Gold Sellers

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Having returned to several MMOs recently, I have been surprised to see that gold selling is still quite common place. Purveyors of these and other dubious services still regularly spam the in-game chat channels of games such as Star Trek Online and Guild Wars 2. I would hazard a guess that games based on single server environments amplify the hawking of such wares. I have not seen such messages on the Gilrain server where I play LOTRO for several years. However it is clear that gold selling is still a “thing” within this genre, irrespective of my surprise.

One of the commonest issues facing a new player of MMO, is a shortfall of in-game gold. There are game mechanics in place in most games of this genre that allow you to legitimately amass a sizeable personal fortune but they require time. Therein lies the problem. Long term players at endgame frequently have a substantial supply of gold that ceases to have any major benefit for them. Gold is often most required midway through the levelling process. Having recently returned to both STO and Guild Wars 2, I’ve found that I am spending the respective in-game currency on upgraded gear as fast as I earn it.

Now this is exactly the sort of scenario that could potentially encourage some players to use the services of a gold seller. Let us not waste time on any moral debates about such vendors; that is another blog post all together. I and many other people have used gold sellers in the past as a convenient means to an end. However with the advent of free to play games and the common practise of using multiple in-game currencies, surely the financial benefits of using gold sellers has fallen by the wayside? Simply put, are such services value for money?

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Let us use STO as an example. Perfect World sells Zen for use in the C-Store, where players can by ships, commodities, buffs and boost and all the usual trinkets and baubles you find in a MMO. Recently I bought 5300 Zen for £32 (€45, $49). I then spent 5250 Zen buying 46 lock box keys (4 x pack of 10 and 6 individual keys). At the time keys were selling on the in-game exchange for 2.6 million Energy Credits. Within one hour of posting the keys they had all sold for a total of119,600,00 Energy Credits. This may sound like a lot but high end items can sell for 10 to 15 million Energy Credits or more. However if spent prudently this is a reasonable war chest for a new player.

So to summarise, I effectively spent £32 for nearly 120 million energy credits, using legitimate game processes. However a Google search not only yields the names of the most popular gold sellers online but also lists a gold selling comparison site. MMOBux provides quite a comprehensive service, with reviews of gold sellers and price tracking. It’s both mind boggling and yet perfectly logical that site such as this should exist. Using the comparison site I determined at the time that MMOGA could source 120 million Energy Credits for £27 where Koala Credits could supply the required amount for £93.

It would appear that it is more cost effective and safer to buy in-game currency in STO via Perfect World, rather than take your chances with these third party vendors. It’s a similar story with Guild Wars 2 as they allows players to purchase gems and convert them directly in-game into gold, via a server wide exchange mechanism. At present you can safely buy in-game, 2800 gems for £30 and convert them to 532 gold. Again the third party gold sellers cannot really undercut the official tariff and therefore can only offer an equivalent price.

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So based on these two examples, why is gold selling still a “thing” in the MMO genre? Why would anyone be willing to risk losing their currency order, just for a negligible saving (and assuming there is one)? It’s an interesting question because obviously people still use these dubious services as my Google search showed. I think like most questions the answer is complex rather than binary. I get the impression that a lot of players haven’t stopped and done the maths, so don’t realise they can get in-game gold legitimately and without risk. I also think that gold selling advertising is a bit like supermarket special offers. When you actually crunch the numbers there isn't actually a deal to be had but you are distinctly given the impression that there is one. Also third party gold sellers probably don’t care too much about whether the customer is actually the owner of the credit card being used.

As there is no significant advantage to buying gold from third party outlets, you would think that players would prefer to use the legitimate services associated with many games. MMOs have operating costs so spending money directly via the developers helps support the game and its future growth. Gold sellers drain money from this revenue stream which is ultimately damaging, not only for the game but for the player as well. All things considered there shouldn't really be any reason why gold selling is still a “thing” in 2015. Perhaps if more players took time out to consider the matter, such services would become obsolete.

Hidden & Dangerous 2

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Hidden & Dangerous 2 was released in 2003, one of many WWII based tactical shooters that were a popular genre at the time. It was an indirect sequel to Hidden & Dangerous from 1999, which had met with moderate success. The game was developed by the Czech company Illusion Softworks and published by Gathering of Developers and Take-Two Interactive. Hidden & Dangerous 2 featured single player campaigns set around Europe and North Africa, as well as the option for online multiplay hosted via player created servers.

The game strived to be more than just a standard shooter and endeavoured to promote the tactical aspect of gameplay. The game fared well in the UK and built quite a cult following. Unfortunately it did not fare so well in the North American market. Despite receiving above-average reviews, partly because of the popularity of similar games, it failed to find an audience. It can be argued that the lack of any major US protagonists and the focus on European theatres of war were contributory factors. The game was plagued by bugs that persisted throughout its lifespan despite successive and often large patches.

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Gameplay focuses upon a four man British Special Air Service team conducting a wide variety of operations behind enemy lines. This included such locations as France, Libya and Norway. The final mission was set in Czechoslovakia during the last days of the war, ending in a skirmish with the Soviet Red Army over German secret documents. An additional expansion pack with extra mission, “Sabre Squadron” was released a year later. This added co-operative online game play and new weapons to the game. Hidden & Dangerous 2 was a minor milestone in its genre at the time, due to realistic tactical approach and immersive environments. Weapon and vehicle physics were plausible and fairly accurate; more so than most games at the time of a similar genre.

This was one of the first video games that I bought that I became heavily involved with. I joined a clan, the “Devil’s Bridge Veterans” and hosted two dedicated multiplayer servers with custom weapon inventories. What I liked about the Hidden & Dangerous 2 was its British perspective and the involvement of the SAS. It also focused on several theatres of war that were seldom explored, such as Burma and Czechoslovakia. I enjoyed the diversity of missions and way you could switch between 1st and 3rd person views. The game featured a magnificent orchestral score by Michal Szlavik and Martin Benes at a time when a lot of competitors where still relying on electronic soundtracks.

