Fans and Communities
Over the years I have been a participant in several fan based communities. These have ranged from running film clubs, to creating and publishing fanzines in the pre-internet days. More recently this has included running websites, blogging and creating podcasts. It’s a curious thing the way fandom is cyclical and one’s involvement with such communities seems to ebb and flow. It’s something I’ve been thinking about a lot of late. Several of the You Tube channels I enjoy have reduced their output or stopped due, to changes in advertising policy and monetisation. The Newbie Blogger Initiative failed to manifest itself this year and many of my immediate colleagues in blogging and podcasting have also begun to fade away or moved on to pastures new. The sad thing is, the true value of many community contributors is never really realised until after they’ve gone.
Over the years I have been a participant in several fan based communities. These have ranged from running film clubs, to creating and publishing fanzines in the pre-internet days. More recently this has included running websites, blogging and creating podcasts. It’s a curious thing the way fandom is cyclical and one’s involvement with such communities seems to ebb and flow. It’s something I’ve been thinking about a lot of late. Several of the You Tube channels I enjoy have reduced their output or stopped due, to changes in advertising policy and monetisation. The Newbie Blogger Initiative failed to manifest itself this year and many of my immediate colleagues in blogging and podcasting have also begun to fade away or moved on to pastures new. The sad thing is, the true value of many community contributors is never really realised until after they’ve gone.
So where to start regarding fans and communities? Well fans are far more than just mere customers. Sadly, not all of the gaming industry understands this or more importantly, appreciates it. The distinction is quite clear, though. I am a customer of Vodafone. I use their services for a monthly fee and that is the extent of my relationship with them. I do not write about my experiences using their products, nor do I create guides regarding their use. Neither do I arrange social events around their services. Fans conversely do a lot of these sort of thing and more for the games that they love. Furthermore, they are not the sole beneficiaries of such undertakings. A vibrant community is a great marketing and promotional asset for any games developer. Being free, it also has the best price.
Often the debates about community are applicable beyond gaming and relevant to wider social activities. Communities often arise organically, with fans creating a site and tweeting about what they enjoy. Soon bridges are built with other likeminded individuals and an informal network manifests itself. Often specific groups or individuals gain prominence within these social groups, through their own hard work and dedication to the things that they love. More often than not these figureheads have not actively sought such a position. It simply occurs through the dynamics of human interaction.
Now this raises some interesting questions. I read a reddit post recently in which someone thought that there was a burden of responsibility upon high profile community participants (IE popular You Tubers) or websites. To a degree, I believe that they are right, although I think it is very dependent upon what the said individual or site does within the community. Providing guides, sharing experiences or collating data is usually benign and neutral. Providing news or opinion is more complex and possibly does require a degree of responsibility and self-moderation. However, readers of specific sites or followers of certain individuals also have a duty to exercise their own common sense. It is a mistake to put people on pedestals.
Something I have mentioned before with regard to MMO communities is that in the past they have usually formed and grown outside of the influence of the commercial entities that run the games. For more recent titles such as SWTOR and especially Guild Wars 2, this process has been more centralised under the auspices of the developers. Both of those games have a wealth of information created by players but it is more often than not it is found within the official forums for that title. I may be wrong but I have never been aware of either SWTOR or Guild Wars 2 having the same sort of independent community as such titles as LOTRO or WoW. Communities can be a great asset but when it is not directly under any form of centralised control by the developers or publishers, then it can be a "problem". It will be interesting to observe what sort of online societies develops around future MMOs.
Moving away from gaming and looking at other areas of fandom, a common problem that occurs is the impact that increased public interest can have upon a community. This usually happens when an activity or pastime gains mainstream attention and becomes more widely accessible. Cosplay is something that in recent years has become increasingly popular. It is no longer perceived as the prerogative of a small niche group and is beginning to become quite a major marketing and promotional tool. Some perceive this process as democratisation, where others see something they love being usurped by those that simply wish to exploit it for financial gain. Is the community simply growing or is it being reinvented at the expense of some and the advantage of others?
