Game Over, But Not Completed
Over the last few years there has been increasing data that shows that only a small number of gamers are finishing the single player games that they purchase. At present the stats indicate that number to be around 10%. According to Activision production contractor Keith Fuller "What I've been told as a blanket expectation is that 90 percent of players who start your game will never see the end of it unless they watch a video on YouTube”. Furthermore, services such as Raptr, which tracks online playing sessions and achievements are producing equally dismal data. According to the company, only 10% of people who played Rockstar's blockbuster Red Dead Redemption actually finished the game. It’s data such as this that adds grist to EA proverbial mill, when they say that the single player experience is in decline and co-op gaming is the future.
Over the last few years there has been increasing data that shows that only a small number of gamers are finishing the single player games that they purchase. At present the stats indicate that number to be around 10%. According to Activision production contractor Keith Fuller "What I've been told as a blanket expectation is that 90 percent of players who start your game will never see the end of it unless they watch a video on YouTube”. Furthermore, services such as Raptr, which tracks online playing sessions and achievements are producing equally dismal data. According to the company, only 10% of people who played Rockstar's blockbuster Red Dead Redemption actually finished the game. It’s data such as this that adds grist to EA proverbial mill, when they say that the single player experience is in decline and co-op gaming is the future.
There are a number of reasons why this trend is occurring, but much of the blame can probably be attributed to the rise of online multiplayer and co-operative play over recent years. Two decades ago this was an emerging trend. Today it is simply an industry standard. Gamers can now get a quick fix on terms that suits them via co-op play, instead of progressing through a lengthy linear single player experience. Plus, the average gamer is now at 37 years old. Leisure time is a finite commodity competing against jobs, families and other commitments. But regardless of the accuracy of the numbers, I don’t dispute the overall finding of these various reports, because I regularly abandon games if they do not suit my requirements. Yes, I’m guilty as charged and I suspect that many of my peers are to.
I have never considered myself a completist and don’t feel it essential to my enjoyment to achieve every accolade within a game. However, I am a child of the seventies and its prevailing cultural mindset of “soldiering on” and “finishing what you started”. The sort of nonsense that your sports teacher would spout back in your school days. Sadly, it’s an affliction that I’ve laboured under for years. In my youth, if I made a decision to read a book or view film, I stuck with it even if it wasn’t an enjoyable experience. It was a form of social conditioning and to push against it would mean that you were “lazy” or a “quitter. I don’t recollect ever walking out of the cinema if a movie was bad and until recently, can count on one hand the amount of films that I have abandoned while viewing at home.
However, I broke this habit in 1987 when I was reading Clive Barker’s Weaveworld. I simply didn’t like the direction story was taking or the way the central characters were behaving, so I put the book back on the shelf. To this day I have never completed it. And as I broke myself of this habit in the late eighties, it meant that as I got more into gaming during the following decade, I wasn’t burdened by such rigid criteria. For me gaming has always been about the overall experience and participating in a story. Although I enjoy a certain degree of challenge, it is a very relative term. If a game requires that I read copious amounts of websites and watch various You Tube videos to come to terms with its subtleties, then it is not for me. Therefore, you won’t find me tracking data on a spreadsheet just to play a game. I prefer to invest my time and energy into real work, as that yields tangible financial rewards. Games are for my amusement and not a binding contract that demands completion.
As an MMO player, games of this ilk effectively have no end, apart from the quarterly hiatus between new content. I’ve nearly reached the current level cap in LOTRO. At present progress is proving particularly gruelling. However, I can take a break from such games and return at a time of my convenience when I feel more disposed towards whatever challenge that is on offer. If there is something that I currently do not like, then a wait of a few months will always yield some alternative new content. The single player game is not so flexible in this regard. If you buy the Skyrim Special Edition, you will own all the content that was ever produced for that game. You may well play through the main story and reach a point where you are satisfied. There is still plenty more content available but if you’re done, then that’s irrelevant. It’s very much like a buffet in a restaurant. I recently bought the game of the year edition of Lords of the Fallen for the nominal fee of £3.19 in a sale. Suffice to say that despite many good points, the game just wasn’t for me, so I immediately logged out and uninstalled it.
Our gamers becoming lazier? That’s a very difficult question to answers. I would argue that as I get older I am more discerning of what projects I embark on and what I commit to. I also know what I like and am not obliged to endure what I don’t. Gamers of my generation have come to terms with the fact that they cannot do everything and will not jump feet first into a time sink, irrespective of how shiny it appears. The industry also seems to be getting wise to the concept of short and measured bursts of gaming, rather lengthy game play sessions. Also, pricing in a key factor. The sunk cost fallacy can still drive people to stick things out with a game. It does with me and those damn MMOs. And if you’ve pre-ordered a digital deluxe version of the latest triple A game, then you are not going to give up on that sucker easily. However, Lords of the Fallen cost me less that a pint of beer. That is easy to walk away from and therefore budget games are probably abandoned uncompleted more often that newer titles. There is also an abundance of choice these days.
My tastes along with my outlook have changed as I’ve got older. I guess being fifty has made me more conscious of my finite leisure time (and lifespan). So now, if a book, film or indeed a game is not working out and I’m not getting the correct fun to cost ratio from my purchase, I will vote with my feet. This subject is a very interesting one as it opens up so many other points of discussion. Why we game, what we expect from a game and how the developers struggle to satisfy all player’s needs. There’s also a class of gamer that is very judgemental regarding his fellow gamers and they often have much to say about “quitters”. However, they need to remove the beam out of your own eye, before they attempt to remove the speck out of their brother’s eye, to paraphrase the Bible. So, considering all of the factors discussed, I am not surprised that so many games are left unfinished. I’d like to know the numbers for books and movies as well. I suspect that far more leisure-based undertakings are abandoned just as much a single player games for exactly the same core reasons.
Competition or Entertainment?
It becomes apparent when reading the various musings of the gaming cognoscenti, that there are vastly differing views on most key areas of gaming. Take a subject such as “difficulty” which is currently a subject of debate over at Massively Overpowered. A quick perusal of the comments shows a broad range of views with many being at odds with each other. But if we step back from these individual differences of opinion, it becomes clear that the basis of all of these stems from a fundamental disagreement as to what actually constitutes a game and exactly what are its defining attributes. There are those who feel that competition is the foundation of gaming and that this can only be fully realised in a player versus player environment. Success is the measure of achievement and the basis of their personal gratification. However, others beg to differ and feel that collaborative play, social interaction and achieving personal goals are as equally important. I believe this divide clearly shows that the definition of gaming has evolved and may be its time we revised our preconceptions.
It becomes apparent when reading the various musings of the gaming cognoscenti, that there are vastly differing views on most key areas of gaming. Take a subject such as “difficulty” which is currently a subject of debate over at Massively Overpowered. A quick perusal of the comments shows a broad range of views with many being at odds with each other. But if we step back from these individual differences of opinion, it becomes clear that the basis of all of these stems from a fundamental disagreement as to what actually constitutes a game and exactly what are its defining attributes. There are those who feel that competition is the foundation of gaming and that this can only be fully realised in a player versus player environment. Success is the measure of achievement and the basis of their personal gratification. However, others beg to differ and feel that collaborative play, social interaction and achieving personal goals are as equally important. I believe this divide clearly shows that the definition of gaming has evolved and may be its time we revised our preconceptions.
Many of the MMOS that are currently popular are broad churches offering a variety of activities to the player. Furthermore, emergent gameplay offers a wealth of other possibilities beyond traditional competition. Games can be team orientated undertakings or personal adventures based on exploring and interaction. Some games are more interactive novels or mediums to relay a wider concept or idea. All of which strays away from notions of a competition, fail states and league tables. A lot of what currently falls under the umbrella term of “gaming” is actually more of a broader leisure service. Now traditionalists may balk at this and argue about semantics, which is a fair point. However, much of the language we employ changes in meaning over time. Consider such words as “pimp”, “awesome” or “liberal” and their respective evolution. Hence gaming can no longer be rigidly defined in terms of player versus player competition, rules complexity and fail states to determine a winner.
I often find when reading various game commentary, an undercurrent of hostility towards broader gaming criteria such a social interaction and a casual mindset, from those who self-identify as core gamers. The winning and losing mindset usually goes hand-in-hand with other negative attitudes towards “fun” and any sort of less rigorous approach towards gaming. Although those that hold such opinions are entitled to do so, they are not the arbiters of gaming. No one group of gamers really gets to set the agenda. Ultimately, market forces determine what trends get followed and how games evolve to reach the biggest audience. Some may see this as catering to the lowest common denominator where others consider it a form of democratisation. Irrespective of your view, most forms of entertainment are subject to the process. So, it’s inevitable that gaming, especially MMOs have changed from their initial incarnation.
Although MMOs have become somewhat generic in recent years and admittedly lost some of their unique charm, it’s not as if competitive gamers are not being well served by other genres. MOBAs, co-op shooters and Battle Royale games have rapidly grown in popularity and certainly satisfy those with a player versus player itch. Therefore, I would argue that the expansion of gaming in the last two decades so that it has now become a more common place pastime, has not directly denied this old school group anything, although it may have well challenged their personal philosophy. And the foundation of that philosophy is a definition of gaming that is couched in a mindset born of the previous century. The factors that shaped gaming then are different to those that exist today. It’s time to update the definition and reconcile ourselves to the fact it will change again further in the future. Unfortunately, there will always be those that resist change and prefer to mythologise the past.
LOTRO: More Community Nostalgia
A few days ago, I wrote about some aspects of the wider LOTRO community that were no longer with us. These included the podcast A Casual Stroll to Mordor, the rivalry between the official and unofficial LOTRO forums and that curious experiment, the player council. I was quite surprised by the response to this post, which was very positive, and was also interested by some of the comments that followed on social media. Hence, I decided to follow it up with some further examples, based upon reader feedback and further reflection upon the matter. LOTRO has been around for eleven years which is a considerable period of time. To put this into some sort of perspective, it has been part of my leisure time for one fifth of my life. During that time a lot of things have come and gone.
