Upgrading Your PC
My current PC is nearly four years old (I know it’s shocking isn’t it?). I bought a bare bones system from Zoostorm back in January 2014 and have made several upgrades to it since then. At present the PC is built around an Intel Quad Core i5-3340 3.10GHz and has 8GB of DDR3 RAM. Storage is handled by a 2TB Hybrid Hard Drive and the graphics card is a GeForce GTX 650 Ti 2GB. I also replaced the standard PSU with a Cooler Master 500W 12V Elite Power 500 Power Supply Unit. So far, this PC has served me well and until recently has handled pretty much all the tasks I’ve thrown at it. However, it labours when taxed and struggles to run some of the more recent games at what I consider to be an acceptable level. So, I’ve been considering my options as to whether to replace the entire PC or to upgrade it further. Although money is not a major issue, it would be more fiscally prudent to replace a few components rather than buy a new system. Older Ivy Bridge processors such as mine are still viable, so I’ve decided to increase the RAM and replace the graphics card.
My current PC is nearly four years old (I know it’s shocking isn’t it?). I bought a bare bones system from Zoostorm back in January 2014 and have made several upgrades to it since then. At present the PC is built around an Intel Quad Core i5-3340 3.10GHz and has 8GB of DDR3 RAM. Storage is handled by a 2TB Hybrid Hard Drive and the graphics card is a GeForce GTX 650 Ti 2GB. I also replaced the standard PSU with a Cooler Master 500W 12V Elite Power 500 Power Supply Unit. So far, this PC has served me well and until recently has handled pretty much all the tasks I’ve thrown at it. However, it labours when taxed and struggles to run some of the more recent games at what I consider to be an acceptable level. So, I’ve been considering my options as to whether to replace the entire PC or to upgrade it further. Although money is not a major issue, it would be more fiscally prudent to replace a few components rather than buy a new system. Older Ivy Bridge processors such as mine are still viable, so I’ve decided to increase the RAM and replace the graphics card.
The only real headache I’ve had during this process was trying to determine a suitable graphics card. The budget of £150 has imposed a degree of restrictions. As I have said in the past, relying upon reviews is often a double-edged sword. Although I’ve found some that are informative, journalists seem reluctant to commit to a specific opinion. Hence, all too often I’ve wasted my time reading 500 hundred words that end by telling me to to increase my budget and buy something better. Patently, many tech writers fundamentally fail to grasp the concept of a “budget”. However, despite all this, I finally decided upon the Zotac GTX 1050Ti 4GB. I managed to obtain this model for £130. It’s a compact graphic card with a small form factor, that has a TDP of just 75watts, which means it can be powered with the PCie Bus alone. Not only does this mean no messing about with power adaptors and cable management, it also sounds devilishly saucy.
I’m also going to increase the RAM in my PC. This is not so much for the gaming, as the benefits in that respect are questionable. This is specifically for audio editing which can be very RAM intensive when editing and rendering. Doubling the quantity from 8GB to 16GB should make a significant improvement. However, as I have an older Gigabyte motherboard, I am still tied to DDR3 RAM. Rather than trying to find an exact matching module for the existing 8GB, I have opted to replace it and have bought two new Corsair 8GB DIMMs at £100. Mismatching memory modules or purchasing unsupported upgrades are common mistakes that often end in tears. So, I ensured that I checked my motherboard specifications thoroughly and conferred with the Corsair website before I committed to this upgrade. I also used the PSU calculator over at the Cooler Master website to ensure my current power supply is up to the job but it seems I over specified that when I originally replaced it.
All things considered, I am quite pleased with the choice of hardware for my new PC. It may not be the computing beast that some tech-heads may favour but frankly I'm no longer infatuated with technology in the way that I was a decade ago. I also find the subreddits on these matters to be technically spurious and populated by preening fans who often can’t see the woods for the trees. Getting practical and realistic advice is often like pulling teeth. However, I am confident the specifications of this PC will allow me write, record and edit podcasts as well as play games to an acceptable standard. So far, the overall spend has been £230, care of Amazon Prime. Plus, this exercise gives me an opportunity to dust off my tools and tinker with my PC. Although I am, for all intents and purposes, officially retired from working in IT, I do miss it from time to time.
Star Wars Battlefront 2: Update
Having completed my ten-hour Play First Trial of Star Wars Battlefront 2, I wanted to elaborate further upon my initial thoughts of the game. It should be noted that the demo that EA offers via Origin Access, comes with several caveats. Only the first three missions of the campaign are available, although these are sufficient to give to the you a good handle on the game’s various combat mechanics. You play as Imperial Special Forces Agent Iden Versio, the leader of Inferno Squad. The story starts during the Battle of Endor and addresses the fate of the Empire, after the Emperor’s demise. Unlike many games from this genre, the single player campaign is well written and engaging. When this part of the demo ended I found myself wanting to play more and see where the narrative went. Out of the ten hours given for the demo, I spent about three on the campaign. The rest of the time I spent in multiplayer, which is the game’s raison d'être.
Having completed my ten-hour Play First Trial of Star Wars Battlefront 2, I wanted to elaborate further upon my initial thoughts of the game. It should be noted that the demo that EA offers via Origin Access, comes with several caveats. Only the first three missions of the campaign are available, although these are sufficient to give to the you a good handle on the game’s various combat mechanics. You play as Imperial Special Forces Agent Iden Versio, the leader of Inferno Squad. The story starts during the Battle of Endor and addresses the fate of the Empire, after the Emperor’s demise. Unlike many games from this genre, the single player campaign is well written and engaging. When this part of the demo ended I found myself wanting to play more and see where the narrative went. Out of the ten hours given for the demo, I spent about three on the campaign. The rest of the time I spent in multiplayer, which is the game’s raison d'être.
I’m not a huge fan of the ground based multiplayer modes. I find that my reactions are too slow for me to make any meaningful progress. However, Galactic Assault features large team orientated, objective based maps and due to the volume of players is more forgiving to the less skilled. I only spent an hour or so with type of combat before moving on to Starfighter Assault mode. Here two teams of up to 24 players, with an additional 40 AI fighters, compete in multi-stage battles between swift starfighters and powerful hero ships. There are also huge capital ships to be dealt with as well as environmental objectives. Space combat, which was conspicuously absent in the last instalment of the game, is the jewel in the crown of Star Wars Battlefront 2. The combat is fast, fluid and immense fun. The ships handle well and each class has its virtues. I was expecting to have to use my Xbox Controller for this stage of the game but I found that a keyboard and mouse works quite well.
I spent six hours playing Starfighter Assault and learning curve wasn’t too hard. As ever situational awareness is the key to success, as well as firing in controlled and measured bursts. Timing is everything. It also pays to stay with your wingmen and provide cover for each other. Out of all the ships, I found the TIE fighter most to my liking. It is a simple and efficient vessel. As for the hero ships, which become available to fly when you’ve amassed sufficient points in combat, I soon learned to avoid them. Although they do provide increased firepower, they’re also prime targets and other players flock to take them down. Again, for those who are not so confident with one on one combat, there are capital ships to destroy. Because progress is based on points and not just kills, even the novice player can make progress. For me the space combat is the selling point of this game. It is enthralling and entertaining.
Sadly, I must now return to the subject of the loot crates and star cards. Although skill, experience and reactions determine a player’s performance, equipping a star card with a suitable modifier makes a significant difference. While initially playing Starfighter Assault, it became apparent that other players had quicker weapons cooldowns, increased armour or it took less time for their missiles to lock on. I found this out because whenever you’re defeated, your foes details display on screen listing their username, ship class and all the modifiers they have equipped. It’s far from a subtle advertisement for loot crates. Furthermore, I when I experimented with modifiers myself, after buying some loot crates with earned currency, I soon got lucky and obtained some beneficial star cards myself. These did improve my performance by enhancing my ships durability. Thus, those players who do not wish to grind for upgrades can simply throw their wallets at the problem. Theoretically, a new player could have a significantly improved starfighter just after a few hours, if they’re prepared to pay.
I’m wont badger readers any further about the iniquities of microtransactions in triple A titles. I will simply say I think it’s bad for gaming in the long term. However, I suspect that EA have taken a calculated gamble on using this franchise as a guinea pig for this form of monetisation. Star Wars Battlefront 2 is a solid and immensely enjoyable game and I’m certain many players are going to put aside their moral objections and buy this title because, hey, it’s Star Wars. I myself was not going to buy the game after the trial on principle but have now been informed that it has already been purchased as a gift for my upcoming birthday. I will however not pay for any loot crates with real money and will simply rely upon grinding. I shall also be keeping my eyes open for news regarding sales of Star Wars Battlefront 2 when it launches officially on 16th November. Then we will find how much of a stumbling block microtransactions are and whether gamers worry about cognitive dissonance.
Star Wars Battlefront II
Star Wars Battlefront II looks superb, even on an ageing PC such as mine. It absolutely exudes Star Wars ambience, with its aesthetics and sound design. If you are looking for a game that show cases the cutting edge of game graphics, then look no further. However, I cannot praise the game play and mechanics in the same ways as its visuals. Star Wars Battlefront II is hobbled by a progression system that is tied and potentially undermined by its loot crate mechanic. Furthermore, I won’t say “this is a real shame” as if it’s something that just happened by accident because it patently isn’t. The game was design this way. EA elected to block player progression and then provide a means to circumnavigate it, through the spending of additional funds.
