Is Shared Fandom a Bridge to Reconciliation?
There are and always will be books that have a clear political agenda or make a very particular statement. Orwell’s 1984 springs to mind as an obvious example. Then there are also books that attract political interpretations by the nature of their plot or the subjects that they explore. Whether the author intended such a debate about the work or not, is a secondary issue. I have always taken Tolkien’s work at face value and to be what he stated they were. Epic and intricate faux histories, free from allegory. Furthermore, I appreciate that the moral position and themes of his work stem from the authors world view, personal experiences as well as the prevailing social dogma of the time. I find it interesting how his work attracts praise and adulation from a wide variety of groups. Catholics will naturally gravitate towards Tolkien’s writings due to his faith and that is the prism through which they will critically view his work. There are of course other examples about how The Hobbit and The Lord of the Rings appeals to different people in different ways. It is a common aspect of fandom.
Fandom by Tom Preston
There are and always will be books that have a clear political agenda or make a very particular statement. Orwell’s 1984 springs to mind as an obvious example. Then there are also books that attract political interpretations by the nature of their plot or the subjects that they explore. Whether the author intended such a debate about the work or not, is a secondary issue. I have always taken Tolkien’s work at face value and to be what he stated they were. Epic and intricate faux histories, free from allegory. Furthermore, I appreciate that the moral position and themes of his work stem from the authors world view, personal experiences as well as the prevailing social dogma of the time. I find it interesting how his work attracts praise and adulation from a wide variety of groups. Catholics will naturally gravitate towards Tolkien’s writings due to his faith and that is the prism through which they will critically view his work. There are of course other examples about how The Hobbit and The Lord of the Rings appeals to different people in different ways. This is a common aspect of fandom.
Bearing this in mind, it should not come as surprise to learn that Tolkien’s writing also has fans among the political class. The UK Conservative Party MEP Daniel Hannan is one who has written essays on his love of the Professor’s work and its literary merits. For example, Mr Hannan says “Here is a book that, as much as any I can think of, needs to be read aloud. Tolkien, like many Catholics of his generation, understood the power of incantation. He knew that—as, funnily enough, Pullman once put it—a fine poem fills your mouth with magic, as if you were chanting a spell”. Upon reading more of his analysis of Tolkien’s work, it becomes apparent that several of his political colleagues share his passion. It would seem many Conservative MPs find that Tolkien’s writing contains themes and concepts that they equate with their political ideology. Curiously enough what they see in the Professor’s work, I have never experienced. Again, they view it and quantify it in a different way to myself. This raises some interesting points about when you discover that you share a liking for something with a group you didn’t expect.
I suppose the optimistic way to interpret this situation is to focus on how fandom can build bridges and that there is now theoretically common ground between both parties concerned, despite their obvious differences. However, I feel that it’s a more complex situation than that. In this instance, I do not hold with a lot of the opinions and world view of this particular group of people. I think that many of the policies that the Conservative party have implemented since they came to power in 2010, have been harmful to both individuals and to society. Therefore, does simply having a shared passion for one specific thing bridge an otherwise, vast cultural, philosophical, political divide? I do not think that it does. If I were to meet Mr Hannan in a social situation, I would endeavour to be civil to him and focus on our common ground but ultimately our shared love for Tolkien is not a path to reconciliation. He would still remain at odds with my political sensibilities and continue to be a Conservative party member.
Reflecting upon this example and other comparable ones, certainly raises some interesting questions. It is a timely reminder that fandom does not give you any sense of ownership towards the object of your affection. Nor do you get to decide who can like or not like the thing in question, or who are “true fans”. The reality is that what appeals to you about the thing you love, is not necessarily the same for everyone and that we all interpret and respond to art as well as literature in a different way. Furthermore, when you do find out that you share a common love for something with those who are radically different to yourself, their presence should not spoil that very thing for you. Irrespective of the fans and their differences, the object of affection (in this case Tolkien’s writing), remains untouched. Overall, I guess this matter is a timely reminder about tolerance and sharing.
The analogy that springs to mind is one regarding religion, specifically Christianity. It is a faith that is rife with different denominations. All allegedly cleave to the same fundamental principles, yet interpret the scriptures differently. Is this situation about the differences between fan bases not dissimilar to the divide between Anglicans and fundamentalist Evangelicals? Also, history shows that many fine things have been liked, embraced or advocated by the morally questionable. So, it would appear that a shared love is not an assured ticket to harmony and reconciliation. The divided nature of the gaming community is an ongoing testament to that. The fallout over the recent casting of a female actor as Doctor Who is further proof that fandom is a broad but far from united church. As for Tolkien, I shall simply content myself with my own personal enjoyment of his work and leave others to do so in their own way. However, what I will not allow unchecked is for others to usurp his writing and claim it justifies something that it empirically does not.
Elysium (2013)
Dystopian futures, oppressive regimes and the inequalities between the haves and have nots, have been the mainstay of science fiction for decades. The political dimensions of such narratives are usually glossed over and seldom garner any attention from critics as they are simply plot devices, designed to set up a more specific story. Yet for some reason Neill Blomkamp's Elysium, seems to have been labelled "sci-fi socialism" upon its release by certain institutions. In today's unsophisticated language is meant to have negative connotations. Such comments should be dismissed as they frequently come from quarters that have a poor understanding of what exactly socialism is and little interest in genuine film reviews.
Dystopian futures, oppressive regimes and the inequalities between the haves and have nots, have been the mainstay of science fiction for decades. The political dimensions of such narratives are usually glossed over and seldom garner any attention from critics as they are simply plot devices, designed to set up a more specific story. Yet for some reason Neill Blomkamp's Elysium, seems to have been labelled "sci-fi socialism" upon its release by certain institutions. In today's unsophisticated language is meant to have negative connotations. Such comments should be dismissed as they frequently come from quarters that have a poor understanding of what exactly socialism is and little interest in genuine film reviews.
Elysium is simply a movie about inequality and the consequences that arise from such a state of affairs. It touches upon such weighty themes as faith, private healthcare and immigration. Yet rather than preach about these issues they are mainly plot devices to be explored cinematically. So, Elysium is filled with imagery such as a Los Angeles reduced to a favela and public services outsourced to robots. The depiction of poverty, segregation and crime is worryingly plausible as it is so clearly based upon contemporary news footage that we can see on any TV channels at any time of day. This is vividly contrast by the clinical beauty and corporate order of orbiting space station of Elysium, were the wealthy reside.
Enter Max De Costa (Matt Damon), a paroled professional thief, struggling to stay upon the straight and narrow. After an industrial accident renders him in need of healthcare that can only be found on Elysium, he reluctantly takes a job to kidnap an industrialist (William Fitchner). The plan is to steal data directly from his head that will allow earth-bound citizens access to Elysium. However, head of defence Secretary Delacourt (Jodie Foster) has no intention of seeing her exclusive community overwhelmed by illegal immigrants and dispatches sleeper agent Kruger (Sharlto Copley) to clear up any loose ends. What starts as a personal journey for Max, with his own life hanging in the balance, soon becomes a mission with far wider implications and much higher stakes.
Neill Blomkamp excels at setting up a vision of the future that is credible, despite showing quite little. There are some wide CGI shots of a decaying city but he mainly manages to reinforce the concept by the finer details of the production design. Litter strewn streets, smothered in graffiti, hospitals with precious few resources, overwhelmed by patients. Civic offices populated with automated machines dealing with endless lines of the public. Think of a downbeat version of Johnny Cab from Paul Verhoeven's Total Recall and you'll get the idea. The depiction of military technology is also based upon ongoing contemporary research, with a focus on drones and VTOL based weapons platforms. The CGI is particularly cutting edge, making the law enforcement robots worryingly realistic.
Although there are many familiar tropes and conventions used in Elysium, Neill Blomkamp brings a fresh eye to interpreting them. This is a pleasantly non-US-centric movie, with an international cast adding flavour to the plot. Los Angeles is shown to be predominantly Hispanic with a use of both English and Spanish. Elysium itself is also multicultural, with its President Patel reflecting the growing wealth of India. The final act does to a degree paint the story into a corner and leads to an outcome that is fairly predictable. Yet the ending raises a great many questions and certainly doesn't give the audience a convenient conclusion to all plot strands. It is worth reflecting upon Secretary Delacourt's final dialogue for example, as well as the potential corporate response to events in the final act.
Director Neill Blomkamp again proves that he is a film maker to keep an eye on. If you have not seen his previous Movie District 9, then do so. It is equally as innovative, international and thought provoking. Although far from perfect, with some instances of curious editing, Elysium still provides an above average character and plot driven science fiction movie. It also eschews the current trend for bland PG-13 rated action with a robust R rating. It certainly has the most memorable cinematic villain we’ve seen for a while.
Classic Movie Themes: Zeppelin
Zeppelin is an often overlooked, World War I action movie made in 1971. Michael York plays a British Officer of Bavarian decent, who goes under cover for British Intelligence to thwart a German plot involving a new prototype dirigible. It's a very straightforward ripping yarn, that benefits greatly from Alan Hume’s superb cinematography. The visual effects credits are a veritable "who's, who" of British artist from the time, featuring the likes of Cliff Richardson, Cliff Culley and Wally Veevers. One of the stand out elements of this movie is the fine score by Roy Budd. Budd was a completely self-taught musician who was hailed as a child prodigy. Over the course of his career Budd wrote a diverse selection of film scores and was adept at many different styles.
Zeppelin is an often overlooked, World War I action movie made in 1971. Michael York plays a British Officer of Bavarian decent, who goes under cover for British Intelligence to thwart a German plot involving a new prototype dirigible. It's a very straightforward ripping yarn, that benefits greatly from Alan Hume’s superb cinematography. The visual effects credits are a veritable "who's, who" of British artist from the time, featuring the likes of Cliff Richardson, Cliff Culley and Wally Veevers. One of the stand out elements of this movie is the fine score by Roy Budd. Budd was a completely self-taught musician who was hailed as a child prodigy. Over the course of his career Budd wrote a diverse selection of film scores and was adept at many different styles.
