The Challenge of Writing Daily
Writing content for your blog or website on a daily basis can be very challenging and quite daunting. That’s why I’m very impressed with those who have stayed the course of this year’s Blaugust writing event and fully understand why others opted to stand down. For some posting a blog post everyday simply cannot be sustained due to time restrictions. Real life can be very demanding. For those who have managed to sustain writing throughout August, it will be interesting to learn their thoughts on the event and whether they choose to continue to post every day.
Writing content for your blog or website on a daily basis can be very challenging and quite daunting. That’s why I’m very impressed with those who have stayed the course of this year’s Blaugust writing event and fully understand why others opted to stand down. For some posting a blog post everyday simply cannot be sustained due to time restrictions. Real life can be very demanding. For those who have managed to sustain writing throughout August, it will be interesting to learn their thoughts on the event and whether they choose to continue to post every day.
Blogging on a daily basis is a great way to improve one’s writing skills and refine your creative processes. It teaches time management and the realities of working to a deadline. I’m sure many bloggers may have noticed a change over the month as their personal approach to writing has evolved. Hopefully the process of creating a post is a lot quicker now than it was thirty one days ago. Over the years I have found that continuously producing content has made me a more organised writer. I frequently make notes, conduct research and ensure that I have a suitable writing environment, free from distractions.
Blaugust has also had a very positive effect on the blogging community. I believe more writers have undertaken the challenge this year than last. There have been several posts of an interactive nature, encouraging writers to pick up the baton and offer their personal perspective on specific subjects. Riffing off each other can be an excellent solution to writers block. It also means that comments and traffic are shared as the discussion moves from blog to blog. The trackbacks and links have proved a great way to discover new writers and sites and as a result I shall be creating a new blog roll.
One of the best things about Blaugust is the way it’s encouraged many writers to diversify their content. Writing about a single subject has benefits but can be restricting at times. It has been very enjoyable to read peoples thoughts on subjects other than gaming. Perhaps it may encourage others to broaden their creative remit. Doing so can certainly make content creation a lot easier and extend the lifespan of your blog. After all interests and passions do change and take new directions overtime. There used to be a mind set about five years ago that a blog had to be specific and focused. I think we are now far more accepting of lifestyle related sites or those that cover popular culture or provide a stream of consciousness.
As I stated in my relaunch post at the beginning of August, Contains Moderate Peril, it will no longer continue with its daily schedule, after the Blaugust event ends. I have written virtually every day since 2011 and although it has proven to be both enjoyable and rewarding, I can no longer sustain such a schedule due to real world commitments. As a result of my evolving relationship with gaming I prefer to write more in-depth “think pieces” about the industry and community, rather than commentary on what I'm currently playing. So there may be a shift in style and tone in my posts.
Despite a potential reduction in output, I find that I'm enjoying writing and creating content more so than I have previously. I feel that I have finally got a handle on both podcasting and blogging, after nearly eight years. Rebooting the site has also proven to be a shot in the arm and has contributed to my positive outlook. Hopefully Blaugust has had an equally positive effect upon my blogging colleagues and that the rigour of a daily writing regime has also afforded an opportunity for introspection and growth. I still firmly believe that it is both important and beneficial that regular people express themselves through the written word and that there’s always an alternative to the mainstream press.
Outland (1981)
Outland was one of the first AA rated movies I ever saw (which is now an obsolete rating in the UK). I remember that I was expecting the worst because the trailer implied that there was at least one exploding head featured during the film. Turns out there were two. Anyway the movie made a strong impression upon me at the age thirteen and I have revisited it numerous times since its release. I recently discovered that Outland had been given a Blu-ray release from Warner Brothers and decided to watch it once again but this time with a more critical eye rather than a nostalgic one.
Outland was one of the first AA rated movies I ever saw (which is now an obsolete rating in the UK). I remember that I was expecting the worst because the trailer implied that there was at least one exploding head featured during the film. Turns out there were two. Anyway the movie made a strong impression upon me at the age thirteen and I have revisited it numerous times since its release. I recently discovered that Outland had been given a Blu-ray release from Warner Brothers and decided to watch it once again but this time with a more critical eye rather than a nostalgic one.
The story is very straight forward being essentially a western in outer space. Federal Marshal O’Neil is beginning a year’s tour of duty at a major mining facility on Io, one of Jupiter’s moons. After a spate of suicides and random violent crimes, the Marshal discovers that General Manager Sheppard (Peter Boyle) is distributing drugs among the work force to increase productivity. The side effect of long term addiction leads to psychosis. Unable to trust his fellow officers the Marshal find his only ally is the facilities cynical chief medical officer, Dr. Lazarus (Frances Sternhagen). O’Neil’s investigations inevitably lead to him to a show down with two contract killers.
You would have to be an extremely causal viewer not to see shades of High Noon in this movie. But unlike the westerns of the 50’s with their sanitised depiction of the West, this frontier in space is grimy, seedy and altogether plausible. Writer/Director Peter Hyams creates a credible working environment, similar to that of an oilrig. Everything is functional and basic. There is no privacy or glamour. The future is run by big corporations and driven by return on investment. It’s a bleak and rather all too familiar world.
What elevates Outland above the standard of similar genre products from the time is the universally high standard in every aspect of the production. The script is tight, honest and plays to the strengths of the lead actors. The dynamic between Connery and Sternhagen is very plausible, with dry quips, cynicism and grudging respect. The sets are claustrophobic and depressingly credible. The technology on display hasn’t dated too much. Hyams did not make the usual genre mistakes such as exotic costumes and weaponry. The miniature work by Martin J. Bower is outstanding and the Introvision front projection effects works still look acceptable.
Peter Hyams has always been somewhat underrated as a director. All the hallmarks of his previous works are present in Outland. There is a well-crafted chase scene, the mythical “good cop” and corporate/political conspiracies. Of course the movie is not without fault. You can easily question some of the science and there are a few plot wholes. However, the sheer presence of Sean Connery overshadows these minor quibbles. The movie is a showcase for his acting talent which is often overlooked. Outland also demonstrates that can get a lot of mileage from a classic tale and if you are sufficiently inventive. By not involving aliens in this vision of the future and showing that man’s worst enemy in space is himself, the tale maintains credibility.
Outland still remains a finely crafted, character driven thriller. It transcends the usual limitations that some studios impose upon the genre to be a superior piece of film making. There’s not a slack moment in the narrative which is perfectly paced. It would also be remiss of me not to mention the atmospheric score by Jerry Goldsmith. Warner Brothers Blu-ray transfer is very good and the movie looks crisp and clear. Obsessive movie fans you can finally do a comprehensive frame by frame analysis of P.H. Moriarty’s head explosion. For a movie that is thirty one years old, it holds up very well and is still solid entertainment.
Retro Gaming
Despite having a robust gaming PC and a multitude of new titles to choose from, I have recently found myself returning to older games. I even went so far as to track down a SNES emulator recently so I could revisit some classic titles. Retro gaming is a curious phenomenon and a more complex subject than you may expect. Having examined my own motives and feelings I have concluded that it is not driven purely by a rose tinted view of my gaming past. So I thought it would be interesting to list some of the different factors that have encouraged me to look backwards, rather than forwards. I suspect they may strike a chord with other gamers.
Despite having a robust gaming PC and a multitude of new titles to choose from, I have recently found myself returning to older games. I even went so far as to track down a SNES emulator recently so I could revisit some classic titles. Retro gaming is a curious phenomenon and a more complex subject than you may expect. Having examined my own motives and feelings I have concluded that it is not driven purely by a rose tinted view of my gaming past. So I thought it would be interesting to list some of the different factors that have encouraged me to look backwards, rather than forwards. I suspect they may strike a chord with other gamers.
The power of nostalgia.
Nostalgia is a very strong emotion that is often perceived to be a false interpretation of past experiences. However it doesn’t have to be so. One can be nostalgic while maintaining a degree of balance and perspective. When I started console gaming in the early nineties I found games to be far simpler and accessible. I often played them for long periods with a circle of friends. Overall this was a good period in my life so I don’t consider my memories of this time to be incorrect or misleading. I had a similar experience with MMOs and as a result enjoyed the genre the most between 2008 and 2010. Although it is impossible to recreate these experiences, simply by revisiting specific titles, I do sometimes get a flashback of how I use to feel and it is often brought about by the most trivial of things.
Bargain prices.
Many classic titles are still available usually at bargain prices. The advent of gaming bundles is a major contributory factor to the rise in retro gaming. Ten dollars will buy you a fistful of titles, where many modern games and DLC can cost you six or seven times more. Google is your friend when it comes to tracking down older and discontinued titles. There are plenty of forums where vintage titles are exchanged and traded. If you are comfortable with straying off the path of legality and entering the “grey” market, then there are even more options available to you.
Better gaming?
It is frequently argued that some older games are superior to their modern equivalents. Although they may be graphically lacking, they often have stronger game mechanics, challenge the player more and require a greater degree of application. However this is not a universal rule. Ultimately this comes down to personal taste, although I do think that the technical limitations of the previous decades did force the game designers to be more innovative. Another thing to consider is “replayablity”. There are console titles from the nineties that I regularly return to and enjoy. I don’t find this to be the case so often with contemporary titles. Perhaps the simplicity factor is the key here.
Emulation.
