A Year in Social Media
The internet is awash with competing forms of social media, all offering a platform for you to interact with your peers. Although I feel that there are a lot of positive aspects to all these mediums, there is also a downside. Need I really catalogue all the iniquities of Twitter or Facebook? Let it suffice to say that the internet giveth and it also taketh away. Social media is like any other tool and therefore has to be used appropriately. If used correctly then it can be informative, entertaining and a great way to broaden your horizons. The alternative is a portal into a world of anger, stupidity and shit. 2015 was the year that I feel I finally got my personal relationship with social media right.
The internet is awash with competing forms of social media, all offering a platform for you to interact with your peers. Although I feel that there are a lot of positive aspects to all these mediums, there is also a downside. Need I really catalogue all the iniquities of Twitter or Facebook? Let it suffice to say that the internet giveth and it also taketh away. Social media is like any other tool and therefore has to be used appropriately. If used correctly then it can be informative, entertaining and a great way to broaden your horizons. The alternative is a portal into a world of anger, stupidity and shit. 2015 was the year that I feel I finally got my personal relationship with social media right.
I have never really seen any practical benefits to me or my writing in using Facebook or Google +. Until recently all posts that were made on Contains Moderate Peril were automatically posted to both platforms. However this failed to bring readers to the primary website and resulted in a separate audience growing on both alternate outlets. Effectively this increased the work load as there were now three platforms to be marketed to and engaged with. This struck me a counterproductive, so this autumn I ceased to use both these mediums and focused upon generating traffic solely for Contains Moderate Peril. Abandoning these two social media platforms proved quite easy. Facebook has become increasingly obtrusive in recent years and I didn’t care for the way it continued to harvest my phone for information for its own benefit.
For the present twitter continues to be my primary social media of choice. The rule of thumb with this particular platform seems to be you get back what you put in. Your personal twitter experience comes down to who you follow and how you engage with them. Some high profile twitter users do interact with their followers. Others simply use it as an impersonal means of marketing and promoting. Other unofficial “rules” to consider is it’s not mandatory to follow someone back just because they follow you. It’s also worth remembering that if you don’t like what someone is saying then stop following them. Despite what some folk would have you believe, twitter is not a microcosm of popular sentiment and is not a definitive litmus test on any weighty issue. Twitter amplifies extremes and it’s worth remembering that “empty vessels make the most noise”.
I genuinely enjoy the banter I share on twitter and like interacting with a broad and diverse group of people from around the world. However an incident this year raised the question as to whether I was spending too much time in an online echo chamber. Should I include news feeds and political commentary in my twitter timeline? Was it incongruous to flit from the ephemeral to weightier issues? Should I segregate such content or integrate it further into my twitter feeds? I eventually decided to move some of the more challenging material to a different twitter account. As I use TweetDeck I can display separate timelines in multiple columns; when required content can be temporarily muted.
Finally late in the year I discovered Slack. The Gaming and Entertainment Network set up a group and I was invited to join. Although I was aware of this team collaboration tool and had heard many positive things about it, it wasn’t until I used it did I fully realise how flexible a platform it is. It’s ideal for sharing all manner of material within a group and project planning. Or if you prefer it’s also a great way to talk shit with your friends. I can see this particular platform featuring heavily in all future undertakings both by Contains Moderate Peril and the Burton & Scrooge podcast. If you haven’t used it I would urge you to check it out.
Social media like any other communication product seems to have a distinct pattern to its lifecycle. There are earlier adopters that enjoy the benefits of using a product that is not yet mainstream. However sooner or later the world and the wife will discover the new platform and it will inevitably start to become more commercial and burdened by the lowest common denominator. Sponsored tweets are a prime example of this this process. I shall continue to use twitter in 2016 although I do think that may be it has peaked within this framework. Therefore I shall be keeping my eye out for the next emerging social media platform and may well break my own habit of not becoming an early adopter.
A Year in Technology
As technology has such an impact upon so much of our lives I thought I’d take some time to reflect upon how I have personally used it over the last twelve months. Having worked in the IT industry for twenty years my relationship with technology has constantly evolved over time. As I’ve stated before both on the blog and podcast I no longer feel compelled to be an early adopter or at thecutting edge of technological change. The hardware and apps that I use from day to day are tools and I now treat them as such, rather than as fashion accessories. Practicality and functionality are the things I look for the most in the products that I use and if there are no immediate benefits to be gained then it doesn’t get purchased and installed. It would seem the reality and personal maturity has finally trumped the “wow” factor.
As technology has such an impact upon so much of our lives I thought I’d take some time to reflect upon how I have personally used it over the last twelve months. Having worked in the IT industry for twenty years my relationship with technology has constantly evolved over time. As I’ve stated before both on the blog and podcast I no longer feel compelled to be an early adopter or at thecutting edge of technological change. The hardware and apps that I use from day to day are tools and I now treat them as such, rather than as fashion accessories. Practicality and functionality are the things I look for the most in the products that I use and if there are no immediate benefits to be gained then it doesn’t get purchased and installed. It would seem the reality and personal maturity has finally trumped the “wow” factor.
First off, the only major change I made to my PC this year has been an upgrade in operating system. Like 110 million other people I opted to install Windows 10 and have been broadly pleased with the results. It corrected a lot of the issues associated with Windows 8 and even produced a performance increase from my year old computer. Beyond this all other tinkering with my computer has been very low key. In July I bought a new steel series mouse which has proven to be good choice. Then in October I changed web browsers, moving from Chrome back to Firefox. If anything 2016 was more of note for the amount of software I uninstalled from my PC. The rule of thumb has been if it’s not being actively used then it goes. As a result many games and productivity tools have been removed.
Another major technological shift for me this year has been the way I use my smartphone. As with my PC I have been very particular about what apps I’ve installed but I’ve also broadened my usage. I do an increasing amount of personal banking via my phone as both the domestic banks I use have well written and secure apps, offering a broad range of services. Whilst travelling in May, I used my phone to successfully navigate from London to Liverpool, book accommodation and find a suitable restaurant. Both my smartphone and tablet are my main communications hubs, with access to all my email and social media accounts. It would appear that there is now a distinct delineation of services between my PC and phone; the former being a tool for content creation and the latter my own personal switchboard.
With regard to blogging and podcasting 2015 has been the year I finally stopped using WordPress. Although a very flexible platform, maintaining a self-hosted site becomes increasing involved the more it grows and expands. My move to Squarespace has proven to be hassle free and a sound choice. It is also a far more financially viable option; an important factor as both blogging and podcasting are ongoing financial black holes. Zencastr has proven to be a most effective means of recording the Burton & Scrooge podcast and has helped streamline the production process. It records from Skype, using the individual sound card of all those participating in the call. It then stores them as separate but synchronised tracks via Dropbox. The only improvement left for me to carry out in 2016 is the purchase a new microphone.
2015 was also the year my DVR became redundant. My set top box still has programmes recorded from the previous Christmas which have still not been watched. I simply don’t view live TV content anymore as on demand players have eliminated the need for me to record content. Binge viewing popular shows has proven far more satisfactory than the traditional approach of one episode per week. Even my consumption of news and current affairs has moved from TV to online. Radio has also become a medium that I increasingly use, mainly through a phone or a tablet. Furthermore when radio cannot provide the entertainment I’m looking for then podcasts will often suffice. Podcast and Radio Addict is my app of choice for both these mediums.
It would appear that technological downsizing and using new mediums for traditional content have been the major themes in my use of technology over the last year. I think the defetishising of gadgets and hardware has been for me a positive step. The pace of change once again has proven to be both surprising and exhilarating. I have also noted that a healthy dose of scepticism has been beneficial. My first forays into the use of contactless payments were problematic as I expected they would be. 4G coverage is also a term I continue to be wary of. However overall I have felt that my use of technology has been positive over the last twelve months and I look forward to seeing what changes 2016 will bring.
A Christmas Carol (1984)
Clive Donner's 1984 version of the Dickens' classic "A Christmas Carol” is bold and different mainly because of the casting of George C. Scott as Ebenezer Scrooge. The story is told with precision and an eye to detail. In some respects it’s the most authentic adaptation, with credible performances from the ensemble cast. Alastair Sim's portrayal in the 1951 film has always been perceived as a benchmark and provided a template as to how the role should be interpreted. Scott replaces the traditional anger, bitterness and rage with a cold and utterly dispassionate demeanour. There is a strong sense of honesty in his Scrooge as the audience follows him on his emotional journey. The tears, the regret and the realisation that there is still hope are all present, yet explored in a very non-theatrical manner.