Star Wars Battlefront II looks superb, even on an ageing PC such as mine. It absolutely exudes Star Wars ambience, with its aesthetics and sound design. If you are looking for a game that show cases the cutting edge of game graphics, then look no further. However, I cannot praise the game play and mechanics in the same ways as its visuals. Star Wars Battlefront II is hobbled by a progression system that is tied and potentially undermined by its loot crate mechanic. Furthermore, I won’t say “this is a real shame” as if it’s something that just happened by accident because it patently isn’t. The game was design this way. EA elected to block player progression and then provide a means to circumnavigate it, through the spending of additional funds.
Weapons and characters in Star Wars Battlefront II can have their base skills upgraded. In most games with a similar mechanic, as you level up you earn skills points that you then spend to unlock modifiers and upgrades. Here they are dependent on star cards which are only available from loot crates. Theoretically you could simply earn everything you need by grinding through the game and earning the necessary currency and depending on chance. However, it would be a tortuously slow process. Naturally, paying for additional loot crates is the solution that EA have seen fit to implement. You can therefore spend additional money over the cost of the base game and gain modifiers that give you a significant advantage.
Even if you set aside for a moment the questionable ethics of this business model, Star Wars Battlefront II has no match making system in place. Thus, a new player will immediately compete against those who have purchased a clear advantage. These manifests themselves as reduced timers for weapon over heating or quicker weapons lock on in space combat. The net result is that the new player will die more frequently. Even those adept at the FPS genre will find that they have to play far harder for less results. Whether the player has the patience to plod through the game until they have unlocked all the necessary skills without paying for them, ultimately come down to their temperament. All I have to add to this sorry state of affairs is that fun and success should not be the prerogative of those who pay extra. This is supposed to be a “game”.
There is a single player campaign with this instalment of the franchise and from what I’ve seen so far, it is not too bad. The voice acting is solid and the story from an imperial perspective is enjoyable. EA have also made it clear that all future maps and DLC for the game will be free but given that your performance through any additional material is dependent on the skills that you’ve unlocked, we are forced to return to the issue of the loot crates and how not using them diminishes your success in the game. The sad reality is that this system gates player performance and therefore player fun. So, I cannot personally recommend Star Wars Battlefront II. It is immensely enjoyable in principle and embodies Star Wars in many respects but is flawed by an unpleasant and egregious business model.
NB. I shall post an update to this post when I've completed by ten hour trial.
Diary of a Podcaster Part 11
Podcasts are becoming an invaluable medium for the analysis and discussion of niche interests and bespoke subjects. Many of the shows that I regularly listen to bring professional quality documentary skills to bear on unique and varied areas of fandom. More and more podcasts are being made by informed and intelligent fans, offering in-depth material rather than just light weight banter. Simply put, I am spoilt for choice. Therefore, it is essential to have a suitable podcast management app to stay on top of such quality entertainment. Something that allows me to curate and organise those shows that I currently enjoy, as well as providing recommendations for comparable material that I may wish to subscribe to. For several years I’ve been using Podcast Addict on my Android devices, although I’ve struggled to find something comparable for my PC.
Podcasts are becoming an invaluable medium for the analysis and discussion of niche interests and bespoke subjects. Many of the shows that I regularly listen to bring professional quality documentary skills to bear on unique and varied areas of fandom. More and more podcasts are being made by informed and intelligent fans, offering in-depth material rather than just light weight banter. Simply put, I am spoilt for choice. Therefore, it is essential to have a suitable podcast management app to stay on top of such quality entertainment. Something that allows me to curate and organise those shows that I currently enjoy, as well as providing recommendations for comparable material that I may wish to subscribe to. For several years I’ve been using Podcast Addict on my Android devices, although I’ve struggled to find something comparable for my PC.
The most obvious choice is to use the iTunes client itself, as it has all the functionality that I need. However, I find it to be a resource hog and extremely pervasive piece of software, that makes itself the default media player once installed. I don’t like software that insists on trying to do my thinking for me. However, I recently found Grover Podcast in the Windows app store which is a free tool for podcast management. It has a comprehensive search facility that checks in all the right places, allowing you to easily find and subscribe to shows. Alternatively, you can import an OPML file if you have a list elsewhere. You can download automatically as well as cast to other devices if you need. The bottom line is that it has all the functionality you require and a very simple interface that makes managing everything very intuitive.
At present I subscribe to over twenty podcasts. Not all are weekly, which makes keeping up with them all a lot easier. In the past when I was regularly commuting, I use to often listen to these shows while travelling. Now I tend to listen to them more at home at convenient times between chores and social obligations. Hence the change from relying upon an Android device to a PC. I will often stream podcasts to my Amazon Echo, if I am on my own doing housework or preparing food in the kitchen. I often find that the discussions that take place on many of these podcasts provide ideas for my own blog posts. Some shows do require more concentration than others, depending on the nature of the podcast. So, I don’t always multitask while listening. However, all of those that I currently subscribe to are entertaining and informative. Considering that most are free or financed through Patreon, podcasts are great value.
Origin Access
I signed up for Origin Access today. For those who do not know, this is a subscription service to the EA Origin platform on the PC. For the nominal sum of £3.99 a monthly subscriber gets to “explore an instant collection of 75+ PC games and play as much as you want. Origin Access members also get to try new EA games before they’re released and save 10% on Origin purchases”. Out of those 75 PC games many are fairly recent titles such as Mass Effect: Andromeda Deluxe Edition, Battlefield 1, Titanfall 2, Unravel and FIFA 17. There are also classic titles such as the Crysis and Dead Space series. However, the reason I decided to sign up to this service is because Origin Access members get trial access Star Wars Battlefront II before the game is released to the wider public. Here is the staggered release schedule for this much awaited title. Subscribers get their hands on the game first, then owners of the Deluxe Edition. Finally, those who bought the base edition get to play. Make of that what you will.
I signed up for Origin Access today. For those who do not know, this is a subscription service to the EA Origin platform on the PC. For the nominal sum of £3.99 a monthly subscriber gets to “explore an instant collection of 75+ PC games and play as much as you want. Origin Access members also get to try new EA games before they’re released and save 10% on Origin purchases”. Out of those 75 PC games many are fairly recent titles such as Mass Effect: Andromeda Deluxe Edition, Battlefield 1, Titanfall 2, Unravel and FIFA 17. There are also classic titles such as the Crysis and Dead Space series. However, the reason I decided to sign up to this service is because Origin Access members get trial access Star Wars Battlefront II before the game is released to the wider public. Here is the staggered release schedule for this much awaited title. Subscribers get their hands on the game first, then owners of the Deluxe Edition. Finally, those who bought the base edition get to play. Make of that what you will.
- STAR WARS™ Battlefront™ II: Play First Trials Release date: November 9, 2017 (time not yet specified)
- STAR WARS™ Battlefront™ II: Elite Trooper Deluxe Edition Release date: November 13, 2017 11:00 PM GMT
- STAR WARS™ Battlefront™ II Release date: November 16, 2017 11:00 PM GMT
Triple A games are becoming increasingly expensive to buy and as far as I’m concerned if I’m going to sink over £60 into a new title I want to be as certain as possible that I’m going to enjoy the experience and also get value for money. Thus spending £3.99 on a subscription that offers me a free trial of Star Wars Battlefront II, seems a better option than spending £69.99 blind on the Deluxe Edition. If I enjoy the game then I can buy it later with a 10% discount, reducing the price to £62.99 which although not huge, is better than a poke in the eye with a pointed stick. Conversely, if the game is overrated, spoilt by the microtransactions or simply not to my liking I can elect not to buy it. Furthermore, if there are no further titles on Origin Access that interest me, I can simply cancel my subscription. At worst, all I’ve spent is £3.99 which is an acceptable gamble.
It should be noted that the Play First Trial as EA refers to them for both Star Wars Battlefront II and other premium titles are limited to ten hours. Some people may think this too little time however I think it will be sufficient for me to make an appropriate judgement about the game. I now simply await Thursday evening when the game client becomes available for me to install. I suspect it will be a substantial download, so I probably won’t actually be able to check out the game until Friday morning. In the meantime, I shall install one of the older titles available on Origin Access and ruminate upon the ongoing transition of gaming from a product driven business, to a service industry.
Fun With The Jackbox Party Pack 3
For me, the best sort of fun is that which occurs organically and spontaneously. I not a big fan of organised fun, predicated on a predetermination that “everyone will enjoy themselves” (whether they want to or not). Therefore, I’m sure that it will come as no surprise to you that I hate institutions such as Holiday Camps and bullshit like Secret Santa in the workplace. However, this is not a post about the psychology of group interactions and humour but simply a slap on the back to Jackbox Games. Specifically, I had a crash course on The Jackbox Party Pack 3 last night, courtesy of Wolfyseyes Twitch Stream. Let it suffice to say that it was immense fun and I cannot remember laughing so much in a long time. It was a good job I wasn’t on Discord. The games themselves were a creative and enjoyable platform for the fun and mirth but the real comedy gold was down to the crowd of people playing.
