Why is the Fantasy Genre So Popular?
I was watching an episode of The Trews recently during which Russell Brand mentioned that the most popular movies at the box office last year were mainly science fiction or fantasy. He had some thoughts on why this was so and then proceeded to talk about escapism, personal faith and spirituality. Now I didn’t necessarily agree with all his points and I don’t believe in his views on higher powers but I did concur with some of his ideas discussed. As a result of the subject being raised, I have pondered of late why the fantasy genre seems to dominate cinema (and television), literature and gaming. Is it simply a case of providing a narrative vehicle that is universally flexible and accommodating, or are their deeper psychological and sociological reasons.
I was watching an episode of The Trews recently during which Russell Brand mentioned that the most popular movies at the box office last year were mainly science fiction or fantasy. He had some thoughts on why this was so and then proceeded to talk about escapism, personal faith and spirituality. Now I didn’t necessarily agree with all his points and I don’t believe in his views on higher powers but I did concur with some of his ideas discussed. As a result of the subject being raised, I have pondered of late why the fantasy genre seems to dominate cinema (and television), literature and gaming. Is it simply a case of providing a narrative vehicle that is universally flexible and accommodating, or are their deeper psychological and sociological reasons.
First off, escapism is perhaps the most obvious factor to consider when exploring the fantasy genre. It provides narratives that you can immerse yourself in, with its universal themes and conventions. In an age when people work long hours within an increasingly complex world, the notion of escapism as a means of relaxation seems eminently practical. A few hours spent in an MMO or watching Trollhunters on Netflix allow us to forget the rigours of the day and the iniquities of our place of employment. Losing yourself in a good book can have great restorative powers. I can think of several occasions during difficult times in my life in which a solid fantasy novel has allowed me to rest and maintain my emotion stability.
Yet escapism is not always a good thing, particularly if the respite it provides then becomes a crutch or worse still, an escape from reality and the problems one faces. Alcohol, drugs and the like can offer escapism to a degree and if their use is tempered with moderation, then they can be beneficial. Sadly an excess of these is far from good. The same can be said about spending large amounts of your time in a game, if it is done to the detriment of other aspects of your life. I remember as a teenager, how I use to struggle to do all the things I wished and would find myself getting up incredibly early to watch movies I’d rented from Blockbusters, yet had failed to because I’d been out socialising instead. Such habits were naturally unsustainable.
Another interesting facet of the fantasy genre is that it provides a means to process difficult subjects, that we may well avoid or recoil from in real life. Couching complex social issues or problems in a fantasy setting and exploring them via proxies that may have skills and abilities beyond that of mere mortals, can make the bleak, the abhorrent or even the tragic more palatable. A Monster Calls which is currently on release in cinemas is effectively just a tale of a boy having to come to terms with imminent death of his Mother. A difficult subject to be sure, yet the visually expressive way the film explores the story, via the use of allegory, helps audiences connect to the central themes.
Fantasy also offers us the opportunity to envision aspirational worlds that are better than the one we currently inhabit; worlds where deprivation and suffering are no more and people can meet their full potential. I believe a certain Gene Roddenberry may have had some views on this. Fantasy can also provide a virtual environment in which different social, political and philosophical models can be tested and explored. Within gaming, the genre brings likeminded individuals together and helps form communities. Charitable events such as Child’s Play have their roots in such groups and can do a lot of good in the real world. Fantasy can be a means to unite people, especially those who may find themselves marginalised in real life. It can bring a sense of belonging to those who may not feel that way already.
However, it would be foolish to only focus on the positive aspects of fantasy. We should at least consider other reasons for its popularity. As mentioned earlier, we live in an increasingly complex world. The pace of change has accelerated in the last thirty years and many of the social conventions and institutions we look to for stability have proven unsure. Life for some at present is unequal, highly fluid and bleak. Fantasy offers a means not just of escape but to refute the failings of a world we cannot control. Then of course there is the concept of “bread and circuses”. Are certain establishments happy to see the wider population immerse themselves in non-existent worlds and stories, thus allowing the status quo to be perpetuated and abuses of power to go unchecked?
Not all popular fantasy tales offer positive visions or foster egalitarian principles. The writings of Robert E. Howard, H. P. Lovecraft and John Norman however entertaining are somewhat dated in social and political terms. Many RPGs and MMOs are still accommodating to those who wish to indulge in stereotypical power fantasies. Equality in terms of race, gender and sexual orientation are still sadly lacking. It can also be argued that the very communities that are allegedly so beneficial can become echo chambers and inwardly facing pockets of elitism. Fans of fantasy are not always associated with positive social interaction. Consider gamergate and the recent outrage against the Ghostbusters remake.
For me the most interesting theory regarding the popularity of fantasy in the twenty-first century is the idea that it is a surrogate for religion and a variation of personal faith. Traditional religion has certainly declined in the UK and parts of Europe, yet many still yearn for a sense of spiritual growth and fulfilment. Fantasy can provide a framework of similar ideas to Christianity, without the need to embrace more difficult theological concepts and requirements. Within gaming our avatars can at times be presented with opportunities to be virtuous, that we may not have in real life. We can have a positive impact upon our fan communities, help others and feel we are empowered and making a difference. Are these not fundamental tenets of faith and evangelising? The parallels between religion and fantasy are many and whatever your perspective the subject is intriguing.
Like most rhetorical questions of this kind, there isn’t a single definitive answer. For me fantasy provides a platform for films, games and literature to explore beyond the confines of the real world. Those who create within such parameters to be bold and visionary, unconstrained by the rules of physics. Yet fantasy as genre does have its weaknesses. Narrative conceits such as “Deus ex machina” and predestination paradoxes can be very lazy and such a cop out. However overall I think there is a link of some sorts between the popularity of fantasy and the current political climate in the western world. Epic tales are often about restoring that which is lost or righting a wrong. These are questions that we are searching to resolve in our lives at present, yet seem to be failing to achieve. Perhaps we look to fantasy for potential answers? Who can say? May be in the future we will look back upon these times with a clearer understanding.
Warlords of Atlantis (1978)
Being a child of the seventies I was raised on films. I saw a good many classic during my most formative years, usually on a Sunday afternoon, which I'd watch with my family. I also use to enjoy the adverts in the Evening Standard for the latest cinema releases. The poster art was lurid and exotic and would often promise so much. As video was not yet available to the domestic market, trips to the cinema were much more of an event than they are now. By 1978 I was already a firm fan of the fantasy genre (mainly thanks to the work of Ray Harryhausen) so when Warlords of Atlantis was released I was duly excited. I had seen all the previous films that John Dark had produced in this series. The Land That Time Forgot, At the Earth’s Core and The People That Time Forgot. Although cheap and cheerful, they were very entertaining, especially to younger audiences.
Being a child of the seventies I was raised on films. I saw a good many classic during my most formative years, usually on a Sunday afternoon, which I'd watch with my family. I also use to enjoy the adverts in the Evening Standard for the latest cinema releases. The poster art was lurid and exotic and would often promise so much. As video was not yet available to the domestic market, trips to the cinema were much more of an event than they are now. By 1978 I was already a firm fan of the fantasy genre (mainly thanks to the work of Ray Harryhausen) so when Warlords of Atlantis was released I was duly excited. I had seen all the previous films that John Dark had produced in this series. The Land That Time Forgot, At the Earth’s Core and The People That Time Forgot. Although cheap and cheerful, they were very entertaining, especially to younger audiences.
Now it is important to judge Warlords of Atlantis both within the historical context of the times and in accord with its budget. These movies were modest productions by the standards of the seventies and were certainly not in the same league as Harryhausen's fantasy films at the time. But Roger Dickens rod puppet monsters have a peculiar charm about them. They strive to beat the technical restrictions of their budgets. The miniature work is also good, but then again John Richardson was (and still is) an expert in his field, with a very distinguished pedigree. I would also draw attention to Mike Vickers score which is rather enjoyable. It adds an extra dimension of bogus quality to the proceedings.
The cast is packed with stalwarts of the industry and indeed this genre. Doug McClure was a man who could play himself with great intensity. Then there’s also Shane Rimmer, in-between his work for Gerry Anderson, as well as Michael Gothard and Peter Gilmore. All provide performances that are totally suitable for the material in question. Malta and Gozo once again provide the exotic location required for the mysterious undersea kingdom. Not being hindered by any progressive politics, there is also the ubiquitous ample breasted female. For an unreconstructed ten year old, raised during the pre-Thatcher era, this film just kept ticking the right boxes at the time. There is no laconic humour, or postmodern irony. The story is played straight and the better for it.
Unlike previous John Dark productions, Warlords of Atlantis was not based on the work of Edgar Rice Burroughs. The screenplay was the work of Brian Hayles, one of the bastions of British television. He wrote prolifically for early Doctor Who (The Celestial Toymaker, The Smugglers, The Ice Warriors, The Seeds of Death, The Curse of Peladon and The Monster of Peladon) and often explored socio-political themes. These are present in Warlords of Atlantis, with an elite class of oppressive Martians using a slave class to stave off the constant attack of mutations. I believe the film was originally entitled “Seven Cities of Atlantis” before being altered, to one that did not invoke such high budget imagery.
The market of the time was soon to be saturated by Star Wars rip-offs and as a result, this was the last of the Amicus productions in this vein. Their traditional approach may seem dated to today’s modern sensibilities and I doubt if a contemporary audience would see any virtue in them. I shudder to think what sort or "re-imagining" these films would require to reach the screen today. However, if you can look beyond the superficial, there is entertainment to be had from Warlords of Atlantis. Enjoy it for what it is. It's one hundred times better than any low budget equivalent you’d find these days on Syfy.
Engaging With Others
If you create any sort of content, then at some point you must address the practical issue of engaging with your audience. Some folk get by without doing so, subsequently disabling comments on their You Tube channel or blog. My fellow podcaster Brian has happily managed without a Twitter account for years and has only just returned to that online community. However, I feel that two-way communication is broadly a good thing and I’ve advocated this in past and more recent posts. I’m currently trying to leave more comments on the various blogs that I read and retweet and reply more frequently on Twitter. So far this has been a positive experience. And then I went a stage further and entered in to an “exchange of views” on a well-known gaming news and discussion site. Let it suffice to say that it clearly brought in to focus the unpredictable nature of human interaction and the often-baffling behaviour of others online. Due to the obvious lack of visual, verbal and social cues, discerning others words can be difficult. Something that some no doubt deliberately play on.
