The Need To Challenge Yourself
In March 2016 I effectively took early retirement from my IT consultancy business and became a fulltime carer. Since then I have focused my time on addressing both my disabled parents’ health needs and the logistical and administrative task of running their home. It keeps me busy to say the least, but I find that being organised, proactive and maintaining a tight routine is the key to staying on top off it all. However, what this role doesn’t provide in any shape or form is any serious intellectual challenge. Scheduling appointments, re-ordering medication and liaising with the District Nurse Team and Doctors Surgery mainly require the use of soft skills. It is gratifying to be on top of these tasks, but it doesn’t have the same satisfaction of a rigorous technical conundrum.
In March 2016 I effectively took early retirement from my IT consultancy business and became a fulltime carer. Since then I have focused my time on addressing both my disabled parents’ health needs and the logistical and administrative task of running their home. It keeps me busy to say the least, but I find that being organised, proactive and maintaining a tight routine is the key to staying on top off it all. However, what this role doesn’t provide in any shape or form is any serious intellectual challenge. Scheduling appointments, re-ordering medication and liaising with the District Nurse Team and Doctors Surgery mainly require the use of soft skills. It is gratifying to be on top of these tasks, but it doesn’t have the same satisfaction of a rigorous technical conundrum.
I have always maintained that the educational process doesn’t end the moment you leave school or university. Everyday presents opportunities both big and small to learn something new. Our lives are a continuous ongoing project of self-improvement, or at least potentially so. Sadly, not everyone embraces such an ethos and certainly in recent years, academia and knowledge per se are openly eschewed in some quarters. People want a seat at the top table without actually earning such a place, but that is a separate discussion. I personally enjoy learning and acquiring new skills. I have been raised to embrace curiosity and whenever I encounter something that I’m not au fait with, my first act is to google it and from there explore the matter further.
I have been somewhat discombobulated of late. I can’t think of another way to describe my feelings. I have focused on my parents’ requirements and have ensured that their needs have been met, but despite trying to organise my writing schedule, I have not posted as much new content as I would like. After some personal reflection I have concluded that I’m not being sufficiently intellectually engaged at present. I enjoy a technical challenge, which is one of the reasons I gravitated towards IT as a career. This is absent from my life at present and it is proving to be detrimental to my state of mind. So I’ve decided that it is time to try and take onboard a new project of some kind or learn a specific new skill. Obviously, I have to pick something that can dovetail into my existing daily routine, but I think if I am sensible in what I choose, I can accommodate it.
I recently received the latest brochure for my local Learning & Enterprise College, which provides a spectrum of adult education courses in my Borough. However, the majority of courses are for essential academic skills that I already have. The few leisure focused courses are mainly arts based or socially orientated which are fine but not exactly what I’m looking for at present. Then of course there is the cost to consider. I have clear budget and must adhere to it. Hence if I pursue a new technical project it cannot require an excess of hardware or software. Ideally, I would like to undertake any studying at home, although the social aspect of going to a class and meeting other like-minded individuals has a lot of benefits. However, at present my biggest obstacle is that I haven’t yet decided specifically what I want to do. All I do know at present is that I need to apply my mind to something challenging, as I don’t care for the drifty, listless alternative that is currently on offer. I’m sure a suitable solution will present itself soon.
It is a curious paradox, that although having stepped away from the trials and tribulations of a traditional job, there are aspects of it that I miss. Obviously not the office politics or human drama but the chance to test myself mentally. I think that irrespective of whether I need to work or not, I shall always require some sort of project at some level, to keep my nature placated. Although I enjoy leisure time and understand it’s importance as I get older, I simply don’t wish to stop using my mind. Pursuing a challenge of some kind keeps me sharp and focused and I’m not sure if it would be good for me to have that totally absent from my life. Hopefully next time I write on this subject matter, it will be about what new skill I’m learning or project I have embarked upon. And I firmly believe that it will provide me with the clarity that I feel is currently absent.
LOTRO: Update 22.2
When I first started playing LOTRO in late 2008, I actually read the manual that came with my box copy, before I decided which class I was going to play. I chose the Lore-master as it sounded and interesting mixture of both ranged attacks and the use of pets. Being new to the MMO genre at the time, I didn’t realise that it was actually quite a complex class to play. Although I have dabbled with alts over the years I have stuck with this single character and until 2017, kept them relatively up to date with regard to content and respective skills. Mordor greatly dampened what enthusiasm for LOTRO and as a result I have fallen behind the curve. My gear is poor as I haven’t really progressed far into the lastest expansion. Combat has become a tedious grind, leaving me with a paradoxical situation. Poor gear makes progression slower, but bypassing Mordor leaves my character gimped. Bearing this in mind, I’ve been eagerly awaiting the Lore-master class changes that have come with Update 22.2 in the hope they will improve my situation. Sadly, I don’t think that today’s changes are the solution I’m looking for.
When I first started playing LOTRO in late 2008, I actually read the manual that came with my box copy, before I decided which class I was going to play. I chose the Lore-master as it sounded and interesting mixture of both ranged attacks and the use of pets. Being new to the MMO genre at the time, I didn’t realise that it was actually quite a complex class to play. Although I have dabbled with alts over the years I have stuck with this single character and until 2017, kept them relatively up to date with regard to content and respective skills. Mordor greatly dampened what enthusiasm for LOTRO and as a result I have fallen behind the curve. My gear is poor as I haven’t really progressed far into the lastest expansion. Combat has become a tedious grind, leaving me with a paradoxical situation. Poor gear makes progression slower, but bypassing Mordor leaves my character gimped. Bearing this in mind, I’ve been eagerly awaiting the Lore-master class changes that have come with Update 22.2 in the hope they will improve my situation. Sadly, I don’t think that today’s changes are the solution I’m looking for.
I am not a min-maxer per se and have never been a serious number cruncher when it comes to LOTRO. I broadly know what my skills do and have adopted a rotation that is common to many other LOTRO players who favour the Lore-master class. For me I define my combat effectiveness by the amount of time it takes to kill a single mob, along with how many skills I have to use or how many times I have to repeat my rotation. This may not be the most scientific method, but it works for me. I then temper combat effectiveness with another very subjective factor. Is the combat satisfying or is it a chore? Too often of late in LOTRO combat is the latter. For me, and possibly many other MMO players, there is a very personal tipping point between a credible and engaging fight and a dull, ponderous slog. For me it may be so many seconds, for another player it may be double or triple that time. What I do find with older MMOs is that combat does seem to take a lot longer, compared to modern titles. The Secret World suffered terribly from this problem and it still wasn’t adequately addressed for my liking, when the game was revised into Secret World Legends.
In LOTRO I predominantly follow the red skills line, looking to do maximum DPS. Therefore, the recent upgrade to Burning Embers (applying Gust of Wind to augment it into Searing Embers) is a “interesting” addition. However, the induction animation is a real nuisance and needs to be shortened. Lightning Strike has been tweaked and its cooldown has been shortened. I noticed I was hitting higher critical hits as a result. However, the initial heal from Water-lore has been removed so only the HoT component remains. Thus, you’ll only get the first heal after four seconds. Plus, Ring of Fire is currently broken which is a bit of an inconvenience as its use regularly features in my play style. However, I am concerned that by making the Lore-master’s single target DPS stronger, that our AoE has suffered. Also, the removal of the Wizards Fire component and its replacement with something that is essentially not commensurate, does strike me as an over simplification of gameplay.
After running several skirmishes today, I did conclude that my overall DPS had improved but that was only in specific circumstances. For the casual, PVE-centric player, who plays cautiously, pulling mobs individually or using crowd control to make fights sequential, then this update is an adequate improvement to the class. But for those who do like to group and contribute to a communal fight, then it there isn’t so much on offer. Lore-masters are not so able to deal DoTS and their AoE skills have been reduced. And irrespective of all of these changes, I still find that combat is too slow for my liking. It’s difficult to articulate without the use of numbers, but when fighting I expect at least one skill to do 15 to 20% damage to my opponent’s moral. It still feels too much like an uphill. But this is the conundrum of combat in gaming, especially the MMO genre. Trying to find that right balance that pleases the majority of players, or at least allowing them to augment their effectiveness by accessing the right sort of gear. I’m beginning to feel that the more LOTRO is updated, the gap between what you can achieve and what I currently have, is growing wider and wider. I don’t know if I ever will catch up.
The Poppy Is Also a Flower (1966)
I was aware that The Poppy Is Also a Flower (AKA Danger Grows Wild and a host of other titles) had a reputation as being cinematic oddity, but now having watched it, I would go further and say that it really is an utter mess of a film. Yet because of its movie pedigree both in front and behind the camera, it makes for morbidly fascinating viewing. The nuts and bolts of the plot certainly have legs; on paper at least. But the problems ultimately lie with the tonally inconsistent screenplay and the haphazard directing and editing. Despite the presence of Bond director Terence Young and a plethora of Hollywood stars from the time, the movie lurches from location to location, clumsily expediting the plot and extolling its anti-drug message with all the subtlety of a Rhinoceros horn up the backside. The score by Georges Auric sits uneasily with the on screen action and has been woefully integrated into the movie, quickly informing viewers that something is off about the entire production.
I was aware that The Poppy Is Also a Flower (AKA Danger Grows Wild and a host of other titles) had a reputation as being cinematic oddity, but now having watched it, I would go further and say that it really is an utter mess of a film. Yet because of its movie pedigree both in front and behind the camera, it makes for morbidly fascinating viewing. The nuts and bolts of the plot certainly have legs; on paper at least. But the problems ultimately lie with the tonally inconsistent screenplay and the haphazard directing and editing. Despite the presence of Bond director Terence Young and a plethora of Hollywood stars from the time, the movie lurches from location to location, clumsily expediting the plot and extolling its anti-drug message with all the subtlety of a Rhinoceros horn up the backside. The score by Georges Auric sits uneasily with the on screen action and has been woefully integrated into the movie, quickly informing viewers that something is off about the entire production.
The story begins with an undercover agent (Stephen Boyd) from the United Nations buying up the local opium harvest from a Nomadic Afghan Warlord. However, he is a captured and killed by the that crime syndicate that usually traffics the drug to Europe. The Iranian Army led by Colonel Salem (Yul Brynner) subsequently cross the border and irradiate the next opium shipment, so it can be tracked back to the cartel that distributes it. International Agents Sam Lincoln (Trevor Howard) and Coley Jones (E.G. Marshall) then follow the trail of the refined drugs through Italy, France and Monaco, encountering the victims it leaves in its wake. It soon becomes apparent that millionaire businessman Serge Marko (Gilbert Roland) is a major player in the drugs smuggling business, using his various companies as a front.
The Poppy Is Also a Flower was financed as part of a multi motion picture deal, designed to promote the varied work of the United Nations. Funding partly came via the Xerox company who had a reputation for being a big business with a social conscience who regularly supported philanthropic and moral endeavours. Due to the rectitude of the subject matter an extensive catalogue of international stars were recruited for a cavalcade of extended cameos. Allegedly the cast were paid just $1 each as their fee. Director Terence Young prematurely left filming Thunderball, leaving post production in the hands of Peter Hunt, so he could helm this high-profile project. The film was specifically designed for a TV release on the ABC network in the US, with a longer version produced for an international theatrical release. The theatrical print is currently available on DVD and video on demand.