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I re-installed Hidden & Dangerous 2 on my PC a few years ago. It performed well under Windows 7 64 bit and the only drawback was the lack of support for 16 x 9 ratio resulting in a stretched image. Despite dated graphics the tactical elements were still engaging and the game still offers more than just an average point and shoots experience. There were still dedicated servers hosting co-op and death match games, last time I checked in 2011. Furthermore there are still websites resources for this game if you’re prepared to look.

Hidden & Dangerous 2 was a classic example of game that although it never became truly big, did gain a specific cult following. Its developers Illusion Softworks are now part of 2K Games. It is interesting to note that one of their other franchises, Mafia, is still in existence with a third instalment scheduled for a release in early 2016. Perhaps there is still a possibility Hidden & Dangerous 3 may be made and that the WWII tactical shooter genre will make a return.

Dirty Harry - The Video Game

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"Dirty Harry" Callahan first appeared in a video game in 1990 on the NES. Developed by Grey Matter Inc and published by Mindscape the game titled “Dirty Harry” was a simple side scroller, featuring arbitrary platforms, shooting and fist fight mechanics. Apart from its basic vigilante cop narrative and some digitised soundbites from the films, there was very little to link it to the source material. Overall this was hardly a fitting debut for the character that has defined Clint Eastwood’s career and spawned five motion pictures. Beyond a brief appearance on a themed pin ball machine in 1995, Harry Callahan has remained conspicuously absent from the video games genre.

Due to the success of the Grand Theft Auto franchise a decade and a half later, several game studios looked to classic crime cinema for inspiration developing a competing product. As a result movies such as The Godfather, The Warriors and Scarface were adapted as video games with mixed success. All boasted voice acting by original cast members and where based upon the visual aesthetic of the source material. It was about this time that Warner Interactive announced that it too would be producing a comparable game, based upon the iconic Dirty Harry franchise.

"Dirty Harry helped define a genre and introduced the world to a character who has since become a cultural icon, so bringing Clint Eastwood's authentic Dirty Harry character to this next generation of consoles provides exciting promise for game playing audiences everywhere". Jason Hall, Senior Vice President of Warner Bros. Interactive Entertainment.

Simply titled Dirty Harry the game was to be developed by The Collective Inc in association with Clint Eastwood’s Malpaso production company. The premise of the game was to continue the story of loose-cannon police detective “Dirty Harry” Callahan as he sought to clean up the streets of San Francisco. The story was set immediately after the “Scorpio” case, as featured in the original movie and prior to events featured in the sequel Magnum Force. Clint Eastwood was to reprise his role as Harry Callahan, lending his voice and likeness as well as providing consultancy services and creative input. The game was scheduled to be released in 2007 on multiple platforms.

Sadly despite the project being nearly 70% completed, the game never saw the light of day. Allegedly senior management at Warner Bros. Interactive Entertainment were not happy with the work that had been completed and were worried about potential harm to the “brand”. It has been claimed, although never officially confirmed, that the project was then transferred to two further studios for redevelopment; namely TimeGate studios and Monolith Productions. However the cost of replacing the game engine and adding additional content such a co-op multiplay was prohibitive. The game’s launch was further delayed and eventually vanished from the publishers marketing and press releases. It has been implied by those involved with the project that the main reason for Dirty Harry’s demise was that it simply wasn’t that good.

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Apart from some screen captures taken from preliminary builds and a promotional trailer, not much remains in the public domain of Dirty Harry. It should be noted that the trailer that is still available on You Tube does not actually show any footage from the game itself. It was animated by a production house, using the concept artwork to simulate the completed product. It’s a shame in many respects because the game seemed to have an authentic seventies feel to it. Certainly Dirty Harry boasted an impressive voice cast with the likes of Lawrence Fishburne, Lucy Liu and Gene Hackman, joining Clint Eastwood. Sadly Dirty Harry is now just another title on an ever growing list of games that “could have been”. Perhaps that is for the best because a franchise such as this deserves a truly great game and not a one that “knows its limitations” to quote Harry Callahan. 

Air Warrior

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It was about mid 1996 when I first got internet access. At the time the UK market had a multitude of small ISPs but it took the likes of AOL and CompuServe to make the worldwide web truly accessible to the general public. Like many others I had an AOL account mainly because it was easy to configure and use. There was no complexity to setting up the service and so it wasn't long before I was monopolising the telephone line and running up epic phone bills. The early days of the internet were an exciting time. This was the age of modems, the Netscape vs Internet Explorer browser war and IRC flame wars. It had a hint of living on the frontier about it.

Now I was a dyed-in-the-wool PC gamer by this time so when I was presented with the opportunity to play online along with hundreds of other people I jumped at the chance. AOL was in business partnership with games developer Kesmai at the time and had recently included their multiplayer on-line air-combat simulator, Air Warrior as part of their internet services. I can remember now how it took numerous hours to download the game client and that I then copied it to dozens of floppy disks to save my friends the pain of a similar ordeal. I was so enthusiastic that I even bought an analogue joystick and spent hours calibrating it.

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Air Warrior offered an extensive collection of World War II planes that you could fly in multiplayer dogfights with up to 100 pilots at the same time. The combat was set in both the European and Pacific theatres of war. There were also single player missions which were invaluable for honing your skill as a pilot. Each aircraft had individual flight models, cockpits and unique features. The game used flat polygon graphics and supported a maximum resolution of 1024 x 768. Air Warrior was surprisingly complex and not a simplistic as some arcade air combat shooters. It was also highly addictive, especially when playing with friends.

Gameplay centred on trying to destroy the enemy factions’ airfields, thus requiring the use of both fighters and bombers. For players who were not so adept with one-on-one aerial combat, you could choose to man one of the various gun turrets on the bombers. The tail gunner on the B-17 being the most coveted position. Dropping your stick of bombs via the bombsight was also immense fun and quite a skill in itself. It was always immensely satisfying to change camera positions after dropping your payload and watching the explosions several seconds later.

