Gamers and Self-deprecation
Wisdom does not automatically accompany age. I know people who are just as dumb as they were twenty five years ago. Age does however offer a new perspective and an opportunity to reflect upon change. It’s down to the individual whether they choose to do this or not. I happily admit that I have shed a great deal of my nobler ideals over the years. I'm no longer passionate about many of the things I was in youth. I also tend not to get angry or irritated by things any more. Getting mad is not good for your health and seldom solves anything. Also why hand someone the ability to push your buttons on a plate. For me age has brought equilibrium and a degree of contentment because I don’t give a shit about lots of things any more.
Wisdom does not automatically accompany age. I know people who are just as dumb as they were twenty five years ago. Age does however offer a new perspective and an opportunity to reflect upon change. It’s down to the individual whether they choose to do this or not. I happily admit that I have shed a great deal of my nobler ideals over the years. I'm no longer passionate about many of the things I was in youth. I also tend not to get angry or irritated by things any more. Getting mad is not good for your health and seldom solves anything. Also why hand someone the ability to push your buttons on a plate. For me age has brought equilibrium and a degree of contentment because I don’t give a shit about lots of things any more.
Now that I have set out my proverbial stall, let us move on to main point of this post. Some gamers are their own worst enemy and once again because of the behaviour of a few, the perception and credibility of the whole is harmed. I refer of course to the recent incident involving US talk show host and comedian Jimmy Kimmel. He made a few flip remarks regarding gaming and live streaming on his show and subsequently received a tide of abuse, outrage and death threats which seems to be the default response these days. It was all very predictable and thoroughly demoralising.
Kimmel’s comment themselves were far from original and not especially vitriolic. He merely referenced how incredible it was to him that people would wish to watch other people play games. Such comments are not surprising. Comedians traditionally favour soft and obvious targets. The more you protest the more they’ll continue to mock. In this instance I can even appreciate his perspective. Kimmel and I are both the same age and I still find the idea of watching someone else play games somewhat incongruous, although I also see its benefits. From my perspective, I simply didn't find his remarks problematic.
Sadly some gamers did and responded in an all too familiar manner. Which beggars the question why do they do this? I would suggest it’s because these gamers completely lack any sense of self-deprecation. They take themselves far too seriously and their behaviour demonstrates that they are emotionally illiterate. Since when has it become the social norm to go nuclear as your opening gambit to any form mockery or criticism? I also worry that some gamers perceive themselves as an oppressed minority with commensurate needs. Nothing could be farther from the truth. Gaming is very much the preserve of the middle-class professional or their offspring; hardly a marginalised group.
Some gamers still cling to the myth that they are some sort of über problem solvers or have a unique set of skills. This again is nonsense, perpetuated by some spurious scientific research taken out of context. Gamers therefore deserve no special treatment and should be subject to the same amount of deference or lack of it, as any other social group. Frankly the social dysfunction that is so often demonstrated by those that shout the loudest, simply invites further opprobrium.
Is this lack of perspective solely the province of gamers or evidence of a wider cultural problem? Are we as a society losing our sense of tolerance and emotional maturity? Are we too quick to go off alarmingly when criticised and turn our response up to eleven? Well politics and social commentary has certainly got more confrontational of late, especially on social media. It can be argued that the internet has removed some people’s inhibitions and freed them from social etiquette and responsibility. Sports fans also don’t take mockery well. Yet I can’t think of any other group that seem to have such a short fuse as gamers. Perhaps it stems from intense fandom associated with gaming culture.
Humour such as that demonstrated by Jimmy Kimmel is par for the course and not something that is likely to be going away any time soon. The correct response when confronted by such loaded comments is to shrug it off and let it lie. Ask any politician, scientist or religious leader and they’ll tell you the same. So will your Mum. Until this particular subset of gamers learn this invaluable lesson and cultivate a sense of perspective and dignity, they will continue to find themselves squarely in the sights of comedians and others. Sadly their predictable reaction to being baited simply encourages their more socially adept colleagues to further disassociate themselves with the gaming community.