Despite Terence Young’s track record for managing such international projects, the final results are choppy and lacking in focus. The initial story conceived by Ian Fleming, was then developed into a screenplay by Jo Eisinger. It lacks any major character development, due the extensive number of celebrity cameos. The nearest the story has to main protagonists are agents Lincoln and Jones. However, they seem somewhat miscast due to their respective ages at the time (both being in their mid-fifties). Despite the serious nature of the films central theme, these two agents regularly lapse into light hearted banter and settle decisions by rock, paper, scissors. It all seems at odds the ongoing sombre proceedings. Agents Lincolns amorous advances towards various female cast members also raises an eyebrow. Whenever the script tackles the issues of addiction and the iniquities of drugs, it is hardly nuanced in its approach. The dubbing also works against the English language version of the movie, with poor lip-syncing and questionable voice acting.
Considering the scope of the story with murderous drug gangs and the deprivations of addiction, The Poppy Is Also a Flower is quite restrained in what it shows. Most murders take place off screen and we are shown a few ravaged addicts in an Italian police station but nothing much else. The torture and murder of various agents, along with the consequences of heroin abuse are mainly talked about in government departments or in conference rooms. The marketing of the film focused very much upon the James Bond connection of Terence Young and Ian Fleming, but apart from the glossy European locations, the film lacks the slickness and dynamics of an 007 movie. The theatrical release features an oddly out of place female wrestling match in a sleazy nightclub and an extended (and excruciating) musical performance by Trini López at a gala charity event. The icing on the cake for this odd, misfire off a movie, is a fight scene on a train between Harold Sakata (best known as Odd job in Goldfinger) and a E.G. Marshall. It is rapidly edited to try and cover its incongruous nature and is more of a source of bemusement than excitement, which in many ways is a succinct distillation of The Poppy Is Also a Flower in its entirety.
Non-Driver
As a carer I have to take both of my disabled parents to various clinics, appointments and sundry trips out. Today, it was a visit to the hairdresser with my Mother and then a journey to the audiologist, to collect and be fitted with her new hearing aid. There was then a journey for shopping and a final visit to the pharmacist, before returning home. Luckily, both my parents qualify for the London Taxicard Scheme. The Black Cab are a disabled friendly vehicle and the yearly quota of subsidised journeys are an absolute godsend. However, there is another reason why I find this service invaluable. I do not, nor have I ever held a driving license. To date I have never driven a car and considering my age, the cost of ownership and insurance, along with my personal mindset on the subject, it’s highly unlikely that I ever will.
As a carer I have to take both of my disabled parents to various clinics, appointments and sundry trips out. Today, it was a visit to the hairdresser with my Mother and then a journey to the audiologist, to collect and be fitted with her new hearing aid. There was then a journey for shopping and a final visit to the pharmacist, before returning home. Luckily, both my parents qualify for the London Taxicard Scheme. The Black Cab are a disabled friendly vehicle and the yearly quota of subsidised journeys are an absolute godsend. However, there is another reason why I find this service invaluable. I do not, nor have I ever held a driving license. To date I have never driven a car and considering my age, the cost of ownership and insurance, along with my personal mindset on the subject, it’s highly unlikely that I ever will.
I’ve written in the past about social conventions and how it can be a curious situation if you ever find yourself on the other side of the perceived social norm. Driving is such a common place activity, that it often really flummoxes people when I tell them that I don’t, nor do I own a car. Often the first thing they assume is that I’ve lost my license for legal reasons, as being a non-driver really isn’t common among people of my age (for those who do not know, it’s 50). But I have arrived at this situation, first by circumstance and then in later years through choice. When I was 16, my friend Chris was the first person out of our social group to learn how to drive. As he was a trainee estate agent, his employers paid for his driving lessons and supplied him with a car. He was always happy to drive as it is something that to this day he very much enjoys, being a bit of a petrolhead. So, during my early years, there was no necessity for me to know how to drive and the situation perpetuated from there.
For those readers unfamiliar with the UK and Greater London in particular, there is an abundance of of public transport available in the capital. Cities and wider urban sprawl have grown and evolved differently from more modern cities elsewhere in the world. Hence Buses, the Tube (underground trains) and suburban trains are plentiful in the capital and it is easy (on paper at least) to travel about. Obviously, there are rush hours and demands on all services at key times but getting from home to work or attending social activities has never been a major problem. There’s also less snobbery regarding public transport in the UK compared to say the US. So, during my twenties and thirties, getting to work was a matter of commuting and driving wasn’t required. When I got married my then wife, owned a car and again was someone who enjoys driving for its own sake. Hence, I again managed to avoid having to learn this skill. It is also important to point out the culture of walking that exists in the UK. For me short journeys are carried out on foot, and it is not unusual for me to record a step count of 10 to 15K per day.
Being a non-driver also means that an entire aspect of popular culture has passed me by. I have no interest, let alone love affair, with the cult of cars and shows such a Top Gear have never really appealed to me beyond mild amusement. Where some people idolise performance vehicles and even see their identities and societal status defined by the, I merely see them as modes of conveyance and nothing more. This has resulted in several crest fallen individuals who have bent my ear at social events, telling me about their new shiny [insert name of fancy car here], only to have their anecdote met with a blank look, rather than admiration and valedictory remarks. Also, I have certainly benefitted financially from not owning a car and to date, have not ever found myself inconvenienced in an emergency by my inability to drive, as so many people told me I would.
However, one problem clearly caused by being a non-driver, is that I do not own one of the most common documents used to verify one’s identity. The driving license along with the passport are the pretty much the last word in proving who you are and where you live. Or at least they are here in the UK. If you want to open a bank account, obtain a state pension forecast, or do your taxes online, you’ll have to jump through various hoops to establish who you claim to be. Not owning a driving license makes that demonstrably harder. Therefore, I have gone so far as to consider actually applying for a provisional license simply to address this problem, especially as more and more services are moving online and require you to validate your identity.
I think that in the past, especially during the seventies and eighties, that not owning a vehicle and being able to drive was indeed a disadvantage for a single person. But nowadays, because of where I live and the technology and services that are available, it is by far a lot easier. However, as a caveat I would like to state that raising a family still requires access to a vehicle for convenience and reasons of personal sanity. Yet, once the pressures of raising children have gone, being without a car comes around again in one’s autumn years, although that is usually determined by health and medical factors. Overall, I do not feel that I’ve missed out by not driving and I agree with all those who know me well, and their assertion that I do not have the temperament for it anyway. Yet, I also realise that if I had lived anywhere else other than London during my youth, I may not have remained a non-driver.
Gaming and Outrage Culture
I've written a thousand or so gaming related posts since I started blogging in 2008. I mention this to indicate that I have more than a passing interest in this particular leisure activity. However, that interest has waned somewhat over recent years. As I get older and allegedly wiser, I find that the two things that I like the most about gaming culture IE the actual games and the community, are becoming slowly yet inexorably less appealing. Commercial factors are turning games development into a mirror of the movie and music industry, driven by focus groups and metrics. The broadening of gaming’s mainstream appeal has also led to an angry backlash from alleged "core" fans. The net results are a stagnation of innovation within games development and a slavish adherence to proven formula, as well as an increase in tiresome bickering from specific groups of gamers. Both groups seem to fear change and tend to look backwards rather than forwards.
I've written a thousand or so gaming related posts since I started blogging in 2008. I mention this to indicate that I have more than a passing interest in this particular leisure activity. However, that interest has waned somewhat over recent years. As I get older and allegedly wiser, I find that the two things that I like the most about gaming culture IE the actual games and the community, are becoming slowly yet inexorably less appealing. Commercial factors are turning games development into a mirror of the movie and music industry, driven by focus groups and metrics. The broadening of gaming’s mainstream appeal has also led to an angry backlash from alleged "core" fans. The net results are a stagnation of innovation within games development and a slavish adherence to proven formula, as well as an increase in tiresome bickering from specific groups of gamers. Both groups seem to fear change and tend to look backwards rather than forwards.
As I do not work in the videos games industry, I can only lobby for change and apply whatever leverage I can as a customer and consumer. The gaming community is another matter altogether. I have as much as a stake in it as anyone else and hence an equal voice. Or at least that’s the theory. There are fellow gamers that dislike such philosophies and cleave to their own criteria as to who should have a say and who shouldn’t. Hence the gaming community has fallen victim to that blight which has spread across all online public spaces and social interactions, namely outrage culture. That curiously twenty-first century malady that appears to be the adult equivalent of having a tantrum because you can’t get your own way, or you have to share with others. However, outrage culture sometimes serves a more sinister purpose. It acts as a surrogate for expressing and disseminating more controversial ideas.
Two such examples of this are the recent reveal for Battlefield V and the furore over the game Active Shooter. The first is an instance where a debate about the alleged historical accuracy of depicting women as combat soldiers in World War II, has been hijacked to express displeasure once again at any sort of equal gender representation. The second is about how a cheap and deliberately tawdry game with an exploitative premise, is being championed by a specific group of gamers because they see it as a “fuck you” to the progressive, socially liberal politics that they feel are “taking their games away”. Both points of view are factually, logically and morally questionable, but they are becoming all too common place these days. They reflect a broader infantilisation in the thinking of certain quarters of society, who have dispensed facts and now focus on how they feel, regardless of whether such feelings are justified. It also links into a growing form of zealous fandom that mistakenly equates enjoyment of something with some sort of ownership.
Both of these recent gaming stories are just further examples of ongoing exercises in community-based self-harm. As someone who enjoys being part of that community, I find it utterly depressing. I wonder how many of the participants in these ongoing controversies have stopped for a moment, taken a step back and considered how it looks to the wider world? Precious few I would hazard a guess. Furthermore, the net result of this dispute is that more and more reasonable and level-headed gamers withdraw from engaging with the wider community. This is particularly relevant to female, ethnic minority and LGBT gamers. I consider the marginalisation of any group folly and counterproductive. The net result of ceasing engagement is that is appears to imply that those who shout the loudest have “won” the culture war. Also, as controversy can be bad for business, it often forces game developers to further eschew creativity and experimentation, leading them to double down on tedious tried and tested formulas.
What is becoming clear from these outbursts of gamer outrage, as with wider societal pushback against the status quo, is that western society has not made as much social progression in the last fifty plus years as it may have thought. It has been postulated by many academics that this is the century of "self" and that Western culture has effectively given upon wider socio-political ideologies now. Rather than work cohesively as a collective whole for mutual benefit, we simply apply our consumerist outlook to all situations. We equate our personal expenditure as means of gaining individual representation. Everything is viewed and considered primarily through the prism of how it affects us personally, rather than as a group. This principle manifests itself in all aspects of our life, including gaming. Couple this with a decline in critical thinking and the ability to effectively debate and you end up with outrage, segregation and ongoing culture wars. Thus, by our own hands we fashion the very wedges that divide our community. What was that quote again about why we can't have nice things?