I have emulators for several old consoles installed on both my phone and my seven inch tablet. The simple nature of many of the SNES and Genesis titles makes eminently suitable for these platforms. Unlike many contemporary Android and iOS games, retro games do not restrict content behind pay walls or mislead you about their gameplay. Emulators can also improve and enhance classic titles to standards beyond their initial incarnation. PC emulators will often add multiplayer and other features that weren't necessarily available on some titles.
Running older games on modern PCs.
Because technology has advanced so rapidly over the last three decades, many older PC games will not run in a modern Windows 64 bit environment. However companies such as Good old Games do optimise classic titles and bridge the compatibility gap. If you are technically minded it can be an interesting challenge to see if you can do this for yourself. I spent several hours recently looking at re-installing the classic horror title Nocturne. Designed to run on Windows 98 and with older graphic cards, the game can be coaxed to run normally with a few tweaks and additional drivers.
I do not view retro gaming as an alternative to contemporary gaming, nor do I consider it preferable. It is simply another facet of gaming per se and something to be enjoyed as equally as playing the latest blockbuster or indie title. Does reading Charles Dickens or Joseph Conrad constitute retro reading? Once again we have a phenomenon that really requires a more sophisticated name, rather than a binary label such as retro or old school.
I do think that as games have evolved over the years, the technicalities and aesthetics have on some occasions over shadowed the gameplay or narrative. Necessity is the mother of invention and some older titles had to rely more on their creativity rather than on their looks. But this is a subjective observation rather than a hard and fast rule. There are just as many old titles that are bad as well as modern releases.
I would encourage younger gamers to checkout some of the classic games titles as it may well prove both fun and illuminating. Having an informed perspective on the past can be very useful when considering the present. Reconnecting with older games can demonstrate how some underlying concepts and mechanics are timeless and why they’re still prevalent today. It’s also amusing to consider that many of the title that we consider cutting edge, will be deemed old school in thirty years’ time and subject to scepticism and amusement by our children and grandchildren.
My Name is Nobody (1973)
As the Western waned in popularity in the seventies, the Italian market was still further revising this already stylised genre with a distinctly comedic element. The uniquely European approach to slapstick was introduced as a mean to try and explore the genre in new ways. Unlike US comedy Westerns such as The Hallelujah Trail and There Was a Crooked Man, their Italians counterparts seemed to have an allegorical theme and as ever a heavy political sub-text. They were also steeped in the unique audio and visual style of their makers.
As the Western waned in popularity in the seventies, the Italian market was still further revising this already stylised genre with a distinctly comedic element. The uniquely European approach to slapstick was introduced as a mean to try and explore the genre in new ways. Unlike US comedy Westerns such as The Hallelujah Trail and There Was a Crooked Man, their Italians counterparts seemed to have an allegorical theme and as ever a heavy political sub-text. They were also steeped in the unique audio and visual style of their makers.
My Name is Nobody (Il mio nome è Nessuno) is perhaps the most obvious example of this curious cinematic sub-category, pairing iconic Hollywood Western actor Henry Fonda with the visually charismatic Terence Hill (Mario Girotti). Upon first look this is a simple tale of an ageing gunman Jack Beauregard, who’s tired of his legendary reputation and the constant attempts upon his life from those who seek fame by killing him. Things take a curious turn when he meets an enigmatic Saddle Tramp (who claims to be “nobody”), with an unorthodox plan to take his crown. After a series of misadventures the unlikely pair find themselves facing The Wild Bunch; a gang of a hundred gunmen.
My Name is Nobody is a leisurely paced movie with many of the usual tropes of the genre. Gunfights are meticulously staged and shot (the opening scene was allegedly conceived and devised by Sergio Leone). There are also extensive slow motion montages of horseman riding, set to yet another outstandingly quirky Ennio Morricone Soundtrack. Director Tonino Valerii handles the simple slapstick humour with aplomb. Viewers have the option of ascribing a deeper meaning to the story, if they are of a philosophical bent.
This is an enjoyable Western, if approached with the right frame of mind. The humour is mainly visual and of a physical nature. Don’t go expecting anything like Blazing Saddles. As ever with a genre that is more interested in style and aesthetics rather than logic, there are several plot holes and tonal inconsistencies. Also be aware that there are a large amount of horse falls in the climatic action sequence. Such stunt work is not to everyone’s liking. Overall My Name is Nobody is a curious hybrid and in some ways that in itself makes it quite special. Such experimentation with an established genre is a rarity these days.
Pontypool (2009)
If you like your entertainment to be perfunctory, devoid of any requirement for you to think, or use your imagination then do not watch Pontypool. If you are expecting a bog standard zombie film, then Pontypool will not be for you. However if you are tired of the generic studio offerings that are slowly killing the genre, have an enquiring mind and fancy seeing a different take on an established theme, then do watch Pontypool. It's not without its faults and does sail close to the wind with regards to being pretentious. But then again, semiotics is a complex subject.
If you like your entertainment to be perfunctory, devoid of any requirement for you to think, or use your imagination then do not watch Pontypool. If you are expecting a bog standard zombie film, then Pontypool will not be for you. However if you are tired of the generic studio offerings that are slowly killing the genre, have an enquiring mind and fancy seeing a different take on an established theme, then do watch Pontypool. It's not without its faults and does sail close to the wind with regards to being pretentious. But then again, semiotics is a complex subject.
Pontypool is about a Talk Radio Shock Jock in the twilight of his career, who becomes aware of a possible zombie apocalypse that is unfolding during the course of his daily radio phone-in. However the story subsequently focuses on how we as a population react and consume news, rather than simply regaling us with the undead munching on the living. Set mainly in the radio studio, the atmosphere is claustrophobic and brooding. This is a character driven movies with the emphasis on themes rather than action. If you are looking for a wealth of blood and gore then you’ll not find it.
Stephen McHattie, an underrated actor, gives an engaging performance as DJ Grant Mazzy and director Bruce McDonald delivers a minimalist film that still manages to achieve both scientific and political satire. Ultimately more questions are raised than answered but you never feel that writer Tony Burgess is copping out. This is a movie about ideas and it is therefore logical that the production is intended to not only entertain you but make you think. The central theme of the movie about the power of words and how they become the literal medium for a virus is indeed thought provoking.
Pontypool is a rare find; a cerebral horror movie and as such it will not necessarily appeal to mainstream viewers looking for a quick fix of shocks and thrills. However the horror genre is far broader in scope than many consider and Pontypool proves that it can be a medium for more intelligent stories. It certainly puts many contemporary horror movie offerings such as the Paranormal Activity franchise in the shade. Therefore Pontypool is recommend to open minded movie fans seeking a more challenging ninety minutes.
Mr. Tickle by Roger Hargreaves (1971)
Mr. Tickle was written in 1971 and if we wish to gain a greater understanding of this work, then we need to consider the political and historical landscape of the time, as so much of it is reflected in the subtleties of the text. This was the year that the UK changed its currency through decimalization. While Cambodia was ravaged by the Khmer Rouge, America opened Disney World as a shrine to capitalism and consumerism. These were turbulent times which saw the passing of old established world orders. The idea of whether the individual can have a meaningful impact upon the world during such an era is examined and stripped bare in Mr. Tickle, if one takes the time to find it.
Mr. Tickle was written in 1971 and if we wish to gain a greater understanding of this work, then we need to consider the political and historical landscape of the time, as so much of it is reflected in the subtleties of the text. This was the year that the UK changed its currency through decimalization. While Cambodia was ravaged by the Khmer Rouge, America opened Disney World as a shrine to capitalism and consumerism. These were turbulent times which saw the passing of old established world orders. The idea of whether the individual can have a meaningful impact upon the world during such an era is examined and stripped bare in Mr. Tickle, if one takes the time to find it.
Roger Hargreaves’ first work, Mr. Happy is regarded by many as his masterpiece. Mr. Tickle is something of a rarity amongst his body of work as it bucks the author’s previous style. The impact of excess or entrenched dogma, as seen in Mr. Greedy and Mr. Messy, are not explored in this story. Nor are the complex social ramifications of such monomanias dissected, as in those erudite cautionary tales, Mr. Nosey and Mr. Noisy. Mr. Tickle is a far more existential tale and easily the equal of Catcher in the Rye.
In many respects Mr. Tickle is an enigma, depicting a man free from the restraints of civilization. His pursuit of sensual enjoyment via the medium of tickling is both hedonistic and threatens the social order. For example he causes a postman to drop all his letters in a puddle, the tickling of a policeman ends in a traffic jam and his unbridled tactile stimulation of a Teacher leads to a rapid breakdown of classroom discipline. Yet it also demonstrates society’s inability to deal with anything outside of perceived social norms and customs. It is interesting to note that no sanction is taken against Mr. Tickle and the author cunningly infers that the protagonist actions ultimately liberate his “victims”, like a bizarre form of “Stockholm Syndrome”.
Does this make Mr. Tickle a terrorist? His weapons are laughter and his extraordinary long arms, yet they are as devastatingly effective to the establishment, as an AK-47 or a hand grenade. Though his principal targets wear uniforms, Mr. Tickle does not have the same goals as the contemporary revolutionary organisations such as the Red Brigade or the Baader-Meinhof Group. Hargreaves’ is not interested in over throwing the established order from without but seeking reform from within, by the removal of social conditioning. Freedom through “tickling” is used as a metaphor for existential self-realisation.
