10 Sad Movie Death Scenes Part 2
Up (2009). The opening scenes of Up are a beautiful distillation of the life of Carl Fredricksen (Ed Asner), the movies main character. Comprising of a montage, we are shown him meeting his childhood sweatheart Ellie and there subsequent marriage. The narrative then explores the major events of their life together. The couple are not blessed with children and also have to sideline their ambitions to travel the world, due to the realities of work and married life. Ellie grows sick in her autumn years and dies leaving Carl a widower. The sequence plays out wordlessly against a winsome and understated score by Michel Giacchino. The emotional depth and craftsmanship apparent in these scenes are of a quality seldom seen in modern film making. They validate the skills of Pixar Animation Studios and the medium of animation.
Up (2009). The opening scenes of Up are a beautiful distillation of the life of Carl Fredricksen (Ed Asner), the movies main character. Comprising of a montage, we are shown him meeting his childhood sweatheart Ellie and there subsequent marriage. The narrative then explores the major events of their life together. The couple are not blessed with children and also have to sideline their ambitions to travel the world, due to the realities of work and married life. Ellie grows sick in her autumn years and dies leaving Carl a widower. The sequence plays out wordlessly against a winsome and understated score by Michel Giacchino. The emotional depth and craftsmanship apparent in these scenes are of a quality seldom seen in modern film making. They validate the skills of Pixar Animation Studios and the medium of animation.
Assault on Precinct 13 (1976). The killing of a child on screen is still very much a cinematic taboo and very few film makers have the nerve to do it. The murder of Kathy (Kim Richards) as she buys an ice cream in Assault on Precinct 13 is still very shocking to this day. Yet director John Carpenter handles the scene in a very measured fashion and although he shows the shooting quite calmly he avoids excessive melodrama or voyeurism. The subsequent sequence where the girl's Father returns from the pay phone to find his child dead on the sidewalk is very powerful. The way actor Martin West blankly stares blankly ahead trying to make sense of what he sees is disturbingly plausible. I've always found the way he takes off his jacket and covers his daughters corpse very touching.
Red Sun (1971). Former Bond director Terence Young struggles with an international cast, bland screenplay and slipshod editing in the 1971 Western Red Sun. Starring Charles Bronson and Toshiro Mifune, beyond its initial appeal of mixing the genres, the film fails to meet it's potential. It is none the less still entertaining mainly through the performances of the two leads. Toshiro Mifune had an inherent gravitas that made him a compelling actor. As a child I was fascinated by the skill and dexterity of the Samurai Kuroda, along with his cultural sophistication. It was a stark contrast to the rather two dimensional caricature that Mr. Bronson was saddled with. Yet despite the obvious shortcomings of the screenplay the relationship that grows between the two is engaging. Kuroda's rather obvious death at the movies denouement always upset and annoyed me. It was unjust and simply just lazy writing.
Enemy Mine (1985). If you've ever seen John Boorman's Hell in the Pacific, then you'll quickly get the measure of Enemy Mine. Director Wolfgang Peterson does a competent job of crafting a tale of inter species conciliation, set against a science fiction back story. The movie had a very problematic production history and it is to everyone involved credit that it turned out as well as it did. Dennis Quaid and Louis Gossett Jr. deliver strong performances as Willis "Will" Davidge and Jeriba Shigan. Chris Walas does stirling work with the alien Drac prosthetic effects. There is a poignant duality to Jeriba Shigan's death scene as he dies in childbirth (Dracs reproduce asexually) and Davidge has to come to terms with promise he made to raise the child Zammis and return him to his homeworld.
The Mist (2007). Frank Darabont is a very astute director and he strongly resisted studio pressure to change the ending of The Mist. Based on a Stephen King novella, the movie centres around an eclectic group of survivors trapped in a supermarket by an mysterious mist. Once you look beyond the standard trappings of a creature feature, you'll find a rich and compelling character study of people desperately trying to cope and rationalise inconceivable events. The cast and performances are outstanding, especially Thomas Jane, Toby Jones and Marcia Gay Harden. Darabont skilfully shows how the superficial trappings of civilised society are quickly dispelled in a crisis. He also holds his nerve and offers the audience a terribly bleak yet compelling ending. Desperate, lost and out of hope survivor David Drayton, by mutual consent, turns his gun on his fellow companions (including his own son) to spare them a slow death. Out of ammunition and unable to kill himself, he contemplates the magnitude of what he has done. It is at this point that the mist clears and rescue is at hand. It is one of the most powerful and heartbreaking movie endings I have ever seen.
10 Sad Movie Death Scenes Part 1
The Black Hole (1979). Like many Disney's movies, The Black Hole has hidden depth and is more than just a late seventies Space Opera. The relationship between the anthropomorphic robots Bob and V.I.N.CE.N.T. has an interesting metaphysical subtext. The voice casting of Slim Pickens and Roddy McDowall is sublime and provides the audiences with an immediate connection to the characters. Bob's death scene rises above the contrived as a result of this and has genuine pathos. It is further enhanced by the skill of the animatronics effect work and the subtleties of their physical performances. The way V.I.N.CE.N.T. lowers his eyes when Bob shuts down is wonderful embellishment. The sequence is completed by John Barry's beautiful and dignified music cue.
The Black Hole (1979). Like many Disney's movies, The Black Hole has hidden depth and is more than just a late seventies Space Opera. The relationship between the anthropomorphic robots Bob and V.I.N.CE.N.T. has an interesting metaphysical subtext. The voice casting of Slim Pickens and Roddy McDowall is sublime and provides the audiences with an immediate connection to the characters. Bob's death scene rises above the contrived as a result of this and has genuine pathos. It is further enhanced by the skill of the animatronics effect work and the subtleties of their physical performances. The way V.I.N.CE.N.T. lowers his eyes when Bob shuts down is wonderful embellishment. The sequence is completed by John Barry's beautiful and dignified music cue.
The Fly 2 (1989). Our emotional connection with our pets has always provided film makers with a rich vein of material to explore or exploit, depending on your point of view. The death of a canine companion has become a established cinematic trope. Consider Mad Max 2, The Beastmaster and Big Jake for example and you'll find exemplars of the "Martyr Dog" concept. In The Fly 2, Martin Brundle (Eric Stoltz) discovers that his childhood pet dog, which he thought had died in a failed teleportation experiment, is still alive and suffering as a result of its horrific transformation. Martin pets the decrepit animal who recognises him and feebly tries to greet him. He finally puts the poor creature out of its misery with chloroform. It can be argued that this is just a Palovian exercise in emotional button pushing but I find that there is an sense of honesty to the scene and the manner in which it is presented.
The Wild Geese (1978). The cultural complexities and hierarchy of the British military are a microcosm of the class distinctions that run through the United Kingdom. This is superbly highlighted in Victor McLaglens's 1978 movie The Wild Geese, which centres around a group of mercenaries and their attempt to rescue a deposed African political leader. Regimental Sergeant Major Sandy Young (Jack Watson) is a very traditional soldier and extremely deferential to his friend and superior, Colonel Alan Faulkner (Richard Burton). In a scene establishing the mutual respect between the two men, Faulkner jokingly quips that RSM Young can call him by his first name if he wishes. Ironically the only time he does this is when he is fatally shot at the movies climax. It's a genuinely moving vignette mainly due to the credibility of Jack Watson's performance.
The Plague Dogs (1982). If you were shocked as a child by the content of Martin Rosen's animated film Watership Down, then prepare yourself for an even more gruelling experience with The Plague Dogs. This is an intelligent but incredibly sad exploration of man's exploitation of animals. Upon it's initial release many people including the distributors were not expecting such a bleak and hard hitting story from an animated feature film. As a result the movie was cut from one hundred and three minutes to eighty two. The story follows two dogs, Snitter (John Hurt) and Rowf (Christopher Benjamin), who escape from a government research laboratory and are pursued by the military. A reoccurring theme throughout the film is that the pair may find safety on a secluded island away from the "whitecoats". After several harrowing adventures The Plague Dogs ends with the dogs on the point of utter exhaustion, swimming towards an island that may not exist. It is never established whether they survive or not.
On Her Majesty's Secret Service (1969). Often considered the most controversial of all the Bond movies, due to its replacement of Sean Connery and radical change in tone, On Her Majesty's Secret Service has enjoyed a renaissance in popular opinion in recent years. Directors such as Steven Soderbergh consider it to be an underrated classic. I've always enjoyed the movie and its core theme of Bond (George Lazenby) finding meaningful love and fulfilment with Contessa Teresa "Tracy" di Vicenzo (Diana Rigg). Unfortunately a happily married Bond was not exactly what the producers were looking for back in 1969. Therefore there is a rather sad inevitability to the abrupt death of Mrs. Bond just minutes after the pairs wedding. Fans have drawn parallels with 2006 reboot, Casino Royale and the death of Vesper Lynd (Eva Green), although the relationship between the two leads in that instance is not so closely defined.
