Raid on Entebbe (1977)
Raid on Entebbe was one of several movies (Victory at Entebbe, Operation Thunderbolt) to be made about the rescue of the hostages from Air France Flight 139, by Israeli Commandos in 1976. The film was initially made for US television, but was considered to be of sufficient quality to be released theatrically for the international market. Competently and efficiently directed by Irvin Kershner (The Empire Strikes Back, Eyes of Laura Mars), with a solid cast of quality character actors, it offers a broadly accurate summation of the events from the initial hijacking to the raid at Entebbe airport, Uganda. It does not attempt to explore the complexities of the geo-political situation of the Middle East at the time, although it does give a brief overview of Israeli diplomacy and internal government. Raid on Entebbe is a solid linear action movie based upon what were, at the time of the production, topical events.
Raid on Entebbe was one of several movies (Victory at Entebbe, Operation Thunderbolt) to be made about the rescue of the hostages from Air France Flight 139, by Israeli Commandos in 1976. The film was initially made for US television, but was considered to be of sufficient quality to be released theatrically for the international market. Competently and efficiently directed by Irvin Kershner (The Empire Strikes Back, Eyes of Laura Mars), with a solid cast of quality character actors, it offers a broadly accurate summation of the events from the initial hijacking to the raid at Entebbe airport, Uganda. It does not attempt to explore the complexities of the geo-political situation of the Middle East at the time, although it does give a brief overview of Israeli diplomacy and internal government. Raid on Entebbe is a solid linear action movie based upon what were, at the time of the production, topical events.
Raid on Entebbe exhibits a lot of the hallmarks of seventies action films. It takes a plain and straight forward approach to its action scenes which are not excessively edited. Rather than today’s fluid style of set pieces, the movie portarys events in a quasi-documentary fashion. Violence is depicted candidly without stylisation or sensationalism and there’s a clear respect for the subject matter. The cast of high profile actors does not overwhelm the story, but work in its favour, helping to guide the viewer through the ranks of Israeli Government and Military. The screenplay by Barry Beckerman is functional and without fuss. Key characters are defined, where others remain functional. Again, this lean approach works to the films benefit. Furthermore, Raid on Entebbe is not excessively politicised and doesn’t seek to hammer home any major moral or ethical points.
Although Charles Bronson is given prominent billing on the poster, he is not on screen as long as you may think. He does however put in a credible and measured performance, rather than his default tough guys persona. Martin Balsam, Jack Warden and the ubiquitous John Saxon are all up to their usual high standards, as you expect. Stephen Macht gives a sensitive and thoughtful portrayal of Yoni Netanyahu, the only Israeli military casualty from the raid. James Woods has a small role as a soldier on the assault team. But the film is stolen by Yaphet Kotto's inspired portrayal of “Field Marshall” Idi Amin, which he plays complete with all of the man’s bombastic eccentricities and underlying menace. David Shire's score is also a major asset to Raid on Entebbe, especially with his use and arrangement of traditional Hebrew hymns.
Forty years on, history takes a less romanticised view of the events in Uganda. Although, a military and more importantly a political success for the Israeli government, there were long term repercussions. The death of Dora Bloch led to the UK breaking off diplomatic relations with Uganda. Jews worldwide subsequently faced increased terrorist attacks by Pro-Palestinian forces. It will be interesting to see whether the new film, 7 Days in Entebbe, which is due for a release in March, will explore any of these wider issues. Will it be a contemporary action movie or a more cerebral revisionist depiction of a major event in a troubling era. In the meantime, if you want a functional and entertaining overview of “Operation Thunderbolt” then Raid on Entebbe can provide you with a suitable two-hour summary.
Jedi Junkies (2010)
Certain groups just lend themselves to ridicule from the media and in popular culture in general, irrespective of whether they deserve it or not. Star Wars fans are a prime example of this. Their love of the lore, predilection for cosplay and hunger for collectables at first glance makes them an easy target. Film maker Mark Edlitz, takes a decidedly different approach in his documentary Jedi Junkies. Instead of finger-pointing and making cheap jokes, Jedi Junkies puts a very human face on a group of enthusiasts, showing their passion to be in essence, no different to that of sports fans or other more mainstream hobbies and pastimes.
Certain groups just lend themselves to ridicule from the media and in popular culture in general, irrespective of whether they deserve it or not. Star Wars fans are a prime example of this. Their love of the lore, predilection for cosplay and hunger for collectables at first glance makes them an easy target. Film maker Mark Edlitz, takes a decidedly different approach in his documentary Jedi Junkies. Instead of finger-pointing and making cheap jokes, Jedi Junkies puts a very human face on a group of enthusiasts, showing their passion to be in essence, no different to that of sports fans or other more mainstream hobbies and pastimes.
Eduardo Sanchez with perosnal collection
The documentary follows a varied group of individuals as they indulge in their particular branch of fandom. We get to meet compulsive memorabilia collectors, the New York Jedis and their lightsabre displays, the tribute band Aerosith (that really made me chuckle) then the guy who decided to build a life-size replica of the Millennium Falcon in his yard. By and large, most of these fans come across very well, often showing a thoughtful and philosophical nature. However not all do though, with Mr Millennium Falcon being a little too self-satisfied. It isn't a particularly good replica anyway. But overall Jedi Junkies simply shows us people socialising among their peer groups, having fun through common interests. What could be more normal and healthy?
The New York Jedi lightsabre masterclass
Another thing that Mark Edlitz does in this film, is intersperse the footage of fans, with sound-bites from academics commenting on the nature of fandom, collecting and their respective social dynamics. What these professional opinions do is punctuate the documentary, allowing the viewer to make a considered opinion, rather than simply label the fans themselves. It’s a very important distinction. The section on cosplay, specifically the Leia Slave outfit is sensitively handled and certainly avoids condescension, objectification or simply being rude. These ladies surely get enough flak already.
Slave Leia cosplay
The wheel is slowly turning with regard to fandom. Niche market past times which previously were the prerogative of a few, are now high-profile moneymaking interests. It is curious how financial viability seems to eradicate traditional prejudice or scorn. However, fans have yet to reach the promised land and although Jedi Junkies is a measured look at their world, there are still people who will shake their heads at their choice of activities. It's a curious paradox that the fundamentals of collecting stamps are really no different to collecting Star Wars memorabilia and that the respective social acceptance of either group is arbitrary and subjective. Overall, I whole heartedly recommend Jedi Junkies. It is an excellent counterpoint to The People vs. George Lucas
Regulating the Gaming Industry
2017 was the year that microtransactions, loot boxes and other egregious business models common to gaming finally came to the attention of the mainstream. The debacle that surrounded the launch of Star Wars: Battlefront II finally dragged this matter into the limelight and subsequently put in on the radar of various global, legislative and regulatory bodies. The genie is now well and truly out of the bottle and it’s now a question of waiting to see what happens next. I suspect that the EU may likely be one of the first regions to tackle the issue and that it may well be the mobile game industry that is first to fall upon its sword. If there’s a change in government in the UK, then there is scope for matter to be tackled here. There is already a strong lobby against current gambling legislation and it doesn’t take much of an imagination to envisage a tabloid led campaign against the iniquities of smartphone game addiction and it’s pay-to-win culture. Then there’s the issue of virtual items resold for real money via auction websites and the question of whether loot boxes are or are not gambling. Apples recent statement about games publicly declaring the odds of winning in advance, shows that the world is indeed slowly turning against this business model.
2017 was the year that microtransactions, loot boxes and other egregious business models common to gaming finally came to the attention of the mainstream. The debacle that surrounded the launch of Star Wars: Battlefront II finally dragged this matter into the limelight and subsequently put in on the radar of various global, legislative and regulatory bodies. The genie is now well and truly out of the bottle and it’s now a question of waiting to see what happens next. I suspect that the EU may likely be one of the first regions to tackle the issue and that it may well be the mobile game industry that is first to fall upon its sword. If there’s a change in government in the UK, then there is scope for matter to be tackled here. There is already a strong lobby against current gambling legislation and it doesn’t take much of an imagination to envisage a tabloid led campaign against the iniquities of smartphone game addiction and it’s pay-to-win culture. Then there’s the issue of virtual items resold for real money via auction websites and the question of whether loot boxes are or are not gambling. Apples recent statement about games publicly declaring the odds of winning in advance, shows that the world is indeed slowly turning against this business model.
Therefore, I welcome in principle the idea of sensible, measured regulation of this aspect of the game industry, seeing it as a logical extension of existing consumer legislation that protects the public. I suspect that the major game publishers will not see it this way and would not be surprised to see an army of lawyers mobilised to slow and impede the process. There is also the risk that this matter will get tackled by the worse sort of politicians in the most knee-jerk fashion, like the UK Video Recording Act of 1984. If that is the case, then the fallout could be quite substantial and could lead to some studios closing down or games being unavailable in some regions. Certainly, we may well see the implosion of triple A gaming as we currently know it, as developers struggle to generate what they see as a satisfactory return on investment. However, for every bloated tired and lazy big budget game, there are dozens of smaller, innovative and original titles. It can be cogently argued that a major industry shakeup would in the long term instigate a return to focusing on creativity, rather than following “established” trends. It is also not unrealistic to imagine that such a transitionary period would be met with a great deal of hyperbole, hysterics and bile from certain quarters of the fan community.