Season Passes
If you are a gamer over a certain age, your interest will have spanned several decades of industry change. By the time I moved from console gaming to the PC, during the mid-nineties, there was already a precedence for expansions to single player games. For example, I was bought Star Trek: Starfleet Academy back in 1998, a few months after its initial release. The game had an adequate amount of content that justified its retail price. A year later publisher Interplay released an expansion pack called Chekov's Lost Missions, featured seven new missions, two new multiplayer games, and various improvements to the game interface. If memory serves this cost half the price of the full game and by the standards of the time was broadly deemed an acceptable. Despite the title of the expansion, this was not content culled from the original game and was purely an optional extra. That was the nature of expansions at the time. They provided new material to enhance a game at a reasonable cost.
If you are a gamer over a certain age, your interest will have spanned several decades of industry change. By the time I moved from console gaming to the PC, during the mid-nineties, there was already a precedence for expansions to single player games. For example, I was bought Star Trek: Starfleet Academy back in 1998, a few months after its initial release. The game had an adequate amount of content that justified its retail price. A year later publisher Interplay released an expansion pack called Chekov's Lost Missions, featured seven new missions, two new multiplayer games, and various improvements to the game interface. If memory serves this cost half the price of the full game and by the standards of the time was broadly deemed an acceptable. Despite the title of the expansion, this was not content culled from the original game and was purely an optional extra. That was the nature of expansions at the time. They provided new material to enhance a game at a reasonable cost.
Today, expansions fall under the broader marketing term of DLC (downloadable content) and the definition is not as black and white as it was two decades ago. DLC can be anything from cosmetic skins, weapons or armour. Then there are PVP and multiplayer maps as well as new missions. In certain cases, the capacity to have further game saves, inventory space or character slots is dressed up as DLC. Nowadays, there are times when a game feels that it’s been gutted of key content that is then withheld and sold back to the player. This can be bought piecemeal as and when required, or pre-ordered through the “miracle” of the season pass, which can add a further £25 or £30 cost on top of the price of the base game. Like or not, the season pass is an established part of a games lifecycle and an integral part of the business model of most major games publishers. It’s a bitter pill to swallow but once done, it should ensure that you’ve got all a games future content in the bag. Or so I foolishly thought.
Usually the lifecycle for a new triple A game is 12 to 18 months and the DLC is released every three months or so. That has mainly been my experience of things with games such as The Witcher 3: Wild Hunt. However, I’ve recently bought some titles from Ubisoft, who seem to drag out their products life cycle far longer. I got a deal on Ghost Recon Wildlands recently which was initially released in March 2017. The Gold Edition included a season pass for DLC, which I assumed (wrongly) covered everything. It would appear not. I noticed last week that there was available in the Uplay store what Ubisoft called a Year 2 pass. Yes, they had released a smattering of further content and wanted me to pay more money for the pleasure of accessing it, as I wasn’t covered by my previous season pass. Suffice to say I wasn’t impressed by this. Furthermore, I've subsequently spotted that Ubisoft have just released a Year 3 pass for further DLC for Tom Clancy's Rainbow Six Siege. A further example of striving to extend a games life and hence its financial yield.
So, it would appear that "games as a service" is slowly becoming a reality. Buying the Gold Edition of a premium new game these days does not guarantee all future content. Yearly DLC passes are a thing and if you want to access further content regardless of how superficial it may be, you have to keep paying. And although I am not alone in being critical of this egregious business approach, it would appear that sufficient numbers of gamers are happy to open their wallets, thus making this practise bear fruit. I would not be surprised if this approach continues to grow and greater functionality will be excised from games and gated behind a paywall. The free-to-play business model of mobile gaming, MMOs and co-op genres could eventually become the de facto industry standard. Ownership as a concept is slowly be erased from gaming and the product is evolving into a continuous service. What times we live in.
Losing Interest in Mainstream Cinema
Before I begin, allow me to clarify the title of this post. I am still very passionate about movies and the film industry per se. And it’s not as if I’m going to run out of content to watch over night. There’s a wealth of older material to watch and the film industry still produces a broad spectrum of new films each year. However, for several years now I have found myself increasingly disinterested in the majority of mainstream films showcased at my local cinema. In 2014 I went to Cineworld in Bexleyheath over a dozen times. The following year that number had halved, and this pattern has continued to the present. In 2017, I went to the cinema just three times. I saw Guardians of the Galaxy Vol. 2, Dunkirk and Star Wars: The Last Jedi. Yet I watched over 150 movies at home the same year. For me the problem lies with the dominance of specific movie franchises and the way they monopolise the major cinema chains.
Before I begin, allow me to clarify the title of this post. I am still very passionate about movies and the film industry per se. And it’s not as if I’m going to run out of content to watch over night. There’s a wealth of older material to watch and the film industry still produces a broad spectrum of new films each year. However, for several years now I have found myself increasingly disinterested in the majority of mainstream films showcased at my local cinema. In 2014 I went to Cineworld in Bexleyheath over a dozen times. The following year that number had halved, and this pattern has continued to the present. In 2017, I went to the cinema just three times. I saw Guardians of the Galaxy Vol. 2, Dunkirk and Star Wars: The Last Jedi. Yet I watched over 150 movies at home the same year. For me the problem lies with the dominance of specific movie franchises and the way they monopolise the major cinema chains.
Allegedly, “choice” goes hand-in-hand with the free market, or so its advocates would have you believe. However, the reality is that box office success is analysed and distilled into a homogeneous formula, leading to the dominance of immaculately produced, yet generic products. Hence, we’ve seen in the last decade, the rise of the franchise movie and every studio desperately trying to establish a sprawling cinematic universe. Reboots strive to capitalise on iconic established movies, although they are seldom interested in doing anything inventive or creative with them. Studios simply see them as hooks or brands, that are already ensconced in popular culture, which means there’s less marketing to do. Films are seldom viewed as a standalone, single piece of entertainment. Sequels can and are frequently retrofitted anywhere where they are “needed”.
During my life, there have been numerous specific movie cycles that have been and gone. All have been successful, but none of them ever seemed to dominate the movie theatres to the detriment of other genres. That seems to have changed with the current fantasy and space opera boom. Disney have robustly maintained the Marvel Cinematic Universe for a decade and are looking to do the same with Star Wars. Other major studio franchises such as Harry Potter, Jurassic Park and DC Extended Universe show no sign of abating. Furthermore, there are also plenty of new ones waiting in the wings, such as the Dark Universe, the MonsterVerse and the Conjuring Universe. Yet despite the current financial success, history shows that the law of diminishing box office returns eventually comes home to roost. Ultimately even the most ardent fans can have too much of a good thing. I would argue that part of the enduring appeal of the original Star Wars Trilogy and to a degree the prequels, stemmed from their infrequency and unique place in cinematic history. Saturating the market is a risk and familiarity breeds contempt.
Another concern I have about this matter is that an entire generation of cinemagoers are being deprived of a wider choice of movies and are subsequently learning about film making as well as establishing their tastes and preferences, solely by watching a limited spectrum of genre movies. I am not trying to pooh-pooh the merits of the MCU, as it has managed to be entertaining and a little more intellectually stimulating that some other movies. However, it does not provide you with an especially broad level of cinematic literacy. It is also raises the debate about the Disneyfication and infantilization of the medium of film, although that is a complex and nuanced discussion. Another thing to consider is the greater variety of platforms that are actively competing with traditional cinema viewing and thus fragmenting the market. The net results are multiple, independent and separate communities both creating art, that are oblivious to each other and their respective work.
Finally, I would like to address the cultural arguments that are often made regarding the “artistic sanctity” of showing films in a traditional cinema and idea of the importance of the “shared viewing experience”. Both of these concepts are notional, born of an age of commonly held social values and etiquette. For good or ill, society has changed, and cinemas are no longer quiet spaces, where the audience are purely there to focus on the film being screened. Inattentive, bored and noisy audience members regularly disrupt others and the ubiquitous mobile phone also impacts upon proceedings. The consumption of food and drink also spoils the overall experience, as far as I’m concerned yet it too financially lucrative to be abandoned. All too often, technical issues also impair a screening of a film with issues such as excessive ambient lighting, films shown in the wrong aspect ratio and loss of sound. The only time I ever have a truly acceptable cinematic experience these days, is when I go to a “specialist” outlet such as the British Film Institute or a genre film festival such as FrightFest.
So, all things considered, I fully expect my visits to my local cinema to remain infrequent for the immediate future. I recently saw Deadpool 2 and although I broadly enjoyed it, I haven’t felt compelled to write about it yet. On mature reflection, I would have equally enjoyed the film three months from now when it becomes available on VOD. A lot of films make me feel this way. There’s a tendency for such movies to be adequate but no more and which really doesn’t justify the increasing cost. I had to cancel my tickets for Solo: A Star Wars Story this week, due to a family illness. I can honestly say I wasn’t that upset by this and will avoid the media circus surrounding the film and see in August or September, in the comfort of my own home free from any disturbance. In the meantime, VOD and retail releases will continue afford me a far broader and varied home cinema experience. Westerns, musicals and human dramas are just some of the genres available to me. I can choose between populist and “highbrow” viewing because both have their respective merits. I just wish that the modern cinemas chains understood this.
Improving My Work and Gaming Environment
Back in September 2015 when I was living in a flat, I wrote a blog post about my personal work space. I touched upon the subject again in June 2016, as part of the Newbie Blogger Initiative, in a further post about the importance of a good writing environment. The reason I mention this is because today, I finally got around to replacing my old “fun size” desk with a newer, larger model. It’s nothing special, just something I saw on Amazon, that suited my requirements and more importantly budget. However, it provides a wider work surface, allowing me to write free hand (I still make notes in this way) as well as type via the keyboard. The desk also came with a matching monitor stand which raises my screen to a more suitable height, as well as a handy file shelf which allows me to stow pens, my phone and pending correspondence. It also provides a home for Pliny (the Raven). Not bad for £47.99 including delivery.
Back in September 2015 when I was living in a flat, I wrote a blog post about my personal work space. I touched upon the subject again in June 2016, as part of the Newbie Blogger Initiative, in a further post about the importance of a good writing environment. The reason I mention this is because today, I finally got around to replacing my old “fun size” desk with a newer, larger model. It’s nothing special, just something I saw on Amazon, that suited my requirements and more importantly budget. However, it provides a wider work surface, allowing me to write free hand (I still make notes in this way) as well as type via the keyboard. The desk also came with a matching monitor stand which raises my screen to a more suitable height, as well as a handy file shelf which allows me to stow pens, my phone and pending correspondence. It also provides a home for Pliny (the Raven). Not bad for £47.99 including delivery.
My “office” is the spare bedroom of our two-bedroom bungalow. My granddaughter’s cots that I have shared the room with for the last two years have been replaced with a single bed. This has freed up valuable space and provides an alternative place for me to sleep if I am working late into the night and I don’t want to disturb “Mrs. Peril”. She often turns in at a far more respectable hour. Because our main bedroom is right next door to the office, I have started using my gaming headset as an alternative to speakers after a certain time of night. It has been quite a revelation, highlighting the complexity of audio design in contemporary gaming. Friday the 13th: The Game is especially atmospheric, and the soundscape really enhances gameplay. Also, because of my new desk and its facility for cable management, I’ve now permanently attached my Xbox gamepad to my PC for convenience.