It should be noted that Mr. Tickle himself is not an unchecked force of nature. Indeed he is the embodiment of measured restraint and not tainted by the “shock and awe” excesses of the Robert McNamara generation. At the end of his day’s exploits he calmly reflects on events, in a sober and sanguine fashion from the comfort of his armchair. He extols the virtues of catharsis as an escape from restrictive social conventions and entrenched establishment dogma. He demonstrates that all humans need to embrace their desires to a degree and to deny them is to deny our very humanity. Cormac McCarthy takes two hundred and forty six pages to reach this conclusion, in his novel The Road. Hargreaves does it in thirty two.
The Many Faces of Sherlock Holmes
It may not come as a surprise to you that Sherlock Holmes is the most filmed fictional character in the history of cinema. His universal appeal has been embraced globally and the great detective has been continuously revisited and adapted over the years. You only have to look at the BBC show Sherlock, to see how the character has been seamlessly re-imagined for a new generation. It is this versatile quality that is perhaps Holmes’ greatest strength. We are all familiar with the logical thinking and prodigious intellect of the sleuth, yet the enigma surrounding his personal life and formative years provides endless scope for exploration. It has proven to be fertile ground for film makers over the last century.
It may not come as a surprise to you that Sherlock Holmes is the most filmed fictional character in the history of cinema. His universal appeal has been embraced globally and the great detective has been continuously revisited and adapted over the years. You only have to look at the BBC show Sherlock, to see how the character has been seamlessly re-imagined for a new generation. It is this versatile quality that is perhaps Holmes’ greatest strength. We are all familiar with the logical thinking and prodigious intellect of the sleuth, yet the enigma surrounding his personal life and formative years provides endless scope for exploration. It has proven to be fertile ground for film makers over the last century.
I therefore would like to focus on a selection of cinematic adaptations which although technically non-canonical, explore the more esoterical aspects of Conan Doyle’s character. Often these films endeavour to link him to iconic cases, notorious events from history or other famed literary characters. Most of these titles will not be of any surprise to hardcore Holmes fans, but may be of interest to those who are not so familiar with this particular movie sub-genre.
Let us begin with Billy Wilder’s The Private life of Sherlock Holmes released in 1970. This astute, erudite and wry exploration of Holmes most secret case and his personal life is beautifully realised. Robert Stephens and Colin Blakely are superbly paired as Holmes and Watson and the dialogue by I. A. L. Diamond is priceless. The narrative explores the distinction between the "real" Holmes and the character portrayed by Watson in his stories for The Strand magazine. The thorny issue of Holmes' sexuality is touched upon with a great deal of wit, sensitivity and wisdom, but there again this is a Billy Wilder film.
When the studio executives took custody of the finished three hour version of the film, they famously decide to excise two subplots and vignettes. Thus the film now only exists in its one hundred and twenty five minute theatrical version. Some of the missing material is available as extras on the current home media releases and is very intriguing. The Private life of Sherlock Holmes is a great achievement and reflects the pedigree of all involved, especially the superb score by Miklós Rózsa. Adapted from his Violin Concerto, Op. 24 it is simply integral to the films success. The music underpinning the film’s bittersweet ending is sublime.
The Seven-Per-Cent Solution, directed by Herbert Ross in 1976 is another movie where the complexities of Holmes’ past are explored. This time screenwriter Nicholas Meyer (who adapted his own novel) cooks up a clever scheme in which the great detective ends up on the couch of none other than Sigmund Freud, as he struggles to come to terms with his cocaine addiction. The truth turns out to be quite a revelation and may well raise a smile among Holmes aficionados.
Holmes (Nicol Williamson) and Freud (Alan Arkin) spark well of each other, both exhibiting the quirks and foibles of their characters. Robert Duvall, a fine actor, is curiously ill at ease with the role of Dr Watson, focusing mainly on his diction. The plot also conjectures a clever explanation for Holmes’ obsession with Professor Moriarty and also features some robust action scenes during the film’s climax. Again, it is the attention to detail that shows a real love of the source material by all concerned. The Seven-Per-Cent Solution is an unusual and creative take on Holmes mythology.
Bob Clark's 1979 movie, Murder by Decree, is an intelligent pastiche of both historical events and apocrypha as the Great Detective tackles the case of Jack the Ripper. This premise was the basis of A Study in Terror in 1965, though Clark’s movie is far more polished in terms of suspenseful storytelling and emotional impact. The plot touches upon several popular theories regarding the Whitechapel murders and hints at an establishment conspiracy. It is also a story that shows a very human side of Sherlock Holmes and flies in the face of the misanthropic depictions that film makers usually favour.
It is this deviation from the source material that often divides fans of this particular adaptation. Holmes, played by Christopher Plummer, in many ways flies in the face of preconceived notions of both the characters appearance and demeanour. Yet a colder more rational Holmes, of the ilk of Jeremy Brett or Basil Rathbone, would not have worked in this story with its social conscience and political subtext. However the director superbly counter balances his fiery Holmes with the most stoic and traditional portrayals of Doctor Watson, played with effortless ease by James Mason.
Finally let’s consider Disney Studios take on Arthur Conan Doyle’s character, in Basil the Great Mouse Detective. This innovative animated feature film helped steer the studio back on track, after the failure of The Black Cauldron at the box office. Well written, with a great voice cast featuring Vincent Price in one of his last roles, this film boasts handsome art work, along with an even balance of humour and pathos. It is also one of the first movies to boast computer generated imagery as many of the backgrounds were rendered in this fashion.
The plot centres on Basil of Baker Street who with the help of Dr. David Q. Dawson confronts his arch nemesis Rattigan, as he attempts to take control of all “Mousedom”. In this film, the mouse world seems to run in a curious parallel to Victorian England. Basil himself lives under the house of the great Sherlock Holmes and shares his skills in deductive reasoning. Although this is primarily a family feature film from Disney, there is a lot more depth to it than you would expect and there are many homages and nods to the source material.
As you can see, Sir Arthur Conan Doyle’s iconic detective inherently lends himself to constant reinvention and dramatic interpretation. Holmes remains a timeless character due to his mental complexity, fish-out-of-water persona and abiding friendship with John Watson. This tempers his brusque nature and acerbic wit. However Conan Doyle’s true genius lies in the gaps he purposely left in his characters back story, affording future generations the chance to fill those spaces with their own thoughts and ideas.
The Enigma of Role-play
If there’s one thing that I’ve learned over the years from reading forums, blog posts and chatting online, it’s the fact that gamers play games for many different reasons. Furthermore these differences can be quite pronounced and often you’ll find each respective group equally dumbfounded by each other’s motivations and personal preferences. As a result gaming is a very broad church and certainly not the homogenous, stereotypical group that the some would have you believe.
If there’s one thing that I’ve learned over the years from reading forums, blog posts and chatting online, it’s the fact that gamers play games for many different reasons. Furthermore these differences can be quite pronounced and often you’ll find each respective group equally dumbfounded by each other’s motivations and personal preferences. As a result gaming is a very broad church and certainly not the homogeneous, stereotypical group that the some would have you believe.
I mainly play games for entertainment and leisure. I usually prefer games with a strong narrative, although I do occasionally succumb to the instant gratification fix that the FPS genre can provide. For me gaming is very much akin to an interactive book, with potential puzzles and obstacles to be overcome. However I am aware that many gamers have different criteria and although they may not be to my taste I understand their allure. The competitive nature of PVP and high level raiding are easy to understand, as are the motivations of the gaming completionist. I can also appreciate the relaxing nature of simpler games that provide so many people with a means to unwind after a hard day’s work.
However there is one subset of gaming that is more enigmatic than others and for some a little harder to relate to; namely role-play and role-players. Furthermore it is a form of gaming that is often pilloried not only by those who do not play games but also by those who do. This is something I find very curious. For years gamers have endeavoured to dispel the myths and stereotypes surrounding their activities and yet some will happily indulge in this form of internal discrimination when the fancy takes them.
I must admit, role-play is a very nebulous term. Within the confines of an MMORPG it may cover simply writing a back story for your character to developing a completely separate persona for your avatar and playing and interacting with the virtual world through that prism. Role-play often involves a great deal of social interaction and can facilitate events and bespoke activities. Some role-players extend this beyond the games and runs websites or blogs associated with their characters. Some enterprising players have extended this in to such mediums as You Tube and Twitch TV. There are also bespoke guilds and social groups based around role-play.
I recently spent some time on the Landroval server in LOTRO, as this is a designated RP community. The Prancing Pony in Bree is often filled with players exchanging stories and news “in character”. The music system found within the game provides a major platform for role-play. The server features a wealth of musical groups and regularly hosts major festivals. Such events are well attended by players, each sporting a bespoke avatar with an individual identity. Some dismissively see role-players as “playing dress-up” but I believe it is a far more complex issues than that. Role-play is a virtual form of self-expression outside of a real world of increasing uniformity.
However it is this level of immersion and involvement that often flummoxes other players. Some see such pursuits as childish or running away from reality. Yet our affinity for narrative is just as common place as our competitive nature. Both are examples of the human need to express oneself. Ultimately role-players, raiders and PVP players are essentially scratching the same itch just in different ways. Furthermore role-play is just another means for humans to create an environment that can be controlled and then projecting a persona that we choose in to it. This is something that we have always done as a species and is the basis of all our literature and plays. It is a facet of human culture that we now see reflected in social media. Writer and social commentator Charlie Brooker argues that twitter itself is ultimately a game where we adopt a virtual approximation of ourselves and play that role with the intent of gaining more followers for personal validation.
