Thoughts on Blogging Part 2
I usually write a post early on in the New Year in which I list the various goals I’m focusing on over the next twelve months. To date I have not done this because I am still trying to work out what I can and cannot accommodate within my current schedule. As a carer I’m kept very busy, but my weekly routine does offers windows of opportunity for writing. However, free time is a finite commodity, so I have to really cut my proverbial coat according to my cloth this year. Therefore, I’ve decided to pursue the following projects. I will continue to regularly post on Contains Moderate Peril as I enjoy having my own platform and certainly feel that I still have a lot to write about. Also, the audience is steadily growing, and I think it would be counter productive to fly in the face of such a development. I was also given the opportunity to write for MMOGames recently and have decided to accept this invitation. Writing to deadlines and deferring to editors, is an invaluable learning experience. Plus, it presents my writing to a wider audience which is great for brand awareness and other awful marketing terms.
I usually write a post early on in the New Year in which I list the various goals I’m focusing on over the next twelve months. To date I have not done this because I am still trying to work out what I can and cannot accommodate within my current schedule. As a carer I’m kept very busy, but my weekly routine does offers windows of opportunity for writing. However, free time is a finite commodity, so I have to really cut my proverbial coat according to my cloth this year. Therefore, I’ve decided to pursue the following projects. I will continue to regularly post on Contains Moderate Peril as I enjoy having my own platform and certainly feel that I still have a lot to write about. Also, the audience is steadily growing, and I think it would be counter productive to fly in the face of such a development. I was also given the opportunity to write for MMOGames recently and have decided to accept this invitation. Writing to deadlines and deferring to editors, is an invaluable learning experience. Plus, it presents my writing to a wider audience which is great for brand awareness and other awful marketing terms.
However, I have several other ideas and potential projects in development at the moment but it’s proving hard to determine which ones I should do. Some would be fun but are mainly driven by my personal preferences. Others are designed with an eye to reader involvement, which would potentially attract traffic. And as I ponder this matter, it has also dawned upon me how my bent for writing is slowly turning from a passion to a job. I’ve had to create a spreadsheet to track the various blog posts I have scheduled and I’m also setting constraints on the length of some posts, simply to ensure they can be turned around promptly. However, it is logical to put systems in place if you wish to manage a situation. For example, if I think it’s likely that I’m going to write about a film that I’m watching, I will always make notes about it. I also use of Pocket to save interesting articles and reviews that appear in my Feedly subscriptions. I also have a white board on the wall for ad-hoc ideas.
It’s a curious situation, trying to determine exactly when you go from being an enthusiastic blogger to a “writer”. In the past some would argue that you had to have something formally published in physical print before you could credibly claim such a title. Nowadays the criteria seem to be a lot different. Some known and established writers have stated that the title is something you just choose to label yourself and that is substantiated by your body of work. It certainly offers food for thought. I would add that getting paid for your work at some point helps. And while we’re on the subject of writing as a formal job, I’d like to point out I’m not a fan of the old adage “do what you love, and you’ll never work another day in your life”. I think it’s hogwash. If you wish to do anything to the best of your ability, it will require effort and dedication. It’s therefore going to be hard and if it doesn’t feel so, then I would suggest you’re doing it wrong. Work can be fun, but it is not play. Furthermore, I always hear this phrase bandied about by people of independent means, which pretty much negates their point. If you don’t have to do something just to get by, is it really a job?
Despite trying to set some time aside, I haven’t managed to sort out a podcast so far this year. I suspect I am going to have a rethink on that issue. Rather than produce my own show, I may have to see if I can find a slot on someone else’s, which is a big ask. I think this issue may be a separate post in itself. I also fear my aspiration to do a light-hearted stream while gaming, is going to have to be shelved. The movie club idea may still happen, as it could provide a regular article for Contains Moderate Peril. However, the main problem is picking a film to discuss, that is available on most video on demand platforms and therefore accessible. While I try to figure all these things out, I need to focus on my current writing, as that’s something I can manage at present if I stick to my schedule. It also occurs to me as I write this post, why so many people consciously decide to give up blogging or writing in general. It isn’t as easy or straight forward as some perceive it to be. Furthermore, we’re often our own worst enemy by being such hard taskmasters.
Black Sheep (2006)
Black Sheep is a high concept horror comedy from New Zealand. Featuring creative physical effects by Weta Workshop, this tale of genetically modified killer sheep, animal husbandry and environmentalism requires a very broad sense of humour and an abiding love for the “creature feature” sub-genre. It should be noted that the copy I watched was the unrated R1 DVD. This version is stronger in content than the R rated US theatrical release and yet was released at the UK cinemas with only a 15 rating from the BBFC. I suspect that the similarities in humour between the UK and New Zealand contributed to this somewhat low rating. That and the fact that horror comedy often gets a free pass because the humour always tends to mitigate the violence.
Black Sheep is a high concept horror comedy from New Zealand. Featuring creative physical effects by Weta Workshop, this tale of genetically modified killer sheep, animal husbandry and environmentalism requires a very broad sense of humour and an abiding love for the “creature feature” sub-genre. It should be noted that the copy I watched was the unrated R1 DVD. This version is stronger in content than the R rated US theatrical release and yet was released at the UK cinemas with only a 15 rating from the BBFC. I suspect that the similarities in humour between the UK and New Zealand contributed to this somewhat low rating. That and the fact that horror comedy often gets a free pass because the humour always tends to mitigate the violence.
The plot is somewhat rudimentary but appropriate to the genre. Two brothers grow up on a sheep farm. One, Henry Oldfield (Nathan Meister), becomes a sheepophobic (is that a proper word?) after his brother Angus (Peter Feeney) kills his pet and terrorises him with the carcass. Years later Henry discovers that his successful brother is conducting illegal genetic experiments with sheep. An experimental foetus is then accidentally unleashed after environmentalists (Oliver Driver and Danielle Mason) break into the farm. It's not long before those bitten by the monster sheep transform into sheep-human hybrids. Matters get worse as killer flocks rampage through the countryside, seeking human flesh.
Writer and director Jonathan King's debut feature is very matter of fact. You'll either love or hate this film and there is no middle ground. It's gory, crass and obvious. Yet there's some subtle digs at environmentalism, farming and political activism. There are some affectionate homages to the horror genre (one scene is straight out of An American Werewolf in London) and the whole enterprise is refreshingly unpretentious. There is also great cinematography by Richard Bluck and a wonderfully traditional soundtrack by Victoria Kelly which compliments the film greatly. Despite its subject matter and the occasional lapse into that theme we'd hope they wouldn't touch (i.e. sheep loving), Black Sheep is an amusing night's entertainment for those that approach it with the right state of mind. If you are easily offended and gore averse, best give it a miss.
LOTRO: Bullroarer Update 22 Build #1
A beta version of the latest update for LOTRO is currently available on the Bullroarer test server this weekend. Update 22 (Build #1) or Strongholds of the North, features Northern Mirkwood or Eryn Lasgalen as it known since the fall of Sauron and the destruction of Dol Guldur, as well as the Dale-lands. The area includes such iconic locations as The Halls of the Elven King, Lake Town, Dale and Erebor. As this is an early build, players cannot continue the epic story The Black Book of Mordor. At present, the map for the zone is simply a placeholder and serves little navigational purpose. At times the player marker vanishes from the map entirely. However, as Bullroarer is a test server, players can collect a free stipend of Mithril Coins from the Eyes and Guard Tavern and thus use swift travel to all five new stable locations.
A beta version of the latest update for LOTRO is currently available on the Bullroarer test server this weekend. Update 22 (Build #1) or Strongholds of the North, features Northern Mirkwood or Eryn Lasgalen as it known since the fall of Sauron and the destruction of Dol Guldur, as well as the Dale-lands. The area includes such iconic locations as The Halls of the Elven King, Lake Town, Dale and Erebor. As this is an early build, players cannot continue the epic story The Black Book of Mordor. At present, the map for the zone is simply a placeholder and serves little navigational purpose. At times the player marker vanishes from the map entirely. However, as Bullroarer is a test server, players can collect a free stipend of Mithril Coins from the Eyes and Guard Tavern and thus use swift travel to all five new stable locations.
Bearing this all-in mind, I spent a few hours this afternoon exploring the new area. I have not finished the Mordor expansion yet (mainly because I didn’t enjoy the area) so was careful when travelling around as my primary alt is still only level 109. Porting directly from the Eyes and Guard Tavern takes you to Felegoth, the Halls of the Wood Elves. As you would expect, the traditional Elven motif has been maintained in the art design, although there are subtle differences to other Elven enclaves. Because the Halls are mainly underground, the cavernous expanses are filled with stalagmites and stalactites. Yet unlike Dwarven delves, this area is brightly illuminated and has gardens and areas of natural beauty. The keen explorer will also find the dungeon cells where Thorin and his companions were held. There’s also a cellar with a substantial trap door and numerous barrels. One in particular is worth investigating.