A few days ago, I wrote about some aspects of the wider LOTRO community that were no longer with us. These included the podcast A Casual Stroll to Mordor, the rivalry between the official and unofficial LOTRO forums and that curious experiment, the player council. I was quite surprised by the response to this post, which was very positive, and was also interested by some of the comments that followed on social media. Hence, I decided to follow it up with some further examples, based upon reader feedback and further reflection upon the matter. LOTRO has been around for eleven years which is a considerable period of time. To put this into some sort of perspective, it has been part of my leisure time for one fifth of my life. During that time a lot of things have come and gone.
Let us begin with My LOTRO, which Turbine launched in late 2008. Designed as a social hub the site (which was a subset of the official LOTRO website), tracked characters, kinship and tribe information. It also displayed item information, stats, deed accomplishment and levelling dates. It also included an extensive Lorebook. There was calendar for kinship events, a journal option for keeping notes on your character's progress and even an RSS feed for each journal. It was the latter that made My LOTRO so invaluable as it became the centre of many player blogs, fan fiction and poetry It was quite a unique platform and somewhat ahead of its times. Furthermore, the public data.lotro.com API could be used to power external sites with LOTRO related information. Players tracked server status and could share character data. If fully developed it could have extended much of LOTROs social activities outside of the game and forums.
Sadly, like anything of this nature, there was scope for abuse. As I mentioned in the previous post the onset of the LOTRO culture wars lead to a lot of acrimony on both forums. My LOTRO provided a means for the unscrupulous to identify a player’s alts which lead to trolling. However, despite side issues such as this, My LOTRO remained an important facet of the player community. But like other aspects of the game, it was not developed further. Overtime, Turbine like any other business, saw staff come and go and My LOTRO suffered as a result of lost expertise. 2010 saw the game convert to a hybrid F2P model and then the following year Turbine took back control of the EU service. The forums where subsequently overhauled a year or so later and My LOTRO was deemed unrepairable. It was subsequently closed in 2013, and all the information therein was lost, although players were given time to attempt to back up their data.
Another service provided by My LOTRO, were the lotteries, in which players could sign up to win in-game loot. This varied from minor trinkets and baubles such as silver, gold or skirmish marks to special mounts, rare armaments, relics, unique class quest items. It was all level appropriate and surprisingly, quite a lot of prizes were unbound. Towards the end of the lottery systems lifespan it became far more LOTRO store-centric, but it was overall a generous and popular service. It required little effort on the players behalf and if you were lucky enough to win, then the item arrived via in-game mail. Sadly, this is something else that has bitten the dust and at present there is no equivalent service. Prizes of the same nature are now given out via live stream on Twitch but it’s a lot less equitable.
I would also like to quickly reference several LOTRO podcasts that have “sailed into the west”. My apologies for any that I’ve missed out, but I can remember a time when all of the following would be required listening. LOTRO Reporter, Beneath your Feet, Through the Palantir, Lotrocast, and Secrets of Middle Earth. And of course, it would be most remiss of me not to mention Mordor or Bust which was my personal stepping stone into the world of podcasting. As a blogger, I would also like to touch upon the various LOTRO fan sites from the last decade. Some still endure to this day which is gratifying to see, but many more have either stopped posting or have vanished from the internet once their domain has expired. Here are a few of those that have gone and are sorely missed. All were of a high quality and reflected the passion that still remains a key aspect of the LOTRO community.
Cosmetic Lotro – http://cosmeticlotro.wordpress.com
Fluff and Stuff – http://fluffandstufflotro.wordpress.com
Lotro Fashion – http://lotrofashion.blogspot.de
Darzil’s Crafting Guide – http://www.northshield.co.uk/LOTRO/
Tales of Arda – http://toarda.com
The Elven Tailor – http://theelventailor.blogspot.nl
The Lotro Stylist – https://lotrostylist.wordpress.com
The Starry Mantle – http://starrymantle.wordpress.com
Podcast and You Tube Recommendations
I have no problems finding podcasts and You Tube channels that explore the subjects that I like. It’s determining which ones are any good that is the real trick and the only way to do this is to sit down and listen or watch them. Sometimes you need to give two or three episodes a go before you can truly determine if a show is for you. So, I thought it may be useful to share another small selection of the content that I am currently enjoying, so you don’t have to wade through quite so much “white noise” that fills the internet. I’ve made a conscious decision to select a broader spectrum of material and not to focus just on gaming. All the shows recommended are freely available although you can support the content creators if you wish to. Feel free to leave comments on the titles listed and share your own recommendations.
I have no problems finding podcasts and You Tube channels that explore the subjects that I like. It’s determining which ones are any good that is the real trick and the only way to do this is to sit down and listen or watch them. Sometimes you need to give two or three episodes a go before you can truly determine if a show is for you. So, I thought it may be useful to share another small selection of the content that I am currently enjoying, so you don’t have to wade through quite so much “white noise” that fills the internet. I’ve made a conscious decision to select a broader spectrum of material and not to focus just on gaming. All the shows recommended are freely available although you can support the content creators if you wish to. Feel free to leave comments on the titles listed and share your own recommendations.
The Infinite Monkey Cage. Science can be very complex, esoteric and daunting. Many of the big topics can seem inaccessible to the layman. However, The Infinite Monkey Cage addresses this with its witty, irreverent look at the universe. Physicist Brian Cox, comedian Robin Ince and a selection of guests discuss and debate such subjects as the Big Bang, Infinity and human irrationality. The light-hearted approach helps break down barriers and make the topics somewhat clearer, without trivialising matters. Guests have included Neil deGrasse Tyson, Richard Dawkins and Alan Moore. This is a very entertaining show which appeals on multiple levels. The mixture of academic and non-academic guest often means that explanations are rendered in clear and understandable terms. Frequently the subjects discussed will remain with the listener for days after the show as they are so thought-provoking. Furthermore, if that wasn't enough to recommend this podcast to you, a few years ago it acquired a great new theme tune by Eric Idle.
A Podcast to the Curious. This show explores and dissects not only the collected works of author M R James, but in more recent episode focuses on the short stories that influenced his writing. The two hosts Will Ross and Mike Taylor are knowledgeable entertaining and easy to listen to. The production is slick and academic, with all the appropriate references discussed clearly appearing in the show notes. I live in the hope that others will listen to the show and be inspired to produces a similar podcast focusing on the works of comparable authors. If you are an avid reader, then listening to A Podcast to the Curious is like joining a book club where you can swap ideas and discuss the meaning behind the text. It’s a great show that is both enjoyable to listen to and very illuminating. The subtleties of the authors work are fully explored, and I’ve gained a wider insight into the work of M R James as a result.
The Geek to Geek Podcast. There are many game related podcasts and shows that also talk about pop culture. What makes The Geek to Geek Podcast different from others is the quality of the discussions between host Beej and Void. Their respective tastes are similar but not identical and therefore they’re not afraid to disagree. The banter is thoughtful and at times quite scholarly, but the tone remains light, enthusiastic and engaging. Void also does an extremely good job of moderating the discussions and the show is well edited. As a result, a lot of material is packed into the hour running time and the pair maintain a regular publishing schedule. Beej and Void are also happy to engage with their listeners and have a subreddit where they expand upon subjects covered in the show. It is this attention to detail along with good natured and informed conversation, that makes The Geek to Geek Podcast stand out from similar shows about gaming, comics, the MCU and all things geek.
The Evolution of Horror. One of my minor podcasting regrets is that I never managed to get the movie related show I was planning off the drawing board and into production. However, The Evolution of Horror has recently come along and filled that gap for me. Hosted by freelance video producer Mike Muncer, the show explores the long-term evolution of the horror genre, through analysis of its respective sub-genres. The primary focus is that of horror cinema, but the show is not shy from tackling the subject from a literary, television and even theatrical perspective. Mike is well informed and dedicated. He regularly draws upon his professional contacts and peers as guests who are always illuminating and engaging. These have included writer Alan Jones, actor and writer Andy Nyman and director Lesley Manning. Furthermore, horror fandom is sometimes perceived as a male dominated province. The Evolution of Horror flies in the face of this not only by having female guests but frequently exploring the subject from a gender perspective. So, if you are a fan of horror and enjoy the audio equivalent of long-form critiquing, then this podcast is essential listening.
Good Bad Flicks. As a consummate movie fan who likes material from both ends of the cinematic spectrum, Good Bad Flicks is a refreshing change from some of the dry and dusty shows that explore more cerebral movies. Cecil Trachenburg regularly creates videos that explore cult classics, obscure horror as well as exploitation and other sub-genres. These analyses are in-depth, well researched and humourlessly narrated. The latter is a real skill as all too often other video hosts come across as mocking the very material they explore. Cecil does not do this, and his light-hearted approach is born of affection for the subject rather than scorn. I’ve watched several films as a result of reviews on Good Bad Flicks. I found Operation Avalanche to be exactly as described although I didn’t reciprocate Cecil’s stance on Doom. However, Good Bad Flicks isn’t a dogmatic fanboy show entrenched in a defensive stance. It’s about enjoying something even if it’s bad and Cecil makes it clear that not everything will be to everyone taste. Hence, I can wholeheartedly recommend his You Tube channel as it encapsulates the good things about fandom and not the negative.
Infectious Madness of Doctor Dekker
Before we start this is not a review of The Infectious Madness of Doctor Dekker, as there are plenty of those about and pretty much all the ones that I’ve read nail exactly all the pros and cons of this game. Here’s one which covers all bases. As for me, I don’t think I’ve got anymore to add to what has already been said about this FMV, text driven questioning, adventure game. It’s enjoyable, experimental but flawed. However, the fact that you type questions to interact with the patients in the game is quite a big deal. Sure, the technology is still evolving but there is scope for this genre to become a lot more complex. Someday the Turing test will get beaten and when it does, it will have a profound effect upon many things, gaming included. But this post is not about The Infectious Madness of Doctor Dekker per se, but what I’ve learned about myself while playing the game.