While discussing the subject of personal work and gaming environments with friends on Discord, it became very clear how people like to embellish such spaces with personal knick-knacks and trophies. I think that it’s very important to “humanise” what is to all intents and purposes a very functional space. Having trivial items that delight us nearby can be very uplifting and a reminder of the things that we enjoy and inspire us. This can be very useful if you’re labouring over a blog post or article and it isn’t proving as easy to write as you’d imagined. Plus, this personalisation process is another means for us to express ourselves and assert our identity, if you want to get all deep about it. In the meantime, I shall look into the practicality of setting up my desktop microphone or possibly integrating a webcam into my set up. Perhaps rather than return to podcasting, it’s time to move on to streaming of some kind? It’s curious how a minor change in your work and gaming environment can precipitate such a stream of thought and facilitate new ambitions.
"Adequate"
“Why re-release a game that’s perfectly adequate but doesn’t do anything particularly noteworthy or special?” Rogue Trooper Redux review by Tom McShea. Here we have in a nutshell the ill-conceived attitude that plagues contemporary gaming reviews, although it is also applicable to other mediums. Too often these days, I find myself reading critiques of games, movies and TV shows where the author feels that the product has failed because it is not exceptional. Such reviews will frequently cite numerous positive factors or attributes and reference how the product has been competently assembled. Yet in the final summation, the author will then full back upon the stock criticism that in spite of all this, the game does not “re-invent the wheel” or set a new “benchmark”. It is just “adequate”. However, I believe that this is a much misunderstood and frequently misused word. And that its reoccurring use stems from a culture of unrealistic expectations.
“Why re-release a game that’s perfectly adequate but doesn’t do anything particularly noteworthy or special?” Rogue Trooper Redux review by Tom McShea. Here we have in a nutshell the ill-conceived attitude that plagues contemporary gaming reviews, although it is also applicable to other mediums. Too often these days, I find myself reading critiques of games, movies and TV shows where the author feels that the product has failed because it is not exceptional. Such reviews will frequently cite numerous positive factors or attributes and reference how the product has been competently assembled. Yet in the final summation, the author will then full back upon the stock criticism that in spite of all this, the game does not “re-invent the wheel” or set a new “benchmark”. It is just “adequate”. However, I believe that this is a much misunderstood and frequently misused word. And that its reoccurring use stems from a culture of unrealistic expectations.
The Oxford Dictionary defines the word “adequate” as follows. Satisfactory or acceptable in quality or quantity. The word has its origin in the early 17th century and derives from Latin adaequatus meaning "made equal to", being the past participle of the verb adaequare. Now we have a clear definition, let us consider in what context we would use the word in day-to-day life. Often, when I am hungry I will avail myself of specific chains of restaurants or fast food outlets. They provide satisfactory meals, conveniently at an acceptable price. Therefore, they are adequate. If I was unhappy with any aspect of the food or the service that was provided, then I would not use the word adequate to begin with. If you have to qualify somethings adequacy, then it is not adequate. So, with this in mind there are many things that can be classified as adequate; food, drink, a book, music, a box girder bridge or a drunken sexual dalliance. The moment you apply the term to something, you are clearly stating that it is “not shit”. If you are using the word to mean anything other than its dictionary definition, then you’re using it using it incorrectly.
Contrary to what certain quarters of the media and pop culture may tell you, life isn’t a never-ending series of high octane, boisterous, spiritually fulfilling events that engage all your senses and leave you sated. Day-to-day living is mainly routine, predictable and yes, you’ve guessed it, adequate (if you’re lucky). In fact, for an ever-growing group of the population adequacy is giving way to shit. The reason fun and enjoyable events stand out is because they are not frequent and the punctuate the mundane with brief periods of joy. Any addict will tell you that too much of your “drug of choice” ultimately negates the high you gain from it. Hence not only is adequate a functional and succinct word, it also represents a state of being that is integral too our lives. Like oxygen, it can be argued that humans need a specific amount of adequacy in their lives. An excess either way is not desirable but the right amount in your life provides a context and a scale against which other experiences can be measured and quantified.
So, returning from philosophical musings to the thrust of this post about gaming, I think people should think long and hard before they decided to label a game adequate. If you are trying to crowbar the word into your review as a pejorative, then simply dispense with it and clearly state what you think is wrong. The reality of the situation is that many game releases each year are adequate. Those like Tom McShea who seem to expect the “noteworthy and special” need to recalibrate their personal desires. It is impossible for the video game industry or indeed any other, to continuously innovate and perpetuate a market where every new title pushes boundaries. This why for every L.A Noire there is a Vendetta: Curse of Raven's Cry. Therefore, let us as a gaming community, look to our personal lexicon and start using the English language properly when framing out thoughts. I believe that it is important to precisely say what we mean, or else how can we mean what we say?
Open World Games
The Virtual Bolivia that Ubisoft have created for Tom Clancy’s Ghost Recon Wildlands is truly stunning. This massive open world is approximately 576 square kilometres (222.4 square miles) and features 21 regions and 11 distinct ecosystems. Furthermore, the world is seamless without any loading screens or phasing. You can travel from one end of the map to the other without any immersion breaking transitions. The main story missions and the regional counterparts can be tackled in any order, affording players the freedom to explore and play through content however they want. The game can be played cop-operatively via PUGS or through bespoke custom teams. Tom Clancy’s Ghost Recon Wildlands takes the textbook concept of the “open world” and augments it sufficiently to hang a narrative on. But beyond the overall task of dismantling a sprawling national drugs cartel, the player is given a superbly crafted sandbox and is left to determine their own agenda and play style.
The Virtual Bolivia that Ubisoft have created for Tom Clancy’s Ghost Recon Wildlands is truly stunning. This massive open world is approximately 576 square kilometres (222.4 square miles) and features 21 regions and 11 distinct ecosystems. Furthermore, the world is seamless without any loading screens or phasing. You can travel from one end of the map to the other without any immersion breaking transitions. The main story missions and the regional counterparts can be tackled in any order, affording players the freedom to explore and play through content however they want. The game can be played cop-operatively via PUGS or through bespoke custom teams. Tom Clancy’s Ghost Recon Wildlands takes the textbook concept of the “open world” and augments it sufficiently to hang a narrative on. But beyond the overall task of dismantling a sprawling national drugs cartel, the player is given a superbly crafted sandbox and is left to determine their own agenda and play style.
This is the inherent appeal of the open world game. The provision of a functional environment that provides a setting for events, rather than a means of corralling them. One only has to look at popular MMOs such as ESO and LOTRO and you will often find that their lavishly created regions, despite their aesthetic appeal, are primarily designed to funnel the player from quest hub to quest hub. In LOTRO, especially in the more recent zone such as Gondor and Mordor, large swathes of a map are frequently inaccessible due to topographical constraints or the old mechanic of invisible walls. Hence it not unusual to spot and interesting feature on the horizon or even in the near vicinity, only to find that it is inaccessible. The Argonath is a classic example of this. Conversely in an open world game such as Tom Clancy’s Ghost Recon Wildlands, the open world design along with the ability to travel by helicopter and land directly to remote locations ensures that nothing is out of a player’s reach. Exploring becomes an entire meta game in itself.
The first open world game that really altered my perception of gaming was The Elder Scrolls V: Skyrim. Although I had experienced well designed environments before in the MMO genre, phasing and zone mechanics always broke immersion to a degree. Skyrim with its Scandinavian style climate and terrain was a revelation and simply traversing the region with it’s ambient music and changeable climate was and remains a delight. But it was The Witcher 3: Wild Hunt that really show cased the full potential of the open world concept, with a beautifully realised, diverse yet totally credible environment. The player can walk, ride or sail across the green and verdant, war-torn lands of the South or sail between the monster-islands of Skellige in the North. They have total freedom to discover various places of interest, hunt monster, or simply gather resources and enjoy the world. It is this latter idea of being “at large” in a huge, living and thriving ecosystem is perhaps the biggest selling point of the open world concept. But it is also its potential weakness.
Not all gamers like to be presented with a huge expanse of non-linear content and told “off you go”. Some find such a system and environment daunting and confusing. Both of which are perfectly acceptable opinions. The “theme park” approach provides a means of guiding players through content, ensuring that nothing is potentially missed and providing structure. It should be remembered that some see gaming as escapism from the complexities of modern life and therefore do not wish to see it capricious randomness mirrored in their leisure activities. On a technical note, open world games are also extremely resource hungry and to enjoy them to their fullest, you do need a robust gaming PC. It is because of this issue that we do not see the same technology used in the MMO genre. The rich world of Tom Clancy’s Ghost Recon Wildlands can happily support co-operative play between 4 versus 4 players but sustaining a population of 100 is a very different matter. Yet if the rapid change in gaming hardware over the last decade teaches us anything, then there will eventually come a time when MMO genre will be able to fully embrace a fuller, truer version of the open world concept than we have now.
Looking For a New Game (Yet Again)
I’m between games at the moment, having just cancelled a couple of MMO subscriptions (ESO and LOTRO) and just finished Desolation of Mordor DLC for Middle-earth: Shadow of War. There’s a new expansion, Victory is Life, coming up in June for STO but there’s no reason to rush straight into that on launch. I may keep that as my summer gaming project. So, I have about three to four weeks to fill at present and I’ve been scratching my head as to what will best suit this gaming gap. I’ve started The Witcher 2: Assassins of Kings, but I’m not committed to it in the same way as Witcher 3: Wild Hunt. It is a far more contained and “on rails” experience. I’m mainly playing it for the narrative and to fill in the gaps in the lore. To facilitate this, I’m playing through on the easiest difficulty setting and the linear story lends itself to targeted, time specific sessions of about an hour or so at a time. However, I’m still looking for something else to scratch my current gaming itch. Something “different” by my own personal tastes and standards. At least once a year, I like to tackle a game that falls outside of my usual comfort zone.
I’m between games at the moment, having just cancelled a couple of MMO subscriptions (ESO and LOTRO) and just finished Desolation of Mordor DLC for Middle-earth: Shadow of War. There’s a new expansion, Victory is Life, coming up in June for STO but there’s no reason to rush straight into that on launch. I may keep that as my summer gaming project. So, I have about three to four weeks to fill at present and I’ve been scratching my head as to what will best suit this gaming gap. I’ve started The Witcher 2: Assassins of Kings, but I’m not committed to it in the same way as Witcher 3: Wild Hunt. It is a far more contained and “on rails” experience. I’m mainly playing it for the narrative and to fill in the gaps in the lore. To facilitate this, I’m playing through on the easiest difficulty setting and the linear story lends itself to targeted, time specific sessions of about an hour or so at a time. However, I’m still looking for something else to scratch my current gaming itch. Something “different” by my own personal tastes and standards. At least once a year, I like to tackle a game that falls outside of my usual comfort zone.
