Gaming Communities
Fans are far more than just customers. Sadly not all of the gaming industry understands or more importantly appreciates this distinction. Consider this analogy; I am a customer of Vodafone. I use their services for a monthly fee and that is the extent of my relationship with them. I do not write about my experiences using their products, nor do I create guides regarding their use. Neither do I arrange social events around their services. Fans conversely do all these things for the games that they love. Furthermore they do not do these things solely for their own benefit. There is a lot of ultraism in fandom. It often contributes towards a vibrant community which is a great marketing and promotional asset for any games developer. Being free, it also has the best price.
Fans are far more than just customers. Sadly not all of the gaming industry understands or more importantly appreciates this distinction. Consider this analogy; I am a customer of Vodafone. I use their services for a monthly fee and that is the extent of my relationship with them. I do not write about my experiences using their products, nor do I create guides regarding their use. Neither do I arrange social events around their services. Fans conversely do all these things for the games that they love. Furthermore they do not do these things solely for their own benefit. There is a lot of ultraism in fandom. It often contributes towards a vibrant community which is a great marketing and promotional asset for any games developer. Being free, it also has the best price.
Communities often arise organically, with fans creating websites, podcasts or live streams. Bridges are built with other likeminded individuals and informal networks develop. Cross promotion and collaboration stems from such affiliations. Often specific groups or individuals gain prominence within these social groups, through their own hard work, dedication and content creation. More often than not these figureheads have not actively sought such a position. It simply occurs through the dynamics of human interaction.
Now this raises some interesting questions. Do such high profile individuals or groups have a burden of responsibility? As so called digital ambassadors is there a need for greater self-regulation? I believe there is to a degree. Creating guides, sharing experiences or collating data are benign and neutral undertakings. Providing news or opinion is far more complex and does require responsibility and self-moderation. However there is also a reciprocal requirement that those who read specific sites or follow certain individuals should exercise their common sense. It is a mistake to put people on pedestals.
In the past gaming communities have usually evolved independently of the commercial entities that run the games. Many resources reside outside of the official forums. For more recent titles such as Guild Wars 2, this process has been more centralised under the auspices of the developers. Information and content created by players but it is more often than not it is found within the official forums for that title. I may be wrong but I have never been aware of either SWTOR or Guild Wars 2 having the same sort of independent community as such titles as LOTRO or WoW. Fan based resources can be a great asset but when they reside within the purview of the developers or publishers then there is scope for problems.
In recent years many niche areas of fandom have grown in appeal. This usually happens when an activity or pastime gains mainstream attention and becomes more widely accessible. Cosplay for example is something that in recent years has become increasingly popular. It is no longer perceived as the prerogative of a small niche group and is beginning to become quite a major marketing and promotional tool. Some perceive this process as democratisation, where others see something they love being usurped by those that simply wish to exploit it for financial gain. Is the community simply growing or is it being reinvented at the expense of some and the advantage of others?
Fandoms and the resulting communities can be socially complex and highly fluid. They also seem to have distinct life cycles. With regard to gaming there most certainly is an expiry date for most communities. The natural attrition we have seen in the case of LOTRO and its fan base is a perfectly normal thing, linked to the games lifespan and individuals ongoing engagement. However during a community’s lifecycle, many players benefit from the services that are provided, via guides, podcasts and events. However it should be noted that the opposite can also occur. Dedication and enthusiasm can turn to bitterness and distain. Some forums and blogs maintain a very adversarial relationship with the former object of their affection.
Involvement in a community has its ups and downs and can be very hard work. However the rewards and the pleasure that it brings can outweigh any negatives. So I advocate involvement and participation for those who can. This can take all manner of forms. It is not mandatory that all blog, podcast or live stream. Just reading, supporting and expressing an opinion is a positive contribution. It is also prudent to temper ones emotional investment in such communities as nothing lasts indefinitely. Fan sites and podcasts come and go, as do the games, TV shows and source material that drive them.
Marooned (1969)
Depending on your point of view, Marooned directed by John Sturges was considered either “a taut and interesting film…” or “Tedious and Sad…” upon its release. That still remains the case today. It’s curious that despite the space race being such a big story at the time it seldom translated into good drama on the big screen. Like Robert Altman’s Countdown from the preious year, Marooned suffers from a rather clinical approach to the subject matter and a somewhat pedestrian pace. Perhaps the focus on real space travel and science fact was the problem. Robert Parrish’s Journey to the Far Side of the Sun which was released at the same time is far more dramatically engaging with its more overt science fiction narrative.
Depending on your point of view, Marooned directed by John Sturges was considered either “a taut and interesting film…” or “Tedious and Sad…” upon its release. That still remains the case today. It’s curious that despite the space race being such a big story at the time it seldom translated into good drama on the big screen. Like Robert Altman’s Countdown from the preious year, Marooned suffers from a rather clinical approach to the subject matter and a somewhat pedestrian pace. Perhaps the focus on real space travel and science fact was the problem. Robert Parrish’s Journey to the Far Side of the Sun which was released at the same time is far more dramatically engaging with its more overt science fiction narrative.
Marooned focuses on the three man crew of Ironman One as they experience a technical malfunction which renders the ship inoperative. Unable to return to their space station or affect a re-entry, it soon become apparent that both oxygen and time is running. Mission control desperately tries to find a solution, turning to an experimental space vehicle to affect a rescue. A further dimension is added to the problem when political pressure is applied from the President, anxious to avoid a disaster in space and the associated propaganda fallout. Does the only viable solution lie with co-operation with the Russians?
Marooned is technically proficient, yet struggles to find the correct balance between accurately depicting the technology of the time and making it cinematically entertaining. The effects work was cutting edge at the time and is cleverly used with a selection of matching stock footage to create a credible environment. The movie boasts a quality ensemble cast for the times, featuring such names as Gegory Peck, Richard Crenna, Gene Hackman and James Franciscus. It does it’s best to be avoid an excess of melodrama but the deliberately slow pacing is somewhat challenging. The earnest script and technical exposition is the main culprit here.
Fans of director John Sturges may well be flummoxed by this uncharacteristic change of style. Marooned could easily lose twenty minutes of material to tighten the flow of the story. Perhaps NASA’s direct involvement in the production hampered the development of some of the more dramatic story lines such as the political dimensions and the public “handling” of the astronauts’ wives. The film can be rewarding to the patient viewer as well as a window into the space race during the cold war era. For the more casual viewer it will be an uphill struggle.
The Twelve Caesars by Suetonius
Many people consider history (or at least books about it) to be a dry and a somewhat dull experience. If you are such a person then I cordially invite you to think again. Suetonius’ book “The Twelve Caesars” is a catalogue of degeneracy, perversions and general behaviour that would upset the vicar. It is both gripping and informative, proving that with regard to human nature, no matter how things change, they remain the same.
Many people consider history (or at least books about it) to be a dry and a somewhat dull experience. If you are such a person then I cordially invite you to think again. Suetonius’ book “The Twelve Caesars” is a catalogue of degeneracy, perversions and general behaviour that would upset the vicar. It is both gripping and informative, proving that with regard to human nature, no matter how things change, they remain the same.
Gaius Suetonius Tranquillis was born in A.D. 69. He became a scribe in the service of Hadrian, who was emperor from A.D. 117-138. Having been dismissed for ‘indiscreet behaviour’ with Hadrian’s empress, Sabina, he turned his hand to several books regarding history and philosophy. These received a lukewarm reception among classical scholars, but the ‘The Twelve Caesars’ has proved otherwise. Its mixture of scholarly facts along with tabloid scandal-mongering is the key to its broad appeal.
The most well-known translation of the source text is by Robert Graves, who used this as the basis for his own novel “I, Claudius”. This translation is not linguistically verbatim but rather a faithful account of Suetonius work, rendered into Standard English. This makes the book extremely accessible. Although there are editorial notes, they do not impede the narrative allowing the reader to approach the material as either a scholar or a voyeur.
