The TGEN Tribunal #6
The Gaming and Entertainment Network was set up in 2014 by several podcasters as a way to promote each other’s shows and reach a wider audience. All the networks members have strong views regarding creating and maintaining communities. Hence it was decided to produce a quarterly roundtable podcast made up of network contributors to discuss and explore a wide variety of subjects. The shows are lively and informal in nature, although there’s often a lot of passion when it comes to the topics being discussed. Frequently the shows are based around questions that our network listeners have asked and the idea of the tribunal is to reflect the feedback we receive.
The Gaming and Entertainment Network was set up in 2014 by several podcasters as a way to promote each other’s shows and reach a wider audience. All the networks members have strong views regarding creating and maintaining communities. Hence it was decided to produce a quarterly roundtable podcast made up of network contributors to discuss and explore a wide variety of subjects. The shows are lively and informal in nature, although there’s often a lot of passion when it comes to the topics being discussed. Frequently the shows are based around questions that our network listeners have asked and the idea of the tribunal is to reflect the feedback we receive.
Due to the realities of day to day life, the TGEN tribunal was somewhat irregular in 2016. This is something that we hope to address this year, so here is the first show of 2017. The panel includes myself, Syl, Braxwolf and Brian and was recorded on Saturday 4th February. Despite some technical difficulties during post production, a coherent (well relatively coherent) podcast has been edited together for our listener’s enjoyment. We hope you find the discussions interesting and would welcome feedback or potential questions for the next TGEN Tribunal which is scheduled for April/May.
TV, Streaming & VOD. Starting a new MMO vs returning to an old one. The Warcraft movie, fans & box office returns.
Diary of a Podcaster Part 3
Last weekend, myself, Syl, Braxwolf and Brian recorded an episode of the TGEN Tribunal. Being regular podcasters who all know each other, the conversation flowed well and overall there were no major impediments to the discussion. We used Zencastr to record the podcast which has its own inbuilt voice over IP service, so there’s no need for third party programs such as Skype. Zencastr has the added benefit of recording each participant on a separate audio track, that is then automatically uploaded to a designated Drop Box account. This makes editing in Audacity very easy, as all four audio files are perfectly synchronised. Or at least that’s the theory. The reality can be somewhat different.
Last weekend, myself, Syl, Braxwolf and Brian recorded an episode of the TGEN Tribunal. Being regular podcasters who all know each other, the conversation flowed well and overall there were no major impediments to the discussion. We used Zencastr to record the podcast which has its own inbuilt voice over IP service, so there’s no need for third party programs such as Skype. Zencastr has the added benefit of recording each participant on a separate audio track, that is then automatically uploaded to a designated Drop Box account. This makes editing in Audacity very easy, as all four audio files are perfectly synchronised. Or at least that’s the theory. The reality can be somewhat different.
When I started editing this morning, although I had four separate synchronised audio files, they were all of differing volume. Although all involved in the recording have good quality microphones and that Zencastr is a clever piece of software, there doesn’t seem to be a means at present to standardise the everyones volume. Usually I’d use a MP3 Gain to address this issue but unfortunately this is freeware and as a result it has some unresolved foibles. Where it can fix the volume levels on a song perfectly, it often crashes when processing lengthy audio. Eventually, I had to fix this sound issue within Audacity itself, which was time consuming. I had to raise the volume of one track and lower another then remove the crosstalk on a further track. Then there’s the matter of my squeaky chair which also blight the recording.
Of course, I have the option of ignoring all these matters but I’m just not prepared to compromise my personal standards. Regardless of what listeners may think about the actual discussion, I hope they feel that the technical presentation is not too amateur. Perhaps I’ve spent too much time listening to talk radio or BBC audio productions because I have very specific ideas about what a podcast should sound like. I don’t like obvious technical deficiencies and always cringe when I hear them in others shows. However, it could be a case that I’m setting unnecessarily high standards and that the audience doesn’t care about these things half as much. There’s one listener I know, who plays podcast at 1.5 x speed for reasons of time efficiency.
All things considered, recording online with a variety of hardware and internet connections, can be a challenge. There have been numerous times when recordings have failed outright or simply not been of an acceptable quality. Yet if you are technically prepared then there is much you can do to ensure that things go smoothly. Test recordings, microphone checks and allowing time for retakes can be invaluable. As for the issue’s I’ve encountered with sound levels, although it’s a nuisance, I intend to learn from it and ensure it doesn’t happen again. Some research online may provide some answers from the podcasting community as I’m sure I’m not the first to have such issues. Rather than seeing this as a problem it can be positively viewed as part of the challenge of podcasting.
Star Trek Online and the MMO Trinity
Although I will happily espouse the virtues of Star Trek Online, the multiplayer element of this MMO is very much optional. The central mission arcs are all solo friendly and although you can play through this content in a group, there is no major incentive to do so. The only times I have grouped during standard PVE content has been to help another player new to the game and when replaying a specific mission for the rewards if offers. The latter can be done a lot faster when grouped. The space and ground queues that are available at level 50 are designed for 6, 10 or 20 players but again the multiplayer aspect of these is somewhat arbitrary. Players can either join a PUG via the group finding system or set up bespoke event themselves with friends of fellow Fleet members. Beyond that there is no compelling interaction between players.
Although I will happily espouse the virtues of Star Trek Online, the multiplayer element of this MMO is very much optional. The central mission arcs are all solo friendly and although you can play through this content in a group, there is no major incentive to do so. The only times I have grouped during standard PVE content has been to help another player new to the game and when replaying a specific mission for the rewards if offers. The latter can be done a lot faster when grouped. The space and ground queues that are available at level 50 are designed for 6, 10 or 20 players but again the multiplayer aspect of these is somewhat arbitrary. Players can either join a PUG via the group finding system or set up bespoke event themselves with friends of fellow Fleet members. Beyond that there is no compelling interaction between players.
This difference handling multiplayer content was highlighted recently when I played through a featured instance in LOTRO. Although most of the six players present were somewhat over powered, and could blitz through most of the trash mobs, the final boss did require players to fulfil specific roles. There was a need for a tank to hold aggro, DPS dealers to burn the boss down and the healers and control class to heal and debuff. LOTRO was a game conceived and created when the MMO industry was still very much focused on the traditional trinity of classes. What I find curious is that STO was developed at the same time and technically has class distinctions that would support multiplay in such a fashion. Yet it has either never been implemented within the game or has been removed over time via various updates and patches.
However, the fleet system in STO really does foster a community spirit. My primary Federation Captain is a member of Reddit Alert and I must say that the fleet chat is extremely sociable. Where the game may lack a compelling multiplayer aspect, the discussions, debates and advice that is available in chat is invaluable. Many fleet members frequently group for the pleasure of it or to help others achieve specific goals. In some respects, this is does offer a degree of compensation for the lack of traditional multiplayer elements within STO. Considering the nature of the source material you’d have thought that the game would have been created with content that had specific roles for each class. Such collaborative play would have certainly been lore friendly.
For good or ill, mainstream MMO content has moved away from complex class interdependency and an inherent need to group for content. The majority of games now focus on PVE content that is solo friendly and offer players builds that allow them to selfheal and adapt to the content requirements. Perhaps the home of such class interaction is now the MOBA or the team shooters such as Overwatch. Taking a specific role in a group content in Star Trek Online would be very gratifying in principle. It would help create the illusion of being part of a larger Star Fleet. However, I think it is highly unlikely for the developers Cryptic to take such a step and introduce this mechanic retrospectively. Frankly the way the community now focuses on DPS builds I don’t think you could have a Tank class that could hold threat.
Classic Movie Themes: The 7th Voyage of Sinbad
The 7th Voyage of Sinbad (1958) directed by Nathan Juran, was the first of three Sinbad feature films produced by Columbia Pictures. The other two being The Golden Voyage of Sinbad (1974) and Sinbad and the Eye of the Tiger (1977). All three Sinbad films were a showcase for Ray Harryhausen’s stop motion animation special effects works, which was marketed as “Dynamation”. The 7th Voyage of Sinbad was the first of Harryhausen’s work to be filmed in colour. The somewhat arbitrary story has Captain Sinbad (Kerwin Mathews) returning to the island of Colossa to find a way to release Princess Parisa (Kathryn Grant) from a magic spell that has caused her to shrink. As ever with such movies, there is much chewing of the scenery and overwrought dialogue. However, the two elements of the film that excel are the excellent monsters and a superb score composed by Bernard Herrmann.