To be continued.
Doomsday (2008)
Neil Marshall's third film is fast paced action movie, which pays homage to the "Post Apocalypse" genre and much more. It is a text book example of a film in three acts and is also pretty much the sum of its parts. The dialogue is minimalist, the acting adequate and the action frenetic and violent. Be warned, this film has earned it's 18 certificate for its UK release. However, none of these attributes are bad things. Doomsday makes its intention clear right from the beginning. If you want any further clues, take a look at the UK theatrical poster. The club with spikes is a fair indication that subtlety is not this movie’s strong point.
Neil Marshall's third film is fast paced action movie, which pays homage to the "Post Apocalypse" genre and much more. It is a text book example of a film in three acts and is also pretty much the sum of its parts. The dialogue is minimalist, the acting adequate and the action frenetic and violent. Be warned, this film has earned it's 18 certificate for its UK release. However, none of these attributes are bad things. Doomsday makes its intention clear right from the beginning. If you want any further clues, take a look at the UK theatrical poster. The club with spikes is a fair indication that subtlety is not this movie’s strong point.
A deadly plague, known as the “Reaper Virus,” has killed hundreds of thousands and left Scotland devastated. In desperation, the British Government evacuates as many survivors as it can out of the infected area, and then builds a wall, preventing the remainder from escaping. Thirty years later, with the wall still up and the victims all but forgotten, the virus appears to breaks out again in London. The Government decides to send a crack team of operatives, led by Major Eden Sinclair, into the hot zone behind the wall, to investigate the possibility of a cure.
Neil Marshall’s previous two films, Dog Soldiers and The Descent were very well received by both the public and critics. The latter was tightly written and directed and stood out compared to the usual contrived commercial studio fodder. Doomsday is a far more main stream affair and does not have the same level of tension and sophistication. It is a high octane action film that deliberately pays tribute to such pictures as Escape From New York, The Medieval Dead and Mad Max 2. However, the story unfolds at such a fast pace and lurid fashion, it is easy to overlook the plot flaws and inherent silliness of the premise.
The first act showing the outbreak of the reaper virus, the isolation of Scotland and then the subsequent raid into the forbidden territory, is by far the most engaging. Acts two and three are a series of action sequences in two different environments. They serve to expedite and close some plot lines and whittle down the cast. The production values are good and the film is littered with visual jokes and references. Performances are exactly the kind you need in such a movie. Bob Hoskins gives it plenty of "South London", Malcolm McDowell is suitably sinister and Craig Conway is cheerfully psychotic. Rhona Mitra proves that women can happily take on the role of action hero.
Doomsday is very entertaining on a "what you see is what you get" basis. It may particularly appeal to people of the director’s age group. Those who can remember the "Post Apocalypse" direct-to-video releases that saturated the market in the eighties. The soundtrack by Tyler Bates reflects this with its use of synthesisers and songs by "Adam and the Ants" and "Frankie Goes To Hollywood". The car chases and pyrotechnics are good for the films budgetary limitations. Be warned, as I said earlier, this film is violent. Bodies are crushed, limbs hacked off and there's even cannibalism.
My only criticism relating to Doomsday is the modern, rapid fire editing, that seems to be so fashionable these days. This actually dilutes some of the action sequences, rather than enhance them, which is a shame as some of the combat scenes have been well choreographed. But apart from this issue, I consider Doomsday to be a solid and affectionate tribute to the action genre of the eighties and nineties. Viewers get a professionally crafted action vehicle, that is tonally spot on for such genre material. It may not be the director’s best work but it’s possibly the most fun.
Village of the Damned (1995)
The original 1960 version of Village of the Damned is regarded as a classic of science fiction film genre and it remains one of the creepiest movies of its kind. The mixture of nuclear age paranoia and “evil children” reflect the social concerns of the decade. The 1995 remake directed by John Carpenter, trades subtlety for more explicit chills and violence. That is not to say it doesn’t show the director’s usual creative flair and the basic premise of the story remains effective, drawing on the original 1960 screenplay and John Wyndham’s novel, The Midwich Cuckoos. However, despite being stronger in content than the original film, Carpenter’s movie actually has a softer tone overall and opts for a less bleak and somewhat incongruous ending.
The original 1960 version of Village of the Damned is regarded as a classic of science fiction film genre and it remains one of the creepiest movies of its kind. The mixture of nuclear age paranoia and “evil children” reflect the social concerns of the decade. The 1995 remake directed by John Carpenter, trades subtlety for more explicit chills and violence. That is not to say it doesn’t show the director’s usual creative flair and the basic premise of the story remains effective, drawing on the original 1960 screenplay and John Wyndham’s novel, The Midwich Cuckoos. However, despite being stronger in content than the original film, Carpenter’s movie actually has a softer tone overall and opts for a less bleak and somewhat incongruous ending.
In the tiny, idyllic town of Midwich, a strange mist causes the entire population to fall asleep, and when everyone awakes the town physician (Christopher Reeve) discovers that ten women, including his wife and a local teenage virgin, have mysteriously become pregnant. Their children are all born on the same day, with matching white hair and strange glowing eyes. They grow at an accelerated rate, thus raising Reeve's suspicion that they are not of earthly origin. The children can control minds and wreak havoc with the power of their thoughts, so of course they must be destroyed. Now before you shout "xenophobia", it should be noted that attempts to communicate with the aliens are made, yet prove fruitless. The alien children wish to dominate over man.
Village of the Damned is driven by a measured cast of character actors, such as Kirstie Alley, Mark Hamill and Peter Jason. The depiction of a close-knit community is credible as the town inhabitants struggle to understand what has happened to them. There are some superficial updates to the narrative, one of which alludes to the government doing more harm than good during their clumsy intervention with the aliens. The effects work by the KNB EFX group is relatively minimal and the emphasis is still very much on tone and atmosphere. Sadly, despite several well-conceived ideas Village of the Damned never seems to assert itself in any particular way. It struggles to find its tone, which is unusual for John Carpenter.
Ultimately it is Christopher Reeve who dominates this somewhat superfluous remake with sufficient credibility to hold the viewer's attention. Once his character establishes how to break the alien children’s mind control there is a genuine sense of tension. This was his last major role before the tragic accident that led to his paralysis. As mentioned previously there’s a concession towards a more mainstream ending than the original film, which is a little weak. Yet despite its flaws, Carpenters version of Village of the Damned is still intriguing and shows the occasional flash of innovation. However, if you want chills of a subtler nature, check out the original version. It runs twenty minutes shorter and is twice as spooky.
Outlander (2008)
Sometimes a movie can have a premise that is sufficient to carry the proceedings. If you then add some quality character actors and ensure that the production values are high, then you can bluff your way to the end credits before the audience realises they're watching something really dumb. Outlander achieves this prodigious feat. It is an incredibly stupid film yet perversely entertaining. It boasts beautiful cinematography, a cast that is more than capable and perfectly acceptable CGI. At times, you feel like the entire production is challenging you to shout out loud quite how dumb the plot is. However the audience blinks first and director Howard McCain gets away with it.
Sometimes a movie can have a premise that is sufficient to carry the proceedings. If you then add some quality character actors and ensure that the production values are high, then you can bluff your way to the end credits before the audience realises they're watching something really dumb. Outlander achieves this prodigious feat. It is an incredibly stupid film yet perversely entertaining. It boasts beautiful cinematography, a cast that is more than capable and perfectly acceptable CGI. At times, you feel like the entire production is challenging you to shout out loud quite how dumb the plot is. However the audience blinks first and director Howard McCain gets away with it.
After his spaceship crashes, Kainan (Jim Vaviezel) finds himself the sole survivor of his crew and marooned in Norway circa 709 AD. Furthermore, a dangerous and intelligent beast called Moorwen who was a prisoner aboard his ship, has escaped. While pursuing the creature he is captured by Wulfric (Jack Huston), a Viking warrior and brought before King Hrothgar (John Hurt). His claims that he is hunting "a dragon" are mocked but as the body count grows the Vikings begin to take his story more seriously. After saving the King's life Kainan finds himself accepted by his captors. Can he fashion a suitable weapon to defeat Moorwen who has established a den and is now breeding?