When political and economic change threatens the status quo, those with a vested interested will always reach for the worst possible scenario as a means to try and derail the process. For example, whenever tax avoidance comes under public scrutiny, companies such as Starbucks always imply that if the financial climate turns against them they’ll withdraw from the UK. I’ve always considered this argument rather puerile and similar to the child who threatens to take their ball home, if they can’t win. If the triple A game industry vanished overnight, we would not find ourselves in a world devoid of quality titles. Smaller, smarter and more importantly more ambitious companies would simply step in and fill the gap. Some franchises may well go to the wall only to be replaced by other comparable but more economically viable products. Hellblade: Senua's Sacrifice by Ninja Theory rather succinctly proved that you can produce a triple A equivalent game without the associated season pass, DLC and bloated cost. Therefore, I am cautiously optimistic regarding what lies ahead. Change can be painful and there may be some to be endured while the industry adapts. But as a blogger with a more than passing interest in games, I suspect that happens next will certainly provide numerous talking points and material to write about along the way.
Ambiguous Language
I have both a love and fascination for the English language. I enjoy both its formality and informality, its diversity, as well as its inherent evolutionary nature. To my mind having a wide vocabulary is an invaluable social and intellectual skill as well as being essential to self-expression. How can you mean what you say if you cannot say what you mean? So, when confronted by contemporary phrases such as “milkshake duck”, rather than balk at them, I strive to understand them. Language is not immutably, set by the parameters and standards of when you learnt it. If you endeavour to grasp the subtleties of popular culture along with slang from different socio-economic groups, communication becomes so much easier. The English Language is beautifully malleable and offers different modes for different situations. I therefore choose a specific manner of speech depending on who I’m talking to.
I have both a love and fascination for the English language. I enjoy both its formality and informality, its diversity, as well as its inherent evolutionary nature. To my mind having a wide vocabulary is an invaluable social and intellectual skill as well as being essential to self-expression. How can you mean what you say if you cannot say what you mean? So, when confronted by contemporary phrases such as “milkshake duck”, rather than balk at them, I strive to understand them. Language is not immutably, set by the parameters and standards of when you learnt it. If you endeavour to grasp the subtleties of popular culture along with slang from different socio-economic groups, communication becomes so much easier. The English Language is beautifully malleable and offers different modes for different situations. I therefore choose a specific manner of speech depending on who I’m talking to.
Political language is a very specific subset of English and has been designed to serve a very exacting purpose. In recent years honesty and intellectual rigour has slowly evaporated from the terms used by politicians and political discourse reflects the current prevailing mindset. Hence politicians will often use terms that are deliberately ambiguous. It happens so often now that we tend to ignore it, but sadly these terms frequently have a major impact upon the course of the national conversation, so perhaps we should be less forgiving. I would like to highlight a few of these terms that are frequently bandied about, that I find especially egregious. They’re often predicated on something that is unquantifiable or an idea or concept for which there is no real standard or universally accepted definition. Hence they’re used by the political classes as a means to maintain plausible deniability if things do not go the way they’d like.
So first off, we have the increasingly politicised term “hardworking”. This a real crowd pleaser as most people will claim to be such, whether they are or not. Politicians like it because it can be used as a non-specific compliment and its very flexible. It can be employed when visiting a factory as a means of ingratiating one’s self with the working classes. It can also be bandied about at the Mansion House Speech as a means to defend substantive pay awards to captains of industry. Yet it is ultimately a subjective term, which is impossible to quantify and measure. Who exactly works harder; someone on the checkout at Sainsbury’s or an Investment Manager at Morgan Stanley? A network administrator or a midwife. A You Tube personality or a carer for the elderly? Furthermore, if you try to debate the definition of the term, it can all get reminiscent of the Four Yorkshireman sketch. “Hardworking” therefore exemplifies the pointless terms bandied about by the worst sort of politicians, bandwagon jumpers and tub thumpers.
Another phrase which is very popular at the moment is the nebulous “British values”. At first glance it is supposed to bring to mind a set of noble principles and notions that are inherent to the UK. According to Ofsted these are as follow. Democracy. The rule of law. Individual liberty. Mutual respect for and tolerance of those with different faiths and beliefs and for those without faith. Yet surely these are not unique to the UK alone and are the foundation of all western democracies? It seems somewhat arrogant to claim these are uniquely British traits. However, when taken in a wider context, “British values” too often refers to nationalism, a sense of cultural superiority and sadly worse. Conversely, other definitions may well be free from xenophobia but can still be couched in nostalgic terms. British history and culture is somewhat unique and in many ways, we as a nation seem to lack the means to view it objectively. As a nation we are living in it, looking out, rather than vice versa. “British values” however honestly intended seems to be the phrase of choice by those who aren’t.
Other phrases of this idiom that occur frequently, are “silent majority”, “common sense” and “elite”. Although all have a specific meaning, these terms are often used in situations where that definition is distorted or not wholly applicable. Often these words are substitutes for others that would paint a different picture and are employed to obfuscate. “Silent majority” is an impossible thing to qualify and prove. It is often invoked to try and imply a wider degree of backing or support. “Common sense” is a wonderful way of bypassing the logistical and legal complexities of a matter. It’s a phrase designed to mitigate detail. And “elite” is a word that is fast being devalued, frequently being employed as a pejorative term for any group or body that holds a contrary opinion to the one being espoused. Furthermore, it is often used by those who are part of an elite group of their own, who think that by using the term they somehow remove themselves from the paradox they have created.
There are many more examples of this sort of linguistic duplicity that is used every day in the UK by the tabloid press, politicians and parts of the professional commentariat. The sad reality is that its daily use adds to the ongoing trivialisation and partisan debasement of politics as well as other forms of public discourse. This is why it is so important to ensure that schools teach a robust and broad understanding of the English language. Not just the traditional grammatical rules and structure but an understanding of evolution of language and how words can be used as a more than a functional tool. Public speaking and debate requires not only critical thinking and reasoning skills but a diverse vocabulary. Hence, I encourage everyone to never pass up the opportunity to learn new words. If someone uses one that you’re not familiar with there is no shame in asking its definition. As Benjamin Franklin said, “without continual growth and progress, such words as improvement, achievement, and success have no meaning”.
Beauty and the Beast (2017)
Disney’s live action remake of Beauty and the Beast was the highest grossing movie of the 2017. This clever and sumptuous re-imagining of the 1991 animated feature film grossed $1,263,521,126 at the box office worldwide. The studio wisely decided to retain the iconic songs composed by Alan Menken, Howard Ashman and Tim Rice, as it was clear that they were an integral part of the original films popularity and critical success. Director Bill Condon cleverly oversees the transition from animation to live action with a film that is tonally right, witty, and genuinely emotional. The story and characters are defined in such a fashion as to have appeal to multiple age groups. His even-handed approach to the material and inherent understanding of the genre, means that Beauty and the Beast is extremely accessible. Although being very dependent on modern computer generated visual effects and numerous sequences played out against green screen environments, this is still very much a story driven tale.
Disney’s live action remake of Beauty and the Beast was the highest grossing movie of the 2017. This clever and sumptuous re-imagining of the 1991 animated feature film grossed $1,263,521,126 at the box office worldwide. The studio wisely decided to retain the iconic songs composed by Alan Menken, Howard Ashman and Tim Rice, as it was clear that they were an integral part of the original films popularity and critical success. Director Bill Condon cleverly oversees the transition from animation to live action with a film that is tonally right, witty, and genuinely emotional. The story and characters are defined in such a fashion as to have appeal to multiple age groups. His even-handed approach to the material and inherent understanding of the genre, means that Beauty and the Beast is extremely accessible. Although being very dependent on modern computer generated visual effects and numerous sequences played out against green screen environments, this is still very much a story driven tale.
The film has an outstanding ensemble cast of quality character actors (Ewan McGregor, Stanley Tucci, Emma Thompson and Ian McKellen), all of whom do their own singing. Emma Watson is well cast as Belle and performs keys songs such as songs "Belle" and "How Does a Moment Last Forever (Montmartre)" superbly. I was very impressed with Luke Evans as Gaston, who sports a robust baritone singing voice. All performances are spot on in an appropriate idiom for such material. The script manages to find the right balance between the requisite comedy, drama and scares. Furthermore, the film has a handsome production design, blending both historical styles with Disney’s signature aesthetic. Tobias A. Schliessler’s cinematography uses all the colours of the spectrum, creating a vivid and lush visual canvas. Furthermore, Beauty and the Beast finds the right blend of song and narrative exposition and does not suffer any lulls in its story arc. If you are a cinephile then you’ll especially enjoy the song “Be Our Guest” which features a cornucopia of homages to the golden age of the Hollywood musical.
Although I clearly fall outside the target demographics for such a movie, I found Beauty and the Beast to be entertaining and greatly appreciated its craft as well as cinematic literacy. It would be foolish to compare it to Jean Cocteau’s sublime 1946 version, as they are not like-for-like equivalents. Disney’s Beauty and the Beast is a lavishly tooled and polished, but unashamedly commercial undertaking. A finely tuned and honed product that has been specifically designed to be sold to a clear audience. However, that is not to say that such undertakings cannot be entertaining and Beauty and the Beast more than meets that requirement. If Disney manages to produce a similar re-imagining for The Lion King, then I suspect that consumer goodwill will guarantee another killing at the box office. The question just remains as to whether the public appetite for such remakes is sustainable, but I suspect that the answer is yes.
Gaming Amnesia
Due to the time of year, I’ve been looking through the various games that I own and considering whether I should revisit any. To cut a long story short, I’ve decided to give The Elder Scrolls Online another go. So, I duly downloaded and installed the client only to find myself utterly confounded by it. In a nutshell, I have completely forgotten how to play the game. This problem is further compounded by two other factors. Firstly, the controls and layout are more akin to that of Skyrim than of a typical MMO. Secondly, this is a game that relies on mods to significantly enhance its user interface. The plain vanilla client is somewhat lacking. Therefore, a new or returning player has to do a considerable amount of “homework” to before they can effectively enjoy the game. However, this is not a problem unique to this MMO. Putting aside the issue of mods, I have a case of what I shall term “gaming amnesia”, a malady that becomes increasingly common the more games you play.