Bearing this in mind, I spent some time this evening looking at recent releases to see if any grabbed my attention. Nothing really stands out at present. I certainly don’t want to spend £60 plus on a triple A title at present, such a Far Cry 5 and Monster Hunter: World isn’t available for the PC at present. Also, currently popular games such as PUBG and Fortnite aren’t really my kind of thing. I’m not looking for anything hectic. Plus, why spend money, when I have dozens of games sitting in my Steam library that I’ve never touched, as well a numerous unredeemed game keys from budget bundles. However, despite all these resources at my disposal I still failed to find anything that “floated my boat”. I was going to install Ryse: Son of Rome as the setting is unusual, but felt it was too similar to Middle-earth: Shadow of War in its combat mechanic so decided against it. I also have a farming simulator of some kind, kicking around but wasn’t sufficiently motivated to track it down. Perhaps now is a good time to finally play Alien: Isolation? Oh, the agony of choice and other first world problems, I hear you cry.
Well to cut a long story short, I managed to pick up a bargain in the Green Man Gaming 8th Birthday Sale. I was toying with the idea of buying Tom Clancy's Ghost Recon: Wildlands but as I’m not familiar with the franchise, I thought it may be prudent to buy an earlier instalment in the franchise, so if it isn’t to my liking, it won’t be a costly mistake. So, I bought the Digital Deluxe version of Tom Clancy's Ghost Recon: Future Soldier for £5.78 which is a bargain. Over this games lifecycle there have been three lots of DLC. Two of those have were multiplayer maps, but as the online community has been and gone for this game, I bought just one which expanded the solo campaign. Raven Strike cost me a further £4.25 which again hasn’t put a hole in my financial portfolio. It’s been a while since I’ve played a tactical squad based, third person shooter of this kind. The last one was Hidden & Dangerous 2 back in 2003. Hopefully Future Soldier will prove to be a positive experience. Being a five-year-old game, it shouldn’t offer any performance issues on my PC and from the various You Tube videos I’ve watched it doesn’t look and feel too dated. Let’s see if this keeps me occupied as planned.
"Grinding"
According to Wikipedia, “grinding” is defined as “performing repetitive tasks for gameplay advantage. In MMORPG, for instance, it can be advantageous to repeatedly kill AI-controlled monsters, using basically the same strategy over and over again to advance one's character level and to unlock content. Grinding may be required by some games to unlock additional features such as level progression or additional items”. Although I broadly agree with this summation, I feel that “grinding” is one of those terms that can also be very subjective. Repetitious content has a specific purpose in video games, especially the MMO genre. Not all of it is tedious or egregious. Therefore, it is a question of degrees. Killing 25 mobs of a specific species may be a tolerable number. A challenge but not a task that out stays its welcome. However, double that amount a suddenly a line has been crossed. The entire undertaking now feels like it has been inflated simply to slow player progress down, which is more than likely the exact purpose of the task.
According to Wikipedia, “grinding” is defined as “performing repetitive tasks for gameplay advantage. In MMORPG, for instance, it can be advantageous to repeatedly kill AI-controlled monsters, using basically the same strategy over and over again to advance one's character level and to unlock content. Grinding may be required by some games to unlock additional features such as level progression or additional items”. Although I broadly agree with this summation, I feel that “grinding” is one of those terms that can also be very subjective. Repetitious content has a specific purpose in video games, especially the MMO genre. Not all of it is tedious or egregious. Therefore, it is a question of degrees. Killing 25 mobs of a specific species may be a tolerable number. A challenge but not a task that out stays its welcome. However, double that amount a suddenly a line has been crossed. The entire undertaking now feels like it has been inflated simply to slow player progress down, which is more than likely the exact purpose of the task.
I’m sure we can all think of specific instances of “grinding”. I’ve always found the reputation system in LOTRO to be a ponderous slog and have not bothered with it in recent updates. The Delta Quadrant remains a gruelling zone to progress through in STO. Sadly, the MMO genre gates a lot of interesting rewards using this mechanic, which places the player in a difficult position. Endure something that you do not enjoy, which for many people mitigates the point of playing. Grinding does fly in the face of fun, leisure and enjoyment. Or bypass the content and potentially gimp yourself in some capacity. It’s a bit of a Hobson’s choice. The other option is to stop playing which raises the fundamental Achilles Heel of “grinding”. Developers often cannot create content fast enough for players to consume. So “grinding” is seen as a legitimate means to slow progression or return a player to a specific zone. It also presents useful cash shop opportunities. However, if this fine line is over stepped, it often results in players looking elsewhere for their leisure activities. I have temporarily stopped subscribing to LOTRO, specifically because of the Mordor “grind”.
According to games blogger Gevlon, all playable content is “grinding” and therefore any complaint against it is essentially a complaint against the very game itself. However, this is a flawed definition born of an erroneous binary view. “Grinding” is as I’ve previously stated both a subjective term and an activity that is perceptibly different from standard questing. For example, a repetitive activity may facilitate a scaled set of rewards. 50 kills may provide a bronze reward at tier 1, 100 kills provide a silver reward at tier 2 and finally 150 kills result in a gold reward at the final 3rd tier. Because the player can discern the maths in advanced and it is shown to be an equitable progression, they will undertake this arduous task but not necessarily perceive it as “grind”. However, if the developers decide to make the criteria for tier 3 to be 500 kills, then that cannot be quantified as a logically fair progression compared to the previous two tiers. Hence, the task will be seen as a grind to many players.
Gaming has developed a broad and esoteric lexicon over the last thirty years. Many of the terms are nebulous and interpreted differently. Gaming has become an increasingly broad church and I don’t see that changing in the future. Quite the opposite is likely. There are many mature gamers whose early experiences have shaped their perception of what exactly constitutes as gaming per se. However, times change and not everyone is subsequently exposed to the same conditions. Hence “grinding” is not a fixed and immutable term. One man’s “grind” is another man’s engaging gameplay. Be that as it may, I am prepared to suggest that there is a degree of commonality in the terms meaning. I actually think that the following definition by fellow game enthusiast and blogger Bhagpuss is possibly the most likely definition at present. He sees “grind” as “any repeatable activity you don’t want to do. “Gameplay” is any repeatable activity you do want to do”. And upon mature reflection, I concur.
Eurovision 2018
I have watched the Eurovision Song Contest regularly throughout my life. As a very young child I enjoyed it purely as an opportunity to stay up late. In my teens I loathed it as it appeared to be the antithesis of my own musical tastes at the time. So I watched it purely to mock and deride. It is only in recent years that I have learned to love it for what it is and have finally understood its purpose. Sadly, the UK has a somewhat skewed outlook on many things, due to it’s history and island mentality. We’re often too blinded by our national achievements as well as burdened with a sense of pride and “self-importance by proxy”. As a nation our accomplishments our prodigious, so subsequently we have a tendency to over think matters. With regard to Eurovision we seem to focus on a “killer song”, rather than embrace the spirit of the competition. And that spirit is camp, kitsch and frivolous. Eurovision is theatrical. It’s about tapping into your countries heritage and expressing it as a light hearted, theatrical vocal meme.
I have watched the Eurovision Song Contest regularly throughout my life. As a very young child I enjoyed it purely as an opportunity to stay up late. In my teens I loathed it as it appeared to be the antithesis of my own musical tastes at the time. So I watched it purely to mock and deride. It is only in recent years that I have learned to love it for what it is and have finally understood its purpose. Sadly, the UK has a somewhat skewed outlook on many things, due to it’s history and island mentality. We’re often too blinded by our national achievements as well as burdened with a sense of pride and “self-importance by proxy”. As a nation our accomplishments our prodigious, so subsequently we have a tendency to over think matters. With regard to Eurovision we seem to focus on a “killer song”, rather than embrace the spirit of the competition. And that spirit is camp, kitsch and frivolous. Eurovision is theatrical. It’s about tapping into your countries heritage and expressing it as a light hearted, theatrical vocal meme.
Last night, I watched Eurovision 2018 while chatting with friends on Discord. Last year I had an equally good time doing similar but via Twitter. Eurovision is so much better if treated as a fun communal experience. It is not a song contest in the traditional sense, in so far that it is not the most technically excellent, or most intelligently written composition that wins. It’s about delighting the audience with a flamboyant performance and an insanely catchy hook. That is why Netta won and SuRie didn’t. The former gave a suitably over the top and colourful performance of a song that had a refrain not to dissimilar to Seven Nation Army. A perfect “earworm”. It simply wasn’t something you were going to forget. The latter, however, was hindered by a far more formal pop song written by people that seemed to be oblivious to the core tenets of Eurovision. Although I admire SuRie for continuing her performance despite the stage invasion, song wise it was very much a case of “bringing a knife to a gunfight”. Frankly my favourite songs from this year’s show were the silliest and most ostentatious, like Moldova’s entry. Oh, and as an aside, Moldova were robbed in 2017.
In recent years Eurovision has transcended its traditional geographical boundaries and started finding a truly international audience. It’s nice to see American colleague’s reaction to the unique nature of the show. The contest has become sufficiently well known globally, that 20th Century Fox have decided to make it one of the many subjects of the Deadpool 2 marketing campaign. Frankly, if Canada wants to participate I won’t object, but it’s not down to me. On a less cordial note, due to Brexit, knee jerk nationalism and misplaced anti-European sentiment, there are many in the UK who are naturally hostile toward Eurovision by default. Such individuals even manage to leech the enjoyment out of this glorious international pantomime by muddying the waters with their petulant politics of hatred. However, the best solution to such “rage” is simply to mute the appropriate twitter feeds, ignore the tabloid press and focus on the business in-hand, namely having fun. So, I will no doubt find myself back again in twelve months’ time, marvelling on social media with like minded friends at the delicious awfulness that is Eurovision. I may even put a tenner on Moldova in advance.
Caring for the Elderly: Part 3
I have written in the past about caring for the elderly. I have approached the subject from a personal perspective, as a carer with two disabled octogenarian parents, as well as considering the broader needs of a society with an ageing population. As it has been two years since I formally became a carer to both my parents, I thought I’d share my experiences on the many challenges that my family has faced over the last twenty-four months. I find doing so beneficial and maybe my anecdotes may be of value to others in a similar situation. As I’ve said in my original post, caring for a loved one is something we all potentially face at some point in our lives, and with an ageing population it becomes statistically more likely each year.
A stylised depiction of old age and caring, far removed from the reality.
I have written in the past about caring for the elderly. I have approached the subject from a personal perspective, as a carer with two disabled octogenarian parents, as well as considering the broader needs of a society with an ageing population. As it has been two years since I formally became a carer to both my parents, I thought I’d share my experiences on the many challenges that my family has faced over the last twenty-four months. I find doing so beneficial and maybe my anecdotes may be of value to others in a similar situation. As I’ve said in my original post, caring for a loved one is something we all potentially face at some point in our lives, and with an ageing population it becomes statistically more likely each year.