Before we start this is not a review of The Infectious Madness of Doctor Dekker, as there are plenty of those about and pretty much all the ones that I’ve read nail exactly all the pros and cons of this game. Here’s one which covers all bases. As for me, I don’t think I’ve got anymore to add to what has already been said about this FMV, text driven questioning, adventure game. It’s enjoyable, experimental but flawed. However, the fact that you type questions to interact with the patients in the game is quite a big deal. Sure, the technology is still evolving but there is scope for this genre to become a lot more complex. Someday the Turing test will get beaten and when it does, it will have a profound effect upon many things, gaming included. But this post is not about The Infectious Madness of Doctor Dekker per se, but what I’ve learned about myself while playing the game.
Over the years I learned the value of listening and taking notes the hard way. Anyone who deals with paying clients quickly grasps the need to succinctly ascertain what the bastards want. Because I enjoy the foibles of the English language and the cut and thrust of a good debate, I pride myself that not only do I listen, but I can penetrate and interpret the meaning of words used in a discussion. However, although The Infectious Madness of Doctor Dekker is not a flawless recreation of the conversational process used by Psychiatrists, its not a bad approximation. And I quickly found out that my logic and process driven Q&A approach towards “my patients” was not getting the desired results. I was supposed to be empathising with them in order to treat them, rather than subjecting them to an interrogation. If ever there was an example of a situation that could be improved by soft skills, then this was it.
Video games can often be frustrating. So can people. Therefore, a game predicated on subtle conversation with individuals who are potentially disturbed or deliberately duplicitous, is at some point going to turn into an uphill struggle. It is here that some of the deficiencies of the text parsing software and the branching dialogue trees really add to the problem. To succeed when playing The Infectious Madness of Doctor Dekker you have to listen to the answers and know when to follow through with a simple response or something more specific. Patience is the key and for some people such as myself, this is a big ask. It makes me acutely aware how my temperament makes me eminently unsuitable for certain professions and that we are not all renaissance men and women who can learn anything and succeed at it. It’s good that I don’t have to deal with such people in real life, because my response to their vagueness would be to put a pipe cutter on their leg and expedite the proceedings.
D’Avekki Studios have certainly moved the FMV game genre forward and I shall be keeping an eye on text parsing technology. As this sort of capability becomes better, more common place and cheaper, I would love to see it feature in other gaming genres. It’s presence in an MMO would greatly help with immersion, allowing for more in-depth, nuanced conversations with NPCs. In a wider context this faux conversational software has all sorts of other alternative uses that could be beneficial. From learning the nuances of the English language, improving public speaking skills or experimenting with the dynamics of social situations. Such tech may also have a theraputic application. In the meantime, I shall push on with Infectious Madness of Doctor Dekker as I endeavour to unravel this mystery. I’m going to try a different approach from now on and am I’m glad in a way that I met with initial failure, as it has ultimately presented me with an opportunity for self-improvement.
LOTRO: Community Nostalgia
Next Thursday LOTRO officially starts its 11th anniversary celebrations. It’s an opportunity for “fun and larks” with a wealth of special in-game events to play or grind through, depending on your perspective. Standing Stones Games will no doubt espouse the MMOs achievements and if we’re lucky they may even elaborate further upon the games long term road map. However, anniversaries are also a time for reflection and I would like to take some time to explore several wider aspects of LOTRO and its community that are no longer with us. A lot has happened in eleven years and things are naturally not the same. Change is inevitable and not always bad, but some of the things that have gone from the LOTRO-verse are sorely missed. Others may be not so, but I would still argue that their presence at the time were born of an engaged and motivate playerbase.
Next Thursday LOTRO officially starts its 11th anniversary celebrations. It’s an opportunity for “fun and larks” with a wealth of special in-game events to play or grind through, depending on your perspective. Standing Stones Games will no doubt espouse the MMOs achievements and if we’re lucky they may even elaborate further upon the games long term road map. However, anniversaries are also a time for reflection and I would like to take some time to explore several wider aspects of LOTRO and its community that are no longer with us. A lot has happened in eleven years and things are naturally not the same. Change is inevitable and not always bad, but some of the things that have gone from the LOTRO-verse are sorely missed. Others may be not so, but I would still argue that their presence at the time were born of an engaged and motivate playerbase.
First off, let us start with what was “the definitive” LOTRO podcast and fansite. A Casual Stroll to Mordor was in many was a microcosm of the LOTRO community. It was consistently well written, informative and above all welcoming. It transcended its initial remit to inform and entertain and became a focal point in the games community and an invaluable resource. The husband and wife hosts, Goldenstar and Merric were the antithesis of elite MMO gamers and their down to earth style and enthusiasm made their content extremely accessible. They were also great ambassadors for the game yet even at the height of their success and popularity, there was never a whiff of ego or smugness about them. Furthermore, they used their popularity to help others who wanted to blog or podcast about LOTRO. A Casual Stroll to Mordor was always happy to cross promote and get people involved.
Yet time and tide wait for no man and after four industrious years, Merric and Goldenstar decided to wind things down. Producing content and maintaining standards is hard work and takes its toll, so it was inevitable that both the website and podcast would come to an end sooner or later. Perhaps the biggest losers at the time were then developers Turbine, who relied heavily on both the podcast and blog to disseminate news and promote the game. It was often commented upon within the LOTRO community at the time that A Casual Stroll to Mordor did a better job than Turbines own marketing and promotion teams. I personally consider A Casual Stroll to Mordor to be a text book example of how to do fan generated content right. There are still good sites and contributor out there that are doing a commendable job in supporting LOTRO, but Merric and Goldenstar were part of a perfect storm of factors that mean that they got it 100% right.
The next facet of the LOTRO community that has waned and that I wish to reference, is far less benign one. At the time is was a somewhat problematic “thing” and caused a great deal of consternation within the LOTRO community and for Turbine. Namely, the rivalry and culture war between the Official LOTRO Forums and the LOTROCommunity AKA The Unofficial LOTRO Forums. Initially the unofficial forums were a means to replace the Codemaster forums, after the merging of the US and EU LOTRO servers. Yet the free to play transition, along with the service consolidation were proceeded by difficult times for LOTRO. The game began to move further in to territory that not all players liked, and it is fair to say that Turbine struggled to manage it community relations at the time. Moderation on the official forums was heavy handed and the unofficial forums quickly provided and alternative platform for discussing and critiquing the state of the game.
Eventually this divide descended into a longstanding flame war between both camps and there developed a very polarised “them and us” mentality in certain quarters of the LOTRO community. There were also a small minority of people who used this situation to indulge their desire to troll and hence there was a lot of mud slinging which to this day, some folk still harbour a grudge over. However, despite the bad aspects of this situation, the alternative forums did provide some well researched and articulated commentary at a time when the game needed it. There was a passion there born of a love of a game that to some had lost its direction. Furthermore, some of the unofficial forum members went on to serve on the player council because irrespective of their views. But again, the ebb and flow of time and one’s passions has seen the unofficial forums fall into decline. Some still post there but its intermittent and no longer especially relevant.
Finally, as its been referenced, let us take some time to reflect upon the LOTRO player council. I make no bones about the fact that I thought it was a bad idea at them time and therefore wasn’t surprised by how it subsequently proved to be a bumpy ride both for those who participated and for Turbine yet again. The problem stemmed from false expectations regarding what the player council was able to do. The problem was then compounded by Turbine being vague and then later inconsistent about what they were after. Ultimately, they wanted free market research, where the community and some of those on the council thought they were providing representation and lobbying. And all of this happened during a time when the LOTRO culture wars were still raging. Overall although some members felt that they had contributed towards the MMOs development, I’m not aware of any significant influence or change that the council facilitated.
After eleven years LOTRO is still ticking over and retains a stoic and loyal fan base. There are still blogs and podcasts about the MMO and it maintains a hardcore group of Twitch streamers. The community is still welcoming and engaged but it runs in a noticeably lower gear. Although there are still disputes on the main forums there is nowhere near the level of zealotry within its community divides. LOTRO is far more sedate and civil these days. But in a curious way I miss all of the above that is now absent from the LOTRO-verse. Even the council which was a misplaced experiment belied an active and strongly motivated community. If LOTRO manages to sustain itself for another five years, I wonder what people will look back and reflect upon from this period in the games lifecycle?
The Deliberately Capricious Nature of the Random Number Generator
Although I enjoy Hand of Fate 2, due to the nature of the game’s underlying narrative, you frequently have to pick a card, roll a dice or select yet another card from a spinning wheel, to determine an outcome to an event or an encounter. Hence the game relies heavily on the use of a random number generator mechanic. Sometimes, depending of the speed of the card-based activities you can visually track the one you need to pick. However there reaches a point when you can’t do this. There are either too many cards to keep an eye on or the spinning wheel is simply going to fast. Then it becomes a matter of random chance. And if the odds are unfavourable a matter of repetition. And then frustration. And then a potential abandonment of the game.
Although I enjoy Hand of Fate 2, due to the nature of the game’s underlying narrative, you frequently have to pick a card, roll a dice or select yet another card from a spinning wheel, to determine an outcome to an event or an encounter. Hence the game relies heavily on the use of a random number generator mechanic. Sometimes, depending of the speed of the card-based activities you can visually track the one you need to pick. However there reaches a point when you can’t do this. There are either too many cards to keep an eye on or the spinning wheel is simply going to fast. Then it becomes a matter of random chance. And if the odds are unfavourable a matter of repetition. And then frustration. And then a potential abandonment of the game.