Due to the time of year, I’ve been looking through the various games that I own and considering whether I should revisit any. To cut a long story short, I’ve decided to give The Elder Scrolls Online another go. So, I duly downloaded and installed the client only to find myself utterly confounded by it. In a nutshell, I have completely forgotten how to play the game. This problem is further compounded by two other factors. Firstly, the controls and layout are more akin to that of Skyrim than of a typical MMO. Secondly, this is a game that relies on mods to significantly enhance its user interface. The plain vanilla client is somewhat lacking. Therefore, a new or returning player has to do a considerable amount of “homework” to before they can effectively enjoy the game. However, this is not a problem unique to this MMO. Putting aside the issue of mods, I have a case of what I shall term “gaming amnesia”, a malady that becomes increasingly common the more games you play.
Much of this problem stems from my absence from the game. I haven't touched ESO for over a year. In the intervening time I have played several other MMOs and numerous single player games. My brain is filled with multiple keyboard controls and UIs, all conflicting with each other. Apart from some basic commonality such as WSAD keys for movement and the number keys bound to various attacks and heals, the subtleties of ESO have been completely lost to me. As any teacher will tell you, you need to immediately put into practise what you've been taught, if you wish to retain it. Obviously, MMOs can't all share an identical control interface, so I usually learn how to navigate through a new game’s systems by repetition. So, it is hardly surprising that I have forgotten so much under the circumstances.
This problem manifests itself all the time with my gaming activities. If I have spent a few months playing an FPS, then I'll often find myself holding down the Left Shift key in another game and expecting my character to sprint. Or mashing the wrong keys to bring up a HUD or induct a skill that is not even present. Whatever is the most recent seems to be the information that persists. This in fact raises the question as to whether games have too many skills options; a point that has been addressed with more recent, action combat driven MMOs. Both Guild Wars 2 as well as the ESO, restrict the number of skills on the hotbar. It’s a far cry from the chronic skills bloat seen in such games as SWTOR and LOTRO. Both those titles have some skills that are so negligible to game play they can be ignored. However, there is a risk with a more limited number of skills to use that combat can become somewhat mundane and arbitrary. This is a flaw that remains unchanged in Secret World Legends despite its recent revision.
The best solution for my “gaming amnesia” problem in ESO is to roll a new character and start the game from scratch, rather than try to continue from where I left. This is often the case with most games, unless you have invested a substantial amount of time and effort in your previous alt. Then the solution is to do your “homework” by readings guides and watching “let’s play” videos. Furthermore, a variant of this problems can occur with game sequels. I played Middle Earth: Shadow of Mordor right up to the release of the Shadow of War. Although about two thirds of the game controls and skills remained in the latest instalment, the introduction of new and advanced variants of existing abilities caused confusion. I would frequently press a key when playing the sequel and find that it didn’t do the same as in the previous game. Overall, it would seem that the more games you play the more there is too learn and subsequently forget. Again, perhaps the solution to this issue is to focus on one game at a time.
Delivery Culture
Yesterday being a bank holiday, we decided to slum it and go to McDonalds. We toyed with the idea of ordering via my phone and having a home delivery, but this would incur an additional £5 charge. So, we decided to drive to our local High Street and get a takeaway. Now for those who haven’t been to McDonalds for a while, there are now separate order and collection points in the “restaurant”. If you especially despise human interaction you can use one of the touch screens to order and pay. I guess the older system where food was pre-prepared in anticipation of purchase proved too wasteful. Who can say? Whatever the reason, serving the needs of the customer was probably the last consideration. But I digress. I duly made my order then tried to stand in a place where I didn’t obstruct other customers and waited for my order to be prepared. There’s a large information screen above the collection counter so you can track your order number which is printed on your till receipt.
Yesterday being a bank holiday, we decided to slum it and go to McDonalds. We toyed with the idea of ordering via my phone and having a home delivery, but this would incur an additional £5 charge. So, we decided to drive to our local High Street and get a takeaway. Now for those who haven’t been to McDonalds for a while, there are now separate order and collection points in the “restaurant”. If you especially despise human interaction you can use one of the touch screens to order and pay. I guess the older system where food was pre-prepared in anticipation of purchase proved too wasteful. Who can say? Whatever the reason, serving the needs of the customer was probably the last consideration. But I digress. I duly made my order then tried to stand in a place where I didn’t obstruct other customers and waited for my order to be prepared. There’s a large information screen above the collection counter so you can track your order number which is printed on your till receipt.
It took 12 minutes to prepare my food from scratch, which I considered reasonable as it was very busy. Not all felt so accommodating. However, it should be noted that two thirds of those waiting for their orders where not customers but delivery drivers. All of whom were dressed accordingly for driving mopeds and other sundry velocipedes. Although all seemed to be amicable individuals, their bulky attire and restricted vision due to their helmets, meant they often got under each other’s and everyone else’s feet. I also noticed on the information screen that online orders had a different identifying code. Furthermore, it appeared to me that these orders were being given priority, as they tended to be far larger in quantity. I’m sure I wasn’t the only customer to deduce all this, given the grumbling by some of the waiting. Again, although this system may work well for the staff both cooking and serving, I remain sceptical of it’s merits from a bog-standard customer perspective.
Spot the online orders
Now this anecdote is a segue into a wider point about delivery culture as this post is not exclusively about the iniquities of McDonalds in the UK. On demand culture is everywhere these days. If it can be sold and physically transported, then retailers will offer to bring it to your door. Due to recent family illness, I too have availed myself of these services. In 2017, I don’t think a week went by without an Amazon, Argos or grocery delivery of some kind arriving. If you want it now, then you can effectively have it now. But like any cultural change there are consequences and knock on effects. Traffic and therefore pollution levels in Greater London are on the rise, despite regulation of vehicle emissions and legislation such as the congestion charge. The sheer number of vehicles on the road is growing, rapidly. Department for Transport figures show the number of delivery vehicles registered in the capital rose by 12 per cent in the last decade, partly driven by internet shopping. Last year, around 7,300 entered the capital every hour during the morning rush-hour.
The Bringer of Gin...
At the moment, a perfect storm of economic factors has made delivery culture both viable and marketable. Fuel prices have dropped and until recently, low interest rates and inflation have buoyed consumer spending. Need I drone on about the shift in our culture towards the commodification of everything and happiness through consumerism? But there is scope for the financial stability of the UK to change in 2018 and it is not impossible to conceived of operating costs increasing to a point where delivery culture no longer remains cheap and accessible to all. Potentially, something that is currently a universal convenience, could end up becoming yet another indicator of the divide between the haves and have nots. Then there are other aspects of this phenomenon to consider. Home deliveries are a contributory factor to the ongoing slow death of the local high street. Online retail is killing local businesses. Furthermore, not going to the shops is yet another nail in the coffin of the populations general health and wellbeing.
This post initially stemmed from a simple observation made from day-to-day life. Perhaps it is my age and my increasing awareness that I’ve seen so much change during my lifetime, that makes me ponder on such matters. Like many issues, the more you dwell upon it, the more convoluted the matter becomes. As I write I’ve just been struck by the irony of a McDonald’s home delivery. Fast food, which for years has been labelled the ruination of a country’s health, is now being brought to your very front door, thus negating the small health benefits brought about by going to the “restaurant” in person. As for delivery culture, I suspect it is ultimately both economically and environmentally unsustainable. I wonder what will happen when it becomes unavailable to certain parts of society? How well will such a change be received? If there are indeed, major economic problems ahead, will there be a time when home delivery couriers become the target of increased crime? Only time will tell. I hate to end the post here, with so many unanswered questions but I have to go. You see I’m expecting a delivery later.
Knowing When to Stop
I bought several games in the run up to Christmas. The November release window, coupled with Black Friday and other seasonal sales meant that half of the games I purchased in 2017 were done so in the last quarter of the year. I also pre-ordered two premium titles over the last twelve months, which is something that I don’t often do. I pushed the boat out on both occasions and paid for the top tier version of each game. Ironically, although some of these titles were good and entertaining, many have failed to hold my interest and I found myself returning to the tried and tested MMO Star Trek Online for entertainment. As New Year is usually a time for sober reflection, I have concluded that I have fallen victim to that common gamer malady; namely “the grass is always greener” syndrome. Furthermore, I think I may have succumb to seeking a retail high.
I bought several games in the run up to Christmas. The November release window, coupled with Black Friday and other seasonal sales meant that half of the games I purchased in 2017 were done so in the last quarter of the year. I also pre-ordered two premium titles over the last twelve months, which is something that I don’t often do. I pushed the boat out on both occasions and paid for the top tier version of each game. Ironically, although some of these titles were good and entertaining, many have failed to hold my interest and I found myself returning to the tried and tested MMO Star Trek Online for entertainment. As New Year is usually a time for sober reflection, I have concluded that I have fallen victim to that common gamer malady; namely “the grass is always greener” syndrome. Furthermore, I think I may have succumb to seeking a retail high.
For some, pursuing pleasure through shopping is just a bit of harmless fun and even a social activity. Hence the phrase “retail therapy” has entered common parlance. But for others, it's a real problem and can be very harmful. It certainly isn’t the path to happiness. Irrespective of what end of the spectrum you are, buying a game that you never really play or get full value from is somewhat unnecessary. It's good news for the publishers but for your bank balance. These spur of the moment purchases all add up over the course of the year, be they £60 for a new premium product or £5 for a budget title on Steam. I’m sure I am not alone in losing hard drive space to games that never get played. I have several hundred titles in my Steam library. I have played about a third.
