Gamer Spends $30,000 on Star Citizen
Over at PCGamer there’s an interview with a Star Citizen fan by the name of Chris (AKA Ozy311) who has to date spent $30,000 on the game. He owns all items that are currently available via the game store. Furthermore he has implied that he will continue to spend money on Star Citizen as more content become available. It would appear that Chris is an ardent gamer and has no concerns spending such sums of money on virtual products in a game that is still under development. Judging from the interview it seems that he has a well-paid job and is therefore simply exercising his right to spend his money how he sees fit.
Over at PCGamer there’s an interview with a Star Citizen fan by the name of Chris (AKA Ozy311) who has to date spent $30,000 on the game. He owns all items that are currently available via the game store. Furthermore he has implied that he will continue to spend money on Star Citizen as more content become available. It would appear that Chris is an ardent gamer and has no concerns spending such sums of money on virtual products in a game that is still under development. Judging from the interview it seems that he has a well-paid job and is therefore simply exercising his right to spend his money how he sees fit.
What I find fascinating about this story is not that a gamer has spent such a sum of money but the way the gaming community has reacted to this revelation. The comments section over at PCGamer (as well as on other similar sites) is rife with statements and value judgements based on limited data and the application of subjective personal morals. There is also a lot of bitterness and jealousy, as well as the usual straw man and ad hominem arguments that are de rigueur in such discussions. It would appear that some gamers are very unhappy with someone spending their own money in a particular way, but they’re not particularly good at articulating what they specifically object to.
When someone decides to place their personal activities in the public domain, they are courting opinion, be it directly or indirectly and they will have their actions judged. However beyond the facts, there really is no more to this story than what first meets the eye. Chris is a fan spending money on his particular passion. His expenditure is relative to his income. From what I’ve read he’s is not in any way negatively affecting anyone else with his purchases. The only unusual aspect of this whole affair is the relatively new concept of buying virtual goods and services. If Chris had bought a yacht he would still have one, irrespective of whether the manufacture ceased trading.
Once again I find that a percentage of the gamers seem to have a curious puritanical streak. As ever a lot of people’s personal opinions seem to be based upon nothing more than how they initially feel, rather than a logical analysis and measured consideration of the data. However that is something that we cannot lay exclusively at the door of the gaming community as it seems rife in every other social aspect of life. Perhaps I just notice the volume of white noise associated with gaming because I have an interest in it; I’m sure there’s just as much among sports fans. In the meantime it will be interesting to see if Star Citizen continues to attract such “big spenders”. I wouldn’t be surprised if it does.
The Lord of the Rings - The Mind's Eye Radio Adaptation (1979)
When discussing the various audio dramatizations of J. R. R. Tolkien's The Lord of the Rings, people often think of the BBC Radio adaptation by default. However it should be noted that it was not the first. An earlier version was made and broadcast in 1979 on US National Public Radio and was subsequently released as an audiobook. It was produced by The Mind's Eye, a company who were responsible for numerous adaptations of classic literature for radio at the time. The script written by Bernard Mayes is a somewhat abridged version of the book. The eleven hour running time focuses significantly on the dialogue, with much of the back history, lore and expositionary narration removed.
When discussing the various audio dramatizations of J. R. R. Tolkien's The Lord of the Rings, people often think of the BBC Radio adaptation by default. However it should be noted that it was not the first. An earlier version was made and broadcast in 1979 on US National Public Radio and was subsequently released as an audiobook. It was produced by The Mind's Eye, a company who were responsible for numerous adaptations of classic literature for radio at the time. The script written by Bernard Mayes is a somewhat abridged version of the book. The eleven hour running time focuses significantly on the dialogue, with much of the back history, lore and expositionary narration removed.
The production was very low budget, drawing upon local amateur actors and friends of the producer. There was extensive use of library music and homemade sound effects. Due to scheduling issues the cast often recorded their lines separately resulting in some curiously stilted exchanges of dialogue in key scenes. The voice cast also had to provide multiple character voices which at times causes a degree of confusion. It is also clear that none of the production were Tolkien scholars. The pronunciation of many names and places are often incorrect and the clumsy adaptation results in several plot holes and unresolved storylines.
However despite these flaws this production proved popular at the time of its broadcast. Its simplicity is actually quite a benefit, making this adaptation accessible for a younger audience or those with only a passing interest in Tolkien's work. It should also be noted that this production does not omit Tom Bombadil and presents his part of the story in quite an effective fashion. This production has been distributed by several audio book companies over the years and can even be found on "You Tube". Although purists may eschew The Mind’s Eye production for its obvious faults, there is still much to enjoy from this drama, if it is approached in the right fashion.
Bringing Godzilla Down to Size (2008)
I recently stumbled across the documentary Bringing Godzilla Down To Size, which was originally included on Classic Media’s DVD release of the genre classics War Of The Gargantuas and Rodan. This in-depth and surprisingly engaging film explores the history of the Japanese Godzilla franchise and focuses on the special effects and technical aspects that dominated these productions. Technicians and actors are interviewed, providing a wealth of insight into the complexities of the films. This documentary also demonstrates the very unique nature of the Japanese film industry and its obsessive attention to detail.