Yes, this is a movie about a spaceman, Vikings and a beast with nasty big pointed teeth. The storyline is predictable and formulaic. Enemies becoming friends, important lessons about life are learned and minor characters die in the finest Red Shirt tradition. There is an arbitrary romantic sub-plot involving the King's daughter Freya (Sophia Myles) and an orphan child who becomes a surrogate for Kainan's own lost family. The dialogue is functional and nothing more, taking the movie from A to B. The action is violent and perfunctory. Yet the movie still works irrespective of its own logical flaws and inherent stupidity.
When a bad movie still proves to be entertaining, it's often comes down to tone and the underlying conviction of those involved with it. I believe that Outlander was made with the genuine goal of entertaining the public. Unlike a movie like Brick Mansions which just oozes contempt for the viewer, Outlander is laughing along with the audience and not at them. It's also better than the other Viking themed action movie Pathfinder, starring Karl Urban, which explored the lofty concept of Vikings versus Native Americans. Outlander also has a modicum of sympathy for the main antagonist, Moorwen. If that angle had been explored further then this may well have been a better movie. As it stands its acceptably crass and is best enjoyed with a beverage. Please note this film may offend Norwegians.
Middle-earth: Shadow of War
I was sceptical about Middle-earth: Shadow of Mordor when it was first announced back in 2014. Let it suffice to say that despite the hype and the marketing controversy that ensued, the game was surprisingly good, especially the nemesis system. The "extrapolation" of the lore was also quite intriguing and although I tend to be a Tolkien purist at heart, I really liked the narrative and the overall aesthetic of the game. The look and feel of Middle-earth: Shadow of Mordor was very much based on Peter Jackson's movies. At the time of the games launch, I managed to purchase a discounted steam code via a CD key seller and also received the "Dark Ranger" cosmetic skin as a bonus. Overall, I spent about one hundred and forty hours playing Middle-earth: Shadow of Mordor which was good value for money.
I was sceptical about Middle-earth: Shadow of Mordor when it was first announced back in 2014. Let it suffice to say that despite the hype and the marketing controversy that ensued, the game was surprisingly good, especially the nemesis system. The "extrapolation" of the lore was also quite intriguing and although I tend to be a Tolkien purist at heart, I really liked the narrative and the overall aesthetic of the game. The look and feel of Middle-earth: Shadow of Mordor was very much based on Peter Jackson's movies. At the time of the games launch, I managed to purchase a discounted steam code via a CD key seller and also received the "Dark Ranger" cosmetic skin as a bonus. Overall, I spent about one hundred and forty hours playing Middle-earth: Shadow of Mordor which was good value for money.
Considering both the critical and commercial success of the game, it’s hardly surprising that a sequel has been developed. Last year, there were several hints that a follow up game was in production. The most notable of which was when an accomplished stunt and motion capture performer, Lauren Mary Kim accidently cited working on the sequel on her resume. However, the rumours have finally been validated as US retailer Target prematurely posted pre-orders for Middle-earth: Shadow of War, on all major gaming platforms. The listing has subsequently been removed but the game developers, Monolith Productions, have confirmed their involvement in the project. According to a further report on Kotaku, Middle-earth: Shadow of War will continue the story of Talion and Celebrimbor, as they work together to forge their own Ring of Power to battle Sauron.
I am pleased that this franchise will continue and am hoping that it will expand upon the systems and game mechanics that were showcased in the prequel. I also have a curious interest in the narrative as it is such a bold gambit do something so demonstrably non- canonical. It would appear that Middle-earth: Shadow of War will feature two Nemesis expansions, two story expansions, and a "Gold War Chest” over the course of its life cycle. The Nemesis expansions will include a new Orc tribe, enemies, missions, and more, while the story expansions will introduce a new campaign and playable character. Early adopters and pre-order junkies can expect to pay $100 up front for access to all content on 22nd August. I may well wait to the end of the year when a Game of the Year edition is inevitable.
Update:
A cinematic trailer has now been released. It does not feature any in-game footage but does set up the narrative for Middle-earth: Shadow of War. A further trailer coming in march will showcase actual footage from the RPG. Pre-orders are now available on all platforms.
For Honor: Multiplayer Problems
Most multiplayer games use peer-to-peer networking as a cheap and easy way to connect players. Running dedicated servers and writing the accompanying connection code is costlier and requires a greater degree of developer involvement with a game, post launch. If you play Overwatch or any of the Call of Duty franchise, then you’ve experience multiplay via this technology. It’s cost and convenience are offset against its technical weaknesses. The player that hosts a game has a potential speed advantage and if they quit the game will pause while a new host is found among those still playing. Then there are exploits and cheats that can be used by unscrupulous players such as lag switches and DDoS attacks. Thus, P2P networking is far from an ideal alternative to dedicated third party hosts.
Most multiplayer games use peer-to-peer networking as a cheap and easy way to connect players. Running dedicated servers and writing the accompanying connection code is costlier and requires a greater degree of developer involvement with a game, post launch. If you play Overwatch or any of the Call of Duty franchise, then you’ve experience multiplay via this technology. It’s cost and convenience are offset against its technical weaknesses. The player that hosts a game has a potential speed advantage and if they quit the game will pause while a new host is found among those still playing. Then there are exploits and cheats that can be used by unscrupulous players such as lag switches and DDoS attacks. Thus, P2P networking is far from an ideal alternative to dedicated third party hosts.
During its beta test, it became very apparent that For Honor had issues regarding its use of P2P networking. Developers Ubisoft opted for a variation of this technology in which all players are connected simultaneously to each other when playing competitively. Unfortunately, this does not bypass all the issues associated with a dedicated host. The weak link in this multiplayer chain still remains the player with the poorest connection and it has a tangible impact upon game play. Furthermore, the sheer volume of people playing For Honor from various parts of the globe means that matches are regularly blighted by lag and subsequently players quitting mid-game. I have experienced this frequently and it often impacts on the outcome of multiplayer or ends will all parties leaving.
At present, there is no major penalty for “rage quitting” a multiplayer game in For Honor, beyond the loss of the rewards that you would’ve received if you had stayed the course. Thus, it is something that some players will do the moment something doesn’t go their way. For example, if you die early in a group game, then you have to wait out the round, which is far from ideal. Quitting resolves this. Furthermore, if you are a more competitive player who is concerned about your bragging rights or statistics, then abandoning a game is a convenient way to keep you’re your record unblemished. Combine this option to quit, with more specific exploits and you find yourself playing in a community were a substantial percentage of the multiplayer games you play end questionably. This is not exactly good publicity for a game that has been developed to set up a new franchise and become a mainstay of competitive gaming.
For Honor has a nuanced combat system that is based around timing, anticipation and skill. Button mashing is not really an option when playing online against other people. It seems risible that Ubisoft would release a game that is patently skills based with such a flawed networking system in place. Now it is fair to say that not every online game is problematic. The majority of games that I’ve played online since I bought For Honor have been perfectly adequate. However, problem matches are sufficiently common place to be noticeable. Even a casual player such as myself has encountered them and recognises that for the meantime they are a reality. It remains to be seen whether Ubisoft will do anything about this issue, if there is anything that can be done. I cannot see them implementing any major changes in this release of the game. May be there’ll be some revisions made to multiplayer in the sequel. Assuming that the player base sticks around long enough to warrant one.
Starting from Scratch
I was watching a LOTRO stream this week by Kaz Travio who is currently levelling a Dwarf Hunter on the EU server Laurelin. The Hunter class is both enjoyable and straightforward to play. It can satisfy your “pew pew” itch and doesn’t have a particularly steep learning curve. It’s porting and poison curing skills use to be invaluable. Overall, the Hunter is a great way for a new player to discover and explore the Lord of the Rings Online. This becomes very apparent in Kaz Travio’s stream. So, to cut a long story short, I decided to create a new Hunter myself and go tool around in Middle-earth.
I was watching a LOTRO stream this week by Kaz Travio who is currently levelling a Dwarf Hunter on the EU server Laurelin. The Hunter class is both enjoyable and straightforward to play. It can satisfy your “pew pew” itch and doesn’t have a particularly steep learning curve. It’s porting and poison curing skills use to be invaluable. Overall, the Hunter is a great way for a new player to discover and explore the Lord of the Rings Online. This becomes very apparent in Kaz Travio’s stream. So, to cut a long story short, I decided to create a new Hunter myself and go tool around in Middle-earth.
