J.R.R. Tolkien's The Lord Of The Rings Volume 1
In a fit of nostalgia I recently found myself perusing several retro gaming websites, pondering on some of the titles that I use to play on the Super Nintendo Entertainment. During the early nineties when this platform was my primary source of gaming I use to meticulously research new titles before purchasing. This was the pre-internet age and console cartridges came at a premium price, so you did not want to waste valuable money on a poor game. Magazines featuring previews and in-depth reviews were the main source of information. The other would be your local gaming boutique where you could hang out and discuss such matters with fellow gamers. Broadly this system worked and I enjoyed most of the games I played on the SNES.
In a fit of nostalgia I recently found myself perusing several retro gaming websites, pondering on some of the titles that I use to play on the Super Nintendo Entertainment. During the early nineties when this platform was my primary source of gaming I use to meticulously research new titles before purchasing. This was the pre-internet age and console cartridges came at a premium price, so you did not want to waste valuable money on a poor game. Magazines featuring previews and in-depth reviews were the main source of information. The other would be your local gaming boutique where you could hang out and discuss such matters with fellow gamers. Broadly this system worked and I enjoyed most of the games I played on the SNES.
However one title bypassed this screening process. It did so because I allowed my love of a particular intellectual property to cloud my vision. I refer to Interplay's J.R.R. Tolkien's The Lord of the Rings Volume 1. This was an adventure game from 1994, loosely tied in with both the Tolkien’s books and the 1978 animated feature film. Certainly part of the games aesthetic was influenced by Ralph Bakshi’s movie and the game used the font and logo from that film. At the time my default sense of scepticism was not as finally honed as it is now, so I foolishly allowed my optimism and imagination to side step the facts. Thus I purchased the said game and in a short period of time discovered it was one of the worse titles based on a license created for the SNES.
As memory serves, J.R.R. Tolkien's The Lord of the Rings Volume 1 played more like a Zelda game and had very little to do with The Lord of the Rings in narrative terms. In fact the game showed a complete disregard to the lore. Within the confines of this game Bilbo gives the ring to Frodo at his leaving party and tells him to take it to Rivendell. Prior to the player actually embarking upon the said quest the game requires you to help Sam find his Gaffer's spectacles that have been lost in some local caves. These topographical features have fallen under the malevolent influence of Sauron (for some particular reason). Tedium ensues as the player pursues arbitrary task designed to extend a poorly designed games lifespan and plays through bland cookie cutter environments. I can distinctly remember naively hoping that matters would improve as the game progressed. Sadly they did not.
The game mechanics were very clunky, even by console standards of the console time. Characters would often get caught in the environment and the bulk of the quests were mainly of the "fetch multiple items" variety. The game graphics were far from original with many of the sprites and backgrounds sporting a generic look. Apart from some superficial attempts to make the main characters look vaguely like their counterparts from the movie, it was hard to see exactly how this was anything to do with Tolkien’s work. The game soundtrack was that tiresome Celtic style "Diddly Dee" nonsense that still seems to be de rigueur when developers try to interpret The Shire and other parts of Middle-earth. You could mash your controller endlessly in the vain hope of killing an enemy but more often than not, you’d simply die randomly for no discernible reason. The game also offered the facility to save access to completed levels via a serious of codes, but unfortunately unless you were a former employee of Bletchley Park, then the system was quite impenetrable.
Twenty two years on I still flinch while reflecting upon J.R.R. Tolkien's The Lord of the Rings Volume 1. It was and remains an excruciating game and insulting franchise cash in. Needless to say there was never a Part 2 as I believe there was a universal consensus that this was a shoddy product. It’s a curious thing that the platform that spawned Super Mario Kart, which is considered the embodiment quality design, also produced such nonsense as J.R.R. Tolkien's The Lord of the Rings Volume 1. Now in the age of console emulators there may well be a few Tolkien enthusiasts that want to check this game out of some sort of idle curiosity. I would strongly advise them not to. A quick visit to You Tube will demonstrate the folly of such a notion.
The EU Referendum
On Thursday 23rd June the UK will vote on whether to remain a member of the EU or leave the community. It is possibly the biggest political, economic and social issue that I have voted on in my lifetime and both outcomes have the potential for both positive and negative effects upon the country and its future. As you would imagine with an issue of this magnitude, the pros and cons on both sides of the debate are complex. Immigration, security, trade, financial stability are some of the factors involved that shape people’s opinions. Then there are more nebulous concepts like sovereignty and nationalism that influence voter’s perspective. Whereas the logistical and administrative arguments are far more couched in facts and data, the more emotive issues are driven by tribal politics and feelings. I’m not a fan of either.
On Thursday 23rd June the UK will vote on whether to remain a member of the EU or leave the community. It is possibly the biggest political, economic and social issue that I have voted on in my lifetime and both outcomes have the potential for both positive and negative effects upon the country and its future. As you would imagine with an issue of this magnitude, the pros and cons on both sides of the debate are complex. Immigration, security, trade, financial stability are some of the factors involved that shape people’s opinions. Then there are more nebulous concepts like sovereignty and nationalism that influence voter’s perspective. Whereas the logistical and administrative arguments are far more couched in facts and data, the more emotive issues are driven more by tribal politics and feelings. I’m not a fan of either.
Over the next one hundred and twenty or so days both campaigns will vie for the public’s attention. Those who have already made up their minds which way they intend to vote are not really relevant in terms of the campaigning that will be conducted. It is those who have yet to make up their minds that will hold the balance. For such people (myself included) to make an informed choice, there is a requirement for clear and succinct data. I would like to be presented with comprehensive fact based arguments from both sides. I would also like to see measured and impartial discussions by the UK media. Sadly none of this is going to happen. The UK press, especially the newspapers are biased and both respective campaigns seem to be focusing on soundbites based upon fear. It seems that the referendum will be determined by lowest common denominator politics.
I’ve read the opinions of many ardent supporters from both sides of the debate and am very much bemused by the idealism and naivety exhibited. A common refrain is that of “unelected officials” and having to endure the governance by parties one didn’t vote for. But this is something that the majority of the electorate currently endure already from our own existing Parliamentary system. I also do not understand why some quarters are more trusting of our own politicians than those of the EU. A UK government free from such EU rules as the Human Rights Act and Working Time Directive could potentially act with impunity and to the detriment of many an employee. UK governments of all political persuasions have hardly acted with integrity or for the benefit of all over the last three decades. I would also add that he stay campaigns fixation on security and defence is also spurious. The UK whether in or out of the EU is still a major player in both NATO and the UN.
However what we have learned over recent months is not to put too much stock in opinion polls and market research. The Scottish Independence referendum appeared to be going in one direction at one point, as did predictions for a hung parliament in last May’s UK general election. The public is less free with information about their voting preferences these days and may well continue to play its cards close to its chest. This is hardly surprising as some of the more vocal members of the public seem to be far from tolerant of differing views. Look at any comment section of a news website covering the EU referendum and you’ll find hyperbole, invective and a general lack of respect. I see that Patriotism is now being trotted out as an argument from some quarters of the leave campaign. Need I quote Samuel Johnson?
At present not only do I find myself considering my own position on the referendum itself but also whether I will be able to personally endure any potentially negative consequences that may ensue, regardless which decision prevails. If there are economic problems at a later date, will my own personal circumstances be sufficient to insulate me from any financial fallout? It is worrying to have to think in such terms and only adds further to the entire negative ambience of this entire campaign. Perhaps for the sake of balance it would help to consider on some more light hearted questions that stem from this debate. If the UK leaves the EU does that mean we will no longer be able/have to participate in the Eurovision Song contest? Also does a successful Brexit mean that the UK Independence Party’s work is done and it will cease to operate? There’s precious little levity in contemporary UK politics, so let us enjoy a little now. I’m sure in three months’ time all vestige of humour will be gone from the EU referendum debate and fear and loathing will be the default response from most quarters.