Random number generators are utilised in many genres of games. From MMOs to MOBAs, Action RPGs and FPS. When they favour the player they’re a delight. When you find yourself on the wrong side of the curve, they’re intolerably unfair and can ruin your gaming experience. Furthermore, they’re frequently not true random number generators because computers are notoriously bad at producing truly random outcomes as this quote from Steve Ward, a Professor of Computer Science and Engineering at MIT, explains. “One thing that traditional computer systems aren’t good at is coin flipping. They’re deterministic, which means that if you ask the same question you’ll get the same answer every time. On a completely deterministic machine you can’t generate anything you could really call a random sequence of numbers because the machine is following the same algorithm to generate them. Typically, that means it starts with a common ‘seed’ number and then follows a pattern. They are what we call pseudo-random numbers".
This presents two problems. The first is simply a PR and marketing problem. A pseudo-random number generator is unfair because it is not what it claims to be. Getting screwed over by a true random number generator is far from a fun experience but it is nobody’s fault. Getting stuffed by a crappy outcome via a pseudo-random number generator is not a blameless and unattributable event. It’s ultimately is down to the developer and they will subsequently get the flak from disgruntled gamers as a result. The second issue is that pseudo-random number generators will follow a pattern. It may well be complex, but a pattern can be determined. Hence there is the risk of manipulation and abuse. Certainly, with regard to single player games, a simple google search will produce links to “trainers” and other cheat file that will circumnavigate the random number generator of your game of choice.
The random number generator as a game mechanic is very convenient from the developer’s perspective. They create the illusion of chance which we see in some real-world decisions, which then adds to the game’s immersion. They also bring a degree of longevity to the proceedings by introducing a fail state. Now for those who consider “competition” to be the foundation of gaming, fail states are not necessarily a bad thing. However, failing due to lack of skill or knowledge can both be addressed. Failure due to random chance is something that has to be endured and is a far more egregious barrier to success. However, the random number generator can make other contributions to a game, other than determining outcomes that give rewards. Unit stats, map generation, mob generation can be handled in such a fashion and frequently are without any major controversy.
If you wish to be pedantic, you can cogently argue about the random nature of much of the real world. However, on a more superficial level (which is also the level that most of daily life is conducted), we like to conduct our daily business here in western civilisation within the confines of a relatively organised and contained society. When I go to the supermarket, I assume that as it’s in the business of selling groceries, that it’s shelves will be adequately stocked. As humans we try our best to manage the daily variable of our lives using knowledge and experience. For example, if I needed to build a foot bridge over a small stream, I would research the best way to do this using mathematics and science, and then undertake the task using appropriate materials. I may fail but if I’ve followed a tried and tested process, the chance of that happening is quite low. In gaming we have no data on the variables and thus cannot manage them. Random chance in this instance is therefore far more of a factor, less realistic and inherently unfair.
Regardless of whether you seen gaming as a competitive undertaking, a broader leisure activity, or as a quid pro quo paid service, the ham-fisted use of a random number generator can be a thorn in the gamers flesh. Is there an alternative? I’m sure there is although I am not sufficiently versed in game theory or development to definitively tell you what it is. But I can say with confidence what I don’t like and being hamstrung by random chance at crucial points in a game’s progression is a prime example of this. It’s not a question of “bad luck”, as luck in this context is being bastardised by the application of anthropomorphism. What gamers need to understand is that the random number generator by default predominantly produces negative outcomes because that is its job. It does this not with malice of forethought but purely by design. Furthermore, it’s ubiquity is due to its expediency and cost. What developers need to do is realise that as a mechanic it really doesn’t have any long-term benefits. Try harder, please.
Social Gaming Without the Gaming
Earlier this evening, I logged into my Discord server as I do each week, to catch up with some internet friends while playing The Elder Scrolls Online. For some technical reason, the game was unavailable, so we chatted among ourselves while pursuing other activities. I don’t think any of us actually played another game while we talked. However, despite the absence of any MMO related entertainment, we managed to keep ourselves amused for three hours. For me this anecdote highlights a point I’ve made many times in the past, that games do not create social interaction but merely facilitate it. Furthermore, the social element of the MMO genre is often misunderstood, misrepresented and over sold. Much of the enjoyment that we get from the social aspect gaming is from our interactions with friends. However, this is not solely dependent on the game which is ultimately nothing more than a conduit.
Earlier this evening, I logged into my Discord server as I do each week, to catch up with some internet friends while playing The Elder Scrolls Online. For some technical reason, the game was unavailable, so we chatted among ourselves while pursuing other activities. I don’t think any of us actually played another game while we talked. However, despite the absence of any MMO related entertainment, we managed to keep ourselves amused for three hours. For me this anecdote highlights a point I’ve made many times in the past, that games do not create social interaction but merely facilitate it. Furthermore, the social element of the MMO genre is often misunderstood, misrepresented and over sold. Much of the enjoyment that we get from the social aspect gaming is from our interactions with friends. However, this is not solely dependent on the game which is ultimately nothing more than a conduit.
How often have you done any of the following? Logged into a game not because you have a pressing need to run a dungeon but because you simply wanted to hang out with like minded people and have a chat. Used your guild mates as a form of group therapy because you just got dumped, didn’t get that promotion or have just had a bad day. Decided to just ride around the virtual world for a while and talk shit with friends, rather than go do the dishes or some other chore you don’t feel disposed towards doing. I suspect a lot of people will have done one or more of these? I know I have. Sometimes the most appealing aspect of social gaming is access to people. The world has changed a lot in my lifetime and the close knit social communities I knew in the seventies are not necessarily there for a lot of folks these days. You don’t always know your neighbours or remain friends for life with the people you went to school with these days. MMOs offer an alternative to this in so far as an opportunity to strike up friendships if you so desire.
Gaming can be greatly enhanced by social interaction, especially when it is with friends. I often think that developers lose sight of this subtle distinction. Too often they confuse random grouping in co-op gaming with the social dynamic you find in close-knit guilds and erroneously think it will yield the same results. It does not. I have had some good experiences with random grouping, but they have been few and far between. Too often they are a necessary evil that you have to endure to achieve your goal. On the other hand, gaming with my peers, who I know and respect, has provided some of the most enjoyable experiences I’ve had in recent years. I still regularly talk to people I’ve known via guilds and kinships irrespective of whether we actually play MMOs together. Some of these friendships are over a decade old and have out lived some of the MMOs that spawned them.
Thoughts on Blogging Part 3
I read a post over at Tobold’s Blog recently that got me thinking about blogging, popularity, and the ebb and flow of our passions. The reason being is that Tobold, like many other long-term bloggers, has seen a decline in his audience over recent years. He certainly wasn’t carping about it, just simply observing the correlation between reducing your written output, the decline in popularity of his original subject matter and the number of visitors coming to his site. He also made a keen observation that blogging is not necessarily “where it’s at” with regard to cultivating an audience. If you are producing content specifically to grow and maintain a following, then You Tube and Twitch are better platforms for that. Especially if your content is part of the wider gaming scene. For better or for worse, I now associate gaming commentary with visual mediums rather than blogging. Yes, there is still long from criticism being produced but it’s aimed at a niche gaming audience. One that I would guess is older.
I read a post over at Tobold’s Blog recently that got me thinking about blogging, popularity, and the ebb and flow of our passions. The reason being is that Tobold, like many other long-term bloggers, has seen a decline in his audience over recent years. He certainly wasn’t carping about it, just simply observing the correlation between reducing your written output, the decline in popularity of his original subject matter and the number of visitors coming to his site. He also made a keen observation that blogging is not necessarily “where it’s at” with regard to cultivating an audience. If you are producing content specifically to grow and maintain a following, then You Tube and Twitch are better platforms for that. Especially if your content is part of the wider gaming scene. For better or for worse, I now associate gaming commentary with visual mediums rather than blogging. Yes, there is still long from criticism being produced but it’s aimed at a niche gaming audience. One that I would guess is older.
Even when blogging was the medium of choice within the gaming community, it was far from a homogenous platform. There was (and remains to this day) a wide spectrum of output. Those pursuing an in-depth analysis of gaming did so and developed their audiences accordingly. Those who pursued a more “populist” approach to their content did so and likewise found success or failure. Like today with streaming, bloggers were free back in its heyday to either treat their work as a hobby done for its own pleasure or intellectual reward, or as a means to seek the fickle finger of internet fame and grow a readership as well as a line of revenue. Let us not forget that a decade ago adblockers were a merely a vague nightmare for marketing departments and that clicks, and advertising links were the key to financial success. However, whatever path you pursued as a gaming blogger during this time, it was quite an interconnected community. Events such as the Newbie Blogger Initiative of 2012 further reinforced this.
As for the fifteen minutes of fame that Tobold alludes to in his post, I wouldn’t go so far as to suggest that Contains Moderate Peril achieved that. However, traffic increased to the point in 2014 where a conventional hosted WordPress package was not up to the job and I had to look for a more robust solution. Fortunately, I managed to secure sponsorship from Host1Plus which I consider to be an acknowledgment of the site’s internet “reach”. Certainly 2014-15 were good years and it was during that time that I started finding myself on various emailing lists from PR and marketing companies. Because the scope of the blog has never been exclusively about gaming, I also received invites for movies screening and other material. Certainly, having a podcast linked to the blogs activities helped find a wider audience. Posting regular content was another reason for the growth in readership.
A lot has happened in the world of blogging since I started in 2007. Alternative platforms have emerged that have a “different” barrier to entry. As ever, visual mediums are more accessible to wider audiences and thus You Tube and Twitch have become venues for the latest internet Gold Rush. As for Contains Moderate Peril, well a variety of factors have impacted upon the sites online presence. I had to relocate the blog due to technical reasons and then there were a series of issues that interrupted content creation. By mid-2016 the blog had lost 75% of its traffic. However, I returned to regular posting in 2017 and the site has seen a steady increase in visits each month since then. Gaming as a topic only constitutes about 45% of the material I write about at present and only certain subjects and games seem to gain traction. However, movie reviews and analysis seem to be attracting a lot of traffic and an audience who are happy to read lengthy articles.