I recently stumbled across the documentary Bringing Godzilla Down To Size, which was originally included on Classic Media’s DVD release of the genre classics War Of The Gargantuas and Rodan. This in-depth and surprisingly engaging film explores the history of the Japanese Godzilla franchise and focuses on the special effects and technical aspects that dominated these productions. Technicians and actors are interviewed, providing a wealth of insight into the complexities of the films. This documentary also demonstrates the very unique nature of the Japanese film industry and its obsessive attention to detail.
The main question asked by this film is why is Godzilla still principally played a man in a suit? At a time when Hollywood’s uses CGI at every potential opportunity, Japanese sci-fi movies still rely heavily on old-school techniques. Miniatures, physical effects and actors in animatronic costumes are still commons. For over fifty years, Godzilla, Mothra, King Ghidorah and other giant creatures have been brought to life in this old fashion manner. Is the Japanese effects industry just as traditional as other aspects of their culture? The documentary’s answer is surprisingly simple. The old techniques work
Narrated by Godzilla fan boy extreme, Alex Cox (director of Repo Man, Sid And Nancy), the film celebrates the art and craft of the Japanese monsters genre and reflects on the future of Godzilla in the digital age. Bringing Godzilla Down To Size reveals through a multitude of interviews, the love and respect that the technicians and artists have for this series. The meeting between the three actor/stuntmen that have played Godzilla over the years is quite touching. The documentary manages to tread the narrow path between informed narrative and gushing fan boy eulogy. It also provides a very interesting overview into the world of pre-digital visual effects.
The Signalman & The Waiting Room – Middle Ground Theatre Company
The Signalman and The Waiting Room are two supernatural tales dramatically brought to life by the Middle Ground Theatre Company. Featuring an ensemble cast and minimalist set design, these character driven performances are extremely entertaining and make for suitable ghoulish entertainment at this time of year. I had the pleasure of seeing a performance tonight at the Orchard Theatre in Dartford, as the company currently tours the UK.
The Signalman and The Waiting Room are two supernatural tales dramatically brought to life by the Middle Ground Theatre Company. Featuring an ensemble cast and minimalist set design, these character driven performances are extremely entertaining and make for suitable ghoulish entertainment at this time of year. I had the pleasure of seeing a performance tonight at the Orchard Theatre in Dartford, as the company currently tours the UK.
The first tale, Robert Aickman’s The Waiting Room, is the story of George Pendlebury (Jack Shepherd) who after finding himself marooned has to spend the night in the waiting room of a station. Inclement weather and increasing cold soon take a toll upon the man. Is he subject to a vivid dream or a supernatural visitation? Furthermore is he merely an idle spectator or directly linked to the unfolding events? The second story, Charles Dickens’ The Signalman is the study of a man plagued by a recurring spectre. Each time the ghost appears outside of the railway tunnel by his signal box, death and disaster follows. Why has this entity chosen this particular signalman (Jack Shepherd again) to haunt? Is it the herald of further tragic events?
Both stories are inventively presented, slowly building an atmosphere of tension. There are a few well timed jump scares, which embellish the story arc without mitigating the drama. Performances are universally good and keep the audience focused on the proceedings. Director and set designer Michael Lunney creates a modest environment for the cast to perform in but it works extremely well. The use of lighting, ambient audio effects and projected visual FXs, enhances the presentation immensely giving the cast, especially Shepherd, credible apparitions to react to.
The two stories, separated by a short intermission, run approximately forty five minutes each and make maximum use of their respective running time. This performance driven play offers thought provoking entertainment, as both stories do not necessarily provide a definitive, black and white conclusion. Overall this was a thoroughly entertaining night out and I would certainly be interested in seeing further material produced by the Middle Ground Theatre Company, as they seem to have a clear understanding and respect for this genre of play.
Activision Blizzard Buys King Digital Entertainment
I found out about Activision Blizzard’s acquisition of King Digital Entertainment via the BBC Business website. From my perspective the notion of a leading US games developer that has a foothold in all major markets, buying in to the mobile sector hardly comes as a surprise. The price is perhaps the main talking point and does raise the question of the potential over valuing tech based companies. $5.9 Billion is after all a tidy sum of money. However what this deal does prove is the financial importance of the mobile gaming market.
I found out about Activision Blizzard’s acquisition of King Digital Entertainment via the BBC Business website. From my perspective the notion of a leading US games developer that has a foothold in all major markets, buying in to the mobile sector hardly comes as a surprise. The price is perhaps the main talking point and does raise the question of the potential over valuing tech based companies. $5.9 Billion is after all a tidy sum of money. However what this deal does prove is the financial importance of the mobile gaming market.
Gaming like many other pastimes has a social hierarchy among its fan base, which is rife with preconceptions, snobbery and self-aggrandisement. For many mobile gaming is still frowned upon and considered in some quarters not to be “proper” gaming. There will be a wealth of blog posts and commentary about this business deal, decrying it as foolhardy. A popular refrain will be how the money could be better spent producing a particular product that specific fans want. This is the nature of fandom; a tunnel vision perspective driven by one’s own desires.