Northern Mirkwood itself is a dark and dismal place, similar to its existing Southern counterpart. The light soon vanishes once you travel beyond the Elven King’s territory and the path twists and turns. Luckily, they’re wooden posts marking the trail, but it is important to stay vigilant or you can get lost. Places of interest in the immediate area include an encounter with Radagast and the Elven trading post of Loeglond on the edge of Long Lake. Upon exiting Eyn Ladgalen you enter Dale-land and discover a newly rebuilt and thriving Lake-town. This is very well realised and certainly captures the spirit of Tolkien’s original description from The Hobbit. If you travel downstream you come to the ruins of the old Lake-town and the remains of Smaug. It is a nice embellishment, similar to the remains of the Bridge of Khazad-dûm in the Foundations of Stone.
North of Lake-town the road leads to Dale which is a broader iteration of what already exists in LOTRO in the instance The Bells of Dale. I like the way the town straddle the tributaries of Long Lake and that water and fountains are a major feature of the design and architecture. Beyond Dale to the Northwest lies the guard post of Ravenhill. Within the small Dwarven edifice is Dís, mother of Fíli and Kíli. There is an entrance behind here, which for the present remains closed and suitably enigmatic. But the jewel in the crown in Erebor. It is large, impressive and gloriously Dwarven. Unlike other Dwarven hubs in Middle-earth, this one is quite linear in its layout and easy to navigate. You can also climb to the western spur of Erebor and survey the land below on the other side, although invisible walls hem you in at present.
I always like to explore I LOTRO and make it my business to investigate an area or region as thoroughly as I can. I like to follow the mountain ranges and other topographical features that Standing Stone Games use to funnel players from quest hub to quest hub. What seems to have become a habit in recent years, is that the areas in free updates are often expansive, but not necessarily functional. I got this impression again in parts of Northern Mirkwood and Dale-Land. However, this does not in any way mitigate the time and effort SSG has put into the design of this area. I also found three entrances/exists to the area. One to the South West that may lead to Southern Mirkwood. Another to the North East that may lead to the Iron Hills. I also discovered the Forest Gate which leads from Carrock. All of these “doorways” are currently blocked. Hopefully the next test build will have a more detailed map and will allow for a more accurate appraisal of the area. In the meantime, as ever, I like what I see and it’s reassuring to see the SSG are still maintaining their high standard of world building.
Punisher: War Zone (2008)
During the seventies, due to the soaring crime rate, failure of national politics and social backlash against the establishment, vigilante films and novels were very popular with the public. Michael Winner's Death Wish captured this sentiment perfectly. Although an exploitation film, it managed to maintain an intelligent and thoughtful edge, which certainly reflected the mood of the New York public of the times. Sadly, these issues where subsequently written out of most future screenplays due to the rise of the Hollywood action blockbuster. Moral subtexts and ethical conundrums were replaced by the sledge hammer ideology of might is right. Heroes were given badges and the official sanction of the establishment and destroyed two dimensional enemies, without any need for ethical reflection or inner introspection.
During the seventies, due to the soaring crime rate, failure of national politics and social backlash against the establishment, vigilante films and novels were very popular with the public. Michael Winner's Death Wish captured this sentiment perfectly. Although an exploitation film, it managed to maintain an intelligent and thoughtful edge, which certainly reflected the mood of the New York public of the times. Sadly, these issues where subsequently written out of most future screenplays due to the rise of the Hollywood action blockbuster. Moral subtexts and ethical conundrums were replaced by the sledge hammer ideology of might is right. Heroes were given badges and the official sanction of the establishment and destroyed two dimensional enemies, without any need for ethical reflection or inner introspection.
The Punisher started life in 1974, as minor character in The Amazing Spiderman comic. He was unique in the fact that he was not a traditional super hero with special powers. He was simply an ex-marine turned vigilante after his family were executed by the Mafia. Due to the mood of the times, he struck a chord with the readers and quickly became a franchise in his own right. Naturally, such a character was deemed to have box office potential and was subsequently adapted for the screen three times. Dolph Lundgren took the lead in Mark Goldblatt's competent 1989 production and Thomas Jane explored the character again in 2004 directed Jonathan Hensleigh's. However, these films strayed somewhat from the central character and tended to focus upon his emotional turmoil. Both make for interesting genre viewing but essentially miss the simplicity and enigma of the central theme.
In Punisher: War Zone, directed by Lexi Alexander, Ray Stevenson takes on the role of Frank Castle. Finally, the character gets the treatment they deserves, in a vehicle that truly captures the original spirit of the comics and graphic novels. Punisher: War Zone is a bleak, extremely violent action film which shows us a man who has lost his soul and functions only to punish the guilty. His work brings him no pleasure, redemption or salvation. It simply provides him with a reason to exist. The religious and philosophical aspects of this are touched on but not explored excessively. This is a film that does not delude itself or the public about what it is about. All the classic protagonists are present. There is a scarred crime boss called Jigsaw (Dominic West) who fills the role of nemesis. Then there is the collaborator and armourer Micro (Wayne Knight) who articulates the justification for our anti-hero. The voice of the establishment and public morality is represented in FBI Agent Paul Budiansky (Colin Salmon).
Despite having a very troubled production (which I won't go in to here), Punisher: War Zone is a professionally made genre picture with some strong action scenes. The cast and script are exactly right for this sort of film. Stevenson is given more to do with the role than you may expect and sells his performance perfectly. West does not attempt to go beyond what is required as Jigsaw. Unlike Heath Ledger's Joker he is not out to score psychological points but simply wants revenge. For the purist action movie fan this is as good as it gets. Shame the US critics didn't see it this way. They made the mistake of looking for more within the material, when more was not required. Perhaps political correct sensibilities demanded some sort of moral sub-text or epiphany. Sorry but you won't find them here. To have pandered to such themes would have totally mitigated the source material and have been an artistic insult.
Punisher: War Zone received a very limited release in the UK due to its poor US box office returns, back in 2008. The emotive nature of the entire subject, is something that often resonates with a good many members of the public. We live in a civilised society that has laws and courts and a process for dealing with crime. We ponder the motives of the guilty and we endeavour to treat them with more humanity than they did their victims. Yet, despite what our heads and moral compass tells us, somewhere in our hearts many off us crave for this kind of hard justice. We know that in reality it would not work, yet the concept of the righter of wrongs who deals in lead, is a potent one that does not go away easily. We live in times where our confidence in the system is sorely tested.
Punisher: War Zone is not for everyone and cannot be considered a mainstream film. It is however, honest enough to be exactly as it should. Why the executives over at Lions Gate picture decided to release this during the Christmas season of 2008 is beyond me. Again, I think this is another example of studio politics and how certain producers still lack confidence in R rated movies, preferring to explore more lucrative options. So, in one respect Punisher: War Zone is a minor milestone is so far as don’t see a picture of this kind too often. Eight years on, Deadpool is the most comparable comparison. As the rights to The Punisher have now returned to Marvel and the franchise has found a home on Netflix, it is highly unlikely we’ll see another cinematic outing again.
Shadow of War: Blade of Galadriel DLC
Warner Bros released a new story expansion for Middle-earth: Shadow of War on Tuesday as well as a patch that expands and “improves” the core game. Blade of Galadriel DLC, follows the adventures of Eltariel, an elite Elven warrior who is sent to Mordor to hunt the Nazgûl. As a playable character Eltariel wields dual blades and the uses the Light of Galadriel instead of a Ring of Power. There are also another eight unique Legendary Orcs added to main story campaign that can be recruited. The Nemesis System has been tweaked, introducing new traits and behaviours to Orc Captains. These include “Tunnel Rat” which lets Orcs burrow into the ground and summon Ghûls, and “Sniper Shot”, which causes archers to fire from great distances with pinpoint accuracy. “Tremor”, makes Ologs concussively hit the ground, staggering nearby foes and damaging structures. The “Gifts of Treasure” offers an alternate way to earn Gems and Mirian.
Warner Bros released a new story expansion for Middle-earth: Shadow of War on Tuesday as well as a patch that expands and “improves” the core game. Blade of Galadriel DLC, follows the adventures of Eltariel, an elite Elven warrior who is sent to Mordor to hunt the Nazgûl. As a playable character Eltariel wields dual blades and the uses the Light of Galadriel instead of a Ring of Power. There are also another eight unique Legendary Orcs added to main story campaign that can be recruited. The Nemesis System has been tweaked, introducing new traits and behaviours to Orc Captains. These include “Tunnel Rat” which lets Orcs burrow into the ground and summon Ghûls, and “Sniper Shot”, which causes archers to fire from great distances with pinpoint accuracy. “Tremor”, makes Ologs concussively hit the ground, staggering nearby foes and damaging structures. The “Gifts of Treasure” offers an alternate way to earn Gems and Mirian.
Photo Mode has also been upgraded, adding new filters, frames, styles, adjustable expressions, and stickers. I always enjoy this facility when it appears in a game and would like to see it available in more titles. Taking screen captures of alts has always been a major part of the fun of any RPG or MMORPG and developers should not overlook this. The latest DLC and patch have also added new Talion or Eltariel player skins for use in the main story campaign. There's also a new stat page, making it easier to keep track of your progress through the game. Plus, a Field of View option has been added which is something that players have regularly asked for. In any game where situational awareness is important, having a broad FOV in invaluable.