Star Trek Online Skills System Revamp
The current skill system in Star Trek Online is both esoteric and somewhat clumsy. For many players rather than risk experimenting with a build that may prove ineffective and costly to undo, generic templates are frequently adhered to. I recently asked in fleet chat about a simple DPS build for a tactical Captain and was directed to one of the most common place skills point allocations there is. Furthermore it worked perfectly for me. However I am fully aware that there are players at the other end of the games spectrum that use the existing system in a way that grants them far more subtle and bespoke builds. Not only does this provide practical benefits but it’s also a source of pleasure for them and part of STO’s overall appeal. Therefore Cryptic’s announcement today that the skills system was due for a revamp has been met with mixed reactions.
The current skill system in Star Trek Online is both esoteric and somewhat clumsy. For many players rather than risk experimenting with a build that may prove ineffective and costly to undo, generic templates are frequently adhered to. I recently asked in fleet chat about a simple DPS build for a tactical Captain and was directed to one of the most common place skills point allocations there is. Furthermore it worked perfectly for me. However I am fully aware that there are players at the other end of the games spectrum that use the existing system in a way that grants them far more subtle and bespoke builds. Not only does this provide practical benefits but it’s also a source of pleasure for them and part of STO’s overall appeal. Therefore Cryptic’s announcement today that the skills system was due for a revamp has been met with mixed reactions.
I found Cryptic’s lengthy post and explanation regarding the new skills system very confusing and because I do not play STO to such a level, a lot of the data went over my head. I then went to the official forums and STO subreddit to see if I could gauge the communities overall reaction. The prevailing opinion seemed to be one of “wait and see” and as soon as the new system was available for beta testing on the Tribble server, meaningful feedback would be provided. However there was concern that a move to a more traditional skills tree, as seen in most other MMOs would mean that there would ultimately be less choice. The one size fits all approach is beneficial for players like myself but the loss of some of the flexibility of the current system would be a tangible blow to more invested players.
The only comparison I can draw is with LOTRO and when Turbine carried out a similar skills revamp with the Helm’s Deep expansion. I was well acquainted with the old skills system and although it was unwieldy it did lend itself to a wide degree of choice. I could equip skills from various lines, which is something I lost when the system was revised. Skills became tied to specific trees and I lost access to some the moment I committed to a specific build. It would be disappointing to see a similar situation arise in STO. I appreciate that there is a need for a degree of simplicity in some of the games core mechanics but to do so at the expense of variety and choice isn’t necessarily a good trade. So like many others I shall be monitoring this situation over the months to come to see if skills system revamp can be implemented with minimal fallout.
Goodbye Bingo Boffin
When Turbine introduced the episodic content, The ballad of Bingo Boffin to LOTRO last June, I was fully aware of its underlying purpose. The weekly story is a tour guide around the ageing games various zones and serves as a marketing campaign for free players to either subscribe or buy quests packs. The story has at times had its charms and despite its fundamental lore breaking premise, has proven intermittently entertaining. However the current instalment episode 21 First Breakfast is perhaps the most lacklustre undertaking to date. Firstly we now find ourselves in Mirkwood, perhaps the most lamentable zone in LOTRO and secondly the narrative and quest parameters are by far the most arbitrary. I feel that the game that I’ve played consistently since 2008 has now crossed a line and I no longer see any reason to continue logging in for the immediate future.
When Turbine introduced the episodic content, The ballad of Bingo Boffin to LOTRO last June, I was fully aware of its underlying purpose. The weekly story is a tour guide around the ageing games various zones and serves as a marketing campaign for free players to either subscribe or buy quests packs. The story has at times had its charms and despite its fundamental lore breaking premise, has proven intermittently entertaining. However the current instalment episode 21 First Breakfast is perhaps the most lacklustre undertaking to date. Firstly we now find ourselves in Mirkwood, perhaps the most lamentable zone in LOTRO and secondly the narrative and quest parameters are by far the most arbitrary. I feel that the game that I’ve played consistently since 2008 has now crossed a line and I no longer see any reason to continue logging in for the immediate future.
On mature reflection, I would have thought it would have been one of the larger issues that have arisen since LOTRO went F2P that would’ve proven to be the straw that broke the camel’s back. I was unhappy about the move to a consolidated skills tree that came with Helm’s Deep, yet I managed to look beyond this. I also thought the cessation of paid expansions was a poor decision yet found a degree of compensation with the bi-annual update system. Loyalty and a sense of idle curiosity about LOTRO’s fate has kept me playing for the last eighteen months but today has starkly highlighted just how far the game has declined. To call LOTRO an interactive travelogue is frankly too generous. The game in its current state is treading water. A new player may well enjoy the original content from The Shadow of Angmar and the Mines of Moria but those languishing at level cap are faced with a uninspiring regional quests a numerous, monotonous reputation grinds.
So for the time being I shall no longer log into LOTRO. The game no longer offers anything that I want to do. Yes there is content but none of it seems to provide any anything of any worth and even the so called “journey” can no longer suffice as an incentive. The journey is simply now a chore and as gaming is supposed to be “fun”, I will have to seek that fun elsewhere. It would appear that the recent server upgrades have failed to address any of the technical issues that have plagued the game’s performance since mounted combat was introduced. As a result many players have decided to vote with their feet. When you consider the size of the current development team and the resources they have available to them, it is highly unlikely there will be some sort of LOTRO renaissance. Perhaps leaving Middle-earth now is a smarter choice than enduring a long and protracted decline.
SWTOR - Knights of the Fallen Empire
I decided to return to SWTOR today, not because I wanted another MMO but instead required a narrative driven RPG. I’ve been convinced by several websites and podcast that BioWare has effectively given us KOTOR 3 via Knights of the Fallen Empire and so I decided it was time to revisit the proverbial galaxy far, far away etc. I initially played SWTOR upon its launch in late 2011 and returned to the game after the F2P conversion, when Rise of the Hutt Cartel expansion was released. Although I enjoyed the game more second time around I still felt that it sat somewhat uncomfortably between an old school MMO and a more contemporary variation. The less said about Galactic Starfighter the better, as that expansion just wasn’t to my liking. Essentially my return to the game is based on the promise of a single player RPG experience and the underlying appeal of the franchise.
I decided to return to SWTOR today, not because I wanted another MMO but instead required a narrative driven RPG. I’ve been convinced by several websites and podcast that BioWare has effectively given us KOTOR 3 via Knights of the Fallen Empire and so I decided it was time to revisit the proverbial galaxy far, far away etc. I initially played SWTOR upon its launch in late 2011 and returned to the game after the F2P conversion, when Rise of the Hutt Cartel expansion was released. Although I enjoyed the game more second time around I still felt that it sat somewhat uncomfortably between an old school MMO and a more contemporary variation. The less said about Galactic Starfighter the better, as that expansion just wasn’t to my liking. Essentially my return to the game is based on the promise of a single player RPG experience and the underlying appeal of the franchise.
Overall re-installing the game wasn’t too difficult. I managed to download the entire game client within an hour and forty minutes. To get the benefits of the latest expansion, a subscription is required which meant logging into the official SWTOR website. The one time password verification system quickly became trying but I sorted out a month’s fees while the game was installing. Once the game client was updated I logged in to find all three of my old characters. I had a brief look at them all but soon concluded that I had absolutely no idea how to play them or navigate around the game. So rather than waste time with these and play through the slightly older, more traditional MMO content, I decided to create a level 60 character for the new storyline. However before I proceeded I checked my cartel coins and found that I had nearly 5,000. So I bought some account wide inventory space and unlocked the Sith Pureblood skin.