If you create any sort of content, then at some point you must address the practical issue of engaging with your audience. Some folk get by without doing so, subsequently disabling comments on their You Tube channel or blog. My fellow podcaster Brian has happily managed without a Twitter account for years and has only just returned to that online community. However, I feel that two-way communication is broadly a good thing and I’ve advocated this in past and more recent posts. I’m currently trying to leave more comments on the various blogs that I read and retweet and reply more frequently on Twitter. So far this has been a positive experience. And then I went a stage further and entered in to an “exchange of views” on a well-known gaming news and discussion site. Let it suffice to say that it clearly brought in to focus the unpredictable nature of human interaction and the often-baffling behaviour of others online. Due to the obvious lack of visual, verbal and social cues, discerning others words can be difficult. Something that some no doubt deliberately play on.
I shall obliquely refer to the facts of the matter, as I don’t see the point in personalising this post. In a nutshell, I replied to a comment on a post, explaining my view and why I thought that way. It certainly wasn’t a binary opinion and I countenanced other potential outcomes. I tried to be a clear as possible and even handed. All opinions are biased, as that is their nature but I certainly tried to apply a degree of logic to my stance and the way I expressed it. Needless to say, someone else begged to differ and responded in kind. That is how comments work on such websites. So, after some consideration I decided to respond again, further clarifying my position. After all, the person(s) you are engaging with may have not have read your reply fully, could have misunderstood something or English may not be their first language.
Unfortunately, despite a second response, the discussion did not move on. It simply spawned a counter reply that made erroneous assertions and failed to recognise the point I was making. The author was either unable to understand my point or was wilfully ignoring it to perpetuate the discussion. There may well have been a deliberate attempt at sealioning or it could have all been a basic misunderstanding. Either way, it was clear that the most rudimentary rules of debate where not being adhered so I saw no further point in pursuing that discussion.
I’m sure the proceeding anecdote is far from unique and many of us have encountered such a scenario before. I won’t put this experience down to “trolling”, as that is far too much of a cop out and is a term that is used to often these days to overlook the social complexity of online discussions. There may be a myriad of reasons as to why things went the way they did. Some folk love to engage in lengthy forum and comment exchanges. Others like to play devil’s advocate as an intellectual exercise. Then of course you can consider such options as bias, “tribal associations” and the personal disposition of the individual you’re dealing with. We also live in a world that currently puts how we feel on an equal footing with facts and data. A contradiction of a personal view can sometimes be interpreted as a personal attack.
As you can see, engaging with others comes with a lot more to consider these days. Furthermore, you don’t get to pick and choose who you get to interact with in advance. You only really get a handle on the person(s) thoughts and may be personality, once the ball has started rolling, so to speak. Therein lies the rub and is the reason why a lot of people don’t bother to reach out and engage. Engagement can take time, effort and doesn’t necessarily take you down the path you expect. That can be a good thing or a potential chore. In the case in question the impasse I found myself confronted with came from a failure to grasp the point I was making, be it deliberately or not. I was expecting a logical pattern of events and they didn’t happen.
I have neither the time nor the inclination to be drawn in to pointless or self-indulgent or circular debates online. There is no obligation to do so and if someone wants to turn a discussion in to something more, then I’ll just shrug my shoulders and move on. It does however leave me pondering whether this sort of malady is on the increase or not. Are a percentage of all forms of human interactions doomed to failure due to some sort of unpredictable human factor? It also raises that old thorny issue of the echo chamber, although I feel that this is another term that is sued to often and applied incorrectly. Filtering is a necessary process. There is a difference between balance and suffering pointless contradiction. Also, why debate with those who have no interest in reconsidering their position. Again, there are many things to consider.
I am not especially concerned with that curious internet phenomenon of trying to present your “best self” online. I’m 49 and fully aware that I’m far from perfect. Although I don’t set out to deliberately upset someone, I won’t compromise my views or position to spare someone else’s feelings or try and paint a likeable picture of myself. If you want to judge my morals, ethics or lack of, then fine. Your potential disdain doesn’t really make much difference, does it? Overall, when participating in a forum or sharing a comment, I’m merely interested in an exchange of ideas, uncluttered by anything else than the basic facts. However, unless one has the benefit of interacting with others with a similar agenda and process there is always the risk that all engagement will be subject the caprices of human emotions and frankly it doesn’t help.
The Elder Scrolls Online, Again
I participated in the Beta testing of The Elder Scrolls Online in spring 2014. Overall I found the game agreeable enough but chose not to purchase it upon its release, due to the subscription model and a lack of time. Like many MMOs the initial launch was problematic and the game had numerous issues and bugs. Within a year, the game was re-branded with a buy-to-play business model and extensive patching made the overall game more equitable. As a result, I’ve had my eye on The Elder Scrolls Online: Tamriel Unlimited for a while and frequently toyed with the idea of buying it. Perhaps one of the reasons I’ve held off from purchasing the game is because I have such fond memories of Skyrim and therefore wonder if I’d prefer a new RPG to an MMO.
I participated in the Beta testing of The Elder Scrolls Online in spring 2014. Overall I found the game agreeable enough but chose not to purchase it upon its release, due to the subscription model and a lack of time. Like many MMOs the initial launch was problematic and the game had numerous issues and bugs. Within a year, the game was re-branded with a buy-to-play business model and extensive patching made the overall game more equitable. As a result, I’ve had my eye on The Elder Scrolls Online: Tamriel Unlimited for a while and frequently toyed with the idea of buying it. Perhaps one of the reasons I’ve held off from purchasing the game is because I have such fond memories of Skyrim and therefore wonder if I’d prefer a new RPG to an MMO.
However, to cut a long story short, a deal turned up recently on a key selling site and was still there a week later. So, I took advantage of this favourable offer tonight and bought The Imperial Edition of The Elder Scrolls Online for just under £14. This particular variant of the game comes with the following bonuses and extras:
Imperial Race: Play as an Imperial in any alliances.
Imperial White Horse: This in-game mount has the same stats as any other horses in the game.
Rings of Mara: Receive the blessing of Mara, the goddess of Love, who will bless your union with a partner of your choice (aka friend).
Mudcrab Vanity Pet: A self-explanatory cosmetic pet.
Another thing worth noting about The Elder Scrolls Online: Tamriel Unlimited, is that the game client is currently up to a whopping 38GB which is not an easy download, even for those with a decent fibre connection. The game also has an optional subscription service (ESO Plus) that allows access to the various DLC that have been released in the last year. These can be unlocked for a monthly cost of £8.99 or bought permanently using the in-game currency. For the meantime I shall defer both options. It remains to be seen whether I need additional content as there may be sufficient in the base game. The Crown stipend that comes with the sub is not a compelling bonus at the moment.
Because I’m the sort of gamer that likes to know in advance “what’s what”, I’ll probably read a few FAQs and websites before I jump in to the game. It may beneficial for me to join a US rather than European server, as I know several people that play The Elder Scrolls Online: Tamriel Unlimited and they are all in North America. Another major plus that this MMO offers, is the opportunity to write about a game again, which is something I’ve been struggling with recently. So, expect to see some posts regarding my initial experience in Tamriel over the next week or two. Hopefully it will be a positive one.
Revisiting Red Dawn
I was a teenager during the eighties and grew up during the final days of the Cold War. The threat of another war in Europe was very real and the fear of a nuclear confrontation was always present. John Milius’s Red Dawn therefore had quite a profound impact upon the viewing public at the time. It certainly was not the first movie to tackle the concept of an invasion or to explore the role of the guerilla. However, what it succeeded in doing was depicting the idea in a contemporary way that the audience could relate to. The iconic image of Russian troops outside McDonalds encapsulated the films mood entirely.
I was a teenager during the eighties and grew up during the final days of the Cold War. The threat of another war in Europe was very real and the fear of a nuclear confrontation was always present. John Milius’s Red Dawn therefore had quite a profound impact upon the viewing public at the time. It certainly was not the first movie to tackle the concept of an invasion or to explore the role of the guerilla. However, what it succeeded in doing was depicting the idea in a contemporary way that the audience could relate to. The iconic image of Russian troops outside McDonalds encapsulated the films mood entirely.
The movie was unfairly labelled jingoistic and a product of the Reagan era and was to a degree discounted by critics at the time. Yet despite of writer/director John Milius's personal politics, the movie depicts partisans quite honestly, portraying them as everyday people, in this case teenagers. They are not invincible, infallible or morally unassailable. Fighting on their home-soil takes a very heavy toll upon them all. They have to deal with such things as PTSD, betrayal and family loss. There is also dissent among the group and war is depicted as not being a black and white situation. These are quite weighty themes and not something you immediately expect from a mainstream action movie aimed at the teen market. It is also worth noting that Red Dawn was the first movie to receive the PG-13 rating from the MPAA, yet it is curiously violent and frankly nearer to an R.
The magnitude of the ongoing war depicted in Red Dawn is only briefly glimpsed though the eyes of our partisan protagonists. We see small scale sorties against the enemy and are limited to the invaders activities in Colorado. In fact the Wolverines never really get a clear idea of the state of the war until they meet a USAF pilot who's been shot down. It is this minimalist approach, showing the how the occupation has personally affected a small town that bolsters the strength of the story. For a movie with teenage protagonists and aimed squarely at an equivalent demographic, it makes few concessions to pander to its audience. There is no major romance, comic relief or happy ending. Most of the Wolverines die, being shown as part of a wider national sacrifice.
Red Dawn is very much a product of its time, both politically and cinematically. Yet despite being a mainstream studio production it does not compromise its theme by trivialising it. It deals squarely with the idea of how war effects youth. Something that was absent from the 2010 movie Tomorrow, When the War Began. Based on the novels by John Marsden, the film depicts a group of young Australians struggling to cope with an invasion by an unspecified foreign military power. Where Red Dawn endeavours to show youth being thrust violently into an adult world and its tragic consequences, Tomorrow, When the War Began attempts no such thing. The invasion is simply an inconvenience and it takes long time for the protagonists to grasp the magnitude of their predicament. The movie avoids any geo-political explanation of the war itself and instead provides what the target audience expects. Thus we have complex relationships and teen angst and occasionally some guerrilla activities against a faceless enemy.