Clive Donner's 1984 version of the Dickens' classic "A Christmas Carol” is bold and different mainly because of the casting of George C. Scott as Ebenezer Scrooge. The story is told with precision and an eye to detail. In some respects it’s the most authentic adaptation, with credible performances from the ensemble cast. Alastair Sim's portrayal in the 1951 film has always been perceived as a benchmark and provided a template as to how the role should be interpreted. Scott replaces the traditional anger, bitterness and rage with a cold and utterly dispassionate demeanour. There is a strong sense of honesty in his Scrooge as the audience follows him on his emotional journey. The tears, the regret and the realisation that there is still hope are all present, yet explored in a very non-theatrical manner.
There is always a danger with so called "all-star" casts that the actor’s respective fame can swamp the story. This is not the case here and all acquit themselves well. Frank Finlay is the Ghost of Jacob Marley and adopts a somewhat sinister tone. Edward Woodward is affable as the Spirit of Christmas Present; complete with stilts to increase his eight. David Warner is spot on with his Bob Cratchit, maintaining a sincere performance. You feel for this man but never pity him. The production also hits the mark with Anthony Walters as Tiny Tim. His acting is credible and devoid of excessive sentimentality. Overall it is this measured approach that makes the production so unusual. The story's moral rectitude is present but the message is delivered in a subtle fashion.
The exterior locations shot in Shrewsbury are exquisite and bolster the authentic atmosphere of the production. Scrooge's grave can still be visited at St Chad's Church graveyard, where the churchyard sequence was shot. The production team left the gravestone in place once filming was completed. Originally commissioned to be shown on TV by CBS, A Christmas Carol was released theatrically in the UK. Scott's performance was subsequently nominated for an Emmy. It garnered positive critical reviews and has over the years, has built a deserved reputation for being a very robust and intelligent adaptation. It certainly has not been bettered by more recent adaptations.
LOTRO – Major Initiatives for 2016
Turbine has published their 2016 road map (or major initiatives as they now call them) for LOTRO and as ever, it is being hotly debated on both the official forums and on sites such as Massively Overpowered. Next year LOTRO will see a level cap increase to 105, the inclusion of a new instance clusters, a twelve player raid and the start of a collection system. The two yearly updates will take players to the Battle of Pelennor Fields and then on to the Black Gates of Mordor. Turbine are also promising to regularly fix bugs and improve what they call “quality of life”. Overall I think this is just “business as normal” as far as LOTRO goes and once again I think we have to be realistic about the sort of new content you get in an MMO of this age. If Turbine can deliver all the above then frankly I’ll just roll with it.
Turbine has published their 2016 road map (or major initiatives as they now call them) for LOTRO and as ever, it is being hotly debated on both the official forums and on sites such as Massively Overpowered. Next year LOTRO will see a level cap increase to 105, the inclusion of a new instance clusters, a twelve player raid and the start of a collection system. The two yearly updates will take players to the Battle of Pelennor Fields and then on to the Black Gates of Mordor. Turbine are also promising to regularly fix bugs and improve what they call “quality of life”. Overall I think this is just “business as normal” as far as LOTRO goes and once again I think we have to be realistic about the sort of new content you get in an MMO of this age. If Turbine can deliver all the above then frankly I’ll just roll with it.
First and foremost what strikes me the most about this road map is how near we are to the “end” both in terms of the story of The Lord of the Rings and the license that keeps the game afloat. If we find ourselves at the Morannon in late October 2016, then the following year will really be about rapping up the storyline and giving players a satisfactory conclusion. Personally I don’t think there is scope for any further license extensions or stays of execution and that once the expiry date of the current legal agreement is met, then the game will fold. Therefore I want to see the epic story in LOTRO concluded in a satisfactory way. The road map for next year seems to be addressing this. The game dawdled too long between 2010 and 2012.
Popular opinion on the nominal level cap increase seems split. It raises such issues as a new gear grind or more specifically a new set of essences to obtain. Once again many of those debating the pros and cons of this forthcoming change fail to see that they are not really representative of the majority of LOTRO players. My primary character is a level 100 Lore-master and I have elected not to pursue essences for slotted gear. I only play the PVE content and have found that not having the highest stats on my gear has not been an impediment. As for my LI it is imbued and I see no reason to throw any further resources at it. It can simply level as I do. Again my gameplay is not suffering as result of this decision. If you don’t want to grind then don’t do so.
Something else to ponder is that Turbine have responded to player concerns in the past and deferred such things as level cap increases. It may not be likely that they’ll do it again but I think it demonstrates that there is scope for augmentation to the 2016 road map. Plus there is the major hurdle of completing the new server migration and the technical revisions being made to the in-game chat system. If these prove to be problematic and swallow precious time and resources then it could prove ill for LOTRO. Only time will tell. In the meantime for the average LOTRO player it’s been an adequate year and it looks like the next twelve months will be so to. Considering that the MMO genre is no longer the paragon of virtue and cash cow that it use to be, I think we should consider Turbines 2016 plan to be the best option available.
Alternative Christmas Movies
As the season of goodwill reaches its zenith, there's nothing I like better than to sit in my comfy fireside chair with a bucket of Brandy, a mountain of nuts, whilst fitted with a catheter so I can watch some quality seasonally themed films. Let's face it Christmas TV is usually a load of old bollocks, consisting mainly of repeats of TV specials featuring dead, unfunny comedians and classic films butchered to fit the midday schedules and shown in the WRONG aspect ratio. So rather than enduring such poor entertainment, I thought I'd share the love and sentiments of the time of year, by recommending some alternative material for your edification.
As the season of goodwill reaches its zenith, there's nothing I like better than to sit in my comfy fireside chair with a bucket of Brandy, a mountain of nuts, whilst fitted with a catheter so I can watch some quality seasonally themed films. Let's face it Christmas TV is usually a load of old bollocks, consisting mainly of repeats of TV specials featuring dead, unfunny comedians and classic films butchered to fit the midday schedules and shown in the WRONG aspect ratio. So rather than enduring such poor entertainment, I thought I'd share the love and sentiments of the time of year, by recommending some alternative material for your edification.
Die Hard (1988)
So let us begin with the all-time best Crimble movie ever. Die Hard. Yes Uncle Bruce gets his vest dirty and shoots Germans. The star of the film is of course Alan Rickman who oozes malevolence and delivers his dialogue with abject relish. "I wanted this to be professional, efficient, adult, cooperative. Not a lot to ask. Alas, your Mr. Takagi did not see it that way... so he won't be joining us for the rest of his life". A veritable blue print for other action films with is perfect blend of human drama, action and wisecracking. Go watch a high definition copy and relish the bullet hits. Oh and don't forget to kick it old school with Run DMC's Christmas in Hollis.
Die Hard 2: Die Harder (1990)
Lightning can strike twice, even during the festive season, so next up we have Die Hard 2. Is it as good as the first? Of course not, but it's still a solid action movie which compensates for not having Alan Rickman, by including some really unpleasant violence. There’s a throat cutting, a head in the baggage handling machine and of course everyone favourite, the icicle in the eye. Plus we also get a cameo by the legendary Franco Nero (is that not the worlds coolest name?). Furthermore there's lots of snow. What can be more seasonal than that? This time round the Christmas song that has been neatly dove tailed into the production is "Let it snow, let it snow, let it snow" by Vaughn Monroe.
The Silent Partner (1978)
Moving on to something a little more obscure but none the less rewarding. The Silent Partner is an excellent example of the hard boiled thriller genre from the seventies. Remember when films were gritty, with slick dialogue and populated with characters who didn't have to be A list leads? The Silent Partner is a heist movie with a difference. Career criminal Christopher Plummer fails to rob bank cashier Elliott Gould, who seeing the chance to pocket some cash himself, then proceeds to pin the blame on said robber. Discovering this duplicity, blackmail, murder and revenge ensue. Is it particularly Christmassy? Not really. However Mr Plummer does conduct the initial heist dressed as Santa, so that will suffice. This is a good film with a hard edge; the villain being a sexual sadist. There's also a rather unpleasant murder that comes as a shock to the average viewer and tropical fish enthusiasts.