Despite having played SWTOR before I’ve never explored either the Jedi or Sith classes, so this time round I decided to go all in and create a Red Sith Juggernaut. As ever the only stumbling block during character creation was trying to find a suitable name that hadn’t been already taken. This game mechanic has often been one of the MMO genre’s Achilles Heel. However once a name was secured I jumped straight into the action and played though the first chapter of Knights of the Fallen Empire. Despite many familiar aspects such as the GIU and the basic game mechanics, the story takes a far more dominant place in the proceedings and the narrative moves events forward very much like a single player RPG. Checkpoints are regularly reached and as a player I can log out of the new story and return to the more traditional MMO content should I see fit. However for those wishing to avoid the usual trappings of an MMO such as other players, chat and people just generally getting under your feet, then there is a large onscreen button to return you to the instanced episodic content.
So far although I have not gone far into the story, I am enjoying my return to SWTOR. It has the usual Star Wars ambience with its strong idiomatic soundtrack and quality voice acting. As I didn’t play through the last expansion Shadow of Revan, I’m not up to speed with the plot. However I have spent some time perusing the Star Wars wiki and this has helped no end. After all Knights of the Fallen Empire is virtually an RPG and for me the appeal of that genre lies mainly with their narrative content. I don’t have many negative comments at present, although I do feel that SWTOR still has an excess of skills. The time I spent in Guild Wars 2 in recent years has certainly taught me that less is more. My hot bars in SWTOR are already awash with icons and I really don’t think that all of them are essential. I guess time will tell. At present I have a month to decide if Knights of the Fallen Empire is to my liking and it has only cost me £8.99, which means that if it goes ill, I won’t feel especially out of pocket.
Upgrading Gear in Star Trek Online
The recent upgrade weekend in Star Trek Online has proven to be an interesting experience. The 100% increase in technology points that the event offered meant upgrading gear has been a far more viable proposition than usual. So I decided to explore this aspect of the game and see if I could improve my overall build on my primary Federation character. However I am far from a knowledgeable player and was therefore initially unsure as to where to start. Should I upgrade my ship’s equipment such as deflector, warp core and shields first or focus on the various consoles. Concern over spending precious resources incorrectly is often an issue in the MMO genre. So I decided to do some research before I proceeded.
The recent upgrade weekend in Star Trek Online has proven to be an interesting experience. The 100% increase in technology points that the event offered meant upgrading gear has been a far more viable proposition than usual. So I decided to explore this aspect of the game and see if I could improve my overall build on my primary Federation character. However I am far from a knowledgeable player and was therefore initially unsure as to where to start. Should I upgrade my ship’s equipment such as deflector, warp core and shields first or focus on the various consoles. Concern over spending precious resources incorrectly is often an issue in the MMO genre. So I decided to do some research before I proceeded.
As ever with MMOs, there is seldom a universal answer. A lot of the advice available on the various STO subreddits is determined by such factors as class, ship preference and the level to which a player pursues the game. I also learned via the upgrade panel in the game that not all stats on an item can be upgraded. The preview facility is invaluable in this respect. So I pursued a common sense approach to my upgrade policy and augmented equipment that gave stats boost that I could clearly see and understand, such as EPS. Fortunately I had more resources than I anticipated and managed to upgrade all my ground gear set to Mark XIV, as well as my ships equipment. I then upgraded all my fleet engineering and science consoles as well as all of my tactical consoles. Fortunately all my weapons were already at the maximum tier.
I am quite a goal orientated player in Star Trek Online and although I do not aspire towards playing the game to its highest level, am pleased at the results that I have achieved in recent months. The upgrade weekend has meant that I’ve now attained a respectable 15K DPS and have a build that can adequately handle PVE content. Pursuing any further equipment and gear upgrades is not a priority at present because outside of the event bonus, the cost is a prohibitive. I simply do not have the resources required and am not prepared to grind to the level required to obtain them. So for now I am content with my current statistics and if I am to change anything, I may experiment with using different ships from my existing roster.
Deadpool (2016)
Deadpool firmly nails its colours to the mast within the first minute of the opening credits with such statements as “Directed by an overpaid tool”. With the tone clearly established the movie then proceeds to satirise the very genre its set in and walks a very fine line between knowing in-jokes and actually biting the hand that feeds it. The screenplay is littered with profanity and dick jokes, with violent death frequently served as a punchline. The only thing missing from the proceedings are well placed rimshots. Deadpool is a film that will polarise audiences. Many will find the breaking of the fourth wall, the smutty quips along with the overall mocking of the super hero genre very droll. However there will be some critics who are obliged to see this movie that won’t be in on the joke and they will more than likely leave theatres very offended.
Deadpool firmly nails its colours to the mast within the first minute of the opening credits with such statements as “Directed by an overpaid tool”. With the tone clearly established the movie then proceeds to satirise the very genre its set in and walks a very fine line between knowing in-jokes and actually biting the hand that feeds it. The screenplay is littered with profanity and dick jokes, with violent death frequently served as a punchline. The only thing missing from the proceedings are well placed rimshots. Deadpool is a film that will polarise audiences. Many will find the breaking of the fourth wall, the smutty quips along with the overall mocking of the super hero genre very droll. However there will be some critics who are obliged to see this movie that won’t be in on the joke and they will more than likely leave theatres very offended.
As for me, I thoroughly enjoyed Deadpool. Despite being very traditional with its storyline, offering a standard “super hero origin” tale, it has an enjoyable narrative structure based upon a series of flashbacks. This is a story of boy meets girl, boy gets cancer and boy then takes a gamble on a covert military project that will allegedly cure him. Naturally our hero is betrayed and left with regenerative powers but horribly scarred. Obligatory vengeance is required and mayhem, slaughter and extreme violence ensues. Directors Tim Miller does a great deal with the films moderate budget and when the resources simply aren’t there, he ensures there’s a self-effacing quip in the script to mitigate the problem. It’s a clever approach that certainly entertained audiences in the screening I saw.
Performances are universally good and suit the idiom of the film. Ryan Reynolds, Morena Baccarin and Ed Skrein are well cast and tackle their respective roles in an appropriate manner. However it is writers Paul Wernick and Rhett Reese who really should take the credit for the movies success. They hit exactly the right tone and broadly maintain it throughout the films one hundred and eight minute running time. There are a few jokes that go astray but most of the time the dialogue hits the mark. There’s a superb gag involving a potential death by Zamboni that pleased the crowd and I enjoyed the way that Wham’s Careless Whisper was crowbarred into the proceedings. Extra marks are awarded for Deadpool’s musings upon Bryan Mills (Liam Neeson from Taken).
Deadpool is a wry and clever movie but it inevitably remains a niche market product. It certainly deserves to do as well as it can at the box office within the parameters of its genre, as I wouldn’t mind seeing another cinematic excursion. However I don’t think it’s a franchise that is indefinitely sustainable. Yet compared to the usual Marvel cinematic universe output, Deadpool is a breath of fresh air. The serious tone and lofty aspirations of the genre are beautifully subverted here. Therefore savour Deadpool for what it is and don’t forget to stay for the obligatory post credits sequence. As you’d expect from such a movie it flies in the face of the usual teaser format. Think Ferris Bueller's Day Off and you won’t be disappointed.
MMOs - Look to the Future, Not the Past
My local High Street has numerous restaurants of all varieties. A few years ago one such establishment changed ownership and re-opened serving traditional Italian cuisine. It was family run and subsequently had a great atmosphere with a very personal touch. The food was excellent and the chef endeavoured to do things differently, rather than slavishly churn out the usual UK interpretation of Italian cuisine. Naturally this had an impact on prices but I was happy to accommodate this because I felt I was getting a superior product and experience. Sadly L’Angelo’s closed because it couldn’t compete with the chain restaurants that subsequently opened up. Quality and ambience fell victim to corporate market domination.
My local High Street has numerous restaurants of all varieties. A few years ago one such establishment changed ownership and re-opened serving traditional Italian cuisine. It was family run and subsequently had a great atmosphere with a very personal touch. The food was excellent and the chef endeavoured to do things differently, rather than slavishly churn out the usual UK interpretation of Italian cuisine. Naturally this had an impact on prices but I was happy to accommodate this because I felt I was getting a superior product and experience. Sadly L’Angelo’s closed because it couldn’t compete with the chain restaurants that subsequently opened up. Quality and ambience fell victim to corporate market domination.
