The Dilemma of Skill Points
This post stems from an issue that came up recently while progressing through The Elder Scrolls Online. However, similar situations have occurred in other MMOs that I’ve played over the years. Most games of this genre have a standard mechanic in which the player is awarded skill points as they level up through the game. These points are subsequently spent unlocking new abilities or improving existing skills. Often there are a finite amount of skill points to earn in the game. Naturally, at some point, even the most casual MMO player will have to consider how they intend to spend their skills points, because they do have an impact upon your build. That is the entire point of the skills point mechanic. You customise your skills according to how you play and what type of build you wish to achieve. More often than not, the new player who is still at a relatively low level, will simply read what abilities can be unlocked and make an intuitive choice. At this stage, putting a few skill points into health, stamina, or increasing your DPS seems a sensible choice.
Jason vs. Bots
I returned to Friday the 13th: The Game today, only to find a substantial 3GB patch waiting to be downloaded. I last played in late December when I bought the game in a Steam sale. I stated in a blog post at the time, that the game was flawed and very much a work in progress. The patch has addressed several issues with the game; the most important one being offline play. You can now play Friday the 13th: The Game offline as Jason Voorhees against seven bot camp counsellors. It should be noted that you cannot play offline as a counsellor against a bot Jason. However, playing as Jason has a more complex learning curve, whereas playing as one of his potential victims is a lot easier to figure out. So I can understand why the developers opted for this arrangement. Hence, I spent a few hours this evening, fooling around offline, slicing and dicing various camp counsellors and trying to master the basics of playing a Jason. It did prove quite useful and I found myself far more prepared for online play as a result.
Ironclad (2011)
Upon its release in 2011, reviews of Ironclad were mixed. Criticism mainly focused on a lack of historical accuracy, an excess of violence and some questionable casting decisions. Hasn’t this always been standard operational procedure for countless Hollywood historical epic? For example, El Cid, Cleopatra and more recently Alexander. It seems somewhat counter intuitive to berate a film over the very elements that define its particular sub-genre. Ironclad is an action drama inspired by historical events. It certainly does to claim to be a Starkeyesque depiction of the period. You only have to watch the trailer to see exactly how the film was marketed and the demographic the producers were trying to woo. If you’re looking for quality acting, period detail and a dissection of the geo-politics of the era, then you may want to watch something else like A Man for All Seasons or The Lion in Winter. Ironclad is more hitting people with big swords and chewing the scenery.
A Lack of Consensus
One of the things that stands out about the reader comments over at Massively Overpowered is that there is seldom any sort of consensus. Regardless of the subject it become quickly apparent that views differ greatly and clearly reflect the fact that gamers do not want the same things. The only point that most agree upon in principle is that everyone wants “good” games. However, this is a nebulous term, devoid of a universally agreed definition. What one gamer deems as being a good or an essential mechanic, another will consider a complete anathema, leaving us with a divided player base. In fact, the gaming community seems to reflect a wider trend that manifests itself in politics, religion and other social issues at present. There simply isn’t a prevailing majority consensus. A lot of the assumed sacred cows and alleged shared values associated with all these communities are either waning or have proven to be bogus. Naturally, many would argue that such differences are simply human nature and a foible of the human condition. However, it does present a difficult problem for the games industry.
Don't Be Afraid of the Dark (2010)
Don’t Be Afraid of the Dark is a remake of the cult television movie from 1973. Directed by comic artist Troy Nixie and written by Guillermo del Toro, this new version is an old school supernatural horror film, with an emphasis on scares rather than shocks and gore. That’s not to say that it doesn’t have its ghoulish moments and it is plain to see why this film didn’t secure the PG-13 rating it initially sought. What is unusual about Don’t Be Afraid of the Dark, is its traditional approach to its subject matter. It is a far cry from the found footage horror movies such as Paranormal Activity that were dominating the box office at the time. In many ways it’s a homage to the halcyon days of studios-based horror from the likes of Amicus, Hammer and American International Pictures. The initial theatrical release of Don’t Be Afraid of the Dark was delayed due to the sale of Miramax pictures in 2010, and the film did not secure a US and UK distribution deals until late 2011. Despite the having Guillermo del Toro associated with the production, the movie didn’t gain the traction it deserved.