I played Middle-earth: Shadow of War heavily when it was released last October. It’s the sort of game that lends itself to intensive play and forging ahead through the storyline. The main selling point is the ridiculous, lore breaking narrative that takes substantial liberties with established canon. Yet if you’re prepared to suspend your sense of disbelief, it is an entertaining game. What becomes very clear after playing the new Blade of Galadriel DLC for about twenty minutes or so, is that apart from a new character skin and a few alternative skills, you’re doing exactly the same as what you did initially with Talion. It’s a classic example of same meat, different gravy which is fine if you can’t get enough of murdering Orcs. However, if you grew tired of this last time round, it’s not going to get any better this time.
Needless to say, as I have other games available at present that I’m more interested in pursuing, I decide to postpone exploring the Blade of Galadriel for the immediate future. Another reason to put it on hold is the simple fact that I’ve already forgotten most of the keyboard combinations for the special attacks and powers. Something that seems to happen a lot these days if I stop playing a game for too long. However, I will give credit where credit is due, because Monolith Studios have certainly provided a substantial amount of new content in this DLC. Furthermore, as a season pass holder there is still more to come later this year. I suspect that I will enjoy this new story at a later date when I want something a little less demanding than the MMOs I am currently involved with.
Feast (2005)
Feast is a low budget horror movie in which a remote redneck bar in Nevada, comes under siege from a group of carnivorous desert dwelling beasts. It’s hardly an original story but as always, the devil is in the detail. Where Feast differs from other similar films is that it offers you all the stereotypical characters and tropes that you expect to find in such a genre movie and then goes in completely in the opposite direction. The film is competently directed by John Gulager in a very contemporary style, with fast edits, deliberately obtuse protagonists and a liberal dose of gallows humour. Once the premise has been set, Feast does not waste a moment of its ninety-minute running time.
Feast is a low budget horror movie in which a remote redneck bar in Nevada, comes under siege from a group of carnivorous desert dwelling beasts. It’s hardly an original story but as always, the devil is in the detail. Where Feast differs from other similar films is that it offers you all the stereotypical characters and tropes that you expect to find in such a genre movie and then goes in completely in the opposite direction. The film is competently directed by John Gulager in a very contemporary style, with fast edits, deliberately obtuse protagonists and a liberal dose of gallows humour. Once the premise has been set, Feast does not waste a moment of its ninety-minute running time.
Feast takes a novel approach to its plot exposition. As we’re introduced to each character, there’s a freeze frame and a brief biography appears onscreen along with their projected life expectancy. This innovative approach is deliberately misleading and it’s not long before several cinematic sacred cows are profaned. Our hero is quickly defenestrated and decapitated and an “innocent” child also meets an unpleasant end. Subsequently, there are further amusing plot twists where characters behave contrary to genre convention. One individual who manages to reach a truck in the bar car park, does not return for their comrades but simply drives off.
It is this clever approach to its subject matter that makes Feast enjoyable and superior genre product. The cast (including Henry Rollins and Clu Gulager) are better than expected (and possibly what the movies deserves) but there are few characters that you feel sympathy for. Yet because of their erratic behaviour and flagrant disregard for horror movies tropes, you are kept involved. The marauding creatures are kept suitably off screen for a lot of the film. They wear dead animal skins and bones which also masks their appearance. Obviously, this is mainly due to budgetary reasons, but it also keeps them somewhat enigmatic. Exactly what they are and where they come from is left unanswered.
I watched a US unrated version of the film which contains a few extra seconds of violence here and there. Overall, this is a visceral horror movie containing eyeball violence, maggots, monster vomit, castration and a lot worse. It’s not intended for the casual viewer. However, what keeps Feast above average is its knowing contradiction of audience expectations and tongue in-cheek approach. The script was selected via the amateur filmmaking documentary series Project Greenlight. The producers include Matt Damon, Ben Affleck, Sean Bailey, and Chris Moore. As ever with the horror genre, the movie was far from a critical success but made sufficient money to generate two sequels. Feast makes for superior Friday night viewing and is therefore recommend purely as such.
The Hobbit by J.R.R. Tolkien (1990)
In 1989 Eclipse Comics produced a three-part adaptation of The Hobbit by Chuck Dixon, Sean Deming and illustrated by David Wenzel. A year later, due to public demand, this was subsequently re-issued as a single graphic novel that has remained in print ever since. The writers wisely chose to sensitively abridge Tolkien’s source text, rather than adapted the story and make any major changes. Hence this graphic novel version of The Hobbit retains much of the dialogue from the original novel and subsequently maintains the book’s inherent charm. There are no major plot omissions and the narrative flows well. The panel layouts are innovative and accommodate a wealth of written material without overwhelming the artwork.
In 1989 Eclipse Comics produced a three-part adaptation of The Hobbit by Chuck Dixon, Sean Deming and illustrated by David Wenzel. A year later, due to public demand, this was subsequently re-issued as a single graphic novel that has remained in print ever since. The writers wisely chose to sensitively abridge Tolkien’s source text, rather than adapted the story and make any major changes. Hence this graphic novel version of The Hobbit retains much of the dialogue from the original novel and subsequently maintains the book’s inherent charm. There are no major plot omissions and the narrative flows well. The panel layouts are innovative and accommodate a wealth of written material without overwhelming the artwork.
Tolkien's The Hobbit is a substantially different book to in comparison to The Lord of The Rings both in narrative style and tone. It was squarely aimed as children and takes a much lighter tone than its sequel. Artist David Wenzel captures this aspect superbly with rich, colourful illustrations. His visualisation of Middle-earth is lush and very European. His depiction of Bilbo Baggins, is suitably ruddy cheeked and rustic. He also distils the characters age and placid demeanour very well. His Goblins are scary but not the feral, demonic entities we see in Peter Jackson’s movies. His Dwarves are regal and less military than other depictions. Gandalf is especially understated, looking more like a village elder than a wizard. Overall the artwork is vivid, and all the characters are clearly defined, which significantly contributes to the readers emotional investment.
Part of the great appeal of Tolkien's work is the mental imagery that it inspires among readers. Tolkien often gave detailed description of people and places but always provided scope for those reading his books to conjure up their own unique interpretations. However, over the years a strong consensus on visual interpretations has developed, due to the popularity of Alan Lee's and John Howe's body of work. Their influence is such that both worked as creative consultants on both of Peter Jackson’s movie trilogies. David Wenzel's graphics are very different from this perceived status quo, yet clearly captures the essence of the story and offers strong characterisations. The Hobbit graphic novel also provides a great alternative introduction to Tolkien's work, without compromising the Professors narrative skills. This version of The Hobbit is therefore a welcome addition to anyone's bookshelf.
Game Complexity
While perusing You Tube, I watched the following video, boldly titled “The Top MMOs to Play This Year”. I found it to be quite informative and felt that the creator made their case well. However, one thing struck me about the five new MMOs that were referenced. All of these titles seem to be stepping away from the “business as usual” approach of the genre and pursuing an increase in complexity with respect to their game systems and mechanics. Now that’s not to say that existing MMORPGs are not complex. Some are, but I usually find that this is born out of skills or systems bloat and a games growth over time. On paper many of LOTROs mechanics are straightforward, but it is their implementation that is esoteric. This is not the same sort of complexity I saw referenced in the video. Many of these new MMOs will feature systems that need to be monitored, maintained or augmented by the player, because they have a direct impact upon the gameplay experience and the very environment of the virtual world they’ll inhabit.
While perusing You Tube, I watched the following video, boldly titled “The Top MMOs to Play This Year”. I found it to be quite informative and felt that the creator made their case well. However, one thing struck me about the five new MMOs that were referenced. All of these titles seem to be stepping away from the “business as usual” approach of the genre and pursuing an increase in complexity with respect to their game systems and mechanics. Now that’s not to say that existing MMORPGs are not complex. Some are, but I usually find that this is born out of skills or systems bloat and a games growth over time. On paper many of LOTROs mechanics are straightforward, but it is their implementation that is esoteric. This is not the same sort of complexity I saw referenced in the video. Many of these new MMOs will feature systems that need to be monitored, maintained or augmented by the player, because they have a direct impact upon the gameplay experience and the very environment of the virtual world they’ll inhabit.
The weather, the economy, faction feuds, coupled with mechanics such as ageing, permadeath and full corpse looting means that those playing Chronicles of Elyria will have to be cognisant of what is happening around, both at an in-game and community level. And it is this very level of complexity that will be a major selling point of the game. You will always find comments on gaming forums or websites such as Massively Overpowered, from some old school gamers lamenting the level of “hand holding” you find in contemporary MMOs. The industry shift in the last ten years to accommodate the so-called “casual” player has not been universally embraced. Therefore, any new title that dispenses with quest trackers, mini-maps and any of the other quality of life improvements must surely appeal to such advocates. Having to think and reason, as well as play collaboratively must surely offer an experience closer to that found in the golden age of MMOs; something such player always extol. Surely the element of risk presented by playing in such an environment, will be to their liking?
One thing is certain. If you wish to effectively play these new MMOs with their additional layers of complexity, then you will need to invest a substantial amount of time not only to progress through the actual game, but to track and master the various systems and variables that can impact upon your experience. You must also cultivate a mindset that accepts that external factors beyond your control will impact upon your time in-game. You may lose valuable resources, or your avatar may even die, effectively mitigating the time and effort you’ve spent. And therein lies the rub. Although on paper I find a lot of the complex parameters featured in these upcoming MMOs interesting, I wouldn’t choose to endure them. A decade ago I had the time and the dedication to invest in MMOs. I do not now and certainly wouldn’t choose to play a game with such a specific rule set. I play for amusement and leisure, not competition and bragging rights (as some seem to define gaming by). I simply don’t want a game that becomes a “job”.