I’m not a big fan of “what if” scenarios and “if I could do it all again” flights of fancy. I have in the past harboured ambitions to write professionally but the practical realities of life meant it made better economic sense to stick with the proverbial day job. I have now retired and have become a carer, but the odd thing is because of the very structured and routine nature of that task, I now have specific designated times to write which I didn’t in the past. Hence the regular content and the site growth. Ironically, I am now being offered and undertaking paid work. In a perfect world I would have liked to have done this years ago but c’est la vie. The wheel has also turned full circle for many of my writing peers are dusting off their blogs and sharing their thoughts once again online. Hence, I think game blogging will always have a place and will attract those that seek the potential depth and intimacy of written content. It may not present the same opportunities that some seek from Twitch and You Tube, but that’s also why it doesn’t share exactly the same failings.
Ghost Stories (2017)
Adapting a stage play into a feature film can be a difficult task. If done poorly you’re left with a movie that feels stilted and confined due to its theatrically designed narrative. However, that is not the case with Ghost Stories, whose portmanteau format is inherently cinematic to begin with and has more than a whiff about it of the Amicus compendium horror movie from the seventies. Furthermore, the film adaptation provides even greater scope for genre references and homages to other classic supernatural movies. Director of photography Ole Bratt Birkeland creatively expands and embellishes the central story against a wider visual canvas. The shocks and scares are lovingly contrived, skilfully executed and genuinely unsettling. The film also maintains a very foreboding tone.
Adapting a stage play into a feature film can be a difficult task. If done poorly you’re left with a movie that feels stilted and confined due to its theatrically designed narrative. However, that is not the case with Ghost Stories, whose portmanteau format is inherently cinematic to begin with and has more than a whiff about it of the Amicus compendium horror movie from the seventies. Furthermore, the film adaptation provides even greater scope for genre references and homages to other classic supernatural movies. Director of photography Ole Bratt Birkeland creatively expands and embellishes the central story against a wider visual canvas. The shocks and scares are lovingly contrived, skilfully executed and genuinely unsettling. The film also maintains a very foreboding tone.
Co-writer and co-director, Andy Nyman, star’s as paranormal investigator (and debunker) Professor Phillip Goodman. After being informed of three potential cases that may well defy rational explanation, the Professor sets out to explore them further. The first incident involves a night watchman working in an old factory. The second focuses on a teenager whose car breaks down in a remote location and the last is about business man who is awaiting the birth of his child. Naturally the fourth story is the framing tale of Professor Goodman’s investigation which also serves as the films denouement. To say any more would be to give away the plot and spoil the film. Let it suffice to say that Ghost Stories exudes its horror pedigree and is littered with references to delight genre devotees.
Nyman and Dyson, direct assuredly and the movie maintains a measured pace. Performances are notably good, especially Paul Whithouse as the depressed and perturbed nightwatchman. He gives a very natural and credible performance as blue-collar worker struggling to rationalise his experience. Alex Lawther’s (Black Mirror: Shut Up and Dance) gives us a worryingly good turn as a man on the edge of hysteria. Perhaps it is the third story starring Martin Freeman that is the least thrilling. It’s not that this tale of a nursery-based poltergeist is lacking, but the fact it is used a segue into the final act, that robs it a little of its narrative power. However, the film boasts a suitably grimy production design with such locations as a decaying asylum, a distinctly down at heel working men's club and even the dreary childhood bedroom of one of our protagonists. There is also attention to detail to be found in each scene, from period wood cuts featuring the supernatural to the obligatory tomes and grimoires of the occult, lining bookshelves.
Ghost Stories, like many projects driven by those with a strong affinity to the genre and the influences of their youth, steers a fine line between homage and reference as well as fanboy adulation and cliché attribution. It’s is a bold and creative expansion of the stage play with sufficient difference for the broader visual medium of cinema. It successfully manages to scare, unsettle and bother the audience and in doing so, misdirect attention away from the slightly contrived framing story. It is also a welcome relief to experience genre cinema that hasn’t been exclusively tailor made and refined to fit a specific rating and appeal to a particular demographic. Ghost Stories is far from a gorefest but it is wonderfully creepy and atmospheric and makes no concessions to back pedal or make itself more appealing to wider audiences. It is scary, well-crafted and distinctly British. More please.
Hand of Fate 2
The basic premise of Hand of Fate 2 remains the same as the first game. However, Defiant Development have not just rehashed their action combat, table top inspired, card-based RPG. They’ve improved, refined and embellished the game, seizing upon its best aspects and bringing them to the fore, while beefing up the combat and adding wider features to bolster longevity. The sinister dealer returns but with a subtly different purpose this time. The player’s progression through the game is still filled with familiar fantasy tropes, random dice rolls, double-edged decisions and unexpected encounters. But this time the proceedings are contained within a more sophisticated framing device. There is a world map and a wider backstory to consider as you face 22 card-based challenges.
The basic premise of Hand of Fate 2 remains the same as the first game. However, Defiant Development have not just rehashed their action combat, table top inspired, card-based RPG. They’ve improved, refined and embellished the game, seizing upon its best aspects and bringing them to the fore, while beefing up the combat and adding wider features to bolster longevity. The sinister dealer returns but with a subtly different purpose this time. The player’s progression through the game is still filled with familiar fantasy tropes, random dice rolls, double-edged decisions and unexpected encounters. But this time the proceedings are contained within a more sophisticated framing device. There is a world map and a wider backstory to consider as you face 22 card-based challenges.
The initial tutorial stages, has your token move across a map of cards triggering an encounter on each one it lands upon. At times these are just story text, but others result in a decision or an outcome based upon the roll of a dice. Some encounters will end in combat, where the game adopts a third person Arkham-style fighting perspective. Combat this time round has been beefed up with companions and a greater variety of skills. You can also change the gender of your avatar and make some basic cosmetic changes. Beyond the tutorial, the importance of customising your deck and selecting appropriate cards ahead of the challenge becomes apparent. Picking the right selection leads to greater loot acquisition. Completing challenges and winning tokens provides new cards and new ways to explore and play the game. But you have to be on your toes. If you die in combat or due to a bad run of cards, then you fail and have to replay the entire challenge.
It is the greater depth of Hand of Fate 2 that makes it a superior sequel. The challenges often have sub-requirements that must be met before you progress. The new companions have their own unique backstories as well as engaging personalities. One is not especially bright and is afflicted with a potato fixation. The expansion of the narrative along with the augmented role of the dealer (once again brilliantly voiced by actor Anthony Skordi), means that the game is even more immersive this time round. The new mechanics means that replaying failed challenges is not as repetitious as expected. The in-game combat is still relatively simple compared to games based entirely upon this mechanic, but it is an improvement over the first game. There is more to do and those who are not great twitch gamers have the option of building a deck of buffs and debuffs.
Unlike many contemporary titles, Hand of Fate 2 has a unique quirky charm and character. Both the sound design and a subtle score by Jeff van Dyck enhance the game and contribute to its brooding atmosphere. However, out of all the games embellishments, it is the saturnine soliloquies of the dealer that are the most enjoyable and effective changes. He hints at a broader lore and sinister purpose behind the players progress across the virtual game board. It is these characteristics as well as a credible and balanced use of random chance that makes the game exciting. Overall Hand of Fate 2 is a worthy successor to the previous instalment in the series and a step forward in the games development. Mister Lionel may be absent this time round but there is still plenty of alternative Goblin based mirth to be enjoyed.
Parker (2013)
Parker is somewhat of a departure from Jason Statham's usual style of action movie. Based upon the character created by author Richard Stark (AKA Donald E. Westlake), Parker has an emphasis on plot and old school hard-boiled dialogue, over fights and mayhem. Although those elements are present in the film, they do sit rather awkwardly with the modern action idiom. Director Taylor Hackford seems to struggle in finding the right style for Parker and the indecision results in a very uneven movie. However, it should be noted that bringing this particular character to the screen has proven difficult in the past, although John Boorman successfully achieved this with Point Blank, starring Lee Marvin.
Parker is somewhat of a departure from Jason Statham's usual style of action movie. Based upon the character created by author Richard Stark (AKA Donald E. Westlake), Parker has an emphasis on plot and old school hard-boiled dialogue, over fights and mayhem. Although those elements are present in the film, they do sit rather awkwardly with the modern action idiom. Director Taylor Hackford seems to struggle in finding the right style for Parker and the indecision results in a very uneven movie. However, it should be noted that bringing this particular character to the screen has proven difficult in the past, although John Boorman successfully achieved this with Point Blank, starring Lee Marvin.
Like the recent adaptation of Jack Reacher, Parker has a simple story that seems decidedly low-key in this day and age of Hollywood excess. Rather than being subjected to an over reaching plot filed with implausible deeds, we simply get a tale of a heist gone bad, a betrayal and the subsequent quest for of revenge. Michael Chiklis has little to do as the double-crossing gang leader Melander and his crew are simply bad by default. The movie is also punctuated with some quite jolting scenes of violence, which for some reason just seem to be out-of-place with the rest of the narrative. It as if screenwriter John J. McLaughlin felt obliged to cater for regular Statham fans.
The only real character that shows promise is Jennifer Lopez as an aspiring Real Estate Agent Leslie Rodgers, who throws her lot in with Parker in a last-ditch attempt to better her ailing career. Playing against type she gives a solid performance, doing her best with a role that could have been a lot better if developed further. As for Mr. Statham, he fills the role of Parker, the crook with a moral code, adequately. Yet despite the positive vibe between the two leads the movie struggles to find the right tone. The pacing is somewhat slow and despite the focus on story, there is still a great deal of plot points that are simply glossed over. Providing a greater insight as to why Parker is the way he is would have certainly been worth exploring.