Star Wars and Me
The seventies were a very curious time, especially in the UK. The post war world with its sensibilities, culture and etiquette was slowly slipping away. Sadly the future had not quite lived up to its scientific and cultural potential. Political, industrial and economic turmoil were rife. Even as a child I was aware that all was not right with the world. Then Star Wars was released and very quickly became a cultural phenomenon. I embraced it like many others and took it to my heart. It offered not only spectacle but a boundless galaxy filled with stories and possibilities, which captivated a child’s imagination. It had not only a strong sense of morality but a wider philosophical subtext. It provided a modern mythology just as George Lucas intended. Its optimism was in some ways an antidote to the prevailing cynicism of the times.
The seventies were a very curious time, especially in the UK. The post war world with its sensibilities, culture and etiquette was slowly slipping away. Sadly the future had not quite lived up to its scientific and cultural potential. Political, industrial and economic turmoil were rife. Even as a child I was aware that all was not right with the world. Then Star Wars was released and very quickly became a cultural phenomenon. I embraced it like many others and took it to my heart. It offered not only spectacle but a boundless galaxy filled with stories and possibilities, which captivated a child’s imagination. It had not only a strong sense of morality but a wider philosophical subtext. It provided a modern mythology just as George Lucas intended. Its optimism was in some ways an antidote to the prevailing cynicism of the times.
Because of Star Wars, I became aware of the concept of fandom and its sub-culture. It provided a gateway into other literary, cinematic and cultural works which I consumed with an equal passion. For the next twenty years Star Wars was ever present in my life and I was happy for it to be there. One of the greatest pleasures I’ve had as a Father was introducing my son to the classic version of the trilogy on Laserdisc in 1997. It was shortly after that the Special Editions were announced and the opportunity to see the films in the theatre again was sufficient to overrule my concerns over some of the changes that had been made.
Then came the new trilogy along with the accompanying hope and subsequent disappointment. It seemed that George Lucas had lost his way and had become sadly a victim of his own success. No one seemed willing to challenge him and by the time the new movies were made the damage was done. Furthermore this process took place during a decade when the marketing of the entire franchise reached new heights. Slowly it seemed that Star Wars was crossing the line from cultural phenomenon to pop culture ubiquity. Star Wars was simply another brand such as Coca-Cola or McDonalds. It was this transformation into a truly corporate product that tainted it for me and many others. When Disney acquired the rights to the franchise in October 2012 and promised us more, I just sighed.
Over the recent decades there have been substantial changes in the way we experience movies. In the seventies movies could only be seen at the cinema so unless they merited a re-release, once their initial run ended they were gone until they showed up on TV. This meant that fans had a very different relationship with the object of their affection. The rise of home video in the eighties changed this as did the internet in the nineties. Nowadays every aspect of a film is delineated and analysed, before it is even shown. Movies can be owned three months after release, offering a beautiful high definition experience along with a wealth of extras. Knowledge and expertise is no longer the province of the obsessive geek. It’s given away on a plate to anyone with the mildest interest.
It is this over familiarity that is perhaps the biggest factor with regard to my changing views on Star Wars. That and the recognition that our memories of are often specific to particular times in our lives. The Star Wars I experienced as a child has gone forever. Furthermore no matter how hard we try it is impossible to recreate those feelings we initially felt. For many people personal tastes change over time but this is just part of life and should not be feared. Therefore it would be unrealistic for me to still feel the same way about George Lucas’s movies after thirty eight years. In some respects the change in perspective is quite liberating, allowing me to revisit the movies with a more critical eye, as I have done so recently via Jamie Benning’s documentaries.
Of course not everybody will have necessarily had a similar experience to me and Star Wars still has a hardcore fanbase of unwavering loyalty. Devotion of this kind is arguably both a fans greatest asset and weakness. For me, I feel that my association with the Star Wars phenomenon has overall been a positive experience. Not in spite of my changing relationship but because of it. Perhaps the final lesson I have learned from that galaxy far, far away is the correct way to embrace nostalgia and to be comfortable with the notion of change. Whether those who now own the franchise understands this point is another matter entirely. Therefore I await the release of Star Wars: The Force Awakens with a degree of measured interest rather than unbridled passion. My expectations are realistic and I suspect that this may be the key to surviving the pending hype and marketing.