This is also a situation that happens in other hobbies and pastimes. I have entire seasons of TV shows queued up on my DVR or PC, waiting to be watched. I spend hours perusing Netflix and Amazon Prime, adding titles to my watch list and then subsequently ignoring them. Also, I have numerous movies screeners, Blu-ray boxsets and DVDs, all neatly stacked in date order, waiting to be watched and reviewed. And don't get me started on my reading to do list. I have been quite good of sticking to my policy of reading a new book every month, but my pile of essential reading is getting out of control. It teeters precariously on the shelves, a constant reminder of my unrealistic ambitions and chronic leisure time deficit.
So, I have decided, in accord with the season, that I'm drawing a line under both these habits. I intend to be far more discerning with my future purchases and less impulsive. It is time to reacquaint myself with the concept that you cannot do everything. Furthermore, I shall be applying this philosophy to my creative projects this year. From now on I am only going to do as much as I can do. At least that way I can maintain some sort of level of quality. Better to do a few things well than a lot of things poorly. From now on I will pick the shows and movies that I watch carefully. As for gaming I think I will have to choose a title or two and stick with them. A return to MMO monogamy as it were. This way I have a realistic chance of achieving all my leisure and creative goals I’ve set myself in 2018.
Goodbye 2017
Frankly, I won’t be sorry to see the back of 2017. Personally, it was a very difficult year for my family. I won’t bore you with details but to say that it has been trying is an understatement. Then of course there have been wider issues to consider. Politically, socially and economically the UK is currently very divided. Fear and anger seem to drive and dominate all debate and public discourse. Furthermore, there doesn’t seem to be a cure to these issues on the immediate horizon. So, I don’t think 2018 is going to be a radical improvement with regard to these matters. However, despite there being much beyond our control, we can always look to ourselves to improve things for those we love and our own immediate situation.
Frankly, I won’t be sorry to see the back of 2017. Personally, it was a very difficult year for my family. I won’t bore you with details but to say that it has been trying is an understatement. Then of course there have been wider issues to consider. Politically, socially and economically the UK is currently very divided. Fear and anger seem to drive and dominate all debate and public discourse. Furthermore, there doesn’t seem to be a cure to these issues on the immediate horizon. So, I don’t think 2018 is going to be a radical improvement with regard to these matters. However, despite there being much beyond our control, we can always look to ourselves to improve things for those we love and our own immediate situation.
So, I’ll be posting a list of plans and projects tomorrow because I think it’s important to set goals and targets. Working towards something be it in a game or in content creation, can be very therapeutic. It can end up being the one thing that you do get to control and manage effectively, compared to the fluid nature of day-to-day life. Plus, I have a rather old school attitude toward the concept of continuous self-improvement. I like to learn new skills. So overall, I’m hoping I can be emotionally self-sufficient in 2018 and not get weighed down by tabloid hysteria and bandwagon jumping politics. Just focus on the task in-hand and stay content.
So, it just remains for me to wish you all the best in 2018. I hope goes well for you and yours in the year ahead. Also, thanks very much for stopping by and visiting Contains Moderate Peril in 2017. I hope you’ve had as much fun reading this stuff as I’ve had writing it. It’s been very rewarding to see audience grow over the last twelve months. Hopefully they’ll be more of the same in 2018. If I can encourage any of you lot to indulge in some kind of content creation in the months ahead, I would thoroughly recommend it. It’s fun. Plus, I need some new stuff to read and listen too. To ensure that 2017 ends on a positive note, I'd like to leave you with a picture of Walter wearing a crown from a Christmas cracker. Happy New Year.
A Year in Podcasting
2017 didn’t quite go to plan with regard to my personal podcast output. Brian and I decided to stop producing the Burton & Scrooge Podcast and return to creating material under the Contains Moderate Peril brand. This was a good idea in so far as consolidation, but it was ill timed as both of us were somewhat fatigued with podcasting per se. Ultimately Brian decided to take a break and pursue some projects of his own. I decided to push on with podcasting in my usual idiom and I was pleased with the three new shows that were produced. Sean, Brax, Jaedia and Wolfy were extremely obliging and great guests, but ultimately my schedule just couldn’t sustain a regular show. Hence, I re-released some “classic” shows to fill the gaps in the run up to Christmas. As a result of all these changes and the delays, the overall numbers for the show have been disappointing. Although statistics are not the only reason why I podcast, they are important as I was hoping to grow the audience this year. That has patently not happened although it is nice to know there’s a loyal core group of listeners. Therefore, I now have to think long and hard about my podcasting plans for 2018.
2017 didn’t quite go to plan with regard to my personal podcast output. Brian and I decided to stop producing the Burton & Scrooge Podcast and return to creating material under the Contains Moderate Peril brand. This was a good idea in so far as consolidation, but it was ill timed as both of us were somewhat fatigued with podcasting per se. Ultimately Brian decided to take a break and pursue some projects of his own. I decided to push on with podcasting in my usual idiom and I was pleased with the three new shows that were produced. Sean, Brax, Jaedia and Wolfy were extremely obliging and great guests, but ultimately my schedule just couldn’t sustain a regular show. Hence, I re-released some “classic” shows to fill the gaps in the run up to Christmas. As a result of all these changes and the delays, the overall numbers for the show have been disappointing. Although statistics are not the only reason why I podcast, they are important as I was hoping to grow the audience this year. That has patently not happened although it is nice to know there’s a loyal core group of listeners. Therefore, I now have to think long and hard about my podcasting plans for 2018.
Although I’ve enjoyed many of the topics that have been regularly discussed on the Contains Moderate Peril podcast, I find myself tiring of the failings of the game industry and the iniquities of many of its fans. However, my passion for movies and the cinema per se is still strong and it’s a subject I would like to pursue at some depth. Sadly, I have yet to find someone who would like to co-host such a show, so the alternative is to produce a solo podcast. This requires writing a detailed script for each episode, which is time consuming and complex. Such a format would then have to be a monthly undertaking to allow the time to produce it. After some experimentation and due consideration, I don’t think I can accommodate such a project in conjunction with my regular blogging and the book I’ve decided to complete. I suspect that I may have to take a sabbatical from podcasting in 2018, which is frustrating to say the least.
Thankfully, many of my friends and colleagues have not been stymied by their production schedules and have continued to produce regular good quality show throughout the course of the year. Pixels & Dice, Aggro Chat and Battle Bards, as well as How is the Movie? remain the backbone of The Gaming and Entertainment Network. Outside of our own collective it’s been an exceptionally good year for the Geek to Geek Podcast. Hosts Void and Beej have consistently covered a broad range of subjects and are happy to differ in opinion on many of them. Their enthusiasm and dedication has been constant over the last twelve months. Mike Muncer’s Evolution of Horror was another great discovery this year and has proven to be fun, engaging and extremely knowledgeable about its subject. I’d also like to congratulate Will Ross and Mike Taylor who continue to explore quality literary horror in their aptly named A Podcast to the Curious. Despite there being a perceived dumbing down in other media, many podcasts still maintain extremely high standards. In many respects we are spoilt for choice at present as the medium really does seem to have come into its own. Therefore, I am confident that 2018 will be a good year of quality shows and entertaining content.
A Year in Blogging
My blogging goal for 2017 was to write a post every day. Due to family illness, I’ve missed approximately 10 days during the course of the year, however considering the circumstances I feel I have done well to maintain such a schedule. Compared to 2016 which saw the website decline and even go offline for a while, 2017 has been far more productive. Traffic has increased, and I feel that Contains Moderate Peril is finding an audience once again, as it did during it’s heyday in 2014. Broadening the scope of subjects that I write about has proven a sound decision and one I would recommend to other bloggers. It certainly allows for greater freedom of expression and technically, if nothing is off the table, then there’s always something to write about. Subsequently, I can see from my website statistics that the readership is becoming increasingly diverse and global in nature. As a writer, I therefore feel that it has been a successful year and I am satisfied with what has been achieved. My writing process has improved, and I can order my thoughts and structure a blog post far quicker than I use to.
My blogging goal for 2017 was to write a post every day. Due to family illness, I’ve missed approximately 10 days during the course of the year, however considering the circumstances I feel I have done well to maintain such a schedule. Compared to 2016 which saw the website decline and even go offline for a while, 2017 has been far more productive. Traffic has increased, and I feel that Contains Moderate Peril is finding an audience once again, as it did during it’s heyday in 2014. Broadening the scope of subjects that I write about has proven a sound decision and one I would recommend to other bloggers. It certainly allows for greater freedom of expression and technically, if nothing is off the table, then there’s always something to write about. Subsequently, I can see from my website statistics that the readership is becoming increasingly diverse and global in nature. As a writer, I therefore feel that it has been a successful year and I am satisfied with what has been achieved. My writing process has improved, and I can order my thoughts and structure a blog post far quicker than I use to.
Outside of my own writing, there are still many fellow bloggers who continue to write on a regular basis, sharing their thoughts and expressing their views. I try to read as broad a spectrum of writing styles and opinions as possible, as this is not only entertaining but can often provide an invaluable source of material to reply to or debate. I also follow one blog whose author’s world view is the complete opposite of mine. This is mainly to see how others think, irrespective of whether their views have been formed through analysis or critical thinking. Again, it can provide some interesting prompts for writing. Furthermore, as my gaming horizon inevitably contracts many of the blogs I follow, keep me informed about games I no longer play or aspects of the industry that I no longer focus upon. Then there are a few that I read just because I enjoy the author’s writing style or personality. Gaming can become awfully serious at times. I like those writers that still remember it’s also about having fun.
Sadly, there were some bloggers that decided to hang up their spurs this year. Real life demands, and pressures are usually the main reason for this. However, for some writers, there were less pleasant factors that led to their decision. Negative comments, abuse or the sheer blinkered zealotry of certain fans can certainly erode one’s pleasure in writing. Misogyny and prejudice still abound online, and the current political climate seems to have emboldened certain parties. Then there is the matter of blog post comments per se, which are few and far between these days. I have given up trying to encourage them. What responses I do get to my writing are often via Twitter. This situation just seems to reflect the changing nature of online social interaction. And it would also be remiss of me if I didn’t mention how I miss writing based online events such as the Newbie Blogger Initiative and Blaugust. Perhaps we will see someone else pick up the baton in the next twelve months and arrange something.