Battle of the Bulge (1965)
Let’s take a more historical tack with regard to seasonal movies. It should not be forgotten that one of the last major offensives of WWII was fought was during the holiday period. Thus I would recommend to all discerning viewers of all-star, big budget war films, to reacquaint themselves with Battle of the Bulge. Nothing says Christmas more than big tanks and Robert Shaw as a Nazi. Don't forget to stamp your feet and join in with the Panzerlied. It's not a bad film for summarising the actual details of the battle, although purist tankophiles may bristle at the technical inaccuracies. German King Tiger tanks are depicted by American M47 Pattons, with M24 Chaffees representing the M4 Sherman. Telly Savalas plays a wisecracking, sarcastic anti-hero, as per usual. A good second choice for those who fancy a break from the season ritual that is The Great Escape.
Trading Places (1983)
A change of pace and scene now, with John Landis' classic 1983 comedy Trading Places. Yes back in the days when Eddie Murphy was still funny, this film really showcased his talents and put him on the Hollywood map. This intelligent comedy makes some wry observations not only on the issue of race, but also wealth and social demographics. It even led to some legal changes within the banking community (See the "Eddie Murphy Rule"). Is it directly linked to Christmas? Not entirely, but Dan Ackroyd does dress as Santa and part of the movie is set during the holiday season. I've added the picture above, not because it’s a gratuitous breast shot but to highlight the running gag of "See you next Wednesday", which features in many of John Landis' films.
Gremlins (1984)
It wouldn't be Christmas without a film about a cute adorable creature that multiplies when wet, and if fed after midnight turns into a slavering sociopath with a sense of gallows humour. Gremlins is Joe Dante's near perfect creature feature homage. This film is not only cinematically literate but great fun and also quite scary. The microwave scene still never fails to amuse me! Phoebe Cates monologue about the death of her Father at Christmas is very black indeed.
"The worst thing that ever happened to me was on Christmas. Oh, God. It was so horrible. It was Christmas Eve. I was 9 years old. Me and Mom were decorating the tree, waiting for Dad to come home from work. A couple hours went by. Dad wasn't home. So Mom called the office. No answer. Christmas Day came and went, and still nothing. So the police began a search. Four or five days went by. Neither one of us could eat or sleep. Everything was falling apart. It was snowing outside. The house was freezing, so I went to try to light up the fire. That's when I noticed the smell. The firemen came and broke through the chimney top. And me and Mom were expecting them to pull out a dead cat or a bird. And instead they pulled out my father. He was dressed in a Santa Claus suit. He'd been climbing down the chimney... his arms loaded with presents. He was gonna surprise us. He slipped and broke his neck. He died instantly. And that's how I found out there was no Santa Claus".
Lethal Weapon (1987)
Finally, I would like to briefly mention Lethal Weapon. I watched this again recently on Blu-ray and the first thing that struck me was how well the hardboiled dialogue was written for this genre of movie, courtesy of Shane Black. Buddy crime thriller movies are so totally overblown these days. Take Bad Boys II as an example. I appreciate that this type of film requires the viewer’s suspension of disbelief, but as my Grandad use to say "There's a difference between farting and shitting yourself". Lethal Weapon although action packed, doesn't jump the shark and is a well-crafted film. It boasts likeable characters and solid direction. Gary Busey is also a top villain. The man shoots a Christmas tree!
That completes the Contains Moderate Peril alternative Christmas guide and our recommendations of films we think make good substitutes to the standard drivel that fill the Christmas TV schedules. I’d like to honourably mention most film versions of A Christmas Carol (especially the Muppets Christmas Carol) as well as any adaptation of the Ghost stories of M.R. James. Christmas is a time for supernatural tales. Also don’t forget Raymond Brigg’s The Snowman. It’s a wonderful piece of animation. Next week there’ll be The Contains Moderate Peril guide to New Year and why that cultural tradition is also a load of old bollocks.
Scrooge (1970)
The all-star big screen musical was desperately striving to be different during the sixties and seventies, producing many hits and misses. Tommy, The Lost Horizon and The Wiz are prime examples of the experimentation made within the genre at the time. However, due to the success of Oliver! at the box office in 1968 it was thought that there was potential mileage to be had from Dicken's classic "A Christmas Carol". So the musical Scrooge was conceived. Unlike Oliver! it was not based on a existing stage adaptation but on a wholly original screenplay, although a theatrical treatment has since been adapted.
The all-star big screen musical was desperately striving to be different during the sixties and seventies, producing many hits and misses. Tommy, The Lost Horizon and The Wiz are prime examples of the experimentation made within the genre at the time. However, due to the success of Oliver! at the box office in 1968 it was thought that there was potential mileage to be had from Dicken's classic "A Christmas Carol". So the musical Scrooge was conceived. Unlike Oliver! it was not based on a existing stage adaptation but on a wholly original screenplay, although a theatrical treatment has since been adapted.
The creative foundation of this 1970 production is twofold. Firstly there is Leslie Bricusse's superb score and literate screenplay. Then there is Albert Finney's remarkable performance as Scrooge. Bricusse adapts Dickens novella superbly, including much of the original dialogue and subtleties of the story. The songs are very catchy and emotive, especially "Father Christmas" and "Thank You Very much". Both the musical numbers and the screenplay set the tone perfectly. Veteran director Ronald Neame manages to capture the warmth and sentimentality of the book. Once again this adaptation does not shy away from the fact that this is a ghost story and the sequence when Scrooge and Marley (Alec Guiness) take to the air and fly among the lost souls is rather creepy.
But it is Albert Finney's acting that dominates the movie during its well paced, two hour running time. Relying on the minimum of make-up and avoiding the use of prosthetics, Finney convinces the audience that he is a man of mature years rather than the 34 year old that he was at the time, by his demeanour, mannerism and gate. This is also possibly the most pitiable on screen portrayal of Scrooge, as the screenplay specifically emphasises the impact of his failed engagement. The production cost $5 million and although mainly set bound, boasts a very handsome production design. It catches the Dickensian spirit of London well, especially the hustle and bustle of the busy London markets.
Scrooge also features a wealth of British characters actors and benefits greatly from their talent. David Collings is an earnest Bob Cratchit and Anton Rodgers succinctly depicts one of Scrooge's debtors. But perhaps the most sublime casting is Kenneth Moore as the Ghost of Christmas Present. His larger than life personality and specific style of acting fits the role perfectly. Surprisingly he also manages to morally chastise Scrooge successfully without resorting to bluster. Moore was a truly underestimated actor and it is roles such as this that show his true range. With regard to Lawrence Naismith, let it suffice to say that the man was born to play Fezziwig.
Scrooge enjoyed only modest financial success upon its initial release. The critics praised Finney's performance but the box office was merely adequate and the public were split on both the songs and tone of the movie. The non-canonical scenes set in hell, seemed to be a stumbling block and were subsequently removed from TV prints of the film in future years. Forty Five years on the movie now has a much wider fan base and has become a seasonal institution for many. Critics have also revised their opinions deeming it a strong adaptation. For me it is one of those rare occasions where the source text and the medium of the musical combine to produce a movie of great emotional resonance. Dickens’ work seldom receives such treatment.
Is there Such a Thing as Game of the Year?
December is a time for top ten lists, retrospectives and summaries. You’ll find them on most blogs, fansites, podcasts and You Tube channels. I’m sure I’ll be producing some content of this nature myself over the next fortnight. Christmas puts a lot of demands upon our time so posts of this kind are a necessity more often than not. Naturally one of the most common subjects of debate is the so called “Game of the Year”, which at first glance seems a somewhat innocuous subject. However it’s a far more contentious matter when you stop and consider by what criteria do you judge a game to award it such a title? Plus there’s the perennial issue of gamers not being the most level headed group when it comes to controversies and dissent.
December is a time for top ten lists, retrospectives and summaries. You’ll find them on most blogs, fansites, podcasts and You Tube channels. I’m sure I’ll be producing some content of this nature myself over the next fortnight. Christmas puts a lot of demands upon our time so posts of this kind are a necessity more often than not. Naturally one of the most common subjects of debate is the so called “Game of the Year”, which at first glance seems a somewhat innocuous subject. However it’s a far more contentious matter when you stop and consider by what criteria do you judge a game to award it such a title? Plus there’s the perennial issue of gamers not being the most level headed group when it comes to controversies and dissent.