Roy Budd's score for Zeppelin is an exercise in smart minimalism with its leitmotif. The main theme with its simple melody, key change and use of military snare drums works wonderfully. It doesn't need to be more complicated than this and beautifully compliments the traditional approach of the movie. Sadly, the tapes of the original recording have subsequently been lost so the main theme is the only piece of music from the soundtrack currently available. It's a shame because the movie has some very robust cues such as the prelude to the German attack on the castle, as well as the assault itself. Perhaps a full re-recording may be made in the future.
Diary of a Podcaster Part 9
As I surmised, in its current state Squarespace has proven an inadequate host for my current podcast. After exchanging several emails with Apple support, I was informed that “the server for your episodes does not support HTTP HEAD requests. To enable streaming playback of episodes, ensure the hosting server allows HTTP HEAD requests and has byte-range requests enabled”. To cut a long story short, there is no scope for me to alter any of these things at present within the Squarespace dashboard. Nor did I want the work involved in using a third-party feed managing service such as FeedBurner. So, I decided to open up an account with a commercial hosting service. After some research, I determined that PodBean could cater for all my needs and at a competitive price. Submitting the new RSS feed was easy and Apple approved the podcast within 36 hours. As of today, the Contains Moderate Peril podcast is back on iTunes.
As I surmised, in its current state Squarespace has proven an inadequate host for my current podcast. After exchanging several emails with Apple support, I was informed that “the server for your episodes does not support HTTP HEAD requests. To enable streaming playback of episodes, ensure the hosting server allows HTTP HEAD requests and has byte-range requests enabled”. To cut a long story short, there is no scope for me to alter any of these things at present within the Squarespace dashboard. Nor did I want the work involved in using a third-party feed managing service such as FeedBurner. So, I decided to open up an account with a commercial hosting service. After some research, I determined that PodBean could cater for all my needs and at a competitive price. Submitting the new RSS feed was easy and Apple approved the podcast within 36 hours. As of today, the Contains Moderate Peril podcast is back on iTunes.
I could have continued to using Squarespace as a host but effectively this would have meant not having any statistics available regarding the podcast and not having a presence on iTunes. Although the show is not a commercial endeavour, I still wish to grow the audience so I feel that both of the aforementioned requirements are essential. iTunes is an important platform and invaluable means to gain exposure. However, having moved to a service such as PodBean, I have now incurred an additional overhead of $14 a month. The hosting package offers unlimited audio storage and unmetered bandwidth as well as a comprehensive statistical analysis. There is a substantial knowledge base and FAQs. Overall, this is a reasonably priced and functional service. For customers simply interested in podcasting, you can create and manage a bespoke landing page.
In other news, in preparation for a return to regular podcasting, I’ve been doing some test recordings. The scissor arm desktop stand I bought for my microphone is proving a little unwieldy in the limited space I have. So, I purchased a simple tripod as an alternative. This frees up valuable desk space and means that I can easily relocate to an alternative location to record, should the requirement arise. I also received some invaluable advice regarding the placement of my pop filter when I posted a picture of my new set up on Twitter. The subsequent changes that I’ve made have had a positive impact upon sound quality. With the technical and logistical side of podcast production now resolved, I need to focus on drawing up a recording schedule and tackling the complex issue of organising guests. International time zones are sadly one of podcasting’s perennial Achilles Heel.
The Darkest Hour (2011)
The Darkest Hour should have been more appropriately titled The Stupidest Hour, or Darwinian Natural Selection in Action. It really is a microcosm of all that is wrong with mainstream Hollywood at present and it saddens me that this film was made by director Chris Gorak. His previous movie Right at You Door was the exact opposite of The Darkest Hour, being intelligent, well scripted and focused. Prior to directing Gorak has had a successful career as an art director, working for such luminaries as David Fincher, the Coen brothers, and Terry Gilliam. His flair for the visual is present in The Darkest Hour but it would appear that the production design and visual effects were given priority over a good script. I shall endeavour to summarise the plot and provide a brief overview of the films respective merits, although there are precious little.
The Darkest Hour should have been more appropriately titled The Stupidest Hour, or Darwinian Natural Selection in Action. It really is a microcosm of all that is wrong with mainstream Hollywood at present and it saddens me that this film was made by director Chris Gorak. His previous movie Right at You Door was the exact opposite of The Darkest Hour, being intelligent, well scripted and focused. Prior to directing Gorak has had a successful career as an art director, working for such luminaries as David Fincher, the Coen brothers, and Terry Gilliam. His flair for the visual is present in The Darkest Hour but it would appear that the production design and visual effects were given priority over a good script. I shall endeavour to summarise the plot and provide a brief overview of the films respective merits, although there are precious little.
Americans Ben and Sean (Max Minghella and Emile Hirsch), a pair of two dimensional, uninteresting software engineers go to Moscow to look for investment in their smartphone app (oh how very modern). However, their Swedish business partner (Joel Kinnaman) and singularly unpleasant representative of humanity steals their intellectual property. Subsequently Ben and Sean seek comfort in a night club and meet two equally unedifying examples of womankind; Natalie (Olivia Thirlby), an American, and her Australian friend Anne (Rachael Taylor). It is at this point in the proceeding’s that invisible aliens decide to pop down to earth for a bit of an invasion and some global asset stripping, which proves to be a bit of an inconvenience. This unprepossessing bunch then lurch from cliché to cliché, continuously making bad choices. Imagine an episode of Scooby Doo in which all of the characters are recovering from major head trauma and you'll get the picture.
So, where to start? Well The Darkest Hour has a fundamentally bland and uninspired screenplay. The basic idea of energy beings is in principle better than the usual bipedal aliens that we see in such films. However, the idea runs out of steam quickly, especially when we see one outside of its invisible shield. They give the creatures anthropomorphic faces which immediately kills off any credibility. There is also no attempt to flesh out characters back story, beyond the functional. The Moscow setting although striking, doesn’t offer any new perspective on such standard genre material nor do the Russian characters. The films major flaw is that the plot is so unremittingly stupid it beggars belief. I appreciate that people do not always make the wisest decisions while under pressure but the most basic notions of rational thinking are jettisoned to create faux drama. The only innovation shown throughout the films eighty-nine-minute running time are the visual effects and the way the energy being are depicted. Apart from this, The Darkest Hour is pure dot to dot movie making.
The Darkest Hour feels like focus group film making. You can imagine someone standing at a whiteboard taking notes, as a room full of studio executives brainstormed what are the essential tropes of a PG-13 rated action sci-fi movie. As a result, the movie feels like it is working through a list of narrative points and lacks any personal connection of wider depth. What could have been an interesting variation on a theme, is simply an exercise in insincerity and stupidity. If a studio is happy to sell such a product then it doesn’t say much about what they think about their target audience. I hope in the future, director Chris Gorak distances himself from such companies and returns to producing material of the quality of his previous movie, Right at Your Door. Films such as The Darkest Hour do nothing for the genre apart from accelerate the pace of the race to the bottom.
Tradesmen
I don’t care for the popular interpretation of the “Renaissance Man”. IE someone who attempts all jobs around the house. I’m a firm believer in deferring to professionals. If I need electrical work carried out, then I’ll happily hire an electrician. The same goes for plumbers, builders and decorators. I even employ a handyman for those niggling trivial jobs. There are several reasons why I take such an approach. First and foremost, I am fully aware of my limitations and what I can and cannot do. It’s a philosophy espoused by Harry Callahan, so who am I to contradict? If I want a job done, I want it done properly and not bodged. Secondly, if you formally employ someone to undertake a job that has been fully costed via bona fide quotation, then you have legal recourse should things go south. Thirdly, I do not care for manual labour. That is not to say I think it’s beneath me. Quite the opposite. I admire anyone who earns their crust through their physical toil. Nope, I just don’t like such work. I prefer using my mind not my back. Finally, I value my leisure time and do not want to see such a precious resource squandered. So, considering all these points, whenever certain jobs or chores arise, I pay others to do them.
I don’t care for the popular interpretation of the “Renaissance Man”. IE someone who attempts all jobs around the house. I’m a firm believer in deferring to professionals. If I need electrical work carried out, then I’ll happily hire an electrician. The same goes for plumbers, builders and decorators. I even employ a handyman for those niggling trivial jobs. There are several reasons why I take such an approach. First and foremost, I am fully aware of my limitations and what I can and cannot do. It’s a philosophy espoused by Harry Callahan, so who am I to contradict? If I want a job done, I want it done properly and not bodged. Secondly, if you formally employ someone to undertake a job that has been fully costed via bona fide quotation, then you have legal recourse should things go south. Thirdly, I do not care for manual labour. That is not to say I think it’s beneath me. Quite the opposite. I admire anyone who earns their crust through their physical toil. Nope, I just don’t like such work. I prefer using my mind not my back. Finally, I value my leisure time and do not want to see such a precious resource squandered. So, considering all these points, whenever certain jobs or chores arise, I pay others to do them.
Now I fully recognise that some people will undertake certain jobs around the home purely due to financial reasons. Hiring tradesmen to build or fix something is costly. This post is not intended to be critical of such individuals. I consider myself fortunate that my finances allow me to contract others. Furthermore, having worked in IT for nearly twenty-five years, often in a self-employed capacity, I understand the nature of market rates and the need to try balance your financial overheads with offering your client a competitive price. Therefore, I like to think that when I hire tradesmen myself, I am not a cheapskate. My own experiences over the years have lead me to conclude you get exactly what you pay for. So, considering all these points, I deem myself to be fairly well disposed toward tradesmen, at least in principle. By hiring them I am helping the wider economy, as well as myself.