The 7th Voyage of Sinbad (1958) directed by Nathan Juran, was the first of three Sinbad feature films produced by Columbia Pictures. The other two being The Golden Voyage of Sinbad (1974) and Sinbad and the Eye of the Tiger (1977). All three Sinbad films were a showcase for Ray Harryhausen’s stop motion animation special effects works, which was marketed as “Dynamation”. The 7th Voyage of Sinbad was the first of Harryhausen’s work to be filmed in colour. The somewhat arbitrary story has Captain Sinbad (Kerwin Mathews) returning to the island of Colossa to find a way to release Princess Parisa (Kathryn Grant) from a magic spell that has caused her to shrink. As ever with such movies, there is much chewing of the scenery and overwrought dialogue. However, the two elements of the film that excel are the excellent monsters and a superb score composed by Bernard Herrmann.
The main opening theme (Overture as it’s titled on the soundtrack album) for The 7th Voyage of Sinbad is a bold and exciting fanfare. It’s features that dramatic mixture of brass and strings that only Herrmann could do. The fanfare has hints of Herrmann’s future work with its alternating sections of bombastic horns and soft, lyrical strings (think North by Northwest and even Psycho). Overall it is an extremely strong opening gambit and certainly builds expectations for the epic tale that follows. The second part of the cue The Fog is both ominous and mysterious. Once again it showcases Bernard Herrmann’s ability to exactly capture the mood and tone of a scene.
Over the years there have been several notable re-recordings of the soundtrack for The 7th Voyage of Sinbad, yet few have managed to fully capture the spirit of the cues used on the film itself. However, the original session tapes were recently rediscovered and remastered and are now available on CD. These recordings were made directly from the sheet music written by Herrmann himself, and arranged and conducted by Muir Mathieson. Here is the opening Overture followed by The Fog.
The Yakuza (1974)
Japan, its culture and heritage have always been a source of fascination for Hollywood. The Yakuza is a thriller that plays upon the fact that the West at the time was still broadly ignorant of life in post war Japan. As a result, it makes an excellent setting for a story of revenge and honour with its vivid landscape and contrasting culture. This character driven movie encompasses all the best aspects of a mature Hollywood. There are many who consider the period between 1964 – 1976 to be a golden age of American film making. It’s an idea that I find myself hard pressed to argue with as The Yakuza is a prime example of quality film making from that era.
Japan, its culture and heritage have always been a source of fascination for Hollywood. The Yakuza is a thriller that plays upon the fact that the West at the time was still broadly ignorant of life in post war Japan. As a result, it makes an excellent setting for a story of revenge and honour with its vivid landscape and contrasting culture. This character driven movie encompasses all the best aspects of a mature Hollywood. There are many who consider the period between 1964 – 1976 to be a golden age of American film making. It’s an idea that I find myself hard pressed to argue with as The Yakuza is a prime example of quality film making from that era.
The film portrays the clash of traditional Japanese values during the transition from the US occupation to the country’s economic success in the early 1970s. The story's themes are of moral indebtedness, obligation, loyalty, and personal sacrifice. Eastern and Western cultural values are starkly contrasted, in particular the notion of tradition versus modernity; a dilemma that was prevalent in post war industrial Japan. The film is driven by an incisive and thoughtful script by Paul Schrader and Robert Towne as well as excellent performances by Takakura Ken and Robert Mitchum. The pacing and editing are subtly different from contemporary movie making and reflect a slower more thoughtful pace.
The production is lavish for the times and portrays Japan as a beautiful but alien nation. There are dramatic contrasts between the traditional villages with their shrines and the harsh new modern industrial business centres. Similar themes were explored later by John Frankenheimer in The Challenge (1982). The Yakuza also showcases some succinct and well-choreographed action sequences but they never overwhelm the film or upstage the narrative. The ending is appropriate and credible. Hollywood often ensured at the time that plot realism was not outweighed by commercial demands. The films conclusion features a great deal of moral ambiguity and none of the central characters walks away with a guilt free conscience.
In the hands of such a skilled director such as Sydney Pollack, The Yakuza appeals on many levels. It should not be seen just as a Japanese based action vehicle. Instead it is a well-crafted and poignant character study that explores the meeting of two very different worlds. Forty-three years on its themes of cultural divides are still relevant. Hence, The Yakuza remains fine example of the cerebral film making that was prevalent at the time. A time when the concept of a good story was paramount. Action was simply a means of advancing or complementing the narrative and not the raison d'être of the film itself. Above all this was era when studios still credited the audience with some intelligence.
To Grind or Not to Grind?
As soon as I returned to LOTRO last October I immediately started replacing my level 100 gear with more appropriate items. I finally started using slotted armour and essences, using mainly the gear that dropped from quests along the way. As ever it’s not the best but it’s better than what I had. I never started the Dol Amroth repeatable quests that yield armour sets and as the gear is now only level 100, I’ve decided against that option. As I no longer have the time to regularly run instances, I can’t get a set from the Throne of Dread Terror (T2). Luckily, Turbine (now Standing Stone Games) introduced the Flora Barter system with Update 19: March of the King, which provides an alternative method of obtaining level cap appropriate gear.
As soon as I returned to LOTRO last October I immediately started replacing my level 100 gear with more appropriate items. I finally started using slotted armour and essences, using mainly the gear that dropped from quests along the way. As ever it’s not the best but it’s better than what I had. I never started the Dol Amroth repeatable quests that yield armour sets and as the gear is now only level 100, I’ve decided against that option. As I no longer have the time to regularly run instances, I can’t get a set from the Throne of Dread Terror (T2). Luckily, Turbine (now Standing Stone Games) introduced the Flora Barter system with Update 19: March of the King, which provides an alternative method of obtaining level cap appropriate gear.
So, I spent some time recently gathering the various plants in North Ithilien that yield Phials of Extract; the barter items need for the gear set. However, because I’ve been focused on other in-game tasks I didn’t really consider how long it would take to meet the criteria to obtain the full set of Light Weave Padded Armour for my Lore-master. Today I sat down with a pen and paper and did the math(s). A full set comprises of 6 pieces (no cloak). Each item requires 2 Phials of Sapphire Extract and 4 Phials of Amber. So, in total to purchase this set you need 12 Phials of Sapphire and 24 Phials of Amber. To obtain Phials of Sapphire and Amber Extract you have to combine lesser extracts such as Umber, Verdant and Crimson, which come from picking plants in North Ithilien. Sapphire requires 250 lesser extracts and Amber 125. So, to summarise here is a breakdown of the numbers needed for a full set of armour, be it light, medium or heavy:
250 Phials of Umber, Verdant or Crimson Extract x 12 to yield sufficient Sapphire Extract.
125 Phials of Umber, Verdant or Crimson Extract x 24 to yield sufficient Amber Extract.
In total a player needs to have 6000 of the lesser extracts (Phials of Umber, Verdant or Crimson) to then trade in for the necessary Phials of Sapphire and Amber Extract.
Now I spent approximately 90 minutes today collecting extracts from plants such as Horsetail, Dwarfsbeard and Elfspear (others species are available) and I managed to obtain 200 or so. The plants grow in a level cap zone populated by appropriate mobs and animals. So, you do lose some time in combat while collecting. Furthermore, like ore nodes these Flora are contested and you’ll often find yourself competing with other playes for them. Therefore, when you consider all these factors, I estimate it will take a calendar month to gain sufficient stocks of flora extracts to purchase the set. That’s a calendar month playing every day and investing and hour and a half of your time just collecting. It should be noted that there are now some repeatable quests that award random extracts as a way of trying to shorten this process but it really doesn’t make that much of a difference.
So, after figuring this logistical problem out I now have to decide whether I wish to “grind” for this armour set. It comes down to whether you feel that the time invested justifies the reward, or if it is simply too much work. Furthermore, I’ve been burnt several times in the past by Turbine when pursuing other gear grinds. I finally obtained my First Age Weapon from running Moria instances a week before Siege of Mirkwood came out with a new set of gear and weapons that made mine obsolete. The same happened with all the stuff I earned from Hytbold. No doubt Update 21 which is the Mordor expansion may well see a level cap increase. I want to be able enjoy any level 105 armour I obtain for at least six month before it gets replaced. However, I can at times be quite goal orientated so I may well embark on this project. Ultimately the deciding factor with any MMO is one of time.