Ultimately, fans, communities and their resulting social interaction are a complex and fluid situation. With regard to gaming there most certainly is an expiry date for most communities. The natural attrition we see as a game wanes in popularity is a perfectly normal thing, linked to factors such as lifespan and individuals ongoing engagement. Most fans directly or indirectly benefit from the services that arise from healthy communities. Although those that form the foundations of these communities seldom seek any praise it is often due. However, it is wise to note that the opposite can occur sometimes, when certain quarters turn bad and seek to disrupt, divide and destroy.
So where does Contains Moderate Peril fit into all this? Well I'm not entirely sure. I've always liked to maintain a tangential relationship to most traditional hierarchies, neither leading or following but simply contributing. Yet to my own surprise I've found myself involved pro-actively in several group projects in recent years, mainly because I wanted to see them succeed, not only for my benefit but for others. Some have proven to be an invaluable undertaking and have introduced myself and others to a wealth of new and talented writers. Furthermore, I put a lot more stock in the ideas, opinions and views of those who walk the walk, rather than the information that comes solely from a corporate PR department.
Involvement in any community has its ups and downs and can be very hard work. But the rewards and the pleasure that it brings by far outweigh any negatives in my view. So, I advocate involvement and participation. This can take all manner of forms and every little helps. You don't have to selflessly give up your time with big undertakings. Give what you can afford to give. Just reading, supporting and expressing an opinion is a positive contribution. Also, don't become too emotionally attached to things. Communities never stand still. Situations move on and change. As for those who become high profile, or go the extra mile; be reasonable when they decide to hang up their spurs. They’ve probably earned it.
Rogue One (2016)
After watching Rogue One earlier today, I was suitably impressed. Once again Disney have used all the knowledge they've amassed from successfully running major franchises and applied it here, resulting in a finely tuned and polished entry into the Star Wars pantheon. The concept of standalone movies released in-between instalments of the classic story has now proven viable opens up a wealth of possibilities. Rogue One works well narratively and provides the spectacle that fans expect from the series. The continuity and attention to detail is outstanding continuously keeping viewers on their toes. Furthermore, the story itself is credible, dovetailing nicely into the lore.
After watching Rogue One earlier today, I was suitably impressed. Once again Disney have used all the knowledge they've amassed from successfully running major franchises and applied it here, resulting in a finely tuned and polished entry into the Star Wars pantheon. The concept of standalone movies released in-between instalments of the classic story has now proven viable opens up a wealth of possibilities. Rogue One works well narratively and provides the spectacle that fans expect from the series. The continuity and attention to detail is outstanding continuously keeping viewers on their toes. Furthermore, the story itself is credible, dovetailing nicely into the lore.
One of the movies greatest assets is its depiction of a galaxy at war. A point that sometimes gets lost in the original trilogy. The rebel alliance is shown as a less than perfect organisation with fragile alliances and rogue factions. Our protagonists are also flawed, some of whom have done questionable things in the name of their cause. It is these themes that bring a greater degree of maturity to Rogue One. The dark tone is more in keeping with that of The Empire Strikes Back, rather than A New Hope.
Technically the movie is a triumph, sporting the quality of computer effects one expects from the franchise. The dogfights in space and the ground assault on the Scarif are suitably impressive. ILM’s loving recreation of Peter Cushing is fascinating to see and also raises some interesting questions regarding the future use of digital actors. The film also showcases several ideas that were previously considered but not used, such as Darth Vader’s bacta chamber. However it is the sense of continuity in the production design and casting that is most striking; Rogue One looks and feels like a seventies production.
Despite a storyline that paves the ways for A New Hope, Rogue One manages to avoid being boxed in by its narrative and takes some interesting turns along the way. The casting works well offering a diverse team of protagonist, reflecting the inter-species nature of the Rebel Alliance. The Empire remains a haven for British character actors with seventies sideburns and as the story unfolds, takes on a credibly dark tone. Rogue One is essentially a war movie and like all good examples of the genre, does not explore the subject matter in binary terms.