Now that we have got all the measured prerequisites and caveats out of the way, in which I have hopefully established myself as a non-prejudicial, even hand and benevolent customer, let me now proceed to catalogue some of the problems I have had of late with tradesmen and the associated culture. My parents have not done any major home improvements since the late eighties. This means a lot of things are now breaking, failing and in need of replacement around their home. In the last few months, several electrical sockets have stopped working and some reading lights developed an intermittent fault. So, an electrician was required. Naturally my first port of call was to look online. I looked for those local to my parents and then once a short list was drawn up, I then tried to establish their reputations. There are many review sites around and although you can game the system, I think these sites can be broadly used as a benchmark.
Having found five electricians that met the criteria, I then proceeded to phone and discuss the work required. Let it suffice to say that four of those five, didn’t seemed especially enthusiastic about the work offered. To cut a long story short, I was brushed off with varying degrees of subtlety because the jobs were deemed to small and not generating sufficient revenue. Luckily the fifth was happy to do the work, which was carried out efficiently and to my complete satisfaction. Needless to say, this particular tradesman is now on my preferred list. Furthermore, I’ve discussed with him this concept of small jobs being trivial. He is aware that many of his colleagues take such a view but he personally takes a more pragmatic approach. I live in an area with a high percentage of elderly, retired homeowners. This means there is a substantial and reoccurring market for minor jobs. It’s a market that this particular individual is happy to serve. It yields as much, if not more revenue in the long run. Yet it is a market that is frequently ignored as tradesmen pursue the “big jobs”.
Another issue I’ve had of late is trying to ascertain what the current market rate is for certain types of work. My parents front garden is finally being turned in to a drive after fifty-seven years. This is mainly being done to accommodate the nurses and health visitors that care for my Dad and visit daily. Because this job is not classified as “trivial work”, I’ve not had problems finding companies willing to tender for it. However, I have had a very broad spectrum of quotes ranging from £4,000 to £10,000. I find this disparity, troubling. Someone is either quoting too cheap, which then infers substandard work. Or someone is charging too much which then makes me question their personal integrity and that of their business. Again, I have tried to do some research online to get a feel for current market rates but as this kind of work is out of my field of expertise, then it does feel like I’m making a calculated guess at times. Plus, the UK is a country that has major regional cost variations. Any service within Greater London, which is where my family live, is always more expensive.
In the immediate future, I have a gardener scheduled to do some clearance work in my parent’s garden. If their work is satisfactory, I’ll happily employ them myself to excuse me from mowing the lawn and pruning bushes. This particular tradesman was recommended to me by a colleague so I suspect that he will be sound. However, this nebulous referral system that so many people rely upon is far from bullet proof. What one person considers good work, may not be the same for another. Plus, not everyone has access to a network of friends and colleagues to make recommendations to begin with. Hence, we have seen an increase in review sites but as I mentioned early, these are not perfect. My concerns are not about dishonest reviews but simply that some trades and business types are represented. My son recently hired a plasterer. Tracking them down was an extremely difficult process. To cut a long story short, when asked why the he didn’t advertise, the plasterer replied he got sufficient work through word of mouth. Their work was so good that they always had another gig to go to. Such a business approach is fine for the tradesman but no so beneficial for potential customers out of the loop.
I believe that tradesmen should be free to find business in whatever fashion they see fit (with the usual caveats about working within the confines of the law). However, I do feel that the present process of finding and hiring them leaves a lot to be desired. I only say this anecdotally but during the course of my recent enquiries, I found that only half of those businesses I researched had an adequate online presence. Some only had a small website or Facebook page with contact details. Others had absolutely no online details apart from reviews written on third party sites. So far, those that I have employed have all had a solid online footprint, detailing professional credentials, prices and references. Furthermore, they have also used a lot of other technology for notifications and billing. So perhaps the change and gradual cultural shift from old school methods to modern practise is underway. Or at least I hope so. Because I need a gas fitter soon to replace an old boiler with a modern alternative and I don’t want to be chasing my own tail.
Gaming and Voice Chat
I was reading through the patch notes for the latest test build for LOTRO (Bullroarer Update 21.2 - Beta 1 Take 2) and was interested to find down at the bottom of the list, a reference to some changes that are coming to in-game voice chat. Namely, party member voice volume can be adjusted individually. Party volume control visibility can be toggled by clicking on the party voice chat icon for party members. Default Group Volume preference are to be added to the Voice section of Audio options. The volume slider can be used to set the default voice volume level of new group members. Its 75% volume by default. Well, huzzah with highly polished brass knobs on. I’m pleased that this is being done but isn’t it somewhat late? We could have done with these improvements a decade ago.
I was reading through the patch notes for the latest test build for LOTRO (Bullroarer Update 21.2 - Beta 1 Take 2) and was interested to find down at the bottom of the list, a reference to some changes that are coming to in-game voice chat. Namely, party member voice volume can be adjusted individually. Party volume control visibility can be toggled by clicking on the party voice chat icon for party members. Default Group Volume preference are to be added to the Voice section of Audio options. The volume slider can be used to set the default voice volume level of new group members. Its 75% volume by default. Well, huzzah with highly polished brass knobs on. I’m pleased that this is being done but isn’t it somewhat late? We could have done with these improvements a decade ago.
For years LOTRO players have had the benefit of an in-built voice chat service, rather than having to install and configure a third-party application. It was quite a far-reaching thing to do by then developers Turbine, when the game launched back in 2007. However, for years we’ve also had the endure the following issues. Players whose volume levels are simply too low. Players whose volume levels are simply too high. Microphones picking up and repeating voice traffic. Microphones picking up ambient background noise. Poorly configured microphones, producing "pop", distortion and feedback. For every good experience I’ve had with LOTRO voice chat, I also had a bad one. I’ve spent evenings either being deafened by my colleagues or struggling to understand them due to low volume or distortion.
So, I guess it’s good that these problems are being addressed but I must admit, it’s because of them that I’ve been running a TeamSpeak server for the last seven years. However, third party solutions come with their own set of issues. Some solutions such as TeamSpeak have to be paid for. It’s not a fortune but it does add to your ongoing gaming costs. Other services like Discord are free but that can be subject to change. I’ve always been reticent about becoming reliant on free online services as we have no consumer rights should they change business model or decide to discontinue. Which then returns me LOTRO’s built in voice chat service. Considering how crucial voice chat is to the game and the MMO genre, you’d have thought such a facility would have been more common place in other titles.
Star Trek Online is the only other MMO that I’m aware of that boasts in-game voice chat. Perhaps the increasingly solo friendly nature of subsequent MMOs has meant that voice chat is no longer considered important. Or perhaps the licensing of the technology added too much to development costs. However, where the significance of voice chat may have diminished in some genres, it has increased in others. Overwatch, Grand Theft Auto Online and PlayerUnkown’s Battlegrounds all include an in-game voice chat service. PUBG actually has a proximity based chat service as well as team support. It offers a rather interesting perspective to be able to hear your opponent. Then of course there is voice support built into software distribution clients such as Steam and origin. It would appear that third party retailers still deem voice chat to be of merit, even if some developers do not.
However, I do acknowledge the fact that not every user is comfortable speaking publicly and that for everyone who is happy to converse whilst playing a game, there others who are not. However, even if you don’t wish to participate in group chat, you can always mute your microphone and still benefit from being able to hear what’s going on. Sadly, it would be naïve to ignore the fact that voice chat can be a gateway into one of the lower circles of hell and that it can be abused. I have voice chat muted whenever I play Overwatch unless I’m among friends. Bearing that in mind, I guess another reason why some developers won’t include voice chat with their products is that they don’t want to be lumbered with the responsibility of having to police it. Not that Blizzard does much in this respect. Anyway, despite the disparity in up take, I believe the ongoing popularity of co-op based games (as opposed to MMOs) will ensure that in-game voice chat doesn’t vanish. Perhaps as the technology improves, it may evolve beyond just audio into video. There’s a scary thought.
Imagining the Worst
I was technically not old enough to see Outland when it was released in the UK in 1981. The film was rated AA, a now defunct certificate, which required the viewer to be 14 years or older and I was 13. I have strong memories of feeling quite tense going into the cinema. My expectations were based purely on what I had read in the press and from seeing the trailer just once, a few weeks prior. That is how it was before the internet age. You had less advance knowledge of a movie. Furthermore, at this point in time I had not become so inured to cinematic violence, as my viewing habits back then were very much dictated by my parents and the fact that there were only two televisions in our home. Although we had a VCR, we hadn’t yet got bitten by the renting bug. So, I went into the movie theatre expecting to be shocked by Outland based on the movies marketing which promised a head explosion. However, it turned out to be a thoroughly entertaining space western. Yet I vividly remember my sense of relief that its hadn’t been as shocking as I had imagined it would.
I was technically not old enough to see Outland when it was released in the UK in 1981. The film was rated AA, a now defunct certificate, which required the viewer to be 14 years or older and I was 13. I have strong memories of feeling quite tense going into the cinema. My expectations were based purely on what I had read in the press and from seeing the trailer just once, a few weeks prior. That is how it was before the internet age. You had less advance knowledge of a movie. Furthermore, at this point in time I had not become so inured to cinematic violence, as my viewing habits back then were very much dictated by my parents and the fact that there were only two televisions in our home. Although we had a VCR, we hadn’t yet got bitten by the renting bug. So, I went into the movie theatre expecting to be shocked by Outland based on the movies marketing which promised a head explosion. However, it turned out to be a thoroughly entertaining space western. Yet I vividly remember my sense of relief that its hadn’t been as shocking as I had imagined it would.