So what exactly makes a game a candidate for Game of the Year? A large number of positive reviews from the gaming press? Or a high numbers of sales? May be it comes down to popular consensus from the gaming community? May be its all three? The thing is there isn’t a definitive formula or specific methodology. For a lot of bloggers, streamers and podcasters it simple comes down to an arbitrary decision of what game they enjoyed the most. I for example have played a lot of Witcher 3 this year and had immense fun with. I could label that my Game of the Year but as I have not played a great deal of other games and many of the AAA titles that have been released, am I really making an objective statement?
I’ve read more about games this year, than I’ve played them. As I’ve stated in recent posts I have less time for games and my overall relationship with this pastime has changed. As a result I see the underlying concept of Game of the Year as being merely a marketing term; a sound bite or a tag line to place on advertising or packaging. Some of the lists that my blogging colleagues produce can be entertaining. At this level I say that’s the purpose of the title, Game of the Year. It’s a talking point. Yet sooner or later such debates are derailed by trolls who fail to grasp the concept of differing opinions. Plus it’s also worth considering did we really get any truly ground breaking, innovative and radically different games this year, worthy of such a title? Or did we merely get more of the same with some games managing just a little more polish than others?
The Secularisation of Christmas Entertainment
The central theme of this post may well be better suited to a scholarly essay by a noted academic. I'm afraid all you'll get from me are just a few personal observations. But I wanted to raise this subject because I am at an age now where I am very conscious of the changes that have happened in UK society over the course of my life. I'm not advocating one side of the debate over another, just merely collating my thoughts on a broad cultural shift. Christmas has become increasingly secular over recent decades and because I write about popular entertainment that is the medium I viewed this process through.
The central theme of this post may well be better suited to a scholarly essay by a noted academic. I'm afraid all you'll get from me are just a few personal observations. But I wanted to raise this subject because I am at an age now where I am very conscious of the changes that have happened in UK society over the course of my life. I'm not advocating one side of the debate over another, just merely collating my thoughts on a broad cultural shift. Christmas has become increasingly secular over recent decades and because I write about popular entertainment that is the medium I viewed this process through.
As a child of the seventies, I grew up as a cultural Christian. School began each day with a formal assembly in which hymns were sung, Bible passages were often read and a moral lesson was taught by the headmaster/mistress. Shops closed on Sunday, the public broadly attended services and the establishment still showed deference to the Anglican Church and other denominations. Irrespective of my personal beliefs, I was raised in a society that was steeped in Christian tradition (and still is). Remember that church and state have never been truly separate throughout UK history.
As I have previously written about Easter, Christian faith has slowly been driven out of the TV schedules over the years. Faith based content is far from common place on the major TV networks. TV shows and films seem to focus on the secular aspects of the season, such as family, the exchange of gifts and being together. Much of this alternative entertainment is based around the faux mythology of Santa Claus, Kris Kringle or even Dicken's tale of Ebenezer Scrooge's redemption. The Christian message with its fundamental tenets of service to others, giving and personal self-sacrifice do not sit well with a prevailing culture of self-indulgence and hedonism.
In recent years, a new factor has impacted upon the inclusion of Christianity in most forms of Christmas entertainment. Because the debate between religion and the secular has become increasingly polarised the media have naturally focused on extremes on both sides of the debate. Such elements are always good for a cheap binary headline. As a result Christianity is portrayed as the province of killjoys, bigots and the lunatic fringe, despite this not being an accurate or fair representation.
With regard to gaming, trying to dovetail a Christian message into such a medium is a difficult task. The lore and other worldly settings negate any obvious Christmas reference. The fact that games, especially the MMO genre have a global audience, developers are mindful of the diversity of the player base and the multiple faiths they represent. As a result we get Winter Festivals, Yuletide events and other broader concepts. These are more akin to our secular Christmas experiences in the real world. Yet they often come across as somewhat hollow undertakings and somehow fail to capture the sentiment of the season.
At this time of year in the UK, it is traditional for the head of state to broadcast a Christmas message. The Queen is formally the "Defender of the Faith and Supreme Governor of the Church of England" and also comes from a generation that genuinely believe in their Christian faith. Therefore, when she speaks on such matters I believe she does so with utter personal conviction. I respect this in principle. Sadly the concept of a Christmas message has now been adopted by politicians as well as anyone with a media presence and an axe to grind. Seasonal messages from such quarters as these seldom have any credibility.
The secularisation of various facets of UK life is a complex subject and this post is far from a thorough exploration. I've simply collated a few thoughts on the matter. This beggars the question as to whether I have an overall point. If I do, then I believe it to be that the ongoing secularisation of Christmas, especially through the medium of entertainment, has not necessarily been to society's benefit. Although one can never recapture ones experiences of the past, I can honestly say that Christmas as it currently exists, is a somewhat hollow and arbitrary experience for me. It has usurped a festival that had positive moral connotations and replaced it with consumerism and “organized” fun. I don't know what the answers are to this conundrum or whether I am correct in my observations. All I know is that I feel that something has been lost and that makes me a little sad.
Star Wars: The Force Awakens (2015)
Contrary to my expectation Star Wars: The Force Awakens is an extremely entertaining and enjoyable movie. It manages to balance the needs of all interested parties. Fans get epic battles, iconic hardware and dependable performances from established and cherished characters. The new cast dovetail into the story with ease and are engaging. The torch is past from old to new seamlessly. There is humour, pathos and genuine tragedy to be found in Star Wars: The Force Awakens and it’s there because all involved clearly love and respect the franchise but also understand what makes good cinema. Fandom tempered by professional film making. The two do not have to be mutually exclusive.
Contrary to my expectation Star Wars: The Force Awakens is an extremely entertaining and enjoyable movie. It manages to balance the needs of all interested parties. Fans get epic battles, iconic hardware and dependable performances from established and cherished characters. The new cast dovetail into the story with ease and are engaging. The torch is past from old to new seamlessly. There is humour, pathos and genuine tragedy to be found in Star Wars: The Force Awakens and it’s there because all involved clearly love and respect the franchise but also understand what makes good cinema. Fandom tempered by professional film making. The two do not have to be mutually exclusive.
There are times when the movie seems more like a reboot of Episode IV but then as soon as you feel yourself thinking this way it does something different and wrong foots the viewer. It can also be argued that historical mistakes are often repeated thus making some plot elements in The Force Awakens quite plausible. It is also very clear that not all plot points will be clarified immediately. Disney obvious intends this to be a franchise of some length and the answers too many of the questions that arise will obviously be forthcoming later on. Who exactly is Supreme Leader Snoke? How did The First order come to power? Why is Ackbar still only and Admiral? The list goes on but this movie does enough to fill the most important gaps in our knowledge.
There is a lot of humour in Star Wars: The Force Awakens and it is pitched just right and hits the mark. Han Solo naturally has all the best line and his continuous banter with Chewbacca is an absolute delight. Harrison Ford simply owns the screen from the moment he appears. Furthermore there is a great deal of depth and nuance to his performance when you look beyond the one liners. If only this franchise had passed to Disney twenty five years earlier and we had had more films about the adventures of Hans and Chewie. Sadly this was not to be but you can see the great potential that could have been when watching Episode VII.
It would be remiss of me not to mention the new bad guy Kylo Ren played by Adam Driver. Ren is far from a two dimensional villain and it becomes clear quite quickly that there is far more behind his journey to the dark side and his personal conflict. The third act of the movie even goes so far as to flirt with Shakespearean tragedy but due to the expert way the writers Lawrence Kasdan, J. J. Abrams, Michael Arndt handle the story it works surprisingly well. I would also like to point out how easy it was too warm to Rey (Daisy Ridley) and Finn (John Boyega). Despite having very specific roles to play in the structure of the story, their narratives play out quite organically and don’t feel too contrived.
As you would expect from a movie of this calibre and budget the effects work and production design our outstanding. A lot of the aliens and background characters are physical effects and all the better for it. If I did have to voice a criticism it would be that Supreme Leader Snoke, played by Andy Serkis in yet another motion captured performance, seemed a little too “computer generated”. Once again John Williams has created a score that effortlessly embellishes the story and emphatically declares that you are most definitely watching a Star Wars movie.
