast to comparable social systems in other games. It doesn’t offer the obvious items advantages of say Guild Wars 2 or STO. It seems to be far more of a labour of love. I have been in the same kinship since spring 2009 and it is a remarkably tight knit social group. Some players come and go but there is a core group that are the heart and soul of the kinship and they are always online, willing to help and blessed with a boundless enthusiasm. As LOTRO has finally reached the Black Gates and Mordor awaits via the next expansion, I’ve seen many a familiar faces return to the kinship roster. It’s amazing the way friendship just resume, as if time has no bearing on the matter.
Ultan Foebane. Holding his chopper and going nowhere since 2007.
In many ways Update 21 is a major crossroad for both LOTRO and Standing Stone Games. Finally, the central story goes beyond Tolkien’s work and it is incumbent upon the in-house writers to maintain the high standard that they have for the last decade. There is scope for this to be a major creative step forward. It could also go the other way. Yet, despite the importance of this transition, the community seems far from nervous about the matter. Good will abounds at present and the recent ten-year anniversary has been well received. Certainly, the transition from Turbine to SSG has repaired a lot of previously burned bridges and the developers seem to be far better at communicating and keeping players informed than they previously were. So, here’s to LOTROs future and years more of fun and fond memories. May the road continue to go on and on.
Messing About in Boats
“Believe me, my young friend, there is nothing - absolutely nothing - half so much worth doing as simply messing about in boats.” Kenneth Grahame. The Wind in the Willows.
It's curious the way a simple aspect of a game can resonate with you and become a source of pleasure. Regardless of the availability of new content, I still like to log into LOTRO on occasion and just ride around Middle-earth. Similarly, the vast open world of Skyrim has a comparable appeal. Despite my lack of driving skills, even aimlessly cruising around Los Santos in GTA V can be a source of relaxation. I can lose hours indulging in these simple tasks, quietly reflecting on either the game or the real world. Recently I returned to another activity that can also be added to this list. Sailing in Two Worlds II.
“Believe me, my young friend, there is nothing - absolutely nothing - half so much worth doing as simply messing about in boats.” Kenneth Grahame. The Wind in the Willows.
It's curious the way a simple aspect of a game can resonate with you and become a source of pleasure. Regardless of the availability of new content, I still like to log into LOTRO on occasion and just ride around Middle-earth. Similarly, the vast open world of Skyrim has a comparable appeal. Despite my lack of driving skills, even aimlessly cruising around Los Santos in GTA V can be a source of relaxation. I can lose hours indulging in these simple tasks, quietly reflecting on either the game or the real world. Recently I returned to another activity that can also be added to this list. Sailing in Two Worlds II.
What I find strange is that this is the very sort of game mechanic that I usually balk at. In the past, I would usually view similar systems as an unnecessary embellishment. Plus, I am not inclined towards sailing in real life, having tried it a few times in my youth. I just couldn't get on with the sweaters, endless sea chanties and the smell of fish. So, it comes as a surprise to me how much I enjoy tacking around the archipelagos of Antaloor, listening to the in-game ambient music track, Sails and Journeys by Borislav “Glorian” Slavov and Victor Stoyanov.
Sailing in Two Worlds II is far from arbitrary and requires a modicum of skill. The mini-map shows the wind direction and one must steer accordingly to pick up speed. Naturally sailing in to the wind is impossible, so tacking is required when navigating in such a direction. Therefore, it requires some thinking to sail to a specific waypoint. Naturally, the game developers have not made this mode of transport mandatory. There is the option to swim or use the teleportation system to travel between locations. However, there is a something elegant about sailing to a specific destination. The games weather system as well as day and night cycle also add to the ambience.
It is often these minor facets of games that keep me engaged and playing them. When you consider the horse trading that goes on during the development process of any title, it's nice to see some of these low-key mechanics still make it into the finished products. I often find them a great way to relax and am therefore pleased to add sailing to my list of trivial activities to indulge in while gaming. The wearing of eye patches, is of course, purely optional.
Star Trek Online: Summer Festival 2017
The Star Trek Online Summer Festival 2017 or Risa annual Lohlunat Festival to give it its proper name has been running for over a week now. It started on the June 8th and is available through to 20th July. Although many MMOs have festival and seasonal activities, STO’s Summer and Winter events are outstanding, being accessible, enjoyable and very rewarding. Not only are cosmetic clothing and pets available as barter items, the game also offers kit modules and bridge officer skills as rewards. Then of course each event always allows players to earn a new Tier 6 ship. This Summer it’s a Vorgon Ryn’Kodan Carrier.
The Star Trek Online Summer Festival 2017 or Risa annual Lohlunat Festival to give it its proper name has been running for over a week now. It started on the June 8th and is available through to 20th July. Although many MMOs have festival and seasonal activities, STO’s Summer and Winter events are outstanding, being accessible, enjoyable and very rewarding. Not only are cosmetic clothing and pets available as barter items, the game also offers kit modules and bridge officer skills as rewards. Then of course each event always allows players to earn a new Tier 6 ship. This Summer it’s a Vorgon Ryn’Kodan Carrier.