So perhaps role-play is far from the province of the eccentric and is in fact an intrinsic part of the so called human condition. Perhaps we all do it to various degrees in other aspects of our life. Think about how we interact with different people and groups in our day to day lives. Is not that interaction both contextual and situational? Is the "you" that Colin in the HR department at work knows, identical to the "you" that your partner or your children sees? Modern life, especially the internet, gives up a perfect opportunity to project the best version of ourselves, free from the reality of our personal imperfections.
I am still not sure that I fully understand all facets of role-play within MMOs and I do not feel the need to participate in such activities myself. I guess I express myself through the medium of this blog and prefer to talk about the things I enjoy or find interesting that way. For others fiction, art or music provides more appropriate outlets. But I do see that role-play can be a lot more than just the sum of its parts. It certainly offers an alternative window upon both gaming and the world. Whether it provides a means of expression or psychological comfort to those who adopt it, I see no harm in it and certainly see no reason why people should be denied it. Role-players as a group certainly seem to be more positively orientated and contribute a great deal to the community. That said they are not free from vanity and other human failings. I do get the feeling that some role-players are very much in it for the “me, me, me” factor. However that is a personal issue rather than a role-play issue.
So in conclusion perhaps the enigma of role-play is the fact that there is no enigma associated with it after all. It is simply people exploring the medium of games through a different but no less valid path. It is curious that some games developers understand this and nurture it, by offering dedicated servers, where others are not so accommodating. Yet despite this role-play still seems to thrive within the MMORPG community. Perhaps it is the dogged determination of the role-players themselves along with their perceived “difference” that gets them noticed and labelled in so many ways. As for myself, I do my best to keep an open mind.
Trek Nation (2010)
Trek Nation is a relatively straight forward documentary with a clear premise. It follows Eugene Roddenberry’s search to find out more about his father Gene and to understand the cultural phenomenon of Star Trek. Directed by Scott Colthorp the film endeavours to explore the enduring appeal of the franchise as Eugene discovers more about the father he didn't know and the show that passed him by. Through interviews with cast and crew members from all five Star Trek shows, as well as fans and celebrities who were influenced by the show while growing up, Trek Nation methodically follows a linear path. Yet this uncomplicated approach proves to very effective and surprising candid.
Trek Nation is a relatively straight forward documentary with a clear premise. It follows Eugene Roddenberry’s search to find out more about his father Gene and to understand the cultural phenomenon of Star Trek. Directed by Scott Colthorp the film endeavours to explore the enduring appeal of the franchise as Eugene discovers more about the father he didn't know and the show that passed him by. Through interviews with cast and crew members from all five Star Trek shows, as well as fans and celebrities who were influenced by the show while growing up, Trek Nation methodically follows a linear path. Yet this uncomplicated approach proves to very effective and surprising candid.
As with the great Bruce Lee, there is a wealth of material available about Star Trek in the public domain. Much is apocryphal, some is actually bogus and the remainder is regularly recycled. So it’s important to maintain a healthy sense of scepticism when watching any alleged revelatory documentary. Too often have I watched spurious material that seeks to canonise Gene Roddenberry. The ridiculing of fans is another common occurrence because it is so easy to do. Fortunately Trek Nation did not go down that route and strives to be fair and objective.
Eugene is honest about his own failings in his relationship with his father and very matter of fact about his own father’s weaknesses. Some tried and tested ground is re-explored with some established Star Trek facts once again being reiterated. This includes Nichelle Nichols Dr. King anecdote as well as the Will Wheaton’s Mary Sue assertions about his own role in Star Trek: TNG for example. However the interactions with grass-roots and celebrity fans alike are quite genuine. The interview with George Lucas was quite illuminating and really does lay to rest the perennial fanboy Star Wars versus Star Trek argument.
Although far from a clinical dissection of fandom and the nature of fame, Trek Nation isn't a bad stab at unravelling the mysteries of a father and son relationship that was skewed by fame and the media spotlight. It also offers a good starting place for non-Star Trek fans to determine what the exact appeal of the franchise is. Ultimately it reaches the same conclusion as all those other shows, documentaries and books. Star Trek has at its heart a fundamental philosophy. One that has a universal appeal because it shows potentially shows humans at their best and what we could achieve given the right circumstances.
Binge-viewing
During the seventies I watched TV programs as and when they were broadcast. This was not through choice but because that was the only means available. Therefore the advent of the VCR in the eighties was a very liberating experience. However although I was free from having to watch at a specific time, I still tended to view recorded programs on a weekly basis, rather than allow them to accumulate. All the technology was doing was freeing me from the broadcasters schedule and allowing me to create my own.
During the seventies I watched TV programs as and when they were broadcast. This was not through choice but because that was the only means available. Therefore the advent of the VCR in the eighties was a very liberating experience. However although I was free from having to watch at a specific time, I still tended to view recorded programs on a weekly basis, rather than allow them to accumulate. All the technology was doing was freeing me from the broadcasters schedule and allowing me to create my own.
TV audiences had a very different relationship with the shows they watched during the seventies and eighties. Families often watched together and the previous night’s viewing was usually the topic of discussion at work or school the following day. If you missed an episode of your favourite show then you would have to wait months or even a year before it was re-run. The advent of the VCR improved this situation significantly but the esoteric nature of setting the timer still meant that this was not a full proof system.
Nowadays unless you are technophobic or a militant Luddite, it is far easier to access the shows that you want and watch them at your leisure than watch live. VOD, DVRs, the ubiquity of the “plus one” channel and even the old school DVD boxset ensure that you can keep abreast of your favourite TV shows. This shift in availability has led to the phenomenon of binge-viewing; something that I personally have resisted until recently but have now fully embraced.
There are three major reasons why I have adopted this viewing habit for some of the shows that I currently watch. Firstly, my life like many others peoples, no longer follows a traditional nine to five schedule. My working pattern is irregular and my online activities, especially those associated with the blog and podcast, span multiple different time zones. Therefore I do not like being tied to third party schedules. Secondly, TV shows are a lot more complex these days; frequently have long term story arcs. Watching episodes back to back provides a greater understanding of the plot. Thirdly, binge viewing can be an efficient means to catch up with shows that straddle multiple seasons. At present I can blitz out season two of The Blacklist and be ready for new content when season three starts in October.
The way we consume TV content is also having an impact upon the way the material is created. VOD providers have market research that suggests that viewers like slightly shorter seasons. Sometimes twenty plus episodes can be too much, where a season consisting of eight or thirteen episodes is sufficient to tell an in-depth tale. Recent examples of this are True Detective and Penny Dreadful on cable and Under the Dome and Hannibal on Network TV. All maintain a standard of writing and storytelling yet do not outstay their welcome with weak or superfluous episodes.
Binge-viewing is not relevant to all genres of TV programs. Many sporting events are still best viewed live. On most days, rolling news is often cyclical, so watching for hours will provide only a finite amount of information. Also binge viewing may not appeal to all age groups. My own parents who are in their eighties are still very much creatures of habit and like to adhere to the networks schedules. If it’s Tuesday then it’s Pork Chops for dinner and NCIS at 9:00 PM. The notion of watching an entire season will invoke judgemental comments about over indulgence and a lack of self-control.
However I think the future of TV lies with content delivery upon demand. Perhaps Kevin Spacey summed it up best in 2013, while speaking at the Edinburgh Television Festival:
“The audience wants control. They want freedom. If they want to binge then we should let them binge. Give people what they want, when they want it, in the form they want it in, at a reasonable price, and they’ll more likely pay for it rather than steal it.
For years, particularly with the advent of the Internet, people have been griping about lessening attention spans. But if someone can watch an entire season of a TV series in one day, doesn’t that show an incredible attention span? The audience has spoken: They want stories. They’re dying for them. All we have to do is give it to them.”
The Relationship between Gaming and Cinema
The distinctions between film and games are have certainly blurred over the last decade. Modern games are often visually cinematic and frequently include soundtracks by established film composers. They are clearly influenced by prevailing style and trends that emerge from Hollywood. Yet simply plagiarising set pieces from popular cinema and revelling in excess for its own sake does not a necessarily make a good game. Involving mechanics is one of the keys to success. A strong narrative is another. The latter is often neglected, leaving a market littered with products based around excruciating clichés, hackneyed storylines and painful dialogue.
The distinctions between film and games are have certainly blurred over the last decade. Modern games are often visually cinematic and frequently include soundtracks by established film composers. They are clearly influenced by prevailing style and trends that emerge from Hollywood. Yet simply plagiarising set pieces from popular cinema and revelling in excess for its own sake does not a necessarily make a good game. Involving mechanics is one of the keys to success. A strong narrative is another. The latter is often neglected, leaving a market littered with products based around excruciating clichés, hackneyed storylines and painful dialogue.
However the games industry has become increasingly aware of these short comings and has endeavoured to fill this narrative gap by employing the talents of established writers and creative luminaries from other genres. Fear 3 utilised the talents of legendary director John Carpenter helping on the cinematics as well as 30 Days of Night writer Steve Niles. Kaos Studios Home Front was written by John Milius who co-wrote Apocalypse Now and wrote/directed Red Dawn. The Bond franchise game, 007: Blood Stone developed by Bizarre Creations was penned by Bruce Feirstein who co-wrote Golden Eye, Tomorrow Never Dies and The World Is Not Enough. As you can see, the current budgets and increased standing of the gaming industry can attract some major talent.