I read a post today over at Wolfshead Online regarding the decline of the traditional MMO. It covers a lot of familiar ground and does so well. It is an article driven by emotion and a personal ideology. Furthermore I’m sure a lot of gamers will share a similar world view and I am not going to argue that such an outlook is totally wrong. However the author’s arguments are based upon the notion of games being more than just products and that they should aspire to be more than just mediums of entertainment. He argues that virtual worlds should live up to their name and offer some sort of meaningful social contract with the player. It’s a nice concept. Sadly it is highly unlikely to happen within the current free market system.
There are many noble ideas and concepts that are impractical in reality; unilateral disarmament, non-selective education and universal state pensions. Gaming is no longer the preserve of a select few but a mainstream industry. It is no longer solely driven by concepts of art or creating the best game that you can. Those days are gone, the same way the movie industry has moved on from the seventies and the concept of the auteur director. It’s all about brands, franchises and maximum monetisation. A good game is a secondary consideration. It’s a sad reality and I am not necessarily endorsing it. However it is a reality that I accept and as a result I have changed my relationship with the MMO genre.
I think most entertainment industries go through a period where creativity and artistic aspiration briefly reigns. Our perceptions of such industries are also contextual so many gamers opinions are shaped by when they started gaming and the era they experienced. Although I am aware of this bias, I try not to be governed by it. I prefer not to let my heart over rule my head and philosophically always try to look forward rather than back. Yes there are deficiencies in the MMO genre but there is also scope for positive change. Those changes will simply happen within a smaller market. It’s true that many of us feel we haven’t gotten what we wanted but such is life. Do we not have to eventually reconcile ourselves to this concept? So although it’s prudent to consider what “may have been” with regard to this genre, it’s not ultimately beneficial to dwell on it excessively.
I started this post with an anecdote to illustrate a point so I’ll close with one. I use to drink in a pub in Bromley in the middle eighties that showcased a lot of live music. There were several ex- musicians and individuals that at one time had worked within the music industry. A common refrain from many of them was that the music of the time was “not as good” as it used to be. Yet the eighties are now considered to be a decade with a rich and diverse music history. Regardless of one’s stance all things change. It’s something else we have to come to terms with I life. I don’t see any benefits in being the gaming equivalent of the old Muso, habitually looking back or pondering “what if” scenarios. If we all adopted such a stance nothing would ever change, for good or ill. Sometimes it's good to draw a line under something and move on.
*Stats via SuperData
To Blog or Not to Blog?
I’ve been ill recently. What started off as just an innocuous winter cold subsequently became a chest and eye infection. Despite being in relatively good health for a man of my age, this bout of illness really knocked me for six. The Doctor ordered bed rest and that’s exactly what I did. Frankly I didn’t feel at all disposed towards doing anything else, so as a result all blogging ceased and the podcast, which was already on hiatus, has been kicked further into the long grass. For a few fleeting minutes I felt some misplaced angst, regarding this lull in content creation but it was short lived. Frankly it felt good to not have to worry about daily posts or interesting topics to discuss.
I’ve been ill recently. What started off as just an innocuous winter cold subsequently became a chest and eye infection. Despite being in relatively good health for a man of my age, this bout of illness really knocked me for six. The Doctor ordered bed rest and that’s exactly what I did. Frankly I didn’t feel at all disposed towards doing anything else, so as a result all blogging ceased and the podcast, which was already on hiatus, has been kicked further into the long grass. For a few fleeting minutes I felt some misplaced angst, regarding this lull in content creation but it was short lived. Frankly it felt good to not have to worry about daily posts or interesting topics to discuss.
I have been feeling somewhat jaded with regard to blogging of late; especially when it comes to gaming. People are still writing about the games they play and reacting to the latest news but no one seems to be doing any in-depth think pieces anymore. They’ve either all be done or perhaps some bloggers just feel that there isn’t any point anymore. I look back through material I wrote five years ago and I no longer recognise the love and affection I use to lavish on the games I played back then. I also often find myself at odds with the community I’m allegedly part of. I see gamers behaving in an unedifying fashion or simply demonstrating a distinct lack of perspective and proportion.
Plus it shouldn’t be forgotten that writing a blog to some sort of standard or creating a weekly podcast is time consuming and “work” for want of another phrase. It can be very rewarding when the heavens align and you produce something that connects with your audience. On other occasions it is a proverbial millstone round your neck that you’d happily be rid of. Then there is the perennial issue of time and the fact that it’s a finite commodity. I think there’s something about hitting middle age that really provides you with an epiphany with regard to this precious resource.
However despite all the apathy and negativity, I still find blogging very useful for marshalling my thoughts and refining my views and opinions. Irrespective of whether people read my writing, I find the process of committing my ideas to text an incredibly beneficial tool. I also enjoy recording the Burton and Scrooge podcast. When it goes well Brian and I have a lot of fun. I am very fortunate to have such an amiable co-host. So it would seem that the good points about content creation currently trump the bad ones and therefore motivate me to push through this malaise of indifference.
So over the next few weeks I shall not only continue to inflict my views upon an unsuspecting internet but I’ll actually back fill posts from the previous two weeks. I don’t know why exactly but it seems to satisfy my notions of order and balance. Don’t be surprised if I stray in to non-game related subjects more often. I’ve become increasingly disposed towards just writing what comes in to my head these days and some of the stuff in their even surprises me. So it’s back to the grindstone I guess.
Not Liking Sport
Sport can be a universal icebreaker at social and work related gatherings. Having spent several years in the field of short term IT contracts, I’ve frequently found myself working with small groups of men (mainly), often from different parts of the UK or from around the world. One of the first subjects broached so people could get to know each other would usually be sport. “Did you see the (insert sporting event here)?” is a common place opening gambit. The next thing you know people are holding forth and a social dynamic is formed. This is a classic example of the sort of etiquette that helps society tick over. However there’s only one problem with this social tool. I don't care for sport. As a result I can be at a social disadvantage in certain scenarios.
Sport can be a universal icebreaker at social and work related gatherings. Having spent several years in the field of short term IT contracts, I’ve frequently found myself working with small groups of men (mainly), often from different parts of the UK or from around the world. One of the first subjects broached so people could get to know each other would usually be sport. “Did you see the (insert sporting event here)?” is a common place opening gambit. The next thing you know people are holding forth and a social dynamic is formed. This is a classic example of the sort of etiquette that helps society tick over. However there’s only one problem with this social tool. I don't care for sport. As a result I can be at a social disadvantage in certain scenarios.
Let me qualify my position. I have no specific hatred of sport or sporting endeavours. I totally "get" why other people do like them in all there various manifestations. I simply have no major interest in any of them and don't imbue them, their respective exponents or the wider culture with a lot of the virtues and merits that some people do. I recognise that sport can do a lot of good for both individuals and groups and that it can play a valid role within society. However I temper this outlook with the fact that sports are big business and that this will potentially bring a whole host of other not so beneficial issues to bear.
One of the questions I’ve pondered over the years is how have I arrived at being a non-sports person, when so many people do the opposite? Well I guess it has a lot to do with one’s personal upbringing. A love of sports usually starts in the home, which is something I’ve never had. As a child the TV was not on during Saturday afternoon, mainly because my Dad is an academic with no interest in sport. We never went to sporting events of supported any local teams or activities. Thus sports per se have always just been something that other people do and therefore never had a particular hold over me. With my own son I was scrupulously aware that a lack of exposure to sport may be a negative thing, so his Godfather filled the gap in this area, taking him to football matches and the like.