Roundabout the same time as Tomorrow, When the War Began was released, MGM/UA were preparing to launch their remake of Red Dawn. This re-imagining of the 1984 original was originally conceived to depict a Chinese invasion, similar to that shown in Tomorrow, When the War Began. However, due to the studios financial problems at the time, the movie was shelved. Problems were further compounded over the next two years by the expansion of the US film exports to the Chinese market. After recovering from near bankruptcy, the studio was left with a movie that now potentially maligned its biggest new customer. Thus Red Dawn underwent significant re-shooting and editing. The most significant plot change being the Chinese invaders being altered to North Korean.
Sadly, these radical augmentation do have a negative impact upon the new movie, which was finally released in 2012. The original story centred around a failing US economy and its reneging on its debt to China, hence the subsequent invasion. How the new storyline with North Korea as the antagonist plays out via the fanciful plot device of Asian imperialist aggression. Rather than attempting to explore post 9/11 sensibilities, Red Dawn is content to be yet another PG-13 teen orientated action movie. It is interesting to note that this time round, lead character Jed Eckert (Chris Hemsworth) is depicted as having prior military experience, which does somewhat alter the underpinning concept of true homegrown partisans.
The themes of invasion, occupation and insurrection lend themselves to strong cinema. However, the relative peace we currently enjoy in the western hemisphere, means that these are ideas are that seldom revisited, at least with regard to our own nations. The 1984 original version of Red Dawn managed to explore these ideas even within the parameters of the prevailing political framework of the time. To accommodate more contemporary tastes, such notions were absent or only superficially addressed in Tomorrow, When the War Began and the remake of Red Dawn. Ironically Western politics seems to be at war with itself at present, which would certainly lend a new spin to the Red Dawn scenario. Invasion would more than likely be replaced in any screenplay with civil war. Perhaps such a subject is a little too close to home at the moment.
If you saw Red Dawn upon its original release and haven’t seen it since, perhaps a second viewing would prove interesting experience. The threat of war with other nations doesn’t seem so immediate now and has been replaced with the more nebulous fear of terrorism and the less clearly defined enemies. Younger viewers may find it difficult to grasp the prevailing dread that the Cold War perpetuated. And if the political aspects of the film along with its social themes, don’t appeal to you, at least you can enjoy an adequate action movie, free from preposterous CGI set pieces and committee driven ending.
*For those wondering why I have not referenced the 1987 US TV miniseries Amerika with its similar themes, it is simply because I have never seen it and it doesn't appear to be currently available on any home media format.
Meanwhile, Back in LOTRO
The recent news regarding Standing Stone Games’ acquisition of LOTRO has certainly re-invigorated the fan community and led to some renewed wider interest in the game. I’ve kept my own subscription going mostly out of curiosity for LOTROs future, rather than a burning passion for the MMO. In fact, on Laurelin server, it’s pretty much business as usual. My kinship has a core group of players who logon regularly as do most others. Key regional hubs such as Bree and the Twenty-first Hall are relatively busy, usually with role players and music groups running events. Beyond this there doesn’t appear to have been a major change at present to the game’s overall population. Perhaps something tangible needs to be added to LOTRO first before we see such a shift.
The recent news regarding Standing Stone Games’ acquisition of LOTRO has certainly re-invigorated the fan community and led to some renewed wider interest in the game. I’ve kept my own subscription going mostly out of curiosity for LOTROs future, rather than a burning passion for the MMO. In fact, on Laurelin server, it’s pretty much business as usual. My kinship has a core group of players who logon regularly as do most others. Key regional hubs such as Bree and the Twenty-first Hall are relatively busy, usually with role players and music groups running events. Beyond this there doesn’t appear to have been a major change at present to the game’s overall population. Perhaps something tangible needs to be added to LOTRO first before we see such a shift.
In the meantime, I continue to work my way through various regional quests in The Beacon Hills, Taur Drúadan and North Ithilien, in a leisurely fashion. My primary character is a Lore-master at level cap that I’ve had since I first started LOTRO back in Winter 2008. Yet despite numerous in-game achievements over the last eight years, I still find outstanding deeds to do and activities to pursue. LOTRO has an inordinately large amount of content and landmass to explore. At present, I’m spending some time on my Explorer vocation that I’ve neglected of late. The tenth tier was not unlocked, so I focused on that today. Crafting ingots is still a trying affair. Plus, I only just noticed that an auctioneer had been added to the Bree Crafting Hall, which shows how infrequently I visit.
Another more recent addition to Bree is the Scholar’s Hall (opposite the Cat Lady’s House). This has apparently been added to LOTRO to accommodate the Mythgard Institute's academic lectures with the Tolkien Professor, as well as concerts and other community events. Although I welcome such a venue being added to the game, its distinctly Gondorian style of architecture (and not Anorian) does seem a little incongruous, considering its location. I suppose it’s easier to use existing in-game assets than create new ones. The interior is suitably sumptuous and reflects the various regions of Middle-earth. Let us hope that the faithful find it useful and to their liking.
I recently found some use for my LOTRO points (formerly Turbine points), spending several thousand of them on Relics for my Legendary Items. Although the store Settings, Gems, and Runes may not be the best, they certainly offer both convenience and a leg up on those I had already. Their addition to my weapons has had a tangible impact upon my stats. I have also finally grasped the nettle and started equipping slotted armour and adding appropriate essences. In the past, I have eschewed this game mechanic because it adds another layer of complexity that lazy players such as I eschew. However, I found that I had sufficient funds to buy suitable essences and have started grinding for the latest armour set.
Having no significant alts, means that I have a lot of time to spend on my primary character. Therefore, at present, my time in LOTRO is spent at a sedate pace. I set straightforward goals and pursue them in a manner that still allows me to enjoy my surroundings. The ambient music in North Ithilien is of a high quality and I suspect that some material that was recorded earlier on in the games life, was kept back for key locations. My recent tinkering with my build means that even an indifferent player such as I, doesn’t have to worry about survivability. All in all, I go where I please and face no major challenges, which is how I like to play. I dislike being underpowered and at a disadvantage. Let us not forget what Conan said about what is best in life.
Such is my personal status quo in LOTRO at present. I must admit it’s an advantageous position to be in. It certainly allows me to reflect upon what may be coming next in 2017. Will the Daybreak Gaming Company offer a new tier of subscription? There are occasions when I do regret not buying a lifetime sub but I wouldn’t be surprised if that gets replaced by something else. A new broom always likes top sweep clean and all that. Then of course, there is the small matter of getting to Mordor and may be beyond? LOTRO in the Fourth Age is an interesting proposition. Over to you Standing Stone Games. We await new content.
Watching Movies on Commercial TV Stations
The relevance of this post, comes down to how much you like and care about film. If movies are simply a transient form of entertainment to you, something you have no major investment in beyond killing time, then my following protestations will be water off a duck’s back. If like me, you consider film to be art, then hopefully you’ll concur with my sentiments. Because I do consider movies to be a the most immediate and significant art form of the twentieth century. There are no significant barriers to entry beyond the ability to see and they can convey thoughts, ideas and emotions to the broadest possible audience.
The relevance of this post, comes down to how much you like and care about film. If movies are simply a transient form of entertainment to you, something you have no major investment in beyond killing time, then my following protestations will be water off a duck’s back. If like me, you consider film to be art, then hopefully you’ll concur with my sentiments. Because I do consider movies to be a the most immediate and significant art form of the twentieth century. There are no significant barriers to entry beyond the ability to see and they can convey thoughts, ideas and emotions to the broadest possible audience.
Yesterday I watched Devil in a Blue Dress, for the first time. Carl Franklin’s socio-historic thriller enjoys a strong reputation as a neo-noir and is also considered an important piece of “Black Cinema”. It boasts a strong cast featuring the likes of Denzel Washington and Don Cheadle and offers a great deal of period detail. There's also a fine score by Elmer Bernstein. All things considered this is a film of note, dealing with important subjects such as institutional racism and personal friendship, told within the framework of a hard-boiled detective story. The narrative has many a twist and is squarely aimed at mature audiences with a sense of historical perspective.
Sadly AMC (UK), the channel that broadcast Devil in a Blue Dress on December 10th, decide to do so at 5:00 PM in the afternoon. I didn’t realise this initially as I was watching a recording on our DVR but it soon became apparent that the film had been edited to accommodate broadcast at such a time. These cuts where at time so ham-fisted that they stood out like a saw thumb. Edits to violence and a sex scene as well as sundry dialogue omissions were made to sanitise the film for broadcast. However, considering the nature of the plot and the era that the story was set in, such changes drastically altered the dramatic impact of the movie. One missing scene had a particular bearing on the narrative. Then there is the entire separate issue of interfering with the film makers artistic vision.
Unfortunately, such practises are common place on commercial television stations these days. Films are not only edited for content but shown in the wrong aspect ratio, plagued with commercial breaks every ten minutes and further blighted by onscreen graphics and logos. If you enjoy perusing the end credits you’ll often find these compromised in a similarly crass fashion. Often the picture quality of the source content is subpar and further degraded by the rigours of digital compression. Simply put, watching a film under such circumstances is often intolerable for film fans or aficionados. For those seeking out specific movies, as I were with Devil in a Blue Dress, it really can impact upon your enjoyment and critical judgement. I subsequently re-watched this film several hours later, via a superior source to improve my perception of it.
Overall such practises by commercial stations simply show they have no real interest in the movies they peddle. As ever it is simply a question of viewing figures and ad revenue that concerns them. Thus, they will more than likely continue with such practises irrespective of the few complaints that they may receive. Therefore, I have personally chosen that henceforth I shall no longer watch movies under these circumstances, unless there really is no other option available. Unless a film is extremely rare and unobtainable on any other platform, I shall only watch it via DVD, Blu-ray, Netflix, Amazon Prime or some other electronic file format. Adverts, digital branding, censorship and incorrect formatting is no longer acceptable and belong to the last century.