For me, the best sort of fun is that which occurs organically and spontaneously. I not a big fan of organised fun, predicated on a predetermination that “everyone will enjoy themselves” (whether they want to or not). Therefore, I’m sure that it will come as no surprise to you that I hate institutions such as Holiday Camps and bullshit like Secret Santa in the workplace. However, this is not a post about the psychology of group interactions and humour but simply a slap on the back to Jackbox Games. Specifically, I had a crash course on The Jackbox Party Pack 3 last night, courtesy of Wolfyseyes Twitch Stream. Let it suffice to say that it was immense fun and I cannot remember laughing so much in a long time. It was a good job I wasn’t on Discord. The games themselves were a creative and enjoyable platform for the fun and mirth but the real comedy gold was down to the crowd of people playing.
First off, for those unfamiliar with the concept, here’s succinct summary of The Jackbox Party Pack franchise, taken from Wikipedia. "The Jackbox Party Pack are a series of party video games developed by Jackbox Games for many different platforms on a near-annual release schedule since 2014. Each installation contains five or so games that are designed to played in large groups, including in conjunction with streaming services like Twitch.tv and provide a means for audiences to participate". Last night Wolyseyes hosted the games from his PC and streamed them. Players then joined the game via a webpage using an authorisation code. For some games joining via a tablet or phone was more practical than a computer. To play you watched the live stream and interacted via your mobile device or web browser. It’s simple and very effective means of bringing people together online as well as great fun. The technology works well.
The games themselves are very creative. Guesspionage is based around making educated guesses about questions drawnfrom data gleaned from the internet. For example, one player would have to guess what percentage of US citizens use a car wash. Once they have made a choice, the other players would have to guess whether the answer is in fact higher or lower. The questions themselves are comically trivial in nature but cunningly contrived because they’re the sort of things that once asked, you really want to know what the answer is. Trivia Murder Party is a stylised horror based trivia game. You get to answer questions and amass money but if you get a question wrong then your avatar will be killed. This game includes some very droll banter from the narrator as you play it. Furthermore, once your character is dead you still get to compete and have a chance to win in the final round. Some of the questions are a little US-centric but that’s to be expected from such products.
However, the game that proved the most fun and provoked the most mirth from the participants was Tee K.O. It’s a drawing-based game, in which you have to create several designs for T-shirts along with some pithy phrases and tagline to go with them. Once everyone has completed several of each, the players are randomly assigned a selection of images and phrases combined into completed T-shirts. These then go head to head and the players vote for which one is best. As you can expect the artwork is often bizarre and the mottos are somewhat left field. I made the school boy error of being far too ambitious with my picture, trying to quickly pen a picture of Cthulhu. Left it suffice to say it was paired with the most random of phrases. We played several rounds of Tee K.O. and I was laughing so hard at times I had tears in my eyes.
I won’t bore readers with an excess of examples that have been taken out of context. Much of the humour and banter you share with friends is purely situational and impromptu. But I will happily sing the praise of these games by Jackbox as they are a perfect conduit for bringing people together online. It was nice to spend time with a diverse group of players from around the world and make new friends. As a result of last night, I have joined a new Discord channel as well as started following some new streamers and twitter accounts. Overall it was a great evening and a welcome change to take part in gaming that isn’t based around an excess of competitiveness, shooting stuff in the face and people getting angry. I really look forward to doing it again soon.
Strictly Come Dancing 2017: Part 3
Well I said it last week that there was scope for a surprise elimination from Strictly Come Dancing and surely enough it has happened. Aston Merrygold, despite being tipped as a contender for the final, scored poorly with the judges last night and also failed to garner sufficient public support. He subsequently found himself in the dance off with Mollie King and despite correcting some of the technical issues that were present in his initial performance, he failed to sway the majority of the judges in his favour. Darcey and Bruno both voted to save him but Craig and Shirley (who as head judge has the casting vote) opted to save Mollie. Hence, bookies favourite Aston Merrygold has left the show, proving that no one can rest on the laurels. As you’d expect, there were vocal complaints from fans and supporters who felt that the judges had been unfair with their marks. However, I believe if anyone is to blame then it is Aston’s professional partner Janette Manrara.
Well I said it last week that there was scope for a surprise elimination from Strictly Come Dancing and surely enough it has happened. Aston Merrygold, despite being tipped as a contender for the final, scored poorly with the judges last night and also failed to garner sufficient public support. He subsequently found himself in the dance off with Mollie King and despite correcting some of the technical issues that were present in his initial performance, he failed to sway the majority of the judges in his favour. Darcey and Bruno both voted to save him but Craig and Shirley (who as head judge has the casting vote) opted to save Mollie. Hence, bookies favourite Aston Merrygold has left the show, proving that no one can rest on the laurels. As you’d expect, there were vocal complaints from fans and supporters who felt that the judges had been unfair with their marks. However, I believe if anyone is to blame then it is Aston’s professional partner Janette Manrara.
Last week, Aston and Janette were second from the top of the leader board with a robust score of 38 out of 40. Janette had cleverly choreographed a Paso Doble that blended traditional dance moves with more contemporary techniques. It was well received because it was a bold move that found the right balance between old and new. However, head judge Shirley Ballas did remark that she would have liked a little more traditional content, which is an important point to note. This week Janette took a similar gamble with a Viennese Waltz to Who’s Loving You by The Jackson 5. Again, she created a routine that placed a somewhat modern spin upon what is seen by some as a formal, traditional dance. If it was performed as a show dance, then I’m sure it would have fared better but as ever the judges scrutinised it on its technical merits. Both Craig and Shirley were not happy about its lack of Viennese Waltz content and thus marked accordingly. A view that the public may have also shared if you consider their votes.
So, Aston had little room to manoeuvre when he found himself in the dance off. He could obviously address some of the technical aspects of the routine but he couldn’t change the choreography. Mollie did give an improved performance second time round and the mistake that was made on Saturday’s show was not repeated. Furthermore, AJ wisely elected to keep her in-hold for as much of the routine as possible and minimised the potential for mistakes. Thus, there was no major reason when it came to decision time for judges Craig and Shirley to change their mind regarding Aston. I’m sure there will be those who disagree and even those who will trot out the usual arguments of subterfuge and prejudice. However, I believe the reality of the matter lies in the fact that approaching the Viennese Waltz in such a fashion was a fundamental mistake. Certainly, Aston’s departure at this stage alters the potential outcome of Strictly Come Dancing 2017. I’m thinking the smart money may should perhaps now be on Debbie McGee.
Season of the Witch (2011)
After years of war, two 14th century Crusaders (Nicholas Cage and Ron Perlman) returns to a homeland devastated by the Black Plague. The church, deeming sorcery to be the source of the outbreak, tasks the knights to transport an accused witch (Claire Foy) to a remote abbey, where monks will perform a ritual in hopes of ending the pestilence. A priest, a grieving knight, a disgraced trader and an altar boy who dreams of becoming a knight, join the mission across a hostile wilderness. The group soon finds itself at odds with each other over the fate of the girl. When the embattled party finally arrives at the abbey, a horrific discovery jeopardises the knight's pledge to ensure the girl fair treatment, pitting them against an inexplicably powerful and destructive force. Will good or evil triumph?
After years of war, two 14th century Crusaders (Nicholas Cage and Ron Perlman) returns to a homeland devastated by the Black Plague. The church, deeming sorcery to be the source of the outbreak, tasks the knights to transport an accused witch (Claire Foy) to a remote abbey, where monks will perform a ritual in hopes of ending the pestilence. A priest, a grieving knight, a disgraced trader and an altar boy who dreams of becoming a knight, join the mission across a hostile wilderness. The group soon finds itself at odds with each other over the fate of the girl. When the embattled party finally arrives at the abbey, a horrific discovery jeopardises the knight's pledge to ensure the girl fair treatment, pitting them against an inexplicably powerful and destructive force. Will good or evil triumph?
Season of The Witch was submitted to the MPAA for rating twice, prior to release, as the studio tried to secure a “suitable” rating for the movie. The film itself spent an entire year between completion of the production and its theatrical release as various parties tinkered with its final edit. The script had been in development since 2000 and had been passed from both MGM and Columbia pictures before finally being produced by Relatively Media. Despite some striking location work around Eastern Europe, suitable castles and associated building from the required period could not be found. Thus, a great deal of material had to be shot against green screens and added digitally in post-production. However, budgetary restraints had an impact upon this work and its quality. All of these factors are usually indicative of a troubled production, resulting in a flawed film. Sadly, Season of the Witch very much fits that bill.
Season of The Witch is glaringly narratively and tonally inconsistent. The characters are insufficiently developed as are the themes. The story is very derivative and the content conspicuously edited to secure the commercially viable PG-13/12A rating. However, smitten by a fit of unusual generosity, I have to admit that I did enjoy the film. This is mainly because of Ron Pearlman's presence and a handsome production design that is very reminiscent of Hammer studios work and Roger Corman's Poe adaptations. Like 2012 release of Solomon Kane, the film manages to look a lot more sumptuous than it actually is due to its Hungarian and Croatian locations. Furthermore, although the action scenes and set pieces have been very tightly edited for rating reasons, they are still well conceived due to the presence of veteran stunt co-ordinator Vic Armstrong.