Suetonius is not coy about the peccadilloes of the emperors and their families, nor does he hold back in his moral judgement of them. So we get details about Julius Caesar the catamite of King of Bithnyia (Yes, it wasn’t a term I was familiar with either. Google is your friend), Augustus singeing off his leg hair with hot walnut shells and Nero having the entrances barred so people could not leave his poetry recitals. One lady gave birth during such an event. There’s also rape, murder, torture, incest, more torture, more murder, all kinds of killing of family members, bestiality and interpretive dance.
It’s compelling stuff and even more so when you consider the text is not far off being two thousand years old. Suetonius’ “The Twelve Caesars” is constructed in such a way as to be extremely accessible. This can be read whilst commuting, at home in an armchair or on the beach on holiday. The latter may even increase your credibility as an intellectual. It also serves as a lesson about the nature of power. Be grateful that our contemporary leaders do not wield such arbitrary life or death powers.
The Man Who Haunted Himself (1970)
Roger Moore has often been accused of being an actor of limited range, although in all fairness, this may be down to typecasting. This cinematic curiosity from 1970 proves otherwise and is considered by some to be his best performance. Made immediately after The Saint TV series, it afforded its star an opportunity to tackle a character who is rather puritanical, potentially impotent and in every way the complete opposite of Simon Templar and James Bond.
Roger Moore has often been accused of being an actor of limited range, although in all fairness, this may be down to typecasting. This cinematic curiosity from 1970 proves otherwise and is considered by some to be his best performance. Made immediately after The Saint TV series, it afforded its star an opportunity to tackle a character who is rather puritanical, potentially impotent and in every way the complete opposite of Simon Templar and James Bond.
The Man Who Haunted Himself begins with executive Harold Pelham driving home from work, when he uncharacteristically starts to drive dangerously. After crashing he is taken to hospital where his heart stops during the operation. Once resuscitated, there are two heart beats briefly showing on the monitor. Returning home, Pelham finds his life has been turned upside down. At his job as a director of a marine technology company he learns that he now supports a merger that he once opposed. Furthermore it would appear that he is having an affair. Friends, colleagues and acquaintances claim they have seen him in places that he has never been. Does Pelham have a doppelganger, or is he actually going insane?
Director Basil Dearden had prior experience in handling tense supernatural tales, having directed segments for the classic Dead of Night. He handles the unfolding story in The Man who Haunted Himself in a competent fashion. The tension slowly builds and there is growing sense of disquiet rather than sudden shocks. The end is somewhat ambiguous and is open to several interpretations. Overall this is an intriguing character study, with solid performances. It is definitely a product of the times and may not necessarily appeal to contemporary viewers with little patience. However for genre fans and Roger Moore aficionados, this is a rewarding ninety minutes.
Classic Game Themes: Pirates of the Flying Fortress
Over the past few years I have been regularly writing about Classic Movie Themes and posting specific music cues that I particularly enjoy. Often the term “classic” is not necessarily applicable and it may be more appropriate to simply label them personal favourites. However “classic” is a better fit for headlines and search engines, so I shall continue to use that title. I’ve subsequently decided to post music from the games soundtracks that I feel are of note. The gaming industry has a multitude of talented composers and musicians who enhance games and bring virtual worlds to life with their ambient music and scores.
Over the past few years I have been regularly writing about Classic Movie Themes and posting specific music cues that I particularly enjoy. Often the term “classic” is not necessarily applicable and it may be more appropriate to simply label them personal favourites. However “classic” is a better fit for headlines and search engines, so I shall continue to use that title. I’ve subsequently decided to post music from the games soundtracks that I feel are of note. The gaming industry has a multitude of talented composers and musicians who enhance games and bring virtual worlds to life with their ambient music and scores.
Pirates of the Flying Fortress is a curious expansion pack, in so far that it’s actually an improvement on the original game, Two Worlds II. The game includes a simple sailing mechanic that adds an extremely enjoyable dimension to the proceedings. Furthermore it is accompanied by a appropriately nautical theme by Borislav “Glorian” Slavov and Victor Stoyanov, which adds an ambient seafaring undercurrent while navigating between islands and archipelagos featured in the game. The scores for both main game and expansion are strong and subtly different from traditional game soundtracks, favouring ambient pieces instead of reoccurring leitmotifs.
Pirates of the Flying Fortress is clever example of understated, low-key game composing. The music seamlessly fits with the narrative and provides an aural enhancement, rather than directly reflecting ongoing events with specific themes. There is an emphasis upon ambient ethnic or folk related tracks which add greatly to the atmosphere. There is also a broad range of instrumentation used to craft the soundcape. It’s a robust soundtrack in the context of the game. However some cues such as “Sails and Journeys” do have a pleasing quality to them that works outside of the game.
Orca (1977)
Orca (Aka: Orca: The Killer Whale) is a damn odd 1977 creature feature directed by Michael Anderson and produced by Dino De Laurentiis, that was designed to cash-in on the success of Jaws. Where Steven Spielberg’s movie is a character driven, suspense movie, Orca is all over the shop; veering between such themes of environmentalism, horror and revenge. Furthermore the revenge in question is exacted by the titular whale against Richard Harris. It’s sort of a reverse Moby Dick situation. Ponder that for a moment. This is a movie about a whale getting even. Make no mistake, this is a cinematic mess, yet because of its European production credentials it is still morbidly fascination.
Orca (Aka: Orca: The Killer Whale) is a damn odd 1977 creature feature directed by Michael Anderson and produced by Dino De Laurentiis, that was designed to cash-in on the success of Jaws. Where Steven Spielberg’s movie is a character driven, suspense movie, Orca is all over the shop; veering between such themes of environmentalism, horror and revenge. Furthermore the revenge in question is exacted by the titular whale against Richard Harris. It’s sort of a reverse Moby Dick situation. Ponder that for a moment. This is a movie about a whale getting even. Make no mistake, this is a cinematic mess, yet because of its European production credentials it is still morbidly fascination.
Disgruntled fisherman Nolan (Richard Harris) dreams of leaving Nova Scotia and returning back to Ireland. After watching a presentation by marine biologist Dr. Rachel Bedford (Charlotte Rampling), he and his crew set off to bag an Orca in the hope that they can sell it to a theme park or aquarium. Unfortunately the plan to harpoon the whale in the dorsal fin and secure it, goes awry, resulting in a pregnant female being injured. In a very distressing scene, she is caught in the harpoon cable and mutilated by the ships propeller. As the crew winch her on-board she aborts her unborn calf, as her mate looks on.
This opening gambit is hard hitting, exploitative and as subtle as flatulence in a library. Within minutes the movie lurches from montages of capering whales set to a beautiful Ennio Morricone score, to blood and mayhem. Needless to say that the whale subsequently terrorises the fishing town until Nolan decides to fight like a man (or should that be whale) and face justice for his crime. For those curious as to how a whale, a conspicuously sea based mammal manages to achieve this, he sinks all the boats moored, blows up the fuel depot (he bloody does to, look at the damn picture!) and even manages to bite off the leg of one of Nolan’s crew (Bo Derek). All these acts of vengeance are punctuated by close up shots of the whale’s eye as he give the Cetacean equivalent of Paddington’s “hard stare”.
So in the final act, Nolan, Dr. Bedford, Miss One Leg’s boyfriend (Peter Hooten) and the ubiquitous wise Native American Jacob Umilak (Will Sampson) give chase to the vengeful whale as it leads them in to the frozen waters off the coast of Labrador. Cue some personal introspection by Harris and obligatory words of wisdom from Umilak. Let is suffice to say that as this is a movie from the seventies and film makers felt less disposed towards mandatory happy endings, so things do not go well in the human cast in the denouement. Viewers less familiar with movies from this genre and time period may well be left bewildered and confused by the abrupt but valedictory nature of the ending. I will stop short of declaring it a WTF moment because you could level that criticism about the films entire premise.