I’m sure there are some who will label me purist but I believe that all creative material is due a degree of respect with regards to the manner in which it is presented; and that should always be in the accordance with its creator. Tampering simply sends a message that there is no inherent value in that which is being shown. It is born of hubris and a lack of creative understanding. Therefore, broadcasters should never butcher films, talk across music or songs and generally interfere with art, simply for the convenience of their business model. Sadly, it is highly unlikely that those currently guilty of such things are going to support such a change in policy. Thus, we return to the concept of voting with our feet and seeking out quality cinema (and other art forms) via the best outlet possible. Why diminish your enjoyment? It is time to start treating these commercial stations with the same indifference they show to film.
Exodus: Gods and Kings (2014)
Epic adventure Exodus: Gods and Kings is the story of one man's daring courage to take on the might of an empire. Using state of the art visual effects and 3D immersion, Scott brings new life to the story of the defiant leader Moses as he rises up against the Egyptian Pharaoh Ramses, setting 600,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues. Written by 20th Century Fox.
So reads the marketing material for Exodus: Gods and Kings according to 20th Century Fox. However, the movie itself despite brimming with "state of the art visual effects and 3D immersion" lacks any emotional impact, has a choppy narrative and is completely devoid of any religious conviction. Do not mistake Ridley Scott's ponderous movie for a religious epic. It is more of a pseudo-historical blockbuster with some metaphysical overtones. By endeavouring to rationalise the faith based aspect of the story, we are left with a distinctly underwhelming costume drama.
Epic adventure Exodus: Gods and Kings is the story of one man's daring courage to take on the might of an empire. Using state of the art visual effects and 3D immersion, Scott brings new life to the story of the defiant leader Moses as he rises up against the Egyptian Pharaoh Ramses, setting 600,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues. Written by 20th Century Fox.
So reads the marketing material for Exodus: Gods and Kings according to 20th Century Fox. However, the movie itself despite brimming with "state of the art visual effects and 3D immersion" lacks any emotional impact, has a choppy narrative and is completely devoid of any religious conviction. Do not mistake Ridley Scott's ponderous movie for a religious epic. It is more of a pseudo-historical blockbuster with some metaphysical overtones. By endeavouring to rationalise the faith based aspect of the story, we are left with a distinctly underwhelming costume drama.
It soon becomes apparent while watching Exodus: Gods and Kings that this movie has been subject to the usual editing issues that plague the work of Ridley Scott. Key members of the cast such as Sigourney Weaver, Aaron Paul and Andrew Tarbet simply vanish from the story shortly after their introduction. There are obvious gaps in the narrative and many of the key characters feel poorly defined. The central relationship between Moses (Christian Bale) and Ramses (Joel Egerton) is very thin and there is little back story to their emerging rivalry. Possibly these gaps will be plugged in a future directors cut; something Ridley Scott is no stranger to.
Many critics joked that "at least the plagues are nice" when reviewing this movie. They are right in this respect. The digital effects work certainly paints an authentic picture of the Egyptian world and the subsequent plagues are brutal and unpleasant. The Crocodile attacks are particularly striking, yet tonally sit quite awkwardly with the rest of the film. The choice to down play the religious element of the plot and effectively sideline Moses's visions of God as the results of a head injury is somewhat counter-intuitive. As a result, Exodus: Gods and Kings feels distinctly lacking in any sort of conviction.
I often wonder if the reason so many "great" directors produce such weak work in their twilight years is because their fame and success has placed them in an echo chamber. It is either assumed that their creative vision is infallible or that all concerned parties are simply too scared to challenge any of the ideas that are presented. This is by far Scott's weakest movie for a long time and frankly I am not sufficiently enamoured to give another longer version a try, as and when it becomes available. Unless you are a Scott completest Exodus: Gods and Kings is best avoided. If you are a person of faith you may still wish to defer to Cecil B. DeMille's The Ten Commandments.
Landmark to Close on February 21st
It was announced yesterday by the Daybreak Game Company that the MMO Landmark will be closing on 21st of February. Landmark joins an ever-growing list of titles that have closed since DGC acquired SOEs back catalogue. As ever the press release does not give any specific details as to why the game is to be shutdown. However, it is more than likely down to operating costs versus profits. Furthermore, irrespective of the corporate reasons for the decision, there are still numbers of Landmark players who will be saddened by the news. This development is also of interest to LOTRO and DDO players, due to the Daybreak Game Company recently becoming the publisher of those titles.
It was announced yesterday by the Daybreak Game Company that the MMO Landmark will be closing on 21st of February. Landmark joins an ever-growing list of titles that have closed since DGC acquired SOEs back catalogue. As ever the press release does not give any specific details as to why the game is to be shutdown. However, it is more than likely down to operating costs versus profits. Furthermore, irrespective of the corporate reasons for the decision, there are still numbers of Landmark players who will be saddened by the news. This development is also of interest to LOTRO and DDO players, due to the Daybreak Game Company recently becoming the publisher of those titles.
Now if you peruse the comments section of a site such as Massively OP, then you’ll find statements such as “LOTRO is fine” and there’s nothing to be concerned about because DGC is just the publisher for Standing Stone Games. However, I don’t think the situation is as binary as that and it would be wise to scrutinise the business relationship between DGC and SSG more closely. Because I and others suspect that DGC may well have underwritten SSG costs, when they acquired both DDO and LOTRO from Turbine and Warner Bros. If that is the case, then such financial involvement give DGC far more leverage with SSG than merely publishing their gaming catalogue.
Too many gamers allow personal sentiment and affection for the games that they play to blind them to the realities of business. MMOs as I have said time and time again are not social services but products to be bought and sold for money. The moment any product doesn't meet the expectations its owners, then it's future is in question. I would have thought that was abundantly clear by the way Warner Bros. cut LOTRO and DDO loose, as they organise their balance sheet for their pending acquisition with AT&T. Why should the Daybreak Gaming Company, itself a subsidiary of a Russian venture capital company, view its assets any differently?
Game Developers often have the best of intentions for the products they make. Artistic vision and ethical practises may well be key to their business ethos. However, unless those that create have total financial and therefore legal control, then such noble aspirations can and are frequently side-lined. In my experience business is usually driven by those who control the purse strings, which once again returns me to the question of whether DGC are merely SSGs publisher or is there a more complex business relationship? Are LOTRO and DDO going to be measured by criteria set by their developers or someone else? If these games survival is dependent on targets set by DGC, then their future may not be as rosy as some like to think.
The Haunted Palace (1963)
Despite being marketed as yet another Gothic Horror based upon the works of Edgar Allan Poe, The Haunted Palace is in fact a lose adaptation of The Case of Charles Dexter Ward, by H. P. Lovecraft. The film's title is merely taken from a poem by Poe and is an example of the clever promotion often associated with the movies of Roger Corman. The poster's tagline as ever focuses on the more sensational aspects of the storyline, although audiences’ expectations are not exactly met. Yet there is often a great deal of merit to be found in Corman's output from this decade and as ever The Haunted Palace, like so many of his other movies transcends its modest budget with a sumptuous production design and atmosphere.
Despite being marketed as yet another Gothic Horror based upon the works of Edgar Allan Poe, The Haunted Palace is in fact a lose adaptation of The Case of Charles Dexter Ward, by H. P. Lovecraft. The film's title is merely taken from a poem by Poe and is an example of the clever promotion often associated with the movies of Roger Corman. The poster's tagline as ever focuses on the more sensational aspects of the storyline, although audiences’ expectations are not exactly met. Yet there is often a great deal of merit to be found in Corman's output from this decade and as ever The Haunted Palace, like so many of his other movies transcends its modest budget with a sumptuous production design and atmosphere.
Charles Dexter Ward (Vincent Price) and his wife Ann (Debra Paget) travel to Arkham to take custody of a palace he's inherited. Its previous owner was his great grandfather, Joseph Curwen, who was burned at the stake by local villages for practicing the black arts. Upon arrival the locals are hostile to Ward with the exception of Dr. Willet (Frank Maxwell). Many of the villagers are afflicted with birth defects that are attributed to a curse that Curwen made as he died. Ward soon finds that a portrait of his ancestor bears a striking similarity to himself. It is not long before he finds his own identity under threat from the malignant spirit of Curwen, who seeks revenge and to resume his ungodly pursuits.
The Haunted Palace certainly has some noteworthy aspects. This was the only time that iconic horror actor, Lon Chaney Jr. appeared in a Roger Corman movie. Although his role is somewhat under developed, his presence is still tangible and suitably creepy. As ever, the production does a great deal with very little. The set designs by Daniel Haller are intricate and have an authentic feel. Many were built in forced perspective to create the illusion of scale. Floyd Crosby's cinematography is stylish and make great use of the widescreen format. There are is also some simple but eerie makeup effects by Ted Coodley,
After a captivating opening, The Haunted Palace embarks upon a story of possession, revenge as well as arcane rituals. There are quite a lot of elements from Lovecraft's source text, including the infamous Necronomicon. The concept of the Elder Gods seeking earthly form by cross breeding with humans is quite bold for the times. The movie also has some quite strong death scenes. One villager is dragged into the fireplace and burnt alive at the hands of his own mutant son. Another hapless local is immolated in the streets, resulting in a grim incinerated corpse. The film has a sinister ambience, especially during the scene when Ward and his wife are menaced by a group of deformed villagers.
Sadly, the final act fails to sustain this momentum and the ending is somewhat abrupt and predictable, especially with regard to the inevitable twist. It also fails to account for the fate of certain characters. It's a shame because this production strives to do something different from other Corman horror movies. It excels in many aspects of the production but simply over reaches itself at the end and cannot adequately bring events to a satisfactory conclusion. However that is not to say that the movie isn't entertaining and frequently demonstrates low budget creativity. Many of today's horror directors today could benefit from a close study of Corman's approach to film making and his innovative techniques.
The Great and Secret Show by Clive Barker (1989)
During the eighties, I was an avid fan of the novelist Clive Barker. I consumed all his work voraciously and sought out magazine and television interviews with him whenever I could, finding the man equally as fascinating as his work. Oh, to be a twenty something horror fan during the genre renaissance of that decade. Despite the yolk of the Video Recordings Acts and the scaremongering of the tabloid press over “Video nasties”, horror fiction both in print and on the big screen was elevated to new levels due to the creativity of one British author and director. These were halcyon days for fan boys and girls.