Other aspects of sporting culture have proven problematic for me over the years and have ensured that I have not altered my position. Many sports are vehicles for elitism, sexism, racism, and pretty much any other "ism" that's going. I am aware that not everyone involved with sport falls in to this category but it’s not just a fringe element either. I also struggle with the entire concept of vicariously living through others achievements and that terms such as “we” are frequently used when discussing a team’s achievements or failures. Fandom is also rife with armchair experts and folk wearing sports related clothing. Yet many are patently incapable of participating in the activities that they venerate. It should be noted that fandom is seldom based upon critical thinking and thus has its blind spots.
Despite my upbringing I was far from averse from participating in sporting activities at school. Quite the opposite was true and I use to try pretty much everything with an open mind. However my motivation was often very different to others. I participated in sporting activities for their own inherent fun and was not really interested in the prevailing culture of competitiveness. This changed when I was picked to be on the school football team (in the UK sense of the word) roundabout the age of eleven. Here is a condensed version of the incident.
PE Teacher: Why didn't you come to football practise on Saturday morning?
Me: I didn't want to miss Swap Shop (for non UK folk, insert some other popular Saturday morning TV show )
PE Teacher: It's not about what you want but what the school wants...
This resulted in the PE teacher taking the matter up with my Father, thinking he could prevail on his generational notions of obligation, team play and respecting authority. He didn’t count on my Dad being an intellectual snob who thought Physical Education was a shit Degree to have. As a result he got short thrift from my Father who pointed out what I did with my own time was my concern and none of his. I spent the next few years on this particular teacher’s shit list as a result. But then again PE teachers in the 1970s were notorious bastards.
Let me be very candid about one other thing that I believe is relevant to this discussion. It’s something that a lot of people won't admit to. I don't enjoy losing. Although I’m old enough now to hide it well in social situations it still really gets on my tits. Naturally this is a stumbling block in the competitive world of sports. I also don't care for some of the aspects of team dynamics that are associated with sport, such as the concept of team failure over individual failure. I remember as a child being castigated by another teacher because the team that I was on had lost a game. It annoyed me no end that we were blamed as a group when the fault lay with two very specific individuals. Sod team responsibilities and the bogus notion of “character building”, whatever the fuck that is. I deal in logic and intellectual processes to determine where the weak link in a chain is.
So here I am now at the age of Fortysomething and there is an entire aspect of UK culture that passes me by. Don't get me wrong I can happily watch any major sporting event on TV, understand it and even discuss it for the sake of courtesy. I just don't give a shit about it. However as I mentioned earlier, I recognise that sport is a major ice breaker and therefore an invaluable social tool. But if you aren't in to it, then there’s a lot of TV programming, social events and general culture that simply passes you by. It doesn't happen so much now, especially in the circles I currently move in, but if you don't like sports you are often met with suspicion from certain quarters. Some will even consider it to be an indicator of your sexuality or politics for some reason.
Venerating an individual or a team’s dedication to excellence is laudable in principle. Human beings are competitive and naturally sports feed in to that. Sports also foster collaboration which is another important life skill. Yet like so many other cultural institutions there comes a tipping point where the positive and beneficial aspects that accompany them can quickly become something far less edifying. Fandom can become partisan and lead to violence. Then there is the entire issue of being part of a group that is not perceived as being part of the accepted social norm. Not liking sports can put you in such a demographic. I have fortunately not suffered to any degree by not embracing this part of UK culture. However I could see it being a problem for others in certain situations. Difference can be a convenient tool of oppression.
So there you have a succinct breakdown of my relationship with sport, or non-relationship as it is in this case. It just remains for me to put one question to you, the reader. Where do you stand on this matter? Do you like me, not care for this part of day to day life? Does it cause you any issues? How do you deal with it? I’d be fascinated to know.
Gravedigger Volume 1: Hot Women, Cold Cash (2015)
A fortuitous tweet in my timeline on Friday night afforded me the opportunity to buy Gravedigger Volume 1: Hot Women, Cold Cash for the bargain price of £2.50, over at Comixology. I’ve been aware of this film noir inspired comic series for a while but simply hadn’t gotten around to doing the right thing and supporting its creators Christopher Mills and Rick Burchett. Having now corrected this error I can now confidently state that Gravedigger thoroughly deserves all the plaudits it’s garnered of late. It’s been a while since a comic has grabbed my attention in this way and offered a thoroughly immersive experience.
A fortuitous tweet in my timeline on Friday night afforded me the opportunity to buy Gravedigger Volume 1: Hot Women, Cold Cash for the bargain price of £2.50, over at Comixology. I’ve been aware of this film noir inspired comic series for a while but simply hadn’t gotten around to doing the right thing and supporting its creators Christopher Mills and Rick Burchett. Having now corrected this error I can now confidently state that Gravedigger thoroughly deserves all the plaudits it’s garnered of late. It’s been a while since a comic has grabbed my attention in this way and offered a thoroughly immersive experience.
Volume 1 contains both parts of the 2015 story The Predators as well as the 2004 tale, The Scavengers. Both adventures centre on career thief and professional criminal “Gravedigger” McCrae; a hard, ruthless and calculating man with a weakness for the ladies and cold cash. The Predators finds McCrae in Florida for some rest and relaxation. When he wakes up next to the dead body of local mobster’s daughter he has to look to his wits to avoid both hired killers and the local wildlife. The Scavengers finds McCrae hired to plan a weapons heist and cutting a side deal with a femme fatale. Multiple double crosses lead to a desert showdown with no good outcomes.
What makes Gravedigger so compelling are its broad horizontal canvases and lean black and white art style. Rick Burchett’s artwork is tonally right, providing sufficient detail and pacing without getting bogged down in superfluous embellishment. Christopher Mills’ dialogue is very direct and he does a great deal with only a little. Both stories speak for themselves, yet there is depth and substance despite the lean and mean approach. It is clear that Burchett and Mills understand both the medium and the genre the story is set in. Gravedigger is aimed at a mature and savvy audience.
If you like the wise cracking, hardboiled literary thriller genre as well as the anti-hero driven crime movies of seventies, then Gravedigger has all that you need. It exudes atmosphere, menace and wry humour. The stories are concise and perfectly paced. If only Hollywood could make movies as classy as this. As for the Lee Marvin vibe that clearly runs through Gravedigger, what more can I say than it just works. McCrae even speaks his lines in Marvin’s sardonic tones when I’m reading. It’s a sublime embellishment. Therefore Gravedigger definitely gets the Contains Moderate Peril seal of approval (for what it’s worth) and I look forward to Gravedigger Volume 2, as soon as it becomes available.
Who Dares Wins (1982)
After watching television coverage of the SAS raid on the London Iranian Embassy in 1980, enterprising British producer Euan Lloyd registered the regimental motto of “Who Dares Wins” as a film title. The covert operations of the Special Air Service naturally lent themselves to cinematic interpretation as did the topical nature of their embassy siege. Lloyd, a veteran producer with several solid action movies under his belt (The Wild Geese, The Sea Wolves), then got busy casting trying to find an action hero who could star in the film and launch a possible franchise. It was no chance that role went to actor Lewis Collins, star of the TV series The Professionals.
After watching television coverage of the SAS raid on the London Iranian Embassy in 1980, enterprising British producer Euan Lloyd registered the regimental motto of “Who Dares Wins” as a film title. The covert operations of the Special Air Service naturally lent themselves to cinematic interpretation as did the topical nature of the embassy siege. Lloyd, a veteran producer with several solid action movies under his belt (The Wild Geese, The Sea Wolves), then began trying to find a suitable action hero who could star in the film and launch a possible franchise. It was no chance that role went to actor Lewis Collins, star of the TV series The Professionals.
Collins, who had at one point been a contender for the role of Bond, was taken by Lloyd to the same barber and tailor that Sean Connery had used and was then marketed as the new British lead man and action star. The production received a great deal of media coverage and looked to be a box office hit. Sadly despite the success of Who Dares Wins in the UK market, it failed to do well in the US, where it was released under the title of The Final Option. Attempts to secure funding for a sequel failed and the project inevitably stalled. Collins subsequently left the UK and gained success in the Europe with a string of international action films, such as Codename: Wild Geese and Commando Leopard.