What remains to be seen is whether these new MMOs with their complex and punitive rule set, find a sufficiently big enough player base to sustain themselves financially. I believe that there are gamers out there that will embrace such an approach and we’ve seen successful games of this nature in the past. It simply comes down to whether there is a viable market or not. I suspect that not all of these titles such as Chronicles of Elyria, Pantheon: Rise of The Fallen, Crowfall and Ashes of Creation will survive. When looking back at early MMOs, we must not overlook the context of the era that spawned them. Many factors such as internet connection speed, graphics quality, server technology shaped their design. Gaming itself was also not so common place an activity and pitching to a player base then, was radically different from the market we see today. So, I think that possibly only a few of these new titles will be commercially successful and the others will end up as interesting but ultimately failed experiments. As ever time will tell.
The Sword and the Sorcerer (1982)
The early eighties saw an interesting mini boom in the sword and sorcery films. Studios have always been quick to jump on any bandwagon and the growing popularity of the Dungeons and Dragons role playing games showed a potential market. Subsequently, there was a glut of material from the fantasy genre. John Milius’ Conan the Barbarian (1982) remains the benchmark for such movies with its blend of high adventure and philosophical musing. Other films of note include John Boorman’s Excalibur (1981), Dragonslayer (1981), Legend (1985), Krull (1983) and The Beastmaster (1982) to name but a few. All of them have an interesting pedigree with regard to their respective cast and directors. As always there were numerous poor and substandard entries, but we will not catalogue them here.
The early eighties saw an interesting mini boom in the sword and sorcery films. Studios have always been quick to jump on any bandwagon and the growing popularity of the Dungeons and Dragons role playing games showed a potential market. Subsequently, there was a glut of material from the fantasy genre. John Milius’ Conan the Barbarian (1982) remains the benchmark for such movies with its blend of high adventure and philosophical musing. Other films of note include John Boorman’s Excalibur (1981), Dragonslayer (1981), Legend (1985), Krull (1983) and The Beastmaster (1982) to name but a few. All of them have an interesting pedigree with regard to their respective cast and directors. As always there were numerous poor and substandard entries, but we will not catalogue them here.
However, big budget studio productions were not always a guarantee of success at the box office. Low budget independent films could equally compete within this niche market and the more lucrative entries would often followed a tried and tested formula. Take a perfunctorily script loaded with generic genre tropes, some nominally well-known TV actors, include large amounts of sword play and violence, throw in some gratuitous nudity and see if can bluff your way through ninety minutes. The Sword and the Sorcerer exemplifies this model having all these requisite attributes in spades. Surprisingly the results are an engaging, violent, lurid, tongue in cheek, wannabe epic, that dared to start a franchise.
The film starts with a portentous expository narration where we learn that the evil Titus Cromwell (Richard Lynch) is waging war with the good King Richard (Christopher Cary) for control of the kingdom of Ehdan. Cromwell, having been previously defeated by King Richard, uses a witch to raise the ancient sorcerer Xusia of Delos (Richard Moll) from the dead. Cromwell bargains with Xusia, who then unleashes his sorcery on the armies of Ehdan. King Richard’s eldest son dies bringing news of the impending defeat and it is decided to evacuate the remaining members of the royal household. Cromwell, now victorious, takes the opportunity to murder Xusia while he is weak from his witchcraft.
The King's youngest son, Talon is entrusted with his father's tri-bladed sword and leaves to meet with his mother and sisters. He only just escapes after seeing his father put to the sword by Cromwell himself. Matters get worse as he arrives to leave with his family, only to be ambushed by Cromwell's men. His remaining kin are killed and he sustains a serious hand injury. Vowing revenge, he disappears, leaving the kingdom that is rightfully his in the hands of his enemy, who assume he is dead.
Years later, rumours arise on the borders of Ehdan of a mighty warrior with his sword is for hire. It is also revealed that sorcerer Xusia is not dead but has been slowly regenerating over the years and plotting his revenge against the treacherous Titus Cromwell. Meanwhile there is a growing underground movement to depose Cromwell, led Prince Mikah (Simon MacCorkindale) and his sister, Princess Alana (Kathleen Beller), being the nephew and niece to dead King Richard. Among their secret network of supporters is Count Machelli (George Maharis), Cromwell's War Chancellor, who feeds them news from inside the palace. It is not long before all these individuals come together in violent conflict. Who will prevail and win the throne of Ehdan?
As you can see the script for The Sword and the Sorcerer is quite ambitious. Most genre films would not attempt to create such a complex story, with plots, duplicity and intrigue. The execution of these ideas is rudimentary but this was director Albert Pyun’s directorial debut. There are also some attempts to create interesting characters. Talon (Lee Horsley) in particular is supposed to be a charming, irreverent rogue with a ready sense of humour in the Errol Flynn vein. Simon MacCorkindale gives probably the best performance of the film as Prince Mikah, the anguished, dutiful, heir to the throne. Richard Lynch gives a typical flamboyant performance as Cromwell, bringing that uneasy quality he naturally had. Even Kathleen Beller plays Princess Alana, in a suitably feisty manner. Don’t get me wrong, this is far from Shakespeare but there is an inherent sense of fun and the material is suitably camp as well as schlocky, without being disrespectful to the genre.
Special attention should be given to David Whitaker's score. The music is very grand considering the scope of the production, with generous use of strings and brass. It is heavily influenced by classics score from Miklos Rozsa and Erich Korngold. “The Sword and The Sorcerer Overture" is a good example, where we hear the heroic main theme for the first time (See track below). It is when the music gets more light-hearted that it gets really interesting and enjoyable, for example in "The Bordello", where the main theme gets an upbeat and almost humorous rendition. This is a soundtrack that offers a wide variety of styles and moods, and for a modest genre film, is a quite sophisticated.
Despite the low budget The Sword and The Sorcerer has some well-choreographed set pieces and action scenes. Sadly, stuntman Jack Tyree died during the making of the film, when a high fall went wrong. Part of that stunt can still be seen. Fight scenes are perfectly adequate and the editing is also competent improving the overall film. The production design is ambitious, with creative sets, and stylish lighting. There’s a nice homage to Michael Curtiz in one fight scene, were a brazier is knocked over and the action proceeds in slow motion silhouette. The prosthetic work is well handled by now established names like Greg Cannom and Mark Shostrom. Xusia's tomb and full body make up are good examples of the standard of work. There is also a nice head bisection and skin shedding scene. I would also draw your attention to the implausible death on one character who meets his end via a foot peddle driven grind stone. See if you can spot the flaw in the plan.
The Sword and the Sorcerer is what it is. A low budget genre movie, with liberal quantities of sex, violence and humour. It should be judged on its own merits because it isn’t cut from the same cloth as a massive studio production such as Krull. It should also be noted that the film performed surprising well at the box office and was in fact the highest grossing independent movie of 1982. Yet the proposed sequel which was advertised in the end credits, was delayed due to the director’s other commitments. In the meantime, public tastes changed and the sword and sorcery boom was replaced by the next trend. Despite this, The Sword and the Sorcerer has gained cult status in recent years. It’s playful quality and knowing tone can still entertain thirty-six years on. Few other low budget movies from this genre can make such a claim.
Battle: Los Angeles (2011)
I recently decided to catch up with Battle: Los Angeles. I didn’t bother to see this film upon its initial release, because it struck me as just another generic, sci-fi action movie and I didn’t feel that merited the price of a cinema ticket. However, there are times when you want some easy entertainment, so tracked the film down on one of the VOD platforms I subscribed to. As I suspected, Battle: Los Angeles is a broad, mainstream, big budget action film that requires you to check your brain and sense of incredulity at the door. If you do so, you will be presented with two hours of formulaic entertainment that has the occasional flash of inspiration. I won't bother to list the by the numbers characters and plot line. You can more than likely predict these yourself. I will in the spirit of fairness focus on what I think are the good points.
I recently decided to catch up with Battle: Los Angeles. I didn’t bother to see this film upon its initial release, because it struck me as just another generic, sci-fi action movie and I didn’t feel that merited the price of a cinema ticket. However, there are times when you want some easy entertainment, so tracked the film down on one of the VOD platforms I subscribed to. As I suspected, Battle: Los Angeles is a broad, mainstream, big budget action film that requires you to check your brain and sense of incredulity at the door. If you do so, you will be presented with two hours of formulaic entertainment that has the occasional flash of inspiration. I won't bother to list the by the numbers characters and plot line. You can more than likely predict these yourself. I will in the spirit of fairness focus on what I think are the good points.
In the early stages of the film there is a great deal of plot exposition regarding the invasion, done via faux news footage. This is far from a new idea but it works quite well in this instance. TV is the means by which most people become aware and experience major catastrophes these days and this angle certainly added some realism. Director Jonathan Liebesman's decision to focus on the story from the ground forces point of view is a smart one. Despite the films large budget, this approach makes the story far more small scale and intimate. There is also a rather clever scene where the Marines find a wounded invader and rather than go down the clichéd route of trying to communicate with it, they simply try to find its weak spots and major organs. They subsequently butcher it. Irrespective of moral and ethics, this is a credible plot development.