The reality of the situation is very simple. Mobile gaming, irrespective of its perceived artistic and creative merits, is an extremely lucrative business. Therefore the opinion of those who are not part of the existing customer base is hardly of any major significance to developers. Those with entrenched views are hardly likely to succumb to marketing and therefore cease to be of any importance in any ongoing promotional campaign. Sadly logic seldom has any impact upon the white noise generated by “core gamers”.
Over time I have become increasingly more interested in the business side of the gaming industry. It is as fluid and intriguing as any other global market. Compared to the emotive and often self-absorbed tirades I see coming from the gaming community, the machinations of companies such as Activision Blizzard are far more interesting. This simply highlights the gulf between business and the imperatives of the market compared to the capricious nature of fans aspirations. Am I growing out of gaming? No but I may well be growing out of the community.
New Star Trek Series Premieres January 2017
The announcement that CBS has commissioned a new series of Star Trek is both a blessing and a curse. It’s a blessing in the sense that I have genuine affection for this franchise and therefore I welcome the prospect of a new incarnation of the show returning to TV. However I also consider this situation an absolute curse because well now have to endure at least eighteen months of idle speculation and an ongoing dissection of the entire production of a show before it is even released.
The announcement that CBS has commissioned a new series of Star Trek is both a blessing and a curse. It’s a blessing in the sense that I have genuine affection for this franchise and therefore I welcome the prospect of a new incarnation of the show returning to TV. However I also consider this situation an absolute curse because well now have to endure at least eighteen months of idle speculation and an ongoing dissection of the entire production of a show before it is even released.
Fans have the capacity to be a never ending wellspring of love, loyalty and support. The goodwill of the faithful can be an abject boon to a production company looking to resurrect an ailing franchise and tentatively venture in to virgin territory. Sadly the opposite can also be true. An obstinate, intransigent fan base can be a millstone around the neck of an established brand that is in transition. Every single innovation, change or casting decision can be subject to a wave of negativity and even hatred.
And then we have the press who will happily spend the intervening time publishing anything and everything to do with this production. Be it true or false, all information will be avidly received and trumpeted in suitably hyperbolic terms. Unless one invests a considerable amount of time and effort avoiding the ensuing hype, we’ll all inevitably arrive at the season premiere with unrealistic expectations and a sense of anti-climax. This is the reality of the modern cycle of marketing and promotion. It is the price we pay for living in an age of “choice” and market forces.
I will do my upmost over the next eighteen months to keep my exposure to information, leaks and “exclusives” about the new Star Trek TV series to a minimum. I’ve tried to maintain a similar policy with regard to Star Wars: The Force Awakens but it is very hard to do so. The most effective means is to cease all online activities but that is hardly a viable proposition these days. In the meantime I shall leave the fan base to their feeding frenzy and the corporate bean counters to their hype train and hope that the new show proves to be of sufficient quality once it arrives.
Crystal Lake Memories: The Complete History of Friday the 13th
Crystal Lake Memories: The Complete History of Friday the 13th is an incredibly in-depth documentary that explores the making of one of the landmark horror franchises of the twentieth century. The film analyses the series from its low budget 1980s origin at a New Jersey summer camp to the blockbuster release of its 2009 “reboot.” It combines hundreds of rare and never-before-seen photographs and film clips, as well as outtakes, archival documents, conceptual art and behind-the-scenes footage. There is also a wealth of interviews with more than one hundred and fifty cast and crew members, spanning all twelve films and the television series.
Crystal Lake Memories: The Complete History of Friday the 13th is an incredibly in-depth documentary that explores the making of one of the landmark horror franchises of the twentieth century. The film analyses the series from its low budget 1980s origin at a New Jersey summer camp to the blockbuster release of its 2009 “reboot.” It combines hundreds of rare and never-before-seen photographs and film clips, as well as outtakes, archival documents, conceptual art and behind-the-scenes footage. There is also a wealth of interviews with more than one hundred and fifty cast and crew members, spanning all twelve films and the television series.
This documentary is pretty much the last word on the Friday the 13th franchise. Clocking in at over five hours it follows a set pattern exploring each movies development, casting, production and subsequent release. Narrated by Corey Feldman (of Tommy Jarvis fame) it is presented in an engaging and informative fashion. The personal anecdotes from the cast and crew prove to be extremely interesting and often reflect the reality of low budget film making. The documentary also catalogues the regular battles the producers had with the MPAA and shows a variety of out-takes and deleted material. Sadly some of the more violent content has been lost forever, as a memo from Paramount ordering the destruction of surplus footage shows.