The story of two Teutonic Knights escorting a suspected witch to a remote castle for trial, through a world devastated by the Black Death, often comes across as pythonesque. This is mainly due to the similarities in the depiction of the Medieval world. I was also reminded of Terry Gilliam’s Jabberwocky that has a similar grimy depiction of the time. The story is episodic and offers very few surprises. It is entertaining in a very undemanding way and the night attack by wolves in the fog bound forest, is actually well executed. There are even some occasional nods to Ingmar Berman which seem curiously hubristic. However, overall Season of The Witch is an inconsistent viewing experience and a film that falls between several stools. It doesn’t seem to find a level that it is comfortable with, very much like director Dominic Sena's previous film Whiteout. Therefore, only watch is you are feeling tolerant, forgiving and are the most ardent Nicholas Cage fan.
Destiny 2
I bought Destiny 2 on a whim this week. I did not play the first instalment but many of my friends and colleagues gave the game positive feedback. They continued to extol the virtues of the franchise with the recent launch of the sequel, so I decided to give it a try. I’ve always enjoyed the FPS genre and the fact that this title is a pseudo MMO, piqued my interest. So, I shopped around as usual and bought the base game for £42.79, which isn’t a bad price. I didn’t commit to the season pass in case the overall game wasn’t to my liking. However, so far things have been both enjoyable and interesting. I’ve only played for about five or six hours, so haven’t got that far into the game but overall Destiny 2 seems to be a wise investment.
I bought Destiny 2 on a whim this week. I did not play the first instalment but many of my friends and colleagues gave the game positive feedback. They continued to extol the virtues of the franchise with the recent launch of the sequel, so I decided to give it a try. I’ve always enjoyed the FPS genre and the fact that this title is a pseudo MMO, piqued my interest. So, I shopped around as usual and bought the base game for £42.79, which isn’t a bad price. I didn’t commit to the season pass in case the overall game wasn’t to my liking. However, so far things have been both enjoyable and interesting. I’ve only played for about five or six hours, so haven’t got that far into the game but overall Destiny 2 seems to be a wise investment.
Before, I start on what I like about the game, let me voice one criticism. At present it is my only one I have. I was expecting Destiny 2 to start with a specific tutorial, as you would find in an MMO. Something that would introduce all the game systems and provide you with an overview of managing my character and their gear. I appreciate that tutorials are not universally loved. Some players hate the way they slow you down, but I feel it would be beneficial to the game. I’d even settle for highlighted tooltips. Yet both options are conspicuously absent. I therefore had to muddle through the best I could initially and when I encountered something I wasn’t sure about, such as replacing gear or seeking a quest log, I had to tab out of the game and Google it. I always feel that it is a fundamental flaw in any game if you have to temporarily leave it to seek information.
However, the tutorial issue aside, there is much that I like about Destiny 2. Firstly, it looks devilishly saucy. I make no bones about the fact that I like my game to be visually attractive and Destiny 2 makes my graphics card “sing”. Then there’s the actual combat itself, which is very fluid and requires a lot of situational awareness. The mobs are not confined to linear movement and therefore you have to fire very selectively if you wish to conserve ammunition and maintain accuracy. I like the fact that combat is not a cakewalk and that you have to understand your enemy, pick the right weapon and fight tactically. I also enjoy the public events, having become a big fan of this game mechanic in Guild Wars 2. The player interaction has been better than I expected so far, with people banding together and broadly supporting each other.
I found out that I won’t be getting a Sparrow until endgame but frankly that’s fine with me. This is an open world game and wondering about is part of the appeal. From what I’ve seen, having transport would certainly cut down the length of the central campaign and possibly afford to much of an opportunity to miss the out on the game’s striking environment. As an intermediate player who doesn’t always ways feel social, I like the way that all the usual voice chat and text options are turned off by default. I may well have had other players cursing me for my ineptitude in the last few days but I haven’t had to listen to such garrulous inanities. Overall, I think that Destiny 2 is going to scratch an itch I’ve had for a while. I won’t be buying Call of Duty: World War II as a result and the only immediate competition this game has at present is the imminent release of Star Wars Battlefront II.
Discord
I’ve been using a TeamSpeak server for nearly a decade and have found it an invaluable tool during that time. It has primarily provided a “home” for myself and my gaming colleagues. We meet up every Wednesday night and chew the proverbial fat while playing various MMOs. However, it has also provided a backup podcasting recording facility and on several occasions hosted impromptu business meetings. Costing $10.80 every quarter, for a ten-user server, TeamSpeak has been great value for money. The hosting company, TypeFrag, have provided good customer service and until recently there’s been no reason to change this business arrangement. Unfortunately, the server has been problematic over the last fortnight, with random disconnects and lengthy outages. Despite following the troubleshooting FAQ, the matter remains unresolved.
I’ve been using a TeamSpeak server for nearly a decade and have found it an invaluable tool during that time. It has primarily provided a “home” for myself and my gaming colleagues. We meet up every Wednesday night and chew the proverbial fat while playing various MMOs. However, it has also provided a backup podcasting recording facility and on several occasions hosted impromptu business meetings. Costing $10.80 every quarter, for a ten-user server, TeamSpeak has been great value for money. The hosting company, TypeFrag, have provided good customer service and until recently there’s been no reason to change this business arrangement. Unfortunately, the server has been problematic over the last fortnight, with random disconnects and lengthy outages. Despite following the troubleshooting FAQ, the matter remains unresolved.
Rather than waste further time trying to fix the issue, I decided to set up a Discord server. For those who may not know, Discord is a proprietary freeware VoIP application designed for gaming communities. Discord runs on Windows, macOS, Android, iOS, Linux, and in a web browser. As of May 2017, Discord has over 45 million users. Let it suffice to, if you are after a third-party chat server that supports not only voice but text as well, then Discord is the go to app. Configuring the server is very easy and inviting users and setting permissions is straight forward. Discord supports the embedding of hyperlinks, video, live streaming and has a wealth of other functionality. It therefore has appeal to more than just gamers. You can host a full online business conference if you see fit.
Although you can use Discord via your web browser, downloading and installing the desktop client offers full functionality. Even with a modest internet connection the audio quality in chat is very good. However, for me the biggest point of interest about Discord is its support for plugins. The client can be extensively customised both visually and in functionality. I made a cursory Google search regarding creating and managing an audio playlist and instantly found two plugins that supported this. It would appear that there is a busy community of programmer associated with Discord and that the quality control is quite high. Overall, there is much to praise and little to criticise with regard to Discord. Furthermore, it has the best price, in so far that its free.
And it is this final point that is the only thing that slightly alarms me. I’m not quite sure exactly how their business model works. There is no end user fee, at present, so I would guess that the company makes their money via licencing. Discord provides seamless integration with services such as Twitch TV, Steam, and Facebook. I would assume this is where revenue is raised. However, the fact that Discord is free does concern me a little and regular readers will be aware of my thoughts on becoming reliant on services with such a business model. Yet for many people, this is not an issue and the immediate practical solution that the service offers cannot be ignored. Therefore in the meantime, I shall start distributing invites to the all new Contains Moderate Peril Discord server, while bidding a fond farewell to TeamSpeak.
Hand of Fate: A Tale of Cards and Pickled Onions
I stepped outside of my gaming comfort zone when I bought Hand of Fate back in spring 2015. Furthermore, this is a game I purchased purely on the strength of watching a couple of "let's play" videos on You Tube. I don't usually gravitate towards card based video games, although I have always played traditional card games such as Cribbage and Nine Card Brag with my family. If I ever choose to gamble I tend to favour Blackjack. But Hand of Fate with it's curious hybrid mixture of deck based gaming, RPG action combat and story driven narrative just seemed to strike a chord with me. It is definitely more than the sum of its parts.
I stepped outside of my gaming comfort zone when I bought Hand of Fate back in spring 2015. Furthermore, this is a game I purchased purely on the strength of watching a couple of "let's play" videos on You Tube. I don't usually gravitate towards card based video games, although I have always played traditional card games such as Cribbage and Nine Card Brag with my family. If I ever choose to gamble I tend to favour Blackjack. But Hand of Fate with it's curious hybrid mixture of deck based gaming, RPG action combat and story driven narrative just seemed to strike a chord with me. It is definitely more than the sum of its parts.
Hand of Fate includes several other mechanics that would usually deter me from purchasing such a game. Despite there being an element of skill and common sense required to play successfully, random chance also has a role. Curses can be dealt and slowly sap your health, draining your gold and food supply. Therefore, there is scope to fall at the last hurdle simply by starving to death or by being unable to purchase a superior weapon. Usually I would balk at such mechanics, yet it seems to work well here within the context of the game and its own internal logic. There is also no specific save facility, so death results in an entire "hand" of card being replayed. Yet this feels like a credible approach to a deck based game.