Unfortunately, these engaging elements of Battle: Los Angeles are somewhat spread out among less creative material. The reticence to show the invaders is taken a little too far and the PG-13 rating means that the action lacks any real threat or shock. There is also the recurring Hollywood predilection to depict soldiers in a somewhat ill-disciplined light. I'm sure this isn’t the case in reality, especially in the prestigious and select units such as the US Marine Corp. It is also probably best to not start listing the major plot holes especially with regard to the invaders tactics. I would also like to point out that the whole "shaky cam" technique is well past its sell by date. Yes, it can on occasions create an artificial sense of reality but if it is used to the extent where observing what is actually happening is impossible, then it has patently failed as a cinematic technique.
Battle: Los Angeles is the embodiment of disposable entertainment. A few novel ideas help make the whole experience a little more palatable. Aaron Eckhart is a sufficiently robust actor to be able to carry the story and Michelle Rodriguez is far less bellicose than here usual screen persona. The main selling point is the films focus on experiencing the alien invasion from a front-line soldier’s point of view. However, it can be argued that the opening and closing scenes of Gareth Edwards Monsters did an equally comparable job of a tenth of the budget. Battle: Los Angeles is adequate filler if you have a few hours to kill and you want some dynamic, visual effects driven entertainment that requires little or no thought. If you want more than this then best look elsewhere.
Looking For a Bargain in ESO
My recent return to The Elder Scrolls Online has been an enjoyable experience. Like STO, it has taken three attempts for the game to chime with me but this time round, everything has fallen into place. I have managed to install just the right number of add-ons to enhance my experience. I’ve also discovered a class which suits my play style and am currently pursuing a specific build. The quest stories are well written and involving which means I don’t feel like I’m simply undertaking arbitrary tasks for XP. Overall ESO seems to be in a much better place than it was upon its launch in early 2014. Because my progress through the game is going well, I’m considering my options with regard to DLC. I bought the digital collector’s upgrade edition of the Morrowind expansion for £17.99 which is a competitive price. However, I’m interested in the Dark Brotherhood story line because I enjoyed it in Skyrim, so I’ve been trying to find a similar bargain.
My recent return to The Elder Scrolls Online has been an enjoyable experience. Like STO, it has taken three attempts for the game to chime with me but this time round, everything has fallen into place. I have managed to install just the right number of add-ons to enhance my experience. I’ve also discovered a class which suits my play style and am currently pursuing a specific build. The quest stories are well written and involving which means I don’t feel like I’m simply undertaking arbitrary tasks for XP. Overall ESO seems to be in a much better place than it was upon its launch in early 2014. Because my progress through the game is going well, I’m considering my options with regard to DLC. I bought the digital collector’s upgrade edition of the Morrowind expansion for £17.99 which is a competitive price. However, I’m interested in the Dark Brotherhood story line because I enjoyed it in Skyrim, so I’ve been trying to find a similar bargain.
At present, ZeniMax have a deal on the Guilds and Glory Mega Pack DLC in the Crown store. This contains Dark Brotherhood, Imperial City, Orsinium and the Thieves Guild and costs 5,500 Crowns (£29.99). At first glance this looks like an adequate discount as individual DLC usually costs between 2,000 and 4,500 Crowns. However, if you shop around and check some of the game key websites, you can find the Gold Edition of ESO, which contains the base game and the above four DLC for £16.06 which is nearly half the price. This naturally is a better option for both an existing or a new player. The latter get’s the benefits of a 500 Crowns, although that won’t buy much at present prices. Then of course there is the option to buy neither of these “bundles” and to subscribed to ESO Plus which will unlock all current DLC. However, access to all new content is dependent on remaining a ESO Plus member, which doesn’t suit everyone.
Furthermore, it would appear that pre-paid subscription cards for ESO have been withdrawn since the changes in the games business model in 2015. There may still be some residual stock in circulation, although whether they still work or not remains to be seen. In the US Gamestop sell six-month ESO Plus time cards that come with a crate allowance. These are purchased online and provide a redeemable code. These are not however available in Europe. Therefore, I’d advise caution to anyone searching through the third-party websites that sell CD keys and game consumables. Ensure that any pre-paid cards are not those for older versions of ESO. Unless the product directly references ESO Plus, then the cards in question are more than likely obsolete.
As ESO is a buy-to-play game, the selling of additional DLC, expansions and cosmetics is the primary source of revenue. ESO Plus offers a further line of capital, although have no data as to how popular the subscription is. Therefore, it is logical that the developers ZeniMax will endeavour to control prices of all their products. Naturally there are sales and discounts to be had from time-to -time, to encourage player spending. But beyond these there is not a lot of scope to obtain a “bargain” for ESO, outside of official channels. Apart from seeking a deal on the Gold or Imperial Editions of the base game, along with the Morrowind Expansion, players are at the mercy of the in-game store prices. However, I do not find the existing business model for ESO to be too egregious and I’m certainly getting a lot value from my initial expenditure at the moment. So, for the present, the cost of playing ESO is seems equitable. Let’s hope it remains that way.
Inside Jaws (2013)
Once again Jamie Benning has created a filmumentary that is pretty much a definitive exploration of its subject matter. Inside Jaws contains a staggering amount of facts, details, insight and commentary about one of the greatest films ever made. Yet despite a wealth of information, it is presented in a way that is easily digestible and enhances the movie, rather than overwhelms it. As with Star Wars Begins, the original movie is annotated with on-screen text, commentary tracks and behind the scenes footage, which provide incisive overview into the movies production.
Once again Jamie Benning has created a filmumentary that is pretty much a definitive exploration of its subject matter. Inside Jaws contains a staggering amount of facts, details, insight and commentary about one of the greatest films ever made. Yet despite a wealth of information, it is presented in a way that is easily digestible and enhances the movie, rather than overwhelms it. As with Star Wars Begins, the original movie is annotated with on-screen text, commentary tracks and behind the scenes footage, which provide incisive overview into the movies production.
I cannot stress how much work Jamie has gone to in assembling this filmumentary. Not only has he trawled through hours of TV coverage, radio spots, press releases, news articles and biographies, he has also personally contacted and interviewed numerous people associated with the production. This has provided a lot of new and interesting anecdotes and personal stories about the movies lengthy production in 1974. Inside Jaws is the embodiment of a labour of love, yet it is far more than a fan film. Its measured, well thought out approach offers a documentary to rival that of any professional outlet. This is a production that is accessible to both ardent fans, scholars of cinema and those who are simply curious about one of the most successful movies of the seventies.
Throughout Inside Jaws running time, not a stone is left unturned with regard to the production. The screenplay, production design and casting are all explored. It also discretely handles the thorny issue of the authorship of Quint's USS Indianapolis speech; a subject that has been greatly debated over the years. Writers Howard Sackler and John Milius and Robert Shaw all had a hand in shaping the scene and ownership has always been contested. The documentary also shows that despite being a difficult and problematic production, Jaws was a blockbuster that was made with a great deal of integrity and artistic vision. Something I don't believe that can be said about a lot of modern day equivalents.
So, if you enjoy Steven Spielberg's movie on any level, do yourself a favour and watch it again through the unique medium of Jamie Benning's filmumentary. It can only enhance your enjoyment of one the best movies ever made. And when you’ve finished, check out Jamie’s other documentaries. Raiding the Lost Ark, Star Wars Begins, Building Empire and Returning to Jedi. All are available via his Vimeo channel and well worth viewing.
UK Tourism
The United Kingdom is the world's 8th biggest tourist destination. According to the national tourism agency, 2017 was a record year for the UK, with 39.9 million visits by tourists. This number is set to pass over 40 million this year according to VisitBritain, which is predicting tourists will spend a record £27 billion over the coming 12 months. U.S. remains the most-valuable inbound market, although the number of travellers originating from Europe is larger than those travelling from North America. Furthermore, in recent years there has also been a substantial increase in Chinese tourists visiting the UK. Popular destinations include London, Bath, Edinburgh and Cambridge. The country's principal tourist destination is still the capital, with the Tower of London being one of the most visited attraction in the country. The post Brexit fall in the pound against the euro and the dollar is helping drive visits.
The United Kingdom is the world's 8th biggest tourist destination. According to the national tourism agency, 2017 was a record year for the UK, with 39.9 million visits by tourists. This number is set to pass over 40 million this year according to VisitBritain, which is predicting tourists will spend a record £27 billion over the coming 12 months. U.S. remains the most-valuable inbound market, although the number of travellers originating from Europe is larger than those travelling from North America. Furthermore, in recent years there has also been a substantial increase in Chinese tourists visiting the UK. Popular destinations include London, Bath, Edinburgh and Cambridge. The country's principal tourist destination is still the capital, with the Tower of London being one of the most visited attraction in the country. The post Brexit fall in the pound against the euro and the dollar is helping drive visits.