Cult Movie Soundtracks
There is a common consensus that a cult movie doesn’t necessarily have to be a good one. Badly written scripts, low budgets and curious casting are just some of the things that can contribute to making a film a cult classic. Many movies of this idiom have showcased talent that subsequently went on to better things. Sometimes films that are hailed as complete turkeys or financial disasters upon release are retrospectively deemed of merit. Often it is films soundtrack that can be its one saving grace. Take for example Ennio Morricone’s prodigious body of work. He is considered by many to be one of the finest (if not the finest) film composer alive. Yet some of his best work has been for incredibly poor, flawed or indifferent films. Consider Hundra, Treasure of the Four Crowns or Orca for example.
There is a common consensus that a cult movie doesn’t necessarily have to be a good one. Badly written scripts, low budgets and curious casting are just some of the things that can contribute to making a film a cult classic. Many movies of this idiom have showcased talent that subsequently went on to better things. Sometimes films that are hailed as complete turkeys or financial disasters upon release are retrospectively deemed of merit. Often it is films soundtrack that can be its one saving grace. Take for example Ennio Morricone’s prodigious body of work. He is considered by many to be one of the finest (if not the finest) film composer alive. Yet some of his best work has been for incredibly poor, flawed or indifferent films. Consider Hundra, Treasure of the Four Crowns or Orca for example.
With this idea in mind I've collated five films that are for various reasons are labelled “cult” and have suffered the “slings and arrows of outrageous fortune” over the years. All have scores of interest and note, though for different reasons. I have chosen a track from each soundtrack which I think highlights the musical excellence and integrity of the composers involved. The genres are varied as are the musical styles and nuances of each piece. All clearly demonstrate how a well-conceived score can embellish and enhance a movie, effectively becoming a character in its own right.
Much has been written about Sir Lew Grade’s 1980 adaptation of the popular Clive Cussler’s novel, Raise the Titanic and precious little is complimentary. Yet despite the films faults which mainly came from multiple script re-writes, the soundtrack by the late John Barry is an outstanding piece of work. It captures the mood of the film perfectly, especially during the underwater sequences. Often it is played against extensive miniature work with little human interaction, yet it vividly enhances these sequences and conveys sense of urgency and risk associated with undersea exploration. I have chosen the cue when the submersible Deep Quest finally locates the wreck of the Titanic. The music changes from the sombre themes of the search to one of elation. This is vintage John Barry at his best.
The Beastmaster is the embodiment of a cult movie. A low budget, independent production from the early eighties designed to cash-in on the sword and sorcery boom of the time, it features a quality score by Lee Holdridge. Holdridge is primarily known for his work on television on such shows as Moonlighting and Beauty and the Beast. His forays into the world of cinema are less frequent but often of note. The Beastmaster is the story of Dar, who by a quirk of his birth has gained the power to communicate with beasts. The fact that his Black Panther sidekick is in fact a Tiger that’s been dyed is neither here nor there. The main theme for the movie is rousing and of a standard seldom seen in movies of this genre.
I make no bones about the fact that I utterly love this car crash of a movie. Lifeforce is a text book example of a movie that endured a tumultuous production and a last minute re-edit. There are vast differences between the US release of the film and the international version. The Shorter American print features a re-scored soundtrack by Michael Kamen, a very popular composer at the time. The lengthier, more coherent and marginally better European cut included the full original soundtrack by none other than the great Henry Mancini. It's not a name that you immediately associate with the Sci-Fi genre. However Mancini manages to bring gravitas to the proceedings with several finely polished cues that nearly make you forget the preposterous nature of the film. The main theme is a sweeping orchestral piece that really should belong to a better film.