Apparently director Gareth Edwards original cut of the movie was a little too dark and Disney decided to shoot additional material and retool the movies ending. Yet the final edit does not necessarily bear all the hallmarks of post-production tinkering. Perhaps Darth Vader’s personal intervention to retrieve the stolen plans at the movies climax is a little contrived but appears to have been well received by fans. The films conclusion is both credible and appropriate. Opting for a more “happily ever after” tone would have diminished the themes that Rogue One explores during its two hour plus running time.
Personally I feel that the bi-yearly standalone movies that Disney has planned offer a lot more scope than the continuation of the classic story. Although I’m curious to know the fate of Luke Skywalker, that tale doesn’t seem to offer as many possibilities. I am a firm believer in the concept that not every movie needs sequel and am looking forward to the forthcoming ad-hoc stories regarding various characters from the Star Wars pantheon. If future films maintain the standard set by Rogue One then fans certainly have nothing to fear and I’m sure Disney will continue to enjoy the commercial success.
Star Wars: The Force Awakens (2015)
Contrary to my expectation Star Wars: The Force Awakens is an extremely entertaining and enjoyable movie. It manages to balance the needs of all interested parties. Fans get epic battles, iconic hardware and dependable performances from established and cherished characters. The new cast dovetail into the story with ease and are engaging. The torch is past from old to new seamlessly. There is humour, pathos and genuine tragedy to be found in Star Wars: The Force Awakens and it’s there because all involved clearly love and respect the franchise but also understand what makes good cinema. Fandom tempered by professional film making. The two do not have to be mutually exclusive.
Contrary to my expectation Star Wars: The Force Awakens is an extremely entertaining and enjoyable movie. It manages to balance the needs of all interested parties. Fans get epic battles, iconic hardware and dependable performances from established and cherished characters. The new cast dovetail into the story with ease and are engaging. The torch is past from old to new seamlessly. There is humour, pathos and genuine tragedy to be found in Star Wars: The Force Awakens and it’s there because all involved clearly love and respect the franchise but also understand what makes good cinema. Fandom tempered by professional film making. The two do not have to be mutually exclusive.
There are times when the movie seems more like a reboot of Episode IV but then as soon as you feel yourself thinking this way it does something different and wrong foots the viewer. It can also be argued that historical mistakes are often repeated thus making some plot elements in The Force Awakens quite plausible. It is also very clear that not all plot points will be clarified immediately. Disney obvious intends this to be a franchise of some length and the answers too many of the questions that arise will obviously be forthcoming later on. Who exactly is Supreme Leader Snoke? How did The First order come to power? Why is Ackbar still only and Admiral? The list goes on but this movie does enough to fill the most important gaps in our knowledge.
There is a lot of humour in Star Wars: The Force Awakens and it is pitched just right and hits the mark. Han Solo naturally has all the best line and his continuous banter with Chewbacca is an absolute delight. Harrison Ford simply owns the screen from the moment he appears. Furthermore there is a great deal of depth and nuance to his performance when you look beyond the one liners. If only this franchise had passed to Disney twenty five years earlier and we had had more films about the adventures of Hans and Chewie. Sadly this was not to be but you can see the great potential that could have been when watching Episode VII.
It would be remiss of me not to mention the new bad guy Kylo Ren played by Adam Driver. Ren is far from a two dimensional villain and it becomes clear quite quickly that there is far more behind his journey to the dark side and his personal conflict. The third act of the movie even goes so far as to flirt with Shakespearean tragedy but due to the expert way the writers Lawrence Kasdan, J. J. Abrams, Michael Arndt handle the story it works surprisingly well. I would also like to point out how easy it was too warm to Rey (Daisy Ridley) and Finn (John Boyega). Despite having very specific roles to play in the structure of the story, their narratives play out quite organically and don’t feel too contrived.