Over the years I’ve had numerous similar such experiences with other classic films and genre movies. Films such as Zombi 2, The Texas Chainsaw Massacre, Soldier Blue and Cannibal Holocaust, all have strong and controversial reputations. Often this is due to unpleasant acts or levels of violence. Yet after watching all of these films, I have always felt a sense of relief and possibly even disappointment, because of the gulf between what my expectations were and what was actually depicted. The New York Ripper for example does include acts of violence that in principle are totally abhorrent, yet the reality is that the film makeup effects are generally poor. I guess my fear has always been that I will see something so heinous that I’ll be traumatised, physically sick or worse. The latter is the biggest concern and the most nebulous. Somehow, exposure to such material will leave me altered on some level and not for the better.
To a degree this factor still effects a great deal of my viewing to this very day. However, I am now quite sceptical when I read a review which claims that the film in question has shocking scenes or breaks some terrible taboo. Mainstream Hollywood seldom does any of these things at present. The horrific imagery that I can conjure up in my mind’s eye, more often than not is never equalled by what the film-maker chooses to show. It is a perennial debate among film fans that less is more and what the viewer thinks they see is far more disturbing than anything that can be shown. I do agree with this to a degree, although I do feel that violence and graphic imagery can play a part if used appropriately and within context. Yet outside of the mainstream there are still film-makers prepared to the push boundaries that the big studios are not.
There have been several films recently that have courted a great deal of controversy with regard to their content. I have always held the opinion that you cannot effectively comment on films unless you’ve seen it. Therefore, for me to credibly write on such material, I would have to watch it. The problem is I really don’t wish to (more on that later). Two relatively recent examples which spring to mind are A Serbian Film and The Human Centipede II: Full Sequence. If you follow the links for both titles you can read the plot synopsis for each on Wikipedia. The descriptions of both films instantly sets my mind racing with regard to how graphic they can be? Again, it could be the case that my expectations are far worse, fuelled by my mind working overtime. However, it would appear that both these films are quite explicit or so I am told by trusted peers. Potentially, these films could challenge my theory and overturn it, by actually showing the unshowable.
I won’t get into an argument about the artistic merits of both these titles, as that is a separate debate for another time. Ultimately, I believe that my rule of thumb broadly holds true but because we now live in far more liberal times, there is scope for film makers to prove otherwise and depict acts that are worse than I imagine. However, that has not yet become the norm. In the case of the two films I’ve mentioned, I do not think I will benefit in any way from seeing either of them. To do so would be pure voyeurism and pandering to the conceits of the film makers. If horrific imagery is devoid of any context, meaning or the wider purpose, then I may as well just sit and watch the emergency services cut the corpses from car accidents. What sort of person does that for pleasure? As a teenager, I can remember the bragging rights associated with watching the grisliest horror movie one could find. Such puerile rites of passage are common place. However, adulthood comes with a sense of perspective and an ability to curb one’s excesses. It is a habit that I still like to maintain.
I do not feel it is my place to draw lines in the sand with regard to what film-makers can or cannot depict. However, I can and do draw such lines for myself, with respect to what I choose to watch. I therefore think that the feeling of expectation and trepidation I had as a 13-year-old, is a quality I wish to keep. If there comes a time when such a notion fails to enter my head, then I really will have become totally desensitised to cinematic violence. I think maintaining such an emotional safety valve is a healthy attribute to have. So, I've decided to skip A Serbian Film and The Human Centipede II: Full Sequence. They may well live up to the reputation they've gained or simply be an exercise in hype but I don't really want to taint myself or waste my precious time by finding out. I will never dismiss a film out of hand for having the gall to exist but I do feel that having the capacity to say "thanks but no thanks" is important and liberating.
Star Trek Online: Beyond the Nexus
One of the major selling points of Star Trek Online is that it features voice acting from artists who appeared in the various TV shows and feature films. From Star Trek: The Original Series, Leonard Nimoy and Walter Koenig reprised their iconic roles, bringing Spock and Chekov to the game. Michael Dorn and Denise Crosby beamed in from The Next Generation, adding the voices of Worf, Tasha Yar and Empress Sela to several featured episodes. Chase Masterson and Aron Eisenberg came to us from Deep Space Nine to reprise their roles as Leeta and Nog. From Voyager, we have the talents of Tim Russ, Robert Picardo, Jeri Ryan, Ethan Phillips, Garrett Wang, Robert Duncan McNeill, Kim Rhodes, and Lisa LoCicero. Kipleigh Brown and Matt Winston from Enterprise recently joined the roster. The legacy of James Doohan was represented by his son Chris, reprising his father’s role as Scotty. And Zachary Quinto and Joseph Gatt from the Kelvin Timeline Star Trek film franchise have joined the ranks of esteemed Trek alumni in the game.
One of the major selling points of Star Trek Online is that it features voice acting from artists who appeared in the various TV shows and feature films. From Star Trek: The Original Series, Leonard Nimoy and Walter Koenig reprised their iconic roles, bringing Spock and Chekov to the game. Michael Dorn and Denise Crosby beamed in from The Next Generation, adding the voices of Worf, Tasha Yar and Empress Sela to several featured episodes. Chase Masterson and Aron Eisenberg came to us from Deep Space Nine to reprise their roles as Leeta and Nog. From Voyager, we have the talents of Tim Russ, Robert Picardo, Jeri Ryan, Ethan Phillips, Garrett Wang, Robert Duncan McNeill, Kim Rhodes, and Lisa LoCicero. Kipleigh Brown and Matt Winston from Enterprise recently joined the roster. The legacy of James Doohan was represented by his son Chris, reprising his father’s role as Scotty. And Zachary Quinto and Joseph Gatt from the Kelvin Timeline Star Trek film franchise have joined the ranks of esteemed Trek alumni in the game.
More recently we saw J. G. Hertzler reprise his iconic role as General Martok; a much beloved character among Star Trek devotees. However, this week we saw a milestone in STO as LeVar Burton returned as Geordi La Forge in the latest featured episode “Beyond the Nexus”. I must say I was surprised that Cryptic had managed to facilitate such an appearance, considering it has been discretely pointed out in the past that the cost of certain hiring certain actors is prohibitive. But, not being one to look a gift horse in the mouth, I duly logged into STO today to check out the new featured episode and see if Cryptic’s writers had managed to create a vehicle suitable for Star Trek favourite Geordi La Forge. I was intrigued by the concept of revisiting the Nexus that feature in the film Star Trek: Generations. On paper there’s a lot of narrative scope with such a violent, destructive temporal energy ribbon.
Sadly, “Beyond the Nexus” proved to be a squandered opportunity. The story is somewhat formulaic and distinctly average. During the mission, Captain Geordi La Forge and of course yourself investigate two starfleet ships that went missing while studying the infamous energy ribbon, the Nexus. It's discovered that both ship's crews have been taken over by a powerful psionic entity called Khaj'Buur, who has been imprisoned in the Nexus for unknown reasons. The story then becomes a rather linear adventure in which you have to rescue the crew and then defeat Khaj'Buur. Once this is done he surrenders and is imprisoned pending further enquiry. It is mentioned in the mission's conclusion that Khaj'Buur's wish to leave the Nexus is highly unusual, considering the realm surrounds you with the things that make you the happiest.
There are some positive aspects to “Beyond the Nexus”. Part of the story takes part on a Galaxy Class vessel, so traversing the ships interior and engine room is a big plus for fans of ST:TNG. As these assets are now in the game it was inevitable that Cryptic would make them available for purchase in the C-Store. Geordi also sports a Type 3 Phaser Rifle which is pleasing to see if you are a lore buff and like things canonical. The weekly rewards are not too shabby either with a three-item gear set on offer. And with regard to the story, although it is rather perfunctory, it does have a few subtle embellishments. The rogue holoprogram written by Ensign Barclay is a nice touch and raised a wry smile. As for Khaj'Buur, I suspect that he’ll feature in later episodes and his back story will be expanded upon. It is also likely that Captain Geordi La Forge has a larger role to play, in next years expansion.
Baby Driver (2017)
There’s rhythm in every scene of Baby Driver. And Michael Mann may want to consider early retirement because Edgar Wright lights his movies better. These are just some of the thoughts that crossed my mind during the films 113-minute running time. It becomes very apparent when watching Baby Driver that it’s not just a standard heist movie with car stunts and hard-boiled dialogue. This film is definitely something special and totally deserving of all the praise that has been heaped upon it. But then again, it’s not every day you get a story that bears all the hallmarks of a Hollywood musical, slickly and intelligently transplanted into a hybrid of the road and caper genres.
There’s rhythm in every scene of Baby Driver. And Michael Mann may want to consider early retirement because Edgar Wright lights his movies better. These are just some of the thoughts that crossed my mind during the films 113-minute running time. It becomes very apparent when watching Baby Driver that it’s not just a standard heist movie with car stunts and hard-boiled dialogue. This film is definitely something special and totally deserving of all the praise that has been heaped upon it. But then again, it’s not every day you get a story that bears all the hallmarks of a Hollywood musical, slickly and intelligently transplanted into a hybrid of the road and caper genres.
Ansel Elgort’s stars as the eponymous getaway driver, who uses music to continuously drown out the tinnitus he suffers from as a result of a childhood accident. Being on the spectrum he meticulously organises his life around his iPod playlists and records random sounds and dialogue on a Dictaphone which he then mixes with music. He is also a formidable driver who is indebted to local Atlanta criminal Doc (Kevin Spacey). Hence Baby is always “one more job” away from freedom. In his spare time Baby cares for his deaf foster father Joseph (CJ Jones) who worries about whether he’ll ever be able to get away from his obligation to Doc. Baby dreams of escaping with his waitress lover Debora (Lily James) but his plans are foiled when he called upon to drive for one more major robbery. He finds himself in the company of a worrying psychotic crew consisting of Buddy and Darling (Jon Hamm and Eiza González), a latter-day Bonnie and Clyde as well as Bats (Jamie Foxx), a career criminal who favours shooting first and asking questions later.