Any film that features a repeating crossbow, death by silly string and Bernard Bresslaw cannot be all bad. Hawk the Slayer is a wonderful piece of low budget, sword and sorcery hokum. It is also very British. Producer Harry Robertson also wrote the film score and it is the embodiment of early eighties UK synth-pop. Drawing upon such diverse influences as Jeff Wayne’s musical version of War of the Worlds and the work of Ennio Morricone (specifically Westerns) it’s kitsch yet an engaging score. It utterly suits the idiom of the film and is immense fun although possibly for all the wrong reasons. The cue below is re-iterated through the early stages of the film as Hawk gathers his band of warriors.
Finally Battle Beyond the Stars was one of James Horner’s earliest scores. Considering the low budget of the film, it was extremely ambitious for the producers to pursue a full orchestral soundtrack arrangement. Many others would have opted for an electronic score. Yet Horner’s iconic main theme is incredibly accomplished and imbues the film with a quality and ambience beyond its humbled origins. It was this score that caught the notice of Paramount studios and subsequently led to James Horner composing the soundtrack for Star Trek II: The wrath of Khan. The title theme of Battle Beyond the Stars contains all the hallmarks of Horner’s style. Its use of brass and rhythmic cadence are instantly captivating and convey the spirit of the narrative.
My Work and Gaming Environment
I know a good bandwagon to jump on when I see one, so I’m also going to write about my personal work space. Joking aside I don’t consider this sort of post to be just filler. As a self-employed person my desk and PC set up has a major impact upon how I make my living. I spend a significant part of my week based at my desk, so it’s essential to me that it is an organised, efficient and healthy work space. As I use the same set up for recreational purposes, it is doubly important that this is an agreeable environment.
I know a good bandwagon to jump on when I see one, so I’m also going to write about my personal work space. Joking aside I don’t consider this sort of post to be just filler. As a self-employed person my desk and PC set up has a major impact upon how I make my living. I spend a significant part of my week based at my desk, so it’s essential to me that it is an organised, efficient and healthy work space. As I use the same set up for recreational purposes, it is doubly important that this is an agreeable environment.
First off there is my chair. It is an executive model that is two years old and has certainly seen better days. It conforms to all the usual health and safety regulations, being fully adjustable and fire resistant. However it doesn’t matter how well designed a chair may be, if you don’t sit in it properly then all its health benefits are mitigated. I have a tendency to slouch but when I do sit properly my trusty chair has proven to be comfortable and supportive.
The desk is actually a dining table I bought back in 2008. It is a little higher than the average office desk and as a result my monitor is directly level with my line of sight. I favour a clear desk and tend to avoid the miscellaneous bric-a-brac that usually accumulates. I keep an A4 notepad to hand as well as my 7 inch Android tablet. I use this so I don’t have to tab out of games to web browse and to also playback podcasts. This has the benefits of not placing additional system demands upon my PC. I tend not to eat at my desk while at work or gaming. I use a coaster for drinks because someone has to maintain standards.
My primary display is a single Samsung SyncMaster T240HD dual monitor and TV. This is a curious hybrid with a native resolution of 1920 x 1200. It’s becoming increasingly hard to find 24 inch screens that accommodate this resolution these days. Although seven years old this screen still has a bright and vivid image quality. Audio is via a pair of Logitech LS21 stereo speakers and subwoofer. These are over 12 years old but still provide adequate sound quality for gaming.
Having worked in IT for twenty years, I have until recently maintained a stockpile of spare peripherals. These were mainly surplus stock from corporate rollouts and tended to be Dell or HP items. I get through a keyboard and mouse every twelve months as I wear them out through constant use. This summer I exhausted my stock and had to buy a new gaming mouse. I chose a mid-range Steelseries Rival Optical mouse which I’ve found to be perfectly adequate. My keyboard is the one that came with my Zoostorm PC when I last upgraded in spring 2014. Cataloguing the finer details of one’s PC is incredibly tedious. Let is suffice to say I have system based around the ubiquitous Intel Core i-5 processor, an acceptable amount of RAM and a suitable Nvidia GPU. I recently upgraded to Windows 10.