Parker is a curious movie and not without good points, but it ultimately falls between two stools. It neither satisfies the hardcore action fan, nor does it truly embrace the role of a traditional thriller. It also squander's a good cast (including a brief cameo by Nick Nolte) by giving them little to do. However, it is nice to see Jason Statham expand his repertoire, as he is quite a charismatic actor in his own unique way. It will be interesting to see if there will be any further outings for this character. Several studios have tried to launch this franchise before and have failed. Perhaps the boat has sailed for Parker and he remains a relic of the decade that spawned him and simply isn't suited to today's cinematic tastes. If we do get to see Parker again, I would rather see the one from Thunderbirds.
Diary of a Podcaster Part 14
Today I did a little blog housekeeping. I’ve reposted the last five episodes of the Contains Moderate Peril on the podcast page, now that previous hosting account has been closed and the RSS feed is defunct. The files are held locally and can either be played via the embedded player or downloaded manually. There are also two episodes of the Burton & Scrooge Podcast still available on SoundCloud for posterity. The podcast page and selection of episodes available are for reference and as an example of my podcasting back catalogue, so to speak. I may not be actively creating content of this kind at present, but I see no reason not to promote my experience in the field. If circumstances change in the future, there may be resumption of service.
Today I did a little blog housekeeping. I’ve reposted the last five episodes of the Contains Moderate Peril on the podcast page, now that previous hosting account has been closed and the RSS feed is defunct. The files are held locally and can either be played via the embedded player or downloaded manually. There are also two episodes of the Burton & Scrooge Podcast still available on SoundCloud for posterity. The podcast page and selection of episodes available are for reference and as an example of my podcasting back catalogue, so to speak. I may not be actively creating content of this kind at present, but I see no reason not to promote my experience in the field. If circumstances change in the future, there may be resumption of service.
While I was archiving various audio files, I spent some time listening to the jingles and stings that were created for both Contains Moderate Peril and Burton & Scrooge Podcast. This has always been an aspect of podcast production that I’ve enjoyed, hence its something that I put a lot of time and effort into when the various shows were at their peak. For example, DJ Ric Santos was specifically chosen to provide the introduction for Contains Moderate Peril, because of his upbeat inflection and prodigious experience with recording voiceovers. The Christopher Walken preamble for the Burton & Scrooge Podcast was created by re-editing an impression that comedian Kevin Pollack performed during an interview. And my personal favourite, the Liam Neeson “endorsement” was a bespoke recording made by a professional voice artist.
The music used for both the “intro” and “outro” of each show were always picked with consideration and I loved creating little stings taken from cults movies and TV shows. The idea was to try and make them link to the various subjects being discussed. Sometimes this was done in an obvious fashion and on other occasions it was damn obscure (and somewhat self-indulgent). It made me laugh when one listener said that they listened to podcasts at double speed for reasons of time efficiency. I thought to myself bang goes all that work, but that is the nature of the beast. One man’s meat is another man’s poison. Therefore, bearing all this in mind, I thought it would be a small but fitting epitaph to both shows to post a few examples of the various jingles, stabs and stings that adorned them and added to their respective character.
The Tedium of April Fool's Day
Many of the traditions that we maintain as a society, started off with honest intentions. Such things as public holidays, religious observance or the simple celebration of a particular group or ideal are prime examples. Inevitably the meaning of these traditions becomes diluted over time and they more often than not become exercises in marketing or tedious institutions perpetuated by those with a specific agenda. For me April Fool's Day is the embodiment of this concept. An exquisitely unfunny ritual that is inflicted upon us by those who don't realise (or care) that the activity is totally arbitrary. I hate the concept of organised fun. And that it’s something to be martialled and stage managed by self-appointed arbiters. Furthermore, I despise the accompanying mindset that if you somehow don't enjoy yourself, or wish to participate in the ensuing charade, you are somehow lacking or a "killjoy". Both concepts are flawed and morally oppressive. For me fun is something that occurs organically, and its dynamic nature eschews control and shepherding. It should not be at someone else’s expense either.
Many of the traditions that we maintain as a society, started off with honest intentions. Such things as public holidays, religious observance or the simple celebration of a particular group or ideal are prime examples. Inevitably the meaning of these traditions becomes diluted over time and they more often than not become exercises in marketing or tedious institutions perpetuated by those with a specific agenda. For me April Fool's Day is the embodiment of this concept. An exquisitely unfunny ritual that is inflicted upon us by those who don't realise (or care) that the activity is totally arbitrary. I hate the concept of organised fun. And that it’s something to be martialled and stage managed by self-appointed arbiters. Furthermore, I despise the accompanying mindset that if you somehow don't enjoy yourself, or wish to participate in the ensuing charade, you are somehow lacking or a "killjoy". Both concepts are flawed and morally oppressive. For me fun is something that occurs organically and its dynamic nature eschews control and shepherding. It should not be at someone else’s expense either.
However, the video game industry loves a bandwagon and any event that they can crow bar into a game (and monetise if possible). April Fool’s Day has become yet another of these arbitrary occasions. Thus, we have everything from bogus or “prank” press releases, novelty tweets from community managers, “humorous videos” and even themed events. So far, I’ve encountered the following. An “fun” email from Niantic about a graphical upgrade coming to Pokémon GO. A press release about the upcoming Black Desert Online theme park. And a tweet from the official Path of Exile twitter account stating that they’re abandoning the development of their game as an action RPG and that it will be repurposed as a 100 player Battle Royale experience. However, it should be noted that all the above, although annoying, are things that can be avoided. But the developers of the MMORPG Rift, have decided to go so far as to have a little April Fool’s humour at their players expense. The game usually has no fall damage but today they’ve turned it on. Oh, the endless joy.
There are many things in life that are inflicted upon us, often against our will and without any form of redress. Governments, taxes, kids playing music on their phones out loud and the iniquities of [insert name of tediously predictable You Tuber here], to name but a few. So, I really don't want to see more of the same in gaming. If developers do feel the need to “join in the fun” of the season and insert some joke or novelty event (as with the example from Rift), then they should at least give players the option to disable it. The same way that SSG allows players to opt out of forced emotes from other players in LOTRO. That would cover all bases and buy the devs a lot of goodwill. Those who like this sort of thing can split their sides with mirth and the rest of us can be left in peace. The reason I mention this is because it’s never a good idea to upset paying customers. As for April Fool's Day, well it’s a tradition that really needs laying to rest. Does it promote comic genius or simply perpetuate uninspired, thoughtless, ubiquitous mediocrity? (No shouting out, hands up, please). If you want another cogent argument as to why this annual celebration is a cultural blight, then watch the video below by comedian and satirist John Oliver.
The Truth Is Out There (2011)
Dean Haglund is best known for playing Richard Langly, one of the Lone Gunmen on The X-Files. In recent years has capitalised upon that role and has become closely identified with the realm of the paranormal and the world of conspiracy theories. The documentary The Truth Is Out There follows Dean as he travels the US and attempts to discover just what it means to search for the truth in a world where conspiracies theories, untruths and fake news abound. The documentary directed by Phil Leirness, humorously takes the viewer on a journey of discovery, talking to those who believe that the world is not what it seems.
Dean Haglund is best known for playing Richard Langly, one of the Lone Gunmen on The X-Files. In recent years has capitalised upon that role and has become closely identified with the realm of the paranormal and the world of conspiracy theories. The documentary The Truth Is Out There follows Dean as he travels the US and attempts to discover just what it means to search for the truth in a world where conspiracies theories, untruths and fake news abound. The documentary directed by Phil Leirness, humorously takes the viewer on a journey of discovery, talking to those who believe that the world is not what it seems.
It takes a while for The Truth Is Out There to find its feet. The first ten minutes or so focuses on Dean Haglund visiting various conventions and fringe groups. Due to Dean's exuberant personality, it is difficult to initally predict exactly what tone the documentary will take to its subject. However, after a while it becomes very clear that his persona and rapport with those he talks to is an invaluable asset. The scientists, authors, mediums, journalists that he interviews warm to his charm and express themselves in very relaxed way. There is little conflict during their discussions as they’re afforded a great deal of respect and not treated as “nuts”.
Director Phil Leirness has edited together from hours of material, a very fair and measured documentary. In some instances, I felt that possibly too much time was given to certain parties, but that may just be me. Those with a greater interest in this topic may feel that the running time of 141 minutes is too short. My only other complaint was that the accompanying soundtrack was a little too intrusive at times and detracted from what was happening on screen.
As the documentary progresses and the audience meet a wider group of individuals with increasingly complex views of the world, the film cross cuts to Dean in discussion with psychotherapist, Dr. Nicki Monti. I personally found this to be one of the most engaging aspects of the film. By nature, I am sceptical of this facet of contemporary medicine, but on this occasion felt that the observations that were spot one and very pertinent to the discussion. It is also important to point out that Phil Leirness has been very even handed in his treatment of all interviewees. If any of them proceed to shoot themselves and their respective arguments in the foot, it is by their own hands and not his.
The Truth Is Out There potentially appeals to a multitude of demographics. A great deal of this hinges of the charm of Dean Haglund and his amusing and dry quips. There is much food for thought in the ideas and concepts discussed, from Area 51 to the 9/11 conspiracies, as well as our fascination as a society for this sort of material. For the past fifty years, conspiracy theories have become an increasingly popular topic of debate. Whether you consider them genuine or merely the delusional conceits of those ill-equipped to deal with reality, it is a phenomenon that is not going to go away.