Baby Driver has it all. A classic boy meets girl narrative, troubled by all the usual cinematic relationship problems. Quirky characters with hard boiled dialogue and some of the most impressive car chases and stunt work I’ve seen in two decades. There’s precious little CGI on display as the Edgar Wright chose to do as much in camera as possible with his stunt co-ordination team (Darrin Prescott, Robert Nagle, Jeremy Fry). Director of photography Bill Pope lights each scene creatively and uses a vivid colour pallet. Furthermore, Baby Driver is comfortable in its own skin and make no concessions to ratings or wider commercial interests. Hence the movie is R rated (15 in UK) which it rightly should be considering its themes and settings.
![Baby Driver.mkv_snapshot_00.04.44_[2017.09.13_13.12.51].jpg](https://images.squarespace-cdn.com/content/v1/54e310f0e4b0f4a6ba3ac899/1505305131884-6JIPQQXD0YMSWRCCOM6V/Baby+Driver.mkv_snapshot_00.04.44_%5B2017.09.13_13.12.51%5D.jpg)
Music and sound are integral to Baby Driver and a great deal of love and attention has been invested in the sound design. Characters, tracking shots and even gun fire are syncopated to the various songs that play throughout the film. And what an intelligent and eclectic selection of classic and original material it is. The opening titles playout across Bob & Earl’s Harlem Shuffle, with the lyrics to the song appearing on walls and street signs. A major getaway after a bank job utilises The Damned’s Neat, Neat, Neat, which for me was a blast from the past and fun to see in a US studio production. And for those who are really anal about homages and obscure references, the soundtrack even sports some classic seventies Morricone lounge music, as the protagonists enter an elevator. Furthermore, the audience gets to share Baby’s tinnitus when he gets stressed and is unplugged from his iPod.
Often when directors set out to try and create a cult movie, their deliberate contrivances are painfully obvious, usually to the films detriments (I’m looking at you The Boondock Saints). Edgar Wright comfortably and confidently allows pop culture references to bleed through into his work, because they are an intrinsic part of who he is. He can dovetail dialogue such as “Don’t feed me any more lines from Monsters Inc… it pisses me off!” into the screenplay without it raising an eyebrow from viewers. An argument by the cast over the right sort of Michael Myers Halloween mask delights rather than rankles. The reason Baby Driver works so well is because it is filled with genuine creativity, genre love and geek passion from a film maker who is honestly trying to entertain, rather than indulge his ego. Do yourself a favour and watch Baby Driver and remind yourself how good cinema is when it’s fuelled by talent and wit.
How Do You Solve a Problem Like You Tube?
You Tube like any other online platform has a wealth of rules, term and conditions and other policies. Sadly, what we have seen over recent years is an organisation that has precious little inclination to use them. The facilities that are currently in place are often abused and there are no consequences for misusing the “disputes” procedure. Furthermore, there are still multiple You Tube channels that peddle hate and You Tube personalities that endure without any real sanction for their transgressions. It seems that popular You Tubers are not held to any standard but their own. There is no formal regulation from an external body for this or any other comparable platform. The rules that govern conventional media don’t apply here. It’s a classic example of the law falling behind the technology and change.
You Tube like any other online platform has a wealth of rules, term and conditions and other policies. Sadly, what we have seen over recent years is an organisation that has precious little inclination to use them. The facilities that are currently in place are often abused and there are no consequences for misusing the “disputes” procedure. Furthermore, there are still multiple You Tube channels that peddle hate and You Tube personalities that endure without any real sanction for their transgressions. It seems that popular You Tubers are not held to any standard but their own. There is no formal regulation from an external body for this or any other comparable platform. The rules that govern conventional media don’t apply here. It’s a classic example of the law falling behind the technology and change.
That is not to say that you can get away with anything on You Tube. Theoretically, if you cross certain lines then legal action may well be applicable. Then there is always the threat of the loss of advertising revenue, prestige and sponsorship. However, so far there has not been any major test cases where reality has bitten a wayward You Tuber on the ass for their iniquities. Even if an individual was banned from the platform and had their channel closed, they would still be walking away with their coffers bulging. More than likely, they’d simply pitch their tent elsewhere. One companies embarrassing controversy is another another’s new selling point. We see it in the tabloid press all the time. An odious pundit crosses a line and says something beyond the pale, gets sacked and subsequently gets a new gig with a rival publication. The other problem associated with such issues is the public have very short memories.
Obviously, PewDiePie AKA Felix Kjellberg and his recent behaviour has added fuel to the fire with regard to You Tubes inability to police itself effectively. The platform is now at a crossroad in its business life. The audience that You Tube serves is now so big that third parties cannot easily dispense with it. However, outside business doesn’t like the “frontier town” ethos that still permeates the online portal. The recent Adpocalype shows that advertisers don’t want to be associated with certain channels and personalities. But due to the blunt tool nature of the withholding of revenue and the nebulous criteria of what exactly is “family friendly”, there’s been a lot of collateral damage. And because of Mr Kjellberg’s stupidity we see the use of weaponised DMCA takedowns raising their ugly head once again.
The main risks at present are twofold. You Tube will take action but in a knee jerk fashion, imposing draconian rules and effectively queering the pitch for all parties regardless of what side of the line they are on. Alternatively, if they prevaricate any longer someone outside may step in to deal with the situation. For example, if some idiot is dragged into court, the somewhat grey area of “fair use” which is the foundation of so much content on You Tube, could be scrutinised and a more definitive ruling made. If a precedent is set and it is not a favourable one regarding this catchall term, then it could mean that a hell of a lot of content and channels go the way of the Dodo. Furthermore, such drama and shenanigans could attract the attention of the political classes and the last thing we need is for things like You Tube and Streaming to fall under their remit in any way.
To avoid catastrophe, You Tube should act now but act in a sensible measured way. As a company, it need to start policing its own backyard in a viable fashion. That means not rely on automated procedure that can be gamed but employing moderators who work to a clear set of guidelines. When someone transgresses the rules, action should be swift and clearly explained as to why it has been taken. There also needs to be a fair appeals procedure to ensure that the door swings both ways. Yes, such an undertaking means spending money but considering the alternative, allocating resources wisely now may prevent a massive loss in revenue later. Also, Joe Public needs to up their game and stop cutting offenders so much slack. We as viewers need to stop sitting of the fence and hedging are bets for our own personal convenience. Sooner or later we all need to pick a side, like it or not.
Finally, a few words about PewDiePie. Everyone makes mistakes. I believe in giving people a fair hearing and a second chance where appropriate. Sadly, this individual has proven to be a repeat offender. If your go to curse of choice is a racial slur, then that frankly speaks volumes to me. As far as I’m concerned “I didn’t mean it in a bad way” is the 21st Century Nuremberg defence. You cannot divorce this word from its racially pejorative roots. It exactly the same as calling something “gay”. You may think you’re simply implying that something is not good but you are establishing your proposition by equating being gay as something inherently bad. Considering the diversity of profanity available in the English language, if you wish to express disdain then there are plenty of alternatives words that do not have the same complex socio-political heritage of the term Mr Kjellberg chose to use.
I have seen the term “influencers” bandied about with regard to You Tube and the likes of PewDiePie. It’s a very vague term like so much of the marketing speak we have to endure these days. Its greatest weakness seems to be in the way it is allocated. To be an “influencer” you just need to have a large following. There is no requirement for expertise and talent is a broad and subjective term. It’s time for business to rethink the nature of “influencers” and perhaps reconsider who they show favour too. It is naïve to expect ethics and integrity by default. If you require these virtues then it is incumbent upon you to establish their existence beforehand in those you groom for fame and fortune. However, when one considers the track record of the gaming industry, advertisers and You Tube themselves, I cannot help but be somewhat sceptical that these groups will tackle their respective problems with any degree of success.
Diary of a Podcaster Part 8
Whenever I encounter a word or term that I’m not familiar with, I will usually Google it. That’s the way I’m wired. I prefer to “know” rather than “not know”. However, it is not the concept of continuous self-improvement that I wish to discuss in this post but something else. Namely sociolinguistics. Earlier today I saw someone mention vocal fry on Twitter. I had no idea what that was so I checked on Wikipedia, watched some You Tube videos and finally read some newspaper articles. An hour later I was aware of not only vocal fry, but run-ons, uptalk, glottal Ts and the fact that the way we speak has a major impact upon our lives, just like education and class. According to sociolinguistics, the manner in which you speak has a major impact on the way you are perceived by others. Sadly, like so many other social markers, it can be used in a discriminatory fashion.
Whenever I encounter a word or term that I’m not familiar with, I will usually Google it. That’s the way I’m wired. I prefer to “know” rather than “not know”. However, it is not the concept of continuous self-improvement that I wish to discuss in this post but something else. Namely sociolinguistics. Earlier today I saw someone mention vocal fry on Twitter. I had no idea what that was so I checked on Wikipedia, watched some You Tube videos and finally read some newspaper articles. An hour later I was aware of not only vocal fry, but run-ons, uptalk, glottal Ts and the fact that the way we speak has a major impact upon our lives, just like education and class. According to sociolinguistics, the manner in which you speak has a major impact on the way you are perceived by others. Sadly, like so many other social markers, it can be used in a discriminatory fashion.
My train of thought subsequently led me to watch a selection of other videos designed for those who are non-native English speakers. These You Tube channels seek to explain the subtleties of the language and provide an insight into phrases and colloquialisms that are not taught in the classroom. There is a wealth of difference between the way any language is taught formerly and how it is used in day-to-day life. Being a native English speaker, I have never stopped to consider how difficult the language is to learn. Upon mature reflection of all these points, I find myself wondering how accessible my previous podcasts have been? Do listeners have any issues with my diction, the phrases and terminology I use? How is my voice perceived?