It’s ironic that despite only living forty-minutes away from central London and having worked there for over a decade, I have seen very little of the capitals major tourist attractions. In the past I’ve had little time for sightseeing but now I find myself in a situation where such day trips are more convenient and desirable. So today, I and my significant other decided to visit the biggest tourist hotspot in the UK; the Tower of London. As we’re both ex-civil servants we still have Health and Social Security Recreational Association (HASSRA) membership. Like many organisations of this kind, they offer a wealth of discounts, concessions and vouchers. Hence, we obtained two free tickets. Irrespective of the weather, time of year and the hefty £21.50 entrance fee, the Tower of London remains a big attraction and I was surprised by the number of tourist present. However, it does offer a lot of value as there are numerous exhibits, along with themed activities.
About two thirds of the Tower’s grounds are available to the public. The remainder of the Castle is still occupied and used for various civic functions. Various military regiments alternate between guarding the tower grounds and there are several on duty throughout the day. Yesterday there were soldiers from the Irish Guards on site and although they are great tourist attraction, they’re not present just for show. They are armed and should be treated with suitable deference. The White Tower is also home to the Royal Armouries, which is a fine collection of weapons and body harness. Then there’s the Fusilier Museum and The Bloody Tower with is its exhibition of prisoners and torture. But the main attraction is the Crown Jewels. This extensive collection drawn from various Monarchs is compelling and certainly attracts the biggest crowds. The Tower also regularly hosts themed events and activities such as Falconry, historical re-enactments and military displays.
Due to the sheer number of international tourists that visit the Tower daily, all displays, and signage are multilingual. I initially thought that the curators were being a little over generous with their use of space and could possibly have fitted in more exhibits. I now see that the generous walkways and roomy galleries are designed that way to accommodate the flow of visitors. There are also a lot of audio visual displays that rely upon animation and infomercials to convey various historical facts. Again, this is done to address the needs of tourists that are not be fluent in English. Overall, the Tower of London successfully manages to curate and display artefacts of historical importance in a broad and accessible fashion. It is a very family friendly day out, although some of the exhibits are somewhat ghoulish. However, that goes with the historical pedigree of the castle.
We very much enjoyed are day out today and have decided to plan a lot more day trips in 2018. The fact that we can get discounted or free entry to so many places is a major benefit. Our excursion was also very illuminating by showing first hand, the significance of tourism to the UK economy. The sheer number of people visiting the capital today gained context in light of our personal experience. The current political and economic uncertainties certainly do not seem to be discouraging visitors at present. In the meantime, we are already considering going to Hampton Court, Chartwell and the Joust Tournament at Eltham Palace later on in the year. If there is to be a tourist boom this year then I see no reason why we shouldn’t contribute towards it.
The House on the Borderland by William Hope Hodgson (2000)
The House on the Borderland is a Vertigo comics graphic novel version of the 1908 baroque supernatural story by Edwardian writer, William Hope Hodgson. Adapted by Richard Corben and Simon Revelstroke, with illustrations are by Richard Corben of Hellblazer and Heavy Metal fame, The House on the Borderland proves to be a bold and innovative visual retelling of a rather densely narrated tale. The story tells a tale of two gentlemen on a week’s fishing holiday in the Irish village of Kraighten in the mid-fifties. Whilst exploring the local countryside they discover the ruins of a very curious house that appears to have been swallowed by a sinkhole. They subsequently find what appears to be the diary of its former owner. The torn pages seem to hint at an evil presence that was slowly and irresistibly encroaching upon the property. The author alludes to other events such as strange beasts in the ground at night and his own worsening nightmares. Is any of it to be believed, or is it simply the ravings of a deluded mind?
The House on the Borderland is a Vertigo comics graphic novel version of the 1908 baroque supernatural story by Edwardian writer, William Hope Hodgson. Adapted by Richard Corben and Simon Revelstroke, with illustrations are by Richard Corben of Hellblazer and Heavy Metal fame, The House on the Borderland proves to be a bold and innovative visual retelling of a rather densely narrated tale. The story tells a tale of two gentlemen on a week’s fishing holiday in the Irish village of Kraighten in the mid-fifties. Whilst exploring the local countryside they discover the ruins of a very curious house that appears to have been swallowed by a sinkhole. They subsequently find what appears to be the diary of its former owner. The torn pages seem to hint at an evil presence that was slowly and irresistibly encroaching upon the property. The author alludes to other events such as strange beasts in the ground at night and his own worsening nightmares. Is any of it to be believed, or is it simply the ravings of a deluded mind?
William Hope Hodgson’s original novel is an extremely difficult story to adapt to the graphic novel format. Most of the source text is written as diary entries, in which it describes arcane forces, astral projection and esoteric visions. Blending supernatural paranoia, fantasy and Lovecraftian horror in a first-person narrative that hints rather than discloses, it’s a tough book to crack. Yet Corben and Revelstroke make an inspired effort in condensing the text and visually extrapolating the complex descriptions. The artwork is innovative and does a good job of capturing the dark and eldritch tone of the story. The text adaptation strives to be as faithful to the source material as it can, yet inevitably has to relinquish on some of the more esoteric themes which are too difficult to render visually. However, the essential ideas of the original story are not only present but prove to be quite accessible. The understated approach of the artwork in keys scenes captures the menace conveyed by William Hope Hodgson in his original story.
Featuring an introduction by comics luminary Alan Moore that offers an affectionate appreciation of Hodgson's contribution to the horror genre, The House on the Borderland is a valiant attempt to bring a classic cerebral work to a wider audience via a very visual medium. Ultimately, the adaptation cannot offer the exact same experience as reading the original novel, but it must be applauded for bringing such material to a wider audience. It certainly succeeds in tapping into that disquieting quality that porcine horror can have, hinting at beasts who may well have a comparable intelligence to humans, while harbouring an inherent enmity to us as a species. Hopefully after reading The House on the Borderland, graphic novel horror fans will subsequently seek out and familiarise themselves with William Hope Hodgson’s other work, which is the equal to that of H.P. Lovecraft. I would certainly like to see further visual adaptations of the authors back catalogue.
Classic TV Themes: Hawaii Five-O
I grew up during the seventies when network TV shows still put a lot of thought and effort into such things as their theme tune. It was a decade littered with memorable tracks that captured the essence of the shows they came from. Many have now become integral aspects of popular culture, leading to countless internet memes as well as becoming the ringtones of choice for many a fortysomething. However, things are very different now. You can have a staggeringly good theme for your show, but it can't possibly be longer than thirty seconds. And don’t think for a moment that viewers can listen to it again at the end, as it has now become standard practice to compress the credits into a third of the TV screen and preview what's coming next, while some link announcer spouts inanities. Mercifully, cable and streaming companies tend to treat their TV shows with greater respect. The lack of commercial advertising ensures a longer program duration and hence more focus on a theme tune. However, network TV still commands big audiences, yet hasn’t in recent years produced any TV show themes of note.
I grew up during the seventies when network TV shows still put a lot of thought and effort into such things as their theme tune. It was a decade littered with memorable tracks that captured the essence of the shows they came from. Many have now become integral aspects of popular culture, leading to countless internet memes as well as becoming the ringtones of choice for many a fortysomething. However, things are very different now. You can have a staggeringly good theme for your show, but it can't possibly be longer than thirty seconds. And don’t think for a moment that viewers can listen to it again at the end, as it has now become standard practice to compress the credits into a third of the TV screen and preview what's coming next, while some link announcer spouts inanities. Mercifully, cable and streaming companies tend to treat their TV shows with greater respect. The lack of commercial advertising ensures a longer program duration and hence more focus on a theme tune. However, network TV still commands big audiences, yet hasn’t in recent years produced any TV show themes of note.
For me the track that embodies the traditional notion of the TV theme tune and elevates it to an art form, is Morton Steven's Hawaii Five-O theme. I cannot think of a piece of music, born of a TV show that is quite as evocative and inspirational. For years there has not been an original recording available so fans and enthusiasts have had to slum it with indifferent cover versions (which I hate). However, in 2012 the only legitimate soundtrack album was finally re-released on CD. It contains a studio extended version of the main theme along with incidental music from one the episode Operation Smash. It is a crisp and tight arrangement of the theme and superior to all previous version in circulation.
In 2010 the show was rebooted and has proven to be surprisingly popular. It is currently in its 8th season. However, at the time the question on everyone’s lips was would the main theme be retained, or would it be jettisoned for something else? Luckily common sense prevailed so the classic iconic theme and title credits were cleverly recreated. But the process was not exactly problem free. Brian Tyler, a composer with a respectable pedigree in film and TV, was brought on-board to manage the soundtrack production. He initially toyed with idea of re-arranging Stevens seminal theme tune. Let it suffice to say that test audiences did not warm to it and after some overtly negative feedback the it was replaced with a more traditional arrangement. This recording even included some of the session musicians that worked on the original track in 1968. Sadly, the demands of modern TV broadcasting still had an impact on the completed piece of music. Modern title sequences on popular network shows are now no more than thirty second and so the theme was shortened to meet this requirement. However, the full version can be found on the official soundtrack album to season one and is version posted below along with the original from 1968.