The Next Big Thing
I was chatting with a few fellow gamers recently and was asked if I had pre-ordered any new up and coming titles, such as The Crew 2 and Anthem. They seemed surprised when I responded "no". I subsequently explained that I had reached a stage in my life where I was beginning to tire of hype, false expectations, the continual internet chatter and the crap that accompanies being an early adopter. I think that the whole Star Wars: Battlefront II debacle pretty much put it all into perspective for me and I just don't see the point in going through all that again. Then the subject of early access and soft launches came up and I similarly pointed out that I wouldn’t be jumping on the Sea of Thieves bandwagon either. I like to buy a game when it’s finished and therefore get an entire product. I don’t have to be part of the crowd that’s playing any game on day one of launch.
I was chatting with a few fellow gamers recently and was asked if I had pre-ordered any new up and coming titles, such as The Crew 2 and Anthem. They seemed surprised when I responded "no". I subsequently explained that I had reached a stage in my life where I was beginning to tire of hype, false expectations, the continual internet chatter and the crap that accompanies being an early adopter. I think that the whole Star Wars: Battlefront II debacle pretty much put it all into perspective for me and I just don't see the point in going through all that again. Then the subject of early access and soft launches came up and I similarly pointed out that I wouldn’t be jumping on the Sea of Thieves bandwagon either. I like to buy a game when it’s finished and therefore get an entire product. I don’t have to be part of the crowd that’s playing any game on day one of launch.
I’m frequently unimpressed with the pre-order bonus items associated with buying in advance, as they’re seldom of any real benefit and often smack too much of a cash grab. I appreciate that game developers need to get cash up front, but if I am to spend money prior to a game’s release I want a tangible incentive, not just baubles and trinkets. Plus linking beta testing to pre-orders strikes me too much like hedging your bets. I think it is important to try before you buy these days, as gaming often requires a sizeable cash outlay if you want the full product. To gate beta testing behind a pre-order does seem counter intuitive, potentially alienating many of those who would under other circumstances, be happily testing your product for free. $60 (or more if you want a season pass as well) is a lot to spend on a product that may not eventually be to your liking. I beta tested many MMOs in the past and didn’t buy all of them.
I also have doubts over the future of the MMO genre, so would rather wait a while before purchasing any of the new titles currently in early access. Hence Project: Gorgon and Crowfall remain on my radar through news feeds rather than first-hand experience. I want to see if they succeed or fail and what sort of community grows around them. In the meantime, there are plenty of smaller releases that I am interested in. However, these are not MMOs so do not have the any of the potential risks or problems. I am eagerly awaiting Frogware’s The Sinking City, for example. It won't have the any of the hype and marketing impetus of any of the major studio releases this year, but it will arrive on time and in good order, doing hopefully everything that it's more measured sales campaign promises. I find that many of the smaller game developers still have a sense of perspective and tend not to over sell their products.
The cult of "the next big thing" and the early adopter is really a state of mind. I recently spent some time perusing old titles via Steam and Origin, looking at established games that were over two years old. Such products have usually been patched and fine-tuned, eliminating any bugs. There is also a wealth of online resources should a player require any assistance. Then of course there is the massive price differential. The latter is a very important factor. The net result of my search was that I found the RPG The Witcher 3: Wild Hunt GOTY Edition available via for £15, if you shop around online. Let it suffice to say that unless you need to be at the cutting edge of gaming, you can avoid the respective baggage that accompanies “the next big thing” and find comfort and satisfaction with last year’s titles. Sadly, too many people still are enamoured by pre-order culture and “being there” on day one. Until this culture changes, the egregious bonuses and tat that come with premium pre-orders will continue to blight the industry.
The X-Files: I Want to Believe (2008)
I always enjoyed watching The X-Files and was bitterly disappointed by the way the series ended. It was abrupt, lacklustre and inconclusive. So naturally I was interested when I heard that the franchise was to be resurrected for another cinematic outing in 2008. I, like so many fans, was curious to see how the characters would be developed and whether if any of the more famous story lines would be developed for this second cinematic outing. The fact that series creator, Chris carter, was to direct the film increased my expectations. However, the film that was finally released (at the height of the summer, amid so much competition) was quite different from what the public were expecting.
I always enjoyed watching The X-Files and was bitterly disappointed by the way the series ended. It was abrupt, lacklustre and inconclusive. So naturally I was interested when I heard that the franchise was to be resurrected for another cinematic outing in 2008. I, like so many fans, was curious to see how the characters would be developed and whether if any of the more famous story lines would be developed for this second cinematic outing. The fact that series creator, Chris carter, was to direct the film increased my expectations. However, the film that was finally released (at the height of the summer, amid so much competition) was quite different from what the public were expecting.
Former FBI spooks Mulder (David Duchovny) and Scully (Gillian Anderson) are reinstated to investigate the mysterious abduction of a young female agent. They are assisted by a psychic ex-priest who has been defrocked over child molestation (Billy Connolly). As the agents struggle to unravel the secrets of Father Joseph's visions they also have to confront some personal demons of their own. Whilst unravelling a plot involving bizarre experimentation, Mulder and Scully struggle with their relationship and a sceptical pair of FBI colleagues. There are no conspiracies, shoot outs, alien activity, CGI, or major explosions. The film is curiously low key in both its plot and production.
Unlike the first feature film, the plot does not focus on the series' established "mythos" and instead works as a standalone story, similar to many of the "monster of the week" episodes that were frequently seen in the TV series. This has been done in an attempt to appeal to a broader audience, but ultimately works against the film. It all seems a little too understated and un X-Files-ish. The only above average aspect of the movie is Billy Connolly's performance. But one good performance is not enough to sustain this sort of movie. Also, the major selling point of the original series was the unrequited relationship between the leads. This film ruins this mystique by finally settling the storyline. Mulder and Scully together as an item simply does not work.
The X-Files: I Want to Believe has a strong degree of moralising and religious debate, which is far from subtle. Connolly's character raises several ethical issues, but the script seems ill equipped to explore them to any satisfaction. All things considered, this really is a bit of a misfire. It does seem strange that a major studio such as Fox would bring a franchise out of retirement simply for such a basic film. I'm sure writer and director Carter was attempting to go back to basics and not be artistically fenced in by previous material. Unfortunately, I think he took too many steps back on this one and we are left with a film that is content to be no more in-depth than an average TV episode.
Let the Gamer Beware
Gaming is a very interesting and unique industry. It has evolved a great deal over the last three decades and now deals in virtual products. It’s a far cry from traditional notions of business. Yet despite its modern trappings it is still driven by the same processes and imperatives of any other sector. Therefore, should a customer really treat it any differently? The reason I ask is because it seems to me that gamers have a very different relationship with their respective vendors, compared to other groups of consumers. It is a relationship that I believe to be somewhat skewed and therefore detrimental to both parties.
Gaming is a very interesting and unique industry. It has evolved a great deal over the last three decades and now deals in virtual products. It’s a far cry from traditional notions of business. Yet despite its modern trappings it is still driven by the same processes and imperatives of any other sector. Therefore, should a customer really treat it any differently? The reason I ask is because it seems to me that gamers have a very different relationship with their respective vendors, compared to other groups of consumers. It is a relationship that I believe to be somewhat skewed and therefore detrimental to both parties.
Whether you are buying a house, a new TV or loaf of bread at the supermarket, all business transactions are governed by a basic contract. Goods or services are exchanged for money. Furthermore, those goods and services must abide by a set of pre-agreed criterion. If these are not met, then the goods or services are not fit for purpose and the contract is null and void. The transaction is subsequently cancelled. If funds were paid in advance, then they are returned. There is a logical purity to the process. As a consumer this procedure should be your abiding philosophy and caveat emptor (“let the buyer beware”) your personal mantra. Obviously, consumer legislation has layers of complexity and may vary from region to region, but the basic tenets are universal.
Bearing this in mind let us turn our attention to the gaming genre, specifically MMOs. They are a curious product to begin with. Until recently, initial payment only allowed you to use the client software for first thirty days. To continue using it, a subscription was required. This has changed recently, and the basic product is now given away free, with revenue coming from the sale of enhancements and premium services. Yet despite all this, the business model is still subject to the traditional contract. Therefore, if the vendor defaults in anyway on their obligations, then the buyer has appropriate legal recourse, within the terms and conditions of the service.
Unfortunately, gamers do not simply buy a product and view the transaction with dispassionate and logical legal acumen. Gamers bring enthusiasm and fandom to the equation. Games evolve, and player participation and feedback contribute to that process. The love and time that gamers invest into an MMO elevates the process above a simple business transaction. This is a very big factor in shaping the way gamers perceive their business relationship with the developers. In fact, some lose sight that it is an actual business relationship and see it more as some sort of reciprocal partnership. This is where the problems begin.
Because MMOs are so dependent on customer feedback there is a requirement for forums and an overall dialogue with the player base. This in some ways transcends traditional customer services and takes on a broader role. There is a practical need for a centralised point of information and therefore the role of community manager arises. I consider this to be a contributory factor to the blurring of customer, vendor relationship. Most other businesses have customer service or support. They serve their purpose in providing paying customers with the ancillary service they are due, but they do not alter the dynamics of the relationship. A community manager by their very title infers a community that needs to be "managed", which in turn changes customers with statutory rights into a different group altogether.
Communities in the wider world have a voice. Often, they are solicited by politicians and as such, have power as a lobby group. When this sort of terminology is used with regards to gamers, there is the risk of that they will assume a wider degree of involvement and of their own importance. It is this misinterpretation of what each respective group’s role is, that causes problems. Now consider the gamers above average emotional investment into the products that they are buying. People seldom have a comparable bond with the company that manufactured their fridge. Some fans therefore confuse support and interaction with a vicarious form of co-ownership. Because of roles like community manager and the personalities associated with them, the business relationship then blurs and a more personal one replaces it. It may be well meant initially, but it distorts matters and not for the better. Game developers are commercial entities and making money is their raison d'etre. This should never be forgotten. Ultimately "community management" and other "soft skills" are done out of necessity. They are not driven by altruistic notions and are not providing some sort of benevolent social service for the "greater good". They want your money and will do whatever is required to get it. The vendor is not a friend.