MMORPGs: A Recurring Talking Point
Last night, I hosted the recording of the latest TGEN Tribunal, a quarterly roundtable podcast made up of members of The Gaming and Entertainment Network. Myself, Syl, Braxwolf and Brian discussed several subjects, one of which was regarding the MMORPG genre. The initial question was quite specific but the discussion soon expanded to cover wider aspects of online multiplayer games. Overall it was an interesting debate, as all present have been playing MMOs for years and have certainly seen their relationship with them evolve. When we finished recording it occurred to me that the subject of MMOs has been a major theme of many of the podcasts I’ve been involved with over the years.
Last night, I hosted the recording of the latest TGEN Tribunal, a quarterly roundtable podcast made up of members of The Gaming and Entertainment Network. Myself, Syl, Braxwolf and Brian discussed several subjects, one of which was regarding the MMORPG genre. The initial question was quite specific but the discussion soon expanded to cover wider aspects of online multiplayer games. Overall it was an interesting debate, as all present have been playing MMOs for years and have certainly seen their relationship with them evolve. When we finished recording it occurred to me that the subject of MMOs has been a major theme of many of the podcasts I’ve been involved with over the years.
For myself and many others, the appeal of the MMORPG lies in the concept of a persistent world that can be shared and explored with others. Although the inherent novelty of the multiplayer aspect of the MMO may have lost its lustre over the last decade, I still from time to time pause and reflect, whenever in-game, that all the other avatars around me are players like myself, sitting at their computers and looking for fun and engagement. The MMO genre also lends itself to strong narratives, often stemming from the intellectual properties they create or license. This is a major attraction. Then there’s simply the fascination of people watching. MMOs mirror aspects of real life with their economies and social hierarchies.
Over the years the genre has evolved, as have the communities that spring from them. The MMO has changed from a complex, time sink that was funded by subscriptions to a more casual and flexible experience. Free to play caused outraged, as did a move away from “hard core raiding”. But the genre still survived and the player base adapted. Allowing more players to participate with alternative business models certainly did have an impact upon content and the quality of some players. Certain MMOs that prided themselves on the rectitude of their player base, found out the hard way that not everyone was amicable by default. Yet regardless of all the challenges that have emerged and numerous prophecies of impending doom, the MMO endures and along with it so does our interest.
I played my first MMO in winter 2008 and I was not exactly an early adopter. By then, many of my peers had cut their teeth on titles such as Ultima Online, EverQuest and World of Warcraft. However my initial MMO experience came at the right moment, when I had the time and inclination to indulge my passion. And because my initial experience with LOTRO was so positive, I subsequently tried all major MMOs that were released thereafter. Thus between 2009 and 2014 the MMO genre was effectively my game of choice. In light of such an admission, it hardly seems surprising to see that enjoyment and affection reflect in my writing and podcasting. In more recent years it has also become apparent that my relationship with the MMORPG has changed, as the demands on my time mean I can no longer commit to a game in the same manner as I did a decade ago.
So, is there a point to all this introspection? Yes there is. After last night’s recording, I decided to search through my archive of podcasts that I’ve created over the last seven years. I found a roundtable discussion, similar to yesterdays. It was recorded in summer 2012 and features my regular co-host Brian, Merric from A Casual Stroll to Mordor and Syp from Massively OP and Bio Break. The show was specifically about the “future of MMOs” and although it’s very much couched in the context of the time, it still has some interesting and relevant points to make. Listening to it again, has certainly highlighted how I’ve moved on in some regards, yet in others I’m still quite enthusiastic. One thing does stand out for me; the fact that LOTRO is still a constant.
So I’ve reposted the podcast. If memory serves, this show was well received upon its original release and now serves as a quasi-historical document, in so far as being a snapshot of the MMO fan base at the time. At the very least it may raise a wry smile from among those who originally participated in the recording. Perhaps we could even do a retrospective of our own show at some future date and discuss what we got right and what we got wrong. In the meantime the MMORPG still endures and adapts to the modern gaming market. Perhaps it is that propensity for survival that makes it such an interesting subject to return to and explore.
Everything or Nothing: The Untold Story of 007 (2012)
Everything or Nothing: The Untold Story of 007 is a lot more than just some bit of fluff, promotional documentary celebrating the 50th anniversary of the Bond movies. It is quite a frank insight into the history of the Bond franchise, although it is very much told from the perspective of EON productions. The movie title comes from the production company acronym “Everything or Nothing” which was formed by Harry Saltzman and Albert “Cubby” Broccoli. Although somewhat partisan in its tone, this is not a rose-tinted exploration of the staggering success of Ian Fleming’s iconic character. The documentary does in fact make you rethink many notions you may have had about certain high profile Hollywood stars and producers.
Everything or Nothing: The Untold Story of 007 is a lot more than just some bit of fluff, promotional documentary celebrating the 50th anniversary of the Bond movies. It is quite a frank insight into the history of the Bond franchise, although it is very much told from the perspective of EON productions. The movie title comes from the production company acronym “Everything or Nothing” which was formed by Harry Saltzman and Albert “Cubby” Broccoli. Although somewhat partisan in its tone, this is not a rose-tinted exploration of the staggering success of Ian Fleming’s iconic character. The documentary does in fact make you rethink many notions you may have had about certain high profile Hollywood stars and producers.
Initially focusing on author Ian Fleming’s struggles to get the novels filmed, the curious catalogue of failures that brought Saltzman, Broccoli and United Artists together are quite fascinating. As the franchise grew and started to gain momentum it seems inevitable that all parties would eventually fallout. Artistic differences, financial remuneration, taxes and ego all played a part. Then of course there was the problem of how a joint writing venture with Kevin McClory led to rights disputes and a series of legal battles that would drag on for decades. It ultimately led to the unofficial Bond movie Never Say Never Again being made in 1983. Unlike other popular franchises the Bond series has also had to face the trauma of recasting it’s lead actor not once but five times.
The documentary speaks to all actors who have played Bond, except Sean Connery, although his views are still adequately represented by archive footage. There is considerable candour from George Lazenby, Timothy Dalton and Pierce Brosnan. Lazenby is very clear as to why he lost the role that he worked so hard to obtain. Dalton’s Bond suffered by arriving at a time when the franchise was in transition. He still remains in my view the Bond that deserved at least more film. Brosnan also gives an honest account of the effects of playing such an iconic role and how he vividly remembers the filming of Goldeneye, but how the sequels are all blurs. Everything or Nothing: The Untold Story of 007 is greatly enhanced by well-placed clips from the various movies to under pin the narrative, as well judicious use of John Barry’s various scores.
As previously mentioned the documentary’s candid approach doesn’t always paint a favourable picture. Mr. Connery is shown to apparently hold a grudge. Money often seems to be the cause of disharmony within the core production team. Plus many have frequently been or still remain tax exiles, a stance that seems to be increasingly unpopular in contemporary society. Yet despite the troubles that have beset the franchise over its fifty years, it still managed to reinvent itself and remain popular, commercial and relevant. What Everything or Nothing: The Untold Story of 007 demonstrates is that regardless of talent, marketing and the full weight of Hollywood, to be truly successful still requires an element of luck as well as being in the right place at the right time. This is why so many other lesser franchises will never get to celebrate a 50th anniversary.
UI Customisation
Game complexity can be both a boon and a bane; a selling point and a source of irritation. There are many titles that I enjoy that have a wealth of systems and mechanics that add greatly to the overall immersion and entertainment. The MMORPG genre excels at this. However, this data all needs to be displayed visually, in an efficient and intuitive fashion. It has to be readily available and easy to navigate. Naturally, there’s a fine balance between making such a system accessible without becoming a source of distraction. This is the challenge that all developers face when designing a user interface. However this problem is compounded further by the human element. Regardless of how well crafted a game’s UI may be, players will always wish to change it to suit their own needs and requirements.