The script by Reginald Rose was loosely adapted from James Follet's novel, "The Tiptoe Boys". It also draws heavily on the TV footage of the Iranian embassy siege, which caused quite a stir at the time. The central characters and the political subtext are somewhat formulaic and the subject of unilateral disarmament is explored in a heavy handed fashion. The terrorists are stereotypical with a clichéd revolutionary ideology and the politicians also two dimensional. The "skinheads" that appear and disrupt a benefit concert are possibly the most implausible ever depicted. The cast of British character actors such as Edward Woodward and Kenneth Griffith do their best with the leaden script.
Fortunately the military aspects of the story are very credible and manage to save Who Dares Wins from utter disaster. Training with live ammunition, survival exercises in Wales and exchange projects with other special forces from allied countries are all based in fact. The action scenes, particularly the climatic raid on the Embassy are accurately staged, by veteran Bond Stunt co-ordinator Bob Simmons. For example the SAS do not shoot the locks off the door but the timber around the hinges. Details such as the staircase shootings and the curtains set alight by the thunder flash explosion are based upon incidents that occurred during the real raid. There are several hand to hand fight scenes that are also well staged.
Who Dares Wins is a fine companion piece to Euan Lloyd's other famous action film The Wild Geese, as they share many similarities. Both have a somewhat naïve grasp of geo-politics, a plethora of British character actors struggling with an overcooked script and finely crafted action scenes. Who Dares Wins also sports a solid score by British Composer Roy Budd. There’s an excruciating concert scene which features Jerry and Marc Donahue, as the band Metamorphosis. The song “Right on Time” is not that bad but when you consider the music of the decade and the bands associated with such organisations as CND, it feels somewhat out of place. However, this and many other flaws actually add to the peculiar charm of the movie. Who Dares Wins is far from an accurate depiction of events but it does make for enjoyable post pub viewing.
Getting What You Want in MMOs
MMOs are all about the proverbial carrot on a stick. The carrot can take on many guises and not everyone is pursuing the same goal. However most players at some point have set their sight on something in particular and doggedly gone about pursuing it. The tale I am about to tell is regarding Star Trek Online, although I’m sure readers may well find parallels with other MMOs that they may play. Essentially this is about when you just decide that you want something in a game. It may be relevant to your overall gameplay and offer a significant enhancement. It may also be just a cosmetic item that has taken your fancy. Either way you’ve decided that you must have this specific thing and that you are going to get it, come hell or high water.
MMOs are all about the proverbial carrot on a stick. The carrot can take on many guises and not everyone is pursuing the same goal. However most players at some point have set their sight on something in particular and doggedly gone about pursuing it. The tale I am about to tell is regarding Star Trek Online, although I’m sure readers may well find parallels with other MMOs that they may play. Essentially this is about when you just decide that you want something in a game. It may be relevant to your overall gameplay and offer a significant enhancement. It may also be just a cosmetic item that has taken your fancy. Either way you’ve decided that you must have this specific thing and that you are going to get it, come hell or high water.
If there is a spectrum of players in STO, I guess I’m somewhere in the middle. I have three characters at level cap and have a fairly well kitted out primary Federation alt. I’m not really interested in pursuing top tier status with a ship outputting 50K plus DPS because it means too much work. However I’m not a casual player content with just getting by via just in-game drops. So I have bought ships from the in-game store and equipped them with reputation and fleet items. Also I like to customise the look of my vessel and my crew; personalising your MMO experience is a major part of its selling point.
Last year after perusing the STO wiki, I discovered the Wells Temporal Science Vessel and for no particular reason it became the object of my affection. I don’t even play a Science class, preferring the pew-pew approach of a Tactical Captain. Yet this didn’t matter, as the Wells Temporal Science Vessel is a fine looking ship. That’s pretty much what it boiled down to. I decided I wanted something shiny. Furthermore this ship is not available for purchase in the in-game store. It can only be obtained via a Temporal Lockbox. In STO lockboxes are opened by keys that can be purchased or exchanged for in-game currency. It should also be noted that the chance of getting the aforementioned vessel from a lockbox is 0.41% or thereabouts.
To cut a long story short, after a several months of stockpiling my Zen stipend and also converting Dilithium into more Zen, I opened thirty one Temporal lockboxes. Let it suffice to say that apart from some indifferent duty officers, a smattering of Lobi crystals and some minor boost tokens I did not secure the ship I was looking for. Had I purchased the lockbox keys with cash I would have spent about $30 or so, which gave me pause for thought. Naturally my lack of success increased my desire for the ship in question and I considered the possibility of spending real money on purchasing a further batch of keys. However another option came to mind and after a quick Google search I decided upon an alternative plan.
Lockboxes give Lobi crystals when opened. This can be anything between four and fifty. The crystals can then be exchanged via a vendor for gear and ships. One such ship is the Mobius Temporal Destroyer, a Mirror Universe variant of the Wells Temporal Science Vessel. It has a tactical build so is actually more suitable for my type of game play (which is not sophisticated). Through spurious logic I quickly made this ship my new objection of obsession. However it costs 800 Lobi crystals and I have only 166. The random nature of lockboxes meant I could potential spend a fortune on keys before I had sufficient currency. So I opted to buy the ship for $28 from an online vendor instead. That works out at about £15 which I thought was a fair price.
Now buying from such sources always comes with an element of risk. These sort of online traders that primarily deal in gold are far from legitimate. However I saw the risk as being no more than that of buying a bunch of lockbox keys and not getting lucky, so I bought the ship via PayPal. It was delivered to me in-game about half a day later (due to the time differences between the UK and China). Let it suffice to say that I now have the ship I desired and not only is it a fine looking vessel but it performs well. Being a Tier 5 ship from a lockbox, I was entitled to a free Tier 5U upgrade and I now have all the ship’s mastery skills unlocked. I have also managed to increase my DPS output to 11K which is not too shameful.
In writing this account it is curious to reflect upon the way we latch on to certain items or pursue specific goals in MMOs. I’m sure someone, somewhere has written a study about such behaviour. This recent situation with the ship has put me in mind of when I was determined to get the skeleton horse in LOTRO when the Haunted Burrow event went live for the first time. I also obsessed for hours regarding the Charzooka in Guild Wars 2. I’m still not exactly sure what drives these needs and desires to get what we allegedly want. Bragging rights is one answer or may be the satisfaction of earning something after a long grind. I simply got what I wanted by spending money so perhaps that makes we feel that I’ve gamed the system. Either way, I wouldn’t be in the least bit surprised if I find myself doing this gain in the future, either in STO or some other MMOs.
Note:
Both the Wells Temporal Science Vessel and the Mobius Temporal Destroyer, being unbound items can be exchanged or sold on the in-game auction house. Their respective prices are 400 million and 175 million Energy Credits, which for those who do not play STO, is a lot.
LOTRO – Update 17.2 Adds New Quests in Minas Tirith
Having recently completed Update 17 for LOTRO one of my main complaints was a shortage of quality quests in the new area. The Epic Story dominates the proceedings and I was quite surprised by the lack of secondary quest hubs both inside and outside of the Pelennor Fields. However update 17.2 that was deployed today has addressed this issue by adding several new quest lines. These can be found near the Stone Theatre (in the northern 1st Tier), inside the Houses of Lore, inside the Houses of Healing, at the Citadel, at the Training Ground, and near the Baths of Belecthor (in the 4th Tier). A new public endgame space is available in the city Cisterns.
Having recently completed Update 17 for LOTRO one of my main complaints was a shortage of quality quests in the new area. The Epic Story dominates the proceedings and I was quite surprised by the lack of secondary quest hubs both inside and outside of the Pelennor Fields. However update 17.2 that was deployed today has addressed this issue by adding several new quest lines. These can be found near the Stone Theatre (in the northern 1st Tier), inside the Houses of Lore, inside the Houses of Healing, at the Citadel, at the Training Ground, and near the Baths of Belecthor (in the 4th Tier). A new public endgame space is available in the city Cisterns.