Crystal Lake Memories: The Complete History of Friday the 13th also shows the great sense of camaraderie among the actors and crew that worked on these movies. It is often erroneously thought that appearing in such material is a low point in any actor’s career but this is not the case. Many in the acting profession embrace the practical realities of their industry and see merit and virtue in the most humblest of their work. They also see value in being part of a wider fan culture. Stuntman and actor Kane Hodder is especially gracious about the importance of fans and honest about how seriously he takes his work. Friday the 13th is a franchise that has always been driven by the enthusiasm of its audience. It is a shame that the current rights holders seem to have forgotten that.
The director Daniel Farrands previously made His Name Was Jason: 30 Years of Friday the 13th, but this new documentary puts that to shame. The sheer volume of information here is prodigious. However due to the sheer running time of Crystal Lake Memories: The Complete History of Friday the 13th it is not for everyone. For those with only a passing interest and less time available I would recommend the directors previous work. For the more dedicated film fan or Friday the 13th aficionado Crystal Lake Memories: The Complete History of Friday the 13th is the ultimate tribute to one of horror’s most iconic and enduring franchises.
Have MMOs Made Me Antisocial?
I started playing my first MMO in late 2008. Until then it was the one genre that I had never tried. I initially considered buying World of Warcraft but when I found out there was a virtual version of Middle-Earth I chose to purchase The Lord of the Rings Online instead. Right from the outset I was hooked. My working pattern and domestic arrangements afforded me plenty of time to invest into this game and I did so willingly.
I started playing my first MMO in late 2008. Until then it was the one genre that I had never tried. I initially considered buying World of Warcraft but when I found out there was a virtual version of Middle-Earth I chose to purchase The Lord of the Rings Online instead. Right from the outset I was hooked. My working pattern and domestic arrangements afforded me plenty of time to invest into this game and I did so willingly.
I can remember one particular evening when I grouped up with two other players who were all attempting the same quest as me. We chatted and got on well together. After successfully clearing our quests we decided to meet up again the following night. Needless to say we continued to group together for the next year or so. At this time the majority of LOTRO’s content required people to play collaboratively. It was not an alien concept but a simple fact of life. The prevailing philosophy of the time was that MMO were all about grouping. The key to advancement was teamwork.
At the time I found that most people were friendly and approachable, so levelling through the game was very much a shared experience. Joining a kinship only enhanced this further. It was also nice to log on to the game, say “hi” to people in kin chat and shoot the breeze. Between November 2008 and December 2009 was one of the most pleasant times I’ve spent gaming. There was always something to do and someone to help. I didn’t see LOTRO as a time sink but as a positive leisure activity.
After the release of Siege of Mirkwood in December 2009, something started to change for me. This was not only due to the LOTRO expansion becoming more solo friendly but also because I started to play other MMOs. In early 2010 I managed to progress through Star Trek Online without the need to belong to a guild. Grouping was done automatically and I noticed for the first time that there was no necessity to play collaboratively in a traditional sense. The chat channel was mainly a platform for flame wars with hardcore fans debating the finer points of the franchise. So I played on my own, ignoring others players and was happy to do so.
And so the rot set in. When LOTRO went free to play in October 2010, it embarked on a radical redevelopment of material. Pursuing the free market and the casual player meant ensuring that content was accessible in easy bite size chunks. Turbine then set about making all prior zones soloable over the next 18 months. From my perspective, people continued to play but unless it involved endgame raiding, grouping became less and less common. Even the kinship I was in became more solo orientated. The common link was the group chat and we still ran instances but most of the time everyone seemed to be doing their own thing.
The benefits of solo orientated gameplay are the same nowadays as they were five years ago. There’s no time wasted organising a group, ensuring that everyone is adequately equipped and briefed; nor is there any dependency on other people’s performance. You simply do what you want, when you want. As a result, expectations increase and tolerance decreases. But there are also some negative side effects. Because you do not need anyone else, it can impact upon your level of your involvement within your guild. There may be a decline in communication. There may also be a decrease in the willingness to help out. Requests are no longer be greeted by multiple volunteers. Everyone is too busy doing their own thing. Altruism is an inconvenience.
The automated grouping of players via dynamic content that we see in Guild Wars 2 and Rift, is easy and seamless. It is also devoid of any meaningful social interaction. Players can pursue their own individual goals and simply tap into the benefits of group participation, as and when they want. When done they can go about their business, without saying a word. It is a curious paradox that sees a server full of people, playing a social game, alone.
Now this situation does not affect everyone, nor am I stating that it is the default position of all players. RP servers or guild based around hardcore raiding, fly in the face of this social decline. I am sure both such parties would strongly argue that they still maintain very high levels of social interaction. Yet I don’t think they represent the majority of the MMO population. Such strong team based dynamics only serve specific niche groups. I also believe that the F2P business model has also contributed to general social decline, with the percentage increase of "problematic" players that join the community. That has a big impact upon how we all interact with each other.
When this issue of social decline is raised, it often provokes emotive and judgemental responses. The gaming genre is steeped in nostalgia. Rightly or wrongly, such perspectives seldom have any impact upon business decisions. Game developers want to keep players engaged and using their products. Should customers be denied access to content and the opportunity to advance due to subjective notions of social interaction? Well the logical answer is no. However this move towards a player base that is following its own personal path, is not without flaws. We often see in-game an increasing amount of people who seem ill equipped to interact socially with others, just as we do in real life. Tolerance, consideration, and patience are abstract concepts to some. Social commentators often talk about the decline in the sense of community in the real world. Do also MMOs reflect this?