I could continue and reference many other aspects of the movie that I enjoyed; BB-8 and the classic droids for example. But it’s difficult to work within a non-spoiler framework, so instead I will try and summarise why Star Wars: The Force Awakens has exceeded my expectations and is populist entertainment of the highest quality. J.J. Abrams has found a way to cater to as many tastes as possible. By providing a fresh perspective we get a sequel that reaches back to the past and satisfies our sense of nostalgia while still managing to be bold and new. Furthermore none of this is at the expense of the narrative. Mind you considering that Disney paid $3 Billion for this franchise and have spent over $200 Million on this movie alone, were they really going to cock it up? Therefore Star Wars: The Force Awakens is genuinely recommended by Contains Moderate Peril because it has proven that populist movies can be entertaining, spectacular and still dramatically powerful.
When Fandom Fades
I read the above Tweet today and it got me thinking. I’m seeing Star Wars: The Force Awakens tomorrow morning and I can’t muster up anything like the enthusiasm shown by Belghast. Furthermore I find this waning of passion is not exclusive to Star Wars but pertinent to other subjects I consider myself to be a fan of. In fact I have begun to come to terms with the fact that I’ve possibly stepped away from the entire fan concept per se. That’s not to say that I don’t enjoy the things that I’ve always enjoyed anymore, because I still do. I just don’t feel so enamoured with them. More to the point, the way I relate to them has fundamentally changed which beggars the question why exactly?
I read the above Tweet today and it got me thinking. I’m seeing Star Wars: The Force Awakens tomorrow morning and I can’t muster up anything like the enthusiasm shown by Belghast. Furthermore I find this waning of passion is not exclusive to Star Wars but pertinent to other subjects I consider myself to be a fan of. In fact I have begun to come to terms with the fact that I’ve possibly stepped away from the entire fan concept per se. That’s not to say that I don’t enjoy the things that I’ve always enjoyed anymore, because I still do. I just don’t feel so enamoured with them. More to the point, the way I relate to them has fundamentally changed which beggars the question why exactly?
Fandom has always struck me as being a very passionate love of something. A love that is not always tempered or rational. It can offer boundless support but lacks objectivity. It also personalises your relationship with that which you adore. Fans will frequently ascribe a strong significance to their fandom and as a result feel they have a two way relationship with the object of their affection. All these factors have both good and bad connotations. Fandom builds communities, brings people together and can help people through difficult times and with personal problems. It can also distract an individual from other aspects of their life and foster a sense of entitlement. Fandom seldom deals with dissent or debate well.
Like music, fashion, literature as well as politics and religion fandom is often about finding an identity and a sense of belonging. All of which can change over time. Both good and bad experiences help us make sense of the world and we slowly learn the things we really cherish and consider important in our lives. In my case I have discovered that reboots, remakes and new interpretations don’t ruin our youth. I also genuinely worry about pop culture being used as a diversion from more important matters that the authorities don’t want you thinking about. Sadly fandom has become synonymous with toxic communities and death threats in recent years; things I do not wish to be associated with.
Nowadays I find that my love of specific things is far more honed. For example my affection for the movies of Ray Harryhausen is now driven by their significance in cinematic history, rather than purely wide eyed joy. I recognise that although the effects work was seminal, some of the movies did have weaknesses in other areas and I see no reason to get defensive about such criticisms. Again age seems to be a major factor. So much of fandom is transient or time and context specific. What is more important, seeing a rare cut of Game of Death with Bruce Lee or spending time with a family member who may not be around for much longer? Fandom in some ways is an indulgence and even a conceit. I’m at a stage in my life where I’ve realised that it doesn’t have to be about me all the time.
So returning to Star Wars: The Force Awakens, I have relatively modest expectations regarding the movie. Although initial reviews are very positive, I do not expect to have the exact I had in 1977. Both the world and I have changed greatly since then. Furthermore I am fully aware that this is only a movie and as such, it can only satisfy and entertain to a certain level. Even if it is exceptionally good, I cannot see myself leaving the cinema claiming it to be the best experience of my life. But you know what? I’m okay with that. Life goes on and things move forward. Change is fundamental to life. If I remained static in my views, opinions and personal tastes I think I’d be far more worried.
So Long Guild Wars 2
Guild Wars 2 has always been a game that’s easy to return to. In many ways this has been the game’s biggest selling point for me. The lore doesn’t appeal to me that much but the games frictionless approach to combat and character stats have always made it easy to jump back into after being away. So for the last three years I have been a regular visitor to Tyria. However, many of the changes that came with the October expansion, Heart of Thorns, were not to my liking. That’s not to say that they were bad. They seem to have found favour in some quarters. But from my perspective the changes made to Guild Wars 2 have not improved or enhanced it and took the game in a direction contrary to my tastes. As a result I have stopped playing the game entirely.
Guild Wars 2 has always been a game that’s easy to return to. In many ways this has been the game’s biggest selling point for me. The lore doesn’t appeal to me that much but the games frictionless approach to combat and character stats have always made it easy to jump back into after being away. So for the last three years I have been a regular visitor to Tyria. However, many of the changes that came with the October expansion, Heart of Thorns, were not to my liking. That’s not to say that they were bad. They seem to have found favour in some quarters. But from my perspective the changes made to Guild Wars 2 have not improved or enhanced it and took the game in a direction contrary to my tastes. As a result I have stopped playing the game entirely.
In many respects I find abrupt change interesting. Guild Wars 2 was sold upon release on the idea that it wasn’t based around forced grouping, the holy trinity of classes and the ubiquitous gear grind. The game was flexible and decidedly different from the average MMORPG. Over recent years there has been a slow about turn on all these aspects of the game. This autumn’s expansion has been a further validation of this, with content that could only be completed via a group and a return to traditional raiding with new class variations to facilitate such gameplay. The increased focus on PvP by developers ArenaNet means that Guild Wars 2 has even less appeal for me now.
As a mature gamer I’m not heart broken by these changes and I do not blame the developers for trying to keep Guild Wars 2 financially viable. I hope it works out for them. The fact is that things change and they don’t always change in your favour. Therefore I shall not be playing Guild Wars 2 any further as it no longer has anything to offer me that I like. I see no reason to repeat old content, having taken three alts to level cap. So as of today I have uninstalled Guild Wars 2 and wished it a fond farewell. No tears, no fuss. The entire situation reminds me of my relationship with Doctor Who. I use to like it but it changed too much for my taste so we parted company. Such is life.
Smell Like a Superhero
Pound shops, Dollar Stores, call them what you will, have become ubiquitous in recent years. Furthermore the public’s attitude towards them has radically changed. Where in the past snobbery may well have kept certain socio-economic groups away, it now seems that everyone is happy to use such outlets in search of a bargain. I frequent them regularly for toiletries, kitchen and bathroom cleaning products as well as tinned foods. Most products are well known named brands and the prices just cannot be ignored. Pound shops can also be a fascinating source of curious and esoteric items. I discovered such a product today.
Pound shops, Dollar Stores, call them what you will, have become ubiquitous in recent years. Furthermore the public’s attitude towards them has radically changed. Where in the past snobbery may well have kept certain socio-economic groups away, it now seems that everyone is happy to use such outlets in search of a bargain. I frequent them regularly for toiletries, kitchen and bathroom cleaning products as well as tinned foods. Most products are well known named brands and the prices just cannot be ignored. Pound shops can also be a fascinating source of curious and esoteric items. I discovered such a product today.
I found the above pictured Batman Deodorant Body Spray on the shelves of the 99P Store in my local High Street and was fascinated to see such an IP used in this way. Out of curiosity I bought two cans and when I returned home set about researching these products. It would appear that there is an entire range of Batman products made by Corsair Toiletries Worldwide. They also manufacture similar items for several other major franchises such as Minions, Marvel and Disney. According to their website the target age group for these products is 6 to 12 years of age. I also noticed that many of these franchises are marketed in a gender specific way. I won’t side-track this post with a tangential debate but why is this still a thing in 2015?
As for the actual Batman toiletries, I guess the question that’s on everyone’s mind is what exactly does a Superhero smell like? Well I can confirm that the Robin body spray has a distinctly coconut based aroma, where the Joker body spray is more akin to sandalwood. Both are pleasant and seem to linger, which is always the sign of a good body spray or at least one that is doing its job of keeping you smelling fragrant. Cheap brands always seem to fade after a few hours, causing immense scope for social embarrassment. However I am content that not only will I continue to smell like a Superhero (and a 12 year old boy, allegedly) for the remainder of the working day, I have achieved this miracle for the princely sum of £1.98 (including VAT).