I mentioned earlier that composers of note are now often creating the soundtracks for high profile games. Furthermore, these soundtracks are then commercially sold as part of the total marketing campaign for the respective title. Hans Zimmer’s outstanding soundtrack to Call of Duty Modern Warfare 2 is still a top seller, nearly six years after its release. It is the inclusion of well-orchestrated themes at key points within the story that helps blurs the line between film and game. The fate of the characters Ghost and Roach are especially highlighted by the score and cinematics in MW2.
With the inclusion of stronger narratives, developers have managed to secure the voice acting talents of increasingly higher profile actors. This in turn has altered the public perception of the gaming industry and such work is now deemed totally respectable. Ed Harris, Gary Oldman, Kiefer Sutherland, Stephen Merchant, Daniel Craig, and even Timothy Spall have all contributed their talent to major franchises. Furthermore, many big blockbusters films inevitably spawn a game these days and many major games often make it to the big screen. LOTRO, SWTOR and AoC are examples of the former; Hitman, Doom and Silent Hill examples of the latter. The quality of such genre crossing products can vary but they still seem to make money.
However this synthesis of mediums seems to have moved a step closer with the release of L.A. Noire in 2011. The game is effectively an interactive film “noir”, with the actor’s performance motion captured. The reviews were positive, reflecting the games complex narrative, strong performances and immersive atmosphere. The gaming industry flirted with FMV during the early 90s considering this to be an innovative way forward. It wasn’t. The technology of the time could not deliver the quality required and often resulted in a shoddy compromise; Star Fleet Academy being a prime example. However with modern day game engines becoming increasingly more robust, the concept of photo-realistic gaming is becoming viable once again.
Ultimately the world of film and gaming despite being increasingly derivative of each other, remain different entities due to the single major difference between the two mediums. Cinema is a passive experience (although it is not emotionally neutral), lasting several hours where the story and outcome are shaped in advance. Games however are dependent on those who play them and are structured around the resulting interaction. A single player RPG or FPS can have anything between 10-40 hours of content. This makes cinema and gaming very different beasts, in the same way that listening to music is not the same experience as playing an actual instrument.
Film has flirted in the past with audience interaction in a very clumsy manner but it seldom works. When watching a DVD in the comfort of your own home, do you wish to have to press buttons on your remote control to decide from multiple endings? Conversely when playing a game, sprawling cinematics and cuts scenes along with an over burden of dialogue choices, can often interrupt the flow of the game. The emergence of “augmented reality” is potentially something that could be integrated into both games and films. However so far this does not seem to have taken off. So regardless of the superficial elements that each genre borrows from each other, ultimately both gaming and cinema seem fated to remain separate entities due to their different nature. Until someone can come up with a convincing argument I see no reason why the status quo needs to alter.
Discovering Music Through Games and Movies
Growing up in the seventies I was very fortunate to have exposure to a wide variety of music. My parents were older than most and therefore their personal frame of reference musically was the forties and fifties. During my youth there were a limited number of music programs on TV and radio, so I would often have to sit through an entire show just to hear the artists that I liked. As a result I have become familiar with a wide selection of musical genres and now have broad musical tastes. However although there is far more choice available these days, it doesn’t necessarily mean that audiences are more musically literate. Solely listening to a radio station or TV channel that exclusively plays a specific style or genre, can leave its listeners musically isolated.
Growing up in the seventies I was very fortunate to have exposure to a wide variety of music. My parents were older than most and therefore their personal frame of reference musically was the forties and fifties. During my youth there were a limited number of music programs on TV and radio, so I would often have to sit through an entire show just to hear the artists that I liked. As a result I have become familiar with a wide selection of musical genres and now have broad musical tastes. However although there is far more choice available these days, it doesn’t necessarily mean that audiences are more musically literate. Solely listening to a radio station or TV channel that exclusively plays a specific style or genre, can leave its listeners musically isolated.
Movies and games can often provide an invaluable window into types of music or songs from a specific era that the audience may not be familiar with. This is something I have become increasing aware of through the use of You Tube. The comments left under specific songs can be quite insightful and I’ve frequently read quotes along the lines of “I’m here because of [insert film or video game title here]”. I find it very reassuring that classic songs and music are finding new audiences in this manner and that people are widening their musical horizons as a result. So I thought it would be fun to list some examples of this.
The Ink Spots – I Don’t Want to Set the World on Fire
The Ink Spots were an American vocal group popular in the 1930s and 1940s. Their simple ballads were driven by tenor Bill Kenny while the rest of the band provided harmony backings. At a time when racial segregation was still common place in the US, The Ink Spots found popular acclaim across multiple communities. Their songs have featured in games such as Mafia II and Bio Shock 1 & 2. But it is in the Fallout series that their work has found a home. I Don’t Want to Set the World on Fire, one of their finest songs, was used on the trailer and opening credits for Fallout 3.
Tiny Tim – Tiptoe Through the Tulips
Tiny Tim (born Herbert Khaury) was an American singer, ukulele player, and musical archivist who became popular during the late sixties and early seventies. After several successful albums he enjoyed some success as a TV personality. His most well-known work is a rendition of Tiptoe Through the Tulips which he sung in a distinctive high falsetto voice with lots of vibrato. Like many artists his star inevitably waned and he died in 1996. However he achieved posthumous success once again in 2011 when Tiptoe Through the Tulips was featured in the horror film Insidious. It added greatly to the film’s atmosphere, despite seeming an incongruous fit.
Tchaikovsky – Melodié, Op. 42, No. 3
Mélodie is the third movement of Souvenir d’un lieu cher composed byTchaikovsky for the violin and piano. It has featured numerous times in Frogwares Sherlock Holmes video games series. In titles such as Sherlock Holmes: The Awakened, and Sherlock Holmes versus Jack the Ripper, Mélodie is played in the background during scenes set in 221B Baker Street. It’s an exquisite piece that is ideally suited for use with the great detective and greatly adds to the games ambience.
The video above features Eugene Ugorski (violin) & Konstantin Lifschitz (piano) and is one of the best interpretations of Mélodie that I’ve heard.
Sonny Rollins – St. Thomas
St. Thomas is possibly the most recognizable instrumental in the repertoire of American jazz saxophonist Sonny Rollins. I don’t claim to know a lot about jazz but Mr. Rollins is widely recognized as one of the most important and influential jazz musicians of his generation. If you want to become au fait with this genre of music then his body of work is a good starting point. St. Thomas featured as a track on the JNR 108.5 Radio Station in the video game Grand Theft Auto IV. It is a catchy and uplifting composition which suits the game curiously well.
Slim Whitman – I Remember You
Slim Whitman was an American country music singer, songwriter and instrumentalist. He was known for his yodelling abilities and his three octave range falsetto. His songs were often uncomplicated and focused on universal themes, yet his honest style and sublime vocals invariably made them true classics. He was greatly influential with a broad spectrum of artists from George Harrison to Michael Jackson. Rob Zombie chose to use I Remember You in his debut movie House of 1000 Corpses. It was a controversial choice but its use in such a film doesn’t in anyway detract from the succinct beauty of the song.
Carnacki the Ghost-Finder by William Hope Hodgson (1913)
William Hope Hodgson (November 15, 1877 – April 1918) was an English author with a penchant for baroque and arcane horror, fantasy and science fiction. His style and insight drew heavily on his own colourful experiences. The son of a Priest he ran away to sea at an early age and travelled widely. He was a keen amateur photographer and achieved some renown as a bodybuilder and escapologist. He died in World War I at the age of 40. Although moderately successful during his lifetime it was not until after his death that his work, especially his short stories, received the acclaim they deserved. This was mainly due to posthumous publication of all the material regarding one Thomas Carnacki; investigator of the supernatural.
William Hope Hodgson (November 15, 1877 – April 1918) was an English author with a penchant for baroque and arcane horror, fantasy and science fiction. His style and insight drew heavily on his own colourful experiences. The son of a Priest he ran away to sea at an early age and travelled widely. He was a keen amateur photographer and achieved some renown as a body-builder and escapologist. He died in World War I at the age of 40. Although moderately successful during his lifetime it was not until after his death that his work, especially his short stories, received the acclaim they deserved. This was mainly due to posthumous publication of all the material regarding one Thomas Carnacki; investigator of the supernatural.
Hodgson’s work is in a similar vein to that of H.P. Lovecraft, M.R. James and Ambrose Bierce. He frequently hints at the horrific and implies that there are ancient and powerful forces at work. These are of a magnitude beyond human comprehension. Hodgson writes with such conviction you get the impression that he may have personally experienced the occult, something I have often suspected of Dennis Wheatley. Writing at the turn of the 19th century, Hodgson mixes modern science along with contemporary technology with the occult and the esoteric; a style later utilised to great success by Nigel Kneale.
The Carnacki stories are a variation on the tradition fictional detective such as Sherlock Holmes. Carnacki lives in a bachelor flat in Cheyne Walk, Chelsea. The stories are told from a first-person perspective by Dodgson, one of Carnacki’s four friends, very much in the style of John Watson. However where Conan Doyle never made use of the supernatural except as a red herring, its a pivotal theme of the Carnacki stories. The character of Carnacki was loosely inspired in part by Dr. Hesselius, scientist with a supernatural perspective, who appeared in short stories by the Irish fantasy writer Sheridan Le Fanu.