The actual combat that stems from the card play itself. It is straightforward and is best played with a game controller. You need to be able to dodge attacks and build up your hit count to unleash superior skills. Sometimes the animation can be a little choppy and the camera views a little counter-intuitive but overall it works and adds to the flow of the proceedings. Then there is the character of the dealer himself, who is very entertaining. The voice acting here is good and enhances the atmosphere. The game soundtrack is relatively low key but is used effectively. Some of the cards in the deck are quirky and enliven the story. I look forward to an appearance by Mister Lionel and his inevitable theft of one of my pickled onions.
Hand of Fate has quite a punishing denouement that I’ve yet to beat, although I find this to be an incentive rather than a deal breaker. I am pleased that this experiment in trying something new has worked out well for me. It has also once again shown the importance that You Tube and Twitch have upon my (and others) purchases. It is also interesting to see such a casual and mainstream gamer as myself, beginning to look outside of the traditional market in to the independent sector, for more of my entertainment. Despite my love of franchises, I am finding more enjoyment and engagement with these smaller more niche market titles. As a result, I am increasingly looking beyond the boundaries I have previously imposed upon myself.
Emotes
Emotes in MMORPGs have always been a great means to facilitate social interaction. You can hail your friends when you meet them, laugh at their jokes or show displeasure at those indulging in tomfoolery and shenanigans. They can also be used in events, such as dance competitions or as specific actions to be undertaken in quests. Then of course there is the inherent need of some gamers to collect all possible emotes available in a game and the business opportunities that this offers to developers. Thus, emotes are an integral part of MMOs and source of amusement and pleasure for many players.
Emotes in MMORPGs have always been a great means to facilitate social interaction. You can hail your friends when you meet them, laugh at their jokes or show displeasure at those indulging in tomfoolery and shenanigans. They can also be used in events, such as dance competitions or as specific actions to be undertaken in quests. Then of course there is the inherent need of some gamers to collect all possible emotes available in a game and the business opportunities that this offers to developers. Thus, emotes are an integral part of MMOs and source of amusement and pleasure for many players.
Over the years I have always played many MMOs and one of the first things I’ve always done when in-game is check out what emotes are available. I am especially fond of those found in LOTRO, which are very rich and varied. For starters there are race specific dances which do reflect the appropriate idiom of Elves, Dwarves and Men. However, it is the Hobbit specific emotes that seem to have had the greatest amount of love lavished upon them by the developers. Then there are a wealth of social interactions and humourous embellishments, such as Wippitydo, Surrender and Toast. The Toast emote is gained from an anniversary quest, so is somewhat rare with only a limited yearly window to obtain it.
However, Star Trek Online have a diverse collection of emotes which can give other MMOs a run for their money. Naturally there are many that replicate signature salutes and greetings that can be found directly in the various TV shows. Obviously, anything Klingon is very bombastic. However, it is with the dance emotes that the game really excels, and they feature heavily in the summer festival dance competition on Risa. But for me the jewel in the crown is an emote that Cryptic have just recently given away during the Hearts and Minds mission for Halloween. Namely the iconic Michael Jackson Zombie Dance, from the Thriller music video. There was a dozen or so player performing this emote on Drozana station tonight. I have no idea how they managed to synchronise everyone, but it really looked good. I laughed like a drain.
Naturally there are some players who don’t care that much for in-game emotes and think that they’re simply a cosmetic bauble. Each to their own I guess. Plus, there is scope for some players to be a nuisance with communal emotes, although games like LOTRO do have a facility to turn them off. Ultimately, I find that it is the little things within the MMO genre such as emotes, that are increasingly providing my main source of interest in such games. Furthermore, if games must have a cash store then selling emotes is less bothersome than peddling more tangible items that boost performance. In the meantime, I’m off to laugh myself stupid watch Junkrat do his Vaudeville emote in Overwatch.
The Complexity of Socialising
A couple of things have prompted the train of thought that is the basis of this post. The first was the recent BBC television documentary by Chris Packham about autism and how it has shaped his life. The second was a post over at Massively Overpowered regarding “playing alone together”. The reader comments ended up becoming a discussion of the old “introverts versus extroverts” debate. Both of these have got me thinking about the complexity of social interaction and the stress it may or may not cause to various individuals. Social skills and group dynamics are things we learn through osmosis. The prevailing culture allegedly shapes us, yet precious little is taught formally. Our parents have an impact at the beginning of our lives but then we find ourselves at school for the lion share of the day, trying to get along with a wide variety of differing personalities. Simply put, socialising is complex and to be successful at it by societies standards, requires a very specific set of skills.
Courtesy of Socially Awkward Misfit
A couple of things have prompted the train of thought that is the basis of this post. The first was the recent BBC television documentary by Chris Packham about autism and how it has shaped his life. The second was a post over at Massively Overpowered regarding “playing alone together”. The reader comments ended up becoming a discussion of the old “introverts versus extroverts” debate. Both of these have got me thinking about the complexity of social interaction and the stress it may or may not cause to various individuals. Social skills and group dynamics are things we learn through osmosis. The prevailing culture allegedly shapes us, yet precious little is taught formally. Our parents have an impact at the beginning of our lives but then we find ourselves at school for the lion share of the day, trying to get along with a wide variety of differing personalities. Simply put, socialising is complex and to be successful at it by societies standards, requires a very specific set of skills.
When addressing a topic such as this, the first question I had to seriously ask myself was the most obvious. Do I consider myself an introvert or an extrovert? As most regular readers know, I’m not a fan of binary choices when it comes to complex questions. There have been times in my life when I have veered from one extreme to the other. As a teenager, I was the clown of my peer group. I thought it would resolve a lot of issues although all it really did was paint me into a corner. It was not until my thirties that I truly found my social confidence. This mainly came about through working in a field that I enjoyed and felt comfortable in. I also learned how to become a more effective public speaker. Having children also forces you to deal with things and step outside of your comfort zone. However, despite improving my social skills there are still many scenarios and situations I’m not good at. Talking about sport and dancing in public are two that spring to mind. I’m also not a big on “hugging”. But the fact remains, I can be social and deal with such situations. For me, the key to success lies in picking and choosing how and where I do it.
Writing is a form of communication and social interaction that I especially enjoy. Mainly because it’s a medium that a lot easier to manage, rather than a face to face Conversation. I am also confident when it comes to podcasting, for similar reasons. I tend to record with people whose company I enjoy and know quite well. However, despite our best efforts none of us gets to deal with life exclusively on our own terms. Especially if you’re in a relationship, as you have to make concessions to social situations. For example, I have a wedding coming up in December. I’d be lying if I said I was looking forward to it. It’s not a case of I’m bad in these sorts of social situations. It’s a case of I don’t care for them. It’s not as if my presence is essential to the success of proceedings, plus I really don’t dig small talk and the low-key conversation it is best to pursue at these events. It probably sounds a terrible thing to say but these situations bore me. I appreciate that very few people are raconteurs of the calibre of Stephen Fry, Peter Ustinov and Michael Winner. I don’t expect that. I just feel that it would be a far better use of my time if I applied it to something productive, rather than some pointless social banter with strangers.
After watching the aforementioned documentary about autism, I raised the question as to whether I was possibly on the spectrum with my significant other, due to some of my personality foibles. I meant the question genuinely and was certainly not making light of such medical conditions. She said that it was unlikely that I was, because I could cope with all the social things that Chris Packham can’t. The difference was where he is incapable, I am simply unwilling due to my “personality”. So, it would appear that I have no diagnosable conditions that affects my behaviour. I am merely a curmudgeonly git. She further added that despite my reticence to be social and participate in events of that nature, I was very much a product of my generation and broadly culturally conditioned not to be rude. Hence, I do grudgingly participate. On mature reflection I conceded that this is indeed true. However, that doesn’t alter the fact that if I could avoid the entire wedding scenario I would.
Overall, I believe the reality is that I’m neither introvert nor extrovert but somewhere in the middle. I enjoy the company of handpicked friends and when the mood suits, can be quite gregarious. I am also comfortable when left alone. I don’t mind my own company. I guess what I balk at, when considering the wider discussion around this topic, is the usual binary viewpoints. Introversion should not be seen as something that needs to be fixed, especially by extroverts. I believe everyone is somewhere on a scale between those two positions and chooses to deal with the world on their own terms. As for extroverts, they can be a very positive force for good in life. They can often provide a rallying point through the strength of their personalities, be supportive individuals and be good representatives for causes and charities. But they can also be extremely wearing and tedious people, taking up all the oxygen in any given social space. We need as a society to shift the focus away from these two extremes and encourage an understanding of all personality types as well as a recognition that socialising isn’t governed by two approaches.
Strictly Come Dancing 2017: Part 2
I could be very philosophical about Strictly Come Dancing and describe how the judges scrutinise and mark the contestants on technique, viewing their performances through the prism of their own professional experiences. Conversely, the public react and elect to support the celebrities far more emotively; championing potential underdogs and showing solidarity with those they feel have been poorly treated. However, such Janusian analogies are unnecessary and ultimately pointless, because the show is primarily for entertainment and not a dancing competition, although the professional dancers may not see it that way. Also, as we saw demonstrated once again tonight, Strictly Come Dancing is a popularity contest and the only thing that really matters is convincing the public to vote for you.