Much to my surprise, instead of being the five-minute wonder that I thought it would be, I’ve been quite engaged with my new character. It’s been a long time since I’ve spent some time in the starter zones of LOTRO. Due to the streamlining of much of the content in recent years by the developers, you can quickly out level a region and are encouraged to forge ahead. However, I have not felt disposed towards doing that. I particularly want to refresh my memory on some of the quest story lines, plus there’s a good chance there’s some new content in there that wasn’t about when I last breezed through these zones in 2009. So it would appear that my new Dwarf Hunter Gryg, is going to be around a while. However, that presents me with another problem.
I am mainly starting from scratch for narrative reasons; I’m here for the story. What I don’t especially enjoy in the early stages of LOTRO, is the gear, virtue and skills point treadmill. With 105 levels ahead of me, there’s a great deal of disposability with regard to armour, weapons, and jewellery. You’ll not find much of this kind of gear on the auction house nowadays. The alternatives are running skirmishes to barter for equipment or simply crafting it myself. Neither of these options appeal to me. So, I’m considering a different approach. I can purchase from the LOTRO store, either the Gift or the Blessing of the Valar and instant level to 50 or 95. That way I can return to the start of the game, overpowered and geared to a suitable level to bypass any grind or in-game obstacle.
Now I’m sure my approach will not suit everyone, which is fine. Some players are happy to do everything over again. If this delights them, then that’s fine by me. I just don’t want to be burdened with the usual game mechanics that you experience on your first play through of content. I want to be able to focus on the stories the game offers and not have to worry about my ability to perform. Yet my instant levelling solution does come with a price tag. The Gift of the Valar cost approximately £30 and the Blessing of the Valar about £40, which are not exactly pocket change. There is the option to earn the LOTRO points in-game but the effort it would entail would negate the need to buy the aforementioned items. By the time I had amassed sufficient points, I’d be level 60 or so.
As of yet, I have not made a decision as to what I shall do. I also think that my personal “dilemma” actually touches on a bigger issue. I think many players would like to create new characters and have access to classes they have not played before. However, many people, like myself, are not enamoured with the prospect of replaying 105 levels and all the content that goes with it. So, I’d like a fair and equitable means to create a level cap alt (or as near as damn it). Now I realise that means bypassing a lot of content and so I’m happy to consider some way of supporting Standing Stone Games, if they can accommodate my needs.
For example, in Star Trek Online once you’ve gained maximum reputation with a faction, you can create a token that you can use on one of your alts, that reduces the reputation experience required by 50%. How about introducing s similar system in LOTRO, allowing a player to similarity fast path an alt? I want to play LOTRO and logically it is to Standing Stone Game’s advantage if I continue to do so. I hope now that the company is free of the shackles of Warner bros. they will now pursue a more creative business policy. One that finds a way of accommodating long time players, such as myself. In the meantime, I shall continue to my Dwarf Hunter but I suspect the moment an obstacle emerges, be it a gear check or an especially difficult quest, I’ll more than likely stop. Fun is surprisingly not universal and very subjective. Convenience is king.
Arena of Sompek Special Event
Star Trek Online regularly runs short term events with unique rewards to keep the player base engaged. The latest of these, the Arena of Sompek Special Event, has just gone live today and will run until to February 27th at 9:00 AM PST (17:00 PM GMT). Level 50 to 60 Captains can queue publicly or form bespoke groups to battle in the ancient Klingon tradition of the qaD HoS; an endless battle against allies and enemies alike. Set in a holodeck, teams of six players face waves of ever increasingly powerful enemies as well as environmental hazards. There are infinite respawns as long as there’s one active player. Once all players are incapacitated, the event ends and rewards are distributed based on how many rounds are completed. These include a choice of reputation marks, Dilithium, crafting materials and a voucher once per day, that can be applied toward a special reward, The Sompek Lightning Universal Kit Module.
Star Trek Online regularly runs short term events with unique rewards to keep the player base engaged. The latest of these, the Arena of Sompek Special Event, has just gone live today and will run until to February 27th at 9:00 AM PST (17:00 PM GMT). Level 50 to 60 Captains can queue publicly or form bespoke groups to battle in the ancient Klingon tradition of the qaD HoS; an endless battle against allies and enemies alike. Set in a holodeck, teams of six players face waves of ever increasingly powerful enemies as well as environmental hazards. There are infinite respawns as long as there’s one active player. Once all players are incapacitated, the event ends and rewards are distributed based on how many rounds are completed. These include a choice of reputation marks, Dilithium, crafting materials and a voucher once per day, that can be applied toward a special reward, The Sompek Lightning Universal Kit Module.
The Arena of Sompek is extremely enjoyable as well as quite challenging. I jumped straight in to this event today as soon as the servers came up after patching, joining a team via the group finder. Fortunately, all participants were well geared and soon came to grips with the event mechanics. Fire barriers, lighting strikes and the central zone becoming toxic, soon teach you to main your situational awareness and not to stay in one position. The enemies become increasingly stronger each time they spawn and can be from any of the factions, races and species that exist in the game. You may face the Borg so bring a frequency remodulator or a TR-116B rifle. Cover shields, overcharge turrets, solar gateways and other devices are invaluable. Teamwork helps.
Your success in this event very much depends upon who you group with. Therefore, you’ll likely to do better in an organised team rather than in a PUG. However, there is immense fun to be had irrespective of how you play the event. Our group managed to last twenty-six rounds on our first attempt which I thought was respectable. No one complained or was difficult in team chat which is always an added bonus these days. Furthermore, the STO community has been quick to post videos on You Tube and share tactics on the official subreddit. As ever the DPS focused community have already clocked in high round scores and doubtless a league table will follow. Yet this is an event that can be enjoyed by all STO players and is something Cryptic intend to make available regularly throughout the year, very much like “Hearts and Minds”. If they can tweak the time delay between rounds, they may well be on to a winner here.
Classic Movie Themes: The Black Hole
The Black Hole was a major gamble for Disney back in 1979 as they tried to capitalise of the post Star Wars sci-fi boom. Although audiences are still split over the strange mix of anthropomorphic robots, armchair philosophising and the one of the most metaphysical endings ever filmed, John Barry's score is universally praised. It features all his hallmark musical signatures and greatly embellishes the on-screen action with its stately and portentous style. There is also a substantial amount of music, with over an hour of cues for the ninety eight minute running time. This was the second space themed score that Barry wrote that year, the first being Moonraker, the eleventh Bond film.
The Black Hole was a major gamble for Disney back in 1979 as they tried to capitalise of the post Star Wars sci-fi boom. Although audiences are still split over the strange mix of anthropomorphic robots, armchair philosophising and the one of the most metaphysical endings ever filmed, John Barry's score is universally praised. It features all his hallmark musical signatures and greatly embellishes the on-screen action with its stately and portentous style. There is also a substantial amount of music, with over an hour of cues for the ninety eight minute running time. This was the second space themed score that Barry wrote that year, the first being Moonraker, the eleventh Bond film.
The "main title" theme for The Black Hole is in some ways one of the most compelling and grand themes crafted by veteran composer John Barry. It has an ominous majesty to it with its off-kilter waltz. It’s a skillful blending of orchestra with synthesisers which was quite an innovative style at the time. It has an altogether eerie ambience that neatly sets the tone for the movie, which was quite a bold experimental piece of studio cinema. Barry did not make the mistake of simply trying to replicate the grandeur of John Williams Star Wars theme but instead constructs something far more Gothic.
“Durant is Dead,” is a major shift in musical cue and it clearly signals the start of the movies climatic third act. Its pounding brass and substantial rhythm is unmistakably Barry. Once again the piece has a sinister overtone, forcing the audience to contemplate the fact that the heroes may not be able to avert disaster and events may not end well. It is important to remember that this was a Disney production so the target audience more than likely came to the theatre with clear preconceptions regarding style and tone. Barry's skill as a composer contributed to standing those notions on their head.
Diary of a Podcaster Part 4
Over the recent weeks, it’s become increasingly apparent that the two new podcast projects that I’m currently working on are taking too much time to produce. Like many people, my leisure time is a finite commodity. At present I am writing daily, maintaining a presence in two MMOs, as well as trying to keep abreast of several TV shows and a growing list of movies. So far, despite a lot of work, the new projects have not yielded any satisfactory results. So, rather than produce nothing, I deemed it prudent to return to my previous podcast creation. Thus, the Burton and Scrooge Podcast has been reinstated and been given a production makeover. At present, both Brian and I are well disposed towards gaming and other pop culture subjects, so have plenty to discuss. We always find are recordings are more rigorous when we are enthused, as opposed to mildly interested.