During the eighties, I was an avid fan of the novelist Clive Barker. I consumed all his work voraciously and sought out magazine and television interviews with him whenever I could, finding the man equally as fascinating as his work. Oh, to be a twenty something horror fan during the genre renaissance of that decade. Despite the yolk of the Video Recordings Acts and the scaremongering of the tabloid press over “Video nasties”, horror fiction both in print and on the big screen was elevated to new levels due to the creativity of one British author and director. These were halcyon days for fan boys and girls.
In August 1989 Clive Barker released his fifth major novel, The Great and Secret Show. Expectations among fans were high as they prepared themselves for another cerebral, densely plotted and philosophical tale. Barker has always had a gift for characters and is an author that doesn’t give his readers everything on a plate. You have to bring your imagination and intellect with you when you read his work. Let other’s sit around and debate Proust or Kafka. We had Clive Barker who provided not only comparable brain food but did so via the medium of the horror genre. Such work provided a great opportunity for fans to pose, get their fix and stroke their beards.
Naturally there was a various book signings across the UK to promote the new book. My memory is a little vague here but I believe an autumn appearance at The Forbidden Planet in London offered me the best opportunity to meet Clive Barker. However, something came up unexpectedly and I was unable to attend the signing, so my friend Paul went alone, entrusted with a vital message like R2-D2. I awaited eagerly at home pondering how my thoughtful and penetrating question would be greeted by the great author. What words of wisdom would I be given in return? How the hubris of my youth still haunts me to this day.
When I next met with Paul, I was presented with a first edition copy of The Great and Secret Show. To my surprise, Paul did not convey to me verbally, the reply Clive Barker had made to my probing enquiry or regale me with a lengthy anecdote about his experience. He simply opened the book, presenting me with a hand-written inscription from the author himself. I remember being utterly stunned that Clive Barker himself had not only written a personal message but had addressed my point head on, in a succinct and candid fashion. To this very day, I’m still impressed that he took the time to do this. I think it speaks volumes about the man and his approach to fans and life.
Today as I was going through some storage crates, searching for a specific book, I found my copy of The Great and Secret Show. Naturally this whole story came flooding back and I found myself reminiscing about not only these specific events but the entire horror scene at the time. They were happy days. But I digress. Here finally is a picture of the very inscription that Clive Barker wrote. It just remains for me to tell you exactly what it was that I had asked by proxy. My question was simply this. “Why was Hellbound: Hellraiser II so shit?” Clive’s answer, as you can see, is magnificent.
Twenty-seven years on I find myself both older and little wiser. I still consider Clive Barker to be one of the best writers of those times. I also have enormous respect for the way he treats his readers and audience. I know he’s had some bad experiences in the past and I’m amazed he found the good humour to deal with such a crass and puerile enquiry such as mine. If I were ever to meet him in the future I like to think I’d ask him something a little more respectful and interesting this time round. They say that fans shouldn’t meet their heroes. However, I believe there’s something to be said about the reverse. I’ll let you ponder that while I re-read The Great and Secret Show.
Scrooge Uncut
While the Burton & Scrooge Podcast is on hiatus, Brian has decided to forge ahead with a solo show; the first episode of which is now available. Scrooge Uncut is a showcase for all the various subjects that cross Brian’s mind, so expect a very dynamic and eclectic range of material. The podcast is very much a stream of consciousness, neatly edited into bitesize segments, presented in Brian’s inimitable style. The debut episode touches upon technology and gaming and also updates several talking points previously raised on the Burton & Scrooge Podcast.
While the Burton & Scrooge Podcast is on hiatus, Brian has decided to forge ahead with a solo show; the first episode of which is now available. Scrooge Uncut is a showcase for all the various subjects that cross Brian’s mind, so expect a very dynamic and eclectic range of material. The podcast is very much a stream of consciousness, neatly edited into bitesize segments, presented in Brian’s inimitable style. The debut episode touches upon technology and gaming and also updates several talking points previously raised on the Burton & Scrooge Podcast.
I’m very pleased that Brian has taken the plunge to forge ahead with this solo project. Our previous vehicle didn’t always accommodate all the material we wished to cover. Running time and judicious editing leaver so much “gold” on the cutting room floor. Scrooge Uncut is a great opportunity to redress this and diversify in to new territory. After all, isn’t that the whole point of podcasting? To explore new discussions, to seek out new topics for debate and to boldly rant about things that no one has ranted about before?
So, for your delight and edification, here is the debut episode of Scrooge Uncut. God bless her and all who listen to her.
Return to Twitter: @xyderias. Why Scrooge Uncut? Mechanical Keyboards. SkyrimSE. New Game Purchases. Selling Steam Trading Cards. Learning to Draw?!? WoW Updates. Soylent Update. ASMR Update.
"Make a New Plan, Stan"
“If something's important, you'll make the time”. Montgomery Scott.
I enjoy writing. I find the process helps order my thoughts. Then there’s the pleasure of communicating with others and being part of a community. Therefore, writing is something that I wish to do regularly. Up until 2015 I use to post content on Contains Moderate Peril every day. However, I began to find it a bit of a chore (because I had followed this schedule for 5 years), so subsequently reduced my output. Then in 2016 I had to make further changes due to real life issues, so my writing became even more infrequent, as did my podcasting. However, in recent weeks I cannot help but reflect upon Scotty’s wise words. I do have some leisure time and a degree of flexibility in my weekly schedule. I suspect that although time has been a factor in my reduced content output, motivation has also played a part.
“If something's important, you'll make the time”. Montgomery Scott.
I enjoy writing. I find the process helps order my thoughts. Then there’s the pleasure of communicating with others and being part of a community. Therefore, writing is something that I wish to do regularly. Up until 2015 I use to post content on Contains Moderate Peril every day. However, I began to find it a bit of a chore (because I had followed this schedule for 5 years), so subsequently reduced my output. Then in 2016 I had to make further changes due to real life issues, so my writing became even more infrequent, as did my podcasting. However, in recent weeks I cannot help but reflect upon Scotty’s wise words. I do have some leisure time and a degree of flexibility in my weekly schedule. I suspect that although time has been a factor in my reduced content output, motivation has also played a part.
My blog posts, like many other writers, reflect what my current interests are. As I’ve mentioned before my relationship with gaming has changed in recent years. So, it’s been harder to write meaningfully about them of late. Despite having often extolled the virtues of writing for yourself, I do feel I have been reticent about varying the core content of Contains Moderate Peril to drastically. So, I’ve decided to take the plunge and simply write about whatever I want. Contains Moderate Peril is no longer to be a site just about gaming, movies and other aspects of popular culture. It’s effectively going to be a vehicle what’s in my head, what I’m currently interested in, enthused or outraged about. That may be Overwatch, Sam Pekinpah or my love of Cheese. Readers can either join me on the journey or take their leave.
Stop me if any of the following sounds familiar to you. Whenever you decided to implement a new project or plan, rather than just focus on the core idea, you find yourself bogged down in the periphery. For example, because I want to write more and take Contains Moderate Peril in a new direction, part of me wants to rebrand, change blog template and generally mess around with superficial stuff that really isn’t that important to the overall scheme. I spent some time last night pondering such things before realising that such an approach really was unnecessary. So, I’m just going to leave the site as it is. I made some tiny changes to backgrounds and such like but that’s it. The idea is for me to write and that’s what I intend to do. Not everything will be long form criticism or the like. Some posts may well be nothing more than streams of consciousness or immediate thoughts and reactions. However, if I modify my approach to my writing I feel I can do more.
I also spoke with Brian last night regarding the Burton& Scrooge Uncut Podcast. It’s getting put on “the shelf” to be returned to later. The show has become unfocused, irregular and ticks over mainly because our listeners very kindly indulge us. However, I have a specific podcast project that I really want to focus on in 2017, so I am going to sideline any possibly distractions. As to the new show, well I’ll talk about that when it’s ready. That way I hopefully won’t paint myself in to any corners. In the past, I’ve made the mistake of being to specific or changing my mind about something quite quickly, causing confusion among listeners and overall panic in the ranks. Oh, and I’m also quite prepared to gatecrash other people’s podcasts in 2017. I like being a guest. I may also reach out to those other podcasters who find themselves currently at a loose end. You know who you are.
Those who regularly visit here know that I do not set myself tortuous and unrealistic New Year Resolutions. I prefer to set credible goals that can be achieved. Therefore, I’m going to endeavour to keep abreast of more quality blogs this year and strive to comment, retweet and generally provide input and feedback to my fellow content creators. The reasons for this are simple. Such interactions foster a sense of community and I also want the bastards to help me promote my crap as well. Let’s be grown up about this. Life is effectively based upon the notion of quid pro quo. I do feel that the blogging community that I have been part of for five years, has changed a lot but that is to be expected. However, I think with some mutual encouragement we can raise our collective online profile. Mind you, I’m going to leave the Newbie Blogger Initiative to others in 2017.
So, there you have it. My new plan for 2017 as advised by Paul Simon. I sure a lot of you out there may well have similar schemes in development or have thought at least about making some changes. On a serious note, I don’t think it is an appropriate time to retreat into our own respective bubbles. We need to respond to what we see, hear and read. If you have an opinion, then damn well share it. If you want to call someone or something out, then do so. Don’t let others stop you from expressing yourself just because you don’t fit into their world view. We live in an age unparalleled for and sharing ideas. Don’t squander such a golden opportunity. Happy New Year.
A Year in Multimedia
In the past, I’ve often written a summary of my experiences with gaming, movies and TV at the end of each year. Similarly, I usually reflect upon my activities in podcasting and blogging as well. However, 2016 has been unique in many respects. Political and social tides have changed in the West and there is much to reflect upon in the real world. Certainly, my appetite for creating content has taken a knock and I have at times stopped and wondered if it really is all worth the bother. But after such moments of introspection I still see the benefits of the written word or bellowing in to a microphone, so here we are once again. The only difference this time is rather than multiple posts, I can pretty much distil my thought on 2016 in one simple account.