Like Jaws two years before, Orca was marketed at a similar audience. Both movies contain a level of violence and unpleasantness that would not be present in equivalent movies today, or at least not within the PG rating. Free Willy this is not. I saw this movie as a child, a few years after its release. It left a big impression upon me mainly due to the impact of the opening scenes. I certainly would not recommend the movie today as family viewing. However despite the insane premise, the stilted dialogue and hard boiled performances, there is still a thread of drama and pathos running through the proceedings. It’s heavy handed and unsophisticated but it’s there; along with the blood, the mayhem and the hateful gaze from the prosthetic whale eye.
The optical and prosthetic effects are quite good for the time. The distinct black and white colour of the Orca works in the favour of the full sized models that are used. The studio bound frozen finale, filmed in the water tanks of the Mediterranean Film Studios in Malta, is no better or worse than what you’d find in Ice Station Zebra or a comparable movie. As previously mentioned the soundtrack by Ennio Morricone covers a lot of ills. Richard Harris gives an honest performance and his commanding screen presence also helps viewers excuse the overall absurdity of the proceedings. Returning to my point about European productions of this nature, they always adopt a more bombastic and strident tone than their US counterparts. In some respects it is part of their schtick and overall appeal. Orca typifies this and if such things float your boat (crap pun intended) then this is a rather unique example of the natural horror sub-genre (and yes, that is a thing).
James Bond Novels
I recently started reading fiction again after spending half a year focused upon academic subjects and ploughing my way through numerous non-fiction books. I’ve always been a fan of the Bond franchise so decided it was time to familiarise myself with Ian Flemings’ the source material. The results so far have proven to be quite surprising and not at all as I expected. I managed to purchase the first seven novels in the series from a second hand book shop and have so far completed five of them. I also have audio book version available of the all of Fleming’s stories should I need to consume them in such a fashion.
I recently started reading fiction again after spending half a year focused upon academic subjects and ploughing my way through numerous non-fiction books. I’ve always been a fan of the Bond franchise so decided it was time to familiarise myself with Ian Flemings’ the source material. The results so far have proven to be quite surprising and not at all as I expected. I managed to purchase the first seven novels in the series from a second hand book shop and have so far completed five of them. I also have audio book version available of the all of Fleming’s stories should I need to consume them in such a fashion.
One of the first things that stands out when reading Fleming’s novels, is how the books notably vary from the films. The stories are often quite minimalist and not especially as epic in scope as the movies. The content is often quite adult and very much reflects the mood and prevailing sensibilities of the times. Remember that Fleming created these books during the 1950s which were a particularly hard time for the United Kingdom. The country was virtually bankrupt and dealing with the demise of its Empire. America was in ascendancy, both politically and economically and the Cold War dominated international foreign policy.
The Bond franchise focuses of many things that would appeal to the reading public of the time; namely the glamour and opulence that was missing from their lives. Fleming is a master at describing exotic foreign travel, fine cuisine and “playboy” lifestyle. The depiction of sexual activity is quite candid for the times, although it betrays the patronising attitude prevalent to women during that era. There are also a lot of themes that will strike today’s reader as simply xenophobic and racist. Context in key in not allowing such elements to impair ones enjoyment..
“Casino Royale” and “Live And Let Die” are both fairly straight forward thrillers. The events are far from incredulous and the stories progress at a rapid pace. The use of violence is striking and well written. Bond being tortured by having his genitals beaten still has the power to shock. But it is not until “Moonraker” that the books truly hit their stride. The storylines have become a little more complex and you feel that this is the Bond that you remember. “Diamonds Are Forever” and “From Russia With Love” further demonstrate this. The style is very compelling and the characters are well defined. The locations and organisations that feature are meticulously researched. Fleming shows a knack for maintaining tension.
The modern spy or espionage novels owe a tremendous amount to the legacy of Ian Fleming. His own experiences in Naval Intelligence and as a journalist afforded him the ability to create credible and absorbing stories. His own personality trait, such as his penchant for women and the “bon viveur” lifestyle, permeates his writing. For British readers enduring the hardship of the post-war austerity years, he gave glimpses of the world beyond their shores and a lifestyle they could only dream of.
It may be difficult for modern readers to connect to the world in which Bond exists, as it is now removed by several generations. It lacks a lot of the technology that people now associate with the franchise due to the movies. The books also showcase a lot of social conventions and geo-political outlooks that contemporary audience may struggle to identify with. However for those who are prepared to look beyond these points, and embrace the culture of the times, Fleming work provides an intriguing insight into post-colonial Britain that has long gone. He also still offers robust and entertaining spy yarns, especially in the later novels.
The Keep by F. Paul Wilson (2006)
Author F. Paul Wilson has always been vitriolic regarding the 1983 film version of his novel. “Visually intriguing, but otherwise utterly incomprehensible” is one of his more sedate quotes. Michael Mann’s adaptation of the 1981 bestseller is a curiosity in itself, which I will not discuss at great length here. Suffice to say that I may write an extended piece on its troubled history and many versions, at some point in the future. In 2006 F. Paul Wilson scripted a graphic novel version of his book with artwork drawn by Matthew Dow Smith, of Hellboy fame. In the foreword F. Paul Wilson states “I consider this visual presentation of The Keep my version of the movie, what could have been... what should have been.”
Author F. Paul Wilson has always been vitriolic regarding the 1983 film version of his novel. “Visually intriguing, but otherwise utterly incomprehensible” is one of his more sedate quotes. Michael Mann’s adaptation of the 1981 bestseller is a curiosity in itself, which I will not discuss at great length here. Suffice to say that I may write an extended piece on its troubled history and many versions, at some point in the future. In 2006 F. Paul Wilson scripted a graphic novel version of his book with artwork drawn by Matthew Dow Smith, of Hellboy fame. In the foreword F. Paul Wilson states “I consider this visual presentation of The Keep my version of the movie, what could have been... what should have been.”
In April of 1941 a message is sent to German High Command from an Army Captain stationed in a remote castle keep in the Dinu Pass high in the Transylvanian Alps. “Something is murdering my men.” A Nazi SS extermination squad is dispatched as it is assumed that this is the work of partisans. A Jewish History Professor, Theodore Cuza and his daughter Magda, are forced by SS Sturmbannfuhrer Eric Kaempffer to provide background information and help with the investigation. The professor is useful at first in translating a mysterious message that has been written in an ancient Romanian dialect. It is not long before he encounters the malevolent force that is loose in the keep. Cuza fails to grasp that the being is not a mere vampire but actually something much worse. It is at this time that a stranger appears in the village as if summoned by the ongoing events.
The Keep works exceptionally well as a graphic novel and the minimalist artwork ideally suits the plot and characters. This is a story that would have suffered if the art work had over embellished the storyline. In its existing form the reader is given enough visual data but still has scope to use their imagination. This adaptation retains all the important aspects and themes of the source novel. If there is a weakness, it is that the ending is a little low key. Contemporary readers may be expecting something a little more spectacular. However this minor flaw can be overlooked as the story as a whole is engaging and offers an interesting perspective on a traditional genre.
In an age of poor film adaptations, it would be nice to see more authors using this medium as a means of adaptation. The graphic novel is extremely flexible format and can accommodate a wide variety of literary genres without having to compromise on dialogue or depth. They’re also ideal for tablets and other mobile platforms. If you are a fan of the horror genre then this version of F. Paul Wilson’s The Keep comes highly recommended.
Uninstalling Games
I’ve recently started reclaiming space on my hard drive and have subsequently started a gaming purge. Contemporary games are often very large and it doesn’t take long for a few titles to monopolise your storage capacity. As fickle gamers we can fall out of love with a game very quickly making these large client installations redundant. It’s a curious thing but the entire process of removing a game from your PC is quite therapeutic. It can be similar to bidding a fond farewell to a dear friend, or wiping some offending matter from the sole of your shoe. It all comes down to how you feel about the game in question.