Star Wars Begins (2011)
Star Wars Begins is a detailed documentary by film maker Jamie Benning that explores the creation of what is now considered to be the most iconic movie of the seventies; namely Star Wars. It features a wealth of deleted scenes, alternate takes, behind-the-scenes footage, bloopers, original on set audio recordings and a great deal of commentary by the original cast and crew. As far as I’m concerned, it is the most thorough and in-depth analysis of Star Wars I have yet to see. Frankly it beats hands down, any of the officially sanctioned documentaries that have appeared over the year on the various DVD and Blu-ray releases of the trilogy.
Star Wars Begins is a detailed documentary by film maker Jamie Benning that explores the creation of what is now considered to be the most iconic movie of the seventies; namely Star Wars. It features a wealth of deleted scenes, alternate takes, behind-the-scenes footage, bloopers, original on set audio recordings and a great deal of commentary by the original cast and crew. As far as I’m concerned, it is the most thorough and in-depth analysis of Star Wars I have yet to see. Frankly it beats hands down, any of the officially sanctioned documentaries that have appeared over the year on the various DVD and Blu-ray releases of the trilogy.
It is Benning’s feature-length approach of his documentary that follows the flow of the original movie, that makes it so compelling. As the Star Wars itself plays, all aspects of the production are crossed referenced and annotated as they appear on screen. The documentary is also a very illuminating insight into the US and British movie industry of the times. Despite having a prodigious wealth of information to convey, the documentary handles the pace of material well and the viewer has time to digest what is shown and discussed without getting overwhelmed. This is a considerable achievement for a documentary, which can be a difficult format to master. Star Wars Begins is most certainly a painstaking labour of love, but the hard work pays off with an even-handed film that finds the right balance between interesting facts and pacing.
The documentary also succeeds in catering to both hardcore fans and the more casual viewer. If you have not seen some of the famous deleted scenes, such as Han's original meeting with Jabba the Hutt or Luke's dialogue with his friend Biggs Darklighter then you are in for a treat. Some of the original on-set audio is extremely amusing such as actor Dave Prowse speaking Darth Vader's lines in a West Country accent. Overall what the documentary does is offer a totally fresh perspective on Star Wars which helps re-invigorate one’s enjoyment of the classic trilogy. Until Disney’s renewal of the franchise in recent years, the second trilogy of prequels did cast a shadow over the original three movies.
Another thing I've learned from Star Wars Begins is that some aspects of the original movie were intended to be more violent. This is something that has always been present in Lucas's work but certainly it didn't come to the forefront until the second trilogy. For example, stills from the Cantina set show that Ponda Baba's initial fate was meant to be far more unpleasant than just losing his arm. Then there is the matter of Han Solo shooting Greedo from under the table. The entire "Han shot first" debacle shows that the character was initially intended to be perceived in a very different way. Yet movies are often by nature evolutionary things, especially on big productions. Often scenes will be reshot if they don’t work out, or if a better idea is mooted. Plus, as Star Wars Begins points out, a production of this nature had never been done before and many of those involved were flying by the seat of their pants.
Director Benning has also made similar documentaries for both The Empire Strikes Back and Return of the Jedi. It should be noted that these ‘filmumentaries’ are unofficial and fall within a somewhat grey area with regard to their “status”. They are completely non-profit making and made with full acknowledgement to the appropriate copyright holders. So far, the new copyright holders Disney seem content to let sleeping dogs lie, however there is no guarantee that things will remain that way. Therefore, I would urge all fans of Star Wars to seek them out and watch them while they're still available on Jamie Benning's Vimeo channel because they are quite unique.
Twitch.tv
Until recently I’ve been somewhat sceptical of Twitch. I’ve tried in the past to find both content and personalities that chime with me but have seldom had much success. Sadly, all too often I find the humour and general banter of some streamers to be not to my liking. Then there is the issue of channel monetisation. I appreciate that streaming is a business for some and that there is a requirement to attract subscribers and encourage donations, but I do feel that it’s not always approached in an appropriate fashion. Twitch and streaming culture is often aimed towards the younger viewer. Being of an older age group, the light and casual approach to presentation and interaction is not always to my taste. However, I have now managed to find some streamers who are more to my liking and have subsequently reviewed my opinion on the medium.
Until recently I’ve been somewhat sceptical of Twitch. I’ve tried in the past to find both content and personalities that chime with me but have seldom had much success. Sadly, all too often I find the humour and general banter of some streamers to be not to my liking. Then there is the issue of channel monetisation. I appreciate that streaming is a business for some and that there is a requirement to attract subscribers and encourage donations, but I do feel that it’s not always approached in an appropriate fashion. Twitch and streaming culture is often aimed towards the younger viewer. Being of an older age group, the light and casual approach to presentation and interaction is not always to my taste. However, I have now managed to find some streamers who are more to my liking and have subsequently reviewed my opinion on the medium.
For me, Twitch is as much about the audience viewing as it is about the individual streaming. Part of the attraction of the platform is the scope for interaction between streamer and viewers. I find that streams that attract substantial audiences lose this quality quite quickly. The text chat scrolls up at a prodigious rate and the moderators will often struggle to separate appropriate questions and banter from general shenanigans and trolling. I also find that some of the commercial streams and official channels of known corporations to be as bland and as hollow as mainstream television. However, a when you put an entertaining and gregarious streamer together with a small but enthused audience, you’ll often be rewarded with a very enjoyable two-way conversation.
Fortunately, my concerns over being able to find suitable content and streamers has benefitted recently by Twitch adding a “communities” option to their browse feature. In the past you had to search for material you like by game only. The addition of this button (although it is still in beta) means that it is easier to track down streamers with similar interests and aspirations. At present is somewhat rough and ready, lacking somewhat in variety. However, there are some promising categories such as tabletop, painting and fitness. It is reassuring to see this side of Twitch, which for to long seems to have been dominated my core gamers, focused on achievement, speed runs and competitive gaming. If handled properly, there is scope for it to become a much broader media platform, which is possibly what its owner, Amazon is considering.
Finally, it would be remiss of me not to mention the Twitch community that I’ve recently discovered. The Moogle’s Pom Tavern is a collective of streamers “who focus on chill streams where we share positivity and of course, video games”, to quote their website. What I like the most about this friendly group, is their upbeat and laid-back perspective on gaming. It all done for fun, rather than any other motivation. The streams are engaging, with a lot of banter. You soon get to know everyone and it’s very much like a social evening down the pub with mates. A lot of the participant do other creative projects, so they’re an invaluable source of information as well. Overall, it’s a great place to hang out, away from the some of the more brash and bellicose aspects of Twitch. So, if you feel so inclined, do checkout their schedule and come along and have a chat. It may make you revise your opinion on streaming, as it did with me.
Paul (2011)
Critics were somewhat split over Paul when it was released in the UK in spring 2011. The absence of director Edgar Wright from the production, was cited as a weakness. Critics also felt the film was generally too mainstream and did not play sufficiently to Simon Pegg and Nick Frost's strengths. There were the usual claims of the whole premise being a self-indulgence. However, rather than cross reference Paul against similar films or compare it to material from the stars back catalogue of work, it should be judged on its own merit. On reflection, it is nowhere near as week as some claim it to be. You don’t often get big studio comedies that happily explores what is still considered a niche market genre. If approached with the right outlook, then Paul can be an entertaining diversion with plenty of laughs.
Critics were somewhat split over Paul when it was released in the UK in Spring 2011. The absence of director Edgar Wright from the production, was cited as a weakness. Critics also felt the film was generally too mainstream and did not play sufficiently to Simon Pegg and Nick Frost's strengths. There were the usual claims of the whole premise being a self-indulgence. However, rather than cross reference Paul against similar films or compare it to material from the stars back catalogue of work, it should be judged on its own merit. On reflection, it is nowhere near as week as some claim it to be. You don’t often get big studio comedies that happily explores what is still considered a niche market genre. If approached with the right outlook, then Paul can be an entertaining diversion with plenty of laughs.
Paul succeeds because it takes a very broad approach to its themes and subjects. Popular culture has absorbed enough sci-fi references to make a lot of the gags very accessible to the general public. Yet there is still much to satisfy the inner geek of the more hardcore fans. Frost and Pegg's natural chemistry together carries the film greatly, along with the traditional transatlantic culture clash. There are some clever references to convention culture and fandom itself, especially with a scene when our pair of heroes meets their favourite author. Paul himself is very well realised and perfectly voiced by Seth Rogen. He provides the sort of wise cracking cynicism audiences expect. The film's running time is ideal with seldom a lull in the pace. This is important with comedy as so many get it wrong.
Paul does have a few weaknesses though. There are more obvious concessions to the mainstream, such as clichéd gay jokes, generic car chases and a somewhat contrived and unconvincing romantic sub-plot. Luckily, these minor aspects are not enough to spoil the overall production and are minor quibbles rather than cardinal sins. Plus, a killer cameo performance by Sigourney Weaver, is more than enough to rectify and other deficiencies in the narrative. The visual FX are more than adequate, and the film looks fine for a mid-budget production. The final act is formulaic but not annoyingly so. You get pretty much what you expect from Paul and that’s not a bad thing. Sometime when viewing at home you want a easy choice and some undemanding viewing.