Time For a New Phone
I can remember a time when upgrading my phone was a major source of excitement. If there was something shiny and new available, then I had to have it. More often than not it was simply the allure of the next big thing and there were no significant gains or benefits in upgrading. Unless you count that vicarious short term fix one gets when conspicuously consuming. At the time I was happy to remain on the technology treadmill and had no intention of getting off. However in the last decade there’s been a major shift in my relationship with consumer electronics. I now buy according to my needs rather than just for the sake of having what’s currently perceived as best. Once you cease to see gadgets and electrical devices as fashion accessories but simply as functional tools, then a lot changes. Furthermore it changes for the better.
I can remember a time when upgrading my phone was a major source of excitement. If there was something shiny and new available, then I had to have it. More often than not it was simply the allure of the next big thing and there were no significant gains or benefits in upgrading. Unless you count that vicarious short term fix one gets when conspicuously consuming. At the time I was happy to remain on the technology treadmill and had no intention of getting off. However in the last decade there’s been a major shift in my relationship with consumer electronics. I now buy according to my needs rather than just for the sake of having what’s currently perceived as best. Once you cease to see gadgets and electrical devices as fashion accessories but simply as functional tools, then a lot changes. Furthermore it changes for the better.
As part of my phone tariff with Vodafone, I can upgrade my handset every eighteen to twenty four months. It used to be once a year but the high cost of contemporary smartphones has forced them and other vendors to extend contract length. I’m currently eligible for a new handset, as I last replaced my phone in January 2014, so have spent some time this weekend perusing the latest models. Frankly I had no pressing requirement to replace my HTC One. It may not be the best phone I’ve owned but it still performs perfectly adequately. However as an opportunity has presented itself, I think it’s time to return to being a Samsung customer. So despite the lack of an FM radio (which is a major selling point for me) I have chosen to upgrade to a Samsung S6. I have also retained my current tariff of unlimited UK call minutes, unlimited texts and a 4GB data allowance each month with no cost increase. As someone who is self-employed and uses their phone a lot, this is a very good deal.
With regard to selling my old handset, there is a buoyant second hand market in the UK. Unfortunately the recent release of several new models has caused some older handset to suddenly drop in price. As a result I’ve only managed to sell my old phone for £41. With regard to my initial point, a decade ago I would have been lying in wait for the courier delivery, eagerly awaiting my new phone. Messing with the settings and migrating all my data would have been a pleasure to be relished. It’s funny how ones passions and priorities change over time. I’m having my new phone delivered to my parents address for reasons of security and probably won’t be able to collect it until mid-week. Although I'm sure I will be satisfied with the Samsung S6 over the months to come, it will remain in my view, just "a phone". I wonder how long it will be before the public's love affair with gadgets ends and the perception of technology returns once again to something more practical rather than aspirational?
The Burton & Scrooge Podcast December Schedule
As the holiday season approaches many institutions adjust their schedules and take a break from their usual routines. Far be it for the Burton & Scrooge Podcast to fly in the face of tradition, so we will be releasing two more episodes this year and then taking a short break in early January 2016. The release dates for the finally shows of 2015 are as follows:
Burton & Scrooge #25 13th December.
The Burton & Scrooge Review of 2015 30th December.
As the holiday season approaches many institutions adjust their schedules and take a break from their usual routines. Far be it for the Burton & Scrooge Podcast to fly in the face of tradition, so we will be releasing two more episodes this year and then taking a short break in early January 2016. The release dates for the finally shows of 2015 are as follows:
Burton & Scrooge #25 13th December.
The Burton & Scrooge Review of 2015 30th December.
Brian and I have very much enjoyed the new laid back style of the Burton & Scrooge Podcast and are pleasantly surprised to find that we’ve reached twenty five episodes already. The broad remit and accommodating format of the show are the main reasons behind this and we hope to continue to widen the scope of our discussions in 2016. Hopefully it will keep listeners engaged and the Brian and I motivated.
Thanks to everyone for listening to our intermittent ramblings and your continued support of our audio endeavours. There’s not a lot of point of doing a podcast if no one is listening, which is why feedback and comments are always gratefully received. So it just remains for me to say that we’ll be back in 2016. Until then don’t forget to pet your Chihuahua, now sod off.
Returning to Middle-earth Again
Now that Turbine have settled into the pattern of releasing two content updates for LOTRO a year, I have correspondingly settled into the pattern of re-subscribing for a month or two when each one appears. The latest, Update 17 The Siege of Minas Tirith, went live on 27th October but as there was so much other gaming content released at that time, I postponed my customary winter excursion to Middle-earth. I must admit that I had provisionally checked out the new area and the iconic city of Minas Tirith on the Bullroarer test server and I was not especially impressed. However as of last night having found the time in my gaming schedule I decided it was time to re-subscribe to LOTRO and push on with the epic story.
Now that Turbine have settled into the pattern of releasing two content updates for LOTRO a year, I have correspondingly settled into the pattern of re-subscribing for a month or two when each one appears. The latest, Update 17 The Siege of Minas Tirith, went live on 27th October but as there was so much other gaming content released at that time, I postponed my customary winter excursion to Middle-earth. I must admit that I had provisionally checked out the new area and the iconic city of Minas Tirith on the Bullroarer test server and I was not especially impressed. However as of last night having found the time in my gaming schedule I decided it was time to re-subscribe to LOTRO and push on with the epic story.
Having recently transferred from Gilrain server with most of my kinship, this is the first time I’ve undertaken any major content on our new home of Laurelin. Sadly my hopes for a more vibrant game economy have not happened. The auction house on this server is just as devoid of a broad spectrum of gear and items as the previous. It would appear that no one seems to craft and sell level cap items anymore. I blame slotted armour. It would appear that out of the two European English language servers that survived Turbines downsizing, Evernight has proven more popular. I may well at a future date move an alt there to see if there are any significant advantages on that server.
As for the latest instalment of the epic story, it is proving to be quite engaging once you have got beyond orientating yourself around Minas Tirith and carrying out the ubiquitous fetch quests. As ever with Turbine, there are times when the story telling in LOTRO really does demonstrate a keen understanding of Tolkien’s source text. Such moments are always enjoyable. Then there times when some of the regional quests really do feel arbitrary. There’s a particular quest requiring you to kill three captains of the enemy in camps in the Pelennor fields. These NPCs do not always spawn in the same place and may be at one of three possible locations. Rather than feeling challenging it simply comes across as a cheap way to extend the quests playing time. Sadly this is how Turbine’s content has become recently; of varying quality mainly due to a lack of time and resources.
Minas Tirith itself is a rather dour and sombre affair. Far from being the White City it’s rather drab and grey. As I suspected after the beta test, there are copious quantities of fast mounts to help navigate around the cities seven levels. Exploring each level is fun initially and if you’re not in a rush can yield some nice hidden features. However after a while the novelty soon wears off and its design simply becomes an impediment to travel and a pain in the butt. If you leave the city and travel Old Anorien you soon discover that the mob density has been cranked up. Again you can cogently argue that this is a ploy to slow players down etc. The addition of two warbands in such close proximity to each other is a similar example.
Nostalgia and fond memories are major factors when it comes to playing LOTRO and I think Turbine is fully aware of this. They’ve fully committed to the Big/Epic battles system and there are a further two in the latest update. Yet I still strangely have enough goodwill towards this ageing MMO to endure these and soldier on to the next stage of the story. I still think about the immense fun I had playing LOTRO between 2008 -2009. Plus there’s the fact that there isn’t any other Tolkien based game of this kind around, nor it there likely to be in the future. So I guess I like many players I will dutifully work through Update 17 and then leave, only to return again in the Spring when the next update becomes available.
Scrooge (1951)
I am a great fan of Charles Dickens' "A Christmas Carol". There is something very special about the novella which is quite hard to quantify. It is a very unique book despite its central theme of redemption being universal. The text has for want of another phrase, a "power" to it. It is profoundly moving, insightful and true. Perhaps the key this story’s appeal lies with the central character, Ebenezer Scrooge. Not because Scrooge is a monster (which are so often fascinating) but because he's a man broken by circumstance. I think readers throughout the years have related to this and considered "There, but for the grace of God, go I". Cinema has found a rich vein of gold running through this tale, which is why it’s been revisited so often and interpreted so many ways.