Over the recent weeks, it’s become increasingly apparent that the two new podcast projects that I’m currently working on are taking too much time to produce. Like many people, my leisure time is a finite commodity. At present I am writing daily, maintaining a presence in two MMOs, as well as trying to keep abreast of several TV shows and a growing list of movies. So far, despite a lot of work, the new projects have not yielded any satisfactory results. So, rather than produce nothing, I deemed it prudent to return to my previous podcast creation. Thus, the Burton and Scrooge Podcast has been reinstated and been given a production makeover. At present, both Brian and I are well disposed towards gaming and other pop culture subjects, so have plenty to discuss. We always find are recordings are more rigorous when we are enthused, as opposed to mildly interested.
In another development, I’ve finally decided to stop using my gaming headset for recording content. The Logitech H600 Wireless Headset has proven to be a useful tool for both gaming and podcasting in recent years. However, the microphone picks up not only the squeaking of my computer chair but the creaking of the plastic headband and ear cups as I talk. So, I decided to replace it with a USB condenser microphone. A little research soon found a suitable match for my needs and budget. I now own a LynxPro SMU-1 which cost £39.99 form Amazon and also got a deal on a suitable adjustable stand. The TONOR Adjustable Microphone Suspension Boom Scissor Arm Stand with Table Mounting Clamp cost an additional £18.99 and came with a metal shock mount and pop filter. For the present, I feel this is the only new kit that I require as I’m still happy to record via Zencastr and edit using Audacity.
Once again, I’ve had to be realistic with regard to my content creation and make a decision based upon the reality of my situation. It is better to do one thing well than severally things poorly. Placing the two proposed new podcasts on the back burner means a proven and tested show while continue to be produced for an established audience. I will continue to work on the new projects but in a reduced capacity. The investment in new hardware, coupled with my current positive attitude, means that the existing show is being made to the best of our abilities and is not in any way a compromise. It is important to be invested in what you do and that your motivations are unambiguous. Therefore, we’ve several ideas with regard to broadening the content of the Burton and Scrooge Podcast and keeping both ourselves and our listeners engaged. We are also considering a new marketing strategy which I shall discuss in more depth in my next Diary of a Podcaster post.
Burton & Scrooge Podcast #31
After a short hiatus, Messrs Burton and Scrooge make a welcome return to the world of podcasting with their lavishly tooled and finely crafted show. No expense has been spared upon the production as once again this esteemed broadcasting duo, bring you another erudite and august debate. As ever they focus on the relevant issues and ensure that their scholarly discussions are free from unnecessary phatic language and tabloid hyperbole. The podcast also sports a new introductory voiceover and complimentary epilogue at the close of the show. Liam Neeson has graciously endorsed Burton and Scrooge yet again.
After a short hiatus, Messrs Burton and Scrooge make a welcome return to the world of podcasting with their lavishly tooled and finely crafted show. No expense has been spared upon the production as once again this esteemed broadcasting duo, bring you another erudite and august debate. As ever they focus on the relevant issues and ensure that their scholarly discussions are free from unnecessary phatic language and tabloid hyperbole. The podcast also sports a new introductory voiceover and complimentary epilogue at the close of the show. Liam Neeson has graciously endorsed Burton and Scrooge yet again.
In this latest instalment, our hosts turn their attention to the popular MMORPG, Lord of the Rings Online and ponder the games ongoing renaissance, since the it changed developers and publishers. They also ponder the recent brouhaha, caused by popular You Tuber PewDiePie. Is he a misunderstood artist of just another jumped up blackguard? Finally, to close the show, Messrs Burton and Scrooge ponder the merits of season four of the television drama Sherlock. Was it a worthy entry in to the pantheon or “a load of old bollocks”, to coin a phrase?
So why not settle down in your favourite fireside chair, ask your batman to pour you a glass of Amontillado and treat yourself to seventy-five minutes of auditory delight. Remember your podcasting enjoyment is assured as Messrs Burton and Scrooge have a reputation for being purveyors of the finest quality podcasts throughout the civilised world. If you don’t enjoy the experience, then you’re obviously listening incorrectly and need to raise your own personal game. You may benefit from listening to previous episodes as a means of educating yourself.
Burton and scrooge. Condescending to their listeners since 2010.
Birth of the Living Dead (2013)
These day’s zombies are a somewhat ubiquitous plot device and enjoy an entire literary, artistic and cinematic sub-genre. The Walking Dead is one of the most popular TV shows internationally and hundreds of thousands of gamers fight the undead, online every day. Yet there was a time when zombies were just a minor subset of the horror genre and far from a popular one. That all changed in 1968, when a low-budget, independent film called Night of the Living Dead was released upon an unsuspecting public. The movie’s impact upon the film industry and popular culture was extraordinary. Rob Kuhns’ appropriately titled documentary Birth of the Living Dead analyses the creation of George A. Romero’s seminal classic and strives to determine how a single movie could have such impact.
These day’s zombies are a somewhat ubiquitous plot device and enjoy an entire literary, artistic and cinematic sub-genre. The Walking Dead is one of the most popular TV shows internationally and hundreds of thousands of gamers fight the undead, online every day. Yet there was a time when zombies were just a minor subset of the horror genre and far from a popular one. That all changed in 1968, when a low-budget, independent film called Night of the Living Dead was released upon an unsuspecting public. The movie’s impact upon the film industry and popular culture was extraordinary. Rob Kuhns’ appropriately titled documentary Birth of the Living Dead analyses the creation of George A. Romero’s seminal classic and strives to determine how a single movie could have such impact.
The then 27-year-old Romero, learnt his craft working for local television (mainly children shows) and producing commercials via his company Latent Image. Relative success and ambition lead to a decision to make a movie and it was determined that a horror production would be cheapest to make. It was also potentially the most lucrative. Having previously read Richard Matheson’s novel I Am Legend, Romero decided to adapt one of his own short stories into the movie. The project was financed via friends and business partner who all contributed the grand sum of $600 each. Film stock was bought, an abandoned farmhouse was rented and the guerrilla-style production commenced. “Who knew that we were ever going to finish this thing” Romero has retrospectively stated.
Kuhns specifically explores Night of the Living Dead in the social and political context of the era, focusing on the radical casting of African-American actor Duane Jones in the lead role. The character’s race was unspecified in the script and the fact that it’s never a narrative issue in the film itself was particularly ground breaking at time. Sidney Poitier was a major box office star in the late sixties, yet there were still major cultural constraints on the depiction of black characters in mainstream movies. The documentary also focuses on the social and political climate of America at the time and the fact that much of the prevailing cultural angst seems to have seeped into the finished movie.
Where Birth of the Living Dead succeeds the most is in cataloguing the minor and more mundane aspects of the film’s production. For example, one of the investors provided real entrails as they ran a meat packing business. A genuine television news broadcaster played such a character the film, authentically writing his own dialogue. Most of the cast members performed additional roles, including designing the producing the makeup effects and local residents were recruited to play the marauding zombie hordes. Full co-operation was gained from the local law enforcement authorities who provided dog handlers and even a police helicopter. At one point, it seemed that pretty much every local business in Pittsburgh was involved in some capacity.
Birth of the Living Dead provides a succinct overview about one of the most iconic movies of the sixties. It is affectionate and informative, although it does get a little bogged down when it tackles the socio-political element of the movie. There are some insightful interviews with horror filmmaker Larry Fessenden (who also executive produced the documentary), Walking Dead producer Gale Anne Hurd, and cultural commentators as Mark Harris, Elvis Mitchell and Jason Zinoman. At a little over seventy five minutes it manages to pack a lot in. I did find some of the material a little curious, such as the teacher at a Bronx elementary school who was enthusiastically extolling the virtues of the movie to a class of pre-teens. Also, the documentary does not in any way touch upon any of Romero's later work or sequels.
Documentaries have become increasingly more popular with mainstream viewers in recent years. The benchmark appears to be whether you can engage a viewer who is not overtly familiar with the subject matter. Birth of the Living Dead achieves this as well as appealing to the die-hard horror fan. There has been a great deal written about Romero's Night of the Living Dead over the years and a lot of DVD “extras” have paid lip service to his work. For the time being Birth of the Living Dead has put all such commentary in the shade, offering the definitive exploration of the movie.
Mordor or Bust: A Retrospective
My friend and regular podcast co-host, Brian, celebrates a significant birthday today. So first off let me wish him many happy returns of the day. Now while the Burton & Scrooge podcast is on hiatus, Brian has been pursuing his own side project; namely the Scrooge Uncut podcast. The latest episode is a retrospective look at Brian’s former LOTRO fansite and show, Mordor or Bust. The both these creative endeavours were a significant part of the LOTRO community, back in the halcyon days of the MMO. Brian had the unique experience of predicting LOTROs transition to F2P, days before Turbine’s announcement. He also caused a minor furore when he posted screenshots of every item in the LOTRO store while the beta test was going on.