Overall I am content with my work and gaming environment. Much of the hardware could be upgraded if I chose to but everything that is currently in place is both functional and a known quantity. The space in which you work and play is just as much about comfort and familiarity as it is about performance and reliability. So at present I am happy to maintain the status quo. It suits my needs eminently and ensures that my desk is free from water marks. Finally before anyone asks, yes I do dust my desk and PC about twice a week. I am not a barbarian.
Re-evaluating my Relationship with Twitter
I enjoy Twitter. I consider it to be an amusing diversion. It provides an opportunity to interact with friends that I’ve made all over the world. I find that swapping banter and trading quips with my twitter chums, often raises the spirits after a day filled with first world problems.
I recently went through my Twitter settings and “unfollowed” a lot of accounts. This included celebrities that only Tweet occasionally when they had a tour or a book to promote. Politicians and social commentators whose views and principles I find tiring. I even ditched a few fellow bloggers who have a tendency to whine or moan about their lot in life. You could argue that I’ve created an echo chamber and that I’m living in an online bubble. You may well be right. Humans often do the opposite of what they claim to believe. It’s like our default setting is one of cognitive dissonance.
I enjoy Twitter. I consider it to be an amusing diversion. It provides an opportunity to interact with friends that I’ve made all over the world. I find that swapping banter and trading quips with my twitter chums, often raises the spirits after a day filled with first world problems.
I recently went through my Twitter settings and “unfollowed” a lot of accounts. This included celebrities that only Tweet occasionally when they had a tour or a book to promote. Politicians and social commentators whose views and principles I find tiring. I even ditched a few fellow bloggers who have a tendency to whine or moan about their lot in life. You could argue that I’ve created an echo chamber and that I’m living in an online bubble. You may well be right. Humans often do the opposite of what they claim to believe. It’s like our default setting is one of cognitive dissonance.
The today at about 6:15 PM GMT the following Tweets appeared in my timeline. A timeline filled with gaming news, movie trivia, jokes and fun; a tide of light, ephemeral and utterly inconsequential inanities.
There amid all the trivia and decadence that we surround ourselves with on a daily basis was a picture of a small child, face down in the water on a beach in Turkey. Dead.
It took several seconds for this image to fully compute. What exactly was this picture that Father Roderick Vonhogen had unceremoniously dumped in my bright and cheerful timeline? So I followed the link to The Independent website and read the subsequent story. Then finally magnitude of what was depicted finally hit me and it hit me hard. I make no bones about the fact that I wept at the utter tragedy of what I saw and read.
If you can bring yourself to follow the link to the newspaper article, you’ll discover the very human face of the “ongoing migrant crisis” that is currently occurring across Europe. The child is believed to be a dead Syrian refugee, one of eleven that have died trying to reach the Greek island of Kos. Like many people, my perception of this political and social issue is both vague and abstract. Until today it’s simply something that has just occupied the news and frankly doesn't have any meaningful impact upon my cosy life.
Today that has changed.
I have no political axe to grind with regard this matter. I fully appreciate that all the factors that are contributory to the current wave of migrants are very complex. This is not a black and white situation and there are no easy solutions or quick fixes. I am sympathetic to the needs of both the migrants and refugees as well the populations of the European countries affected. But as a human being I can no longer ignore the fact that there is a very real tragedy taking place on my very doorstep. I cannot dismiss dead children washing up on beaches as if it were nothing. So tomorrow I shall start by lobbying my local Member of Parliament and seek clarification as to exactly what the UK government is doing with regard to this matter. Ironically my MP James Brokenshire, is also Minister of State for Immigration. Contacting my political representative may not have much impact but it’s a start. A position of concern is better than one of indifference.
And so we return to the subject of Twitter. Ultimately it is wrong to adopt a shoot the messenger mind set, after all my Twitter timeline is something of my own making. Plus it is intellectually flawed to assume that everything that is not a weighty issue is “bad” and should be dismissed. Relativism and context should not be thrown out with the bath water in a fit of knee-jerk self-pity.