Ultimately, it is the basic plot device that is the films greatest asset. Paul an alien, finds himself reliant on two guys who are essentially aliens themselves within the country they're touring and society itself. The movie also explores the pros and cons of "geekdom" rather well and gently ribs the culture, rather than openly mocks. This is often a difficult thing to do, but director Greg Mottola gets the tone right. Paul certainly provides a platform for the English's love affair with profanity. Although it is not gratuitous, the choice words do come thick and fast at times. But overall, Paul proves to be a genuinely funny, well observed, accessible sci-fi comedy and I think that this film’s reputation will improve over the years to come.
Guilds, Kinships and Fleets
I’ve been in the same LOTRO kinship (a.k.a. guild) since 2009. It’s relatively small in size, made up of a core group of about 20 players and their various alts. Everyone knows each other, and we all get along. There’s a broad spectrum of members from across the UK and Europe and the average age is about 35 plus. We’ve had some drama in the past from a few individuals, but they’ve either left or stopped playing. I don’t recollect there ever being an occasion when someone was. After ten years the kinship is at a point where it just ticks over without any major problems. There are events and activities for those who wish to participate, or if you prefer to simply potter about Middle-earth, then you’ll be left to do so. In the past we’ve had our own kinship website and forums, along with TeamSpeak server and other external support facilities. Bu all of these have fallen by the wayside as the Kinship has evolved. We now just focus on playing the game. Overall, the kinship is a friendly bunch and a good fit for my casual style of gameplay, which is why I’ve remained a member for nine years.
I’ve been in the same LOTRO kinship (a.k.a. guild) since 2009. It’s relatively small in size, made up of a core group of about 20 players and their various alts. Everyone knows each other, and we all get along. There’s a broad spectrum of members from across the UK and Europe and the average age is about 35 plus. We’ve had some drama in the past from a few individuals, but they’ve either left or stopped playing. I don’t recollect there ever being an occasion when someone was. After ten years the kinship is at a point where it just ticks over without any major problems. There are events and activities for those who wish to participate, or if you prefer to simply potter about Middle-earth, then you’ll be left to do so. In the past we’ve had our own kinship website and forums, along with TeamSpeak server and other external support facilities. Bu all of these have fallen by the wayside as the Kinship has evolved. We now just focus on playing the game. Overall, the kinship is a friendly bunch and a good fit for my casual style of gameplay, which is why I’ve remained a member for nine years.
LOTRO was my first MMO and when I started playing in 2008, co-operative play was the key to progression. Much of the games content was not solo friendly, therefore joining a kinship would at that point, greatly enhance a player’s experience. However, over time things have changed. Not just for LOTRO but for many other games from the MMO genre. Despite having played Guild Wars 2, The Secret World, Rift and SWTOR, I’ve never joined a guild for any of these games. There was (and remains for me) no compelling reason to do so. When I started playing LOTRO, part of the charm of the game and indeed the genre, was the social aspect. For me the notion of playing online with others was still a novel experience. However, as newer MMOs emerged, I found that I was more concerned with their gameplay and narrative, rather than cultivating new friendships. Furthermore, due to the increase in casual gaming, more recent MMOs are far more casual friendly.
There are always exceptions to the rules, though. The Fleet system in Star Trek Online offers a wealth of benefits and a player is potentially limiting their options if they do not join one. Fleet holdings such as the Starbases and dilithium mines are maintained by players contributing resources. Once holdings reach optimal capacity, they can provide gear, weapons and consumables, all of which are of a superior quality to that from standard vendors. It’s a relatively similar situation in The Elder Scrolls Online. Being in a guild allows access to quality crafted items which are not so readily available elsewhere. Hence in both these games I have joined guilds, simply to gain access to these facilities. In STO I am a member of REDdit Alert Fleet and although they are a friendly bunch, I am not socially active within it. I maintain a level of civility and ensure I contribute to the fleet projects but beyond that I tend to keep myself to myself and pursue my own goals within the game.
Playing any MMO successfully requires a substantial investment of time. The same can be said about joining a guild. A guild is more than just a collective designed to facilitate group content. It is often a closely knit social group in which members become firm friends, get to know each other and provide mutual support. They can become very intimate environments, sometimes doubling as group therapy or a virtual pub in which players can blow off steam after a tough day at work. For me, my best experience in a guild coincided with my best experience with an MMO. It was during a two-year period of my life in which I had the time and inclination to dedicate to both a leisure activity and a social group. It was a time that I enjoyed immensely. Now, although I like the social aspects of guilds in STO and ESO, they are mainly a means to an end. However, if I ever get nostalgic, all I have to do is return to my LOTRO kinship to be reminded of prior good times.
Star Trek Online: New Ships, Old Prices
Yesterday saw a lot of new content come to Star Trek Online. First off, we saw the start of the eighth anniversary event and the opportunity to earn a Bajoran Interceptor. There’s also a new featured episode; Scylla and Charybdis which further explores the Tzenkethi story line. And then there’s the release of the new Discovery lock box, which ties STO into the new Star Trek: Discovery television show. New lock boxes, means new ships. This time round there’s an opportunity to win a Tier 6 Crossfield-class Science Vanguard which boasts a formidable array of stats. Judging by the discussion on the official STO subreddit, the new vessel seems to have been very well received by the player community. The universal console, Mycelium Ambush, when activated temporarily disables ships weapons and transports the vessel forward. It then releases an energy pulse, impeding the engines of nearby enemy vessels while enhancing your own starship's weapons. After a few seconds, multiple torpedoes are launched, and your starship's weapons are disabled again in order to transport back to the original position.
Yesterday saw a lot of new content come to Star Trek Online. First off, we saw the start of the eighth anniversary event and the opportunity to earn a Bajoran Interceptor. There’s also a new featured episode; Scylla and Charybdis which further explores the Tzenkethi story line. And then there’s the release of the new Discovery lock box, which ties STO into the new Star Trek: Discovery television show. New lock boxes, means new ships. This time round there’s an opportunity to win a Tier 6 Crossfield-class Science Vanguard which boasts a formidable array of stats. Judging by the discussion on the official STO subreddit, the new vessel seems to have been very well received by the player community. The universal console, Mycelium Ambush, when activated temporarily disables ships weapons and transports the vessel forward. It then releases an energy pulse, impeding the engines of nearby enemy vessels while enhancing your own starship's weapons. After a few seconds, multiple torpedoes are launched, and your starship's weapons are disabled again in order to transport back to the original position.
Now considering that the new Discovery lock boxes have only been available for 24 hours, it would appear that many players have been stockpiling keys in preparation for its launch. Subsequently, despite being a rare drop many players have acquired the new Crossfield-class Science Vanguard and they are readily available on the exchange. The price is currently around 620 million energy credits, which is a tidy sum. The ship has also turned up for sale on third party websites available for sale at $125. Furthermore, the arrival of new ships has not depressed the prices of older vessels. Both Kelvin timeline ships are still holding steady at 260 million energy credit and the jewel in the crown of STO, the Tier 6 Constitution class Cruiser remians over 1.5 billion energy credits. So far, the economy adjustment that was anticipated by the introduction of the re-engineering system has yet to happen, although it is still only early days.
The problems STO faces with its in-game economy are really no different from many other MMOs. Frequently, the accumulation of wealth becomes a meta game in its own right. LOTRO has a similarly skewed game economy with everyday items that can be easily gathered, priced extremely high. This is not through supply and demand, but simply because such prices can be charged and paid for. Because gold is simply created in MMOs, rather than linked to any other sort of economic resource to base its levels, it doesn’t take long for hyperinflation to occur. Hyperinflation is detrimental to new and returning players. It can often lead to the auction service becoming the exclusive province of the virtually super rich. Hence we see the introduction of money sinks to try and remove surplus capital from games. These may be auction house fees, non-craftable consumables or housing fees. However money sinks seldom return a game’s economy back to a state of normality.
Cryptic have adjusted the in-game economy of STO several times over the last eight years. It is now far harder to earn energy credits, the games primary currency, than it was four years ago However, the damage is already done and there’s an immense amount of currency in circulation, often stockpiled by power players. The game’s crafting and upgrade system is also a contributory factor to hyperinflation. Until recently, if you craft and upgrade a ships weapon for example, there has been no control over which modifiers are added to it. Hence players would sell on items that didn’t meet their expectations. These items then flood the in-game auction house at inflated prices, as players seek gear with the attributes they require. The new re-engineering system is supposed to make obtaining the modifiers that you desire easier. It will allegedly level the playing field and make players less reliant on crafted items for sale on the exchange. Cryptic hope that this system will ultimately depress prices and eventually lead to less superfluous items entering the game’s financial ecosystem.
MMO economies are strange and esoteric beasts. Despite external factors created by developers, designed to slow and divert wealth creation, it is frequently impossible to slow player progression and dampen their enthusiasm. MMO gamers often rise to the occasion and embrace grind rather than capitulate to it. I suspect that it will take a considerable amount of time before we see any major change in the STO economy. Furthermore, the re-engineering system may well remove the surplus of crated items on the exchange, but I cannot see it impacting upon the prices of rare Tier 6 vessels. If someone is prepared to pay 1.5 billion energy credits for the latest and rarest of ships then the prices will remain as they are. The only other alternative is to make such items bound which would then incur a new set of problems, along with a great deal of player outrage. So for the meantime it is simply a question of watching and waiting to see in what direction the STO market goes.