In the past, I’ve often written a summary of my experiences with gaming, movies and TV at the end of each year. Similarly, I usually reflect upon my activities in podcasting and blogging as well. However, 2016 has been unique in many respects. Political and social tides have changed in the West and there is much to reflect upon in the real world. Certainly, my appetite for creating content has taken a knock and I have at times stopped and wondered if it really is all worth the bother. But after such moments of introspection I still see the benefits of the written word or bellowing in to a microphone, so here we are once again. The only difference this time is rather than multiple posts, I can pretty much distil my thought on 2016 in one simple account.
Gaming:
To things have had a major impact upon my gaming this year. A lack of time and too few new titles that aroused my interest. I started the year playing through Hearts of Stone, the first DLC for The Witcher III: Wild Hunt and continued with the second expansion, Blood and Wine when it was released in May. I waxed lyrical about the quality of this RPG last year and will continue to do so this time. The last DLC not only added yet another superbly crafted narrative but refined the game mechanics and system even further. I think it will be a long time before I find another game from this genre that offers anywhere near a comparable experience.
MMO wise I have continued to regularly log into Star Trek Online during 2016 as it has frequently had new content to explore. This year being the 50th Anniversary of Star Trek, the new expansion, Agents of Yesterday, offered an appropriate homage to the original series. The new lighting system has improved the overall aesthetic of the game and it’s clear that developers Cryptic have plenty more in store for the MMO. It’s recent port to consoles clearly indicates that the game is in a healthy state.
LOTRO has had a curious year. I took a six-month break from the game due to the repetitive and formulaic nature of the new content. Yet the Battle of Pelennor Fields brought me back, being surprisingly well realised given the restrictions of the ageing game engine. Update 19 released in October took the game one step closer to Mordor. As ever the epic central story continues to be written to a high standard and certainly compensates for other more pedestrian regional quests. Recent news that ex Turbine staff have formed a new independent company and taken over the development of the game does seem to have renewed interest in the MMO. I remain cautiously optimistic for LOTRO’s future.
It would be remiss of me if I didn’t mention Overwatch. I played the open beta out of idle curiosity and was greatly surprised by how accessible the game is. It has now become my game of choice whenever I want a quick fix of entertainment. I’m still amazed at how equitable this team based, first person shooter is and how anyone can find a role to play, regardless of the style or abilities. It continues to add content and new characters ensuring longevity. Something that Pokémon Go has failed to do. This was another title that I was drawn to out of nostalgia and curiosity but it quickly became apparent that it was unsustainable.
TV and Movies:
I only went to my local multiplex to see movies upon their release, six time this year, which is unusual for me. This is mainly due to there being precious little of interest for me these days. Cinemas seem choked with Blockbusters and Super Hero movies. A lot of the more niche market, independent films have limited releases and tend to be available on-demand very quickly. Those movies I did see were suitably entertaining. Deadpool provided audiences with exactly what they expected and proved that the R rating could still be economically viable. Star Trek Beyond finally saw the new stories set in the Kelvin Timeline hit their stride. It offered a good character driven story that finally tapped in to the soul of the original series. Fantastic Beast and Where to Find Them also proved to be a crowd pleaser with excellent production values and a decent storyline. I have high hopes for this off shoot of the Wizarding World franchise. Rogue One certainly met with my approval and filled a suitable gap in the Star Wars lore. I almost got as much fun out of the fan driven debates about the story as the film itself.
TV once again proved to be the home of more cerebral and densely plotted drama. Stranger Things was a wonderful homage to eighties genre cinema and popular culture. Finally embracing both Amazon Prime and Netflix certainly afforded our household with more choice and provided a respite from the scourge of advertising which just seems to become increasingly preposterous and crass. The Man in the High Castle provided a suitable bookend to the start and end of the year and continues to be both intriguing and entertaining. It has also been beneficial to have access to all previous series of Star Trek and work my way through those shows I’m less familiar with.
Network TV on both sides of the Atlantic has been entertaining. There are still far too many shows to keep up with and I’m constantly amazed at how many shows bite the dust after one lacklustre season. Elementary still maintains a high standard of writing and the central characters of Holmes and Watson still have engaging story arcs. The final season of Person of Interest was both succinct and fitting, providing a bitter sweet, yet plausible ending for the show. Blindpsot somehow made it to a second season and completely reinvented itself to try and escape the narrative knot it had go itself in to. Back in the UK, Endeavour once again proved to be both superbly acted and well written. It’s sedate pace and introspective themes continue to be captivating.
As a grandparent, I also watch a great deal of children’s television, especially those aimed at the pre-school demographic. Therefore, I would like to praise CBeebies for their continued quality programming and point out that Hey Duggee is a sublime show. If you are thirtysomething, then you’ll love the pop culture references that litter every episode. Plus, in the last few days, I also been caught up in the hype surrounding Guillermo del Toro’s Trollhunters. Let it suffice to say that it is charming and entertaining. It’s curious how some creative talents can handle sentimentality without tipping in to emotional overkill.
Blogging and Podcasting:
I stopped writing daily in 2016. I simply ran out of steam after five years and then real world changes meant that such a schedule was off the table for the immediate future. However, I managed to contribute to this year’s NBI and Blaugust, so I guess content creation wasn’t a complete write off (no pun intended). The Burton & Scrooge Podcast became The Burton & Scrooge Uncut Podcast and followed a somewhat erratic release pattern. I enjoy recording with my co-host Brian but I’m thinking we need to either seriously rethink the show format for 2017 or take a break for a while. I’m determined to get my movie related show in to production next year and I also need to return to writing my book, which ground to a halt this summer.
It would appear that real life and all that it contains caught up with many of my blogging and podcasting colleagues this year. Thus, there was reduced output from certain quarters and some went so far as to take a break. It’s sad but totally understandable. Yet it was not all doom and gloom. Syp over at Bio Break continues to write and podcast with great enthusiasm. The year also saw the launch of the Geek to Geek Podcast with Void and Beej. Their dedication and focus has been a source of inspiration and the show itself is thoroughly entertaining. It also reacquainted me with the concept that you can agree to disagree, cordially. Pam over at Cannot be Tamed also produced lots of quality content via blog post, podcast and You Tube. Joseph (formerly known as the MMO troll) kept creating his own unique brand of content with the Pthppt! podcast. It always raises a wry smile and I’ll happily listen to topics that I usually wouldn’t consider exploring.
Valedictory Remarks:
For me the overwhelming impression that 2016 leaves is ones of change. This has been reflected in politics, world events, within the entertainment industry per se and even my personal life. Yet change is an inherent part of life and cannot be avoided. Therefore, I intend to start 2017 with a positive outlook and rather than focus on what I can’t do, explore what can be achieved with the time and resources that I have. I’m also sure there will still be good content available in all mediums. It may simply be a case of having to broaden one’s search. I recently discovered to my surprise that there’s a fourth instalment of Sniper Elite arriving in spring and I’m still greatly looking forward to Star Trek Discovery. I shall also continue to blog and podcast in my own peculiar way. Perhaps I may even encourage others to do so. After all, you’ve got to have a project.
A Christmas Carol (1971)
I have a great deal of affection for Charles Dickens' A Christmas Carol, not only because it’s a fine piece of literature but because it lends itself so well to dramatisation. I therefore have a keen interests in all the respective adaptation, of which there are many. Over the years there has been a trend to focus excessively on the sentimental aspect of the plot, resulting in a rather nauseating Disneyfication of the story. Although the redemption of the main protagonist is central to the narrative, the poverty and deprivations of the time are still very pertinent themes, especially in today's economic climate. I was therefore very gratified to rediscover the 1971 version of Charles Dickens' classic story which was originally shown on ABC. This short 25 minute animated feature realises the story superbly, capturing the tone of the book and accurately reflecting the darker aspects. Remember that A Christmas Carol is fundamentally a ghost story.
I have a great deal of affection for Charles Dickens' A Christmas Carol, not only because it’s a fine piece of literature but because it lends itself so well to dramatisation. I therefore have a keen interests in all the respective adaptation, of which there are many. Over the years there has been a trend to focus excessively on the sentimental aspect of the plot, resulting in a rather nauseating Disneyfication of the story. Although the redemption of the main protagonist is central to the narrative, the poverty and deprivations of the time are still very pertinent themes, especially in today's economic climate. I was therefore very gratified to rediscover the 1971 version of Charles Dickens' classic story which was originally shown on ABC. This short 25 minute animated feature realises the story superbly, capturing the tone of the book and accurately reflecting the darker aspects. Remember that A Christmas Carol is fundamentally a ghost story.
The TV special features Alastair Sim as the voice of Ebenezer Scrooge (a role Sim had previously performed in the 1951 live-action film Scrooge). Michael Hordern likewise reprised his 1951 performance as Marley's Ghost. Veteran animator Chuck Jones served as executive producer, while the great Richard Williams directed. This is a very distinguished pedigree for any animated production. The story is beautifully condensed considering the running time and captures the harsh winter environment of London in the 1843. The supernatural elements are intelligently realised, drawing directly from the source text. The scene where Marley's Ghost, removes the handkerchief that secures his jaw, so it drops to his chest terrified me as a child when I first saw it. The subsequent depiction of "Ignorance" and "Want" is also bleak and shocking.
Originally produced for television, A Christmas Carol won an Academy Award for best animated short subject in 1973; it remains the only film adaptation of the story to date to have done so. However, elements within Hollywood were unhappy that a TV show had won an Academy Award, which led to the Academy changing its policy, disqualifying any shorts that were shown on television first. Overall A Christmas Carol remains a benchmark for quality animations. The subtle line drawings and water colours bring Dicken's London to life wonderfully. The characters are vividly drawn and reflect a thoughtful design. The voice cast bring gravitas to the proceedings, resulting in a quality adaptation of the story. Unfortunately, this short animated film is not readily available. The VHS release is long obsolete and there is no mainstream DVD copy available. The film did feature on a limited edition DVD boxset of the work of Richard Williams. If you can track down a copy via the internet, then you will be well rewarded.