As you would expect from a movie of this calibre and budget the effects work and production design our outstanding. A lot of the aliens and background characters are physical effects and all the better for it. If I did have to voice a criticism it would be that Supreme Leader Snoke, played by Andy Serkis in yet another motion captured performance, seemed a little too “computer generated”. Once again John Williams has created a score that effortlessly embellishes the story and emphatically declares that you are most definitely watching a Star Wars movie.
I could continue and reference many other aspects of the movie that I enjoyed; BB-8 and the classic droids for example. But it’s difficult to work within a non-spoiler framework, so instead I will try and summarise why Star Wars: The Force Awakens has exceeded my expectations and is populist entertainment of the highest quality. J.J. Abrams has found a way to cater to as many tastes as possible. By providing a fresh perspective we get a sequel that reaches back to the past and satisfies our sense of nostalgia while still managing to be bold and new. Furthermore none of this is at the expense of the narrative. Mind you considering that Disney paid $3 Billion for this franchise and have spent over $200 Million on this movie alone, were they really going to cock it up? Therefore Star Wars: The Force Awakens is genuinely recommended by Contains Moderate Peril because it has proven that populist movies can be entertaining, spectacular and still dramatically powerful.
Star Wars Battlefront
A reoccurring theme in both my writing and podcasting at present is how age changes one’s personal perspective. This is something that particularly manifests itself with regard to gaming. A decade ago I would have been extremely enthusiastic about a title such as Star Wars Battlefront. I would have pre-ordered the most lavish version available, then waxed lyrical about the beta test and thrown myself wholeheartedly in to the game upon its release. Despite the fact that I’m notoriously poor at the FPS genre, I would have sunk hours in to such a game and done my up most to convince myself and others that I’d had a good time.
A reoccurring theme in both my writing and podcasting at present is how age changes one’s personal perspective. This is something that particularly manifests itself with regard to gaming. A decade ago I would have been extremely enthusiastic about a title such as Star Wars Battlefront. I would have pre-ordered the most lavish version available, then waxed lyrical about the beta test and thrown myself wholeheartedly in to the game upon its release. Despite the fact that I’m notoriously poor at the FPS genre, I would have sunk hours in to such a game and done my up most to convince myself and others that I’d had a good time.
Middle age has fortunately brought a keener insight in to the nature of marketing and as well as my own Pavlovian nature. Battlefront is simply another iteration of the Battlefield franchise from DICE with a veneer of Star wars added. It may well be very polished and a succinct distillation of everything that makes classic Star Wars enjoyable but once the initial euphoria has worn off, the player is left with a just another FPS game. Having read multiple reviews and watched numerous streams, it would seem that the game itself is actually lacking some of the usual progression mechanics found in this genre.
However for me the main issue that has kept me from considering purchasing Star Wars Battlefront is the egregious pricing model that EA has chosen to implement. Although I have come to terms with the concept of DLC and the ubiquitous season pass, I feel in this instance that EA have simply crossed a line with regard to an equitable division of the games content. Where a company such as DC Projekt Red seem to have found the right balance between launch content and future material, EA appear to have simply hobbled their base product at the expense of monetising the games long term life cycle. If I want access to all content in Star Wars Battlefront, both present and future, I have to spend £95.
I am a firm believer in the cost to fun ratio. I therefore if at a future date, I can secure Star Wars Battlefront at a discount price, I will overlook its alleged shortcomings and will more than likely have fun playing through the game. At present the price is prohibitive and frankly illogical. It is not a question of whether I can afford the cost, because I can. I simply do not believe the game justifies such a price tag. So for the present I will not be buying Star Wars Battlefront and because I no longer feel compelled to be an early adopter or be part of the “in crowd”, I am content to go without.