What I especially like about the Summer event in STO is it’s setting on the vacation resort Risa. Holidays are typically about, sun, sea and surf and Risa has that in spades. You can also dress accordingly with a variety of beachwear and other cosmetic items. The use of Floaters and Powerboards in several events is great fun. The addition of the Biathlon this year combines both in a single race. The transition from one mode of transport to the other can be quite challenging and there are still the odd bug to be worked out. I like the fact that despite being a “race” the winner is determined by the claiming of a flag. It helps level the playing field for those with slower internet connections. Half the fun is listening to players carp in chat about how they came first but overshot the flag and lost their placing.
Then there’s the Dance Party. Although it’s just a question of hitting the right emote when it’s called out by the Dance Instructor, the catchy music and the player interactions on the dance floor, really adds to the atmosphere. As for the contest itself, rather than click on individual emotes or type the necessary command in the chat window, you can simply pin the list of dance emotes to your UI for easy access. STO actually has quite a variety of dance emotes, the majority of which are available by default. Then there are a few extra that can be unlocked by specific quests or purchased using various barter currencies.
I’m sure that gamers may well claim that similar fun and larks can be had in other MMOs and that these also offer similar bespoke events. But STO has one remaining trump card up its sleeve that no other games can compete with. Gorns. Gorns in Bermuda Shorts. Gorns on Powerboards and Flaoters. Gorns tearing up the dance floor. Yes, Gorns in party mode are a thing of beauty as the gallery below shows. They are the embodiment of grace and style. So, if you have a STO account and haven’t played for a while, log in to the game and get your ass to Risa. Get out on to the dance floor and bust a move. Still not sold? Here’s the Dance Party tune, the Risa Calypso, for your edification.
How Not to Do Business Part 2: TopWare
I wrote last week about the surprise DLC for the seven-year-old RPG Two Worlds II and how I decided on a whim to buy it. Well yesterday was the official launch day for Call of the Tenebrae and yet, twenty-four hours later, I’m still not playing the game. So far, I have not received a Steam key for the game, despite the money being deducted from my PayPal account on the 5th of June. So naturally, I have made enquiries as to what is happening and have endeavoured to contact the publishers TopWare. Let it suffice to say that my attempts to resolve the matter have proved fruitless and I have discovered that TopWare are far from the embodiment of German efficiency.
I wrote last week about the surprise DLC for the seven-year-old RPG Two Worlds II and how I decided on a whim to buy it. Well yesterday was the official launch day for Call of the Tenebrae and yet, twenty-four hours later, I’m still not playing the game. So far, I have not received a Steam key for the game, despite the money being deducted from my PayPal account on the 5th of June. So naturally, I have made enquiries as to what is happening and have endeavoured to contact the publishers TopWare. Let it suffice to say that my attempts to resolve the matter have proved fruitless and I have discovered that TopWare are far from the embodiment of German efficiency.
I was initially surprised when I made my purchase last Monday week, that I didn’t receive a Steam key immediately. However not all games allow you to activate and pre-load content and as this is an older title I simply put it down to logistical reasons. However, as yesterday was the official launch for this DLC and I had not been informed of any delay, I went straight to my account at the TopWare store to see if a key had been added. Its absence was conspicuous. So, I decided to use the messaging facility linked to my order and sent a simple enquiry as to where my key was. The website curiously rendered my message into German and then back into English, so what I currently have in my chat timeline is not the exact message that I sent. As of writing this post, that message has not been responded to.
I next decided to see if I could find out anything further about the Call of the Tenebrae launch in case it had been postponed. TopWare delayed the release of Raven’s Cry several times at short notice, so they have form for such changes. After some checking, I soon discovered that TopWare were not exactly regular users of social media. They have three Twitter accounts (One US, One German and another specific to Two Worlds II) that have no launch day information. Previous tweets date back several weeks. There Facebook page is similarly devoid of anything other than press releases and woefully out of date. So, I opted to send an email via the default info email address. Again, thirty-six hours later I’ve had no response.
As I fast approach fifty, I tend not to get as irate as I did in my youth. That’s not to say that I’m not annoyed by this inconvenience but in the great scheme of things and especially within the context of my personal life at present, this isn’t such a big deal. So, I have decided to use this situation as a writing opportunity. I suspect that there will not be a quick resolution and I can see myself having to get PayPal to claw the cost of this game back from TopWare. In the meantime, it would appear the Call of the Tenebrae has launched on consoles and possibly on Steam. I have seen no feedback yet about the quality of the game itself but the inclusion of a cash store and microtransactions does seem to have caused a controversy. All I can add to the proceedings at present is that TopWare seem to be providing the gaming community with a text book example of how not to do business
Update:
I received an email from TopWare customer support on Sunday 18th June. It contained my serial key but there was no explanation or apology regarding the delay. I now have the game installed.