My friend and regular podcast co-host, Brian, celebrates a significant birthday today. So first off let me wish him many happy returns of the day. Now while the Burton & Scrooge podcast is on hiatus, Brian has been pursuing his own side project; namely the Scrooge Uncut podcast. The latest episode is a retrospective look at Brian’s former LOTRO fansite and show, Mordor or Bust. The both these creative endeavours were a significant part of the LOTRO community, back in the halcyon days of the MMO. Brian had the unique experience of predicting LOTROs transition to F2P, days before Turbine’s announcement. He also caused a minor furore when he posted screenshots of every item in the LOTRO store while the beta test was going on.
This particular episode of Scrooge Uncut is a very personal recording. as Brian catalogues jumping in to the deep end of content creation without any prior experience. It is also a greats snapshot of what a fan community is like during a games heyday. What is so striking is the fact that Brian got so much traction with the game developers Turbine, over such a short period of time. The story of Mordor or Bust is a short one because the website and podcast endured for less than a year. Listening to Brian recount various anecdotes brings a lot of memories back for me as well. LOTRO has always had a very passionate community. Something that is lacking with other games over recent years. So much of the fan created content that use to fill blogs and podcasts, is now mainly corralled within official forums and sub-reddits.
On a personal note, I got in to podcasting due to Brian and his show, back in the summer of 2010. At the time, Turbine handled the North American release of LOTRO, while Codemasters dealt with the European market. I contacted Brian and offered to provide LOTRO news from across the pond and subsequently created short news segments that were used on the Mordor of Bust podcast. Because we got on so well, I soon joined both Brian and Fyurae, as a permanent presenter on the show. It was a lot of fun at the time, to be part of a very active community. Furthermore, 2010 was a very interesting year for LOTRO. So, enjoy Brian’s trip down memory lane. I think the show will resonate with a lot of listeners, especially those who were involved with the scene, circa 2010.
Mad Mad 2 (1982)
Mad Max 2, or The Road Warrior, as it is known in the US, is a milestone in the action film genre. For many this was their first exposure to Australian cinema, other than art house material from the likes of Peter Weir. It certainly put Mel Gibson on the map. It also started an entire sub-genre in its own right, branching off from the established post apocalypse formula. Drawing on the traditional western, the seventies anti-hero and the road movie, Mad Max 2 creates interesting (and at times camp) characters and has some of the best action sequences committed to film. Despite being 35 years old, it has recently been given a new lease of life through its Blu-ray release.
Mad Max 2, or The Road Warrior, as it is known in the US, is a milestone in the action film genre. For many this was their first exposure to Australian cinema, other than art house material from the likes of Peter Weir. It certainly put Mel Gibson on the map. It also started an entire sub-genre in its own right, branching off from the established post apocalypse formula. Drawing on the traditional western, the seventies anti-hero and the road movie, Mad Max 2 creates interesting (and at times camp) characters and has some of the best action sequences committed to film. Despite being 35 years old, it has recently been given a new lease of life through its Blu-ray release.
The Blu-ray disc features the original uncut Australian version of the film, as director George Miller intended. The opening narration and montage provide all the relevant back story required to bring new viewers up to speed. In fact, Mad Max 2 can easily be viewed as a standalone film. The plot is straight forward, the dialogue minimalist and the characters larger than life. The costume and production design our somewhat outrageous. Yet it works perfectly and starts at a terrific pace and never lets up during its ninety six minute running time. Performances are good. Gibson excels as the titular character. Established Australian actors such as Bruce Spence and Mike Preston provide sterling support. Composer Brain May (no, not that one) provides a fine score.
However it is the action scenes and car stunts that stand out the most. They seem even better today, by virtue of the fact that they are all genuine. Watch Mad Max 2 and then compare it to a recent release such as Death Race. The influences of the former on the latter are obvious. The violence and bleak ending also reflect the underlying sentiments of the time. The lack of any major studio involvement allowed producer and directer George Miller to remain true to his creativity. Unfortunately, this was not the case of the woeful sequel, which we shall not discuss here. Mad Max 2 remains an outstanding and iconic film, although a second viewing highlights the obvious influences of the times that spawned it. It’s curious how such a raw, visceral and dynamic film could be created by the director of Happy Feet and Babe.
Doctor Strange (2016)
Visually creative and sporting an ensemble cast, the 14th entry in the Marvel Cinematic universe is a curious yet satisfying blend of pseudo-science, eastern philosophy and soul searching boat load of vivid CGI. Despite being somewhat confined by the narrative framework of the “origin movie”, Doctor Strange is subtly different entry in to the Marvel pantheon, with it nods to Christopher Nolan’s Inception and the magic versus reality themes of the Harry Potter series. It effectively juggles the evolution of a flawed central character in to an equally flawed hero with the eye-popping visuals and set pieces. There’s a lot of intense brooding, witty quips and action. Furthermore, it has a great deal of flair and strikes an appropriate tone for such material. It comes close to being camp without stepping over the line.
Visually creative and sporting an ensemble cast, the 14th entry in the Marvel Cinematic universe is a curious yet satisfying blend of pseudo-science, eastern philosophy and soul searching boat load of vivid CGI. Despite being somewhat confined by the narrative framework of the “origin movie”, Doctor Strange is subtly different entry in to the Marvel pantheon, with it nods to Christopher Nolan’s Inception and the magic versus reality themes of the Harry Potter series. It effectively juggles the evolution of a flawed central character in to an equally flawed hero with the eye-popping visuals and set pieces. There’s a lot of intense brooding, witty quips and action. Furthermore, it has a great deal of flair and strikes an appropriate tone for such material. It comes close to being camp without stepping over the line.
Considering how such a movie could have gone drastically wrong, Doctor Strange is a very unique flower: visually arresting with quite a complex set of themes and undercurrents. Director Scott Derrickson, who also co-wrote the screenplay, makes the transition from his horror movie roots to this more flamboyant affair with considerable ease. The screenplay is surprisingly droll without negating the genuine drama as Doctor Steven Strange comes to terms with his own failings, ego and transgressions. Yet the director’s real achievement is in handling the mystical elements of the story in way where they don’t just come across as childish or the ramblings of one of your stoner friends from college.
The casting is certainly one of strongest assets of Doctor Strange. Benedict Cumberbatch is ideal as the brilliant and arrogant neurosurgeon whose career is brought to an abrupt end after a devastating car accident. Unlike Tony Stark who is equally as egotistical and self-absorbed, he lacks the interpersonal skills and humanity that the other inherently has. It’s quite a gamble to have a hero who is so unlikable, yet it is these very flaws that make him so interesting and unpredictable. Strange’s despair over the loss of his surgeon’s hands leads him to Nepal and to the secretive enclave headed by a guru known as the Ancient One (Tilda Swinton). It is here we slowly re-invents himself as he learns of a world of magic, that is equally as complex as his world of science.
Swinton delivers a solid performance as Strange’s mentor in the art of magic. She is both wise, practical and even a little cruel in her teaching methodology. She also has a more complex set of motives than the viewer first perceives. There is also robust support from Chiwetel Ejiofor as Mordo and Benedict Wong as Wong, who bring some emotional depth and dry banter to the story. If there is a flaw in the cast, its sadly Danish actor Mads Mikkelsen as Kaecilius. As a somewhat formulaic, renegade disciple he doesn’t really have as much to do as the rest of the characters and his story arc is somewhat linear. Doctor Strange’s trademark cloak also proves to be an amusing minor protagonist in itself, as it chooses to bond with Strange and robustly defends him. It is a pivotal part of one action scene and has by far the best gags.
Overall Doctor Strange is a strong and very different super hero movie. The performances and the focus on character development counter balance the striking yet very bombastic visual effects. They are very creative and psychedelic, yet for older and less patient viewers they do at times feel like you’re being beaten around the head with a kaleidoscope. And it would be most remiss of me not to mention Stan Lee’s latest cameo as a bus passenger perusing a copy of Aldous Huxley’s Doors of Perception. Well played whoever thought that one up. As ever there are several cinematic postscripts hinting at where Doctor Strange will be going next. Luckily, on the strength of this outing, I’m am well-disposed to towards the character and would welcome the opportunity to see more of his adventures.