I personally have contributed to this shift in MMO culture, especially so with LOTRO. I do tend to focus a lot more on my own gaming needs nowadays, rather than with others in my kin. I argue that I've played my part and done my share in the past. However I think the reality is that I no longer have a dependency on others, so the notion of community spirit is diminished. I’m not saying that this is a good thing and I do have pangs of guilt occasionally and endeavour to be helpful. Ultimately, all kins have givers and takers. I've just moved my position between the two ends of the spectrum in recent years, as have many others.
This beggars the question, was the social heyday of MMO's really ever driven by altruism or purely by necessity? Is this decline in the social aspect of the genre inevitable, or can it be stemmed? I cannot answer these questions and only the future will tell. I do on occasions bump into people in-game who are very civil and helpful. LOTRO does to a degree still seems to be a good example of this, although its crown has slipped in recent years. Yet because group content has been watered down within many games or relegated to an afterthought with many new products, the incentive to communicate and collaborate is greatly reduced.
Whether this all stems from developers just chasing a buck or whether this is a wider reflection of contemporary human nature, I'll let you decide. I do think that MMOs and even the internet itself have lost their capacity to impress. Simply being surrounded by other people online no longer gets the “wow” reaction it did a decade ago. We’re also sadly accepting of the fact that social platforms tend be a race to the bottom these days. It is assumed by default that all online communities will have a percentage of assholes. And then there is the ascendancy of the cult of the individual and “me” culture; these to have impacted upon the concept of social gaming.
For me my personal MMO journey has been a question of time and place. I wanted to be social when I started playing this genre and had the resources to do so. If a new MMO was released tomorrow that had old school grouping mechanics and time requirements, I know for a fact I would not play it. It would be incompatible with my current lifestyle and mindset. Perhaps age is also a factor in this conundrum; the idealism of youth versus the pragmatism of old age.
So is there a conclusion to this discussion? I’m not sure there’s a definitive one. Overall it seems a little unrealistic to blame the developers solely for the decline in social gaming. I think if we’re honest we have to concede that we actively contributed to this situation ourselves. When the move towards solo play started did we complain and lobby as much as we could have? Perhaps the golden age of collaborative play is just a myth. We grouped because we had no choice. Can the situation change? Yes but only if we make it financially viable to do so.
Star Trek Online: New Dawn
Tuesday saw the release of the eleventh season of Star Trek Online. New Dawn includes not only the latest feature episode Sunrise but also the new admiralty system, a revamp of the Cardassian story arc along with a Badlands battlezone for level sixty players and above. There is also a new Terran Empire rep faction and associated rewards. Now it probably hasn’t escaped anyone’s notice that Cryptic are providing more of the same. However it’s a tried and tested formula so I guess they cannot be blamed for adopting a policy of “if it ain’t broke, don’t fix it”.
Tuesday saw the release of the eleventh season of Star Trek Online. New Dawn includes not only the latest feature episode Sunrise but also the new admiralty system, a revamp of the Cardassian story arc along with a Badlands battlezone for level sixty players and above. There is also a new Terran Empire rep faction and associated rewards. Now it probably hasn’t escaped anyone’s notice that Cryptic are providing more of the same. However it’s a tried and tested formula so I guess they cannot be blamed for adopting a policy of “if it ain’t broke, don’t fix it”.
After my recent disappointment with the Guild Wars 2 expansion Heart of Thorns, it’s been pleasant to return to the familiar routine of STO. After the conclusion of the Iconian war at the end of the last season, a new storyline based around exploration and first contact is a welcome change of pace. That’s not to say there isn’t any combat involved. It would seem that the Tholians are up to something in this latest episode and once again the plot relies on temporal meddling. As ever the narrative draws upon characters and plot devices from a specific episode of Star Trek: The Next Generation. But this is one of the game’s greatest strengths.
So having played through Sunrise, which I found to be totally agreeable, I decided to check out the new admiralty system. It didn’t take long for me to regret having deleted all the various ships I acquired while levelling. As a result I only have five vessels to use on my primary federation character. Naturally the various low and intermediate level ships that have been languishing on the exchange for months have all now massively increased in value. The system itself which is very similar to the duty officer system, is adequately entertaining but the cool down on missions seems somewhat long.
Although I am currently sharing my time between several MMOs, STO still seems to be the least problematic and trying of them all. It a curious thing that my relationship with this genre has reached a point where I even use such terms. However despite not being the most polished of MMOs, STO still manages to satisfy and engage. The IP is a major contributory factor and the game is extremely functional. Too many games creak under the weight of their own complexity. I suspect that STO will remain installed on my PC for the immediate future, whereas certain other titles may well have out lived there usefulness.