Standing Stone Games and LOTRO
To date one of LOTRO’s greatest weaknesses has been the way it’s been run and marketed. There are other flaws but these have been fully discussed over the years, so I see no reason to revisit them. Considering the games pedigree, the nine-year-old MMO has never reached its full potential but that is a criticism that can be levelled at many entries in this genre. In recent years LOTRO has limped forward, hobbled by an ever-diminishing development team and starved of resources by its corporate master. Yet because of the dedication of a core group of fans the game generates sufficient revenue to keep it from folding. Thus, despite continued predictions of closure from armchair experts such as myself, LOTRO endures, while other titles have sailed into the West.
To date one of LOTRO’s greatest weaknesses has been the way it’s been run and marketed. There are other flaws but these have been fully discussed over the years, so I see no reason to revisit them. Considering the games pedigree, the nine-year-old MMO has never reached its full potential but that is a criticism that can be levelled at many entries in this genre. In recent years LOTRO has limped forward, hobbled by an ever-diminishing development team and starved of resources by its corporate master. Yet because of the dedication of a core group of fans the game generates sufficient revenue to keep it from folding. Thus, despite continued predictions of closure from armchair experts such as myself, LOTRO endures, while other titles have sailed into the West.
Yesterday it was announced that Turbine would no longer be overseeing the development of LOTRO. In fact, the core team that has running both LOTRO and DDO over recent years, has formed their own new independent game studio called Standing Stone Games and have acquired both properties. Furthermore, Standing Stone Games have partnered with Daybreak Game Company who will provide global publishing services. Sundry press releases were made by both parties and a FAQ was posted to reassure existing customers of both MMOs. The separation process from Turbine and Warner Bros. Interactive Entertainment is ongoing but already LOTRO has been patched to add the Standing Stone Games logo.
Now whether you are a die-hard LOTRO fan or a casually interested bystander (I’m somewhere between these two positions), this change raises a lot of questions. As ever a lot of the answers will only be known to those at the top of each respective company and will not be addressed publicly. However, common sense and a degree of deductive reasoning will probably furnish some answers. For example, it is reasonable to assume that the licensing issue has been addressed and that LOTRO has gained an extension and will not close in 2017. Middle Earth Enterprises may well have become more relaxed about licensing per se since the recent death of Saul Zaentz. I certainly can’t see any company embarking on such a transfer of ownership for a product that had less than a year to live.
Warner Bros. Interactive Entertainment obviously didn’t see the need to hang on to LOTRO, which is hardly surprising as they’ve done precious little with the IP since they acquired Turbine in 2012. At the time, many LOTRO players envisaged a sizeable capital injection and an increase in game development but it never really happened. Warner’s were more than likely just acquiring studios and assets for licenses and patents. So, Standing Stone Games proposition was probably viewed as expedient and convenient. However, the most intriguing aspect of this transfer of ownership is the involvement of Daybreak Game Company. Their acquisition of SOE in early 2015 was surprise and their management of several online titles has been chequered to say the least. Exactly what impact (if any) will they have upon LOTRO?
As a publisher of an online game DGC will theoretically be responsible for things such as account systems, support services and server infrastructure. However, from what we’ve learned already it would appear that a lot of the existing facilities for LOTRO are to be maintained. However, there is the issue of the Turbine Store which no doubt will be quickly converted to reflect DGCs branding. Can we expect to see a change in the LOTROs monetisation policy? It’s very dependent upon Standing Stone Games relationship with Daybreak Game Company. As a new indie studio where did SSG get its funding. Is DGC bankrolling the development team? Or did they provide the capital for the game license which I’m sure did cost pocket change. If you follow the money you usually find out who calls the shots and that will surely impact upon the direction that LOTRO takes.
As ever with a change of this kind, speculation seems to be at both ends of the possible spectrum. LOTRO according to some is to enjoy some sort of renaissance and have a wealth of new content, or alternatively decline into lock box, money grab hell and be dead within six months. Realistically the truth is more than likely somewhere in the middle. Standing Stone Games is now in a better position to focus exclusively for content creation for both LOTRO and DDO without losing staff to other projects. If this transition is handled well then LOTRO can still deliver a modest and steady stream of revenue. DGC may well be pursuing a different endgame that is beyond LOTRO. Perhaps they have an eye on a longer-term relationship with SSG and future products. As ever only time will tell but in the meantime, it is wise to remain cautious. Perhaps this unseen news may even encourage some players to return to LOTRO. Either way my advice is to live in the present and enjoy LOTRO while you can.
Rogue One (2016)
After watching Rogue One earlier today, I was suitably impressed. Once again Disney have used all the knowledge they've amassed from successfully running major franchises and applied it here, resulting in a finely tuned and polished entry into the Star Wars pantheon. The concept of standalone movies released in-between instalments of the classic story has now proven viable opens up a wealth of possibilities. Rogue One works well narratively and provides the spectacle that fans expect from the series. The continuity and attention to detail is outstanding continuously keeping viewers on their toes. Furthermore, the story itself is credible, dovetailing nicely into the lore.
After watching Rogue One earlier today, I was suitably impressed. Once again Disney have used all the knowledge they've amassed from successfully running major franchises and applied it here, resulting in a finely tuned and polished entry into the Star Wars pantheon. The concept of standalone movies released in-between instalments of the classic story has now proven viable opens up a wealth of possibilities. Rogue One works well narratively and provides the spectacle that fans expect from the series. The continuity and attention to detail is outstanding continuously keeping viewers on their toes. Furthermore, the story itself is credible, dovetailing nicely into the lore.
One of the movies greatest assets is its depiction of a galaxy at war. A point that sometimes gets lost in the original trilogy. The rebel alliance is shown as a less than perfect organisation with fragile alliances and rogue factions. Our protagonists are also flawed, some of whom have done questionable things in the name of their cause. It is these themes that bring a greater degree of maturity to Rogue One. The dark tone is more in keeping with that of The Empire Strikes Back, rather than A New Hope.
Technically the movie is a triumph, sporting the quality of computer effects one expects from the franchise. The dogfights in space and the ground assault on the Scarif are suitably impressive. ILM’s loving recreation of Peter Cushing is fascinating to see and also raises some interesting questions regarding the future use of digital actors. The film also showcases several ideas that were previously considered but not used, such as Darth Vader’s bacta chamber. However it is the sense of continuity in the production design and casting that is most striking; Rogue One looks and feels like a seventies production.
Despite a storyline that paves the ways for A New Hope, Rogue One manages to avoid being boxed in by its narrative and takes some interesting turns along the way. The casting works well offering a diverse team of protagonist, reflecting the inter-species nature of the Rebel Alliance. The Empire remains a haven for British character actors with seventies sideburns and as the story unfolds, takes on a credibly dark tone. Rogue One is essentially a war movie and like all good examples of the genre, does not explore the subject matter in binary terms.
Apparently director Gareth Edwards original cut of the movie was a little too dark and Disney decided to shoot additional material and retool the movies ending. Yet the final edit does not necessarily bear all the hallmarks of post-production tinkering. Perhaps Darth Vader’s personal intervention to retrieve the stolen plans at the movies climax is a little contrived but appears to have been well received by fans. The films conclusion is both credible and appropriate. Opting for a more “happily ever after” tone would have diminished the themes that Rogue One explores during its two hour plus running time.
Personally I feel that the bi-yearly standalone movies that Disney has planned offer a lot more scope than the continuation of the classic story. Although I’m curious to know the fate of Luke Skywalker, that tale doesn’t seem to offer as many possibilities. I am a firm believer in the concept that not every movie needs sequel and am looking forward to the forthcoming ad-hoc stories regarding various characters from the Star Wars pantheon. If future films maintain the standard set by Rogue One then fans certainly have nothing to fear and I’m sure Disney will continue to enjoy the commercial success.
Westworld (2016)
Considering the pace of technological change since the early seventies, Michael Crichton’s Westworld was ripe for a reboot. Where the original movie simply pondered the notion of robots designed by computers becoming psychotic, HBO’s recent ten-part series has opted for a broader exploration of the subject matter. Show creators Jonathan Nolan and Lisa Joy reflect upon the nature of sentience, the moral ambiguity of an amusement park such as Westworld and whether fictitious emotions created through programming are any less real than those genuinely experienced. Over ten and a half hours Westworld certainly covers a lot of ground. Its $100 million production cost is also very apparent.
Considering the pace of technological change since the early seventies, Michael Crichton’s Westworld was ripe for a reboot. Where the original movie simply pondered the notion of robots designed by computers becoming psychotic, HBO’s recent ten-part series has opted for a broader exploration of the subject matter. Show creators Jonathan Nolan and Lisa Joy reflect upon the nature of sentience, the moral ambiguity of an amusement park such as Westworld and whether fictitious emotions created through programming are any less real than those genuinely experienced. Over ten and a half hours Westworld certainly covers a lot of ground. Its $100 million production cost is also very apparent.
When it was announced in early 2014 that Westworld was to be rebooted by HBO, many media commentators agreed that this was a good match. HBO being free from the content restrictions of network television and enjoying larger production budgets. Due to the scope of the show HBO shared financing with Warner Bros. Television who currently hold the copyright to the franchise. As further details emerged over the following months regarding casting and other production details, Westworld became one of the most eagerly awaited shows of 2016. It was broadly expected by many critics, that a show with such a pedigree was bound to be a hit.
HBO have had a lot of experience with large productions of this nature. Band of Brothers and The Pacific are good examples, both of which maintained a high standard of writing and narrative vision. However, there is also the more recent success of Game of Thrones to consider. This sprawling epic has found an audience not only because of its densely plotted narrative but due to the liberal quantities of violence, nudity and abhorrent behaviour featured in each season. It cannot be denied that the more salacious elements of George R. R. Martin’s fiction are a contributory element to the shows appeal and popularity. Furthermore, these elements may now be considered an integral part of HBOs formula for success because they are also present in Westworld. Whether they are beneficial or not is a hotly debated question.
Westworld is a story that unfolds from the point of view of the hosts, the artificial lifeforms that populate an amusement park owned by the fictitious company Delos. Because the hosts memories and experiences are constantly manipulated, erased or altered by their creators, the narrative is complex and often deliberately confusing. As a concept and a way of telling a story this is a great idea. However, there is a very fine line to tread between intriguing complexity and excessive, even self-indulgent intricacy. There is also a very old maxim regarding telling a story via a visual medium that it’s better to show rather than tell. Westworld seems to struggle to commit to either of these two courses of action over its story arc.