At the end of March 2017, my Father was discharged back to the care of his local Doctor. He had received six months of both physical and speech therapy via various health visitors and outpatients’ clinics after leaving hospital in October 2016. Despite the severity of his second stroke, the regular visits certainly improved his speech initially. However, once these stopped I noticed that he did not continue with any of the physical or vocal exercises he had been taught, despite encouragement from myself and my Sister. As a result, my hopes of maintaining the status quo have proven rash. My Father’s physical health and cognitive abilities are slowly declining. He cannot retain information and can no longer use his computer effectively. He lacks the manual dexterity to use a mouse and keyboard and his poor eyesight further compounds matters. Thus, his leisure activities are diminishing. He mainly watches familiar TV programs and listens to audio books,
Both my parents have limited mobility and can only walk very short distances. Visits to the Doctors and such like (of which there are many each month) require the use of a wheelchair, which then requires the booking of a Black Cab. Thankfully, as both are registered disabled and in receipt of the higher rate of Attendance Allowance, they qualify for The London Taxi Card scheme which provides them both with an allowance of 60 subsidised journeys each year. Sadly, trips out are usually functional, rather than leisure orientated. My Mother had an undiagnosed stroke roundabout Easter 2017 that has damaged her eyesight and impaired her hearing. However, she can still conduct her own business at the hairdressers which she visits each week. My Father suffers from chronic motion sickness so long taxi journeys are problematic. Even being in the wheelchair is now problematic. During Summer and Autumn, I tried to encourage him to walk short distances but his habitual falling over has effectively ended such plans.
Thus, both of my parents are increasingly housebound with a decreasing list of activities that they can pursue. I find this particularly tragic, as old age and infirmity has robbed them both of their favourite pastimes. My Father was an academic and use to read prodigiously. He liked advanced Mathematics and use to do calculus for pleasure. He can now just about read the newspaper and seldom remembers any once he’s finished. The one thing he longs to do is go out into the world and interact with people. Yet he cannot do so unattended and his poor speech and emaciated physique further complicates matters. My Mother is similarly limited in her social activities due to her lack of mobility. Her passion has always been gardening which she now has to enjoy via the help of a professional gardener. Hence both of them have lifestyles with very specicifc boundaries. Where myself and my sister can provide logistical and administrative support, what my parents really crave is companionship during the day.
Managing a household and day to day life can be challenging enough when you’re relatively young and healthy. For both my parents has naturally becomes a more complex matter. The two key factors I have found to keep things ticking over, are a well-maintained routines and communication. All appointments and trips out are planned in advance and noted on multiple calendars. The most important of which hangs in my parents lounge with everything noted in bold, easy to read text. All medication is logged upon receipt, with renewals dates determined and noted in advance. There is a white board in my Father’s bedroom for the morning and night nurses to leave messages regarding medicine and such like. I open all mail and correspondence for my parents and most bills and regular invoices are now paid by monthly direct debit. Paper work is filed after it has been actioned and I only trouble my parents with essential financial matters. However, it is important for both of them to maintain a sense of involvement in their own affairs, so they are included in all discussions and decisions and naturally have final say in how things are done. However, to assist myself and my sister in conducting business upon their behalf, we have had are names added to various utility accounts and services, so there are no security issues when either of us phone these companies.
There is often a mindset common to the older generation which is driven by such sentiments as “don’t make a fuss”, or “not wanting to be a burden”. Both my parents were children during World War II and are fiercely independent. They come from an era where personal responsibility was paramount to the point where sometimes pride would cause them to refuse legitimate help. However, the reality of their lives has tempered this outlook and I have actively encouraged both my parents to take whatever assistance is available. They have paid their taxes and contributed towards society in various ways during their lives, so I have convinced them that the whole situation is simply a matter of “quid pro quo”. Hence, they have claimed Attendance Allowance and have both qualified for it at the higher rate. Extra money doesn’t make up for their loss of independence, but the funds pay for practical things that improve their life such as a stair lift, disabled friendly showers and a multitude of grab handle strategically placed around the home. My Father greatly enjoys the mobile library that calls once a month and provides him with audio books. It should be noted that this is run purely by volunteers and receives very little local authority funding. My Mother likes the relative freedom her taxi card provides and enjoys her weekly trips to the hairdresser.
Finally, both my parents are very mindful of the roles carers play and have been insistent that both my Sister and I do not give up too much of our personal time and maintain our respective hobbies and interests. In 2016 I was going to close this blog, but my Mother was adamant that I did not give up and continued writing. As a carer it is important to recognise your personal limitations and not to beat yourself up, trying to do absolutely everything. A fatigued, stressed or demoralised carer is of no use to anyone. Sometimes you have to say no or draw lines in the sand regarding what you will or will not do. At present, my family is currently looking into respite care for a week, so we can firstly refurbish my Father’s bedroom and make it more user friendly. Secondly, we have recognised that everyone needs a break and a good night’s sleep. We are currently awaiting to see if we meet the criteria for the local authorities to help us. If not, we will look at alternatives. Such is the nature of caring. Despite all the planning and organising, it remains a fluid situation that can change at any time. In some respects, recognising that helps invaluably. As does simply taking time out and sharing one’s thoughts.
The “Psychology” of an MMO Player
Before we start I’d like to make it clear that I do not have any formal qualifications in psychology. If you want specific details of research into MMO player psychology, the I would urge you to look to more academic source. For the sake of this post, I shall be using the term “psychology” figuratively. As people do in everyday parlance. In this case it is meant to refer to the motivations and foibles of the MMO gamer. Okay, that's the legal disclaimer out of the way. Let us continue with a finely-honed dissection of the topic in hand, bolstered by that impeachable source of verification, namely anecdotal evidence.
Before we start I’d like to make it clear that I do not have any formal qualifications in psychology. If you want specific details of research into MMO player psychology, the I would urge you to look to more academic source. For the sake of this post, I shall be using the term “psychology” figuratively. As people do in everyday parlance. In this case it is meant to refer to the motivations and foibles of the MMO gamer. Okay, that's the legal disclaimer out of the way. Let us continue with a finely-honed dissection of the topic in hand, bolstered by that impeachable source of verification, namely anecdotal evidence.
If you ask people what motivates them to play an MMO you will receive a multitude of different answers. Here are a few that are fairly common. I'm sure you could all add more to the list.
- The social interaction and the community. Be it friends or a kinship/guild.
- Grouping, raiding and completing content communally.
- Competitive play, PVP and league tables.
- The persistent worlds and the opportunity to explore and be immersed.
- The franchise associated with the MMO in question.
- Helping others and contributing to the general community.
Players bring a lot of passion to the games they play and the MMO genre is no exception. You only have to look at the postings on most MMO related forums and subreddits to see how seriously some players take it. The amount of dedication that is poured in to fansites, blogs and podcasts is staggering at times. I know of individuals that see the games they play as vehicles for their own personal values, ethics and ideologies. They organise, nurture and try to engage with all. Yet despite these noble aspirations, the two most fundamental driving forces for most players are either to have fun or to play competitively.
Let’s start with fun. It sounds like a very simple concept. However, we all experience it in a different fashion and it is a conduit to other emotions and motivations which are also unique to the individual. For me, I see games as an amusing diversion. However, that is not to say I see them as trivial. I complete tasks for a reward or I simply compete against myself or others. I also enjoy a good narrative. These are all essential sources of fun for me. I take a very straight forward "quid pro quo" attitude towards gaming. However, for others, fun may be derived from more complex motivations.
Competition is a very strong human trait. Western culture focuses on it heavily and often enshrines it in all aspects of society. It is therefore a prevalent facet of many MMOs and attracts a substantial player base. However, the pleasure of competing is often overshadowed by the perceived benefits of succeeding and on occasions public displays of pride. For some players there is the “winning at all costs” mindsets and the idea that it says something very specific about you as an individual. Ego and vanity are very strong motivators. This is endemic in the FPS and co-op genres and also manifests itself in MMOs, especially in the PVP side of any game. Bragging rights and posing requires another important ingredient. An audience. Something that the communal nature of MMOs provides.
The community itself offers a vast array of involvement and potential sources of fun. For some gamers due to their real-world obligations, it can become a surrogate social life in itself. As I mentioned earlier, this community offers an environment in which they can have a tangible impact and act as a force for good, unlike in the real world. I do not like the term "care bear", as its purpose is ultimately pejorative. However, it cannot be denied that MMOs do attract a lot of people who thrive on the social interaction and are compelled to help and support their fellow players. It is these very factors that defines the point of playing for them.
Because the mainstream success of video games, the gaming industry is naturally chasing the most lucrative demographic group. This is the casual gamer, although exactly what the parameters of that term are, remains hotly debated. However, negative attitudes towards gamers persists as do stereotypes. For many non-gamers, they erroneously think that those that do play MMOs and the like are not engaging with their fellow man. There is also the condescending attitude that because your leisure activity does not take place in a physical environment, that it is devoid of any merit. These are naturally erroneous and flawed ideas, but they often come up, despite the reality being the complete opposite.
To try and compensate against this sort of misinformation, there have been recent studies and reports that try to overstate the benefits of social gaming. I will happily concede the point that gaming does require players to use certain real-life skills, such a team building, communication and organisation, but to hail them as problem solving über talented collectives, that can tackle the world’s problems is a stretch. It is therefore important to keep a sense of perspective on gaming and to pretty much treat it as any other sort of leisure activity. Being a hero in the realm of Tamriel does not make you one in real life. However, nor should it pigeon-hole you as a nut.
So, it in conclusion, it would seem that despite some common factors relating to engagement and enjoyment, it is very difficult to come up with a simple set of rules that define the psychology of an MMO player or indeed any type of gamer. It should also be remembered that gamers often have other interests and mainstream pastimes such as sport, music or art. Gaming is not the sole defining factor of their non-working life. It is simply their leisure activity of choice, and as such should be afforded the same sort or regard as equivalent real world activities such as sport.
Desolation of Mordor and the Blade of Galadriel
Today the latest story DLC unlocked for Middle-earth: Shadow of War. The Desolation of Mordor allows you to play as Captain Baranor, who we now find adventuring in the deserts wastes of Lithlad in Eastern Mordor. Unlike Talion and Eltariel, Baranor does not have any Wraith Powers or the innate gifts and talents of the first born. He is merely a mortal man which subsequently adds an interesting dynamic to the game play. However, Baranor quickly meets up with Dwarven Hunter Torvin, who provides him with a several usefully Numenorean artefacts which fill his “skills gap”. These include a Gauntlet that expands to become a buckler. It also houses a crossbow that fires a variety bolts as well as a grappling hook, thus aiding Baranor with climbing. The other artefact is a kite that is stowed in a back pack. This acts as a parachute and can also be used via the hot thermal vents that litter the landscape, to ascend to vertical vantage points.
Today the latest story DLC unlocked for Middle-earth: Shadow of War. The Desolation of Mordor allows you to play as Captain Baranor, who we now find adventuring in the deserts wastes of Lithlad in Eastern Mordor. Unlike Talion and Eltariel, Baranor does not have any Wraith Powers or the innate gifts and talents of the first born. He is merely a mortal man which subsequently adds an interesting dynamic to the game play. However, Baranor quickly meets up with Dwarven Hunter Torvin, who provides him with a several usefully Numenorean artefacts which fill his “skills gap”. These include a Gauntlet that expands to become a buckler. It also houses a crossbow that fires a variety bolts as well as a grappling hook, thus aiding Baranor with climbing. The other artefact is a kite that is stowed in a back pack. This acts as a parachute and can also be used via the hot thermal vents that litter the landscape, to ascend to vertical vantage points.