I could be very philosophical about Strictly Come Dancing and describe how the judges scrutinise and mark the contestants on technique, viewing their performances through the prism of their own professional experiences. Conversely, the public react and elect to support the celebrities far more emotively; championing potential underdogs and showing solidarity with those they feel have been poorly treated. However, such Janusian analogies are unnecessary and ultimately pointless, because the show is primarily for entertainment and not a dancing competition, although the professional dancers may not see it that way. Also, as we saw demonstrated once again tonight, Strictly Come Dancing is a popularity contest and the only thing that really matters is convincing the public to vote for you.
This evening (well technically the show was recorded Saturday night), Mollie and AJ found themselves in the dance off along with Simon and Karen. Simon’s presence was far from a surprise. Despite his steadfast “have a go” attitude and pleasant manner, his level of attainment has plateaued of late, so it was only right, being bottom of the leader board, for him to be up for elimination. However, Mollie had scored a healthy 27 points, with her Cha Cha to "Better the Devil You Know" by Kylie Minogue. Furthermore, Mollie has shown improvement in her technique and is by no means one of the weakest celebrities in the show at present. Hence, the judges were somewhat surprised to see her in the dance off, although it can be clearly attributed to the public vote. However, this does raise the question why did the public not support her?
There are numerous reasons and potential theories as to why celebrities that perform well, still find themselves in the dance off. It has happened often enough over the last 15 seasons of the show for it not to be such a surprise, although it can still be quite jarring. The most obvious one that comes to mind is that the public assumes that those celebrities that perform well also have a strong fan base that will naturally support them. “I don’t need to vote for [insert series front runner here], they’ll be alright. I’ll vote for [insert name of alternative, possible underdog here], co’s they deserve a helping hand”. Then if we consider broader and possibly less charitable possibilities, people may vote tactically because they do not want someone to succeed. As I mentioned earlier a lot of viewers do react to the show very emotively. Furthermore, Strictly Come Dancing is reported heavily in the tabloid press which is happy perpetuate rumours and gossip. It could be a case that Mollie King doesn’t find favour with certain core viewer demographics.
I heard some people argue that Strictly Come Dancing is skewed by the public voting and it would be fairer if the judges to simply decide. I won’t discount such ideas but if that were the case, then the show would be far less popular. It is the public vote and audience interaction that is part of the program’s success and appeal. At a time when many people feel marginalised and having little control over their lives, the importance of a tangible public vote that demonstrably delivers results should not be discounted. The other thing that we shouldn’t ignore is the significance of the “journey”. Although it is great to see celebrities that take to dancing quickly, it does make for dull viewing if someone is habitually great every week. People like to see the celebrities grow and blossom. It’s a winning formula and accounts why some of the winners haven’t always been the bookies favourite. So, I suspect we may see a few more upsets like tonight’s in the weeks to come.
Gaming as a Service
The recent demise of Visceral Studios and the subsequent statement by Executive Vice President of Electronic Arts, Patrick Söderlund, pertaining to changes in the way the company wishes to realise future products, has got a lot of gamers thinking. EA seem to think that single player games may not be the sure thing they use to be and that co-operative internet play is where it’s at. Co-op play does seem to be finding its way into more and more game these days regardless of whether its needed or not. It facilitates competitive game play and offers publishers broader scope for monetisation. The latter point is probably its inherent appeal from a business perspective. So naturally the gaming commentariat is presently pondering whether the single player game is under threat. However, there are some who are connecting the hypothetical dots a stage further and considering is this a move further towards gaming as a service?
The recent demise of Visceral Studios and the subsequent statement by Executive Vice President of Electronic Arts, Patrick Söderlund, pertaining to changes in the way the company wishes to realise future products, has got a lot of gamers thinking. EA seem to think that single player games may not be the sure thing they use to be and that co-operative internet play is where it’s at. Co-op play does seem to be finding its way into more and more game these days regardless of whether its needed or not. It facilitates competitive game play and offers publishers broader scope for monetisation. The latter point is probably its inherent appeal from a business perspective. So naturally the gaming commentariat is presently pondering whether the single player game is under threat. However, there are some who are connecting the hypothetical dots a stage further and considering is this a move further towards gaming as a service?
This very point was raised over at Keen and Graev’s website and it didn’t take long for noted blogger Bhagpuss to succinctly prophesise the inevitability of gaming’s transitioning from a product to a service. “Music has been successfully re-positioned as a service. Movies have been successfully re-positioned as a service. TV has always been a service but has been re-positioned even more effectively to monetize that role. Reading is in the process of being re-positioned into a service, although the extreme conservatism of the pre-existing customer base for that product is making the transition take longer than expected”. Furthermore, there are numerous other examples that can be added to the list. I no longer own Microsoft Office but subscribe to it, yearly. Rather than buying podcasting software, I use Zencastr which is a chargeable service. Then there is Amazon Prime which negates the need for possibly 70% of my traditional household and personal shopping. So, why should games be any different?
The MMORPG genre has already done a lot of ground work with regard to this future transition. I originally bought The Lord of the Rings Online and its first expansion pack on DVD-ROM. However, considering the demise of physical media, changes in the games business models and the evolution of its terms and conditions over the last ten years, I don’t really own diddly-squat. I just pay to access the game as and when I wish to. Then of course there are already services such as Origin Access, where you can pay for access to “The Vault” which does include some premium titles. A lot of folk simply consider it a convenient means to “try before you buy” but others see it as the first steps down the road of gaming as a service. I remember when OnLive closed in 2015 and thought to myself at the time, that it was simply blazing a trail for other companies to follow. It is often the businesses that are first out of the gate, that fall on their face. However, they provide a very useful blue print to those who follow in their wake, having already highlighted potential mistakes.
Internet infrastructure in the UK is slowly improving. Fibre is becoming more accessible on urban areas. We are also raising a generation that are born into a world of services rather than ownership and frankly it is their behaviours that will ultimately determine this cultural change. Personally, although I am conditioned by my age group to favour ownership and products over services, I can accommodate this change. Therefore, I shall not spend an excess of my time screaming into the wind as gaming as a service becomes a reality. As for those who fundamentally oppose this concept, they need to consider when was the last time they successfully held back the “tide”? It really is a matter of “when” rather than “if”. Fortunately, they’re lots of clouds to shout at in the meantime, for those so inclined.
Peanuts, Charlie Brown and Vince Guaraldi
Growing up in the seventies, although a great deal of US pop culture bled through into British life through the medium of television, much of it remained abstract and somewhat obscure. Common place mainstays of American life such as Thanksgiving, Halloween, Baseball and Proms were social curiosities to many Brits. International travel beyond Europe was still not common place at the time and England still had one foot very much in it past and was loyal to its own parochial traditions. As a child, although explanations could be found in books for all these cultural “differences”, they seldom provided a sense of context or understanding. For me, that came via the medium of another child, albeit a fictitious one. Namely Charlie Brown and his friends, courtesy of Charles M. Schulz.
Growing up in the seventies, although a great deal of US pop culture bled through into British life through the medium of television, much of it remained abstract and somewhat obscure. Common place mainstays of American life such as Thanksgiving, Halloween, Baseball and Proms were social curiosities to many Brits. International travel beyond Europe was still not common place at the time and England still had one foot very much in its past and was loyal to its own parochial traditions. As a child, although explanations could be found in books for all these cultural “differences”, they seldom provided a sense of context or understanding. For me, that came via the medium of another child, albeit a fictitious one. Namely Charlie Brown and his friends, courtesy of Charles M. Schulz.
Peanuts was syndicated in several UK newspapers and one of these was delivered to my home every day of the week. This was how I was introduced to the iconic, four panel, cartoon strip. It depicted a world from the children’s perspective; adults existed but were usually only alluded to, rather than shown. The trials and tribulations of Charlie Brown and all the other characters showed me that there was a universal commonality to childhood throughout the world. We all struggled with the complex social dynamics of school and the way we interact with our peers. There was and remains a wholesome honesty about Peanuts. It doesn’t shy away from childhood trauma but wisely depicts the profound significance and restorative value of friendship.
Because Peanuts reflected the daily lives of its central characters it naturally embraced the zeitgeist of the times. It was here I discovered the significance of Thanksgiving and the customs associated with Halloween. To my surprise these were far from esoteric and not too dissimilar to some of the festivals found in British life. Because of the foibles of UK broadcasting at the time, I specifically associate the television adaptations of Peanuts, with the summer TV schedule and the winter holidays. Even as a child, I enjoyed the minimalist visual style of the animation. Although this was most likely driven by costs, it captured the matter of fact style of the cartoon strip and allowed for focus on the central characters. I always thought these shows benefitted greatly by using child voice actors. As for the sequences depicting the interactions between Snoopy and Woodstock, they’re sublime.