One thing that has come up from time to time, is that both British and US podcasters often speak very quickly which seems to be a cultural phenomenon. Both Brian and I received an email about this once back in the heyday of the Contains Moderate Peril podcast. It did come a surprise but then we felt we should try and do something to accommodate the point and thus made a conscious effort to speak slower. Since then I’ve made a point of editing the show in a specific fashion to try and reduce the speed of the conversation and pace it in a more accessible manner. However, it is a difficult issue to address. When you are consciously trying to change the manner in which you speak, it can sometimes impact negatively on the way you express yourself. Conversations can sound scripted or artificial.
There are many factors that give your podcast character and these naturally can become selling points. Banter, the way in which you express yourself and the language you use all contribute to whether your audience stays or leaves. Although you cannot please everyone and it’s important to decide upon the niche you wish to pitch to, it doesn’t do any harm to accommodate requests from your listeners. Adjusting aspects of your speech and at the very least being aware that not everyone is a native English speaker, means that you can try to make your show more inclusional. After all, podcasting is all about communicating. It seems counterproductive to contradict that philosophy.
Update:
In the previous instalment of Diary of a Podcaster, I wrote about the issues I was having with iTunes and my Squarespace RSS feed. To cut a long story short, the most prudent course of action to rectify the issue has been to host the show elsewhere. Hence, I have opened up an account with PodBean. They have a variety of plans and I have found one that suits my needs at a reasonable cost. Hopefully, with this technical issue addressed, I can return to podcasting soon.
The Limehouse Golem (2016)
In Victorian London, a serial killer dubbed The Limehouse Golem by the press, leaves a trail of victims in his wake. The seemingly random murders span across the social with the only clue being a series of cryptic messages written in the blood of his victims. With few leads and increasing public pressure, Scotland Yard assigns the case to Inspector Kildare (Bill Nighy), a seasoned detective who has a sneaking suspicion that he's being set up to fail. Kildare career has stalled due to rumours that “he’s not the marrying type. Investigations eventually yield a list of four potential suspects. The music hall actor Dan Leno, the author George Gissing and revolutionary Socialist Karl Marx. However, Kildare finds that the forth, John Cree, is already dead; poisoned by his wife Elizabeth (Olivia Cooke) who awaits trial for murder. Is the key to the Golem’s identity to be found through further investigation of his murders, or by solving the truth of the Cree case?
In Victorian London, a serial killer dubbed The Limehouse Golem by the press, leaves a trail of victims in his wake. The seemingly random murders span across the social with the only clue being a series of cryptic messages written in the blood of his victims. With few leads and increasing public pressure, Scotland Yard assigns the case to Inspector Kildare (Bill Nighy), a seasoned detective who has a sneaking suspicion that he's being set up to fail. Kildare career has stalled due to rumours that “he’s not the marrying type. Investigations eventually yield a list of four potential suspects. The music hall actor Dan Leno, the author George Gissing and revolutionary Socialist Karl Marx. However, Kildare finds that the fourth, John Cree, is already dead; poisoned by his wife Elizabeth (Olivia Cooke) who awaits trial for murder. Is the key to the Golem’s identity to be found through further investigation of his murders, or by solving the truth of the Cree case?
“Let us begin, my friends, at the end,” declares the music hall actor Dan Leno (Douglas Booth) as the curtain draws back upon both the theatre stage and the beginning of the story. What follows is a period whodunit, told in flashback and set against the backdrop of a dualistic Victorian world. The seat of empire harbours a dark underbelly of vice, depravity and murder. The Limehouse Golem explores the significance of the tabloid press and the role of the music hall in shaping and reflecting popular opinion. This is an age voyeurism and puritanical judgement. There are themes of how the disenfranchised yearn to leave a mark on the world as an act of defiance against their depressing and oppressed lives. The story also paints a picture of an incredibly harsh and unjust society towards women, homosexuals and children.
Jane Goldman (Kick-Ass, The Woman in Black) adapts Peter Ackroyd’s book well providing a screenplay that affords the ensemble cast a lot of scope to interpret their respective roles. Performances are universally good but you can seldom go wrong with the likes of such actors as Eddie Marsan and Daniel Mays. Director Juan Carlos Medina works within a handsome production design, vividly lit and photographed by Simon Dennis. There is more than a hint of Lamberto Bava in the looks and feel of the dark, foggy streets of London. The stylised aesthetic creates a suitable mood for the unfolding tale. Median also uses an interesting plot device in which Inspector Kildare dictates to each suspect what they should write. As each does so, we then see the previous murder from their perspective.
As a whodunit, The Limehouse Golem is a little obvious to the attentive viewer and it doesn’t go out of its way to obscure who the real murderer is. However, it can be argued that this is a movie about the journey to the truth and what impact the final revelation has upon the central characters. It is not so much the “who” that is the major foundation of the plot but “why”. If one looks beyond the circumstances of the “killer”, you find that the story is effectively putting an entire era with its associated socioeconomic and historical baggage on trial. The denouement is poignant with multiple parties having to deal with the fallout of the solved cased. Viewers are left with much to reflect upon as the credits roll, which in my mind is always a sign of quality cinema.
Games That Pass You By
Like many gamers I try to keep abreast of new releases and titles that are in development. Because of my personal likes and dislikes, I filter out a lot of material I don't personally care for. For example, I'm not really au fait with the sports genre or real-time strategy games. I read several news websites and follow a few "gaming commentators" on Twitter and that usually keeps me informed about the things I feel I need to know. However, it is not a full proof system and every now and then I become aware of a title that has completely passed me by. In some respects, this can be quite beneficial as it means I have bypassed several months of hype, marketing and general bullshit and can now potentially jump into a new game without any major prejudice or baggage.
Like many gamers I try to keep abreast of new releases and titles that are in development. Because of my personal likes and dislikes, I filter out a lot of material I don't personally care for. For example, I'm not really au fait with the sports genre or real-time strategy games. I read several news websites and follow a few "gaming commentators" on Twitter and that usually keeps me informed about the things I feel I need to know. However, it is not a full proof system and every now and then I become aware of a title that has completely passed me by. In some respects, this can be quite beneficial as it means I have bypassed several months of hype, marketing and general bullshit and can now potentially jump into a new game without any major prejudice or baggage.
A while ago, I bought a 2K gaming Bundle that was packed with quality titles. It featured Mafia 2, Spec Ops: The Line and the Bio Shock series. It also included the original XCOM franchise which I knew was both critically acclaimed and well received by gamers. However, as I'm not that heavily into turn based tactical games with an overhead POV, I didn't install any of them. Also included in this bundle was The Bureau: XCOM Declassified. I paid little heed to it at the time thinking it was more of the same. Then I stumbled across a review of the game and was surprised to see that it was a departure from the established format. This instalment was a third person, squad based cover shooter with some strategic and RPG elements. The review was actually quite indifferent, neither praising nor damning the game, yet my interested was piqued. So, I subsequently installed the game.
Now the point of this post is not to critique the game in question. Let it suffice to say that it was entertaining in an undemanding way. I liked the sixties setting and the storyline. What I am more interested in is the fact that a major release such as this completely escaped my notice. The game had a troubled development and was delayed several times. Originally it was intended to be a first-person shooter but there were several radical changes in design during its development. Retrospectively I can see that this was well covered in the games media. Yet I remained totally oblivious to it all. I don't even recollect seeing any headlines and just filtering them out, which is something that often happens. It would seem that an entire marketing campaign just passed me by. Something I find on reflection to be rather amusing.
With regard to the games promotion, I have subsequently discovered a series of live action trailers that feature the actor Dominic Monaghan, star of The Lord of the Rings Trilogy and Lost. They are well made and show that a sizeable advertising budget was spent promoting the game. However, it seems that the game ultimately met with mixed reactions and was not as successful as other instalments in the franchise. Perhaps the departure from the established format was the root cause. I find all of this fascinating because I came to the game "cold" and found it to be adequate and acceptable. I had no major preconceptions or baggage to deal with and got a week or so entertainment from a product that cost me very little money.
Since this incident, other examples of game’s that I’ve missed have come to light. Ryse: Son of Rome, Sleeping Dogs more recently Watch Dogs 2 all failed to appear on my radar during the run up to their respective release. All were titles I subsequently discovered through bundles or discount sales. Furthermore, it’s highly likely this will happen again, as I tire of the excessive hype that is now de facto with the launch of so called triple A titles. Personally, I find it a rewarding experience to discover games in this manner, especially if they then prove to be hidden gems or just undemanding entertaining. The Bureau: XCOM Declassified falls into the latter category but was still a pleasant surprise. As a result, I shall be paying closer attention to the various gaming bundles I’ve purchased and have outstanding keys for. I have a suspicion that I may well be sitting on more interesting titles that up until now, I've been unaware of.
The Pact (2012)
The Pact is an enjoyable, yet simultaneously frustrating small budget independent horror movie. The UK poster is a prime example of this, as it clearly indicates that the film is of the horror genre but contains imagery that is not seen in the movie at all. The very title itself doesn't really have any bearing on the story. However, there are still aspects of the film that are noteworthy and overall The Pact shows more promise than a lot of the competition. The story is a traditional favourite of the horror genre. Annie (Caity Lotz) returns to her mother home to attend her funeral. On arrival, she finds that her sister has gone missing and that all is not as it seems at the family home. Family secrets and supernatural goings on slowly emerge.