Game complexity can be both a boon and a bane; a selling point and a source of irritation. There are many titles that I enjoy that have a wealth of systems and mechanics that add greatly to the overall immersion and entertainment. The MMORPG genre excels at this. However, this data all needs to be displayed visually, in an efficient and intuitive fashion. It has to be readily available and easy to navigate. Naturally, there’s a fine balance between making such a system accessible without becoming a source of distraction. This is the challenge that all developers face when designing a user interface. However this problem is compounded further by the human element. Regardless of how well crafted a game’s UI may be, players will always wish to change it to suit their own needs and requirements.
What I often find in the MMO genre, is that the UI is streamlined at the beginning of a game with all the essential data that you need to play, evenly distributed around the screen. This grows exponentially as the game progresses, especially with older titles that frequently suffer from skills bloat. LOTRO is a classic example of this with a wealth of data swamping the screen when you reach level cap. I remember having similar issues when I was actively playing SWTOR. I encountered the same in STO recently, especially with regard to the skills hot bar. This was growing and intruding further towards the middle of the screen, impeding combat.
Mercifully most games have the ability to customise the UI, allowing players to indulge their preferences. Furthermore custom HUD settings can frequently be saved and then loaded when required. Monitor size and screen resolution also play a part in this matter and can have a positive impact if altered. Many games also have a cottage industry of players creating and sharing their own custom user interfaces. LOTROinterface has proven to be very popular over the years. The WoW and ESO communities also have multiple sites and resources for such changes. In the competitive genre of MOBAs, a common interface between team mates can be advantageous.
I currently have a 24 inch monitor with a resolution of 1920 x 1200. It provides a fairly large gaming canvas and allows me to spread the various elements of the UI to the borders of the screen. However an excess of data on the periphery of your vision can be distracting, especially if it flashes or attempts to alert you in some fashion. I also find it an impediment if my hot bars start to encroach towards the centre of the screen. I don't know if this is due to a foible of human vision but I find it draws my eyes away from where they need to be. I've had such problems in STO recently with my hot bar resembling a pyramid, resulting is some judicious customisation.
The ability to alter a games GUI, raises some interesting questions. The most obvious is whether or not you actually need everything on-screen. My view is if you're not using a specific element of the HUD, then remove it and that goes for skills as well. Then there is the matter of whether games developers are doing their best to accommodate the needs of players with disabilities. Resizing elements and changing colour schemes, as well as assigning audio alerts can all be incredibly beneficial. Fonts can also be a bone of contention, with some not lending themselves readily to being scaled. A simple change of this nature can often improve gaming.
Personally, I would like to see more customisation options added to games. The mod scene in Skyrim really set the standard. I also like the way that some MMOs such as LOTRO have built in voice chat and access to social media. STO allows players to utilise third party audio players while in-game and The Secret World has its own internal web browser as part of the narrative. Although it is to a developer’s advantage to keep the player focused and in-game, facilitating customisation and providing multiple tools aids this process. Flexibility and accommodating change needs to be more of a driving factors in games development because no two players are alike.
The Geography of LOTRO: Part 2 Bree and Bree-land
In the second part of our look at the geography of Middle Earth, we shall be focusing of the town of Bree. It has a pivotal role in the events of the book and subsequently play a similar part Standing Stone Games Lord of the Rings Online. Before we start, let us remind ourselves exactly what Tolkien writes when introducing Bree to the reader. The following quote is the opening paragraph of chapter nine; At the sign of the Prancing Pony from The Fellowship of the Ring.
In the second part of our look at the geography of Middle Earth (part 1 is here), we shall be focusing of the town of Bree. It has a pivotal role in the events of the book and subsequently play a similar part Standing Stone Games Lord of the Rings Online. Before we start, let us remind ourselves exactly what Tolkien writes when introducing Bree to the reader. The following quote is the opening paragraph of chapter nine; At the sign of the Prancing Pony from The Fellowship of the Ring.
"Bree was the chief village of the Bree-land, a small inhabited region, like an island in the empty lands round about. Besides Bree itself, there was Staddle on the other side of the hill, Combe in the deep valley a little further eastward and Archet on the edge of the Chetwood. Lying round Bree-hill and the villages was a small country of fields and tamed woodland only a few miles broad."
This is a very clear description and to the developers credit they have interpreted this rather literally in the game. Focusing first on the town of Bree itself, Turbine have constructed a settlement that broadly conforms to Tolkien’s details. As you enter through the West-gate and follow the path of "The East Road" you will see the Hobbit holes and small holdings on the slopes of the hill. The homes of men are mainly to the East. "The Prancing Pony" inn is located at the top of the road, abutting to Bree hill itself. The building consists of two wings, as in the source text, though only one is accessible.
Where the game differs is in scale. Bree in LOTRO has been expanded from a simple village to a more substantial centre of commerce. This adaptation allows them to encompass all the crafting and training halls, along with the vendors and sundry NPCs. The only embellishment I personally feel a little excessive, is the town hall itself. It seems a little too ambitious for such a small and insular community. A similar view could be taken on several of the fountains and statues that adorn the various squares. The 2012 revamp has certainly made Bree more populous. Again, perhaps to the detriment of the lore. However, the hedge and dike that surround Bree are very much in accordance with the books and seem authentic.
Moving immediately outside of Bree into Bree-Land itself, we find both Combe and Staddle in the right locations. These being the respective local enclaves of men and hobbits. As specific details are lacking , Turbines visualisations are perfectly acceptable and not in any way excessive. The village of Archet however, has been moved considerably further North. This is to accommodate the fact that the area is a race specific starter area in the game and has been isolated to suit the mechanics of the game. Such local features within the Archet area such as "Bronwe's Folly", "Sprigley's Farm" and "Blackwold Roost" are non-canonical. However none of these are in any way contrary to prevailing regional design.
The above map and the one immediately below have been created using the original books and the subsequent histories of Middle Earth as a guide. They both depict a more Spartan and less populous village of Bree and a far more expansive Chetwood that extends in to the North and NorthEast. The Midgewater marshes are such a distance away as to not even be included on both maps. As are both Andrath and the South Downs. These points highlight the fact that Bree was the last major settlement East of the Blue Mountains before entering the Lonelands. This was a region that was unsettled and thus to a degree barren.
Turbines original condensing of Middle Earth was and remains a necessary factor in creating a viable environment for collective gameplay. However, on occasions, although LOTRO excels at capturing the spirit of Tolkien’s world, there are inevitable trade-offs. The loss of scale particularly in this region is a little disappointing and for those who may not be familiar with the length of original journey, may be somewhat perplexing. For those who wish for more technically accurate cartography, I would recommend the following books. Journeys of Frodo by Barbara Strachey and The Atlas of Middle Earth by Karen Wynn Fonstad. Both depict the routes taken by the fellowship and contain exacting details relating to dates and even the phases of the moon and stars.
Damning the Elder Scrolls Online with Faint Praise?
I recently wrote about how about how I finally purchased The Elder Scrolls Online, two years after the games launch. As the purpose of this post is to contrast my thoughts on the MMO both then and now and how they may have potentially changed, I must first reiterate how I felt about ESO initially. As memory serves, here is a breakdown of my initial impressions. I participated in the beta testing in 2014 and although I broadly enjoyed the game, I was not in any way blown away by it. Overall things took several hours to hit their stride as far as gameplay and enjoyment. I also felt that the early levels seemed too focused on establishing the narrative at the expense of the player getting into the game. Eventually I did get that Elder Scrolls vibe but it was not immediately apparent. The action combat needed refining and the multiplayer element frankly felt redundant, unless you were focused on PVP.
I recently wrote about how about how I finally purchased The Elder Scrolls Online, two years after the games launch. As the purpose of this post is to contrast my thoughts on the MMO both then and now and how they may have potentially changed, I must first reiterate how I felt about ESO initially. As memory serves, here is a breakdown of my initial impressions. I participated in the beta testing in 2014 and although I broadly enjoyed the game, I was not in any way blown away by it. Overall things took several hours to hit their stride as far as gameplay and enjoyment. I also felt that the early levels seemed too focused on establishing the narrative at the expense of the player getting into the game. Eventually I did get that Elder Scrolls vibe but it was not immediately apparent. The action combat needed refining and the multiplayer element frankly felt redundant, unless you were focused on PVP.