Heart of Thorns
In recent years I have made it my policy not to participate in beta testing of major new MMOs, nor to immerse myself in their marketing leading up to release. I don’t want to risk getting burnt out or build up too many unrealistic or erroneous expectations. Overall I want there to be an element of surprise when I finally around to playing a new product. Naturally I applied this philosophy to the Guild Wars 2 expansion Heart of Thorns and have made it my business to ignore a lot of the press, live streams and hype over the last quarter. So when I finally logged in today I didn’t really know what to expect. On mature reflection this was a mistake.
In recent years I have made it my policy not to participate in beta testing of major new MMOs, nor to immerse myself in their marketing leading up to release. I don’t want to risk getting burnt out or build up too many unrealistic or erroneous expectations. Overall I want there to be an element of surprise when I finally around to playing a new product. Naturally I applied this philosophy to the Guild Wars 2 expansion Heart of Thorns and have made it my business to ignore a lot of the press, live streams and hype over the last quarter. So when I finally logged in today I didn’t really know what to expect. On mature reflection this was a mistake.
The first thing that struck me about Heart of Thorns was how non-specific the quest tracker was in telling me where to go to access the expansion’s prologue. I needed to visit an area called The Silverwastes and had no idea where to go. I mistakenly assumed it was via the region of Dry Top which was added to the game with The Living Story Season 2. It took an hour to discover my mistake. I finally tabbed out of the game and did a Google search only to discover there was a portal in Fort Vandal. I always feel that having to leave a game to find necessary information is a major design flaw.
On arriving in The Silverwastes I happened upon a zerg that was going to the area I required. I was so busy trying to keep up that I failed to pay as much attention to the world around me as I should have. So it wasn’t until I reached the Verdant Brink region that I realised that Heart of Thorns is based heavily around a vertical gaming environment. This means that there is frequently no direct path to locations on the map. Furthermore many features essential to the game such as hero points are placed in elevated areas. Thus the game once again makes use of jumping mechanics as well as the newly introduced gliding skill.
I loathe jumping as a gaming mechanic. I lack the manual dexterity required to undertake it as well as the patience to persevere when I fail. Simply put if I had known in advance that this was a major part of Heart of Thorns I wouldn’t have purchased it. I play games for fun and this does not constitute as such by my yardstick. This is the exact same reason why I never finished any of the second season of The Living Story. That also had a dependency upon power ups to conduct jumps, slides and rolls to access specific areas. It is the reason why two outstanding hero points remain beyond my reach to this day.
Needless to say my interest in Heart of Thorns waned massively after discovering the nature of the expansion. I managed to unlock the gliding skill but wasn’t very impressed by that either. Until further upgrades are unlocked it remains nothing more than a glorified drogue shoot. As for the actual plot of Heart of Thorns I have never been a Guild wars 2 lore aficionado. I therefore have no clue as to what is going on and little investment in the characters that I interact with. Therefore I doubt if I Guild Wars 2 will still be on my PC by Christmas. However I have no one but myself to blame for this situation, having fallen victim of my own gaming practises.
Out With the Old
I’ve been blogging and podcasting for over half a decade and as a result I’ve left a trail of material scattered across the internet. Maintaining multiple sites and hosting old content costs both money and time. Although the world is treating me relatively well at present, I am not a man of limitless resources. Therefore I have decided that it is time to close some of these sites and archives.
I’ve been blogging and podcasting for over half a decade and as a result I’ve left a trail of material scattered across the internet. Maintaining multiple sites and hosting old content costs both money and time. Although the world is treating me relatively well at present, I am not a man of limitless resources. Therefore I have decided that it is time to close some of these sites and archives.
The first to go will be the back catalogue of Contains Moderate Peril podcasts. These are currently available via Libsyn, the old CMP website and iTunes. All one hundred and seventy three episodes will cease to be available after 31st October. If you wish to keep any for posterity, my advice is to download them now while you still can. This will also affect the Council of the Unwise podcast but there are only a few instalments of that show. Please note that the Burton & Scrooge podcast is still alive and kicking but is not subject to a regular schedule. Brian and I produce it strictly on an “as and when” basis.
I will be closing the old Contains Moderate Peril website at the end of this month. Rather than leave a trail of broken links I shall set up a global redirect so that wayward traffic finds its way to the current CMP blog. It’s a shame to lose an established presence on the internet but I feel that the current situations with two websites co-existing simultaneously, to be both confusing and detrimental to traffic. All previously posted content has been successfully exported and saved.
Despite what I and a lot of others people where told a few years back, you can function as a human being quite efficiently without Facebook and Google + accounts. Both are closed communities that require individual input, which creates more work. In the past I have simply reposted content to these platforms, which on mature reflection is counterproductive. If anything it takes traffic away from CMP, so I have terminated both of these services forthwith.
I would also like to reiterate that I shall no longer be directly involved in the running of the Newbie Blogger Initiative. I shall be closing the existing site and the forums at the end of this year and will not being renewing the domain name next May. If someone wishes to utilise the current .com address then they may wish to get in touch prior to the domain name lapsing.