For Honor
Every now and then, I’ll see a trailer for a game and think to myself, “man, that looks cool. I want that”. The curious thing is, the ones that enthuse me the most are those that I know I’ll be utterly crap at. For Honor definitely falls into that category but I just liked the idea of running around hitting things with a huge sword so much I ended up buying the Gold Edition today. Luckily, I got a very good deal on a key, so if this game is beyond my skills set or fails to meet expectations I won’t be too disappointed. The last time I “come a cropper” with an impetuous purchase of this nature was with Watch Dogs, back in 2014. Spookily enough that was a Ubisoft game, same as For Honor.
Every now and then, I’ll see a trailer for a game and think to myself, “man, that looks cool. I want that”. The curious thing is, the ones that enthuse me the most are those that I know I’ll be utterly crap at. For Honor definitely falls into that category but I just liked the idea of running around hitting things with a huge sword so much I ended up buying the Gold Edition today. Luckily, I got a very good deal on a key, so if this game is beyond my skills set or fails to meet expectations I won’t be too disappointed. The last time I “come a cropper” with an impetuous purchase of this nature was with Watch Dogs, back in 2014. Spookily enough that was a Ubisoft game, same as For Honor.
For Honor is a curious hybrid game that doesn’t exactly fit in to any specific genre 100%. It is essentially a fighting game but there are MOBA elements, as well as systems and mechanics from both MMOs and RPS. It’s combat system is multi-layered. At first while working your way through the tutorial, the tri-directional blocks as well as the light and heavy attacks seem quite straightforward. However, as you progress these moves are complimented by charges, and throws plus special finisher moves. Combine all these with a target lock system and a high degree of situational awareness and you have a complex system with a wide variety of permutations.
As soon as you enter multiplayer mode, the reality of For Honor hits you and hits you hard. Combat is not over quickly, often coming down to a battle of wits and patients. You’ll frequently find yourself just facing off against an opponent, waiting for a tell. Fights are not just a forgone conclusion after trading a few blows. You can wear your enemy down to one third of their health, only to see them out manoeuvre you and then get you on the ropes. Victory can be stolen by both big and small mistakes. Then you’ll get organised players who fight collaboratively. Giving chase to someone whose fleeing may well lead you in to a trap. Then of course there are players who roam the battlefield craftily, watching and waiting to stab you in the back as you fight another.
Yet despite the inevitable frustration and steep learning curve there is still much satisfaction to be gained from multiplayer mode. Running away is a perfectly valid option and as the Irish novelist, playwright, poet and physician Oliver Goldsmith noted, “He who fights and runs away, may live to fight another day”. If you are not burdened by romantic notions of fighting honourably or a fair fight, then there is much fun to be had taking a predatory approach to combat. Lurking in choke points and shortcuts, slipstreaming more successful players or patrolling the battlements and throwing unsuspecting players off ladders as they climb, can be immensely satisfying.
Aesthetically, For Honor is very pleasing. Character models are suitably detailed and the combat animations feel suitably weighty. Stamina is an important factor in game play so you can’t simply mash keys hoping to get lucky. There is a broad variety of classes with some being harder to master than others. So far, I have stuck with the default Warden as it seems to be a good all-rounder. There is an air of credibility to the way he wields his broadsword. It would appear that the balance issues that some players complained about during the beta has been addressed. The matchmaking has not been unfair to me so far, although the peer to peer connection system obviously favours the host.
Dominion mode, is the easiest way to acquaint yourself with For Honor with its objective-based team play. Its design affords you a look at the games various complexities and helps you hone your skills. You soon learn that the game requires individual acts of heroism as well as coordinated action. Then there’s Duel, Brawl, and Elimination modes, all of which offer a spectrum of playstyles. And for those who like both challenge and “glory”, there’s a hardcore duelling mode without respawns. Furthermore, it should be remembered that although these differing modes all offer a variety of gameplay, the reality of each session is often quite different. There are equal chances for cooperation or chaos, especially in the four versus four deathmatch mode. Play this and you’ll soon be humming Yakety sax.
For Honor also sports a campaign mode. Like those associated with the FPS genre, people are often quick to write these off. Yet it so far has been quite engaging. The voice acting is solid and the cutscenes handsomely produced. The central story featuring a war between the three main factions in a nonspecific setting is somewhat abstract but if you can look beyond it, then the story will provide you with an alternative way of learning your class and perfecting your skills. And for those players like myself, who are not so good at twitch gaming and managing multiple systems simultaneously, there is always a player versus AI option. You can make this as testing or as easy as you like, thus ensuring that you can still know the pleasure of wantonly dismembering your enemies.
Like many contemporary games, there is still much to criticise on the business management side of things. DLC, cash stores, multiple buying options are all present in For Honor. Many potential players may well balk at the overall price of the game and season pass, preferring to purchase six month on when a deal can be secured. In my estimation, the long-term longevity of For Honor hinges on future map updates, as with CoD and other shooters. Ubisoft obviously feel this original IP may be able to sustain franchise and if you think about it, there is scope to broaden the remit of the game. Collaborative gameplay and complimentary classes may be one way to go. In the meantime, For Honor certainly satisfies your “hitting things with a big sword” itch. It’s a superior and nuanced fighting game whose uncomplex and unreconstructed raison d'être is its greatest virtue.
Conan the Barbarian (2011)
On a superficial level the 2011 reboot of Conan the Barbarian provides two hours of perfunctory blood and thunder. For those seeking a quick fix of such material, who aren’t burdened by a strong affection of Robert E. Howard’s source material, the film will prove adequate. I suspect that Marcus Nispel’s offering will find a home with a younger viewers. Sadly, with regard to purists or those who have fond memories of John Milius’s 1982 version, then this is not the film you are looking for. Move along. To be honest, considering the directors track record, does this really come as any surprise? For those with a long memory, cast you mind back to Nispel’s 2007 movie Pathfinder. That Vikings versus Native Americans high concept movie had a lot of potential but was sadly chronically mishandled.
On a superficial level the 2011 reboot of Conan the Barbarian provides two hours of perfunctory blood and thunder. For those seeking a quick fix of such material, who aren’t burdened by a strong affection of Robert E. Howard’s source material, the film will prove adequate. I suspect that Marcus Nispel’s offering will find a home with a younger viewers. Sadly, with regard to purists or those who have fond memories of John Milius’s 1982 version, then this is not the film you are looking for. Move along. To be honest, considering the directors track record, does this really come as any surprise? For those with a long memory, cast you mind back to Nispel’s 2007 movie Pathfinder. That Vikings versus Native Americans high concept movie had a lot of potential but was sadly chronically mishandled.
This re-imagining of Conan loosely draws upon Robert E. Howard’s source material, as well as Schwarzenegger’s portrayal. The opening scenes focusing on Conan’s youth are by far the most engaging. They make an attempt at a narrative and character development. The brief insight into Cimmerian warrior culture makes for a strong start. But immediately after the death of Conan’s Father (Ron Perlman) it all lapses into by the numbers story telling. Evil Khalar Zym (Stephen Lang) along with sorceress daughter Marique (Rose McGowan), seek ancient an relic to facilitate their fiendish (and formulaic) plans. Throw in a plucky warrior monk named Tamara (Rachel Nichols) and the generic story is complete. Conan’s motivation is purely one of revenge but without the philosophical musings of the 1982 movie. Jason Momoa has sufficient charm and presence to hold an audience but the screenplay offers his character none of the depth you would hope.
Ultimately it is the script which lets the movie down. Jason Momoa’s mono-syllabic dialogue is purely reactive, serving as nothing more than an expositionary device. It is also delivered in a contemporary fashion. Nothing kills immersion for me more than period set dramas (be they based in fact or fantasy) utilising contemporary American parlance. Furthermore, potentially interesting characters are neglected and given little to do. Rachel Nichols is introduced as a strong female lead but is quickly sidelined as a damsel in distress. Both Stephen Lang and Rose McGowan fail to engage as antagonists. Both characters establish their evil nemesis credential simply by doing bad things. It’s a shame as their curious and dysfunctional relationship had scope to be far more interesting.
Overall Conan the Barbarian is totally the sum of its parts. And as those respective parts are bland, hollow and uninspired, that’s exactly the sort of movie that you get. For those just seeking some casual violence and bloodshed, then Conan the Barbarian may well prove sufficient. However, it is subject to an excess of CGI like so many films these days and the contemporary editing techniques rob the action scenes of any sense of wonder. The sequences with the sand spirits and under water creature, along with the films climax, fail to offer any real tension. Compared to the physical effects and sword play of the 1982 movie, this reboot simply can’t compete. When will those crafting action scenes learn that real threats, be they physical stunts or monsters that actually interact with actors, are infinitely superior to post production eye candy.