Upon my return, I found that the starting zone was still very much a handholding exercise with regard to the game mechanics and the central story. These “nursery” areas are always tend to be problematic for the MMO genre, often falling between two stools. Some players will find them to too hemmed in and on rails, yet there is a need to teach those new to the genre the basic mechanics of the game. Once out of the starter area, things do pick up and it becomes clear that the game leans more towards Skyrim that to other traditional MMOs. If you elect to play ESO with the standard interface, then it’s incumbent upon you to explore the world and figure things out. If you want a more contemporary MMO experience with mini-maps and a wealth of prompts, then add-ons are your friend.
Second time around I felt far more confident about ESO. Certainly, two years’ worth of patches have ironed out a lot of bugs. The combat is more fluid and will provide you with tells if you so wish. The quest lines are well written and engaging, as is the voice acting. The colour scheme is still very muted and this is a far from vibrant game world. However, the games aesthetics suit the lore and match the previous iterations of the franchise. My experience this time round was also enhanced by the wealth of videos and FAQs that are now available for ESO. I had to watch about thirty minutes of video in total to get an adequate handle on the games systems and intricacies. So overall this was a better experience for me, thus proving the old adage about not being an early adopter. The only thing that remained conspicuously the same was the issue of other players. So far, I’ve had no compelling reason to group or interact with them.
Admittedly, I have only been playing for a few days and therefore ESO may well have further revelations for me that will radically change my opinion on the game. Yet I have a nagging concern that that may not be the case and I’m just going to get more of the same. Namely, an MMO with various systems to progress, gear to grind for and a wealth of well written quests to embark upon. All of which is perfectly acceptable but far from exceptional. To summarise everything so far is okay. In fact, one word can sum things up. Adequate. Now there’s a word that often misunderstood so let us remind ourselves with its dictionary definition. Adequate (adjective) satisfactory or acceptable in quality or quantity". This office is perfectly adequate for my needs". Synonyms: sufficient, enough, ample, requisite, apposite, appropriate, suitable.
Now this raises a very interesting point. Is there anything is wrong with a game being just adequate? Why does every new MMORPG have to be revelation and gaming epiphany? To find an answer to this question, let us consider the realities of our own lives. I doubt very few of us receive utter perfection from any of the services we pay for or products we buy. I drink some well-known but distinctly mainstream brands of beer and spirits. That is not to say that they are not enjoyable but they are not anything special. They are merely serviceable. Society does not overtly balk at the notion of adequacy in other industries. So why are gamers aspirations regarding the MMO genre so much higher than those in other aspects of their life?
Some may feel that the use of such words as "adequate" is simply damning ESO with faint praise and that it is far from a complement. I'm not so sure. I think that the primary reason for ESO’s continuing existence is the franchise itself. This is after all the most current iteration of the Elder Scrolls mythos and it satisfies fan’s needs. The quality of the game, which I am arguing is not all bad, is a secondary consideration. If this was an MMO stripped of the vestige of the IP, perhaps it would not enjoy the level of success that it currently does. Perhaps adequate proves that ESO is still a work in progress, on a continuing journey of self-improvement. Being deemed acceptable and workman like across a spectrum of game mechanics is ultimately preferable to a broken game or one that excels at something and fails at others. At present ESO adequacy is sufficient reason for me to continue playing. After all I’ve played many adequate games over the years and have still enjoyed them.
Who Will be the Next Doctor?
Idle speculation is a national pastime in the UK. Be it about the gender of the next royal baby or who’ll be managing some ailing football club, we’ll happily spend an inordinate amount of time and energy pondering such matters. Is such conjecture based on factually accurate data and a knowledgeable insight of the matter in hand? Unfortunately, not. The only requirements necessary to express an opinion are a rudimentary grasp of the English language, access to a web enabled device and a pulse. The latest matter to arise that offers the public an opportunity to indulge in some fevered speculation, is the news that Peter Capaldi will be quitting the role of Doctor Who at the end of the year. Therefore, who exactly would be the thirteenth incarnation of the Doctor.
Idle speculation is a national pastime in the UK. Be it about the gender of the next royal baby or who’ll be managing some ailing football club, we’ll happily spend an inordinate amount of time and energy pondering such matters. Is such conjecture based on factually accurate data and a knowledgeable insight of the matter in hand? Unfortunately, not. The only requirements necessary to express an opinion are a rudimentary grasp of the English language, access to a web enabled device and a pulse. The latest matter to arise that offers the public an opportunity to indulge in some fevered speculation, is the news that Peter Capaldi will be quitting the role of Doctor Who at the end of the year. Therefore, who exactly would be the thirteenth incarnation of the Doctor.
Now in the past, the pundits and those who work in the industry have favoured rather obvious, existing "stars". This was the case when David Tennant left the show. Such names as James Nesbitt, Catherine Tate, Catherine Zeta Jones and even David Walliams where bandied about. Then the BBC completely wrong footed everyone by casting Mr. Smith. This time round the press are considering a mixture of mainstream contenders as well as a few more obscure and outlandish candidates. So far, the following names seem to come up. Ben Whishaw, Richard Ayoade, David Harewood, Olivia Colman, Maxine Peake, Rory Kinnear, Sacha Dhawan, Emma Watson, Hayley Atwell, Tim Roth, Colin Morgan.
"Well you die and she leaves me and marries Richard Dawkins"
Now many may think that the debate regarding the next Doctor, is nothing more than a discussion about pop culture. It may even be labelled trivial by some. However, I think it also reveals a lot more about society and indicates wider views held by parts of the population. Because some people still find the idea of the Doctor being a woman or non-white unpalatable. It was something that first emerged in 2013 prior to Peter Capaldi getting the role. Similar objections have also surfaced in recent years when speculating about the next James Bond. Because of the current political climate, people are less reticent about expressing such views. Furthermore, such opinions may indicate that not everyone believes in such “shared values” as equality. Perhaps it is time to consider that societal norms are far more fluid.
Now there may well be individuals who object to such things purely for reasons of racism or misogyny. I don’t see the point of dwelling upon the like, because prejudice of this nature is simply irrational and illogical. Call it such and move on. However, I don’t think that all such objections are driven by bigotry. There are other factors in play here. Namely, fan’s misplaced sense of ownership. Fans tend to invest in a franchise, product or concept to the point where they feel that their boundless love gives them a degree of collective involvement or even ownership. This point can be argued philosophically until one is blue in the mouth but the reality of the situation is driven be the law. Fans despite what they may feel, are passive observers and financial donors and nothing more.
"It wasn't my fault, blame John Nathan-Turner"
Doctor Who, like any other intellectual property, belongs to a specific owner. In this case, it is the BBC. Therefore, it is very much their bat and ball to use an old phrase. They hire specific writers who are then given relative creative freedom to develop the character of the Doctor. The process is not driven by the will of the fan base. The self-appointed label of “fan” doesn’t give you any additional status or rights over than that of a casual viewer. If a show such as Doctor Who pursues a narrative direction that some fans do not like or cast an actor that a percentage object to, then it is simply a matter of differing opinions between creator and consumer. To frame such objections in any other way is spurious. Therefore, if don’t like the next actor to play the Doctor and feel that you’ve suffered a personal slight or grievance as a result, may I refer you to the wise words of Marcus Aurelius. “Reject your sense of injury and the injury itself disappears”.
The great thing about Doctor Who is that it's Science fiction. The very nature of the genre affords it a far greater degree of artistic freedom. Effectively, if the show ever paints itself into a corner, they can via the means of some clever pseudo-science, easily produce a get out of jail card and be back on track in no time. Therefore, issues such as race and gender can easily be explained, explored and accommodated by the lore, if there is the political will to do so by the show’s producers. Let us not forget that the biggest issues here are not complex social and philosophical ones but the simple fact that people often struggle with change. Yet it was change that saved Doctor Who to begin with and gave us single episode story-lines, less running up and down corridors and a sexier Doctor himself. The show simply had to evolve to remain relevant.
So, while this matter is being hotly debated, I see no reason why Contains Moderate Peril shouldn't contribute to the speculation and offer some of our own well-conceived suggestions. All our recommended actors have the potential to bring something unique and special to the role. I wonder what odds William Hill are giving?
- Grace Jones. This would see a return to a more eccentric.
- Jason Isaacs. Cool, suave, sexy etc.
- Meera Syal. A fine actress and a funny lady. I’m certain she’d bring something of note to the role.
- Susan Calman. She has already put herself forward on twitter with the caveat that Tom Hardy is her companion.
- Michael Ironside. Because he would just be bat-shit crazy and make the Daleks soil themselves.