However I do think that if Twitter is to continue to be one of the windows that I use to view the world, it may be time to take some steps to change the view. I need to leave my self-imposed comfort zone and allow a greater diversity of content in my timeline. Rather than disengaging with the world as I grow older, I need to do the opposite. Exactly what I should do I’m not sure but I feel that I should do something? Changing my use of social media is perhaps the first step of that process.
Brainstorm (1983)
Director Douglas Trumbull’s background in the special effects industry has given him a unique perspective on film making. It is said that he made Silent Running with its humane and environmental message as a direct response to Stanley Kubrick’s 2001: A Space Odyssey, which he saw as stark, cold and clinical. Brainstorm again takes a technological story and adds a very human angle. The production was delayed by the death of lead actress Natalie Wood and the studio was somewhat at a loss as how to sell this film once it was completed. Everyone else at the time was still making space operas and this cerebral piece of cinema was very much ahead of its time.
Director Douglas Trumbull’s background in the special effects industry has given him a unique perspective on film making. It is said that he made Silent Running with its humane and environmental message as a direct response to Stanley Kubrick’s 2001: A Space Odyssey, which he saw as stark, cold and clinical. Brainstorm again takes a technological story and adds a very human angle. The production was delayed by the death of lead actress Natalie Wood and the studio was somewhat at a loss as how to sell this film once it was completed. Everyone else at the time was still making space operas and this cerebral piece of cinema was very much ahead of its time.
Brainstorm is an innovate take on the traditional conflict between science and big business. Brilliant researchers Lillian Reynolds (Louise Fletcher) and Michael Brace (Christopher Walken) develop a system of recording people’s experiences, feelings and emotions. It is not long before this breakthrough attracts the attention of the military and Michael soon finds himself at odds with his employer. His devotion to his research also costs him his marriage. When his colleague suffers a fatal heart attack, she manages to record her dying experiences. Michael has to consider the risks to himself if he plays back the recording. In the meantime the Military have other ideas regarding both the tape and the future of the entire project.
Brainstorm is a thoughtful and somewhat sentimental film. Despite the technological setting, it deals with traditional themes such as love, death and taking responsibility for our own actions. Walken is ideally cast as the obsessive and driven scientist who neglects his family’s emotional welfare. Natalie Wood gives a warm performance as his estranged wife. The script is somewhat old school and adopts a rather conservative moral tone. The production design also reflects what was considered to be cutting edge technology in the early eighties. It’s interesting to see the reliance on telephony and mainframes in the days before the internet, as well as the lack of optical or solid state media.
Brainstorm features several sub plots that are not fully developed. This may be due to the re-editing that had to be done to accommodate Natalie Wood’s death. There is also a rather incongruous sequence where a production line is sabotaged. This descends into slapstick, with security personnel desperately trying to cope with the mayhem while wading around in a sea of fire retardant foam. Yet despite these minor criticisms, Brainstorm still manages to engage the mind in a thought provoking manner. The optical effects are outstanding for the pre-digital age. The ending with its glimpses of heaven and hell are very intriguing. Apparently a lot more footage was shot for these scenes but omitted from the final edit, possibly for ratings reasons. There is definitely footage in the trailer that is not in the theatrical release.
I saw Brainstorm on video on its initial release. At that time it was only available in 4:3 pan and scan format. The current Blu-ray release shows the film in two aspect ratios. 1.85:1 for the real world scenes and 2.20:1 for the “recording” of others peoples experiences. Sadly rather than switching between ratios, the print is formatted to the larger format and thus shows majority of the movie is a picture box presentation which is far from satisfactory. Douglas Trumbull wanted to film the entire movie in an experimental format that ran a 60FPS but studio vetoed this idea for financial reasons the. Despite a difficult production and it’s narrative inconsistencies Brainstorm still merits viewing and will appeal to the more thoughtful and discerning viewer.
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.