I’ve recently started reclaiming space on my hard drive and have subsequently started a gaming purge. Contemporary games are often very large and it doesn’t take long for a few titles to monopolise your storage capacity. As fickle gamers we can fall out of love with a game very quickly making these large client installations redundant. It’s a curious thing but the entire process of removing a game from your PC is quite therapeutic. It can be similar to bidding a fond farewell to a dear friend, or wiping some offending matter from the sole of your shoe. It all comes down to how you feel about the game in question.
At present I have seventy eight games linked to my Steam account and a further dozen that run independently or via other platforms such as origin or Uplay. Yet out of those one hundred titles I currently have just seven installed. The only one that I’m actively playing at present is The Witcher 3: Wild Hunt, although I do check in once a week with LOTRO, STO and Guild Wars 2. It seems quite ironic that despite having a substantial collection of content to draw upon, very little of it is actually being used. I’ll probably never play at least half of the games that I have.
I guess this cavalier attitude reflects a broader change in gaming. Apart from pre-ordering and earlier adoption, gaming is no longer the premium priced pastime that it use to be. The vast majority of my gaming library is made up of titles that have been bought as discount bundles. Pricing does affect how a product is perceived and cheap games do smack of disposable items. A £75 pound investment usually garners some perseverance. A £2 pound game that fails to engage is given short thrift. My Steam library is somewhat akin to my sock draw, populated mainly by cheap and easily replaceable items.
I’ve reclaimed about two hundred gigabytes of disk space by uninstalling these games. As I stated earlier this has been more of a psychological exercise in “house cleaning” rather than a genuine search for more storage. It’s not as if hard drives are especially expensive these days. What remains to be seen is whether I replace these games with other discount titles that I won’t play over the remainder of the year. I suspect that I’ll be conducting this process again in spring.
Rediscovering Comics and Graphic Novels
As a child I avidly read comics during the seventies. I had a subscription to several titles and use to enjoy having them delivered. I purchased both US and UK titles and would trade old copies with friends. I wasn’t a collector or purists, I just loved what I read and in some respects that lead me on to discover other genres of fiction. However comics fell by the wayside when I hit my teens. I have no memory of there being any specific reason for this. It was simply a case of one pastime being replaced by another. I think music became more important to me and my reading moved on to classic horror and sci-fi literature.
As a child I avidly read comics during the seventies. I had a subscription to several titles and use to enjoy having them delivered. I purchased both US and UK titles and would trade old copies with friends. I wasn’t a collector or purists, I just loved what I read and in some respects that lead me on to discover other genres of fiction. However comics fell by the wayside when I hit my teens. I have no memory of there being any specific reason for this. It was simply a case of one pastime being replaced by another. I think music became more important to me and my reading moved on to classic horror and sci-fi literature.
In the late eighties and early nineties I returned to the genre and started reading a lot of graphic novels. The main attraction was their greater narrative depth. There was also a significant cultural shift roundabout this time and such material was becoming far more common place and popular. Watchmen and Batman: The Killing Joke, both by Alan Moore were literary milestones for me. I also enjoyed Eclipse Comics adaptation of Clive Barker’s Books of Blood. They offered far more with their visial interpretation of Rawhead Rex, than the film version. Sadly circumstance and a changing lifestyle meant that this hobby was also put aside.
I recently discovered that the Humble Bundle frequently offers selected comics and graphic novels at major discount. As I own a seven inch Android tablet that I don’t use as often as I should, I decided to resurrect my interest in the comic genre. After some basic research I decided to install the free version of Komik Reader on my Hudl and CoView on my PC. The results have been very satisfying. Reading comics on a seven inch screen is surprisingly good. The zoom facility solves any issues with the text and allows the artwork to be examined closely. Viewing on a PC is slightly different experience. My twenty four inch monitor presents the images perfectly but sitting at my desk lacks the comfort of perusing via a tablet on the couch or in bed.
What I have found very surprising is the wealth of material that is available. Most major publishing houses have online portals that can supply electronic version of the latest titles as well as an extensive back catalogue. Furthermore I have managed to track down copies of specific comics I read as a child. As a result I have reacquainted myself with Beep the Meep (from Marvel UK Doctor Who Weekly circa 1980) and found on iTunes the classic strip Hookjaw (from UK Action comic circa 1976). It will be available for the Android platform shortly. I am also working my way through The League of Extraordinary Gentlemen series and intend to read The Punisher revival from a decade ago.
I am very pleased that the comic genre has successfully migrated over to this contemporary medium. It has many practical benefits such as negating the need for storage and significant cost savings. It has also reminded me that the standard of writing in the genre is often outstanding and that there is a great deal of quality reading material out there. My subsequent rediscovery of the comics and graphic novels has also fuelled my latest vice, namely bundles and group discounts. I shall have to ensure that I do not get too carried away with my purchases. In the meantime I look forward to hours of entertainment from a medium I had previously forgotten.
Shaolin Soccer (2001)
Stephen Chow’s Shaolin Soccer is very much a product of the culture and regional film industry that created it. An established comedian from Hong Kong, he puts an interesting spin on the traditional rags to riches sports movie genre! It is liberally laced with a lot of visual slapstick and showcases some aspects of Chinese humour that may confuse and wrong foot the average westerner. This film is also a treat for the film buff, as Chow has included numerous homages to classics martial arts movies, which are often referred to in a very tongue in-cheek fashion.
Stephen Chow’s Shaolin Soccer is very much a product of the culture and regional film industry that created it. An established comedian from Hong Kong, he puts an interesting spin on the traditional rags to riches sports movie genre! It is liberally laced with a lot of visual slapstick and showcases some aspects of Chinese humour that may confuse and wrong foot the average westerner. This film is also a treat for the film buff, as Chow has included numerous homages to classics martial arts movies, which are often referred to in a very tongue in-cheek fashion.
The story is formulaic and centres on a group of disillusioned Kung-Fu exponents who have gone their separate ways and languish in mundane jobs. Chow is spotted using his Kung-Fu skills at work by crippled ex-football star Ng Man Tat. He sees the potential of forming a football team using the Shaolin martial art as its underlying ethos. The former friends subsequently reform, regain their self-respect and set their sights upon the prestigious China Cup. Throw into the mix an evil team manager of genetically enhanced players and a romantic sub plot and you have Shaolin Soccer.
This film is clearly a comedy that will either delight you or annoy you. The digital effects that embellish the action scenes are very cheesy but add to the total package. Some of the jokes are somewhat culturally specific and therefore may not appeal to all audiences. For example one of the team, an overweight gentleman, has a penchant for eggs and will not see them wasted. He happily licks up a broken egg of another’s player’s boot. This leads to some rather interesting gags that may bother the homophobic viewer.
Despite the niche market nature of Shaolin Soccer it has many redeeming qualities. The characters are very appealing and the football matches are a pleasure to watch. The novel central idea of the film works quite well and has a well-paced story arc. The main themes are surprisingly moral, yet do not in any way spoil the humour by be self righteous. There is also an excellent pounding soundtrack from Raymond Wong which encapsulates the seventies Kung-Fu idiom.
Once again I have to draw your attention to the different versions of this film. I saw a R3 DVD copy in the original Cantonese dialogue as the director intended. When Miramax released this film in the US, it was re-cut (to remove any aspect of the plot that would confuse an American audience) and the dialogue dubbed into English. Even the bill boards and posters in the football stadium were digitally altered to reflect US products. Avoid this copy! It robs the film of much of its charm and displays an unpleasant air of condescension to the source material. Try the original if you have broad taste or like martial arts comedies.
MMO Loyalty
I was toying with the idea logging in to The Secret World today. There’s been a lot of internet chatter about the game of late, mainly due to Funcom’s ongoing woes. I was smitten with a mixture of nostalgia regarding the game, especially the quality of its storytelling. Just for a fraction of a second I felt bad for not having played for a long time and even considered my current liking for other MMOs to be disloyal. However I quickly realised that such thinking is nonsensical and was reminded of the old adage about time being a finite quantity. The fact remains that you cannot play everything you’d like to. However I’m sure I’m not alone in having such thoughts and it got me thinking about the entire subject of MMO loyalty.