I am a great fan of Charles Dickens' "A Christmas Carol". There is something very special about the novella which is quite hard to quantify. It is a very unique book despite its central theme of redemption being universal. The text has for want of another phrase, a "power" to it. It is profoundly moving, insightful and true. Perhaps the key this story’s appeal lies with the central character, Ebenezer Scrooge. Not because Scrooge is a monster (which are so often fascinating) but because he's a man broken by circumstance. I think readers throughout the years have related to this and considered "There, but for the grace of God, go I". Cinema has found a rich vein of gold running through this tale, which is why it’s been revisited so often and interpreted so many ways.
I have my own personal favourites such a Richard William's superb animated version, which is quite shocking in its depiction of the supernatural. Then there is the musical version Scrooge, directed by Ronald Neame, from 1970. The film's musical score was composed by Leslie Bricusse and featured an outstanding central performance by Albert Finney who was only 34 at the time. I also have a soft spot for the 1984 TV movie version of A Christmas Carol, mainly due to George C. Scott's interesting take on the role of Scrooge. The characters traditional irascibility is replaced by a much colder and calculating demeanour.
However, I still find the 1951 adaptation of the story, filmed under the title Scrooge, to be a constant source of joy and fascination. The ensemble cast featuring such talents as Mervyn John, Ernest Thesiger, Michael Horden and Kathleen Harrison portray a very stark and foreboding vision of Dickensian times. Yet the acting never descends in to melodrama or excessive pathos. As for Alistair Sim's lead performance, it is simply sublime. The audience never once doubts the sincerity or credibility of his acting. His transformation at the movies climax is simply remarkable. The man seems to have changed in a tangible way that is clear to see, yet hard to define. That is the hallmark of the finest quality acting.
This modest production, deftly directed by Brian Desmond Hurst, exudes atmosphere. It is well paced and thorough. It also boasts handsome black and white cinematography by C.M. Pennington-Richards which captures the spirit of John Leech's original engraving from the first edition of the book. Art Director Ralph Brinton creates a very gloomy London, gripped in a bitterly cold winter. The location footage is minimal but very imposing, such as the use of the Royal exchange. The set designs have an authentic feel to them, especially Scrooge's dreary office. Unlike contemporary productions the story does not get bogged down or overshadowed by excessive effects work. The optical processing is simple and functional.
There is much to ponder after watching Scrooge. Viewers can consider the movie’s themes from a moral, religious or even a socio-political context, because it contains all those elements. Due to lapses in copyright the film has been released multiple times on numerous formats. Many copies are of poor quality. At present I would recommend the 2011 VCI Blu-ray release that featuring an excellent restored print of the film as well as superb commentary by the late George Cole. Despite being perceived as being a seasonal film Scrooge makes for thought provoking and entertainment year all year round. Perhaps more frequent viewing would encourage goodwill to all men all year round, rather than just as Christmas.
Eon Altar: Early Access
Last week I got to try the RPG Eon Altar which I subsequently discussed with my co-host Brian on the Burton & Scrooge podcast. We were overall very positive about the game which is currently in early access on Steam. However we could not play the game in co-op mode as it is not designed for collaborative internet play. Eon Altar is intended for up to four people to play co-operatively, locally via your wireless network. This is very much a game that caters to social play, via your living room and couch. So I press ganged my son into helping me out and managed to spend three hours today checking out the co-op aspect of the game. Let me say right up front that Eon Altar comes into its own when played with two or more players and that this is the optimal way to play the game.
Last week I got to try the RPG Eon Altar which I subsequently discussed with my co-host Brian on the Burton & Scrooge podcast. We were overall very positive about the game which is currently in early access on Steam. However we could not play the game in co-op mode as it is not designed for collaborative internet play. Eon Altar is intended for up to four people to play co-operatively, locally via your wireless network. This is very much a game that caters to social play, via your living room and couch. So I press ganged my son into helping me out and managed to spend three hours today checking out the co-op aspect of the game. Let me say right up front that Eon Altar comes into its own when played with two or more players and that this is the optimal way to play the game.
For those who are unfamiliar with this game it a co-op isometric RPG featuring all the usual mechanics you’d associate with the genre. There are abilities to unlock and gear to upgrade, as well as consumables to craft. The main difference is that the game requires a smartphone or tablet to play and that the device is more than just a mere controller but in many ways your character. It’s a very innovative approach and makes playing collaboratively a much more personal experience. Character interaction is handled via the phone and players can elect to share unique information within their team or pursue their own goals. This adds an interesting dimension to group undertakings.
It is important to note that Eon Altar is currently still a work in progress and at present only three levels are available. There are four classes to choose from; Battlemage, Assassin, Crusader and Guardmans. During my co-op play through I chose the Assassin and my son opted for the Battlemage. This gave us the advantage of ranged attacks but left us a little squishy when engaged in melee combat. It did not take us long to discover this and adjust our tactics accordingly. The game environment can at times encourage you to run headlong into new areas with the allure of loot. The isometric view can occlude your view at times and there is the risk of pulling all mobs in an area.
As I mentioned on the podcast, movement via the smartphone is extremely fluid. You can set waypoints and run to them or keep your finger on the screen and control your alt directly. Navigating your characters build and stats via your phone is intuitive. The drop down menus and their respective nested screens are relatively easy to fathom. Minor issues such as font size can be challenging for those with “older” eyes but overall this easy to use. The skills wheel in combat is also very logical. Where the game is lacking at present is with its tutorials. It takes a while to figure out when you should be looking at the monitor/TV screen and when you need to be looking at your phone.
I do not consider myself an excessively lazy player and am not afraid to investigate a games mechanics, interface and the virtual environment it takes place in to figure things out. However there were several occasions while playing Eon Altar where I wanted a prompt either on screen or via the phone. Has a dialogue discussion finished? Where do I go next? Can I have a clue or a hint as to how to solve a problem or fight a foe? Because of the nature of the game I don’t necessarily expect a full blown world map but a bread crumb trail or an arrow would have been beneficial. I ended my co-op session because it could be determined what to do next.
Isometric views in games as mentioned earlier have advantages and disadvantages. For example if players choose to go in opposite directions the game camera can only accommodate them so far. Eventually someone has to decide to follow the group. Perhaps having the ability to flag a player as leader would be useful. A follow option would also help greatly. There were several times when the in game camera panned round in such a fashion that a wall was in the way. The game deals with this by making the obstacle opaque but is still blocks your cursor/reticle which cause no end of problems if a fight starts.
Another matter to be mindful of while playing Eon Altar is friendly fire from AoE skills, especially those used by the Battlemage. It is important to watch where you stand and the inclusion of a tell or marker showing where AoE damage will occur would reduce “accidents” from happening. Ranged bow skills require the avatar to be a specific distance away from the target. At present the game will simply run your character to the optimal location when the skill is used. It would be nice if there was a way of choosing a safe location before using the bow attacks and that the game highlighted these, similarly to the way SWTOR does with the smuggler class.
The above comments are designed to provide some hopefully useful feedback for the developers. However I would like to point out that despite the issues one naturally encounters with an early access game, I had immense fun playing two player co-op. As this game is designed to be played via a sofa rather than across the internet, it has a different social dimension. My son and I quickly got very competitive with regard to looting. Basically is became a race as to who got all the “good shit” first. I have a suspicion that four player co-op with the right group of friends would be a genuinely enjoyable and laugh out loud experience. There’s so much scope for “accidently killing” your team mates, friendly bickering, getting lost and general tomfoolery. For me this is the core of quality social gaming, as it was with multiplayer sessions on the SNES back in the day.
After playing yesterday, I sent my game logs files to Flying Helmet Games, who are proactively seeking feedback at present. There is a forum to leave bug details as well as your overall thoughts. The various developers and company managers are also accessible on Twitter. As I consider Eon Altar to be a game with a lot of potential, I naturally would like to help in any way I can with ironing out the bugs and seeing the full game released. I look forward to playing again soon and hope that a new build is forthcoming. If you are interested in assisting an indie developer with an innovative product and are fully aware of the ramifications of early access, then you may wish to pick up a copy of Eon Altar.
The Contains Moderate Peril Christmas Gift Guide
As we approach that time of year where we’re forced to spend time with people we don't like and pretend to enjoy their company, the tricky issue of buying suitable gifts rears its ugly head. This “great” tradition simply compounds a felony. Not only do we have to endure the terminally tedious, when then have to shower them with presents. Furthermore, in return for the carefully considered trinket you’ve purchased for the aforementioned bastard, you receive a tawdry piece of cheap, worthless shit, adding insult to injury. So much for it being the “season to be jolly”.