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Like many online games if you were prepared to take the time and experiment, you could achieve some interesting results. For example Air Warrior also offered tanks and trucks as well as planes. The Flakpanzer was a mobile AA vehicle that was designed to be deployed around your team’s airfield to provide ground-to-air support. However I discovered that it was possible to drive across the entire game map to the enemies’ airfields and that if you took a scenic route; you were seldom spotted from the air. I use to spawn camp the main runway and destroy enemy aircraft as they materialised. This could continue for ten or even fifteen minutes before they realised exactly what was happening and take countermeasures. 

Air Warrior was my first multiplayer online game. Although it wasn’t a MMO as such, it shared many similarities. I enjoyed it immensely and for a twelve month period played it frequently. It’s odd that when I inevitably drifted away, I didn't return to multiplayer gaming until 2003 when I started playing Hidden and Dangerous 2. As for MMOs, I bypassed most of the classic titles apart from a brief trial of Star Wars Galaxies and didn't really explore the genre until 2008 when I started playing LOTRO. In many respects it was my fond memories of Air Warrior that inspired me to buy the double pack of Shadow of Angmar and Mines of Moria.

Working in IT

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Don't mess with my patching

Working in IT is an extremely broad job description that encompasses multiple subsets and disciplines. Each specific field has its own skills and academic hierarchies. You may well be an experienced Network Administrator but that doesn’t make you equally as knowledgeable with regard to Database Development and vice versa. Saying that you work in IT is pretty much the same as saying that you work in healthcare. You could be working in procurement or be a Cardiothoracic Surgeon. However none of this is of any concern to those who work outside of IT. If you get collared by someone at a social event and tell them you work in IT, it’s only a matter of time before you get asked “I’m thinking of buying a new laptop, which one is best?” or something similar. I always tell them that Purple ones have the most RAM.

I won’t ramble on about how I got into IT as a career, as it’s not particularly interesting. I will say that having an aptitude for technology has helped as well as being in the right place at the right time.  I was working for a major UK government department at a time when it was undergoing a major systems upgrade. I volunteered for a new position and was trained by seasoned third party contractors. Although I have some formal qualifications most of my knowledge is from hands on experience. After twenty years I now find myself self-employed, running a niche market consultancy offering superfluous and overpriced solutions for clients with more money than sense. It’s not the best job in the world, nor is it the worse. For me my real passions now lie elsewhere and work is mainly a means to an ends, although I recognise that I have far more favourable working conditions than many. Not many careers allow you to work in your underwear.

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Of course this is a typical home office...

Something that I’ve found interesting since I’ve been writing online and podcasting is the amount of friends and colleagues from the Bloggersphere that also work in IT. Perhaps their technical aptitude means that social media and other online activities are not so daunting. My Father who is an old school mechanical engineer considers IT to be this generation’s equivalent field. It’s a skilled profession with many new and evolving disciplines. It also has clear career paths and progressions, making it stable work for those buying a home or raising a family (other money pits are available). However not every job in the IT industry is safe bet. There is a great deal of short term contracts and market rates rise and fall, based on supply and demand.

There is also the perception that IT is a very academic and studious industry to work in. This can be true but a great deal can also be learned simply by “monkey see, monkey do”. And while we’re on the subject of perceptions working with technology still has the whole geek and nerd stereotype associated with it. The funny thing is the vast majority of my IT colleagues are very social creatures who are often far more emotionally literate than many of our peers in other industries. However something that has changed in the last decade and a half is the perceived standing of information technology. Up until 2000 I felt that many considered IT to be a field very much akin to alchemy, because it was alien to so many people. Now because technology is so pervasive in our lives IT literacy is much higher. As result I find that I am no longer regarded as a Wizard but just an overpriced Photocopier repair guy (no disrespect intended ).

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Only 25% of IT professionals are women

IT is still very much a male dominated industry. My own personal experience reflects this as I have only worked with six female colleagues over a twenty year career. Considering that there is no gender imbalance with regard to the use of technology it is sad to see such a disparity within the industry itself. To say that the IT sector is institutionally sexist would be too broad a generalisation. However I have regularly encountered individuals with prejudicial views often at an age group commensurate to my own. There still seems to be an assumption both within IT and from its external customer that when someone arrives from the technical department, regardless of their level it will always be a man; hence phrases such as “call the tech support guy”. From my perspective ignoring the skills and talents of 50% of the workforce is illogical, so I support in principle any endeavour to redress this imbalance within the industry.

Although IT is a multi-faceted industry perhaps the area we are all most familiar with is tech support, because pretty much most businesses have IT infrastructure and services that need maintaining these days. First line support is one of the commonest entry points in to the industry and many IT professionals will have at one point in their career cut their teeth providing customer support or manning a help desk. Like any job that involves dealing with the public, it can be challenging. This is exacerbated in IT by the gulf in knowledge between vendor and client as well as unrealistic user expectations. The person you speak to on the phone does not know the answer to everything. If they did they wouldn’t be answering the phone.

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"Have you tried fucking off and dying?"

Anyone who’s worked in tech support will have a wealth of amusing anecdotes and horror stories regarding the “users”. Most office staff will have similar vignettes about the IT support department. It is a strange symbiotic relationship. Most of those that have worked in first line support do not look back upon it fondly. It’s a rite of passage that has to be undertaken to reach the next stage of your career. To this day I do everything in my power to minimise my personal interaction with the customer. However it is far harder to escape the technical needs of ones friends and families or that neighbour who has a PC that’s still running Windows ME. If you want to avoid such situations you either need to lie to everyone you meet about your line of work of become an orphan.