If you use a supermarket and get poor service, you will either complain or more than likely just vote with your feet and never return there again. If you buy a high value electrical item from an established company and find the product faulty as well as the customer support wanting, again you will probably just refrain from purchasing from them in future. As a consumer you may tell others of your bad experience, but you will ultimately get over the matter. After all it is a question of maintaining a degree of perspective. Exactly how much damage has this negative experience done too your life? It not as if your family or a Shaolin Temple has been offended? Now obviously with gaming it is important to consider the time that is invested by the players into the product. This does mean that the consumer has possibly more invested and at stake than the casual shopper that I previously described. However, ultimately the personal investment is something the consumer has brought to the proceedings of their own free will. It has no bearing on the basic business contract that both groups of customers are governed by.
The closure of City of Heroes by NCSoft back in 2012, clearly illustrates this situation. Naturally fans of the game were up in arms and far from happy with its demise. There was a great deal of vocal protest and I have read such statements as "I will never by another NCSoft product" or "they'll never see a red cent of my money again". Emotions were extremely high and some of the opinions expressed seemed to be disproportionate with regard to what had actually happened. It is this type of reaction that I see all too often manifest itself across numerous fans bases. Terms like "betrayal" and "traitor" are used. I have seen these in relation to LOTRO for example. Authors such as George R. R. Martin and Jean M. Auel get hectored by fans who are far from happy with the direction the writers have taken their own creations and work. Again, this all stems from the fact that fans feel that they have some sort of collective ownership or claim to the material they love. Dare I even mention Star Wars?
Passion, fandom and a love of a particular thing can be very positive experience. Ask any scientist, musician or film makers and you'll often find that they were influenced by popular culture. Star Trek has inspired a wealth of our best current achievers. But fandom can also lead to a false entitlement and a very blinkered view of the customer, vendor relationship. Consumers are not the same as creative consultants, nor do they share equal status to those that make the products. This is especially relevant for gamers. The recent launch of Sea of Thieves is a perfect opportunity to reflect upon this matter. If you purchase this game at this point in it's lifecycle, then you need to consider the following.
The game has a finite lifespan, which is governed by its capacity to make money and what other future products the manufacturer has in its portfolio. Buying and playing the game, sinking hours of time and passion into it guarantees nothing. Being active within the wider scene, running a website, hanging out with the community manager at PAX or whatever, does not mean you have more say or clout. Your consumer rights have not altered from what they were on day one. It is very depressing to do so, but my advice is to read the terms and conditions that accompany any MMO (or any other genre of game). They often succinctly tell you exactly where you stand, which is not necessarily where you think. Therefore, let the gamer beware.
The Tree of Life (2011)
Having missed the film on its original theatrical release, I recently saw The Tree of Life as part of a retrospective of the director’s work. Contrary to what some may expect, I am not going to lambast Terrence Malick’s existential reverie. Frankly I applaud the fact that he has endeavoured to do something very different and more importantly very personal. Furthermore, the movie continues to polarise the wider cinematic community, which pleases me greatly. Sometimes there's nothing worse for contemporary cinema than popular consensus. The film certainly elicits an emotional response from viewers, often leading to a debate of the movies respective merits. Yet I consider this to be a good thing, compared to the overall indifference I often feel these days towards an increasing infantilised medium.
Having missed the film on its original theatrical release, I recently saw The Tree of Life as part of a retrospective of the director’s work. Contrary to what some may expect, I am not going to lambast Terrence Malick’s existential reverie. Frankly I applaud the fact that he has endeavoured to do something very different and more importantly very personal. Furthermore, the movie continues to polarise the wider cinematic community, which pleases me greatly. Sometimes there's nothing worse for contemporary cinema than popular consensus. The film certainly elicits an emotional response from viewers, often leading to a debate of the movies respective merits. Yet I consider this to be a good thing, compared to the overall indifference I often feel these days towards an increasing infantilised medium.
Did I enjoy The Tree of Life? No. Did I find myself in accordance with Mr Malick's sentiments, themes and ideas? No. But there again as they are somewhat nebulous, who is to say that I accurately ascertained them. I may well have ended up basing my opinion on my own assumptions and potential prejudices. To be honest, I found myself increasingly more interested in the reaction of other members of the audience as the film unfolded. Being broadly agnostic on matters of faith and spirituality, I was not strongly engaged by the director’s vision. For me the great virtue of the film is the debate that it generates. It raises far more questions than it answers. Something that has been lacking in contemporary cinema for a while.
Narrative cinema is only one approach to film making. Malick certainly does not travel from A to B in a straight line. In fact, he may not be travelling between two points at all. Some may argue that you need to engage your brain to appreciate this film. Others state the opposite and that you simply allow it to lead you through a personal emotional experience. Bear this in mind if and when you see The Tree of Life. If you are still not sure as to whether this film is for you, then consider the following press release that succinctly summarises the proceedings.
From Terrence Malick, the acclaimed director of such classic films as Badlands, Days of Heaven and The Thin Red Line, The Tree of Life is the impressionistic story of a Midwestern family in the 1950s. The film follows the life journey of the eldest son, Jack, through the innocence of childhood to his disillusioned adult years as he tries to reconcile a complicated relationship with his father (Brad Pitt). Jack (played as an adult by Sean Penn) finds himself a lost soul in the modern world, seeking answers to the origins and meaning of life while questioning the existence of faith. Through Malick’s signature imagery, we see how both brute nature and spiritual grace shape not only our lives as individuals and families, but all life.
Filled with religious imagery, philosophical musings over the creation, the birth of morality and visions of the afterlife, The Tree of Life sprawls over a two hour plus running time and pursues its themes in a very erratic fashion. The performances from Sean penn and especially the child actors are strong, although I felt Brad Pitt was somewhat lost in the proceedings. There is also a curious sound design that reflects the enigmatic nature of the film. Some of the imagery will stick with the viewer but the CGI dinosaur section was ill advised. Not because of its technical quality (which is fine) but because of the point it strives to make. Curiously enough, some of the other special effects sequences are filmed using more traditional practical effects. Supervised by Douglas Trumbull, these are somewhat reminiscent in style of Kubrick's 2001: A Space Odyssey, although that is where the similarity ends.
The rampant commercialisation of cinema, particularly in the last thirty years, has certainly reduced the public’s perception of what cinema is and what it can do, down to a very basic level. Expectations are set low and when someone dares to do something different, then it really does throw a spanner in the works. Terence Malick has created something contrary to the current game plan. Admittedly his artistic status affords him an opportunity to do so. It would not be as easy to for a fledgling director to secure the backing of a studio or such a wide distribution deal, to make such a movie. But regardless of the rights or wrongs of The Tree of Life, it continues to remind both the industry and the public alike, of the notion of that cinema can still be art. It is up to you to decide if that is the case in this instance.
007 Legends
It's a curious thing that some of the most popular movie, TV and book franchises end up being made into the most tedious games. 007 Legends (released 2012) falls squarely into this category. It is woefully uninspired and lacking in any real substance. The previous game in the franchise, James Bond 007: Blood Stone released in 2010, was far from a masterpiece, but shines compared to the ineptitude of 007 Legends. Developers Eurocom seemed to have completely misjudged what it is about this particular intellectual property that the public enjoy. The results are a bastard hybrid FPS with just a thin veneer of 007 added to the proceedings. Curiously enough, this was the last game that Eurocom made before going out of business. Subsequently, 007 Legends has vanished from shelves and has been withdrawn from Steam. However, I still have a “hard” copy for the PC.
It's a curious thing that some of the most popular movie, TV and book franchises end up being made into the most tedious games. 007 Legends (released 2012) falls squarely into this category. It is woefully uninspired and lacking in any real substance. The previous game in the franchise, James Bond 007: Blood Stone released in 2010, was far from a masterpiece, but shines compared to the ineptitude of 007 Legends. Developers Eurocom seemed to have completely misjudged what it is about this particular intellectual property that the public enjoy. The results are a bastard hybrid FPS with just a thin veneer of 007 added to the proceedings. Curiously enough, this was the last game that Eurocom made before going out of business. Subsequently, 007 Legends has vanished from shelves and has been withdrawn from Steam. However, I still have a “hard” copy for the PC.
So where exactly does 007 Legends go wrong? Well to start it’s a formulaic FPS, with arbitrary stealth mechanics. The game engine is inadequate, and the game looks dated (even within the context of 2012). Like James Bond 007: Blood Stone there is a reliance on your in-game smart phone to crack security doors and hack computer systems. It’s hardly the most exciting gadget from Q branch. But it’s the narrative that’s the biggest failing. The game takes classic storylines from past Bond movies and re-imagines them as previous missions undertaken by the Daniel Craig's incarnation of Bond. Unfortunately taking such iconic enemies such as Goldfinger, Odd Job and Jaws out of their respective context doesn't really work. The banter and interaction all seem contrived and modernising these stories robs them of their period charm. It’s a real shame because there’s a grain of a good idea present, but its lost due to the poor realisation.
007 Legends is a who's who from the last fifty years of the Bond franchise, but its utterly lacking in emotional impact. Rather than capturing the spirit of Bond it simply feels like a 007 themed mod for another game. Uninspired character animation, repetitive use of similarly designed locations and appalling AI, culminate in a very dull gaming experience. Like many others, I was very disappointed with 007 Legends upon release and six years on, a second play through has not improved my overall opinion. Many of the levels are so generic, I once again found myself trying to bypass or skip content by simply running to the next checkpoint. Overall, this is a text book example of a product born of think tanks, focus groups and bean counters, who confuse bullet point summaries with true understanding. It is hardly a surprise that this game killed the Activision Bond franchise stone dead. Its subsequent disappearance may indicate that there were long term repercussions from the rights holders.