Star Wars and Me
The seventies were a very curious time, especially in the UK. The post war world with its sensibilities, culture and etiquette was slowly slipping away. Sadly the future had not quite lived up to its scientific and cultural potential. Political, industrial and economic turmoil were rife. Even as a child I was aware that all was not right with the world. Then Star Wars was released and very quickly became a cultural phenomenon. I embraced it like many others and took it to my heart. It offered not only spectacle but a boundless galaxy filled with stories and possibilities, which captivated a child’s imagination. It had not only a strong sense of morality but a wider philosophical subtext. It provided a modern mythology just as George Lucas intended. Its optimism was in some ways an antidote to the prevailing cynicism of the times.
The seventies were a very curious time, especially in the UK. The post war world with its sensibilities, culture and etiquette was slowly slipping away. Sadly the future had not quite lived up to its scientific and cultural potential. Political, industrial and economic turmoil were rife. Even as a child I was aware that all was not right with the world. Then Star Wars was released and very quickly became a cultural phenomenon. I embraced it like many others and took it to my heart. It offered not only spectacle but a boundless galaxy filled with stories and possibilities, which captivated a child’s imagination. It had not only a strong sense of morality but a wider philosophical subtext. It provided a modern mythology just as George Lucas intended. Its optimism was in some ways an antidote to the prevailing cynicism of the times.
Because of Star Wars, I became aware of the concept of fandom and its sub-culture. It provided a gateway into other literary, cinematic and cultural works which I consumed with an equal passion. For the next twenty years Star Wars was ever present in my life and I was happy for it to be there. One of the greatest pleasures I’ve had as a Father was introducing my son to the classic version of the trilogy on Laserdisc in 1997. It was shortly after that the Special Editions were announced and the opportunity to see the films in the theatre again was sufficient to overrule my concerns over some of the changes that had been made.
Then came the new trilogy along with the accompanying hope and subsequent disappointment. It seemed that George Lucas had lost his way and had become sadly a victim of his own success. No one seemed willing to challenge him and by the time the new movies were made the damage was done. Furthermore this process took place during a decade when the marketing of the entire franchise reached new heights. Slowly it seemed that Star Wars was crossing the line from cultural phenomenon to pop culture ubiquity. Star Wars was simply another brand such as Coca-Cola or McDonalds. It was this transformation into a truly corporate product that tainted it for me and many others. When Disney acquired the rights to the franchise in October 2012 and promised us more, I just sighed.
Over the recent decades there have been substantial changes in the way we experience movies. In the seventies movies could only be seen at the cinema so unless they merited a re-release, once their initial run ended they were gone until they showed up on TV. This meant that fans had a very different relationship with the object of their affection. The rise of home video in the eighties changed this as did the internet in the nineties. Nowadays every aspect of a film is delineated and analysed, before it is even shown. Movies can be owned three months after release, offering a beautiful high definition experience along with a wealth of extras. Knowledge and expertise is no longer the province of the obsessive geek. It’s given away on a plate to anyone with the mildest interest.
It is this over familiarity that is perhaps the biggest factor with regard to my changing views on Star Wars. That and the recognition that our memories of are often specific to particular times in our lives. The Star Wars I experienced as a child has gone forever. Furthermore no matter how hard we try it is impossible to recreate those feelings we initially felt. For many people personal tastes change over time but this is just part of life and should not be feared. Therefore it would be unrealistic for me to still feel the same way about George Lucas’s movies after thirty eight years. In some respects the change in perspective is quite liberating, allowing me to revisit the movies with a more critical eye, as I have done so recently via Jamie Benning’s documentaries.
Of course not everybody will have necessarily had a similar experience to me and Star Wars still has a hardcore fanbase of unwavering loyalty. Devotion of this kind is arguably both a fans greatest asset and weakness. For me, I feel that my association with the Star Wars phenomenon has overall been a positive experience. Not in spite of my changing relationship but because of it. Perhaps the final lesson I have learned from that galaxy far, far away is the correct way to embrace nostalgia and to be comfortable with the notion of change. Whether those who now own the franchise understands this point is another matter entirely. Therefore I await the release of Star Wars: The Force Awakens with a degree of measured interest rather than unbridled passion. My expectations are realistic and I suspect that this may be the key to surviving the pending hype and marketing.