The Legend of 1900 (La leggenda del pianista sull'oceano) (1998)
I first watched La Leggenda del pianista sull'oceano (released in US as The Legend of 1900) on the recommendation of a friend who was very enthusiastic about it. I must admit that I was profoundly moved at the time, in that way that only a thoroughly good film can do. I’d almost forgotten how powerful quality cinema can be. I feel justified in my assertion that film may be the greatest art form of the last and current century. Having watched the film again recently, this time on Blu-ray, I was again deeply impressed by the scope of the film and its timeless themes. The high-definition transfer makes the most of the film’s audio-visual excesses. The Legend of 1900 is a beautiful piece of cinema with a striking production design, rich cinematography and a marvellous score by the great Ennio Morricone. Tim Roth is utterly convincing in the lead role and excels in conveying the quirky foibles of the lead character.
LOTRO: Bullroarer Update 22 Build #2
A week on and Standing Stone Games have revised the latest test iteration of Update 22 for LOTRO, on the Bullroarer server. Build #2 now has a proper map that explains exactly where I went last Sunday. It seems that I visited all locations of note apart from Caras Tilion, a deserted Elven stronghold to the South of Eryn Lasgalen, at the foot of the Mountains of Mirkwood. So, I promptly went there tonight and found it inhabited by Fell Spirits and such like. I suspect that this will be the location for a group event as the mobs all seem high level. Like other areas in the test build, the terrain is unstable, and you can find yourself falling through what are supposed to be solid surfaces. Although there are roads marked on the map, trying to find them on the ground and follow them is somewhat harder. However, I suspect that this is meant to reflect the source text of The Hobbit in which the path through Mirkwood was often overgrown and difficult to track, hence the Dwarves got lost.
Insidious: The Last Key (2018)
Insidious: The Last Key is the fourth instalment of the franchise, but it’s actually the sequel to a prequel. If you wish to watch these movies in chronological order order then 3, 4, 1, 2 is the correct sequence. However, it is not essential to be au fait with the lore of the series to follow the plot of Insidious: The Last Key, although there are a few in-jokes for fans. The film begins with a prologue that gives us the backstory of Elise (Lin Shaye), our psychic who protagonist. Her childhood is far from happy as she lives next to the state prison where her abusive father is the executioner on death row. Young Elise and her brother encounter several paranormal incidents, the last leaving Elise possessed. Her mother Audrey rescues her but dies in the process. The film then moves on to 2010, where Elise gets a call from a scared man currently living in her old house. Despite reservations, she agrees to meet him and confront the supernatural forces behind the haunting. Her two assistants, Tucker (Angus Sampson) and Specs (Leigh Whannell), accompany her and encounter a growing series of well executed but somewhat formulaic set-pieces.
Levelling and Gear Progression in ESO
One of the most trying old adages associated with the MMORPG genre is “endgame is where the real game begins”, or some variation thereof. It’s a stupid dogma that is happily negates all that the player has done while levelling. It usually goes hand in hand with the mindset that the only worthwhile pursuit at level cap is raiding, but I digress. For many MMOs, it’s a real challenge to make the levelling experience feel tangible and relevant, so players don’t get the impression that their just treading water when it comes to gear and skill points. However, some games do manage to get this right. LOTRO has several sets of armour that you can acquire at early stages in the game that are worth holding onto for at least ten levels. The Armour of Fém is a good example. It can be obtained at level 42 in Aughaire and can last the player right into Moria, ten levels later, before it needs to be replaced. STO proactively negates this problems by allowing gear to be upgraded but again I digress. My point is, much of what we acquire and use as we progress through an MMO is transient, but if the developers have done their job properly, it doesn’t seem that way.
The Hobbit (1977)
The Hobbit (1977) is a curious beast. It’s a made for television animated film, which despite its budgetary constraints, strives to comprehensively adapted one of the most beloved children’s books of the last century. I remember reading an article about this television adaptation of The Hobbit, in Starburst Magazine during the late seventies. There were rumours that this Rankin/Bass production, which had already premièred on US network television, would gain a European cinema release. This was presumably to cash in on the success of Ralph Bakshi's animated feature film adaptation of The Lord of The Rings. However, this never happened to my knowledge. In fact, The Hobbit was not commercially available in the UK until 2001, when Warner Bros. released it on DVD to capitalise on the success of Peter Jackson’s The Fellowship of the Ring.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.