I once went to a social event after a long day at work, only to find myself saddled with insufferable dullard who was out for some free advice. His simple enquiry turned out to be a crass attempt at an hour’s free consultancy. After five minutes or so I interrupted his stream of questions and asked what his preferred method of payment was? Before he could answer I pointed out what my hourly rate was and that I had a credit card reader in my bag. The conversation very rapidly turned to his new patio which proved to be as equally dull. However to counter this particular story I would like to offer another. I worked for nearly two years at St. Georges Hospital in South West London. Undertaking the most arbitrary support tasks within the A&E department, such a fixing a printer or a PC on reception were always met with genuine gratitude. I was told by front-line staff that removing such hassles made their life demonstrably less difficult. I got immense satisfaction from this.

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"Congratulations. You've just bought a cloud-based enterprise solution and I'm retiring to the Cayman Islands." 

So there you have it; a few random thoughts about working in IT. It’s not something I deliberately set out to do, yet all things considered it has served me very well over the years. As a result I’ve worked for some very diverse employers and seen some very interesting aspects of life I may not have done so under other circumstances. Furthermore it has been intellectually challenging and a source of self-improvement, as there’s always something new to learn in this field. As someone who doesn’t care for office politics and social hierarchies too much, IT has also been a means of bypassing a lot of work place drama. The person at the top of a company and the most junior member of staff both rely on technology and I have always endeavoured to treat them equally. IT has afforded me a great deal of freedom outside of standard business rules and etiquette. Plus in what other industry can you walk around with a network cable or a circuit board and people just assume that you’re really busy?

Overfamiliarity with a Genre

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I have watched a lot of movies over the years; more so than the average viewer. Being a fan I seek out new and obscure content on a daily basis. A day seldom goes by without me watching a movie or at the least a TV show. As I am not a causal viewer, a movie gets my undivided attention. I focus on dialogue, composition, editing and also try to take in the subtle background detail that can often yield some extra level of enjoyment. As a result of my passion, I can often remember minute detail and recollect specifics, long after viewing. I guess this is the nature of fandom. If you like something, you retain it.

I have a particular fondness for horror films and enjoy the universal monster movies from the thirties, through to the halcyon days of Hammer in the fifties and sixties. I was raised on the slasher genre of the eighties and since then have branched out into euro-horror and many other sub genres. I can remember when I saw such classics as Dawn of the Dead, Suspiria and Night of the Demon for the first time and how they made me feel. I'm sure many other horror fans will look back upon their own rite of passage with similar affection.

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Sadly there is a downside to having such a veracious appetite for new content. The more one watches horror movies (or any other genre), the more familiar you become with the actual mechanics of scaring the audience. The accumulative knowledge one builds up overtime ends up negating any chance of being taken by surprise or “frightened”. I became acutely aware of this recently when The Conjuring was released. It is a very well-crafted shocker with a great atmosphere that builds at a measured pace. The shocks, jolts and jumps are well conceived and effective, yet they failed to elicit anything more from me other than my admiration for their execution.

I have simply seen too many horror movies and as a result, my brain is constantly analysing them as I view them; deconstructing them on the fly. The moment the protagonist moves towards the open window with the curtains billowing, I know that they’ll subsequently be an epic act of misdirection as a cat or bird causes the audience to jump. Then as the characters turns away from the false alarm, I await for them to walk straight into the arms of the psychopath who was behind them all along. The horror industry is founded upon variations on a theme and I am aware of most of the tropes and memes it draws upon.

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As a result I will never be able to experience a horror movie in the same way I did twenty or thirty years ago. Ignorance can indeed be bliss. That’s not to say that I can no longer enjoy the genre I love so much but that I’ve definitely fallen victim to overfamiliarity. As a gamer I have heard a similar lament from other players that they cannot go back and experience certain key games as they did originally. In fact it seems to be a universal refrain among fans that they can’t forget or erase certain experiences so they have the pleasure of reliving them again. With regard to horror films, the nearest we can get to reliving a particular movie experience is to watch them with someone who is new to them. This way we can vicariously enjoy their reactions as they jump and scream, with a degree of avuncular self-satisfaction and even a little envy.

The World at War (1973)

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The seventies were a Golden Age for cerebral documentaries with such outstanding examples as The Ascent of Man, Cosmos and Life on Earth. Such shows were content driven, relying heavily upon the quality of the script along with the charisma and gravitas of the presenter. Jacob Bronowski, Carl Sagan and David Attenborough were exemplars of this. Jeremy Isaac’s The World at War is another archetype of quality documentary film making from this decade.

The World at War was first broadcast in the UK on Wednesday 26th October in 1973 on the ITV network. This was the year of the oil crisis, one of many miners' strike and Ted Heath's three-day week. World War II still loomed large in the nation’s collection psyche and influenced global politics. Forty Two years on, The World at War it is still being watched all over the world via DVDs, VoD and TV repeats. It can be cogently argued that the documentary still remains an powerful account of World War II. There are some areas that possibly may revision due to the emergence of de-classified information but as a whole this is still an in-depth, scholarly and accessible historical analysis.

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Isaacs always was motivated by wanting to tell the story of World War II from a truly global perspective. At the time UK film makers and scholars still tended to follow a very UK-centric narrative adhering to Churchill’s "finest hour" mindset. Noble Frankland the director of the Imperial War Museum and the series historical adviser encouraged Isaacs to not only adopt this approach but emphasise the role of the Red Army and explore to a greater degree the significance of the war against Japan.

One of the most powerful features of the series was the use of in-depth conversations with ordinary people, often those who were directly involved in the event being explored. The first hand experiences of the average soldier at Anzio or the perspective of the civilians that endured the Blitz remains compelling viewing. The World at War also contains an unprecedented wealth of interviews with the politicians and military leaders of the time. Admiral Dönitz, Anthony Eden, Mark Clark and "Bomber" Harris are among those who shared their often contradictory views on the way key event unfolded. Perhaps the most significant contributor was Hitler's secretary Traudl Junge who paints a very human picture of the Führer's final days.