The Pact is an enjoyable, yet simultaneously frustrating small budget independent horror movie. The UK poster is a prime example of this, as it clearly indicates that the film is of the horror genre but contains imagery that is not seen in the movie at all. The very title itself doesn't really have any bearing on the story. However, there are still aspects of the film that are noteworthy and overall The Pact shows more promise than a lot of the competition. The story is a traditional favourite of the horror genre. Annie (Caity Lotz) returns to her mother home to attend her funeral. On arrival, she finds that her sister has gone missing and that all is not as it seems at the family home. Family secrets and supernatural goings on slowly emerge.
Writer and director Nicholas McCarthy has remade his own short film and expanded it into this feature length presentation, taking many classic themes and tricks from the horror genre and giving them a modern makeover. Skype and Google Maps are used to deliver shocks instead of photos or mirrors. Research is carried out via the internet rather than using microfilm at the library. The movie takes place mainly in one house and has a strong claustrophobic atmosphere. Caity Lotz carries the story with a good performance as strong but socially isolated heroine. Casper Van Dien plays an understanding detective and there is a rather interesting turn by Haley Hudson as a blind medium.
The Pact takes an interesting change in direction in the third act where the supernatural plot-line segues into a new one featuring an earthly killer. The conclusion is formulaic but perfectly adequate and the movie is overall satisfying. Yet despite its positive attributes there are still a number of flaws in the proceedings. The transition from supernatural scares to physical violence is a change in direction that some may find too radical. The narrative strives to create a strong independent female lead then spend a lot of time continuously looking down her cleavage. The ending resolves the story perfectly well but then adds a rather illogical coda. Why do horror film makers feel obliged to do this?
The Pact did receive a UK release back in 2012 although it was somewhat limited. Although not perfect it does have some refreshingly honest scares to offer and is a welcome alternative to more contrived pictures such as The Devil Inside and the Paranormal Activity series. The horror genre needs to re-assert itself by returning to its roots. Many of the finest examples of the genre were made on low budgets, driven by passion and a true understanding of the medium. Nicholas McCarthy has shown with The Pact that he has talent and I certainly look forward to his next project. Let us hope that this movie can pave the way for other comparable material so we can escape the current obsession with found footage movies and Hollywood's current addiction to remaking and cannibalising it's past.
Mafia 3
As I’m between MMOs at present, I decided to purchase a single player game to keep me occupied, until Middle-earth: Shadow of War is released. I settled on Mafia 3 as I had played the previous instalment of the franchise and enjoyed it. As this title came out last October it can now be picked up at a substantial discount if you’re prepared to shop around. There is no game of the year edition at present but I did manage to buy the digital deluxe version for £22, which is a good price. This includes a season pass so I have all the currently released DLC. There is sufficient content available to keep me busy for a month or so. So far, I’ve clocked up 40 hours in-game according to Steam.
As I’m between MMOs at present, I decided to purchase a single player game to keep me occupied, until Middle-earth: Shadow of War is released. I settled on Mafia 3 as I had played the previous instalment of the franchise and enjoyed it. As this title came out last October it can now be picked up at a substantial discount if you’re prepared to shop around. There is no game of the year edition at present but I did manage to buy the digital deluxe version for £22, which is a good price. This includes a season pass so I have all the currently released DLC. There is sufficient content available to keep me busy for a month or so. So far, I’ve clocked up 40 hours in-game according to Steam.
The most striking aspect of Mafia 3 is the story. The game has a very strong narrative that is well written and researched. Set in New Bordeaux, a fictitious version of New Orleans, in 1968 the plot plays out against a background of unrest, civil rights activism and entrenched racism. The writers haven’t shied away from exploring the big socio-political issues of the time. Lincoln Clay is a great protagonist and the supporting characters such as Father James and John Donovan are far from two dimensional. It’s also nice to see the return of Vito Scaletta from Mafia 2. Overall the performances from all the voice actors are good. Although the revenge story is formulaic, the gold is in the depth of characters and the credible reflection of the era, politics and mood of the time.
Mafia 3 offers a very diverse open world environment. There are modern business and civil districts, along with rich and poor residential areas. The game sports a sense of contemporary sixties architecture, as well as colonial elegance. However, if you journey into the bayou you’ll find an abandoned amusement park and decaying shanty towns. As with most games of this genre, there’s a well-defined network of roads and players are encouraged to travel by a wide range of vehicles. The game radio stations are an interesting mixture of music, talk shows, news and faux adverts. The developers have paid top dollar to get the licenses for numerous high profile sixties hits. The game features songs by Jimi Hendrix, The Rolling Stones, Sam and Dave, James Brown and Jefferson Airplane.
However, where the game setting, environment and narrative are all top drawer, the nuts and bolts of Mafia 3 are somewhat formulaic. The third person, cover based combat system is nothing unusual. It’s functional but not sufficiently different or innovative. Once you’ve completed the first act of the story, the game settles down into a series of repetitive quests. To secure each district you have to do the same things, namely destroy or disrupt existing operations, take out key intermediate figures then dispose of the zone boss. Takedown animations also lack variations. The AI is somewhat wonky. Mobs will openly hunt you down which can be a little taxing at the beginning but once you have the right weapons and perks, it becomes a turkey shoot. There are other minor niggles such as no fast travel and a limitation on the number of weapons you carry.
However, the failings of some of the game mechanics are offset by the collectables system and mini games such as racing. These offer a sense of variety. Collectables include albums, Playboy magazines, various types of posters and even religious literature. The Playboy magazines are actually reproductions of genuine issues from the time. I was surprised to find that the old cliché about them featuring “good articles” was actually true. There was an extensive four-page discussion with Stanley Kubrick which was very informative. However, collecting offers no tangible benefit other than the fun of acquiring items. It doesn’t impact upon the game in any way.
From what I’ve seen so far after a week of playing the Mafia 3, the game has pretty much all the same pros and cons as it predecessor Mafia 2. The story and characters are by far the best aspect of the game and if that was lacking, you’d be left with a somewhat average and undistinguished game. But because I favour games with strong story based narratives, I am happy to play through some of the more grindy content to access the major set pieces that punctuate the proceedings. As gamers, I think there is often an unrealistic expectation for ever new game to be a unique experience. For me Mafia 3 is flawed with good and bad points but overall the good outweighs the bad. I enjoy the RPG elements of the game the best. Trying to secure the outcome I want is certainly an amusing challenge. And because of the price I paid, the fun to cost ratio is satisfactory.
Children of Men (2006)
I missed Children of Men on its original release in 2006 and only caught up with recently. If memory serves, the reason the film wasn’t on my radar when it came out was due to the misleading advertising campaign which attempted to pigeon hole and market the film as a sort of post-apocalyptic thriller. Although Alfonso Cuarón's Children of Men explores a violent and dystopian future, it’s cerebral film, grounded in a tangible depiction of a future England and certainly bears little relation to the Mad Max subgenre that the publicity campaign alluded to. A similar mistake was made with the marketing of The Road in 2009 which was sold by Miramax as a post-apocalyptic action film, when it patently isn’t.
I missed Children of Men on its original release in 2006 and only caught up with recently. If memory serves, the reason the film wasn’t on my radar when it came out was due to the misleading advertising campaign which attempted to pigeon hole and market the film as a sort of post-apocalyptic thriller. Although Alfonso Cuarón's Children of Men explores a violent and dystopian future, it’s cerebral film, grounded in a tangible depiction of a future England and certainly bears little relation to the Mad Max subgenre that the publicity campaign alluded to. A similar mistake was made with the marketing of The Road in 2009 which was sold by Miramax as a post-apocalyptic action film, when it patently isn’t.
In 2027, in a socially decaying world in which women have become somehow infertile, a former activist Theo Faron (Clive Owen) agrees to help transport pregnant woman Kee (Clare-Hope Ashitey) to a sanctuary. They are pursued by both the UK government and revolutionaries who seek the baby for political gain. Intelligently written and credibly depicted Children of Men is a worryingly plausible tale. As the wider world crumbles, immigrants flock to the few remaining functional countries resulting in an increasingly authorisation government. Children of Men feels very contemporary indeed. The cast are capable and have ample material to work with. Michael Caine's performance was very engaging and it’s a shame that his character does not a have more screen time. It’s always good to see established actors playing against type. Caine allegedly drew on his experiences and friendship with John Lennon.
Cinema often uses the depiction of technology to establish its futuristic credentials. In the case of Children of Men implies that the technological advance of recent years has ground to a halt, due to the ongoing economic and political decline. What is shown in the way of futuristic technology is subtle and effective. The heads up display on car windscreens is both plausible and non-invasive. The use of small form factor PCs and screens is also credible. Much of this aspect of the production design is a clever extrapolation of hardware that we currently have at our disposal. The overall effect helps create a more convincing and grounded depiction of the near future.
Similarly, the depiction of urban decay in Children of Men is particularly well done. The images of a graffiti ridden, boarded up and burnt out Greater London has an uncomfortable similarity to Gaza or the shanty towns of Zimbabwe. The resulting lawlessness of the disenfranchised was also very well done, especially in light of the London riots of 2011. The trains and buses with wire mesh over the windows, along with the banditry of the Kent countryside have their roots in current global civil unrest. There was similar imagery of social decline in the 1979 TV series Quatermass.
The much praised "single take shots" are suitably engaging, although to facilitate such scenes, a high degree of digital post production work was required. However, in other respects the visual effects work is very low key and does not overwhelm the story, as so often is the case these days. The military assault on the refugee camp at Bexhill looks like a news report, shot on the move complete with shaky cam. It is a fascinatingly chaotic set piece and a welcome change to the usual overblown kind of Hollywood action sequence. The subsequent bombing of the camp by the RAF is seen through fog at a distant and is far more dramatic for it. Presenting the drama in such stark terms and avoiding spectacle, further elevates the movie from simple entertainment to serious drama.