Hodgson’s short stories follow an established framework; Carnacki intermittently sends invitations to four friends, asking them to come to dinner and hear his latest exploits. One of these, Dodgson, then recounts the evening entertainment to us the reader. Carnacki avoids discussion of the case until after dinner, then lights his pipe, settles into his favourite chair and recounts the tale to his audience. Each of Carnacki’s adventures takes the form of an investigation into an unusual haunting, which Carnacki has been engaged to not only investigate but end. He employs a variety of scientific methods in his investigations, as well as resorting to more traditional folk-lore. He often uses such technology as photography as well as his own bespoke scientific device, the electric pentacle. He is not dogmatic and always uses evidence to establish conclusions, so in some stories he determines the haunting is real, while in others it is staged or faked by a third party. This variety and the exposure of an occasional hoax make the stories suspenseful. After the tale is complete, Carnacki usually answers a few questions from his guests, then unceremoniously turns them out onto the embankment to return to their respective homes.
What makes the Carnacki stories work so well is the credible and disquieting world of the supernatural he touches upon. He frequently refers to a fictional ancient text known as the Sigsand Manuscript, which is a source of information about protecting oneself from external forces and influences. Carnacki refers to Aeiirii and Saiitii manifestations, the latter being more dangerous and capable of overcoming Carnacki’s protective devices. There are several rites and ceremonies, including the Saaamaaa Ritual, with its mysterious eight signs and “unknown last line”. These are only invoked in times of abject crisis, when not only the physical life but the very soul is in danger. Then the forces that govern the fabric of space and time intervene to restore balance. These references to esoteric fictional occult writings are very much like H. P. Lovecraft’s Necronomicon.
If you like stories about the supernatural and traditional detective material, then Carnacki can provide a rather unique and interesting crossover. They offer an insight into the social and scientific attitudes of the Edwardian period; a time when scientific reason still struggled with entrenched religious dogma. They also serve as a great introduction to the works of William Hope Hodgson. His later novels are now considered to be milestones within the genre.
For Your Eyes Only (1981)
After the ludicrous (but fun) excesses of Moonraker, the twelfth James Bond film For Your Eyes Only took a “back to basics” approach to its plot. Former Bond editor John Glen was promoted to director and remained so for five movies. The movie is unusual compared to other Bond films in several ways. It directly references Tracy Bond, 007’s deceased wife, with an opening sequence showing Bond placing flowers on here grave. Apart from a passing comment in The Spy Who Loved Me, this has never been done since and has now been eliminated from the plot in the 2006 reboot of the franchise. For Your Eyes Only is also the first Bond movie to include the title song artist in the opening credits.
After the ludicrous (but fun) excesses of Moonraker, the twelfth James Bond film For Your Eyes Only took a “back to basics” approach to its plot. Former Bond editor John Glen was promoted to director and remained so for five movies. The movie is unusual compared to other Bond films in several ways. It directly references Tracy Bond, 007’s deceased wife, with an opening sequence showing Bond placing flowers on here grave. Apart from a passing comment in The Spy Who Loved Me, this has never been done since and has now been eliminated from the plot in the 2006 reboot of the franchise. For Your Eyes Only is also the first Bond movie to include the title song artist in the opening credits.
Bond regular John Barry was not available at the time to compose the film’s score, so personally recommended Bill Conti. Conti, famous for the soundtracks to the Rocky series, provided an interesting blend of traditional brass elements along with elements of funk and disco. It was not to everyone’s tastes and remains a hotly debated score within fan circles. This along with the producers decision to include some light comic relief with a scene featuring Prime Minister Margaret Thatcher (played by Janet brown) at the movies end, are the only weak points in an otherwise strong entry in the Bond canon.
The title song, written by Conti and Michael Leeson, was sung by Sheena Easton and proved to be a commercial success. However this was not the producer’s original choice. Blondie were initially sought to perform the title song and the band even went so far as to write an original track titled “For Your Eyes Only”. However they ultimately declined the offer to work on the movie as they would have been contractually bound to record a cover of Conti’s song, rather than use their own material. Blondie’s song subsequently appeared on their 1982 album The Hunter. The track displays all the hallmarks of singer Deborah Harry and guitarist/song writer Chris Stein and is radically different from Sheena Easton’s track. If used it certainly would have put a different inflection upon For Your Eyes Only.
Do You Have a Gaming Philosophy?
We all play games for different reasons. Some will argue that “fun” is the common factor that unites all gamers, but it’s an extremely subjective term. I would argue that we all experience fun in our own way and therefore it is not a universal experience for all. The things that I enjoy in a game and that motivate me may be the complete opposite of the things that you like. It is our individual personalities and personal tastes that shape our motivations, causing us to gravitate towards certain genres of games as well as types of game play.
We all play games for different reasons. Some will argue that “fun” is the common factor that unites all gamers, but it’s an extremely subjective term. I would argue that we all experience fun in our own way and therefore it is not a universal experience for all. The things that I enjoy in a game and that motivate me may be the complete opposite of the things that you like. It is our individual personalities and personal tastes that shape our motivations, causing us to gravitate towards certain genres of games as well as types of game play.
Our relationship with games is also affected by other factors. Time, money and even our personal morality all play a part in the way we perceive games and how we approach them. The rise of multi-player and social gaming in recent years has added yet another layer to this complex system. I therefore thought it would interesting to see if I could try and quantify my personal relationship with gaming. So here is a summary of my personal gaming philosophy. It’s fairly straight forward and not profound. But it works for me.
I play for mainly for entertainment. I like a good story and the vicarious thrill of shooting stuff and blowing crap up. Gaming shouldn't be a chore. Therefore if you do not enjoy a particular game then don’t play it. It’s your leisure time, why waste it?
I am a lazy gamer. Although I like a modicum of a challenge, I don’t want to have to jump through too many hoops to get the job done. Nor do I want to read an immense tome of instructions or learn excessively complex skills. I have to do that already in real life but at least I get paid for that. I certainly do not want such activities in my leisure activities.
I like games that offer different skills levels. I don’t like it when the learning curve has some rogue peaks in it. Getting stuck at a specific point is lazy game design in my view. Choice is king as far as I’m concerned.
I see games as a simple business transaction. Games are a business transaction and as such should be subject to all the usual consumer legislation. Gamers should not be exploited by the publishers and vice versa. I don’t like a high degree of gated content in games. I have paid for an experience and therefore expect to be able to access all relevant content within the confines of the game mechanics.
I play for my own pleasure and do not consider my in-game achievements of any significance outside of their own context. Outputting 11K DPS in STO says nothing about me as a person or reflects any prestige or merit. I wouldn't big up my gaming on my resume and don’t buy into that theory that gamers are all misunderstood minor deities and geniuses.
Game developers are not social workers or rock stars. The guys and girls that work in the gaming industry are not trying to develop some utopian meritocracy. Some may have aspirations of art but this is often tempered by the fact that they are working in a competitive industry driven by financial imperatives. They are not your friend or your enemy.
I like to play both solo and with groups. There are times when I want to play socially and then there are times when I need to play socially (IE I cannot do something alone and therefore grouping is a tool). There are also times when I want everyone to fuck off.
Treat other players how you like to be treated yourself. Courtesy goes a long way in gaming. Conduct yourself with decorum. Remember that chat can be switched off and problem players can be put on ignore. It is also important to take a stand from time to time. Call people out if they cross the line and never feel bad for reporting someone if they have clearly broken the TOS.
Gaming is just one of the things I enjoy. I like games and facets of gaming culture. I like to interact with the gaming community. However it does not define me. There are times when I will happily ignore gaming and focus on some other leisure activity. Everything in moderation as the expression goes.
I'm sure there are gamers whose personal philosophies are at total odds with mine and my foibles are a complete anathema to them. However there is no right or wrong when it comes to gaming philosophies (with possibly the exception of the “don’t be a dick” rule) and it really comes down to doing what is right for you. It can also be beneficial to take the time out and to actually clarify your own personal approach to gaming. It may well allow you to make better decisions about how you spend your leisure time.
The Adventures of Robin Hood (1938)
I had the pleasure of watching The Adventures of Robin Hood recently, a film I’ve seen many times over the years. I was first introduced to this movie as a child on a Sunday afternoon when the BBC would often show Hollywood classics. My father was very enthusiastic about this movie and waxed lyrical about Erich Wolfgang Korngold iconic score. It had a profound effect upon me upon my initial viewing and set the benchmark very high for subsequent swashbucklers I saw. It has shaped my views on how a good action/adventure movie should be constructed and the fact that no matter how many impressive set pieces you may have, a strong script, written in the appropriate idiom, is always required.
I had the pleasure of watching The Adventures of Robin Hood recently, a film I've seen many times over the years. I was first introduced to this movie as a child on a Sunday afternoon when the BBC would often show Hollywood classics. My father was very enthusiastic about this movie and waxed lyrical about Erich Wolfgang Korngold iconic score. It had a profound effect upon me upon my initial viewing and set the benchmark very high for subsequent swashbucklers I saw. It has shaped my views on how a good action/adventure movie should be constructed and the fact that no matter how many impressive set pieces you may have, a strong script, written in the appropriate idiom, is always required.