I intend to keep blogging in 2018 but it will be less frequent. I haven’t decided on my new schedule as of yet, but it will no longer be daily. I have a non-fiction book that remains unwritten, despite a great deal of preliminary work and planning. This will be my primary writing focus in the months ahead. I have a clear timetable and an end date that I wish to achieve. Perhaps I can blog about the process of writing something more substantial than a blog post? We shall see. In the meantime, I’d like to thank everyone who has visited Contains Moderate Peril in 2017 and helped make it such a good year. If you are thinking about writing in 2018 I would certainly encourage you to do so and stick with it. Google loves a website that posts new content regularly. Writing is also a very rewarding pastime and a great way to improve your written and analytical skills. We also need more rational and measured voices contributing to our online community.
A Year in Movies
I have always enjoyed the experience of going to the cinema and I still consider it a great night out. Watching an engaging film with good company and then discussing it afterwards over drinks or a meal is one of life’s great pleasures. Sadly, over the course of 2017 I’ve only gone to see a movie at my local multiplex three times. This has nothing to do with audience behaviour or the standard of my local cinema. Both are surprisingly good. This is all down to the films that dominated cinemas at present. Although I have no major axe to grind with the fantasy genre, I do not wish an exclusive cinematic diet of such material. I have seen sufficient Super Hero movies for the present and have become tired with high concept, blockbuster, CGI driven actionfests. It concerns me that viewers who predominantly watch such movies are missing out on a wealth or broader material that could expand their tastes and horizons. I could also argue that mainstream cinema is becoming increasingly infantilised but perhaps that is best left for another blog post.
I have always enjoyed the experience of going to the cinema and I still consider it a great night out. Watching an engaging film with good company and then discussing it afterwards over drinks or a meal is one of life’s great pleasures. Sadly, over the course of 2017 I’ve only gone to see a movie at my local multiplex three times. This has nothing to do with audience behaviour or the standard of my local cinema. Both are surprisingly good. This is all down to the films that dominated cinemas at present. Although I have no major axe to grind with the fantasy genre, I do not wish an exclusive cinematic diet of such material. I have seen sufficient Super Hero movies for the present and have become tired with high concept, blockbuster, CGI driven actionfests. It concerns me that viewers who predominantly watch such movies are missing out on a wealth or broader material that could expand their tastes and horizons. I could also argue that mainstream cinema is becoming increasingly infantilised but perhaps that is best left for another blog post.
A ticket at my local cinema costs between £9 and £12. Prices vary often according to the movie and its distributor. I paid several pounds more than usual when seeing Star Wars: The Last Jedi for example. There is also the additional cost of travel as well as food and drink to be considered. So, it is not unusual for me to spend £25 even if I just go on my own. Although this is not an exorbitant sum, I do think long and hard about whether the film being seen will be sufficiently entertaining, before committing to buying tickets. All too often the movies do not inspire or enthuse me enough to justify a visit. Furthermore, the gap between a movies theatrical release and its availability for home viewing, seems to be getting shorter and shorter. Blade Runner 2049 was shown in theatres from October 6th. It became available on iTunes on December 26th, less than two months later. Furthermore, some titles if they perform poorly in certain regions will subsequently bypass the cinemas elsewhere and go directly to streaming services. This also happens for films that have faired well at the box office. Sometimes services such as Netflix or Amazon Prime will pay a premium to have access to certain titles early. I was surprised to find The Foreigner starring Jackie Chan appear on UK Netflix from December 15th.
So, bearing all the aforementioned points in mind, I have managed to select three movies I feel are good examples of quality film making in 2017. Of this three, the first one I saw in the cinema upon its release. The other two I saw via VOD. First off, there was Christopher Nolan’s Dunkirk. A minimalist (in so far as dialogue) retelling of the Dunkirk evacuation of 1940, narratively framed within three simple, yet absorbing tales of heroism. An Intelligent and thought-provoking piece of cinema without any nationalist or political posturing, although some tried to erroneously couch it in those terms. Next was Edgar Wright’s old school action thriller Baby Driver. This is a film that works well on multiple levels. It is a wonderful homage to sixties and seventies heist movies. It also a well-crafted thriller and human drama. It has great performances, prefect editing and pacing with an eclectic yet innovative score. Finally, I was surprised and immensely impressed by Vince Vaughn’s performance in Brawl in Cell Block 99. Directed by Craig Zahler (Bone Tomahawk), this character driven drama about a prisoner who is forced to extremes to protect his family and settle a debt, features worryingly credible fights, all framed and edited in a style that flies in the face of the contemporary cinematic aesthetic. Yet it is still the story and acting that dominate the proceedings.
Setting aside the issue of the respective quality of mainstream Hollywood film making, there is another issue that has reached a head in 2017. Professional movie criticism has found itself increasingly at odds with fandom. Furthermore, fandom has become more adversarial in its relationship with film makers. The subtlety and nuance of a well-considered review, written by a cinematically literate critic, has been eclipsed by the arbitrary and two-dimensional nature of review aggregation websites such as Metacritic and Rotten Tomatoes. Distilling a movie into just a mark out of five is not exactly good for engendering balanced and broad cinematic appreciation. Also, such aggregation services can be manipulated to make “a point”. Furthermore, the recent fan furore over Star Wars: The Last Jedi shows that for many viewers, their relationship with film is inherently different from others. They see big movie franchises as vehicles for fan service; things to be crafted to their specific desires. The notion of cinema as art and as such being subject to the vision and whims of its makers, does not sit well with them. This perspective has odd parallels with that erroneous crowdfunding mindset and the misguided notion that simply because you like and financially support something it somehow guarantees creative input. Fandom may well end up being a contributory factor to the death of the blockbuster franchise movie.
It is customary to make prediction regarding the forthcoming year. The only one I feel confident in making is that I shall probably go to the cinema less in 2018. Despite some high-profile failures, the main studios seem to still have nothing but sequels, reboots and big budget tentpole releases lined up for the next twelve months. Thankfully, there is a healthy market for older, obscure and cult movies on home media and streaming. Furthermore, these are often remastered and released in high definition. So, although I may find myself absent from my local multiplex, I doubt if I’ll want for quality entertainment. As for titles that I’m looking forward to, I await Paddington 2 to be released on VOD. I’m also intrigued by Guillermo del Toro's The Shape of Water. I suspect that this may well be a serious Oscar contender. Then of course we should not overlook that both Netflix and Amazon Prime are now making their own feature films. They have both the budgets and the market research to entice known directors to work for them. Again, this change in consumer habits has scope to have a major impact upon film in 2018.
A Year in Gaming
As 2017 draws to a close, it is time once again time to reflect upon the subject of gaming as it has remained a primary form of entertainment for me over the last twelve months. I have enjoyed most of the new titles that I’ve bought this year but not all of them. There’s been some that have failed to please and others that have proven to be flawed. Then there has been my ongoing relationship with the MMO genre as I still have a handful of these games installed on my PC. Let it suffice to say that only one of these titles has managed to maintain my interest. I suspect that the MMO genre per se is in for a year of change in 2018. As for the wider aspects of gaming, I wouldn’t say it has been an especially edifying year for the game industry or the associated fan culture. The “goodwill” based band-aid that has remained in place for the last few years was finally torn off in 2017, exposing a festering self-inflicted wound.
As 2017 draws to a close, it is time once again time to reflect upon the subject of gaming as it has remained a primary form of entertainment for me over the last twelve months. I have enjoyed most of the new titles that I’ve bought this year but not all of them. There’s been some that have failed to please and others that have proven to be flawed. Then there has been my ongoing relationship with the MMO genre as I still have a handful of these games installed on my PC. Let it suffice to say that only one of these titles has managed to maintain my interest. I suspect that the MMO genre per se is in for a year of change in 2018. As for the wider aspects of gaming, I wouldn’t say it has been an especially edifying year for the game industry or the associated fan culture. The “goodwill” based band-aid that has remained in place for the last few years was finally torn off in 2017, exposing a festering self-inflicted wound.
I started off the year by purchasing The Elder Scrolls Online Imperial Edition, as I fancied spending time in an MMO. Sadly, the game failed to grab my attention. This was mainly due to having spent so much time playing Skyrim and being somewhat burned out on the entire Elder Scrolls vibe. I also found the requirement for mods somewhat troubling, feeling that a game should have adequate UI facilities present. It’s also a very solo friendly MMO, which in some way negates its multiplayer status. Why not just play a fully customised version of one of the earlier games in the franchise? I also tried in 2017 to make a sustained return to LOTRO. Northern Ithilien held my interest but once the game moved onto the Black Gates it soon waned. Mordor is a great zone on paper but its grindy requirements and relentlessly dour environment killed my passion. STO remains a casual friendly experience and due to there being regular events throughout the year, it facilitates setting goals and achievements. I also jumped on the Destiny 2 bandwagon and was surprised how agreeable it is. Its genre spanning nature scratched several of my gaming itches.
My single player experience was also varied in 2017. For Honor proved to be exactly as I expected; gripping in principle but beyond my personal skillset to play to any degree of success. However, Sniper Elite 4 proved to be a sound buy. The main game and DLC were well conceived and their extensive game maps allow for multiple and varied play throughs. I also dabbled with co-operative play which proved a very interesting experience. Overall this was rewarding purchase as I clocked up over 91 hours in-game. Thanks to discount key sites, I managed to purchase several titles at low prices. I bought Mafia III after it was reduced by 75% and enjoyed the games central story. I also pre-ordered the Gold Edition of Middle-earth: Shadow of War and secured a discount. Although the structure of that game has been compromised to accommodate microtransactions, I still liked the gameplay and the preposterous lore-breaking narrative. 2017 also included some minor surprises. I was not expecting further DLC for Two Worlds II but Topware released both new single player and co-op content. I was also intrigued by the recent update to Star Trek: Bridge Crew, allowing the game to be played in conventional desktop mode, rather than VR.