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Two elements worthy of note are the series score by composer Carl Davis and narration by Laurence Olivier. Both underpin the archive newsreel footage and add gravitas to the overall narrative. The script although focusing upon the global scope of World War II, maintains a very human perspective with passages from letters, journals and popular songs from the time. Olivier’s understated delivery often affords the viewer opportunity to contemplate the magnitude of events. Davis’ score adds focus to each episode and never strays into melodrama.

Although the factual rigour of The World at War remains robust there are areas where the narrative requires updating and theatres of war that need a broader exploration. Since the shows original broadcast the facts regarding the breaking of the enigma code at Bletchley Park have come to light. As a result the episode "Wolfpack" about the battle of the Atlantic is now somewhat passé. Both China and India’s experiences during the war are conspicuous by their absence; likewise Yugoslavia’s war time ordeal is only alluded to.

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The World at War was a significant undertaking for a major television network at the time and keenly reflected the production and audience standards of the decade. It is highly unlikely that a documentary series of this calibre could be produced today. Not only are there no longer any surviving interviewees with first-hand experience of the events in question, there may no longer be an appetite from the general public for such an in-depth analysis of a period of history we are becoming increasingly removed from.

Subtitles

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My hearing is fairly robust for a man of my age. I also pride myself on my ability to concentrate. Yet despite the benefits of both those attributes, I still often find myself struggling to keep up with the dialogue and plot of many a game, TV show or movie. It’s something that is not unique to me and seems to be part of a growing phenomenon. Take last year’s science fiction blockbuster Interstellar. Amongst the critical praise there was a lot of grumbling over the mixing of ambient sound effects and the movies score drowning out dialogue. Similar complaints have been levelled at a lot of contemporary TV shows.

This problem frequently manifests itself in video games, although it is more often than not due to overlapping dialogue. All too often I’ve been playing a game in which an essential piece of narrative from a key NPC is competing against the ambient dialogue from background characters. As someone who enjoys a good story and likes to absorb as much details as possible, this problem can be quite frustrating. Hence I’ve recently started enabling all subtitle options on games, TV shows and movies by default. It was a little disconcerting initially but it’s something I have adapted to quite quickly.

Subtitles apart from reflecting the main dialogue, often have the benefit of providing a lot more detail. Audio descriptions of sound effects, as well as secondary dialogue and other background noise can prove to be most illuminating. When watching the movie Right at Your Door, the subtitles displayed all the details of the radio and TV broadcasts that were playing in the background. This greatly enhanced the plot and provided some invaluable narrative detail. Subtitles are also a great way of obtaining an accurate quote and resolving the esoteric spelling of certain words and character names.

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I find subtitles in gaming to be increasingly useful. Unlike a movie you cannot easily rewind a cutscene or the bestowal dialogue for a quest. If like me you find the story one of the main selling points of a game then you don’t really like to miss any of the plot. Also games don’t always have the best voice acting and subtitles allow you a means of penetrating poor accents and poorly expressed dialogue. Therefore having an additional tier of information is useful. It can also provide some amusement when the text is misspelt or has not been updated and is merely place-holder content.

However subtitles are not for everyone. Some people find onscreen text very distracting and a major impediment to their enjoyment of the game or movie. Plot and dialogue are also not important to all gamers, many of whom simply want to get to the action, rather than waste time upon a story that is superfluous to them. Therefore it very much is a question of taste and mercifully subtitles are more often than not optional. For me I consider them to be a great asset and an enhancement to my entertainment. They also play a great part in making many leisure activities far more accessible and inclusional. As a result I find their absence from certain mediums an inconvenience.

The Manitou (1978)

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After the commercial success of The Exorcist in 1973, the low budget independent horror films of Hammer and American International fell into decline. The major Hollywood studios started financing more expensive genre movies. Twentieth Century Fox scored a box office hit with The Omen in 1976 proving once again that the supernatural was financially viable. Subsequently several independent film financiers realized that they would have to invest in bigger budget projects if they wished to compete. William Girdler’s 1978 adaptation of the bestselling horror novel, The Manitou, was one such example of this.

The Manitou by Graham Masterton is an eminently enjoyable piece of pulp horror fiction despite its outrageous premise. However adapting such a book for the big screen can test an audience’s suspension of disbelief. It would appear that critics and cinema goers alike struggled with the plot of The Manitou upon its release. The story is about a 400 year old re-incarnated Indian Medicine Man called Misquamacus, who is growing in a tumour on a woman’s back. Her ex-boyfriend, a fake medium, turns to a contemporary Indian Medicine Man for help. The use of x-rays by the hospital staff cause birth defects in Misquamacus, resulting in him being born deformed.

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Despite the bizarre nature of the plot, the production managed to assemble an impressive cast. Tony Curtis plays the lead role of Harry Erskine, with Michael Ansara as John Singing Rock and Susan Strasberg as Karen Tanday. There is a cameo appearance by Burgess Meredith as the anthropologist and Native American History expert Dr. Snow. The screenplay by director William Girdler and cast member John Cedar is a fairly good adaptation of the source novel, remaining true to the overall plot. The first act of the movie features some pleasant location work set in San Francisco. However once the story moves to the hospital where surgeons attempt to remove Karen Tandy’s tumour, the film becomes an entirely studio bound production for the remainder of its duration.

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The Manitou is very much a movie of its time, with an extremely seventies production design. Flared trousers and shirts with unfeasibly large collars abound. The plot explores the clash between modern technology and ancient supernatural forces. As a result a great deal of the hardware on display, such as the hospital computer system and surgical laser are now somewhat archaic. The soundtrack by the ubiquitous Lalo Schifrin is steeped in the musical style of the time. The infamous birth scene created by the Burman studios is suitably ghoulish. Felix Silla best known as Twikki in Buck Rogers and Joe Gieb both play Misquamacus at various points during the film. Sadly some of the optical effects at the movies climax are a little lacklustre.