As we approach that time of year where we’re forced to spend time with people we don't like and pretend to enjoy their company, the tricky issue of buying suitable gifts rears its ugly head. This “great” tradition simply compounds a felony. Not only do we have to endure the terminally tedious, we then have to shower them with presents. Furthermore, in return for the carefully considered trinket you’ve purchased for the aforementioned bastard, you receive a tawdry piece of cheap, worthless shit, adding insult to injury. So much for it being the “season to be jolly”.
Therefore I thought I’d help ease this tiresome time of year by offering some advice regarding how to navigate the treacherous waters of these seasonal rituals. So I've decided to collate a gift guide filled with items that are unique, thought provoking and undeniable talking points. You may wish to use this post as a subtle hint with your respective loved one. Alternatively, why not buy one of them for yourself and to hell with everyone else. All are outstanding products and infinitely preferable to the hand knitted sweater your Aunty Bastard will send you. Please note that Contains Moderate Peril is not responsible for any marital strife/relationship angst that incur from purchasing any of these items.
Cylon Centurion Costume Replica (POA): Available from Kropserkel
Cut a dash at your office Christmas Party with this bold alternative to the traditional little black number.
Dalek Replica (POA): Available from Firebox
No smart dressed man or women should be without one.
M41-A Pulse Rifle Replica ($499.95): Available from Hollywood Collectibles
Outstanding but you'll have to make the noise yourself.
Star Wars Princess Leia Slave Outfit ($47.99): Available from Buy Costumes
Ask your partner to wear it and end a relationship. Alternatively, wear it yourself and end a relationship.
Cthulhu Plush Puppet ($19.95): Available from Toy Vault
One for the kiddies. "Hey kids, let's summon a Shoggoth..."
Star Trek The Original Series Tricorder ($49.99): Available from Diamond Select
Take a Tricorder reading to find out why your sex life is non-existent.
Replica Glaive ($170.00): Available from Hole in the Ground Productions
Throw it at Ken Marshall (Not Liam Neeson).
The Lament Configuration Replica (£100.00): Available from Hellraiser Box
Give it to someone you don't like and tell them not to waste good suffering.
Alien Facehugger Plush (£29.99): Available from Think Geek
Placing this on the face of a sleeping baby is VERY funny but is technically child abuse.
Wall Socket with built in 2 x USB Charging Ports (£9.99): Available from BT Shop
No really, I want these in my home!
The Elder Scrolls Online and the $1,000,000 Giveaway
In the past an MMO kept players engaged with their game by the psychology of the subscription model and providing content updates. Loyalty and the overall cost of running multiple games meant that most players dedicated themselves to one game and stuck with it. Free to play eliminated these ties and a lot of MMO players became a lot more itinerant. Developers therefore have had to become a lot more creative in finding ways to keep people logging into their games. Hence we now find many MMOs that feature daily rewards, content that has to be unlocked by claiming it and short term events that offer unique rewards.
In the past an MMO kept players engaged with their game by the psychology of the subscription model and providing content updates. Loyalty and the overall cost of running multiple games meant that most players dedicated themselves to one game and stuck with it. Free to play eliminated these ties and a lot of MMO players became a lot more itinerant. Developers therefore have had to become a lot more creative in finding ways to keep people logging into their games. Hence we now find many MMOs that feature daily rewards, content that has to be unlocked by claiming it and short term events that offer unique rewards.
The Elder Scrolls Online launched in April 2014 with a subscription based business model. By March 2015 the game went buy to play and was rebranded TESO: Tamriel Unlimited. Developers ZeniMax now find themselves in a very competitive gaming market in which MMORPGs are no longer the cash cow they were considered to be a decade ago. Like many companies they have been striving to maintain their share of the market and find a way to keep players logging in and playing, as well as encouraging perspective players to buy the base game. I must admit that their latest marketing campaign does have a novel approach and an interesting hook. Bethseda Softworks are to giveaway $1,000,000 to one lucky player, be they an existing or new customer.
The criteria for entry are at first glance somewhat straightforward. You need to log in to the game or complete an entry form available online by January 10th 2016. The winner will be drawn on 1st February and the funds duly paid. At present the base version of the game is currently retailing at its full price, although discounted keys can be found from reseller sites. I wouldn’t be surprised if there were another major Steam sale over the Christmas period. Needless to say the chance to win such a cash prize will definitely cause a spike in account logins. Whether returning players decide to stick around remains to be seen.
Like most competitions there’s a wealth of small print as well as terms and conditions. As each country has its own legislation governing giveways some geographical regions are excluded from entering. As you would expect this has caused those affected to protest most vocally online. As for myself, I briefly considered buying the game and entering but when you consider the initial cost and the approximate odds of winning, this is not a particularly sound gambling proposition. Sure I’d end up with a game that I could play but I have neither the time nor the inclination for another MMO at present. Part of me also thinks this stunt is a little tacky. I’d much rather be enticed to play a game because of some well-made new content. But this is how the gaming industry runs nowadays. Mass appeal has simply lead to greater commercialism. Makes you wonder what the next developer/publisher will do to top this?
The Siege Of Firebase Gloria (1989)
There was a wealth of revisionist Vietnam War films released in the wake of Oliver Stones’ Oscar winning Platoon. Not all were of equal merit or technical competence but occasionally a low budget B movie can surpass the big studio competition. The Siege of Firebase Gloria is one such example, being a minimalist, straightforward film about US Marines defending an isolated outpost in Vietnam, during the Tet offensive. Directed by British expatriate Brain Trenchard-Smith and starring R. Lee Ermey, Wings Hauser and Albert Popwell ("Hey, I've gots to know!"), it’s often been overlooked. However it’s low key plot which seeks no more than to show a small facet of the war, sheds more light upon the overall war and a soldier’s life than one would expect from such a modest production.
There was a wealth of revisionist Vietnam War films released in the wake of Oliver Stones’ Oscar winning Platoon. Not all were of equal merit or technical competence but occasionally a low budget B movie can surpass the big studio competition. The Siege of Firebase Gloria is one such example, being a minimalist, straightforward film about US Marines defending an isolated outpost in Vietnam, during the Tet offensive. Directed by British expatriate Brain Trenchard-Smith and starring R. Lee Ermey, Wings Hauser and Albert Popwell ("Hey, I've gots to know!"), it’s often been overlooked. However it’s low key plot which seeks no more than to show a small facet of the war, sheds more light upon the overall war and a soldier’s life than one would expect from such a modest production.
While on reconnaissance, Sergeant-Major Hafner (R. Lee Ermey) comes across a destroyed village and surmises that "Charlie" is on the move. When the patrol arrives at Firebase Gloria, Hafner takes command from the drug crazed commanding officer and desperately tries to prepare the disorganised base for the impending assault. The chain of command refuses to acknowledge any potential danger and refuses to offer any help. Meanwhile NVA Col. Cao Van prepares his men to swarm and overrun the firebase. He realises that using such a tactic may well provide a favourable result but will inevitably result in a heavy death toll. Such a decision weighs heavily upon him.
The Siege of Firebase Gloria is not your stereotypical flag waver. With clearly drawn characters, a workman like yet amusing script and effective camerawork, the film paints a more vivid and unsettling portrait of the Vietnam War. It also makes its point more effectively than some of the other pretentious movies in the genre. Ermey gives a grounded, genuine performance and it can be argued that he carries the film from the average to the worthy. Wings Hauser is a little over taxed as the burnt out Corporal suffering with PTSD. Albert Popwell provides solid support as the career soldier trying to maintain standards in environment where the "rules" are breaking down. The action scenes are effective and the production strives beyond the confines of its modest budget.
There's nothing remarkable about the central story for The Siege of Firebase Gloria. This is a tale that has been told in various shapes and forms, many times before. However this particular movie explores a siege situation both efficiently and with a noticeable degree of honesty. There are brutalities and error of judgement committed by both sides. Neither is presented in the usual binary terms. The NVA are depicted as simply being soldiers doing a job which in many ways mirrors the Americans. This is a movie eschews the geo-political views of the time and simply focuses on the immediacy of the battle and the impact that it has upon all concerned. As a result The Siege of Firebase Gloria is more than just the sum of its parts and displays a degree of conviction seldom seen in the genre.