The shows substantial budget can be seen in every facet of the production. The visual effects are very good and the cinematography is well conceived. Costumes, props and locations all contribute to making the Westworld a credible amusement park. The cast is universally good with Evan Rachel Wood, Thandie Newton and Jeffrey Wright especially standing out. Ed Harris is also a very compelling on screen presence. Frequently sub-plots involving these actors are the high point of each episode. The writers should also be commended for some of the philosophical ideas the narrative explores. Television seldom becomes so contemplative. Yet despite so many positive aspects Westworld often slows down as it attempts to tie itself up in unnecessary dramatic Gordian knots. Furthermore, at times it exudes an air of smug satisfaction at its own “cleverness”. A prime example being the weekly use of contemporary songs being played on the Pianola.
A good screenplay can draw on a broad range of dramatic devices if it is well written and the said devices are intelligently used. Thus, physical, psychological and sexual violence can be utilised successfully beyond mere titillation. Because Westworld is a story about an amusement park that allows customers to indulge in such activities, it is natural to assume that they will be depicted. However, I feel that the spectre of Game of Thrones has impacted upon the production. Therefore, on several occasions I felt that the writers were including a degree of profane language or acts of violence because they felt obliged to. Sadly, it did not always work and stood out quite noticeably and the net result was somewhat immersion breaking.
The season finale of Westworld did manage to draw many of the plot element together and upon mature reflection, some of the more esoteric aspects of the previous episodes did now have a clear purpose. Although one should not directly compare HBOs show with the 1973 feature film, as they are very different beasts, there is broadly a comparable story arc. Effectively after ten hours plus of convoluted and at times frustrating drama, Westworld arrived at a point in the narrative that the feature film reached in about forty minutes. The journey has been far from dull but not exactly the rollercoaster ride the producers intended. For every good point of the production there is a negative one. Thought provoking themes give way to arbitrary plot twists and intriguing ideas get lost in a mire of pretentious intellectual posturing. I therefore hope that season two of Westworld manages to keep the cerebral elements of the story but jettisons the pompous tone and the deliberately pedestrian pacing.
Amazon Echo
I recently decided to buy a year’s subscription to Amazon Prime. It was discounted by £20 and as I’ve been purchasing more and more from Amazon of late, it made sense to take advantage of the deal. So, I spent £59 and became a Prime customer. The first thing I did after receiving the confirmation email that I was now one of the “chosen”, was to buy the Amazon Echo. I’ve had my eye on these so-called smart speakers for a while. I was toying with the idea of buying the Google Home but it doesn’t become available in the UK until after Christmas. The Amazon echo has the advantage of being a tried and tested product that has been around since June 2015 in the US. As I’ve now bought into the Amazon ecosystem it made sense to go with their product and utilise its respective resources fully.
I recently decided to buy a year’s subscription to Amazon Prime. It was discounted by £20 and as I’ve been purchasing more and more from Amazon of late, it made sense to take advantage of the deal. So, I spent £59 and became a Prime customer. The first thing I did after receiving the confirmation email that I was now one of the “chosen”, was to buy the Amazon Echo. I’ve had my eye on these so-called smart speakers for a while. I was toying with the idea of buying the Google Home but it doesn’t become available in the UK until after Christmas. The Amazon echo has the advantage of being a tried and tested product that has been around since June 2015 in the US. As I’ve now bought into the Amazon ecosystem it made sense to go with their product and utilise its respective resources fully.
After a week and a half of using the Amazon Echo I am broadly in agreement with most of the reviews that I’ve read. The speaker itself is robust and of a sound quality that I find more than acceptable. Despite being a Prime customer I opted to try Amazon Music for a month, thus expanding the library of music available from two million tracks to forty million. The reason for this is that my significant other and I have broad and eclectic music taste and simply wanted more choice. Playing individual songs, specific albums and bespoke playlists is quick and easy. In a nutshell, the ease of access and use that the Echo affords means that music is now a regular feature in our household again.
The Echo is also easy to move about the house, connecting effortlessly to your Wi-Fi. Bluetooth connectivity means that it can easily pair with phones, tablets or even desktop PC. This flexibility means that family members do not have to fight over using the Echo, nor inflict differing musical preferences upon each other. The voice recognition software is sufficiently sophisticated and usually understands the various requests our household makes. There are times when Alexa struggles to understand languages other than English but then again it may down to my poor pronunciation. As for Alexa, her neutral UK English accent is pleasant and far from irritating. She has also been programmed to be suitably apologetic when request fails and has a sense of humour. Try asking “Open the pod bay doors, HAL”.
Echo users can customise news, weather and travel services as well use practical apps such as timers and alarms. It should be noted that a lot of the apps and functionality that are currently available in the US are not at the disposal of UK customers. However, I’m sure this will change over time. In fact, I see the Amazon Echo as a provisional incarnation of the sort of automated convenience we’ve seen in science fiction movies and literature for years. A decade from now this sort of technology will be standard in most new build homes. At present, it offers a degree of convenience and novelty. It’s fair to say that the Echo is also a cunning marketing tool, as you gain greater functionality the more Amazon services you buy into. The Echo could also be a prime example (no pun intended) of the emerging digital divide we are seeing in contemporary society.
Overall, I’m happy with the Amazon Echo and Alexa. So far, the only disappointment I’ve suffered was after trying to use the device as a surrogate sound bar for the TV. I purchased a Bluetooth adaptor and managed to output audio from both the television, IPTV and Blu-ray player via the Echo. Sadly, due to the inherent nature of Bluetooth, there was sufficient latency for the sound to be just a fraction out of sync with the visuals. It was too noticeable to be viable so I ceased using the device in this fashion. However, this specific con did not outweigh any of the aforementioned pros. I remain confident that over the next six months I shall find more useful ways to utilise the Amazon echo. Certainly, if I can address Alexa as “computer” in a Star Trek fashion, my user satisfaction would increase even further.
The Grand Tour
I don’t drive. Never have done. I don’t hold a driver’s license and have never been behind the wheel of a car. My life has panned out in such a way that driving has never been a necessity. When I was a teenager, there was always someone else in the social group who drove (thanks’ Chris) and as an adult my other half took up the slack. Plus, I happen to live in an area with great public transport links. Driving has been something that I’ve simply bypassed without any major consequences. Furthermore, I don’t feel that I’ve missed out on anything. Therefore, the entire sub-culture associated with cars and driving is somewhat abstract to me (just like sports). Don’t get me wrong, I can understand its appeal but overall, it’s not relevant to my life.
Therefore, you may be forgiven for assuming that the popular culture phenomenon that is Top Gear is of no interest to me. However, that is in fact not the case. For many years now Top Gear has been an “entertainment” show and Mr. Clarkson a consummate performer. So, I’ve never felt my lack of interest in motoring excluded me from viewing. Irrespective of whether you’re a serious “petrolhead” or not, Top Gear is a show that you can just tune in to and enjoy for what it was; dumb fun. Like many others, I was also interested in the debacle that surrounded Messrs Clarkson, May and Hammond’s departure from the BBC and was curious to see where they’d find a new home. The subsequent move to Amazon Prime seemed a logical choice.
I don’t drive. Never have done. I don’t hold a driver’s license and have never been behind the wheel of a car. My life has panned out in such a way that driving has never been a necessity. When I was a teenager, there was always someone else in the social group who drove (thanks’ Chris) and as an adult my other half took up the slack. Plus, I happen to live in an area with great public transport links. Driving has been something that I’ve simply bypassed without any major consequences. Furthermore, I don’t feel that I’ve missed out on anything. Therefore, the entire sub-culture associated with cars and driving is somewhat abstract to me (just like sports). Don’t get me wrong, I can understand its appeal but overall, it’s not relevant to my life.
Therefore, you may be forgiven for assuming that the popular culture phenomenon that is Top Gear is of no interest to me. However, that is in fact not the case. For many years now Top Gear has been an “entertainment” show and Mr. Clarkson a consummate performer. So, I’ve never felt my lack of interest in motoring excluded me from viewing. Irrespective of whether you’re a serious “petrolhead” or not, Top Gear is a show that you can just tune in to and enjoy for what it was; dumb fun. Like many others, I was also interested in the debacle that surrounded Messrs Clarkson, May and Hammond’s departure from the BBC and was curious to see where they’d find a new home. The subsequent move to Amazon Prime seemed a logical choice.
So, today I watched the debut episode of The Grand Tour on Amazon Prime and found the show to be exactly as I expected. Free from the public broadcasting restraints of the BBC and bolstered by the corporate financing of Amazon, The Grand Tour was a loud, self-indulgent, self-assured show that gave fans more of the same. It was extremely entertaining within the parameters of its own remit and was professionally produced. The banter was there along with exotic locations and expensive “boy toys”. The formula had been tweaked sufficiently to avoid any legal issues while still catering to the tastes of the core audience. The Grand Tour is ideal for a medium such as Amazon Prime, being the embodiment of big budget disposable entertainment.
Thus, with such a marriage made in heaven, theoretically The Grand Tour should happily rumble on in its current idiom bringing unbridled joy to its core viewers. However, the shows greatest strength may also prove to be its Achilles Heel. There’s a subtle difference between being knowingly self-referential and self-plagiarising. Clarkson, May and Hammond are at risk of becoming caricatures of themselves. There’s “lads” banter and then there’s just being a bore and it won’t take much for our three leads to step from one side of the line to the other. Then of course there’s the inherent unsustainability of trying to outdo yourself. Each week The Grand Tour is going to have to attempt to better the previous episode. There surely must be limits on the size of explosions you can safely set off and similarly how “outrageous” our hosts can be. Will they eventually outstay their welcomes like the class clown we all new at school?
It’s also worth pondering is populist television entertainment just harmless fun and a convenient means to relax or something more sinister. Is demographic specific programming a subtle way to distract the public from wider social and political issues that may be of concern to them? Are Amazon Prime, Netflix and other online content delivery services just the modern equivalent of bread and circuses? Perhaps that’s a question best left to future historians. In the meantime, it will be interesting to see if The Grand Tour can sustain itself and continue to meet expectations. Or whether it will ultimately implode under the weight of its own excesses; a victim of the old adage, “familiarity breeds contempt”?