The story is relatively straightforward, with Baranor hiring the Easterling mercenary army, The Vanishing Sons and seeking to conquer the regional fortress of Shindram. Due to a quirk of fate (and narrative requirements) The Vanishing Sons are led by Baranor’s older brother Serka. It is the dialogue between the two which makes this story better than average. Both characters are well voice acted respectively by Ike Amadi and Usman Ally. There is a good chemistry between both actors and the narrative strikes the right tone with equal helpings of high adventure and ironic humorous dialogue. It a pleasant surprise to see the Dwarf Torvin return, although his role this time is more of a functional NPC, rather than a major character. The desert environment is a welcome change from the existing Mordor zones, and the Numenorean Fortress that is occupied by Orcs is strikingly different in its architectural style.
All things considered I found Desolation of Mordor to be a superior story expansion than the previous DLC, the Blade of Galadriel. The story of Eltariel is adequate but hardly offers any major difference from playing as Talion. Instead of dominating Orcs, Eltariel destroys them using the Light of Galadriel, although several Uruks do ally themselves with her as they have common goals. In fact, the character of Galadriel come across as martinet in this story and I felt somewhat sorry for Eltariel as she struggles to please such a hard taskmaster. However, Eltariel’s fighting style with twin blades does offer some interesting variations in technique compared to Talion and her quickshot archery ability often proves invaluable. It is the story that is the weakest aspect of this DLC and it is somewhat incredulous even by Middle-earth: Shadow of War standards. There seems to be a never-ending supply of unknown, non-canonical Nazgûl waiting in the wings to act as convenient plot devices. The crowbarring of an Eastern aesthetic into the proceedings is interesting but I’m sure hardcore purists will be having kittens.
If you set aside the biggest weakness of Middle-earth: Shadow of War, which is its loot box and market which somewhat undermines the Nemesis system, you still have an enjoyable RPG which blends a variety of action and stealth gaming mechanics. Developers Monolith Production recently announced that the market would be closing and ultimately removed from the game. As of today, players can no longer buy gold and a later patch will restructure the acquisition of Orcs. No doubt all of this will be done in time for the release of the Game of the Year Edition. However, I do not regret my decision to buy the Gold Edition of Middle-earth: Shadow of War upon its release last October. Irrespective of the games business model flaws, I do feel that I’ve had good value from the entire game. I prefer the Desolation of Mordor to the other DLC and felt that it was wise to release this one last of all, thus ending the game on a high point. It will be interesting to see if this franchise will continue or whether Warner Bros. will create any similar games based on the works of JRR Tolkien.
Throne of Blood (1957)
When I first saw Throne of Blood as a teenager I was ill in bed with a fever. I found the brooding atmosphere and the use of fog, very hypnotic and was never quite sure if this ethereal quality was down to my state of health or the way the film had been crafted. Subsequent viewings have established that the dream like aspect of the film is indeed due to the creative talents of it's great director. Akira Kurosawa remains the best-known Japanese director to Western audiences, while other luminaries, such as Mikio Naruse, Yasujiro Ozu and Kenji Mizoguchi, are known mainly to aficionados and scholars of cinema. Kurosawa’s work maintains a critical consensus, although he was at one point rejected in his native country for being too entrenched in obsolete traditions and themes. On a technical level his film making credentials remain unparalleled and in many ways, Throne of Blood is a text book example of his style and technique.
When I first saw Throne of Blood as a teenager I was ill in bed with a fever. I found the brooding atmosphere and the use of fog, very hypnotic and was never quite sure if this ethereal quality was down to my state of health or the way the film had been crafted. Subsequent viewings have established that the dream like aspect of the film is indeed due to the creative talents of it's great director. Akira Kurosawa remains the best-known Japanese director to Western audiences, while other luminaries, such as Mikio Naruse, Yasujiro Ozu and Kenji Mizoguchi, are known mainly to aficionados and scholars of cinema. Kurosawa’s work maintains a critical consensus, although he was at one point rejected in his native country for being too entrenched in obsolete traditions and themes. On a technical level his film making credentials remain unparalleled and in many ways, Throne of Blood is a text book example of his style and technique.
The story focuses on Washizu and Miki, two captains that have just successfully suppressed a rebellion for their warlord Lord Tsuzuki. While riding through Cobweb Forest, they encounter an old woman who prophesies that Washizu will usurp castle, but that his reign will be brief, and his throne soon will be occupied by Miki's son. Both warriors initially laugh at these predictions, but there are soon indications that the prophesy may be true. When Washizu reveals his thoughts to his scheming wife Asaji, she urges him to take the initiative and kill Lord Tsuzuki who is to visit their home. Washizu subsequently murders his Lord and blames his bodyguards, thus usurping the throne. Yet he is plagued by guilt for betraying his honour and slowly descends into madness as he sees supernatural visions and portentous signs. However, despite concerns over his fitness to rule along with his increasing abuse of his power, Washizu has no intention of relinquishing his position.
This 1957 retelling of “the Scottish play” translates perfectly into 16th century feudal Japan. It retains much of the Shakespeare's brooding atmosphere and to this Kurosawa adds the formality and cultural intrigue of his native country. The adaptation omits most of the minor characters and transforms the witches' scenes into a supernatural encounter with an old woman spinning in a forest glade. Acted in the classic Kabuki tradition, the central performances, particularly that of Toshiro Mifune, are superb in spite of their economy of words. Intent and feelings are often conveyed by body language and deportment. The black and white cinematography, the imposing production design, striking costumes and jolting use of violence all work to create a sinister and esoteric world; an attitude still held about Japan by the West in the post war era. Kurosawa uses the camera masterfully, alternating between lengthy static takes and fluid tracking shots. There are many visually arresting scenes both big and small, such as Cobweb Forest slowly advancing towards the castle through a sea of fog as well as the sudden invasion of the throne room by a flock of birds.
Modern audiences may have to adjust their expectations, as Throne of Blood is made in the Noh drama style which relies on visual, non-verbal means convey characters feelings and the underlying mood. But it is the cultural differences of Japanese cinema that make this film so engaging, atmospheric and compelling. Along with its high contrast black and white photography, extraordinary images of rain, galloping horses, and highly charged performances. All of which contribute to an atmosphere of self-destructive inevitability for the tragic Captain Washizu. As for the ending, let it suffice to say that it is justifiably legendary and a visual triumph. As a piece of cinema, Throne of Blood goes beyond being a mere adaptation Shakespeare or even a Samurai movie. It remains a film making landmark and bastion of visual creativity, underpinned by a particularly Japanese sensibility. It is singularly thought provoking and stylish, and once seen it leaves an indelible impression.
“Geek Culture” and the Media
During my lifetime, I have seen many niche market hobbies and pastimes become mainstream activities. Much of what is now generically known as “geek culture” use to be the exclusive and esoteric province of hardcore fans back in the seventies. Comic collecting, conventions commemorating obscure TV shows and even gaming were activities that were mainly conducted under the mainstream radar, in minor conventions centres, church halls and out-of-the-way bespoke stores. Forty plus years later and all of the above are now big business, generating staggering sums of money. For example, let’s take a moment to reflect upon Avengers: Infinity War which has so far earned $1,164,106,540 at the box office since its release on April 27th. The notion of a film company investing so heavily in such a genre franchise was virtually unheard during my youth. Sure, that changed with Star Wars but if you’ve read anything about the making of that movie, you’ll know it was both a battle and gamble to get it to the big screen.
During my lifetime, I have seen many niche market hobbies and pastimes become mainstream activities. Much of what is now generically known as “geek culture” use to be the exclusive and esoteric province of hardcore fans back in the seventies. Comic collecting, conventions commemorating obscure TV shows and even gaming were activities that were mainly conducted under the mainstream radar, in minor conventions centres, church halls and out-of-the-way bespoke stores. Forty plus years later and all of the above are now big business, generating staggering sums of money. For example, let’s take a moment to reflect upon Avengers: Infinity War which has so far earned $1,164,106,540 at the box office since its release on April 27th. The notion of a film company investing so heavily in such a genre franchise was virtually unheard during my youth. Sure, that changed with Star Wars but if you’ve read anything about the making of that movie, you’ll know it was both a battle and gamble to get it to the big screen.
Yet despite the commercial viability of “geek culture” and the way it has become subsumed into wider popular culture, it is still something that is often misrepresented in the media, who struggle to understand it. Some argue that it is being wilfully misconstrued to pander to specific demographics and sell newspapers. Perhaps the TV show The Big Bang Theory is the best example of this consumerism versus perception paradox. Despite it’s broad popularity with audiences, some self-identified “geeks” strongly object to it, feeling that the show makes nerds and their associated culture the butt of the jokes, rather than the subject of them. Another objection is that it offers a caricatured vision of “geek culture”. As one Reddit contributor put it “it is a close approximation of nerd culture, but it’s not quite an accurate representation. BBT catches flack because it’s not far enough off the mark to write off, but it’s not close enough to identify with". Subsequently, representation leads to stereotypes, which is seldom a good thing.
We should also consider the cyclical tabloid hysteria about gaming that regularly appears. At present the UK popular press are running ill-informed and deliberately distorted stories about the popularity of Fortnite, which all sounds tediously familiar. Roll back the clock ten years and you’ll find identical stories about Grand Theft Auto IV. These and other examples seem to indicate that big business and the general public are happy to reap the benefits of “geek culture”, while at the same time looking down upon it and ridiculing it. Some have gone so far as to argue that its just another example of cultural appropriation but as it’s not race based it isn’t deemed to be a “problem” by big business. Yet to some who see themselves as geeks and nerds, the ongoing misrepresentation its considered deeply hurtful. The all too often cliched representation in movies, TV and the press is seen as an attack upon an important cultural part of their life. Some who feel particularly aggrieved have said it comes across as “blackface” for nerds.
Now some will instantly think that those complaining are merely “snowflakes” and that their reactions are overblown. However, I don’t like to dismiss a criticism out of hand and feel that if someone has arrived at a particular conclusion, irrespective of whether it’s erroneous or not, we should determine why they feel that way. Hence the following quote seems relevant. "Butthurt is an inherent, and important part of nerd culture. Some of us got off easy just being “weird kids,” and some of us got beaten up daily, but very few people who were deeply entrenched in typically “nerdy” things had smooth sailing in our younger years, and that, unfortunately, breeds a lot of bitterness. I think a lot of people having grown up under that kind of a weight resent seeing the culture they were mocked for adopting being played for a joke. It wasn’t funny when they got their nose bloodied because they read books during lunch. No one played it as an affable, comedic, good-hearted moment when someone slung their Magic cards off the table and laughed while they picked them up. So, I think a lot of people see this being played out as a comedy being marketed to the demographics that once mocked nerds as being somewhat of an affront, an opening of old wounds". Reddit user j0be
Misrepresentation is not the only complaint about the commercialisation of “geek culture”. An increasing number of people feel that they’ve been “thrown out of your own party”. The documentary Comic-Con Episode IV: A Fan's Hope briefly touches upon this with a few of the long term comic traders commenting on the expanding commercial scope of the event and how traditional aspects such as the buying and selling of comics are being side-lined. I can attest to something similar from my own experience. In the past Contains Moderate Peril covered a lot of UK cosplay events and between 2011 and 2015. During that time a lot of the regular attendees noted that the wider press was becoming far more interested in such events and that as a result a lot of “professional” cosplayers where joining the scene. These were frequently established models catering (or pandering depending upon your perspective) to a “broader demographic”, that tended to monopolise press attention. From subsequent discussions I’ve had with cosplayers since then, it has become far more widespread. Although I resist the concept of “gatekeepers” of “geek culture”, one cannot help but think that press attention will be somewhat skewed for example, by the attendance of “Adult Film” actress Siri at and event, cosplaying as Power Girl.