Classic Movie Themes: Krull
After the success of his nautically themed score for Star Trek II: The Wrath of Khan, composer James Horner was very much in demand. Columbia pictures subsequently hired him over the likes of John Williams and Jerry Goldsmith to compose the soundtrack for Krull (1983). The movie was to be the studios flagship fantasy title and their most expensive production to date, costing $50 million. Unfortunately, the curious mixture of science fiction and fantasy failed to find an audience and was a box office failure. The film most certainly does have flaws. The screenplay was constantly re-written and the lead actor, Ken Marshall is somewhat underwhelming. Yet the production and costume design are outstanding and the movie is beautifully shot.
After the success of his nautically themed score for Star Trek II: The Wrath of Khan, composer James Horner was very much in demand. Columbia pictures subsequently hired him over the likes of John Williams and Jerry Goldsmith to compose the soundtrack for Krull (1983). The movie was to be the studios flagship fantasy title and their most expensive production to date, costing $50 million. Unfortunately, the curious mixture of science fiction and fantasy failed to find an audience and was a box office failure. The film most certainly does have flaws. The screenplay was constantly re-written and the lead actor, Ken Marshall is somewhat underwhelming. Yet the production and costume design are outstanding and the movie is beautifully shot.
The film score composed by James Horner and performed by The London Symphony Orchestra and the Ambrosian Singers, is vibrant and rousing. It's swashbuckling approach is very reminiscent of the works of Erich Wolfgang Korngold. It features vibrant fanfares, a sumptuous love theme and an avant-garde use of string instruments to represent some of the more fantastical elements of the story. Krull represents some of the composers finest work from his early years with its rich and exuberant motifs. It is certainly one of the movies greatest assets and again shows the importance a films soundtrack in underpinning and reflecting the on-screen narrative.
Wrath of the Titans (2012)
A decade after his heroic defeat of the monstrous Kraken, Perseus-the demigod, son of Zeus, is attempting to live a quieter life. Meanwhile, a struggle for supremacy rages between the gods and the Titans. Dangerously weakened by humanity's lack of devotion, the gods are losing control of the imprisoned Titans and their ferocious leader, Kronos. Enlisting the help of the warrior Queen Andromeda, Poseidon's demigod son Argenor and fallen god Hephaestus, Perseus bravely embarks on a treacherous quest into the underworld to overthrow the Titans and save mankind. Or so Warner Bros. Pictures say in their 2012 press release for Wrath of the Titans.
A decade after his heroic defeat of the monstrous Kraken, Perseus-the demigod, son of Zeus, is attempting to live a quieter life. Meanwhile, a struggle for supremacy rages between the gods and the Titans. Dangerously weakened by humanity's lack of devotion, the gods are losing control of the imprisoned Titans and their ferocious leader, Kronos. Enlisting the help of the warrior Queen Andromeda, Poseidon's demigod son Argenor and fallen god Hephaestus, Perseus bravely embarks on a treacherous quest into the underworld to overthrow the Titans and save mankind. Or so Warner Bros. Pictures say in their 2012 press release for Wrath of the Titans.
Like so many of my age group, the works of Ray Harryhausen had a profound impact upon me. Films such as Jason and the Agronauts (1963) and Clash of the Titans (1981) although having very little basis in the classical literature, inspired me to read Homer’s the Iliad and The Odyssey. The myths of the ancient world offer rich veins of material that explore the fundamental aspects of life. Like the Western, this is a genre that can be adapted to reflect a multitude of themes. Yet despite this, director Jonathan Liebesman has managed craft a turgid melodrama which beyond the superficial contains very little narrative substance.
You would have thought that the basic premise of the Gods of Olympus facing death through a lack of human devotion would make for a strong and compelling storyline. Sadly it is underdeveloped and once the basic idea is clumsily telegraphed Wrath of the Titans simply lurches from action scene to action scene. A similar fate befell its predecessor, Clash of the Titans, which excised a substantial amount of content about the Gods relationship with man, from its final edit. Once again with Wrath of the Titans we see a movie edited in favour of spectacle at the expense of story and character development. An extra ten to fifteen minutes of dialogue, interspersed through the movie would have added more weight to the proceedings. It certainly would have made us care more.
Bill Nighy as Hephaestus briefly enlivens the movie, with his one sided conversations with a broken mechanical owl. Yes, at least the production got one thing right with another reference to Bubo from the original Clash of the Titans. It is also fair to say that the depiction of the Titan Kronos, as a behemoth made from cooling molten rock, is impressive. Yet beyond the fact that we are told that he is “bad” he really is nothing more than an arbitrary plot device. It’s a shame because I remember a time when cinematic bad guys use to be such fun.
I often feel that I am writing in an echo chamber as my complaints about Wrath of the Titans are the same that I’ve made about so many other contemporary mainstream studio pictures. However, irrespective of my concerns it would seem that there’s an audience for such things as Wrath of the Titans. So if you have a hankering to watch quality actors such as Ralph Fiennes and Liam Neeson ham it up in front of green screens then knock yourself out. Whether films such as these sustainable, well it’s difficult to say. Wrath of the Titans made a profit at the box office but it was down by over $150 million compared to the previous movie. To date a third instalment has not yet appeared.
Clash of the Titans (2010)
When I initially heard that Clash of the Titans was to be remade, I had mixed feelings. I grew up watch Ray Harryhausen movies and have a great affection for them. However, it can be argued that the 1981 original movie has hardly Harryhausens finest work. It was saddled with an uninspired script, a wooden lead and seemed very dated compared to comparable fantasy movies at the time, such as Dragonslayer. So, I chose to give the 2010 remake the benefit of the doubt. I was even prepared to overlook the fact that the movie had been retrofitted in to 3D during post-production. A pointless embellishment. Upon my first viewing, which I saw on a big screen West End theatre, I was left with mixed feelings. I recently decided to watch Clash of the Titans again to see if there were any aspects of the film that I had overlooked. Sadly, my conclusions remained the same.
When I initially heard that Clash of the Titans was to be remade, I had mixed feelings. I grew up watch Ray Harryhausen movies and have a great affection for them. However, it can be argued that the 1981 original movie has hardly Harryhausens finest work. It was saddled with an uninspired script, a wooden lead and seemed very dated compared to comparable fantasy movies at the time, such as Dragonslayer. So, I chose to give the 2010 remake the benefit of the doubt. I was even prepared to overlook the fact that the movie had been retrofitted in to 3D during post-production. A pointless embellishment. Upon my first viewing, which I saw on a big screen West End theatre, I was left with mixed feelings. I recently decided to watch Clash of the Titans again to see if there were any aspects of the film that I had overlooked. Sadly, my conclusions remained the same.
Clash of the Titans has a somewhat turgid script, loaded with lots of contemporary dialogue. I’m not a fan of this sort of screenplay. Not that I want faux Old English as that would be as equally lazy. I just feel that some modern terms and idioms should be absent and that dialogue should reflect the social norms of the time. As a result of the somewhat generic narrative, we have several A-list actors (Ralph Fiennes and Liam Neeson) chewing the scenery and generally giving the screenplay the Vincent Price treatment. Then we have Sam Worthington, who at this point hadn’t quite found his comfort zone with regard to his choice of film roles. As a result, he is a singularly uninteresting hero.
As for the visual effects work and digital creations, they’re very competent, yet the way they are implement means that they’re often overbearing rather than engaging. Clash of the Titans is also a very noisy film. Once again contemporary film makers fall in to the trap of thinking that rapid edits, excessive camera motion and sheer volume, are an easy way to create tension and excitement. Then there is the casual brutality instead of suspense that is so often casually thrown in to movies of this rating (PG-13), irrespective of whether its needed or not. Unfortunately Clash of the Titans has precious little to do with the source legends that allegedly inspire it. Even with generous concessions to artistic licence, this bears little relationship to the ancient world.
Yet despite all these obvious flaws, I still enjoyed Clash of the Titans on a simplistic level. It is exactly what it claims to be, IE a big budget popcorn movie made in the modern idiom. Actors such as Pete Postleswaite and Mads Mikkelsen are always watchable and effectively carry the movie. Liam Cunningham has some suitably dry quips and frequently raises a wry smile. The location photography is vivid and production design surprisingly inventive. Most importantly of all, the character "Bubo" from the 1981 original, has been omitted from the storyline. There is one self-referential scene that touches on this matter, in a very funny way (or at least I thought so). As a result this one aspect did much to redress the films other failings.