As you would expect from serious movies of this nature that chooses to pursue a more grounded approach to the subject matter, there are few concessions made to populist conventions such as the “happy ending” or good prevailing over evil. Therefore, the ending does not come as a major surprise and is not out of place. Considering the large amount of religious symbolism and imagery in the film, it would have been erroneous to expect anything else under the circumstances. There's sufficient information supplied in the final five minutes of the film for the viewer to draw their own conclusion as to the chain of events that would potentially follow after the films ending. Cuarón is not a fan of excessive plot exposition and comprehensive back story. A philosophy that I often agree within the context of cinema.
Lucy (2014)
Lucy (Scarlett Johansson), a student studying in Taiwan, find herself an unwilling drug mule for crime boss Mr. Jang (Choi Min-sik). When she accidentally ingests the synthetic CPH4 which has been surgically implanted in her abdomen, she rapidly develops advance physical and mental abilities as the drug unlocks the unused parts of her brain. However, this process also puts her life in peril and she soon realises that she requires further doses of the CPH4 to stay alive. Striving to reconcile herself to her situation Lucy reaches out to Professor Samuel Norman (Morgan Freeman), a neuroscientist and expert in the hidden capabilities of the mind. Meanwhile, Mr.Jang does not take kindly to interference in his drug trafficking and sets out to hunt down Lucy.
Lucy (Scarlett Johansson), a student studying in Taiwan, find herself an unwilling drug mule for crime boss Mr. Jang (Choi Min-sik). When she accidentally ingests the synthetic CPH4 which has been surgically implanted in her abdomen, she rapidly develops advance physical and mental abilities as the drug unlocks the unused parts of her brain. However, this process also puts her life in peril and she soon realises that she requires further doses of the CPH4 to stay alive. Striving to reconcile herself to her situation Lucy reaches out to Professor Samuel Norman (Morgan Freeman), a neuroscientist and expert in the hidden capabilities of the mind. Meanwhile, Mr.Jang does not take kindly to interference in his drug trafficking and sets out to hunt down Lucy.
At first glance, the story for Lucy seems somewhat formulaic, based upon the popular misconception about the untapped potential of the human mind and how we as a species only use a small percentage of our brain capacity. However, Lucy is a movie, written and directed by Luc Besson, who brings a distinctly European aesthetic along with his own unique style to the proceedings. The exotic locations, the vivid colour palette and an eclectic international cast results in a curious ninety-minute genre hybrid that may polarise audiences. You will either buy into the far-fetched concept and enjoy the resulting cinematic journey or simply scoff in derision at the preposterous narrative. I happily chose the former option.
It takes a confident director to draw from such movies as Kubrick's 2001: A Space Odyssey and Terrence Malick’s The Tree of Life. Combining philosophical musings about the nature of consciousness with martial arts and gun play is another bold step. Yet it's all done with such aplomb that it broadly works. In an interesting plot twist, Lucy does not descend into megalomania when confronted with her god like powers. Instead the film explores her melancholic attitude towards the impending loss of her "humanity". There are parallels with character of Doctor Manhattan in Watchmen, who faces a similar crisis. Lucy also addresses modern day society's dependence upon the internet and social media, which is another timely theme. Especially in light of Stephen Hawking recent comments about AI and the potential impact it may have upon the world.
Lucy hinges upon the lead performance by Scarlett Johansson and she is extremely watchable as she slows down time, shoots sundry henchmen with pinpoint accuracy and merges with the digital world. The visual effects are striking and the entire film benefits from its rapid pace and overall French sense of panache. It is also pleasant to see such a storyline of this nature based around a female lead and I enjoyed the reference to Lucy sharing her name with the first human being. I feel it is a superior film to Bradley Cooper's 2011 movie, Limitless that shared a similar theme. Lucy also addresses the perennial (and tedious) question about whether a female lead can carry a modern action movie. The answer is a resounding yes.
Classic Game Themes: EVE Online
EVE Online is in many ways the most complex, absorbing and time consuming MMO that I've never played. I didn't survive beyond a twenty-one-day trial and found that the exacting minutiae of the game far too demanding. However, although the mechanics were not to my taste, my limited experience left a strong impression upon me and I still have a healthy respect and a strong sense of fascination for this niche market product. I'm not alone in this. Many gamers do not play EVE Online but are fascinated by both its intricacies and community.
EVE Online is in many ways the most complex, absorbing and time consuming MMO that I've never played. I didn't survive beyond a twenty-one-day trial and found that the exacting minutiae of the game far too demanding. However, although the mechanics were not to my taste, my limited experience left a strong impression upon me and I still have a healthy respect and a strong sense of fascination for this niche market product. I'm not alone in this. Many gamers do not play EVE Online but are fascinated by both its intricacies and community.
Because of the sandbox nature of EVE Online, it's soundtrack is designed to be ambient rather than event specific. Yet the electronic score by Jón Hallur Haraldsson superbly embellishes the games overall atmosphere. CCP have made much of games music (about seven hours in total) available on Soundcloud. If you like such artists as Tangerine Dream and Vangelis you'll find many common parallels with Haraldssons's work.
Although there is much to choose from, I have decided to use the track Below the Asteroids as an example of the composer’s contribution to EVE Online. It has an introspective quality that draws the listener in and adds to the ongoing immersion. Due to its space setting the game has less visual input to engage the player, so must rely more on the soundscape and complexity of the game itself. This track highlights exactly how Jón Hallur Haraldsson does that.
Do We Need a Face of Gaming?
In recent years there have been several gaming related stories that have become big enough to gain the attention of the mainstream media. Sadly, when corporate news encounters anything that falls outside of their immediate understanding or frame of reference, they need to package it into terms they and their audience can comprehend. This means simplifying the subject in to binary terms and convenient sound bites. They also like to have a “public face” that can be the go to expert. Someone who can be clearly identified with the issue and then championed or reviled by the public, according to which side they choose to support. That beggars the question do we need a " face for gaming"? If we do then who should it be? It's quite a thought provoking conundrum and raises a lot of issues about the nature of representation. Especially in light of the fact that contemporary media likes to have specific subjects neatly packaged with easy to grasp, core ideas and a photo-friendly public face.
In recent years there have been several gaming related stories that have become big enough to gain the attention of the mainstream media. Sadly, when corporate news encounters anything that falls outside of their immediate understanding or frame of reference, they need to package it into terms they and their audience can comprehend. This means simplifying the subject in to binary terms and convenient sound bites. They also like to have a “public face” that can be the go to expert. Someone who can be clearly identified with the issue and then championed or reviled by the public, according to which side they choose to support. That beggars the question do we need a " face for gaming"? If we do then who should it be? It's quite a thought provoking conundrum and raises a lot of issues about the nature of representation. Especially in light of the fact that contemporary media likes to have specific subjects neatly packaged with easy to grasp, core ideas and a photo-friendly public face.
Although I’ve raised the question as a thought experiment, rather than a genuine request for potential candidates, there may well be some people out there that would like to see such a thing. For me the concept of a "face of gaming" is just another name for "community leader", which is a term I dislike due to is inherent vagueness and utter lack of accountability. So, no, I don't want anyone to be the "face of gaming". I doubt if you can even get a consensus on what the actual term means and what the specific parameters of such a role are. However, for the sake of argument, let us assume that the position existed. As far as I'm concerned if you wish to represent any body of people in some capacity, you need to have been democratically elected, with a popular majority mandate of at least 75%. That way you can at least claim some sort of legitimacy for your role.
Even if such a framework existed for choosing such an individual, the process would instantly fall foul of all the usual political pitfalls that blight any democratic undertaking. There would be endless debate and disagreement over issues such as nationality, gender and race. Gamers are a very nebulous group and they frequently disagree over many aspects of the own culture. Adding a wider socio-political dimension to the debate would only compound the problem. Plus, the driving principle behind this proposed role is to provide a conduit for the mainstream press. An institution that regularly trivialises matters and panders to the lowest common denominator. If there was a "face of gaming" it wouldn't be long before the press focused on who they were dating and what they were wearing, rather than the topics in hand.
Some have suggested that a community leader may be found from the within the gaming industry itself or from that esoteric group known as experts. I have no problem with the concept of experts and it saddens me that their status in society has been diminished in recent years. The cult of "my opinion is of equal value" has slowly eroded the weight of their position. I don't mind the use of independent experts to provide an informed overview for the wider public but if one became a designated spokesperson, they may well lose that impartial status. As for finding a developer or CEO of note who is universally respected, I think that would prove a difficult task. Gamers can be very partisan with regard to specific gaming companies. They also bear grudges.
The gaming community is not like other traditional social bodies. It is extremely diverse and multi-faceted. It has no structure or hierarchy, nor does it have any universally agreed agenda. What it does have is a lot of high profile personalities within that community, each with their own following. Think Total Biscuit AKA John Bain or Jim Sterling. Then there are Community Manager for game specific forums, a high-profile writer or a popular content provide and critic such as YouTube personalities. Some of these individuals have integrity, others do not. However, the trouble with such individuals is that they often end up being inaccessible by the regular. Does that make them truly representative of the average gamers needs? In the past, I have been involved with the organisation of several online events. I tried to contact several high-profile internet personalities to ask for help with the events promotion. I was universally ignored or failed to get beyond their respective gatekeepers.
Personally, I think that a so called "face of gaming" would do more harm than good if it did exist. It would ultimately end up being about them, rather than games and gamers. There are community figures that I know and respect but I don't see them as "leaders" nor have any of them ever claimed to be so. I guess the nearest we'll ever get to equitable representation is via player councils, as long as they are populated with elected representatives. What is required from a role such as the "face of gaming" is impossible to provide, simply because there is no infrastructure to support it. I think most gamers ultimately look to themselves to represent their own needs. If history teaches us anything, it's that we should always be mindful of the centralisation of power. It has seldom proven beneficial for the majority.