It would seem that a lot of veteran content creators are currently facing similar issues to mine or at the very least trying to balance their creative desires with the realities of the real world. Unless your life remains static, there is no way you can avoid the shifting demands of modern life. I would not be surprised if we see several high profile community members scale back their online endeavours or even cease them entirely in the not too distant future.
SPECTRE (2015)
Sam Mendes brought a degree of depth to Skyfall which we've not seen in a Bond movie for a long time. SPECTRE continues in the same vein as its predecessor with an involving plot, fully rounded characters and some finely honed set pieces. I like this approach to Bond and feel that a more cerebral interpretation of the character is not only beneficial for the franchise but to the genre itself. If SPECTRE does turn out to be Daniel Craig’s swansong as James Bond then it will be a fitting epitaph.
Sam Mendes brought a degree of depth to Skyfall which we've not seen in a Bond movie for a long time. SPECTRE continues in the same vein as its predecessor with an involving plot, fully rounded characters and some finely honed set pieces. I like this approach to Bond and feel that a more cerebral interpretation of the character is not only beneficial for the franchise but to the genre itself. If SPECTRE does turn out to be Daniel Craig’s swansong as James Bond then it will be a fitting epitaph.
Much has been made of SPECTRE’s running time, which at one hundred and forty eight minutes makes it the longest entry in the franchise since On Her Majesties Secret Service. However none of that time is squandered and the production balances the pace well between action scene and narrative exposition. The plot is straight forward but allows for moments of introspection. MI6 is under threat of closure and replacement by surveillance and drones. Bond goes AWOL after receiving a posthumous message from the previous M (Judi Dench). The tip leads him to the nebulous crime organisation SPECTRE and a face from his past in the guise of sockless villain, Franz Oberhauser (Christophe Waltz).
Daniel Craig once again shows his total ownership of this role, bringing nuance and subtlety. Bond is a complex man and not just a hired assassin. He has convictions, loyalties and weaknesses. SPECTRE also affords an opportunity for the supporting cast to do more than usual. Ben Whishaw excels as Q and has the lion share of the movies amusing quips. Ralph Fiennes again shows that M is more than just a bureaucrat. But it is Léa Seydoux as Dr Madeleine Swann who adds weight to SPECTRE. It makes a change to see such a well-crafted female lead in a Bond movie. Christope Waltz is suitably menacing although his evil propensities are somewhat telegraphed by his Nehru jacket.
SPECTRE benefits greatly from concise action scenes. The opening helicopter fight is gripping and impressive without being bloated or excessive. The production once again uses minimal CGI FX work, relying on superb miniature and physical effects. The demolition of the MI6 headquarters at Vauxhall is particularly impressive, maintaining a sense of scale and mass. It should be noted that SPECTRE pushes the limits of the 12 rating (UK). It is tonally very bleak and has two scenes that contain surprisingly unpleasant violence (all of which is justified). Bond movies have never been family films irrespective of what some viewers may erroneously think.
If I have a criticism with SPECTRE then it lies with Thomas Newman’s score. The soundtrack is perfectly functional and provides an adequate ambient back ground track. But it is no more than an accompaniment and never asserts any personal identity upon the proceedings. John Barry wrote cues that not only embellished the Bond franchise but which stayed with you when you left the movie theatre. I enjoyed SPECTRE a lot but remember nothing of Newman’s score.
Skyfall set a new benchmark for Bond and although SPECTRE does not necessarily exceed that standard, it most definitely provides more of the same. Where many film makers are hamstrung by the perceived constraints of the PG-13 action movie market, Sam Mendes proves that it doesn't have to be an artistic or creative handicap. SPECTRE is a robust and entertaining entry in to the canon, tempered by a healthy streak of gallows humour. It will be very interesting to see where Bond goes from here.
The Witcher 3: Wild Hunt and Humour
The Witcher 3: Wild Hunt is not a game that strikes you as being light hearted at first glance. The plot is dour and brooding, set in a world of human (and non-human) misery and suffering. In many respects this is one of the game’s greatest assets because it’s all so worryingly plausible. The rich and powerful pursue their own goals, heedless of the cost to the rest the kingdom. Those at the very lowest strata of society live a precarious existence. Despite its fantasy setting the world of the Witcher is not that different from our own.
The Witcher 3: Wild Hunt is not a game that strikes you as being light hearted at first glance. The plot is dour and brooding, set in a world of human (and non-human) misery and suffering. In many respects this is one of the game’s greatest assets because it’s all so worryingly plausible. The rich and powerful pursue their own goals, heedless of the cost to the rest the kingdom. Those at the very lowest strata of society live a precarious existence. Despite its fantasy setting the world of the Witcher is not that different from our own.
However despite the overall tone of The Witcher 3: Wild Hunt, there are instances of humour to be found. Often these are discretely integrated in to the game via snatches of incidental dialogue, cryptic entries in the games bestiary or via the village notice boards. As ever with these sorts of things, the writers reference popular culture. However in this instance, CD Projekt RED proves to be more scholarly than other developers. Many of the quips, asides and homages refer to classical literature and scientific theory.