It is very easy to get disproportionately nostalgic about the past and make sacred cows out of films that have a special place in our hearts. But we have to check our emotional baggage at the door of the cinema (or lounge) and go in focused on judging a remake on its own merit. There are many factors that shape a film. We must consider not only the technical abilities of those involved in the production but the prevailing social attitudes and trends of the time. Often, to compare both old and new is a bit like comparing apples and pears. Clash of the Titans is a prime example of studio blockbuster fodder, tailored to today's market. But if you accept that from the outset, it can still be enjoyed despite what it is.
Diary of a Podcaster Part 2
A week on from my last post on this subject, I have decided to script the entire of my solo podcast. It won’t be one hundred percent verbatim but I need to get the lion share of my thoughts down prior to recording. I discovered over several recording sessions that I continuously think of additional points to add as I’m speaking. The net result is having to constantly stop and start Audacity, the program I use for recording, as well as having to research extra points on the fly. Again, I was not happy with the finished product as you could frequently hear the hesitation or more to the point, the frustration in my voice. So, I’ve returned to the idea of having well fleshed out notes with some sections such as the introduction, written out in their entirety.
A week on from my last post on this subject, I have decided to script the entire of my solo podcast. It won’t be one hundred percent verbatim but I need to get the lion share of my thoughts down prior to recording. I discovered over several recording sessions that I continuously think of additional points to add as I’m speaking. The net result is having to constantly stop and start Audacity, the program I use for recording, as well as having to research extra points on the fly. Again, I was not happy with the finished product as you could frequently hear the hesitation or more to the point, the frustration in my voice. So, I’ve returned to the idea of having well fleshed out notes with some sections such as the introduction, written out in their entirety.
With regard to the second new podcast that I’m producing, this is a discussion or chat show that requires a guest on each episode. Although I have several lined up, the main problem always comes down to scheduling a convenient time for all parties to meet online and record. I must admit that at present the main obstacle is myself, as my schedule has been somewhat busy of late. I’m also still working on collating a list of cogent questions and points of discuss. However, the main objective of the new show is to focus upon the guests and encourage them to talk about themselves and their experiences. The key to a good show of this kind is to coax them in to holding forth with some subtle lines of enquiry.
In other podcast news, I have decided to subscribed to Zencastr as it has proven to be an invaluable product over the last year. While the program was in development myself and Brian relied upon it regularly for the recording of the Burton & Scrooge Podcast. Not once did we have a recording fail. As a result, I have decided to pay for the Pro package available for $20 a month (after a 14-day free trial) which offers a wealth of facilities. These include Unlimited Guests, Unlimited Recordings, Live Editing Soundboard, Record in High Quality MP3, Record in 16-bit 44.1k WAV and 10 Hours Automatic Postproduction per month. I’m very keen to try the soundboard feature and integrate stings and bumpers in to the show while recording, rather than in post-production.
I was toying with the idea of making a formal announcement about both new podcasts on Contains Moderate Peril, in the pious hope that it would force my hand to produce both shows as quickly as possible. I was initially considering producing both monthly, however the reality of the situation is that, like Gandalf, they’ll arrives precisely when they mean to. Sometimes you just have to embrace the capricious nature of one’s life and accept the fact that you can’t do everything that you want at the pace you dictate. So, in the meantime, I would advise you all to listen the Scrooge Uncut; Brian’s new podcast. He has already posted an update to the first episode and has more material waiting in the wings. My shows are still very much in development.
Star Trek Online: Season 12 and the 7th Anniversary
There’s a lot going on in Star Trek Online at present. The game is currently celebrating its seventh anniversary which means there’s a chance to earn a new Tier 6 Lukari Ho’kuun Science Vessel, via the repeatable Omega Molecule Stabilization anniversary event. Season Twelve has also just launched, with the featured episode Of Signs and Portents. The story continues with Starfleet’s joint exploration with their new ally the Lukari, and features actor Tony Todd reprising his role of General Rodek. There is also the addition of the Lukari reputation faction, along with two new Tzenkethi Space Queues and Battlezone. If this wasn’t enough Cryptic have also added a new Kits and Modules Research School to the existing R&D system as well as a new lock box, featuring 23rd Century ships and technologies.
There’s a lot going on in Star Trek Online at present. The game is currently celebrating its seventh anniversary which means there’s a chance to earn a new Tier 6 Lukari Ho’kuun Science Vessel, via the repeatable Omega Molecule Stabilization anniversary event. Season Twelve has also just launched, with the featured episode Of Signs and Portents. The story continues with Starfleet’s joint exploration with their new ally the Lukari, and features actor Tony Todd reprising his role of General Rodek. There is also the addition of the Lukari reputation faction, along with two new Tzenkethi Space Queues and Battlezone. If this wasn’t enough Cryptic have also added a new Kits and Modules Research School to the existing R&D system as well as a new lock box, featuring 23rd Century ships and technologies.
As ever, Cryptic have been generously giving away free items from the C-Store over the course of the anniversary week, including uniforms, skills points, ships slots and drydock spaces. Furthermore, the console version of the game continues to grow, with the recent PC expansion Agents of Yesterday being ported to Xbox One and PS4 next month. Executive producer Stephen Ricossa stated in a recent anniversary letter that “2016 was not just another amazing year for Star Trek Online, but the best year we’ve ever had” and is confident that the game will thrive this year. “There are even more fantastic releases planned for 2017, and a continuation of the current story line that will grow and weave as it takes us well into 2018”. Marketing spin notwithstanding, the abundance of new material across multiple platforms appears to show that Star Trek Online is doing well in the current MMO market.
Conversely, at a time when STO is thriving, other MMOs are either treading water or in some cases facing imminent closure. Turbine will be shutting down Asheron’s Call at the end of January and it doesn’t look as if there’s likely to be an eleventh-hour rescue from a third party. In fact, Turbines exit from the MMO industry to focus on mobile games, indicates that the MMORPG as a genre is no longer considered as lucrative as it was a decade ago. Many developers have learnt the hard way that creating a World of Warcraft clone that produces the same level of financial success, is nigh on impossible. Star Trek Online, like LOTRO, endure mainly because of the popularity of the core IP and the inherent loyalty of the fan base.
Where LOTRO, under the auspices of Warner Bros. never fully tied in to the Hobbit feature films, it will be interesting to see if the new TV show Star Trek Discovery gets incorporated in to STO. Bearing in mind that Cryptic have so far included direct lore references from all previous Star Trek shows and even the J J Abrams movies under the guise of the Kelvin Timeline, then I’d say it’s more than likely certain. Enjoying such a cordial business relationship with the rights holders CBS, certainly seems to be proving healthy for STO. It’s curious that matter of the game license has never become such an issue among the fan community as it has with LOTRO. In the meantime, there’s plenty of content to explore in STO, ensuring my regular presence in the game for the immediate future. As a lifetime account holder, I feel that I always have the option of taking a break from the game, should it require it but so far, since May 2015 I’ve been pretty much continuously kept busy. Not bad for a seven-year-old MMO.
Yet Another Divided Community?
Overwatch is currently celebrating the Chinese New Year with an event that adds not only additional cosmetic skins but also a new game mode. Capture the Rooster is a themed variation of capture the flag. What makes this new content so interesting is that Blizzard initially stated that such a game mechanic would not be viable for the game, due to the abilities of specific characters giving them an unfair advantage. However, the developers have placed a time delay between capturing the flag and when a player can run with it, allegedly mitigating this loophole. Yet despite this change Capture the Rooster is still proving controversial with the player base. Feel free to peruse the comments section over at Polygon or on the Overwatch subreddit for further information. The key to success appears to be with having a balanced organised team. Thus, guilds that player regularly fair better than players who just auto group.
Overwatch is currently celebrating the Chinese New Year with an event that adds not only additional cosmetic skins but also a new game mode. Capture the Rooster is a themed variation of capture the flag. What makes this new content so interesting is that Blizzard initially stated that such a game mechanic would not be viable for the game, due to the abilities of specific characters giving them an unfair advantage. However, the developers have placed a time delay between capturing the flag and when a player can run with it, allegedly mitigating this loophole. Yet despite this change Capture the Rooster is still proving controversial with the player base. Feel free to peruse the comments section over at Polygon or on the Overwatch subreddit for further information. The key to success appears to be with having a balanced organised team. Thus, guilds that player regularly fair better than players who just auto group.