I was toying with the idea logging in to The Secret World today. There’s been a lot of internet chatter about the game of late, mainly due to Funcom’s ongoing woes. I was smitten with a mixture of nostalgia regarding the game, especially the quality of its storytelling. Just for a fraction of a second I felt bad for not having played for a long time and even considered my current liking for other MMOs to be disloyal. However I quickly realised that such thinking is nonsensical and was reminded of the old adage about time being a finite quantity. The fact remains that you cannot play everything you’d like to. However I’m sure I’m not alone in having such thoughts and it got me thinking about the entire subject of MMO loyalty.
As gamers we do have a very curious relationship with the object of our affection. Despite games being consumer products, they’re seldom seen in such terms. Many prefer to imbue them with a greater sense of meaning than they actually have or develop a curious adulation of those involved in their creation. Because so many players are invested in wider activities associated with MMOs, there is a tendency to see the game as the source of these social interactions rather than just a conduit. However it cannot be denied that the very nature of MMOs brings people together. Guilds are the source of many a friendship so it is only natural that such feelings as loyalty will manifest themselves.
Such things as subscriptions and owning a life time account certainly influence ones desire to play a specific MMO. In the past I’ve frequently kept playing games that I was no longer fully invested in, mainly because I felt an economic compulsion to do so. “I’ve paid for this, so I want my monies worth” is still a common refrain. The spending of money has a curious effect upon player perspectives, often keeping an individual doing something they no longer enjoy, just for the sake of some misplaced sense of fiscal prudence. One of the positive aspects of the free to play business model is that it can free us from this mindset if we so choose.
Then of course there are the twin blinkers of nostalgia and “the grass is always greener”; two of the strongest imperatives that drive gamers. I’ve lost track of how many times I’ve re-installed a game that I have previously abandoned purely because of the fond memories I associate with it. I returned to Rift recently to find that nothing had really changed since I last played it. There was plenty of new content but the mechanics were still the same. I’m not exactly sure what it was I expected to find, which segues nicely in to the “the grass is always greener” concept. I guess we all vaguely hope that the things we previously didn’t like have miraculously changed.
Although I’m not suggesting that we universally abandon all notions of MMO loyalty, I would certainly advocate tempering it. One of the things I’ve become more comfortable with as I’ve got older, is that it’s fine to stop doing something I’m not enjoying. If I don’t like a movie or a TV show, then I stop watching it. If a book is not sufficiently engaging me or I don’t care for the direction the plot is taking then I put it down. I never use to be able to do that. I guess that’s down to the traditional social conditioning that still prevails in Western culture. “Start what you finish” and “don’t be a quitter” being the usual mantras that get bandied about. However gaming is about leisure time and fun, not obligation or loyalty. If you are going to do something, then do it for the right reasons. If you have lost sight of why you’re doing something, then maybe it’s time to stop.
The Land That Time Forgot by Edgar Rice Burroughs (1924)
The Land That Time Forgot is the first part of Edgar Rice Burroughs’ “Caspak” trilogy of science fantasy novels. Commencing as a wartime sea adventure, hence its original working title of The Lost U-Boat, Burroughs’ story ultimately develops into a saga with similarities to Sir Arthur Conan Doyle’s The Lost World and Jules Verne’s The Mysterious Island. What makes Burroughs work unique is his plot device of a biological system specific to his island, in which the slow progress of evolution manifests itself as individual metamorphosis. This biological feature is only implied in The Land That Time Forgot and explored in greater depth over the course of the next two novels, The People That Time Forgot and Out of Time’s Abyss.
The Land That Time Forgot is the first part of Edgar Rice Burroughs’ “Caspak” trilogy of science fantasy novels. Commencing as a wartime sea adventure, hence its original working title of The Lost U-Boat, Burroughs’ story ultimately develops into a saga with similarities to Sir Arthur Conan Doyle’s The Lost World and Jules Verne’s The Mysterious Island. What makes Burroughs work unique is his plot device of a biological system specific to his island, in which the slow progress of evolution manifests itself as individual metamorphosis. This biological feature is only implied in The Land That Time Forgot and explored in greater depth over the course of the next two novels, The People That Time Forgot and Out of Time’s Abyss.
Set during World War I the book opens with a framing narrative in which a manuscript relating the main story is recovered from a thermos off the coast of Greenland. It relates the history of Bowen J. Tyler, an American passenger on a ship sunk in the English Channel by a German U-boat in 1916. He is rescued by a British tugboat with another survivor, Lys La Rue. The tug is later sunk but its crew manages to capture the submarine when it surfaces. A German crew member sabotages the compass sending the U-Boat off course. By the time this is discovered they are deep in Antarctic waters. Low on fuel they discover a large island ringed by cliffs, which they identify as Caprona; a land mass first reported by the (fictitious) Italian explorer Caproni in. A freshwater current guides the sub to a stream issuing from a subterranean passage, affording them access to the island. The U-boat surfaces into a tropical river teeming with prehistoric creatures. The surrounding land is home to various forms of life long extinct in the outside world. An uneasy allowance is then formed between Germans and allied forces as they seek a source of fuel and a way to escape the strange land of “Caspak”.
Edgar Rice Burroughs has a very traditional and earnest style of writing. Heroes are manly, villains are fiendish and duplicitious. Women are mainly objects of veneration. Like many other authors of this genre at the time, contemporary new technology and science play an important part in the story. The American hero is a mechanical engineer who is well versed in ship and U-Boat design. There is also a very romantic view of the English as a see fairing nation. However the most interesting element of the plot is the notion of individual evolution. “Ahm” a friendly Neanderthal Man, who befriends the crew believes that he will over the passage of time transform from his current status to Sto-lu (hatchet men), then to Band-lu (spearmen), finally Kro-lu (bowmen). It is a very bold idea and Burroughs handles it well by subtle implication. Sadly his stereotyped view of Germans diminishes the books credibility but you have to take into consideration the politics of the times. All things considered The Land That Time Forgot remains enjoyable pulp fiction which still has the capacity to entertain
Gaming and Unemployment
During my working life the job market has changed substantially. The concept of a job for life has been seriously eroded as has the sense of job stability. At present in the UK it is still very much an “employers market” and recruitment is definitely conducted on their terms. Periods of unemployment have therefore become increasingly common in comparison to my parent’s generation. I personally have endured times when contracts where not forthcoming and recollect 2009 and 2010 being particularly tough years. Although looking for work fills a lot of the time when unemployed, there is still a substantial void to fill. Unemployment also leaves you without a daily routine and clearly any defined goal to achieve. It is therefore not surprising that so many people fill these gaps by turning to gaming.
During my working life the job market has changed substantially. The concept of a job for life has been seriously eroded as has the sense of job stability. At present in the UK it is still very much an “employers market” and recruitment is definitely conducted on their terms. Periods of unemployment have therefore become increasingly common in comparison to my parent’s generation. I personally have endured times when contracts where not forthcoming and recollect 2009 and 2010 being particularly tough years. Although looking for work fills a lot of the time when unemployed, there is still a substantial void to fill. Unemployment also leaves you without a daily routine and clearly any defined goal to achieve. It is therefore not surprising that so many people fill these gaps by turning to gaming.
This post is not about those who do not to work and simply spend their time gaming through personal choice. Such people are a minority and should not define the debate over unemployment. Unemployment per se is a subject that has been hijacked in recent years and is now about blame, judgement and shame. The discussion needs to be far more intellectually and emotionally sophisticated than that. I am more interested in exploring how many who are out of work, after searching diligently for gainful employment, still find that they have a lot of time to fill without the daily routine of a job. It is worth considering exactly how much impact your job has upon your daily life, beyond the obvious fact that it pays the bills.
Over the years I’ve became aware how many writers, podcasters and live streamers mention that they are between jobs and that gaming has become a major aspect of their lifestyle as a result. Setting aside crass knee-jerk arguments such as “why are you wasting your time gaming, when you don’t have a job”, it has made me consider exactly what is the allure gaming during periods of unemployment and the potential benefits. Naturally I’ve drawn upon my own experiences of periods of unemployment and reflected upon how I spent my own time when not looking for work. I believe my conclusions are far from unique to me.