Of course, it wouldn’t be a year in gaming without some sort of controversy and man did 2017 have one. The blight that is microtransactions which has been slowly spreading from mobile gaming to the so-called Triple A scene, reached a head November. Star Wars: Battlefront II received such a backlash from its customer base that the story even appeared in mainstream news. Disney eventually intervened and ensured that EA suspended the real money loot boxes in the game. It would appear that the genie is finally out of the bottle and loot box culture is now coming under the scrutiny of legislative bodies all over the world. Apple has recently waded into the debate as it wants loot box odds to be fully disclosed. What happens next is anyone guess but I think that game developers may have to rethink the monetisation of their games. I also think that the tide is slowly turning with regard to early access and games that launch in a patently broken state. I avoided buying Friday the 13th: The Game until six months after it’s problematic release and I still feel that it is very much a work in progress. Several high-profile gaming commentators are loudly advocating a boycott of this trend and I think it may be getting some traction. Time will tell.
2017 once again validated my position of distancing myself from parts of the gaming community. The past twelve months have shown that a substantial number of gamers remain unreconstructed, self-centred, emotionally illiterate man-children. Developers, journalists and You Tube personalities are still regularly threatened and abused if something that is vaguely controversial is said. Outdated and blinkered views about gaming and its culture still abound. You only have to see how Jim Sterling’s Commentocracy has raised the hackles of the usual suspects, to recognise that gaming culture is still far from united. However, I believe this stems from a broader malady that seems to be permeating all aspects of modern life. But the hate, bile and stupidity are not the total picture and there are still many bloggers, streamers and content creators that celebrate and promote the positive side of gaming. I intend to make such individuals my focus in 2018. I’m not one for making predictions but I have a feeling that 2018 may be a milestone year for gaming. Potentially it presents an opportunity for the industry to either get on track or alternatively implode and suffer a slow long death. Perhaps next year’s review will have the answer.
The Fetishisation of Christmas
Over the course of my life, Christmas has changed from a major religious holiday to a secular, commercialised undertaking. Although I am far from keen on the rampant consumerism that is now an integral part of the season, at its core Christmas is still about goodwill to others and a sense of coming together. So, if you’re expecting this to be a “Bah Humbug” post, then I’m sorry to disappoint you. However, I would like to focus on one aspect of Christmas culture that has grown exponentially over the years. It’s a phenomenon that seems to happen to most customs and rituals that persist in our consumer-focused society. Namely the fetishization of Christmas. By that I mean the way in which Christmas is packaged, marketed and shoe-horned into every possible commercial opportunity. We’ve reached a point culturally, where if we are exposed to a set of standardised faux seasonal stimuli, we are expected to have a specific Pavlovian response. For example, if I create a yuletide tableau featuring “snow”, “roaring fires” and “angelic children singing carols” one is contractually obliged to respond with what is colloquially referred to as “Christmas feels”.
Over the course of my life, Christmas has changed from a major religious holiday to a secular, commercialised undertaking. Although I am far from keen on the rampant consumerism that is now an integral part of the season, at its core Christmas is still about goodwill to others and a sense of coming together. So, if you’re expecting this to be a “Bah Humbug” post, then I’m sorry to disappoint you. However, I would like to focus on one aspect of Christmas culture that has grown exponentially over the years. It’s a phenomenon that seems to happen to most customs and rituals that persist in our consumer-focused society. Namely the fetishization of Christmas. By that I mean the way in which Christmas is packaged, marketed and shoe-horned into every possible commercial opportunity. We’ve reached a point culturally, where if we are exposed to a set of standardised faux seasonal stimuli, we are expected to have a specific Pavlovian response. For example, if I create a yuletide tableau featuring “snow”, “roaring fires” and “angelic children singing carols” one is contractually obliged to respond with what is colloquially referred to as “Christmas feels”.
If you do a little research, you soon discover that many of the customs and affectations of Christmas are bogus and were simply created by marketers. Our contemporary imagining of Santa Claus, ritual of decorating Christmas Trees, sending cards and the very meal we eat on Christmas day have all been shaped via commercial forces. Even a lot of the Christian heritage associated with Christmas has been taken from earlier pagan customs. Simply put Christmas has been distilled into a handful of arbitrary tropes and memes. A series of audio-visual cues that are designed to elicit a pre-programmed emotional response. Furthermore, these cultural markers are continuously added to, increasing the list of existing cues. Hence Christmas is effectively a fetish. By buying into the concept of Christmas (as it exists in a secular, consumer society), displaying and abiding by specific associated cultural markers (trees and lights, festive knitwear), one is signalling one’s participation in the process. Allegedly, the by-product of all this will be “fun” as you trigger all the associated cues.
Christmas in the non-Christian sense of the word has become one of many social occasions and events that are totally commodified. Christmas is now something that has effectively becomes a process. In fact, this seems to be a growing trend in our culture. In the past you would find obscure regional variations in seasonal festivities. Sadly, much of these have been eroded by more commercial activities. In fact, there is a growing trend of American origin, for all social occasions and activities to be formalised and standardised. Halloween has in recent years grown in popularity and spread throughout the UK and Europe with all its US commercial trappings. Senior schools now have a prom, again something that was conspicuously absent in my youth. Yet this insidious standardisation and commodification process, rather than engendering an event with real fun, actually seems to diminish it. Another aspect of this fetishization process are the self-appointed arbiters who feel compelled to ensure that everyone abides by the rules.
However, there is one positive aspect to emerge from this entire phenomenon. Because people are aware that many activities, rituals and traditions are artificial constructs, it empowers them to create their own. We can establish out own activities and habits among our own circle of friends and family and eschew those commercial ones that we dislike. The internet can be used to then propagate new ideas and help spread them globally. Plus, we shouldn’t ignore the fact that many of the pre-existing commercial activities associated with Christmas are still enjoyed by many people. I am certainly not advocating the denial of other peoples “fun”. I am merely contemplating its rectitude and longevity. From my experience the best social activities tend to happen organically. Trying to control all variables to force a specific outcome may well be prudent in science but is not exactly the best approach for social interaction. As for the fetishization of Christmas, the more it becomes homogenous and contrived, the more I shall pursue my own agenda. I suspect that over time, others may well do the same.
A Year in Social Media
Although Twitter has changed a great deal since 2010, when I first joined, I still find it very enjoyable experience. It is my primary social media platform compared to Facebook and Instagram. Don’t get me wrong, I’ve had to mute several people (including some whom I like) and a ton of keywords over the last twelve months, so my timeline doesn’t become a portal into the seventh circle of hell. Contrary to the usual arguments that get trotted out, I don’t live in an echo chamber. I follow a diverse and eclectic group of people with a broad range of view and opinions. I simply filter out those who hold a binary view on all major issues and have with a predilection for being bellicose, bombastic and crass. If your default reaction to everything is get angry first and ask questions later, I think I can live without your opinions. Be that as it may, 2017 has been an especially rewarding year with my Twitter friends and I have greatly appreciated their company.
Although Twitter has changed a great deal since 2010, when I first joined, I still find it very enjoyable experience. It is my primary social media platform compared to Facebook and Instagram. Don’t get me wrong, I’ve had to mute several people (including some whom I like) and a ton of keywords over the last twelve months, so my timeline doesn’t become a portal into the seventh circle of hell. Contrary to the usual arguments that get trotted out, I don’t live in an echo chamber. I follow a diverse and eclectic group of people with a broad range of view and opinions. I simply filter out those who hold a binary view on all major issues and have with a predilection for being bellicose, bombastic and crass. If your default reaction to everything is get angry first and ask questions later, I think I can live without your opinions. Be that as it may, 2017 has been an especially rewarding year with my Twitter friends and I have greatly appreciated their company.
Like many people of my age, I’ve found that my personal social circle has shrunk over the years. It is simply the reality of growing older. I have a handful of close friends who I endeavour to see every few months, but my social life isn’t anything like it was when I was twenty. But I’m fine with this because I regularly interact with like minded individuals on Twitter. Through the process of day-to-day banter, I’ve got to know a lot of people. Despite being from various corners of the globe and different backgrounds, there is so much common ground. I like to check in with folk on Twitter, exchange ideas and post pictures and anecdotes about the absurdity of life in the UK. It’s great fun when others do the same and I find out about some minor cultural difference where they live, that I wasn’t aware of. Also, like some others out there, it’s been a difficult year for me. There’s been a lot of illness in my family. Sometimes the odd kind remark on social media can really make the difference. It has for me.
Although I still write and podcast, I no longer look to social media to drive traffic to my work. It actually makes up a small percentage of my blog traffic. Persistently posting material every day seems to be the best way to raise your profile but that’s a separate matter. Twitter now is mainly for fun and that is the way it will remain until it ceases to be so. However, I have learned a few things this year about the foibles of social media. I tweeted a minor political post to the TV and Radio broadcaster James O'Brien in Autumn, which he then subsequently retweeted. For the next two days my timeline was swamped by notifications of further retweets and comments that I was automatically copied into. It made conducting my usual badinage difficult. I also made the mistake of correcting someone who had misinterpreted something I had written. Sadly, as it was to do with an ongoing political demonstration, you can guess how it ended. For the next six hours I was copied into an argument that grew exponentially between so many people, that ignoring or muting them all became impossible.