So here are four examples that I’ve found so far during my play though. I’m sure there are many more. All raised a wry smile when discovered and I now make it my business to trawl through all aspects of the game in pursuit of further hidden gems. Its embellishments such as these that add further depth and character to The Witcher 3: Wild Hunt. If only other developers took such time and care as CD Projekt RED.
A droll reference toErwin Schrödinger's famous thought experiment
Someone obviously likes the work of Herman Mellville
Star Wars. It permeates everything
A scholarly homage to Homer (not Simpson)
The Eagle Has Landed (1976)
The Eagle Has Landed was veteran director John Sturges' final movie, whose body of work includes such classics as Bad Day at Black Rock, The Magnificent Seven and The Great Escape. Based on the bestselling book by Jack Higgins and adapted by Tom Mankiewicz, the film is a curious beast. It’s an in-depth character driven drama you would expect from such a veteran director, with the succinct and violent action scenes that were prevalent during the seventies. Although the phrase “they don’t make them like that anymore” is somewhat of a cliché, it is quite apt in the case of The Eagle Has Landed. Many of the crew as well as the producers hailed from the golden age of Hollywood.
The Eagle Has Landed was veteran director John Sturges' final movie, whose body of work includes such classics as Bad Day at Black Rock, The Magnificent Seven and The Great Escape. Based on the bestselling book by Jack Higgins and adapted by Tom Mankiewicz, the film is a curious beast. It’s an in-depth character driven drama you would expect from such a veteran director, with the succinct and violent action scenes that were prevalent during the seventies. Although the phrase “they don’t make them like that anymore” is somewhat of a cliché, it is quite apt in the case of The Eagle Has Landed. Many of the crew as well as the producers hailed from the golden age of Hollywood.
The plot involving a unit of Germans infiltrating a coastal village in the guise of Polish soldiers is somewhat reminiscent of Went the Day Well? After the successful rescue of Mussolini, Col.Max Radl (Robert Duvall) is asked to prepare a feasibility study on kidnapping Winston Churchill. Chance intelligence indicates that Churchill will spend a weekend in the Norfolk village of Studley Constable, only a few miles from a deserted stretch of coastline. Suddenly a wild plan made for political reasons, becomes a viable operation. Col.Kurt Steiner (Michael Caine) and his crack unit of Paratroopers are subsequently parachuted into Norfolk to carry out the mission, aided by IRA sympathiser Liam Devlin (Donald Sutherland). They are also assisted by Joanna Grey (Jean Marsh), a German sleeper agent.
Like so many movies of the time, the emphasis is primarily on the plot and the central characters. In the international cut of the movie, we come to understand the full motives of Caine, Sutherland and Marsh. Larry Hagman provides an enjoyable cameo as Col. Pitt, a US officer desperate to see action before being side-lined by politics and the end of the war. Tom Mankiewicz’s screenplay dispenses with the framingstory set in the present featuring an aged Devlin as well as some other less pertinent characters from the original book. The action sequences featured in the second half of the movie and are efficient and credible. The production also takes full advantage of the village of Mapledurham and the surrounding estate, which doubles for the fictitious Studley Constable.
After filming finished in late summer 1976, director John Sturges effectively abdicated his responsibility for the movies post production. Editor Anne V. Coates however managed to fashion a respectable movie from the rough cut, which ran 145 minutes. However the producers wanted a leaner cut with a focus on the action, so the theatrical release was edited further to 135 minutes. This version is the most commonly available and has recently been released on Blu-ray in the US. The longer cut features some interesting additional scenes, several of which bolster the weakest element of the film, namely the romance between Molly Prior (Jenny Agutter) and Devlin.
Watching The Eagle Has Landed, highlights the difference between the depiction of violence during the seventies and how it is portrayed today. Ratings were more flexible and less delineated that they are today. The Eagle Has Landed was a movie that was intended for a wide audience. Yet in contains a fair amount of bullet hits and squib effects that would push it beyond a PG-13 rating these days. The recent Blu-ray release shows the incidental violence quite clearly. In one scene towards the end of the movie, a US Ranger is shot in the arm and the actor next to him is sprayed in the face by stage blood. Nowadays, studios are far more mindful of exactly what can and cannot be depicted for each respective rating and there is a huge amount of creative horse-trading with the MPAA and BBFC with regard to content.
As World War II becomes an increasingly remote event, I am curious as to how such movies as The Eagle Has Landed are perceived by contemporary audiences. Does this period in history have any more significance to today’s viewer, beyond being a convenient plot MacGuffin? Jack Higgins story as well as the movie adaptation hails from a time where the war was very much part of the publics memory. It provided a common experience that was frequently used to explore tales of courage and adventure. The concept of Churchill being assassinated and the impact it would have upon history would have chimed with viewers. However since the seventies, the war movie as a genre has declined. More recent explorations of the subject seem to be couched in far more political terms. If The Eagle Has Landed was made today it may be interpreted in a very different fashion.
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).