Gaming, especially MMOs, offer an interactive experience that is centred on goals and achievements. If you then take this a stage further and you blog, podcast or livestream about your gaming, then you have a further set of tasks to manage such as writing, publishing and communicating. It doesn’t take a rocket scientist to conclude that the games are supplying a degree of personal fulfilment, structure and self-discipline, in lieu of that gained from employment. This is a positive thing because unemployment has a terrible habit of leeching away self-worth and motivation. Gaming can offer challenges and impose a sense of order upon the day, similar to that of the working environment.
Being unemployed definitely has a tangible impact upon your social life. This often goes beyond the lack of money. The stigma of being jobless can also have an effect on friendships. It is not uncommon to find that after a lengthy period of unemployment that friends have either drifted away or actively ditched you, leaving you isolated. Gaming can offer a vital social lifeline and provide interaction, inclusion and an opportunity for genuine new friendships. Unemployed people sometimes find themselves exclusively in the company of others in a similar position. Although this can be supportive, it can also foster and reinforce a sense of negativity and despair. Therefore cultivating new friendships online via gaming can be a very positive and beneficial experience.
Many of the spinoff activities from gaming such as blogging, podcasting and livestreaming present a valuable opportunity in self-improvement. They can lead to learning new technical and writing skills, many of which are transferrable. Maintaining a forum or guild requires a lot of man management and “soft” skills. These can potentially be placed on a resume to illustrate the constructive use of time during a period without work. However there’s been a propensity of late towards inflated claims about gaming. Some seem to think that gamers are lateral thinking, problem solving savants. This is patently not the case as some time spent on a forums or world chat will succinctly verify. However this is not to say that gaming and its wider associated culture does not offer any positive benefits that can’t be quantified.
Now there are dangers associated with gaming during periods of unemployment. For some there is the risk that gaming itself becomes a surrogate job, in so far that it becomes the driving factor of the day. Patently this is not a good thing if it keeps you from finding the gainful employment you require. Having lots of spare time can lead to over indulgence. The structured hours that comes with most jobs bring simply cannot compete with this. Giving up ones indulgences can be hard to do and some people cannot or will not do it. Yet I feel such cases are a minority and most responsible gamers understand the restrictions and trade-off’s that employment demands.
Gaming is a useful support tool to the long term unemployed. It can be argued that the same benefits are applicable to several other groups of society; the disabled, the introverted and the agoraphobic. It also has the benefit of being an economical pastime, with F2P games offering a variety of options at no cost. As long as gaming not impeded the actual search for a job, then I believe it can be a positive force and influence during what is usually a very difficult period of someone’s life. However convincing an employer of such is another matter and prejudice and entrenched views are still common place. Therefore I would recommend exercising caution as to what you do and do not state in your resume.
MMO Economies
One of the greatest assets of Star Trek Online is its single shard server technology. Not only does this foster a great sense of community but it provides several logistical benefits. The most practical of these is the in-game auction house known as the Exchange, which due to the games server structure offers a universal and comprehensive market place. If it can be sold within the game then it’s usually available on the Exchange. Like any market it is driven by supply and demand and fluctuates accordingly. The Delta Recruitment event in May saw a rise in both the availability and price of low level items. The recent announcement regarding the Admiralty system has seen the prices of Mirror Universe ships increase tenfold.
One of the greatest assets of Star Trek Online is its single shard server technology. Not only does this foster a great sense of community but it provides several logistical benefits. The most practical of these is the in-game auction house known as the Exchange, which due to the games server structure offers a universal and comprehensive market place. If it can be sold within the game then it’s usually available on the Exchange. Like any market it is driven by supply and demand and fluctuates accordingly. The Delta Recruitment event in May saw a rise in both the availability and price of low level items. The recent announcement regarding the Admiralty system has seen the prices of Mirror Universe ships increase tenfold.
Although Guild Wars 2 launched with regional and game specific servers, the Black Lion Trading Company has always been across all worlds, providing yet another well stocked virtual market place. One of the most convenient touches that ArenaNet added to the game is the ability to access the auction house anywhere in Tyria. If a player is not near a Black Lion Trader NPC then the auction house can be simply be reached via the GUI. There is a minor caveat that transactions carried out this way require you to collect your gold direct from the nearest Black Lion Trader. However the game regularly drops tokens that can summon a Black Lion Trader directly to your location, therefore bypassing this minor inconvenience.
This progressive approach to auction houses and in-game economy is sorely missed when playing older titles such as LOTRO. The auction house system is server specific and very much reflects the current state of the game population. It is not unusual to find the auction house bereft of any significant gear at lower levels. Those that regularly play through old content either recycle gear or craft what they need as they proceed through the game. Therefore casual players will often find themselves reliant on quest rewards for their gear requirements. There are alternative options such as bartering skirmish tokens but farming such currency may not be deemed as casual friendly. Hopefully the ongoing server consolidations will result in more robust in-game economies.
Despite not being a World of Warcraft player I do envy the fact that the games auction house can be accessed remotely via mobile devices. Engaging players when they are out of game is a wise policy. Accessing the economy via an app keeps gamers involved and has obvious practical benefit. I have often played various MMO’s economies as a game in itself. When LOTRO use to have a thriving raiding culture I would often stockpile potions and other useful items, only to sell them at a higher price late on a Friday and Saturday evening, when they were in great demand. Lock boxes in STO have also proven to be a good long term investment. Remote access to both these markets would be beneficial.
I’ve often found gaming economies compelling because of the interesting effect upon the player base. It is fascinating to see different people’s reactions to the auction house system. As ever with gaming many players bring their own moral and ethical baggage along with them when they enter virtual worlds. I have been upbraided in the past by other LOTRO players for the item speculation I described earlier. I have also seen arguments start in MMOs over undercutting item prices on auction house. There are even some players who balk at the notion of selling crafted gear and loot drops, wishing to impose their own in-game work ethic upon others.
Auction houses can also be a useful barometer as to the health of a game. An active player population usually means a buoyant economy with essential items being readily available. Ageing MMOs tend to suffer from a lack of resources being traded. In such cases the only real solutions are to either consolidate servers to increase populations or to adjust the auction mechanics to allow cross server access. The latter is often too complex and expensive to implement. Bearing all this in mind, if I do decide to try any new MMOs in future, they’ll need to have a robust and accessible economy to secure my custom.
The Haunter of the Ring and Other Tales by Robert E. Howard (1925-36)
Robert E. Howard’s collective literary work is often overshadowed by his most famous character, Conan the Cimmerian. As with Conan Doyle’s Sherlock Holmes, the success of a single creation can lead to subsequent material being overlooked or discounted. This can be a dilemma for many a popular author. Fortunately we live in an age where the back catalogue of many a writer is now freely available and lesser known work is re-evaluated. The publisher Wordsworth has recently compiled a collection of Howard’s short stories that squarely fall in to this category. Like his more popular work, the anthology The Haunter of the Ring and Other Tales focuses on the supernatural, the fantastic and baroque.
Robert E. Howard’s collective literary work is often overshadowed by his most famous character, Conan the Cimmerian. As with Conan Doyle’s Sherlock Holmes, the success of a single creation can lead to subsequent material being overlooked or discounted. This can be a dilemma for many a popular author. Fortunately we live in an age where the back catalogue of many a writer is now freely available and lesser known work is re-evaluated. The publisher Wordsworth has recently compiled a collection of Howard’s short stories that squarely fall in to this category. Like his more popular work, the anthology The Haunter of the Ring and Other Tales focuses on the supernatural, the fantastic and baroque.