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The Manitou despite its clumsy racial politics is never genuinely disrespectful of Native American culture and the central characters although verging on caricature, are still likeable. If you can look beyond the far-fetched nature of the initial premise there is an entertaining movie to be found. Sadly The Manitou was met with a lukewarm reception from both critics and the public upon its release and failed to live up to box office expectations. The proposed sequel based upon Graham Masterton’s second novel was subsequently abandoned during pre-production. 

Gaming and Lore

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Lore: A body of traditions and knowledge on a subject or held by a particular group, typically passed from person to person by word of mouth. Synonyms: mythology, myths, legends, stories, traditions, folklore, culture, beliefs, sayings, superstitions, fantasy, oral tradition.

Certain genres of games love to steep themselves in faux lore. Then there are titles based upon existing intellectual properties that have a wealth of material to draw upon. Either way it would seem that such content is very popular among gamers. Perhaps it has something to do with how an in-depth sense of history can bring a virtual world to life. Or maybe it’s more about being human and our compulsion to share stories. Regardless of the armchair psychology, the bottom line is lore can be a major selling point for a game.

Personally I like strong narratives in the games, whether it’s based on an established franchises such as Star Wars, Star Trek or Middle-earth, or wholly original like The Elder Scrolls. When questing in a MMO or single player RPG, I like to know why I have to vanquish the Nibble-pibblies, rather than just blithely go and exterminate them. Ultimately it comes down to the old literary device of “investment”. Providing a back story makes the player more likely to empathise with the characters and the narrative. This contributes to the sense of immersion, which for many is a key aspect of gaming.

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The Lord of the Rings Online is a text book example of an MMO whose lore is integral to its popularity. In some respects it is quite unique beast in so far that it’s IP has the capacity to attract non-gamers. The game developer’s Turbine have always managed to work within the confines of the established lore and create stories that although are not canonical, are inventive, measured and engaging. LOTRO is one of the games that I always ensure that I read all bestowal and dialogue text. I am interested in how the in-game characters link to existing plot elements from Tolkien’s source text.

Sadly not every game is successful at creating a vibrant and involved lore. The fantasy genre can often be extremely generic, self-plagiarising and even arbitrary. Where the lore in Skyrim prompted me to conduct further research outside of the game, due to its depth and sophistication, the storyline of Arcania Gothic 4 was lost on me. The latter game seemed to have a very inconsistent narrative that had precious little new to offer. Thus by the time I completed the RPG after thirty hours plus of gameplay, I was left confused as to the meaning of the ending and ill disposed towards installing the expansion.

Lore can also find itself at odds with pre-established material when it pertains to popular IPs. Both Star Wars: The Old Republic and Star Trek Online have complex and well written storylines that were designed to work in harmony with existing content. Sadly both are officially non-canonical, marginalising the hard work of the writers. This is especially galling for Star Trek fans as there is not any official new material being created at present, outside of the recent movies which are set in an alternate timeline.

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Earlier this year I attempted to complete Dragon Age: Inquisition. Having not played through the previous two games in the series, I was not au fait with the lore and as a result struggled to keep abreast of the wider story. Although I enjoyed the fully voice acted character interactions I couldn’t apply myself to the various codex entries that regularly appeared. Despite having an impressive legendarium I was far more concerned with trying to master the various game mechanics. As a result the lore actively became a distraction rather than an embellishment.

As ever with gaming there are always opposite points of view and the matter of lore is no different. I know many a player who will happily skip cutscenes, ignore bestowal dialogue and are not in the least bit interested in the prevailing back story of the virtual world they inhabit. If that is their chosen play style then so be it. There is no right or wrong way to play a game, despite what some may tell you. There are players who are more interested in the task in hand, rather than the motivation for it. As long as they are having fun, then that is all that matters. However for me, lore still counts as an integral part of my game enjoyment and I shall continue to seek it out in the titles I play.

Legend (2015)

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Legend is an extremely lavish biopic. Despite being about a pair of notorious British villains it has both the look and feel of an American gangster epic. There is no real attempt to depict either the period or the locations accurately nor is the story of the Kray twins themselves factually correct. As ever with American productions of this nature both the era and the subject matter are viewed through a miasma of sentimentality and faux nostalgia. The Krays are portrayed as folk heroes rather than the petty thugs that they were. However if you are prepared to overlook these deliberate biases then Legend is can still be an entertaining movie.

There is a very slick and even Vogue-like aesthetic to Legend. The cinematography by Dick Pope is very luxuriant as it strives to recreate that Sixties look and feel. However, as so often is the case, the production design becomes a caricature of what it strives to achieve, resulting in distinct lack of authenticity. London was never that glamourous and no amount of Burt Bacharach or ambient period music can really convince us otherwise. This ersatz world of the Krays is also somewhat tonally inconsistent with the bloodletting and violence.

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Naturally the dual roles played by Tom Hardy dominate the proceedings and the critical reviews. Such a daunting task as creating two unique performances is seldom undertaken by actors. I can only recollect two convincing prior attempts, namely Jeremy Irons in Dead Ringers and Sam Rockwell in Moon. In this instance Hardy’s portrayal of Reggie Kray is thoroughly credible. His performance with regard to Ronnie is shall we say a little more experimental. Ronnie has a somewhat comic element to his nature which at times veers from sinister to borderline Alan Partridge. The interaction between the twins is also inconsistent. On occasions you feel you are in the company of two genuine gangsters and at others it’s like you’re listening to Peter Cook and Dudley Moore discussing Shelley Winter’s in The Poseidon Adventure. Because of the focus on Hardy’s dual roles, it puts a lot of the rest of the cast in the shade which is a shame. There’s a lot of talent in the cast of Legend.

Legend has obviously been made for an international market and therefore plays to the tropes and memes of the genre. Emily Browning’s voice-over highlights this in every way as it attempts to sell this patently stylised mythology of the Krays. The violence depicted during the film is unpleasant but curiously mitigated by the patently phoney historical context. Although there were failings in Peter Medak’s 1990 movie The Krays, it got a lot more right and was far more powerful in its depiction of East End thuggery. It was also a more honest movie because it didn't try and sell us the folk hero myth that writer/director Brian Helgeland does in Legend.