And of course, it would be utterly remiss of me to reference the sixties and seventies television adaptations, without mentioning the indispensable soundtracks by Jazz Pianist, Vince Guaraldi. His musical interpretation of Charlie Brown’s world left a profound impression upon me as a child, which remains to this day. I recently discovered that all his work from these shows is available to buy. Let it suffice to say that music is indeed a touchstone for memories and nostalgia. Within seconds of listening to the track Linus and Lucy, I was transported back to the seventies, my mind awash with thoughts and feeling from that time. So, thank you Peanuts, Charlie Brown and Vince Guaraldi. I am indebted to you Charles M. Schulz. You provided me with a wider view of the world and helped a child understand it.
Shadow of War: Grinding to a Halt
After fifty plus hours of playing Middle-earth: Shadow of War, I have finally ground to a halt, in more ways than one. I have completed the Gondor, Shelob, Eltarial and Carnán quest lines, as well as the Brûz and Nemesis missions. I have also unlocked all the skills gained from the Shadow of the Past session play. Over the course of a fortnight, I’ve tackled all the “busy work” sub missions, such as the collectable Gondorian artefacts and Shelob’s memories. My approach to Middle-earth: Shadow of War has been very focused and methodical. As a result, I have conquered all the regions that are currently available. Each fortress is populated by epic level Orcs that are loyal to the “Bright Lord”. Overall, it has been a very enjoyable experience, although the quality of gameplay has been somewhat inconsistent. Middle-earth: Shadow of War has several flaws and the endgame is one of them.
After fifty plus hours of playing Middle-earth: Shadow of War, I have finally ground to a halt, in more ways than one. I have completed the Gondor, Shelob, Eltarial and Carnán quest lines, as well as the Brûz and Nemesis missions. I have also unlocked all the skills gained from the Shadow of the Past session play. Over the course of a fortnight, I’ve tackled all the “busy work” sub missions, such as the collectable Gondorian artefacts and Shelob’s memories. My approach to Middle-earth: Shadow of War has been very focused and methodical. As a result, I have conquered all the regions that are currently available. Each fortress is populated by epic level Orcs that are loyal to the “Bright Lord”. Overall, it has been a very enjoyable experience, although the quality of gameplay has been somewhat inconsistent. Middle-earth: Shadow of War has several flaws and the endgame is one of them.
Compared to the previous game, there is a degree of skills bloat this time round. Some do seem somewhat superfluous, such as the ability to poison kegs of grog from range. However, picking the right skills for your playstyle and gear build is key to success. Some of the skill modifiers are essential and give the player a distinct advantage. Freeze Vault and Shadow Strike variants (especially the one that summons the target towards you) help immensely. It should be noted that combat is more complex this time round. The higher density of enemies makes stealth far harder. Taking the high ground and considering your next move helps immeasurably. At street level, especially in the fortresses it is very easy to become overwhelmed by enemies at times. Freeze Pin, Elven Fire and Rage can be used tactically to subdue a primary target and then clear swarming enemies. As with the previous game, running away if things get out of hand is a valid tactic. Summoning a body guard or a dominated beast can also be fun, although flying a Drake with a keyboard is not exactly easy.
The third act of the game, is a series of Siege Missions which are especially gruelling. Initially these are quite engaging as you plan your tactics and equip your assault force with suitable skills. But there are ten stages to this part of the game, where you repeatedly defend your five major fortresses. Naturally, the difficulty increases the further you progress as well as the duration of each siege. It does become a little repetitive towards the end and you feel at times like you’re simply plugging holes in a dike. You go from capture point to capture point holding back the enemy and healing your high-level orcs. There is often a tipping point where you know that events have gotten beyond your control and you can feel the battle slipping away from you. Hence there is an element of monotony to this part of the game and if you’ve already cleared all the other quests in the game, it can feel like a treadmill.
During the course of my play through, I’ve also made some basic errors that have now come back to inconvenience me. One of these being the equipment challenge which allows you to upgrade specific legendary gear. One of the easiest sets to obtain in the game is the Bright Lord armour which is gated behind Ithildin doors. There are word puzzles to solve to open them. I obtained this set quite early on in the game and the gear scaled to the level I was at the time. To upgrade the gear, I had to recruit specific Orc captains. However, by this time I had killed, replaced or seeded all relevant enemies in the region and was unable to find any Orcs that met the criteria. The only way to resolve the issue would be to kill my dominated Orcs and allow new ones loyal to Sauron to spawn. As I didn’t relish this prospect, I simply collected another legendary armour set, via the vendetta system. As I am now at level cap, the gear drops where of a comparable rating.
The lore breaking story of Middle-earth: Shadow of War is very inventive but a bit farcical at times. It really does play fast and loose with the established canon and flat out contradicts it at times. But despite these transgressions it is still quite enthralling. The nemesis system and the personalities of the various Orc are still at the games core. However, the endgame suffers due to the gating of Orcs behind loot boxes. As a player you have far less of an emotional connection to an Orc that you’ve literally just obtained from a crate, over one that you’ve fought, dominated and grown accustomed to. Furthermore, even the top tier Orcs that fight for you are somewhat squishy. Pit fights also are far from an exact science and I’ve lost some über Orcs to surprisingly low-level enemies. Integrating a cash shop into this part of the game has clearly had a detrimental effect upon the final act of Middle-earth: Shadow of War.
I have now reached the stage where I shall take some time out from Middle-earth: Shadow of War. As previously mentioned, the last stage of the game has been a bit of a grind and I would rather wait now for further content to be released, rather than kill my passion by just pottering about achieving nothing in particular. The release time table for the DLC was announced yesterday and it would appear that there’s no further narrative driven content until 2018. I don’t mind new Orc tribes to conquer but I do prefer story based content over simple achievements. I don’t regret pre-ordering the game, as it has been fun to participate in an event as it happens. However, if Shadow of War follows the pattern set by Shadow of Mordor, then a drop-in price may well occur by the end of the year. Certainly, buying the game at a discount will help compensate for the weak areas in the gameplay.
Super 8 (2011)
When you see the names of such cinematic luminaries as Steven Spielberg and J.J. Abrams together on the same movie poster, naturally your expectations are going to be high. Yet when watching the various trailers for Super 8, just prior to its release in 2011, I was somewhat cautious. I have discussed in the past at some length the ambiguous nature of trailers and that they can misrepresent a film. Yet even bearing this in mind at the time, I couldn’t help but feel that Super 8 seemed like a somewhat self-indulgent homage to Spielberg's earlier work. I subsequently saw the movie at the cinema in August that year and my suspicions were validated. However, over time I have spoken to several friends who are advocates of the movie, so I thought I’d watch it a second time. Sadly, I still find myself unable to label Super 8 as anything else other than adequate. Now I would hasten to add, that I use adequate within the context of both director’s body of work. An adequate film from either Mr Spielberg or Abrams is still superior to many of their competitors. But that's not the point. I simply expected better from such a project.
When you see the names of such cinematic luminaries as Steven Spielberg and J.J. Abrams together on the same movie poster, naturally your expectations are going to be high. Yet when watching the various trailers for Super 8, just prior to its release in 2011, I was somewhat cautious. I have discussed in the past at some length the ambiguous nature of trailers and that they can misrepresent a film. Yet even bearing this in mind at the time, I couldn’t help but feel that Super 8 seemed like a somewhat self-indulgent homage to Spielberg's earlier work. I subsequently saw the movie at the cinema in August that year and my suspicions were validated. However, over time I have spoken to several friends who are advocates of the movie, so I thought I’d watch it a second time. Sadly, I still find myself unable to label Super 8 as anything else other than adequate. Now I would hasten to add, that I use adequate within the context of both director’s body of work. An adequate film from either Mr Spielberg or Abrams is still superior to many of their competitors. But that's not the point. I simply expected better from such a project.
Super 8 is not a pure monster movie or creature feature. The alien aspect to the film is nothing more than a secondary plot device. This film is mainly about growing up in the seventies, adolescence and bereavement. A lot is done to try and recapture the look and feel of the decade, yet despite the production design and the cultural references, such as period music, CB radio and the use of period slang, the film doesn't quite work. Why? Because the central characters, although steeped in the superficial trappings of the time are a little bit too worldly, articulate, sensitive and thoughtful. They display to many modern sensibilities and concerns. Rather than producing an accurate portrayal of life at the times, Super 8 is very much Abrams homage to the era. And like most odes to a bygone era it paints a sentimental picture, rather than a credible one. That’s not to say that it is bad. It is simply unauthentic.
Don't get me wrong, the central characters played by Joel Courtney, Riley Griffiths and Elle Fanning, are very likeable. Too many movies churn out stereotypical depictions of children or go the opposite way and place them on pedestals. Super 8 features some amusing banter of the sort that kids of this era would have. All the actors involved give good performances. But they all seem a little too perfect, coming across more as archetypes rather than fully rounded characters. I am of a comparable age to J.J Abrams and my childhood was nowhere near as socially complex as that depicted in the movie. Nor were my friends overburdened with such talent or driven by such focused aspiration. What we have in Super 8 is very much an adult’s intellectual deconstruction of childhood, rather than a reflection of it. The boisterous shouting of The Goonies or the smart alec antics of The Monster Squad ring far truer to me.