Howard’s literary style is accessible and very much in the idiom of the time. The men are virile and the women of exquisite beauty. This sets him aside from his contemporary, H.P. Lovecraft who shied away from such physical elements in his writing. However Howard shares that sense of the unearthly and the utterly alien, lurking beneath the everyday and the mundane. Like a good many of the great genre authors of the time, Howard conveys the sense that despite the modern world with its scientific and technological trappings, the ancient, arcane and inhuman is never far away. He also writes convincingly of the clash of cultures, as the colonial powers encroach into esoteric world of primeval Africa. There is a broad range of short stories in this collection.
“Wolfshead” tells of an 18th century soldier of fortune, haunted by the spirit of the werewolf he killed. Set in Eastern Africa in a private fiefdom, run on behalf of the Portuguese by a privateer, the story is interesting from both the fantastic and historical angles. “Sea Curse” tells of a more traditional tale of revenge and retribution. Again the nautical setting mixed with witchcraft, is very well researched and makes the story seem like a genuine sailor’s yarn; the sort told over a pint of ale in a lonely inn. In “The Hyena” we are confronted with a tale of New World meets old, as a young African rancher falls foul of a locally revered Witch Doctor or Fetish Man. It is a subtle story with a building sense of tension. You get a vivid mental picture of the enmity between the two central characters. Then for a change of direction, we have “The Skull” a thriller with a touch of the supernatural. This features East End opium dens, sinister crime lords with their fiendish knowledge of the occult, a flawed hero who fights for personal redemption and the love of an exotic, wronged woman. It is all very “traditional” yet the inclusion of the arcane plot elements makes it all the more enthralling.
It is essential that the reader be aware of the time period in which these stories were written. The prevailing social and political attitudes reflect the thinking of the time and should not be taken out of context. Anyone who has read the works of Edgar Rice Burroughs (whom Howard bears similarities) will understand this point. Men were men, woman were placed on pedestals and venerated. Love is prosaic and very verbose. Foreigners are sinister and their culture ancient and abstract. Yet there is a sense of innocence in Howard’s work. Morality and grim determination often triumph over outlandish odds and plot devices. The tradition of the classic high adventure in literature is an obvious influence on the author. His writing is also not as bleak as his rivals, Lovecraft and Ashton Clarke. The Haunter of the Ring and Other Tales is recommended to genre fans and readers of classic pre-war American literature.
LOTRO Update 17 Beta
Since the launch of Update 16 in May this year, I and many other LOTRO players have been standing on the cliffs of South Ithilien, looking across the River Anduin to Minas Tirith. It’s been a long and hard journey over the last eight years but finally players will be able to visit that iconic city in Update 17. At present a beta build is available on the Bullroarer test server, so I spent several hours over the weekend exploring the Pelennor Fields and the surrounding area known as Old Anorien. The city itself has numerous placeholder NPCs and it is clear that some textures and additional details are missing from the environment. However the essential layout and design of Minas Tirith is obviously set and as ever Turbine have done an interesting job interpreting Tolkien’s source text.
Since the launch of Update 16 in May this year, I and many other LOTRO players have been standing on the cliffs of South Ithilien, looking across the River Anduin to Minas Tirith. It’s been a long and hard journey over the last eight years but finally players will be able to visit that iconic city in Update 17. At present a beta build is available on the Bullroarer test server, so I spent several hours over the weekend exploring the Pelennor Fields and the surrounding area known as Old Anorien. The city itself has numerous placeholder NPCs and it is clear that some textures and additional details are missing from the environment. However the essential layout and design of Minas Tirith is obviously set and as ever Turbine have done an interesting job interpreting Tolkien’s source text.
The Tower of the Guard is accessed by a breach in the Rammas Echor at Harland. As I initially rode across the Pelennor Fields, I was at first impressed with the design and imposing nature of the White City. However upon reflection I think my reaction was mainly due to the iconic nature of Minas Tirith and its size. Once I entered the main gate it became very clear that Turbine have used standard Gondorian assets. I appreciate that there is an architectural style to be maintained but the streets are identical to those of Pelargir and Dol Amroth and devoid of anything distinctive. The same statues, Swan Wing embellishment and Númenórean faces adorn all structures. After a short time Minas Tirith becomes terribly familiar.
The journey through winding streets and the seven levels to the citadel becomes tiresome once the novelty of its initial completion wears off. I sincerely hope Turbine includes a quick travel system of some kind, especially in light of their penchant for fetch quests. The court yard of the fountain and white tree is adequate but the terrace set on top of the bastion of stone is somewhat bare and lacklustre. I took some comfort in riding off the edge but sadly there was no deed for such a foolhardy act as there has been in the past. Perhaps further embellishments will be added to Minas Tirith during the course of the beta testing. As is stands it’s more monumental than functional.
North of The Pelennor Fields is the region of Talath Anor. This includes the settlement of Crithost and Cair Andos. Again these areas are far from unique and are simply adequate. There are both roaming Orcs and mounted foes scattered throughout the new area. Stables are few and far between as are resurrection circles. At the Northern point on the map is the ubiquitous blocked bridge which leads to The Beacon Marches. It if from this direction the Rohirrim rode to Gondor’s aid.
Turbine have established a pattern since they moved away from paid expansions to free updates and Old Anorien seems to very much stick to it. I do not doubt there will be yet more rep factions and more daily repeatables. Minas Tirith will also feature more Epic Battles which doesn’t fill me with delight. Yet this sort of content seems to be keeping the faithful engaged and frankly I don’t think Turbine have the resources or the will do anything radically different at this stage in the games lifecycle. In a nutshell LOTRO’s future is simply more of the same. Content will meet a standard but nothing more. Therefore players will have to content themselves with variations on a theme. Those seeking more will have to rely upon emergent gameplay.
Play Dirty (1969)
Gritty, grim and fatalistic are just a few of the ways I would describe Play Dirty. Made at a time when cinema was becoming more realistic and cynical, it eschews the traditional depiction of World War II heroism and paints a singularly unglamorous picture. Due to some minor plot similarities, it is frequently compared to The Dirty Dozen but they are far from identical movies. Robert Aldrich’s film despite having an offbeat plot and a cast of quality characters actors still followed a traditional action based formula and had a relatively upbeat ending. Play Dirty is content to pursue its dour storyline to its inevitable conclusion.
Gritty, grim and fatalistic are just a few of the ways I would describe Play Dirty. Made at a time when cinema was becoming more realistic and cynical, it eschews the traditional depiction of World War II heroism and paints a singularly unglamorous picture. Due to some minor plot similarities, it is frequently compared to The Dirty Dozen but they are far from identical movies. Robert Aldrich’s film despite having an offbeat plot and a cast of quality characters actors still followed a traditional action based formula and had a relatively upbeat ending. Play Dirty is content to pursue its dour storyline to its inevitable conclusion.
Michael Caine plays Captain Douglas of the Royal engineers, who is press-ganged from his cushy position with Anglo-Iranian Oil, into a shady squad of mercenaries who freelance for the British Military. The group is mainly made up of criminals and disgraced soldiers and over seen by Colonel Masters (Nigel Green). Due to Douglas’ lack of field experience he is heavily dependent on Captain Leech (Nigel Davenport), whose only real concern is the £2000 bonus he will be paid if he brings Douglas back alive. Disguised as Italian soldiers the group cross the desert to strike at a fuel dump, hundreds of miles behind enemy lines.
The dialogue in Play Dirty is minimal and succinct. The squad comprising of a Greek narcotics smuggler, a Tunisian terrorist, a convicted rapist, a Turkish smuggler and two homosexual Senussi tribesmen have precious little to say but this does not impede the viewer from understanding the dynamics of the group. The wry looks, sardonic smiles and derisive laughter are more than enough to demonstrate what each man is. The main tension lies between Douglas and Leech, with the former clinging to outmoded notions of gallantry and etiquette. The latter frequently undermines his superior and is sceptical of his abilities. However both become dependent on each other. Douglas uses his engineering savvy to winch their vehicles up a steep incline. Leech saves Douglas when his British dog tags blow their cover.