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If you are happy to accept from the get go that Legend is a commercial and stylised gangster story rather than a credible biopic then it may well grant you an undemanding evening’s entertainment. Tom Hardy is fascinating to watch and if the narrative is not to your liking then you can happily focus on the technical achievement of the movie. The seamless interaction between Hardy’s two performances is impressive. Legend is no The Long Good Friday or Sexy Beast, so don’t expect a film of commensurate calibre. This is very much a pop culture movie rather than a serious evaluation of Britain’s most infamous criminals. However as the legacy of the Kray twins has since become a commercial brand in itself perhaps Legend is the most appropriate form of depiction.

The Cost to Fun Ratio

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In January I bought a Codemasters gaming bundle for the sum of £2.79 which contained ten titles. One of them was the action RPG Rise of the Argonauts, initially released in 2008. The game’s setting in the world of Greek mythology was its main appeal. A little research showed that the game had a distinctly average score and offered nothing new. I completed the entire story over the period of a week in about sixteen hours or so. It was broadly entertaining, although nothing special, apart from not being in the usual fantasy setting. The word “adequate” springs to mind. Here’s a reminder of the dictionary definition.

Adequate (adjective). Satisfactory or acceptable in quality or quantity.

Rise of the Argonauts has an enjoyable story, which apart from drawing upon famous characters, has no real basis in established mythology. Yet the original plot serves its purpose and includes some enjoyable characters and good voice acting. I liked Pan especially, mainly due to his banter and quips. Combat is based around hit chains and unlocking bonus skills. There are the usual dialogue trees with their arbitrary choices and optional side quests. However if this game were compared with a more recent title such as The Witcher 3: Wild Hunt, it is simply not quite of the same calibre. However I still enjoyed Rise of the Argonauts and felt that my time had been well spent.

This raises the question how much does a games price have upon the level of enjoyment you gain from it? Is there such a thing as the cost to fun ratio? If I had spent £40 or more on Rise of the Argonauts would I have been so forgiving of its generic game mechanics or distinctly average storyline? Would I have felt that its sixteen hours plus running time was good value for money? Would I have finished the game with quite the same sense of satisfaction? I believe that my opinion on these points would be somewhat different.

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In the past I have equated the difference between good and average games as being similar to comparing a fine restaurant and a fast food outlet. Both can be enjoyable experiences but they satisfy different needs. The money that you spend determines some interesting differences between meals, such as presentation, the overall quality of the constituent parts and that most nebulous of terms, the customer experience. Fast food chains use their generic nature as an actual selling point. You can get an identical meal at any of their outlets. The expensive restaurant is trying to sell a more unique experience with the bespoke creations of its gourmet chef. These points can be applicable to games.

Another important aspect to consider is the expectation that comes with the purchase of any game. This most certainly does vary and there’s a great deal of research out there on this very matter. When you stump up £70 for a triple A title along with a season pass, you do so expecting to have your socks well and truly blown off. It’s the same if you go and see a major band or musical artists perform an arena concert or buy a top of the range electrical device. Purchases of this nature come with perceived expectations and practical obligations. Conversely, games bought as part of a bundle is not subject to the same criteria. If it amuses for an evening then it’s justified its cost. If not then it was hardly a major financial loss.

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I can’t really say whether this perceived difference in the quality “fun” is real or simply an illusion, born of snobbery and clever marketing. I do think there is some truth regarding cost influencing expectation. From my own perspective, I’ve had more consistent enjoyment of late from games I’ve bought from bundles than those I’ve purchased upon releases. Out of the five premium games I bought upon launch last year, three were abandoned for various reasons. Yet many of the titles I bought at a discount were played to completion. So perhaps for me at least I am influenced by the cost to fun ratio.

Is there a similar parallel in other industries?  Are other products subject to the same scrutiny? For example consider the difference between an inexpensive bottle of wine and one of a fine and rare vintage. Both can be the basis of a good evening, have a similar affect as far as consuming alcohol but have entirely different price implications. Returning to a gaming example I enjoyed Skyrim immensely but I bought it in 2013 at the retail half price with all the DLC included. Would I have enjoyed it just as much if I had purchased it at launch eighteen months earlier?

Once Upon Atari (2003)

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Once Upon Atari is a documentary exploring the meteoric success of the Atari company during the seventies and eighties. It consists mainly of interviews with many original Atari 2600 game development staff. Made by Howard Scott Warshaw, a programmer and author of titles such as Yar’s Revenge, Indiana Jones and the infamous E.T. the documentary provides a fascinating insight into day-to-day life at what was one of the most iconic companies of its era. The work environment as described by those who laboured there is the polar opposite of the way many businesses are structured today. This was the age of the game auteur, where successful coders were indulged.

Once Upon Atari features informal but in-depth interviews with the likes of Larry Kaplan (Kaboom! ), Rob Fulop (Missile Command ), Tod Frye (Pac-Man ) as well as Atari co-founder, Nolan Bushnell. The documentary format is predominantly "talking head" interviews intercut with some game clips and a wealth of personal photos. If you're at all interested in the significance of Atari and its place in the annals of gaming history then you'll be extremely satisfied. This is an honest snapshot of how the game industry worked over three decades ago. It certainly paints a vivid picture of the organised chaos that occurred daily at the Atari office.

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Once Upon Atari is filled with anecdotes such as “the hot tub, the sprinkler lobotomy, the flying frog, walking on walls”. Many were fuelled by the use of recreational drug. It’s amazing how these talented individuals were given creative freedom and fiscal responsibility at such a young age. It reminds me of the similar culture that existed in dot-com “companies” of the late nineties. The programmers essentially worked their own hours, eschewed the conventional formality of the business world and were known for their hijinks both in and out of the office. As with dot-com “millionaires”, the programmers often made their fortunes, only to lose them shortly thereafter.