I won’t waste people’s time or insult your intelligence by attempting to write a review for The Adventures of Robin Hood. It is a total classic and milestone in the history of cinema. It should not be taken as an accurate historical depiction of the times, but more as the embodiment of the concept of high adventure. It is vivid and flamboyant piece of cinema with its use of Technicolor, sumptuous production design and remarkable set pieces. The cast is outstanding with Errol Flynn giving a casual yet strong performance. But it is Basil Rathbone who smoulders as the evil and love torn Sir Guy of Gisbourne. Olivia De Haviland is dignified and suitably virginal and there is solid support from Eugene Pallette, Alan Hale Sr. and Herbert Mundin.
Seventy seven years on from its original release, can The Adventures of Robin Hood still appeal to a modern audience? Yes it can, as long as you approach the movie understanding that acting, editing and the overall pacing was approached differently in the 1930’s. This very moral tale still has a compelling story arc and is in many respects not that different from a modern blockbuster. All the essential elements are there from the hero with a cause, a socially complex romance and the triumph of good over evil. It is a common mistake to think that films from this era were heavily constrained by the social morals of the time. This is not the case. Film makers were just more subtle and adept with their craft. There is sexual tension and violence in The Adventures of Robin Hood. It is simply not overstated. For example Much the Miller’s son is slapped around the ear by a knight wearing a mail gauntlet. He bleeds quite noticeably from this casual brutality, yet it is shown in a matter of fact fashion.
The 2008 Blu-ray release has finally done justice to this movies use of “Three-strip Technicolor”. The high definition transfer is simple gorgeous to watch. The picture is detailed and free from print damage and excessive grain. The colours are rich and heavy due to the Technicolor. It looks like it was shot yesterday. One of the things that struck me while watching the movie is the sophisticated and innovative camera work. There are superb tracking and crane shots that you seldom see outside of an Argento film. These are even more fascinating when you consider the fact that the cameras used where the size of fridges. The sound design is very distinct and it’s nice to see that Warner Brothers have not made the usual mistake of replacing the original Mono soundtrack with a multi-channel remix. Many of the sound effects are still used in the Warner sound library today. As mentioned earlier the Korngold score is a stand-out feature of this movie. It embellishes the story to the extent that it becomes a character in its own right.
There are also a wealth of extras which are extremely informative. This film was a massive financial undertaking for the studio at the time and it was far from a trouble free production. The replacing of the original director William Keighley with Michael Curtiz, must have been a colossal risk, yet does not seem to have impacted upon the movie in a detrimental manner. There is also a very nice demonstration reel, showcasing the talents of master archer Howard Hill. It’s a well-known fact (but one worth re-iterating) that Hill shot real arrows at the heavily padded stunt team, never once missing the beech wood blocks concealed within their costumes. The iconic splitting of an arrow by another, a feat they couldn't reproduce properly on Mythbusters, was done for real. It should be noted that not all stunts and set pieces went well. The double for Basil Rathbone fell awkwardly on his legs at the films denouement resulting in both being broken.
The Adventures of Robin Hood is a testament to the old adage that however much things change, they remain the same. Hollywood has always known what works well at the box office and each decade has its own examples of commercially successful movies that are also of artistic merit. We do still have them even today, yet they are often hidden among the reboots, sequels and general multiplex fodder. The Adventures of Robin Hood is a fine example of honest and well-conceived mainstream film making. It still has relevance today and I would urge those who may not be familiar with this film to acquaint themselves with it.
Completing Games
The last RPG that I played was Arcania (formerly known as Arcania – Gothic IV). In total I spent about thirty or so hours playing the game. Like so many RPGs, as well as the central storyline, there’s a wealth of side quests, usually based around factions or specific zones. I think I possibly completed about a two thirds of these. However once I finished the main story, my interest in the game began to wane. I briefly toyed with the idea of installing the expansion pack but my attention was already focused on the “next game”, so I abandoned my character and uninstalled Arcania from my PC to free up some valuable hard drive space. None of this is a negative reflection on the game. I enjoyed the time I spent playing this quirky RPG. I’d simply had my fill and voted with my feet.
The last RPG that I played was Arcania (formerly known as Arcania – Gothic IV). In total I spent about thirty or so hours playing the game. Like so many RPGs, as well as the central storyline, there’s a wealth of side quests, usually based around factions or specific zones. I think I possibly completed about a two thirds of these. However once I finished the main story, my interest in the game began to wane. I briefly toyed with the idea of installing the expansion pack but my attention was already focused on the “next game”, so I abandoned my character and uninstalled Arcania from my PC to free up some valuable hard drive space. None of this is a negative reflection on the game. I enjoyed the time I spent playing this quirky RPG. I’d simply had my fill and voted with my feet.
100% game completion is a perennial subject of discussion among gamers due to the fact that so many of us never seem to do so. Titles such as Lifeless Planet, which I purchased last year, are designed to have a definitive ending. Once the player reaches it, they have completed the game. The Testament of Sherlock Holmes is another title with a very linear narrative and a specific conclusion. However although I reached the end, I didn't necessarily complete all the in-game achievements. After spending over three hundred hours playing Skyrim, I did clear all the quest content available and was eventually only left with repeatable activities. However this was a unique experience for me, as I seldom find a game that engages me to this extent.
At present I have Deadlight, Call of Juarez: Gunslinger and a host of other titles in my Steam library, all in an unfinished state. This got me wondering why exactly does this happen so often? So I had a quick brainstorming session and collated a few bullet points. There’s no particular order to them. I've simply written them as they've occurred to me.
- Finite leisure time: Sometimes there just aren’t enough hours in a day to finish a game. A game can fall off the radar due to other demands on your free time.
- Familiarity breeds contempt: Sometime it’s simply a question of over playing and burning out.
- You don’t like the game: A very straight forward reason. I bought Watch Dogs and didn’t care for the interface or controls, so I went and played something else. I walked away from Dragon Age: Inquisition due to its ponderous narrative that cease to be interesting and became a chore.
- The remaining content is not as good as the main story: When I completed the central narrative in Middle-earth: Shadow of Mordor the ending proved a little anti-climactic. The minor quests proved arbitrary so I left the game and didn't return until DLC became available.
- The grass is always greener: I think this is the greatest malady that afflicts gamers. I regularly fall victim to this and am always keeping one eye on the future. Why complete a game you've already got two thirds of the way through, when there’s something else that’s new and shiny, to do?
I also think that there has been a major shift in perception about gaming in recent years and that many titles are now regarded in a more disposable fashion. Perhaps this is something to do with gaming becoming more casual and the growth of mobile games. Gaming on these platforms is often about letting off steam and relaxing, rather than complex achievements. Discounts and bundles also have an impact. A games cost certainly influences customer’s perception of it. Abandoning something that cost only a few dollars is no big deal. Something else that may be relevant is that I don’t think that as many gamers treat their hobby as seriously as they use to. As gaming has become more main stream, it has joined the list of other popular and transient pastimes we indulge in as a society. Being top of the leader board or having 100% completion may not be as appealing as it used to be.
Even the MMORPG genre, which used to be a bastion of hardcore gaming culture with its never ending list of deeds and achievements, no longer seems as compelling. I remember a time when I use to ensure that I completed all the slayer deeds in LOTRO as well as gained kindred status with all reputation factions. In recent years, unless such tasks offer something tangible, then I don’t pursue them. A while ago, I was aiming for 100% world completion in Guild Wars 2, where all areas of the map are fully explored. The effort to reward ratio of that task was not to my liking, so I stopped trying and am happy to leave this task unfinished. Gear grinds, weapons upgrades and all the standard activities you find in MMOs are often dependent on a sizeable time investment. I think this is perhaps the biggest obstacle for many gamers these days.
It’s also worth taking a moment to consider what the game developer’s perspective is on this situation? Much of the content that they’ve laboured on often remains unseen to a large percentage of customers. From a creative and artistic point of view this must be very frustrating. However I’m sure it doesn’t matter at all to the bean counters. Once the revenue has been secured all other considerations are secondary. As I get older my compulsion towards game completion has slowly diminished. Gaming is no longer about the achievements and bragging rights but simply a question of having some semblance of fun. Therefore I’m sure that in the years to come I’ll continue to leave a swath of abandoned and incomplete games in my wake. I suspect this will become the norm for a lot of other gamers as well.
Capricorn One (1978)
In the middle seventies, America was forced to come to terms with the failure of the Vietnam War and the political fallout of the Watergate Conspiracy. It was a difficult time for the nation both socially and psychologically and naturally this manifested itself in the films of the time. The unquestioning faith in the establishment was replaced with an air of cynicism and the rise of the anti-hero. The enemy was not just the Soviet Union but potentially the national government as it pursued its own agenda. So the conspiracy theory was born and became an integral part of Hollywood.
In the middle seventies, America was forced to come to terms with the failure of the Vietnam War and the political fallout of the Watergate Conspiracy. It was a difficult time for the nation both socially and psychologically and naturally this manifested itself in the films of the time. The unquestioning faith in the establishment was replaced with an air of cynicism and the rise of the anti-hero. The enemy was not just the Soviet Union but potentially the national government as it pursued its own agenda. So the conspiracy theory was born and became an integral part of Hollywood.