I have two old friends that have moved to the US and we have a private Facebook page where we catch up. Apart from this one activity my relationship with this social media platform has declined. Frankly I’m bemused why it remains so popular with people, however a casual perusal of Facebook groups and pages has shown me why it is such a great tool for political propaganda. With regard to Instagram I’m afraid I have turned into one of those persons who just posts picture of his grandchildren. But this is the nature of social media. You use the platforms that suit you in a manner that fits your needs. If I were thirty years younger and embarking upon a career as a professional writer, I would certainly look into how to harness these powerful tools to my advantage. But I’m not, so I’ll more than likely just continue to post my own “unique brand” of humour online and hang out with my Twitter chums in 2018. And why not, as the late, great Barry Norman use to say.
A Christmas Carol (1999)
This version of Dickens novel is a very serious and somewhat sombre affair. Patrick Stewart not only stars in this 1999 TV movie but also has a producer credit. Anyone who is familiar with the actor will be aware of his long-standing passion for this tale, as he has starred in several one-man stage performances and narrated an audio book version. Stewart plays his Scrooge as more of an arrogant and aloof businessman. It’s a different Scrooge to that of George C. Scott or Alistair Sim. Here he is much more fearsome and bitter than he is cold and loathsome. Richard E. Grant is a touching, vulnerable Bob Cratchit, who looks decidedly poor and malnourished. There is a more tangible depiction of real poverty here than in other adaptations. The three ghosts are portrayed in a manner closer to the source text, although I could have done without the glowing eyes of the Ghost of Christmas Yet to Come.
This version of Dickens novel is a very serious and somewhat sombre affair. Patrick Stewart not only stars in this 1999 TV movie but also has a producer credit. Anyone who is familiar with the actor will be aware of his long-standing passion for this tale, as he has starred in several one-man stage performances and narrated an audio book version. Stewart plays his Scrooge as more of an arrogant and aloof businessman. It’s a different Scrooge to that of George C. Scott or Alistair Sim. Here he is much more fearsome and bitter than he is cold and loathsome. Richard E. Grant is a touching, vulnerable Bob Cratchit, who looks decidedly poor and malnourished. There is a more tangible depiction of real poverty here than in other adaptations. The three ghosts are portrayed in a manner closer to the source text, although I could have done without the glowing eyes of the Ghost of Christmas Yet to Come.
In many ways, apart from Patrick Stewart’s presence, what makes this version of A Christmas Carol standout from others is its attention to detail and the inclusion of many minor details from Dickens story. For example, Scrooge travels with the Ghost of Christmas Present and visits people from all walks of life celebrating Christmas. This includes Lighthouse Keepers, Sailors, Coal Miners and even convicts in Prison. It’s an important aspect of the text that shows how Scrooge slowly begins to understand the wider meaning of Christmas and its significance to people. There’s also a greater focus upon Fred’s Christmas Day party which provides an explanation as to why he doggedly indulges his obnoxious Uncle year after year. We also get to see more of the escapades or Mr Topper, who is conspicuously single.
It’s a curious thing that for a production that spends so much time and effort, bringing such an accurate depiction of the story to the screen, it paradoxically makes quite a few changes to the original colloquial dialogue. Perhaps this was a conscious decision to try and make the film more accessible to contemporary audiences. Given the budgetary limitations, the film has quite a handsome production design although it can be a little studio bound at times. Overall this is a sufficiently different production that maintains one’s interest, despite being familiar with the story arc. If I were to venture one criticism of this version, it would be that it does feel at time more like a lecture on Dickens’ work, lacking in personal warmth. Yet it compensates for this with its level of detail.
Why I'm Still Sceptical About Virtual Reality
Earlier today I Star Trek: Bridge Crew as it’s currently on sale reduced by 50%. Now you may politely think to yourself “what has that got to do with the price of Brussel Sprouts”? Well, it is a game that has been primarily designed for use with a VR headset. However, the latest patch released yesterday, allows for the game to be played conventionally without a VR headset, using either a controller or keyboard and mouse. If we take a moment to pause and reflect on this change it is quite significant. A VR game just opted to broaden its appeal and accessibility. Does this not tell us something about the current uptake of VR gaming? Is it a case that it is not the industry “game changer” that some predicted? Surely not, I here you say.
Earlier today I Star Trek: Bridge Crew as it’s currently on sale reduced by 50%. Now you may politely think to yourself “what has that got to do with the price of Brussel Sprouts”? Well, it is a game that has been primarily designed for use with a VR headset. However, the latest patch released yesterday, allows for the game to be played conventionally without a VR headset, using either a controller or keyboard and mouse. If we take a moment to pause and reflect on this change it is quite significant. A VR game just opted to broaden its appeal and accessibility. Does this not tell us something about the current uptake of VR gaming? Is it a case that it is not the industry “game changer” that some predicted? Surely not, I here you say.
I consider the subject of virtual reality in gaming to be very akin to that of 3D and 48FPS in cinema. All have a place in specific markets and can potentially enhance certain products. But none of these enhancements are universally required for all future content. For example, I have always thought that 3D works best in key genres and that it's essentially gimmicky nature enhances horror movies and other material of a sensational and exploitative nature. Friday the 13th 3D was the epitome of this. However, a movie such as Glengarry Glen Ross does not require such a cinematic conceit. It really comes down to common sense. And therefore, exactly the same argument is applicable to virtual reality.
Specific genres of games would be enhanced immensely from a fully immersive 3D environment presented via virtual reality. Consider the sort of gaming experience VR could bring to Skyrim, Shadows of War or any of the major MMO? Yet I'm sure we can also think of a wealth of games that do not require such an all-encompassing embellishment such as this? Simplicity and a stripped back GUI are part of the appeal of a game such as Stardew Valley. I don’t think a title such as this would see any sort of improvement through being accessible in VR. Not every product needs to be adapted for this medium. However, can we rely on the gaming industry to be so discerning? Trends are seldom bucked and more often than not are slavishly adhered to.
For me one of the most off-putting aspects about VR is the requirement for a bulky headset to be placed on the head effectively isolating you from your real-world environment. It is one of the reasons why I don't like watching 3D movies for too long. I saw The Last Jedi recently in 3D (out of necessity), and due to its length watching in that format was particularly challenging. Likewise, I suspect a long gaming session with a VR headset would be curtailed once I hit a state of sensory overload. Nausea and motion sickness are already known issues. I hope that adequate research is undertaken regarding any potential long-term health issues. It only a matter of time before there is scaremongering in the tabloids about the perils of VR.
In some respects, VR is yet another example of the gaming industry becoming too enamoured with the technical trappings of its business. The best games ultimately have something far simpler at their core. An engaging concept or mechanic. A strong narrative or easy accessibility. If a game has these qualities, then the front end does not always have to be adorned with bells and whistles. Yet I suspect that only a few companies will have the foresight to realise this or the courage to be sparing with the use of virtual reality. I have a suspicion when an economically viable form of VR is achieved that there may be as much disappointment with them medium as there is joy. As for 2017, so far it has not proven to be the break-out year for VR.
Classic Game Themes: The Lord of the Rings Online
One of the most compelling aspects of The Lord of the Rings Online is its soundtrack. The score, mainly written by Chance Thomas and featuring additional material by Stephen DiGregorio, is comparable to that of any major feature film in its scope, sophistication and musical accomplishment. Chance Thomas favours a leitmotif for each race and culture which then vary as the game’s narrative progress. Stephen DiGregorio focuses more upon thematic or ambient pieces that capture the spirit of an area or region. Despite different styles and approaches, both composers contribute to a vivid score that has become an additional character in the overall game over the last decade. Middle-earth is an immense world with an ever-present sense of history and deep lore. The soundtrack for the game taps into this narrative vein and uses it to create a rich and nuanced audio soundscape.
One of the most compelling aspects of The Lord of the Rings Online is its soundtrack. The score, mainly written by Chance Thomas and featuring additional material by Stephen DiGregorio, is comparable to that of any major feature film in its scope, sophistication and musical accomplishment. Chance Thomas favours a leitmotif for each race and culture which then vary as the game’s narrative progress. Stephen DiGregorio focuses more upon thematic or ambient pieces that capture the spirit of an area or region. Despite different styles and approaches, both composers contribute to a vivid score that has become an additional character in the overall game over the last decade. Middle-earth is an immense world with an ever-present sense of history and deep lore. The soundtrack for the game taps into this narrative vein and uses it to create a rich and nuanced audio soundscape.
Over the past ten years, selected material from the games soundtrack have been available on limited edition CDs and digital download. Sadly, a comprehensive release has never been forthcoming. This year’s tenth anniversary saw a new compilation become available, but it contained only a few unreleased tracks. It is a great shame that a more substantial collection has not been produced as I believe there are plenty of dedicated LOTRO fans who would jump at the opportunity to own a comprehensive CD collection of the games entire soundtrack. At present the only way to access all the music contained within the game is data mine it from the installation files. This is a relatively complex task and produces a substantial directory of files in .ogg format, none of which are named.
Because the majority of music that features in LOTRO is written by Chance Thomas, he often becomes the focus of attention when discussing the games soundtrack. His work is of the highest calibre and he certainly seems to have a strong understanding of the musical needs of the game. As a result, his works sometimes eclipses that of Stephen DiGregorio. Personally, I do not consider Stephen’s work to be inferior. There are several of his tracks that I have great affection for. If I have one complaint it is mainly to do with the arrangement, which at times sounds like it is using the most basic of synthesisers and musical sequencers. However, I have often thought that this has been due to budget. Hiring quality composers is more than likely expensive enough. Performing and recording with a full orchestra in a studio is probably prohibitive financially, hence there is a reliance on more economical solutions.