Although very simply made Once Upon Atari highlights the unique situation at Atari and how through synchronicity, it brought an eclectic group of talented freethinkers together at the right time. It’s amazing to think that during the eighties, a hit game could be conceived, written and lovingly crafted by just a single developer. A freedom that I’m sure many who currently work in the gaming industry would view with envy today. If you are a gamer who is at all interested in the history of the medium or have fond memories of the Atari 2600, then you need to watch this documentary. It’s funny, informative and compelling.

Lifeforce (1985)

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It’s funny how the very name of certain films will get a noticeable response. Especially when talking to fans of genre movies and connoisseurs of the obscure and cult. If you mention Lifeforce to a film buffs of a certain age you’ll more than likely get one of following three reactions.

• Oh that’s the one where that woman wanders around naked all the time.

• Didn't that star Peter Firth? (Usually said with a degree of incredulity)

• That was one seriously fucked up movie. 

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Now all of these are true and totally justified. Remember that we are talking about a film featuring a naked female space vampire who’s found on a spaceship in Halley’s Comet, brought back to earth where she zombiefies half the population of London and confounds Shakespearean actors and an ex Double Decker (click here for clarification).

Before we proceed, let us quickly reflect upon the history of this cinematic oddity. Lifeforce was the last of a three picture deal between Canon Films and celebrated director Tobe Hooper. The other two films were a remake of Invaders from Mars and The Texas Chainsaw Massacre 2. Canon films had become big on the back of a string of cheap action films made in the early eighties and where now looking to hit the big league. Lifeforce was supposed to cater to the public’s appetite for both sc-fi and horror which were extremely marketable genres at the time.

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The movie was originally filmed and promoted under the title The Space Vampires, based upon Colin Wilson’s novel. Cannon Film spent over $25 million on the production intending to create an international blockbuster. In an attempt to distance themselves from their own low budget past, the film’s title was changed to Lifeforce to try and avoid any exploitation connotations. However what was originally envisaged as sci-fi horror filled with American and European stars ended up as a curious over blown B movie with a distinctly British cast and flavour.

On paper the basic premise for Lifeforce was sound. Tobe Hooper was (and still is) a director with a reputation and the market was ripe for a blockbuster of this kind. Remember that Aliens came out the following year and was a massive commercial success. However Lifeforce was not destined to be a comparable movie. The production was extremely problematic. There were financial issues, continuous revisions to the screenplay, casting changes, further re-writes, arguments between the producers and the director, arguments between the producers and the effects team, arguments between the producers and the cast. Finally it ended with arguments between producer and producer.

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After much blood, sweat and tears Tobe Hooper produced an initial cut of the film clocking in at 128 minutes. This was then trimmed down to 116 minutes, removing much of the early material set on-board the space shuttle. Due to poor test screenings the US version was further reduced to 101 minutes. This turned an already confused film into an incoherent mess. These factors along with the lack of any US actors of note (apologies to Steve Railsback) doomed the film. The critics turned on it with relish, the film tanked and Canon films moved a step closer to bankruptcy.

Let us take a few moments to reflect upon some flaws that can be found in Lifeforce. Remember that this movie was originally conceived to be a big budget, star driven, cinematic blockbuster. Consider the following:

• Since when have Frank Finlay, Peter Firth and Michael Gothard been A list box office stars?

• Why do the security guards try to apprehend the naked female space vampire by offering her a half-eaten biscuit?

• Why did the costume department think that SAS officers wear roll neck sweaters and flasher macs?

• Who thought casting Nicholas Ball was a good idea?

• Who the fuck wrote this dialogue?

• Exactly how big did the production designers think the space shuttle was?

• If a corpse sits up as you are about to carry out an autopsy, wouldn’t it be prudent to make like Scooby Doo?

• Why do the UK military have Bloodhound anti-aircraft missiles deployed on Blackheath, when they are supposed to be fighting a communicable contagion?

• Why does Mathilda May spend the whole film naked. Really, why? I mean I dig naked women (usual caveats and small print applicable) but this really has no relevance.

• Why is Halley’s Comet green?

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Lifeforce has to be seen to be believed. The dialogue is appalling and yet the film is littered with British character actors of good standing. The effects work, particularly Nick Maley’s animatronics are superb. Henry Mancini’s score is also very effective and is wasted on such drivel. Yet this utter train wreck of a film still exudes a morbid fascination and can be compelling viewing. Furthermore you can see brief references and flashes of inspiration derived from wider genre works. The ending in particular has an uncanny similarity to Nigel Kneale’s Quatermass and the Pit. Yet Lifeforce ultimately fails because the producers, Menahem Golan Yoram Globus simply had no idea how to handle such material and a production of this size.

Once you have seen Lifeforce, you will begin to understand the reactions I listed at the start of this post. It's a film that stays with you for a long time after viewing. You may frequently find yourself musing on it and ending your thought process with the phrase “what the fuck?” Finally I’ll leave you with some dialogue from the film. It may entice you into watching it. I regularly do so, although I’m not entirely sure why.

Colonel Tom Carlsen: She’s resisting. I’m going to have to force her to tell me. Despite appearances, this women is a masochist. An extreme masochist. She wants me to force the name out of her. She wants me to hurt her. I can see the images in her mind. You want to stay? Otherwise wait outside!

Colonel Colin Caine: Not at all. I’m a natural voyeur.

NB The DVD and Blu-ray versions of Lifeforce currently available in the US and Europe, feature the 116 minute international print as well as the shorter theatrical release.

Gamers and Self-deprecation

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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.

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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.

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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

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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.

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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.

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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

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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.

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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 Titanic Uncovered

John Barry

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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.

The Legend Of Dar

Lee Holdridge

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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.

Lifeforce Main Title

Henry Mancini

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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.

The Table of Five

Harry Robertson

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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.

Battle Beyond the Stars Main Title

James Horner

My Work and Gaming Environment

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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.

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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.

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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

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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.

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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.

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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)

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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.

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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.

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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.

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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.