The patch has also added a comprehensive list of all emotes that are available in the game. These can be perused and previewed via the collections panel. There have been nominal changes to some of the barter currency requirements and tweaks to the housing system. All mounted combat melee skills now do more damage (including melee auto-attack). Melee damage should be approximately doubled. There are now more stable travel options within Minas Tirith. It would also appear that Turbine have added a further “Chicken Run” via Sandson's Farm. Comprehensive patch notes can be found on the official LOTRO forums.
This patch certainly seems to be more generous than the usual bug fixes that are released. Perhaps Turbine are trying to make amends after their woeful datacentre move last week that is still proving problematic for some players. Furthermore, as many tech savvy players have stated, although improving the server performance issues may well improve gameplay to a degree, it doesn’t address the bottlenecks that exist within the game client that remains un-optimised. May be LOTRO players can take comfort in the fact that Turbine are currently recruiting for the following roles; Database Administrator, Senior Big Data Engineer and Senior Performance Engineer. Perhaps there are further performance improvements on the way.
Theremin versus Ondes Martenot
A few years ago UK Film Critic Mark Kermode made a short video extolling the virtues of that curious musical instrument the Theremin. However his performance was far from edifying, so to redress the balance, I’ve posted below the main theme from Mars Attacks by Danny Elfman. It highlights the ubiquity of this instrument in the science fiction genre. All of which stems from the wonderfully atmospheric score for the 1951 classic, The Day the Earth Stood by the great Hollywood composer Bernard Herrmann. It was a milestone in the evolution of film soundtracks. Both tracks illustrates the point made by Mr. Kermode perfectly. The Theremin, due to its frequent use in a genre during its most formative years, has virtually become the de facto “sound of space" in popular culture.
A few years ago UK Film Critic Mark Kermode made a short video extolling the virtues of that curious musical instrument the Theremin. However his performance was far from edifying, so to redress the balance, I’ve posted below the main theme from Mars Attacks by Danny Elfman. It highlights the ubiquity of this instrument in the science fiction genre. All of which stems from the wonderfully atmospheric score for the 1951 classic, The Day the Earth Stood by the great Hollywood composer Bernard Herrmann. It was a milestone in the evolution of film soundtracks. Both tracks illustrates the point made by Mr. Kermode perfectly. The Theremin, due to its frequent use in a genre during its most formative years, has virtually become the de facto “sound of space" in popular culture.
Or is it? There is another instrument that vies for the crown of the definitive sound of science fiction; namely the Ondes Martenot. This esoteric French instrument, has been used in many films and TV series, such as The Twilight Zone, Lawrence of Arabia, Billion Dollar Brain and Ghostbusters. The original design was similar in sound to the Theremin. The instrument's eerie wavering notes are produced by varying the frequency of oscillation in vacuum tubes.
Composer Barry Gray often used this instrument to great effect and I would argue that some of his compositions are the equal of those by the Hollywood greats. Here is the classic "Sleeping Astronauts" theme from the 1969 film Doppelgänger AKA Journey to the Far side of the Sun. It remains one of Barry Gray’s finest tracks.
It is often a mistake to make generalisations when it comes to fandom, due to its subjective nature. Genres that are so liberally populated by fanboys will be rife with debate over the most minor and esoteric of points. However I do not think that either instrument trumps the other and I like the eerie ambience of both. These two tracks are outstanding in their own way and I think that pop culture can happily give them equal billing with regard to their contribution to the “sound of space”.
Tomorrow Never Dies (1997)
By the time the Bond franchise had reached its 18th incarnation in 1997 with Tomorrow Never Dies, the coveted opportunity to provide the title track was chosen through a competitive tender process. There were twelve submissions made for the movie, including songs from Swan Lee, Pulp, Saint Etienne, Marc Almond, Sheryl Crow and David Arnold. Arnold had already been personally recommended to compose the film’s soundtrack by Bond veteran John Barry, who had retired from the series in 1987.
By the time the Bond franchise had reached its 18th incarnation in 1997 with Tomorrow Never Dies, the coveted opportunity to provide the title track was chosen through a competitive tender process. There were twelve submissions made for the movie, including songs from Swan Lee, Pulp, Saint Etienne, Marc Almond, Sheryl Crow and David Arnold. Arnold had already been personally recommended to compose the film’s soundtrack by Bond veteran John Barry, who had retired from the series in 1987.
The producers eventually chose Sheryl Crow's track for the main titles, while David Arnold's song "Surrender" performed by K.D. Lang, was relegated to the end titles. Arnold’s song had obviously been a very serious contender at one point as its melody occurs in various cues throughout the film. The decision to parachute Crows song into the iconic title sequence was more than likely based on commercial considerations. However, "Surrender" is an infinitely superior song, written in a traditional Bond idiom and performed in a similarly appropriate fashion.
This is yet another example of the many “curious” business decisions that have been made regarding the Bond movies over the last fifty years. Others include the removal of George Lazenby after one movie and the decision to release Licence to Kill in the summer of 1989, thus competing with Lethal Weapon 2, Indiana Jones and the Last Crusade and Batman. Yet despite these odd choices the franchise still remains a major box office attraction and K.D. Lang’s "Surrender" is still the epitome of a Bond title song, even if it never quite achieved that status.
LOTRO Server Issues
Monday’s datacentre migration has unsurprisingly proven problematic for Turbine. As a result major issues continue to affect LOTRO players with faults such as severe lag, bad rubberbanding and random crashes to desktop and server disconnects being common place. Players have also had to endure loss of housing items, loss of friend lists and disconnection from chat servers. Five days later, despite hotfixes and continuing maintenance many players still find the game “problematic”. Turbine are naturally trying their best to keep the community informed but the longer this problem persists the more damage it potentially does.
Monday’s datacentre migration has unsurprisingly proven problematic for Turbine. As a result major issues continue to affect LOTRO players with faults such as severe lag, bad rubberbanding and random crashes to desktop and server disconnects being common place. Players have also had to endure loss of housing items, loss of friend lists and disconnection from chat servers. Five days later, despite hotfixes and continuing maintenance many players still find the game “problematic”. Turbine are naturally trying their best to keep the community informed but the longer this problem persists the more damage it potentially does.
A side issue that has emerged from this situation is the fact that the five remaining European LOTRO servers will now not be relocated to Amsterdam. Instead they will be joining the five US servers in New Jersey in the new datacentre. Naturally players based outside of the US have already voiced concerns as to whether the increase in latency and exacerbates the ongoing technical problems. Furthermore Turbine have not yet confirmed a revised date for the proposed EU server move bringing in to question whether it was ever a genuine proposal.
Turbine have struggled in the past to make good on some of their promises and commitments. Like many businesses those dealing with the public are not necessarily privy to policy decisions being made at senior levels. It has been suggested by some more canny industry commentators that perhaps the company is reticent to move infrastructure to Europe in light of recent changes to consumer protection legislation, which are more robust and customer friendly than its US counterpart. Whether this is the case or not is uncertain at present but certainly both the change in decision regarding the servers and the impact that the migration has had is pause for thought for all concerned.
Downtime and login issues impact ultimately on the bottom line. A player that does not log in to the game is a player that is not spending and I have suspicion that LOTRO is a game that survives purely because it hits a specific financial target each quarter. Despite what some gamers may think there is seldom any sentiment in business and the moment the numbers aren’t favourable then hard decisions are made. Let us hope that the folk at Turbine can find a speedy solution to the ongoing issues currently affecting LOTRO. I cannot help but think that given the reduced size of the production team that they may have overreached themselves. Let us hope that is not the case.
Are the Oscars Still Relevant?