However, looking beyond this tonal stumbling block, there are some very enjoyable cinematic references in Super 8, many of which seem to be from Mr Spielberg’s back catalogue. For example, a cars electrical system fails at a critical moment, only to come back on with a jolt. Then there's the iconic imagery of kids cycling round idyllic suburban neighbourhoods, free from parental control or interference. There are also subtle nods to films such as John Carpenter’s The Thing with electrical items vanishing, possibly to be utilised by the alien for some makeshift vehicle. There's also a nice theme that's developed in which all the local dogs flee the area. For me, it's these little creative anecdotes that if expanded upon would have given the movie more character and depth.
Yet director Abrams is content to leave these aspects unexplored, in favour of his child centric narrative. As this is the central theme of the film, I can understand why the adult characters are a lot less developed and given less screen time. As a plot device it actually strengthens the under lying theme of the lack of connection between father and son. However, Super 8 falls down quite considerably with regard to its lead villain, Airforce Colonel Nelec played by Noah Emmerich. He is purely arbitrary and denoted as evil purely by his military association and his penchant for killing people by lethal injection. Bad guys are often far more interesting than the virtuous heroes and it's a shame that we do not find out more about him in this instance.
J.J. Abrams has a strong visual sense, very much like Spielberg. There are some very clever images woven into Super 8 over its two-hour running time. The tanks driving through the children's playground for instance and the use of silhouettes. Michael Giacchino's score is very strong and underpins rather than overwhelms the proceedings. There is much to like about the film and if you are not disposed to be as analytical as I am, you will be entertained. But if it had broadened its remit and shied away from the perennial Hollywood trope of canonising beautiful, yet deceased mothers, it could have been a far more rewarding film. A more honest and less emotional depiction of the times, as well as a little more focus on characters and motive would have improved things greatly.
Highlander 2: The Quickening (1991)
I remember the abject disappointment I felt after seeing the 1991 release of Highlander 2: The Quickening. It was narratively disjointed and totally contradicted the premise of the original film. This was all courtesy of the completion bond company pulling the plug on the original production, due to spiralling costs and economic problems in Argentina where the movie was filmed. They then edited the film without the involvement of director Russell Mulcahy, allowing them to make a prompt release in an attempt to recoup their investment. The only flaw in this plan was that this version was universally reviled. Fans were outraged at the transgression of lore. Critics were confused. The only winner appeared to be Sean Connery who was allegedly paid $3.5 million for nine days of filming.
I remember the abject disappointment I felt after seeing the 1991 release of Highlander 2: The Quickening. It was narratively disjointed and totally contradicted the premise of the original film. This was all courtesy of the completion bond company pulling the plug on the original production, due to spiralling costs and economic problems in Argentina where the movie was filmed. They then edited the film without the involvement of director Russell Mulcahy, allowing them to make a prompt release in an attempt to recoup their investment. The only flaw in this plan was that this version was universally reviled. Fans were outraged at the transgression of lore. Critics were confused. The only winner appeared to be Sean Connery who was allegedly paid $3.5 million for nine days of filming.
Subsequently, after some complex legal chicanery, Mulcahy secured control of the film rights and brought out the Highlander II: Renegade Version in 1995. This removed the contradictory plot themes, re-instated previously removed footage and revamped effects shots. This resulted in a more coherent and enjoyable film that jettisoned the extraterrestrial elements of Brian Clemens screenplay and returned to the original concepts of the previous instalment. Despite these major changes the producers, Bill Panzer and Peter Davis still felt there were improvements to be made and brought out a further revised edit of the film in 2004, simply titled, Highlander 2: Special Edition. This included some minor scene alterations and focused more on improving the key visual effects sequences. Rather than catalogue the specific details of the differences between Highlander 2: The Quickening, Highlander II: Renegade Version and Highlander 2: Special Edition I've included a link to the IMDB. This more than adequately analyses all the various versions and their respective idiosyncrasies.
Highlander 2: The Quickening not only has an interesting development history, but a distinguished production pedigree. It’s very British affair, with many members of the crew being Bond veterans. There’s Second Unit Direction by Arthur Wooster, along with visual effects by John Richardson and Chris Corbould. The production design is very striking and there is excellent use of locations in Argentina. The studio work is also very impressive. The petrol tanker jack knife/explosion and freight train fight are all meticulously created. Most importantly, the chemistry between Lambert and Connery is still present in the film. The troubled production history is also a story in itself. If you get the chance to watch the documentary Highlander II: Seduced by Argentina, which is included on various DVD and Blu-ray releases, you get a good insight into the way independent films are financed. What exactly a completion bond is and what happens when the money men take steps to protect their investment, all becomes very apparent.
A lot of Highlander fans ignore this instalment in the franchise as they do not consider it to be canon. Personally, I think the next entry in the franchise is far worse and has a comparable amount of lore contradictions. Yet despite the troubled production, Highlander 2: The Quickening was one of the biggest earners of the series, pulling in three times as much as the original in the US. Its international sales were even higher. Furthermore, these box office returns are based on the initial theatrical print with all its plot flaws and contradictory elements. It is often a curious fact that a film may well be panned by the critics yet still manage to make a respectable financial return, often based on international market and not US box office earnings. Ultimately, Highlander 2: The Quickening regardless of its troubled production still proved lucrative to spawn further entries in the series.
Out of all the various incarnations, I would recommend the 2004 Highlander 2: Special Edition version of the film, as it’s the most polished version available. Hardcore fans may prefer the 1995 Highlander II: Renegade Version as it has a few additional scenes for the completists. I like this film series although I never felt the same way about the TV series and its subsequent move spinoffs. If like me you have a wider interest into the murky world of film production and the politics of movie making, then I would also urge you to watch this film along with the associated documentaries and extras that accompany it, as they are most insightful. Also, any film with a Stewart Copeland soundtrack cannot be bereft of merit. If all other arguments fail, then watch one version of this movie just to see Michael Ironside chewing the scenery. It is a thing of beauty.
Diary of a Podcaster Part 10
Last night, myself, Hannah and Chris (AKA Jaedia and Wolfyseyes) had an especially productive recording session. We managed to produce two hours of material in total and I’m confident that it can be whittled down into a coherent and enjoyable ninety-minute episode. What I especially enjoyed about this podcast recording was buoyant atmosphere and the flow of the conversation. I felt that we explored the various topics well and that the discussion felt natural. Ultimately, it will be the listeners who’ll determine whether this is the case or not but from my perspective the recording went well because the guests were a good choice. If you are pursuing a podcast format that has multiple hosts or regularly features guests, then it is important for there to be a rapport between all involved.
Last night, myself, Hannah and Chris (AKA Jaedia and Wolfyseyes) had an especially productive recording session. We managed to produce two hours of material in total and I’m confident that it can be whittled down into a coherent and enjoyable ninety-minute episode. What I especially enjoyed about this podcast recording was buoyant atmosphere and the flow of the conversation. I felt that we explored the various topics well and that the discussion felt natural. Ultimately, it will be the listeners who’ll determine whether this is the case or not but from my perspective the recording went well because the guests were a good choice. If you are pursuing a podcast format that has multiple hosts or regularly features guests, then it is important for there to be a rapport between all involved.
I’ve been very fortunate over the years as I’ve always worked with experienced podcasters or those who are confident public speakers. Therefore, the discussions are broad and follow a logical pattern. Each participant listens to the other and responds to the questions and points being raised. This means that the conversation moves forward and doesn’t flounder. If everyone gets on, then there is a more natural connection. Humour and confidence often go hand in hand. Many of my favourite podcasts that I regularly listen to, work so well primarily because the hosts work well together. That’s not to say that all parties involved have to agree with each other. Consensus is not always especially interesting. However, podcasters that know each other often means that the conversation runs its course more coherently. There is less tendency to talk across each other and for one individual to dominate the proceedings.
"I am Henry Kissinger and I do indeed have a sexy voice".
On occasion, there have been times when a guest has struggled with the dynamics of a podcast. Not everyone is confident when in front of a microphone and sometimes it’s simply the notion of being recorded that kills their enthusiasm. However, if I think there may be an issue, we sometimes spend some time “warming up”, with some casual conversation. This process can help immensely in helping all parties to relax and focus less on the process and more on the discussion. Also, and lot of issues can be fixed during the editing process. Lengthy pauses can be reduced accordingly and misspoken lines can be eliminated entirely. You can also improve the narrative structure of a show in post-production. If a point is made that would better serve at an earlier point in the conversation, then it can be moved accordingly. It should also not be forgotten that you can re-record material if you feel it can improve matters.
There are great advantages to recording a podcast with a group, or producing a show with a regular co-host(s). I have experimented this year with producing solo content and it is immensely difficult and comes with an entire set of other problems. I therefore have immense respect for my podcasting peers that produce regular shows in this fashion. It requires a great deal of dedication, focus and confidence. There is a lot of truth in the old adage of there being safety in numbers. The solo podcaster is the focus of scrutiny on their show. However, for the present it is a format that I am no longer going to pursue. Returning to the subject of yesterday’s recording session, as well as all the other positive aspects I’ve mentioned, it was also immense fun. We did a lot of laughing and I think that is an important litmus test. It also motivates me to keep podcasting.