Because of my personal history with LOTRO (it was the first MMORPG that I played) and my enjoyment of the soundtrack, I thought I would post several tracks that are among my favourites. It’s a difficult choice as there is a decade’s worth of material to choose from spanning numerous updates and expansions. There is also a minor issue regarding track names as they can vary depending on what material you have. For example, on the original Shadow of Angmar soundtrack digital download there is a track called “Let us sing together”. This features again on the 10th anniversary CD under the name of “The House of Tom Bombadil”. It’s a minor complaint but it can cause a degree of confusion. Some of the tracks on the anniversary album are also alternative recordings or edited versions of the cues that feature in the game.
Silent Hope plays as you stand on the threshold of Bag End and look out across Hobbiton. Taken from the Shadows of Angmar soundtrack and composed by Chance Thomas, the track is the very essence of LOTRO. Whenever listening to this particular piece of music I always reflect upon Frodo and Sam embarking upon their momentous journey, yet holding on to their inherent Hobbit common sense and decency. It a sublime music cue.
The Hollin Gate is the first track on the Mines of Moria soundtrack by Chance Thomas. It a beautifully realised track that encapsulates the fading Elven beauty of the region. It also has a vaguely portentous quality to it, hinting at the mystery and adventure that lies ahead.
Triumphant Will is from the Helm’s Deep soundtrack by Stephen DiGregorio and plays during several of the Epic Battles. With its harmonious vocalisation and sequential nature is has a hint of Morricone about. This is a track I would very much like to hear performed by a full orchestra and choir as it would improve it immensely.
Corruption and High Treason features on the Riders of Rohan soundtrack and is by Chance Thomas. It’s a subtle variation of the main Rohan theme for the region. When it plays out at night in Snowbourn, it is wonderfully atmospheric, reflecting the earthy beauty of Rohan and the ongoing intrigue of Saruman in the region.
Finally, the last track I’ve chosen has been extracted direct from the game and therefore I do not know its correct name. It is an ambient piece that plays in and around Minas Tirith prior to the Battle of Pelennor Fields. Composed by Stephen DiGregorio it is a wistful and introspective piece reflecting an ailing Gondor. Again, when I listen to it I here shades of the great Morricone in the lead trumpet. A beautiful piece.
Kingsman: The Golden Circle (2017)
Matthew Vaughn’s sequel to his hit 2015 movie is a curious affair. At times it hits the same heights of its predecessor, but it also frequently misses the mark and lapses into self-indulgence. The stylised approach of the first movie is maintained and again the spy genre is skewered and satirised with a keen eye. Yet as this is a sequel there’s a requirement to be bigger than before and it is this exponential growth that at times tips the balance between keeping the audience on board with the joke and simply over egging the entire concept. A clever cameo featuring Elton John, later becomes an extended joke that then drags on to be a clumsy vignette that out stays its welcome. This succinctly highlights the flaw that runs throughout the film. It’s a real shame that Kingsman: The Golden Circle is so uneven because it has moments of great potential and an absolute superb score.
Matthew Vaughn’s sequel to his hit 2015 movie is a curious affair. At times it hits the same heights of its predecessor, but it also frequently misses the mark and lapses into self-indulgence. The stylised approach of the first movie is maintained and again the spy genre is skewered and satirised with a keen eye. Yet as this is a sequel there’s a requirement to be bigger than before and it is this exponential growth that at times tips the balance between keeping the audience on board with the joke and simply over egging the entire concept. A clever cameo featuring Elton John, later becomes an extended joke that then drags on to be a clumsy vignette that out stays its welcome. This succinctly highlights the flaw that runs throughout the film. It’s a real shame that Kingsman: The Golden Circle is so uneven because it has moments of great potential and an absolute superb score.
Plot wise it’s all somewhat arbitrary. After an unexpected encounter with failed Kingsman initiate Charlie Hesketh (Edwards Holcroft), Eggsy (Taron Egerton) finds that the Kingsman organisation has been virtually wiped out. Along with Merlin (Mark Strong), the pair follow the Doomsday protocol, which leads them to Statesman, a secret American organisation posing as a Bourbon whiskey distillery in Kentucky. They soon learn that the attack upon them was made by Poppy Adams (Julianne Moore) head of the Golden Circle drug cartel who is now blackmailing the US government through the use of poison drugs, to legalise and regulate the sale of proscribed substances. Eggsy also discovers that his former partner and mentor Harry Hart is alive but has lost all memory of his time working for Kingsman. Over the top action, CGI violence and laddish dialogue ensues.
There are some very entertaining ideas featured within Kingsman: The Golden Circle. Poppy Adams’ jungle lair sports an enjoyably kitsch fifties aesthetic, featuring gleaming bowling alleys, diners and nail salons. Because she trusts technology more than people the film features a pair of sinister robot dogs. Then there’s the fun idea of Statesmen, the US equivalent of the Kingsman organisation who sell fine liquor rather than hide behind a Saville row tailors. It boats a quality cast featuring the likes of Jeff Bridges, Pedro Pascal, Halle Berry and a somewhat underused Channing Tatum. There also a clever homage to 007 and On Her Majesties Secret Service, with an amusing set piece in a cable car and mountain Alpine lair. Yet in-between such promising scenes there are several less involving subplots such as the ongoing relationship between Eggsy and Princess Tilde. Also, the laddish humour strays from lampooning to endorsing at times and again there is an ill judged “joke” involving intimately placing a tracking device on a female suspect.
The extended limb-breaking, CGI assisted fight scenes feel even more procedural than last time around, but they fail to top Harry’s church massacre from the previous movie. Thus, we end up with a movie that feels flabby and could easily have fifteen minutes being excised from it’s running time. I must admit, I did like the bold and somewhat controversial idea of the US President secretly facilitating Poppy Adams drug based epidemic, as it would win the war on drugs in one go. But for every good idea in Kingsman: The Golden Circle there are others that fail to engage. I get the impression that writer/director Michael Vaughn perhaps spent too much time servicing fans needs at the expense of focusing on what made the first film witty, knowing and on point. Kingsman: The Golden Circle is not an out and out failure, but it is annoyingly uneven and as a result somewhat unsatisfying. I expect such problems from mainstream Hollywood blockbusters but not from more independently minded film makers. If we must have a third instalment, let us hope Mr Vaughn keeps his eye firmly on the ball next time.
Time for a New Phone Again
Two years ago, I renewed my contract with Vodafone and upgraded my mobile handset to a Samsung Galaxy S6. It has served me well over the last twenty-four months but the battery has been playing up of late and the phone barely survived a day on a full charge. Luckily, I became eligible for a new handset last week, so I decided upon the Samsung Galaxy S8. Now technophiles and phone aficionados have all informed me (AKA bored me) that there’s a newer Samsung handset being released in spring 2018. But my relationship with gadgets and the like has radically changed and I am no longer compelled to be at the cutting edge of technology. The S8 is more than adequate for my needs and is a tried and tested model. It arrived today and mercifully migrating all my personal data was an easy process, thanks to cloud based backups.
Two years ago, I renewed my contract with Vodafone and upgraded my mobile handset to a Samsung Galaxy S6. It has served me well over the last twenty-four months but the battery has been playing up of late and the phone barely survived a day on a full charge. Luckily, I became eligible for a new handset last week, so I decided upon the Samsung Galaxy S8. Now technophiles and phone aficionados have all informed me (AKA bored me) that there’s a newer Samsung handset being released in spring 2018. But my relationship with gadgets and the like has radically changed and I am no longer compelled to be at the cutting edge of technology. The S8 is more than adequate for my needs and is a tried and tested model. It arrived today and mercifully migrating all my personal data was an easy process, thanks to cloud based backups.
Annoyingly, the tariff that I’ve enjoyed for the last two years has now been retired and I was forced to move to another, which has resulted in a £6 a month increase. Subsequently, I now have a larger data allowance, not that it’s required, as I have a plethora of wireless networks saved on my phone. Whenever I visit someone these days, one of the first questions I ask is “what are your Wi-Fi details?” or something similar. Such is modern life. Frankly, the entire manner in which I use my phone has changed in recent years. Where it used to be a work tool, it is now mainly an administrative platform for my parent’s needs. I have multiple taxi apps, as well as others designed to re-order medication and book hospital and clinic visits. My calendar is a litany of appointments for others rather than myself.
My phone is currently the primary means for me to listen to podcasts. I travel a lot locally and this presents a lot of “dead time” that is ideal for catching up with my favourite shows. I also like to carry a selection of my own music, as my esoteric tastes don’t always align with streaming services. Luckily the S8 has a Micro SD card slot so I can bring what I like with me. WhatsApp is also an invaluable way to stay in touch with my wider family. Samsung phones have also had quality cameras for several years now and I do find myself taking more photos these days. Furthermore, it’s not all pictures of the grandchildren. We live in such an absurd world I often take a snap of anything that I find odd or quirky. Despite its flaws, I also still enjoy twitter and will often tweet while out and about, pointing out the strange foibles of life. Having a robust and quality phone allows me to do all these things easily.
I recent months I have made a concerted effort to separate myself from my phone in specific social and domestic situations. I still find the contemporary social etiquette regarding phone use a little discombobulating. I won’t dismiss out of hand the addictive nature of phones as I recently took time out to monitor how much I used mine and I do find myself checking it more and more. Hence I’m trying to show a degree of restraint. However, putting aside the issue of manners, I am of the opinion that phones are for better or for worse, essential tools nowadays. As a carer, managing the logistics of my parent’s lives would be far more difficult without the convenience of a phone. I recently went to a wedding in Hampshire and my phone was an invaluable navigational aid. I even paid in a shop recently for some miscellaneous crap using my Samsung Pay. So, while some folk may look to their flashy new phone for bragging rights, I see mine as an extension of my desktop computer. Either way, I wouldn’t be without it.