This point and others demonstrate the divide that has quickly formed within the Overwatch community. As ever this division forms around player styles. Specifically, casual players who auto group and play for fun and those who pursue ranked competitive gameplay. I’ve read a lot recently about the alleged “toxicity” of the Overwatch community but have not encountered it myself until recently. But then again, I have been “playing in the shallow end” with regard to my time in game. I usually just use the Quick Play facility to auto group with players of my level. If I want to try and familiarise myself with a new character, then I play against the game AI. So far, all my interactions with other players have been positive. There’s been a few crass comments but they’ve been few and far between. However, as I recently hit level 30, I decided to give the Competitive Play ago and the difference in behaviour was striking.
Competitive gameplay can be a good thing, or so I’m told. Please insert all the usual platitudes about team dynamics, creating communities and building character here. I’m not sure if they are applicable to all players but I’m prepared to consider that not everyone partaking of Competitive Play in Overwatch is ill-mannered and ill humoured. Yet the reality is that a lot are and as ever they leech all the enjoyment out of the proceedings. Tantrums about changing characters as well as blame and anger after a lost round are all too frequent. As ever, racially abusive terms, sexually violent threats and brooding rancour liberally abound in text and audio chat. There’s a somewhat tiresome and tedious inevitability about this state of affairs. Furthermore, it’s sad because the ranked games in Overwatch, do tend to be better. Players show a far greater understanding on their character’s skills and have better situational awareness. I must admit I’ve been impressed by the standard of the games I lost. It’s just a shame that all this goes hand in glove with a simultaneous race to the bottom.
I and possibly many of my colleagues have reached a point now in our respective gaming lives where these kinds of community divides are just a fact of life. Ranked playing simply comes with baggage and you just have to roll with it. If such a mechanic is introduced in to any game, then this kind of behaviour always manifests itself. Of course, different developers try different approaches to correct this situation, with vary degrees of sincerity and success but I suspect it is ultimately unsolvable. The anonymity of the internet simply frees people from social convention and shows that perhaps our default position isn’t as nice as we would like to think. So, it’s back to the “shallow end” for me. I have insufficient skill anyway to truly thrive in ranked gameplay and as a result I don’t enjoy such an environment. As for the issues of division and “toxicity” (which is a nebulous term) perhaps they just prove that the brotherhood of gamers, so often extolled, is a myth and that we all play for vastly differing reasons. Therefore, why should we all get along?
Looking for the Right RPG
Sometimes when you try something new, you can inadvertently enter the market at the top end. For example, if the first fantasy novel you read may be The Lord of the Rings or the first RPG game you play is either Skyrim or The Witcher 3: Wild Hunt, then you’re definitely dealing with A list products. Although this has the benefit of providing a high quality personal experience, it also comes with a downside. The bar for such content has now been set extremely high and subsequent forays into similar territory may not be as good or enjoyable. To use a clumsy analogy, once you’ve had Châteauneuf-du-Pape, your local stores economy brand may no longer suffice.
Sometimes when you try something new, you can inadvertently enter the market at the top end. For example, if the first fantasy novel you read may be The Lord of the Rings or the first RPG game you play is either Skyrim or The Witcher 3: Wild Hunt, then you’re definitely dealing with A list products. Although this has the benefit of providing a high quality personal experience, it also comes with a downside. The bar for such content has now been set extremely high and subsequent forays into similar territory may not be as good or enjoyable. To use a clumsy analogy, once you’ve had Châteauneuf-du-Pape, your local stores economy brand may no longer suffice.
I have grown to like RPGs in recent years. I enjoy the open world environments and the scope they offer for epic story telling. When done well an RPG creates the illusion of a living world. This can range from major events that have an impact upon the landscape, all the way down to the banter that is exchanged between NPCs in the town centres. For me the most important factor in all of this is the underlying narrative. I want to like the central character and participate in an engaging story. Effectively, The Witcher 3: Wild Hunt has spoilt me rotten and I would very much like to have a comparable experience with another title. However, finding such a game can prove difficult.
Recently I revisited Arcania: Gothic 4 and played through the main game as well as the expansion, Fall of Setarrif. The game's mechanics are perfectly adequate and the combat, crafting and skills point allocation have been straight forward. The game engine is not too shabby and ingame world looks quite vivid. The climate changes from sunshine to rain and the wind sways the foliage, producing a pleasant and credible environment to explore. The different zones do feel a little to artificially hemmed in at times, which can break the illusion that this is a true open world but it’s not a deal breaker. Sadly the sea is not accessible and you cannot swim from the coastline due to invisible walls
The character models are acceptable but upon closer inspection are repeated quite a lot within the game. You cannot customise the look of the character that you play, which is a little disappointing. The voice acting is also somewhat patchy and there are dialogue glitches that occur from time to time. The subtitles do not always match what is said, which can be both confusing and hilarious. Which leads me to the games overall story which is sadly an arbitrary fantasy adventure. It not excruciatingly bad and I've endured far worse in the past. It's just very generic with the usual tropes, faux lore and geographical locations. The dialogue is a very stylised form of "Olde English" with liberal use of UK colloquial slang.
It's a shame that there aren't more open world games based in different settings. The RPGs, despite having some high-profile forays in to the science fiction genre, still seems to be predominantly, fantasy-centric. Can we not have a change? This is one of the reasons I like Sherlock Homes: Crimes & Punishment and The Testament of Sherlock Holmes. I love the authentic Victorian world that developers Frogwares have created with its attention to detail and period atmosphere. Such an environment would be ideal for an RPG but sadly these games are not technically of that genre and merely hint at the potential of true open world. The bottom line is that fantasy sells, having a tried and tested track record, so it takes a bold vision to do something different.
Even with the latest technological resources, creating an expansive open world game which simulates a living world, as well as populating it with well-defined NPCs, is time consuming and expensive. As a result, game’s such a Skyrim and The Witcher 3 are few and far between. The PC port of Grand Theft Auto V, despite sporting a fantastically detailed sandbox environment sadly lacked the depth of narrative that I look for. It was a similar story with Watch Dogs. It makes me wonder if the RPG genre will ever reach its full potential, due to the fact that gamers aspirations and developers financial imperatives seem to be at odds with each other. In the meantime, I'll soldier on and try another of the RPGs I have in my Steam catalogue. Let’s see if there’s any mileage in Risen 3: Titan Lords.
Classic Movie Themes: Conan the Barbarian
A well written film soundtrack does more than simply embellish the on-screen imagery. It permeates the very fabric of the film and becomes character itself, adding emotional content and driving forward the narrative. However, there is a fine line between enhancing the pace and atmosphere of a film and simply "telegraphing" imminent events in a melodramatic fashion. The score for Conan The Barbarian by the late Basil Poledouris is a rare example of the former and in itself totally sublime. Using the traditional style of the "leitmotif", a ninety-piece orchestra and twenty four voice choir, Poledouris creates "a continuous musical drama" that has now entered the pantheon of classic modern film scores.
A well written film soundtrack does more than simply embellish the on-screen imagery. It permeates the very fabric of the film and becomes character itself, adding emotional content and driving forward the narrative. However, there is a fine line between enhancing the pace and atmosphere of a film and simply "telegraphing" imminent events in a melodramatic fashion. The score for Conan The Barbarian by the late Basil Poledouris is a rare example of the former and in itself totally sublime. Using the traditional style of the "leitmotif", a ninety-piece orchestra and twenty four voice choir, Poledouris creates "a continuous musical drama" that has now entered the pantheon of classic modern film scores.
The opening credits of 1982 movie directed by John Milius, (infinitely superior to the 2011 reboot) depicts Conan's Father forging a sword and establishes the central plot device regarding the "Riddle of Steel." The sequence is beautifully complemented by Basil Poledouris's intense and bombastic title theme, the "Anvil of Crom". It is a powerful piece played by twenty French horns, strings and timpani and sets the tone eloquently for the remainder of the film. According to Poledouris, Milius envisioned Conan as an opera with very little or no dialogue. The movie therefore has musical accompaniment for most of its two hour plus running time.