Peter Hyam’s 1978 sci-fi action thriller Capricorn One, set its sights high and dared to tackle the mother of all conspiracies. Reflecting a public wane in interest in the space program, the film postulated the idea of a fake mission to mars. Astronauts James Brolin, Sam Waterston and O.J Simpson are literally taken out of the launch vehicle just moments before lift-off and informed by the program director, Hal Holbrook, that there is a major technical fault. Rather than publically admit to failure and risk the cancellation of all NASA funding (and worldwide humiliation), the powers that be decide to fake the landing.
Our protagonists are reluctant to participate, but fear for their families so grudgingly agree. The empty spaceship goes to Mars and returns while the live landing is faked in a studio. However a mistake on re-entry results in the capsule burning up, leaving NASA and sinister government forces with three live astronauts that they no longer need. Sensing that something is wrong, the crew escape and go on the run. Their only possible help comes from a persistent journalist who smells a rat.
Capricorn One is an all-star production littered with the finest character actors of the time. The script is tight with dry, laconic dialogue of the type you seldom see these days. Profanity is sparse but used effectively; there is wit, cynicism and monologues of the best calibre. Hyam’s cleverly taps into the spirit of the decade and builds the tension. The final chase sequence between a crop duster bi-plane and two military helicopters is still jaw dropping to this day. Furthermore it is the real deal and not a load of CGI fakery. The drama is aided by a tense and powerful score by the legendary Jerry Goldsmith.
Hollywood is incapable of making films like Capricorn One at present. They too often jump the shark and lose any subtlety to become the likes of Eagle Eye or Enemy of the State. Noise and bluster replace clever dialogue and bombastic hedonists are preferred over likeable but flawed characters. Capricorn One is not perfect and has some plot holes that are best not dwelt upon (I.E Wouldn’t a Mars landing would require a lifting body as it has an atmosphere and not a lunar module style lander). But it has class acting, a sense of purpose and that gritty, to the point 70s approach to film making. So watch, enjoy and remember “Keep your God damn head down”.
The Future of MMOs
There is currently an AMA (ask me anything) over at Anook which is providing writing prompts for the ongoing Blaugust event. I was asked to share my thoughts about the MMO genre and where it is going by a Stropp who asked the following question: “Where do you think the MMO genre is heading in the next 5 years? The next 10? Beyond that?” I will most certainly try to address this conundrum because it’s one that MMO gamers frequently return to and with good reason. The MMO Genre has change tremendously since the late 90s when Ultima Online took this niche market game and made it popular. Furthermore it would appear that this evolutionary process shows no sign of slowing and change can often cause consternation.
There is currently an AMA (ask me anything) over at Anook which is providing writing prompts for the ongoing Blaugust event. I was asked to share my thoughts about the MMO genre and where it is going by a Stropp who asked the following question: “Where do you think the MMO genre is heading in the next 5 years? The next 10? Beyond that?” I will most certainly try to address this conundrum because it’s one that MMO gamers frequently return to and with good reason. The MMO Genre has change tremendously since the late 90s when Ultima Online took this niche market game and made it popular. Furthermore it would appear that this evolutionary process shows no sign of slowing and change can often cause consternation.
The first and most obvious point regarding where the MMO genre is heading is that it’s primarily driven by economic and business concerns. This is not something that some gamers like to hear. Many still look at the industry through the prism of idealism and ultraism. Although developers themselves are creative individuals and may well want to make a truly great game, the publishers are more focused on making a commercially successful game. Finding the right balance between these two requirements is not easy to achieve. Innovation comes with a degree of risk, where as simply trying to replicate a successful formula can often be the path of least resistance.
For many years games publishers looked enviously the MMO World of Warcraft and sought to produce their own equivalent product. Yet all such triple AAA titles of this nature have failed to recreate the perfect storm of events that have made WoW the unique game that it is. As a result spending hundreds of millions of dollars on such high risk projects has now fallen out of vogue. The industry has evolved to the point where small to medium niche products are deemed to be more economically viable. A moderately sized player base that is loyal and content to support a particular product is preferred to monolithic titles and their associated population churn.
Gaming has in recent years gone through similar changes to the music and television industries. Broad mainstream appeal, a common consensus and flagship products have given way to separate markets, greater choice and bespoke revenue streams. Increasing mainstream appeal has also caused the gaming industry to adapt core gaming mechanics. Time investment is no longer the hurdle that it used to be. New revenue models have also had a tangible impact upon games development. Such evolution has been embraced by some players and eschewed by others. Gaming like many other aspects of popular culture is now subject to the cult of nostalgia from certain quarters, with some fans doggedly looking backwards rather than forwards.
A few other factors worth pondering are as follows. The term MMO itself has become increasingly nebulous in recent years. Perhaps that needs to be addressed and we need to be more specific terms for the variety of multiplayer games that now exist. Another point to consider is that this ongoing discussion is very Western-centric. The MMO market in Asia is a different beast altogether. Finally I recommend reading the following article by Brad McQuaid, a senior developer with Visionary Realms. I broadly concur with his conclusions and feel that his insider knowledge is invaluable to this debate.
Killer Fish (1979)
Newton’s Third Law of Motion states that for every action, there is an equal and opposite reaction. Similarly in the world of cinema, for every successful movie there’s always a cheap Italian cash in version, usually of inverse quality. However unlike the laws of physics, the rules governing knock off films can sometimes be wrong and occasionally you’ll get an enjoyable title. Consider Lucio Fulci’s Zombi 2 AKA Zombie or Antonio Margheriti’s The Last Hunter (L’ultimo cacciatore). Both are quite good movies in their own right, despite being shameless copies of Dawn of the Dead and Apocalypse Now. They both are quite lurid and try to pack as much sensationalism into their running time as possible but they also make a decent attempt at a story. The productions also have an exotic European charm to them. The cinematography, soundtracks and general ambience is subtly different from their US counterparts. Killer Fish shares all these qualities and despite lapses in logic is an enjoyable heist and caper movie with some Piranha thrown in for good measure
Newton’s Third Law of Motion states that for every action, there is an equal and opposite reaction. Similarly in the world of cinema, for every successful movie there’s always a cheap Italian cash in version, usually of inverse quality. However unlike the laws of physics, the rules governing knock off films can sometimes be wrong and occasionally you’ll get an enjoyable title. Consider Lucio Fulci’s Zombi 2 AKA Zombie or Antonio Margheriti’s The Last Hunter (L’ultimo cacciatore). Both are quite good movies in their own right, despite being shameless copies of Dawn of the Dead and Apocalypse Now. They both are quite lurid and try to pack as much sensationalism into their running time as possible but they also make a decent attempt at a story. The productions also have an exotic European charm to them. The cinematography, soundtracks and general ambience is subtly different from their US counterparts. Killer Fish shares all these qualities and despite lapses in logic is an enjoyable heist and caper movie with some Piranha thrown in for good measure.
Robert Lasky (Lee Majors) and Kate Neville (Karen Black) lead a team of professional thieves who break into a mine and steal a stockpile of gemstones. They cause several explosions at a nearby oil refinery to cover their tracks. They return to Paul Diller (James Franciscus), an ex-employee of the mine who provided them with inside knowledge for the heist, to determine what to do next. The group, despite some initial disagreements, agree to wait for two months before dividing up their haul. However Diller does not trust his confederates and releases Piranha’s into the lake where the stones are stashed, as an “insurance policy”. Meanwhile model Gabrielle (Margaux Hemingway) arrives at a nearby resort, along with her manager Ann (Merisa Berenson) and photographer Ollie (Roy Brocksmith). It’s not long before a tropical storm brings all parties together on a sinking tour boat. With the dam breached and the Piranhas set lose, will anyone survive and make off with the gems?
Make no mistake about it, Killer Fish is as cheesy as the plot synopsis implies. Yet the movie makes the most of its Brazilian locations and exudes late seventies kitsch. Made at the height of Lee Majors fame, Killer Fish has safari suits, macho heroics and clichéd notions regarding fashion models and professional photographers. There’s a wealth of miniature effects work and explosions as dams and power plant are flooded. Then of course there are the Piranha attacks which although initially restrained, turn more gruesome towards the movies climax. These are a mixture of real footage of the fish feeding and animatronics. There are also some brief optical process shots of the fish massing which are a little clunky, but by and large the visuals are still adequate.
As with many international co-productions, the dubbing of some of the international actors can sometime be unintentionally hilarious. However the cast overall perform well considering the material. James Franciscus carries the story as the duplicitous mastermind behind the robbery. He’s quite happy to send everyone to their death including his own girlfriend. The late Karen Black is also very watchable. The underwater photography is also worth a mention, unlike the shrill title song by Disco Diva Ami Stewart. You may wish to turn the volume down or at least secure the ornaments when she starts to belt out “The Winner takes all”.
Killer Fish lacks the wit and satire of Joe Dante’s Piranha with its clever screenplay by John Sayles. After the explosive opening sequence the movie slows down while establishing the plot and central characters. However director Anthony Dawson AKA Antonio Margheriti picks up the pace again in the final act. It also packs a lot into its one hundred minute running time with its curious crossover of genres. It has a very European sense of style with its curious camera angles and gaudy seventies excess. Yet is it very comfortable in its own skin and can be very entertaining film if you’re prepared to accept it’s ludicrous premise, sexual stereotypes, colourful aesthetic and excess of flared trousers.