The idea of a meritocracy where you are fairly judged by your peers is a noble and idealistic notion. It is one that many august bodies aspire to, as they endeavour to honour those they claim to represent. Yet the reality is often quite different from the intended aim. I believe that the Oscars are a text book example of this. Rather than being an impartial and honest award ceremony, the entire events is more a demonstration of corporate leverage and power politics. Furthermore, it would seem that the wider public has fallen out of love with Hollywood as yearly viewing figures fluctuate. Overall this is more of an event for the benefit of Hollywood, rather than a promotion of the art of cinema.
The idea of a meritocracy where you are fairly judged by your peers is a noble and idealistic notion. It is one that many august bodies aspire to, as they endeavour to honour those they claim to represent. Yet the reality is often quite different from the intended aim. I believe that the Oscars are a text book example of this. Rather than being an impartial and honest award ceremony, the entire events is more a demonstration of corporate leverage and power politics. Furthermore, it would seem that the wider public has fallen out of love with Hollywood as yearly viewing figures fluctuate. Overall this is more of an event for the benefit of Hollywood, rather than a promotion of the art of cinema.
There's a degree of cynicism associated with this annual event and each year’s nominations are frequently met with an air of scepticism. "Worthy" titles that have performed well at the box office, or that tick the right boxes make the list. It is all very predictable. There also prevails a "them and us" mentality between independent film makers and the big studios. The academy is a creature of habit that seldom deviates from its established game plan. Certain genres will never be afforded any acknowledgement and specific actors and film makers who exist outside of the mainstream are effectively out of the running.
That's not to say that all academy awards are contrived or unjust. A great deal of talented individuals and quality productions are appropriately honoured. Life time achievements are often honestly given. But the proceedings are still hindered by a very US-centric outlook and a predilection to focus on box office returns rather than broader creativity. Documentaries, short films, animation, as well as genres such as horror and science fiction do not get treated the same as human dramas, biopic, or historical movies. It seems at times that there is almost a formula to achieving an academy award. Perhaps there is truth in Kirk Lazarus' statement about "Never go full retard".
It will be interesting to see how well this year’s live award ceremony will be received. I have a horrible suspicion that the return of Chris Rock as host is merely a political gesture to try and negate the #OscarsSoWhite lobby that has manifested for a second year. Furthermore exactly how much influence does this annual event have on an increasingly independently minded public? It would seem that the traditional critic now has to seriously compete with social media and word of mouth. People seem more comfortable taking advice and recommendations from friends rather than established bodies. If the Oscars fail to have the impact that people such as Harvey Weinstein expect, then there may well be a lot of disappointed executives and investors.
We live in times when fans and enthusiasts can easily communicate with each other, create communities and hold events. Often awards and honours coming from these quarters hold more meaning for the recipients. If people feel that the academy is not representing certain sectors or showcasing certain artists, then alternative bodies will emerge to fill the gap. If recent history has shown us anything, it is that niche markets can often grow in to far more substantial entities. We have also seen a cultural shift in which the public increasingly feels it’s important that they have a say in matters themselves. Perhaps the Academy of Motion Picture Arts and Sciences needs to consider reinventing itself before it becomes totally obsolete.
Alan Rickman (1946 - 2016)
I first became aware of the actor Alan Rickman during the early eighties while watching The Barchester Chronicles. He played the scheming curate Obadiah Slope who aspired to the office of Bishop, in this television adaptation of Anthony Trollopes novels. It was the sort of period costumed drama that the BBC excels at and a role the Rickman clearly relished. Six years later his performance as the German terrorist Hans Gruber in Die Hard gained him international acclaim and placed him squarely on Hollywood’s radar. He continued to appear in both mainstream blockbusters and smaller more cerebral independent productions over the years, yet maintained his credibility as a serious character actor, despite his fame and association with populist franchises.
I first became aware of the actor Alan Rickman during the early eighties while watching The Barchester Chronicles. He played the scheming curate Obadiah Slope who aspired to the office of Bishop, in this television adaptation of Anthony Trollopes novels. It was the sort of period costumed drama that the BBC excels at and a role the Rickman clearly relished. Six years later his performance as the German terrorist Hans Gruber in Die Hard gained him international acclaim and placed him squarely on Hollywood’s radar. He continued to appear in both mainstream blockbusters and smaller more cerebral independent productions over the years, yet maintained his credibility as a serious character actor, despite his fame and association with populist franchises.
Alan’s appeal was very much due to his versatility. He could perform classic theatre, light comedy and even action movies with ease. He knew exactly when to adopt a theatrical style (Robin Hood Prince of Thieves) and when to take a more understated approach (Sense and Sensibility). He was an actor with a broad dramatic range and a commanding voice, yet often did his finest work through the most subtle of expressions of his face. His presence in a film always piqued my interest and I would at time stray out of my personal cinematic comfort zone just to see a movie in which he appeared; his performance as Ronald Reagan in The Butler being one such example.
For a whole generation Alan Rickman will always be Professor Severus Snape, as this was the role that introduced them to his work. I will always enjoy is outstanding performance in Galaxy Quest, an underrated movie that is one of the finest satires I’ve seen about popular culture. He excels as aging Shakespearean actor Alexander Dane who has a love hate relationship with his alter ego Dr Lazarus. Rickman has by far the best lines in the film, which are acerbically delivered with consummate ease. Again much of the nuances of his performance are from his mannerism and deportment. It’s an excellent showcase for his acting talent. He will be sorely missed. “Happy Trails, Hans”.
The Decline of the PC?
Market analysis by International Data Corporation, an American market research firm, has shown a record-breaking 10.6 per cent drop in PC sales over quarter four of 2015, with Apple being the only manufacturer making significant gains. If you have an interest in economics and business per se there’s a full breakdown of the report can be found over at gamesindustry.biz and it certainly makes for interesting viewing. However like most numbers this data needs to be placed within a wider context, so that we don’t make the mistake of jumping to erroneous conclusions. So in what markets are PC sales dropping and what exactly are the reasons why?
Market analysis by International Data Corporation, an American market research firm, has shown a record-breaking 10.6 per cent drop in PC sales over quarter four of 2015, with Apple being the only manufacturer making significant gains. If you have an interest in economics and business per se there’s a full breakdown of the report can be found over at gamesindustry.biz and it certainly makes for interesting viewing. However like most numbers this data needs to be placed within a wider context, so that we don’t make the mistake of jumping to erroneous conclusions. So in what markets are PC sales dropping and what exactly are the reasons why?
As a consultant I have a lot of dealing with small and medium sized businesses, especially those in the legal, financial and public relations sectors. The more traditional industries still seem to favour desktop hardware, although leasing has mainly replaced company ownership. Windows 10 has also been adopted quite widely by many of my clients. However I am also seeing an increase in businesses that have consolidated all their work resources to the cloud and look to staff to provide their own hardware for access. Tablets and ultrabooks seem to be very much in vogue in these instances. This shift has an impact upon new sales and replacements but I cannot see it accounting for such a decline.
The home market seems to be the obvious main culprit as so many day to day PC tasks can now be carried out on tablets and smartphones. I am aware of a lot of friends and colleagues that have ditched their home desktop PCs as the bulk of their online habits are based around social media and the consumption of content. Many of these people game via consoles or their handheld device. The PC therefore ceases to be a necessary or an inviting financial investment. As for those power users who still remain wedded to the PC for gaming and content creation (such as myself), there is a tendency to tinker and upgrade, thus negating the need to buy a new PC so often. In fact when there is a requirement to replace a system we often build it ourselves as it is a more economical and flexible option.
I certainly don’t expect to see the PC vanish anytime soon but I think that there will be a continuing shrinking of the market, as people look to alternative devices to carry out basic tasks. I think that the TV and home entertainment system will grow further in use and that smartphone will continue to dominate communication, content sharing and online purchasing. My recent phone upgrade has provided me with a very powerful handheld device and I have devolved further task to it such as banking and the consumption of podcasts and similar media. My desktop PC is a tool specifically for producing audio content and a gaming platform. At present those tasks cannot be dealt with to my liking on another platform. However there may well come a time when that is not the case and that may be sooner rather than later.