If Conan the Barbarian had simply been marketed under a different title and not linked to the franchise, perhaps critics would have been more forgiving. Had it just been “Wolgang Rippling Buttocks and the Sword of Kagnazax”, then it may well have been deemed acceptable. However, as it fails so notably to do any justice to Robert E. Howard’s work, it quite rightly merits harsher criticism. Furthermore, the points of failure are abundantly apparent. Director Nispel and the screen writers Thomas Dean Donnelly, Joshua Oppenheimer and Sean Hood are simply not up to the job. As a result, I think they may well have killed off any studio interest in this intellectual property for the immediate future
The Return of the DPS Meter
Back in the Summer 2015 I wrote about my flirtation with DPS meters in STO and how they are both a boon and a bane. Eighteen months later I’m still of the same opinion. Chasing numbers is addictive and a source of frustration when you don’t see any significant change. And that is what has happened to me. My overall DPS on my main Federation character has increased from under 5K DPS to somewhere between 23K and 26K DPS. These are perfectly respectable numbers but I hit 30K once and I want to see it again to ensure it wasn’t a fluke. So, I’ve been tinkering with various aspects of my build and regularly parsing my output but the results have been inconsistent. This has led me to do some further research which has highlighted a new set of problems.
Back in the Summer 2015 I wrote about my flirtation with DPS meters in STO and how they are both a boon and a bane. Eighteen months later I’m still of the same opinion. Chasing numbers is addictive and a source of frustration when you don’t see any significant change. And that is what has happened to me. My overall DPS on my main Federation character has increased from under 5K DPS to somewhere between 23K and 26K DPS. These are perfectly respectable numbers but I hit 30K once and I want to see it again to ensure it wasn’t a fluke. So, I’ve been tinkering with various aspects of my build and regularly parsing my output but the results have been inconsistent. This has led me to do some further research which has highlighted a new set of problems.
I guess the acronym is the biggest clue to my current predicament; damage per second. In STO players are advised to run several specific events to measure their DPS. Namely, Infected: The Conduit (Advanced) and Crystalline Catastrophe (Advanced). These six man events can be run privately or via a PUG. Both events are constructed in such a way that you can engage the enemy continuously from start to finish. There are no waves, therefore no breaks in the combat. Thus, the events can be completed quite quickly. This is favourable because the shorter the combat the higher the average DPS figure. Dying and respawning therefore will lower your DPS output when calculated.
Time is not the only variable. Irrespective of your build and stats, a player’s piloting skills and the way they use their skills rotation has a big impact upon their DPS output. There is an optimum way to proceed through both ICA and CCA and it clearly shows in the DPS meter log files. Attacks with slower cooldowns need to be used at the right time to ensure their availability when next needed. Specific enemies need to be eliminated at key times when running these events. Even something as simple as flying from one side of the map to another, needs to be done correctly, or else you’ll pull aggro and get out of sync with the overall game plan. It isn’t a question of just showing up and shooting.
Then there’s another factor that skews PUGs and has an impact upon DPS parsing. Group imbalance. When you set up a group among your friends, you can ensure that there is some sort of broad parity in builds. PUGs are far more random and you can find yourself grouped with players with both low and extremely high DPS output. Frequently I find myself in a PUG with at least one heavy hitter doing about 50K or higher. Effectively these players will own the event and do the lion share of the damage, thus resulting in a lower average DPS output for everyone else. Similarly, if you PUG with a group of poorly geared, inexperienced players, then again, your stats will be subpar due to the time it takes to complete the event.
It is a shame there’s not another way to calculate your DPS in STO, other than using meters and running these specific events with all their respective variables. I’m thinking along the lines of some sort of virtual calculator than takes the stats from your build and runs them against some sort of mathematical model. I guess it’s either not possible or more to the point, not allowed by Cryptic. I’m sure a little more research will provide an answer, as it has done so far. STO is seven years old and has a keen player base. Many of the things I’m currently pondering, have already been fully explored by veteran players. In the meantime, I’m going to take a break from build tinkering and focus on other goals, other than increasing my DPS. Gaming is supposed to be a source of fun, not anxiety.
The Importance of Internet Access
There are many factors that contribute to deciding where you live. Price and location are primary considerations. If you have a family then schools are a major factor. Then there are other issues such as council tax, local facilities and transportation. If you use any of the major property listing websites, then you’ll find data on all of these points. However in recent years an additional factor has been added to this list of requirements. Internet access now plays a role in deciding whether a property is right or not. Having a fast and stable connection not only improves our leisure time but also play a part in many peoples work life. Self-employment and working from home are becoming more common, as is a culture of working outside of traditional hours. For many, internet access is now as essential as any other utility service.
There are many factors that contribute to deciding where you live. Price and location are primary considerations. If you have a family then schools are a major factor. Then there are other issues such as council tax, local facilities and transportation. If you use any of the major property listing websites, then you’ll find data on all of these points. However in recent years an additional factor has been added to this list of requirements. Internet access now plays a role in deciding whether a property is right or not. Having a fast and stable connection not only improves our leisure time but also play a part in many peoples work life. Self-employment and working from home are becoming more common, as is a culture of working outside of traditional hours. For many, internet access is now as essential as any other utility service.
Sadly, the UK still remains a country where the digital divide is clearly apparent. High speed, fibre based internet access is still only economically viable to rollout in major business and urban areas. Thus it is still only available in the major cities. 4G coverage is also patchy in rural areas, so offers no real alternative service. You may find a few wireless options here and there throughout the country along with other innovative providers. However the digital aspirations of successive UK governments have failed continuously over the last fifteen years. Trite buzzwords such as “superfast broadband” are still bandied about by politicians with no real technical background. You only have to look at the finer points of the current Digital Economies Bill, as it passes through The House of Lords, to see that it woefully misses the mark with regard to serving the needs of consumers and business alike.
I live in South East London, in a proverbial “leafy suburb”. Residents of the borough are in the core demographics for Netflix, Amazon Prime and other leisure services. Self-employment and home businesses are common too. Therefore, the major telecommunications companies see fit to provide suitable home and business internet services. For example, British Telecom (of whom I am a customer) offers fibre internet services from the local telephone exchange to cabinets in the streets. Connections to the home are then bridged by use of telephone landlines, providing speeds of 50 or 75MB. Virgin Cable is currently being rollout in my area offering 200MB connections in direct competition. Most packages have an unlimited download option. Yet the contrast with the rest of the UK is stark. Large parts of the country still have to make do with ADSL 2+ services providing connections of between 2 and 8MB. Often those living in such areas have no alternative vendors to go to.
Until last year when I became a carer, I relied upon the internet for the provision of my work. I would log into a secure site to collect my technical writing assignments and once completed, return to upload them. Prior to then, I would often store backups of client’s data on my own home servers. I’ve been working from home in some way or another since 2002 and have therefore always had a need for a robust and fast connection. Since my early retirement, I still find that the bulk of the administrative duties I do for my disabled parents need to be carried out online. In fact, given the choice I prefer to do most things that way. I can make quick purchases for my parents such as medical supplies, directly from my phone. I can do my accounts and file my tax return from my desktop PC. Pretty much all the day to day household administration that we all face, can be done via the internet at our own convenience.
Sadly, many in the UK can’t consider such a move to online services, finding themselves on the wrong side of an ever-widening digital divide. Which raises the question as to whether internet access should be seen as more than a luxury and effectively a necessity? Certainly, business has embraced the concept of free wi-fi as a means to keeping customers in certain retail industries happy. Should society and possibly government go beyond this and ensure that internet access is guaranteed in specific circumstances? For example, I frequently visit a major hospital in Kent with my Father. Because of the geography of the area, a mobile phone signal and thus internet access is unavailable within the hospital grounds. If you wish to speak to family or order a taxi, you have to walk for about five minutes or more to be able to do so. However, you can purchase internet access as a patient or a visitor for a fee. I have found myself on several occasions at this location in the early hours of the morning and have thus been forced to pay to get online, to return home. Considering that people at hospitals are frequently under pressure or in distress, should internet access be gated in such a way?
In the UK family incomes within certain demographics have fallen in recent years. In light of the forthcoming economic changes the country faces, it is likely they will continue to do so. Combined with a skills shortage and a decrease in social mobility, we are seeing a clear distinction between the haves and the have nots. The digital divide clearly reflects this. If you find yourself living in specific post codes, unless you find a means to leave, you may well find yourself excluded from adequate internet access. With further services and resources going online, there is potential to further marginalise specific groups of society. Internet access is too important to be driven by just market forces. Is it not time for this matter to be dealt with in a more socially responsible way? Because I suspect that if it is not, it may come back to haunt us in a decade’s time.