Veteran director Andre De Toth, who took over when René Clément left the project, does a fine job in driving the movie forward. There is a well implemented battle scene which shows a convoy of trucks and accompanying Jeeps being efficiently dispensed with by entrenched German troops. It plays out wordlessly as the main protagonists look on. The director doesn't balk either at showing the ragtag group of criminals for what they are as they loot all corpses, enemy and allies alike. The arrival of a German nurse also leads to an attempted rape. It all proves to be very challenging for Captain Douglas who still feels bound by the notion that war has rules.
Perhaps the biggest plot element that makes Play Dirty such a product of its time is its ending. The late sixties and early seventies saw a great deal of change in film making and many sacred cows were put to the sword. Play Dirty avoids schoolboy patriotism and opts for something far more bleak. The military goals of the mission prove to be fluid and the chain of command eventually deem the rogue group to be a liability. Betrayal eventually comes from unexpected quarters and hammers home the point that war frequently has little or no honour. Overall the British military of the time are shown to be governed by petty politics and class prejudice. It’s not necessarily a palatable conclusion but it most certainly is credible.
Star Trek: The Animated Series
Star Trek: The Animated Series (or TAS) is often overlooked by the public, getting lost among all the whites noise that accompanies the franchise. Yet it is a surprisingly good series with a distinguished writing pedigree. The series was produced by Filmation in association with Paramount Television and ran for two seasons from 1973 to 1974 on NBC. A total of twenty-two half-hour episodes were produced set in the same timeline and universe as the original series. Often characters and situations that had featured in the live action show re-appeared and where expanded upon, such as Harry Mudd, the Guardian of Forever and of course Tribbles.
Star Trek: The Animated Series (or TAS) is often overlooked by the public, getting lost among all the whites noise that accompanies the franchise. Yet it is a surprisingly good series with a distinguished writing pedigree. The series was produced by Filmation in association with Paramount Television and ran for two seasons from 1973 to 1974 on NBC. A total of twenty-two half-hour episodes were produced set in the same timeline and universe as the original series. Often characters and situations that had featured in the live action show re-appeared and where expanded upon, such as Harry Mudd, the Guardian of Forever and of course Tribbles.
Most of the original cast returned to provide their vocal talents, apart from Walter Koenig. New characters were added, such as Lt. M’Ress, a female Caitian and Lieutenant Arex, whose Edosian species had three arms and three legs. The animated format afforded the writers greater freedom with regard to the scope of the stories. As a result Star Trek TAS features a lot more monsters and planetary vistas that TOS. As with the original series, the standard of writing for the show was above average. The fact that cartoons were still perceived to be the province of children at the time did not deter the narrative from tackling weighty issues. Perhaps we can attribute this to Gene Roddenberry’s guiding hands who would not allow any dilution to the core concept. As a result story editor D C Fontana maintained a high standard, with some material being written by such writers as Larry Niven and Paul Schneider who both penned several stories for the original show.
Although animation offered some advantages, its cost required some additional compromises. Thus Star Trek TAS has a lot of stock shots and minimalist animated sequences. Life support belts providing personal force fields were introduced to dispense with the need to draw complex spacesuits. Also because of musical rights issues, the iconic theme music could not be used, requiring a contrived reworking of it by Ray Ellis and Norm Prescott. However it works well, as do the music cues that were used throughout the series from the Filmation library. Overall, considering the general low standard of animated material at the times, Star Trek TAS exceeds expectations. Each episode covers a lot of ground throughout its twenty three minutes duration.
Curiously enough, despite Gene Roddenberry’s involvement, the show is not officially considered canon, which is a shame. Several episodes really do stand out due to their strong stories and character exploration. Yesteryear features Spock having to revisit his past to prevent his own death. It’s a rather thoughtful and sad tale that provides further details on the Vulcan’s troubled youth. More Troubles, More Tribbles sees the return of everyone’s favourite squeaking fur balls. This direct sequel to the episodes from TOS is fun as well as expanding more on Tribble physiology and Klingon’s inherent aversion to them. The Slaver Weapon perhaps is the most cerebral episode of them all. The story which centres on Spock, Uhura and Sulu touches upon wider issues in the galaxy, by way of the extinct slaver race and their legacy of artefacts. This is far from shallow storytelling and it’s a shame that aspects of the plot were not explored further in later episodes.
Star Trek TAS is a worthy addition to the overall franchise. It has all the hallmarks that made the original series so enjoyable. Despite having a somewhat minimalist animated style, the strong narrative and presence of the original cast makes this an engaging show. Each episode is very story focused and follows the established themes of the live action show. Its shame that more episodes were not made and I’ve often wondered why other popular series from the time, didn’t make a similar transition to animation. Perhaps TAS is just yet another example of Star Trek doing something different and breaking new ground.
The Martian (2015)
Within a few minutes of watching Ridley Scott’s big budget adaptation of Andy Weir’s best-selling novel The Martian, it became immediately apparent that the emphasis was on dialogue and science. Naturally there are competent action sequences of the magnitude you’d expect from such a movie but they are not the driving force of the narrative. The Martian is very much a procedural drama with strong and likeable characters. It’s about how they react to adversity and the underlying mechanics of solving the logistical problems of rescuing a man marooned on Mars. If you don’t like movies with a lot of dialogue and having to think too hard then you may wish to see something else.
Within a few minutes of watching Ridley Scott’s big budget adaptation of Andy Weir’s best-selling novel The Martian, it became immediately apparent that the emphasis was on dialogue and science. Naturally there are competent action sequences of the magnitude you’d expect from such a movie but they are not the driving force of the narrative. The Martian is very much a procedural drama with strong and likeable characters. It’s about how they react to adversity and the underlying mechanics of solving the logistical problems of rescuing a man marooned on Mars. If you don’t like movies with a lot of dialogue and having to think too hard then you may wish to see something else.
If there’s one facet of this movie that I had to highlight as its strongest selling it has to be its tone. The Martian maintains a healthy balance between drama, emotion, tension and science. All of which are approached in a measured and intelligent fashion. This makes the film very accessible. The science and technology is essential to the story but is constantly tempered with dry wit and nerd banter. Astronaut Mark Watney copes with his isolation and desperate situation through humour and a droll personal monologue. Writer Drew Goddard (Cabin in the Woods, Cloverfield) has successfully adapted the source text and added a more human layer to the proceedings.
Despite having a great ensemble cast, it is Matt Damon that underpins this movie. His performance is both likeable and credible. He remains resolute in the face of adversity relying on his scientific training but he is never smug. On occasions when his emotions do get the better of him it is used to great dramatic effect. Jessica Chastain, Bill Pullman, Chiwetel Ejiofor and Sean Bean all have something tangible to do and the screenplay seldom takes a wrong step. The movie successfully creates an atmosphere where you feel that all involved are genuinely working towards a common goal. The Martian also manages to honestly depict how academia and nerd culture often goes hand-in-hand, without lapsing into negative stereotypes.
When dealing with a global subject such as space exploration, many movies cannot help but default to conventional tropes and memes regarding contemporary geopolitics. The Martian is curiously free from this and beyond the involvement of the Chinese space authorities at a key point in the story, the focus remains upon NASA and JPL and not political leaders. A lot of the technical solutions and hardware featured in the film are based upon designs currently under development. The administrative and procedural aspects of The Martian are also based upon those currently followed by the institutions depicted. Of course there are concessions made for creative and cinematic reasons but the movie still maintains a largely authentic air.
Ridley Scott last two movies have not been commercial or critical successes. The Counsellor and Exodus: Gods and Kings seemed to lack the director’s usual acumen. The Martian remedies this run of bad form by being entertaining, cerebral and accessible to multiple audiences. There is humour, pathos as well as spectacle. Through a minor plot contrivance, there’s also a great soundtrack featuring some disco classics. Scott also manages to dovetail David Bowie’s Starman in to the proceedings without it coming off as a shocking cliché. Again I feel compelled to mention the tonal confidence of this film. As a result The Martian deserves to be a critical and financial success. According to Professor Brian Cox it’s a great advertisement for a career in engineering. It certainly proves that mainstream cinema does not have to be big and dumb.