Contemporary media still embraces and propagates very traditional archetypes. Gamers, cosplayers, comic nerds, Star Wars and Star Trek fans along with many other groups of geeks are still considered to be fair game for the most arbitrary of stereotypes and are happily mocked by the film industry, television and the press. These stereotypes go hand-in-hand with a list of other enduring clichés. Obesity, myopia, sexual inadequacy, social isolation and dysfunction, under achievement and poor personal hygiene are the most common. When Hollywood (or any other platform) wishes to bolster the credentials of a traditional archetype with all their assumed “positive attributes”, within the framework of a story, all they have to do is introduce a stock nerd into the narrative to get the Job done. Everyone laughs at the “loser” (as perceived by the mainstream zeitgeist) and feels better about themselves. Ribbing and satire are one thing, but this sort of lazy writing is neither. As a plot device, geeks are the less politically damaging equivalent of the “dumb Irish” or “jive black” characters (although the latter still prevails). It is always healthy to laugh at yourself. However, too often such introspection is replaced by spite and marginalisation. I’m sure many self-professed geeks are not afraid of humour through shared experience. But instead they find themselves being ridiculed.
In a perfect world, film makers, television shows and the mainstream press should realise that gaming, fandom and general geeky pursuits are now very much part of mainstream culture and reflected that in their coverage fairly. Thirty-something year old, white collar professionals make up a substantial part of “geek culture” now and they do not so obviously conform to entrenched stereotypes. But the problem with stereotypes is that you can always find one or two individual that meet the criteria and then that becomes a disproportionate means of validation. Plus, the media loves being able to pigeon hole and compartmentalise people and groups. So, the reality of the situation is that “Geek culture” is going to continue to be depicted on their terms. Its a case of those who do not self-identify as a geek, looking in upon their world as observers, as opposed to those who are nerds presenting their environment from within. This is the bane of so much reporting on identity politics, in that it often comes from the mainstream, outside of the specific groups being scrutinised, with an inherent baffled air.
The only real way to bring about change by those who feel demeaned or marginalised by the status quo, is to lobby against it. That means challenging every negative depiction and having to endure the slings and arrows of your critics, while you’re doing so. It takes time to bring about change but that is pretty much the only proven way to alter perceptions. However, “geek culture” is not seen as the same as identity or sexual politics, so it may be harder to achieve. Those causing offense will not necessarily take any complaints seriously. Not until it starts impacting upon their bottom line. However, a generation of grown up geeks, nerds and gamers are now making an impact within the world of TV, film making and internet personalities. This does present an opportunity to leverage perceptions and to change the way things are portrayed. Ultimately it is through the normalisation of activities and pastimes that negates any prejudice against them. Over a period of about twenty years the internet has gone from being a curious niche market platform to an everyday, common place aspect of most people’s life. Bearing that in mind perhaps there is a scope for the mainstream media to recalibrate its perception and relationship with “geek culture”.
Motion Control Gaming
I was reminiscing with a friend the other day about time we spent playing Wii Sports in summer 2007. Golf and bowling were our favourites out of the five games available. Over the period of a year we squandered numerous hours breaking ornaments, frightening the cat and having immense fun, while separating our respective shoulders. Yet, motion control gaming never quite became the phenomenon it was touted to be. It took three years before Microsoft entered the fray with the Kinect and Sony with the PlayStation Move. Once all three platforms had the necessary technology there was much posturing and conjecturing about retrofitting existing franchises and marketing of new bespoke games that would capitalise on the “novelty” of motion control. The addition of physical exercise to a leisure activity traditionally associated with sloth, was going to revolutionise the health of an entire generation. Motion control gaming was also to have a major impact of sports training and medical physiotherapy. Yet none of these “dreams” came true and today it’s merely a curious postscript on the history of gaming.
I was reminiscing with a friend the other day about time we spent playing Wii Sports in summer 2007. Golf and bowling were our favourites out of the five games available. Over the period of a year we squandered numerous hours breaking ornaments, frightening the cat and having immense fun, while separating our respective shoulders. Yet, motion control gaming never quite became the phenomenon it was touted to be. It took three years before Microsoft entered the fray with the Kinect and Sony with the PlayStation Move. Once all three platforms had the necessary technology there was much posturing and conjecturing about retrofitting existing franchises and marketing of new bespoke games that would capitalise on the “novelty” of motion control. The addition of physical exercise to a leisure activity traditionally associated with sloth, was going to revolutionise the health of an entire generation. Motion control gaming was also to have a major impact of sports training and medical physiotherapy. Yet none of these “dreams” came true and today it’s merely a curious postscript on the history of gaming.
If you ever need an example of a novelty concept and a niche market product, then look no further than motion control gaming. It’s integration with Wii Sports was sublime. But beyond that game it’s use ceased to be enjoyable and instead becomes a major headache. The Wii console shipped with a bundle of games on launch; one of which being Call of Duty 3. Let it suffice to say that this game didn’t port well to motion control. Driving with the Nunchuk and Wii remote was manageable but aiming a gun, throwing grenades and interacting with the environment was very chaotic, haphazard and difficult. It was also extremely tiring. A few years later, I got to try Kinect Star Wars at a trade show. It was a horribly sluggish affair and far from the seamless experience that the trailers promoted. It was also very apparent that the NPCs in the game were noticeably nerfed to accommodate those players who were less “agile”. Once the initial fun of “being in Star Wars” dissipated, again plating in this way quickly became a chore. At the time it crossed my mind that games of this nature would never lend themselves to lengthy play sessions, like regular titles.
I can remember watching a video roundabout this time by Clinical Psychologist Albert “Skip” Rizzo. He was a big advocate of the health benefits of motion control gaming and made some bold statements about its application into popular games. He proposed that if a child was playing World of Warcraft for six hours a day, then the parents should insist that at least one of those hours should be done in conjunction with a motion control system. At the time Blizzard did briefly flirt with adapting their flagship MMORPG to this system. Yet again the project ran out of steam as gaming of this kind simply didn’t catch on because people like sitting on their butts while playing. Although there are health issues associated with sedentary gaming, they can be overcome by the application of common sense, rather than a cultural shift to motion control. Selecting an appropriate chair and desk, ensuring they are at the right height along with investing in good quality, ergonomically designed keyboards, mice and game controllers, can contribute significantly towards avoiding RSI, eyestrain and back related issues. Taking breaks, avoiding “snack culture” that often goes hand-n-hand with gaming and generally acting with restraint also helps avoid obesity, social isolation and death. I done it. So have countless others.
Motion control strikes me as being very similar to 3D in movies and TV; being a technology that is only pertinent to niche markets and of no real value or tangible benefit to the mainstream. Hence Wii Sports remains a unique experience. One that I am happy to return to even today (does anyone still own a Nintendo Wii?) But the notion of motion control permeating all other genres has really bitten the dust and the only viable avenue left for it is in conjunction with VR; another concept that has had an equally chequered past. Frankly, motion control gaming is just one of those things that always seems better on paper than in reality. The idea of playing some sort of team deathmatch FPS and having to leap behind the sofa in real life to avoid some threat in the game itself, is as cool as hell, but that’s not how it’s going to play out in real life. Some corpulent child is going to end up a tetraplegic after nose diving through a glass coffee table and then the lawsuits are going to start flying. So, this is why motion control gaming never really took off. Dignity and indolence are other contributory factors. Mind you, if you embrace the concept of the multiverse, somewhere there’s an alternative reality where Twitch TV is a lot more entertaining and the gamers a lot healthier.
Thoughts on the 2018 Local Elections
There are numerous local elections taking place in England today (not Scotland, Wales and Northern Ireland). 150 councils are electing new councillors, and there are six mayoral contests. They include all the seats in all 32 London boroughs, as well as every seat in the metropolitan districts of Birmingham, Manchester, Leeds and Newcastle. Specific seats are also being contested in areas such as Liverpool, Sheffield, Sunderland and Wigan. All the major UK political parties are fielding candidates with an aim of gaining the majority of seats in a specific area and thus controlling the local councils. These local authorities then subsequently control and administer the borough budget for services such as policing, local schools, refuse collection and such like. The budget is raised through a borough council tax, which is based upon property banding.
There are numerous local elections taking place in England today (not Scotland, Wales and Northern Ireland). 150 councils are electing new councillors, and there are six mayoral contests. They include all the seats in all 32 London boroughs, as well as every seat in the metropolitan districts of Birmingham, Manchester, Leeds and Newcastle. Specific seats are also being contested in areas such as Liverpool, Sheffield, Sunderland and Wigan. All the major UK political parties are fielding candidates with an aim of gaining the majority of seats in a specific area and thus controlling the local councils. These local authorities then subsequently control and administer the borough budget for services such as policing, local schools, refuse collection and such like. The budget is raised through a borough council tax, which is based upon property banding.
Local elections are often considered a litmus test of public opinion for the incumbent national government. If the Prime Minister and their party is perceived to be failing in its duties or suffering any major political set backs or scandals, then voters can and will punish party candidates at a local level to show their displeasure. However, this is not always the case and voter turnout for local elections can at times be very low, due to apathy or the fact that a local borough has a strong majority favouring a specific party. Where I live in Bexley Borough, in Greater London, there is an inherent leaning towards the Conservative Party, due to the demographics of the area. The borough is still perceived as a leafy suburb where the professional middle classes go to raise a family. It is also a relatively affluent borough which is often an indicator of political affiliation in the UK.
However, local elections are frequently determined by unique local factors and issues. The closure of a school or fire station can galvanise the electorate. Again, where I live, the sale of several public parks to property developers has been a contentious issue for several years. The poor handling of this matter by the majority Conservative held council has been strongly contested by local residents and some have even gone so far as to stand as independent candidates in today’s elections. Similarly, across the country various smaller parties are either collaborating or deciding not to stand against each other in an attempt to maximise the number of seats they can win and thus work collectively against the larger parties. Often at a local level, tactical voting becomes far more effective and it will be interesting to see if and how it is used when the results of today’s vote are known over the course of the next 48 hours.
From my own perspective, local politics has declined as much as national politics over the course of my life. My local council has demonstrated in recent years the exact same failings as the national government. Political discussion has become trivialised and infantilised, focusing on trite soundbites and disseminating false information. Councillors often inhabit a completely different “world” and have no conception or interest in the reality of constituents’ lives. Policies are frequently self-serving or driven by “lobbying culture” and all its iniquities. Furthermore, having visited the council chamber and watched proceedings from the gallery, I can confidently say that many councillors lack any debating and public speaking skills. They are often ill-mannered, bellicose and generally over enamoured with themselves. Remember these are not professional career politicians, with degrees in the subject and media training under their belt. Most councillors are simply local residents from varied backgrounds and professions.
Perhaps what I find most galling about today’s local elections is the total lack of credible campaigning by any of the major parties. The only candidate that has had the courage to knock on doors in my street is an independent. The rest have just taken the path of least resistance and simply attended minor rallies at local church hall’s populated by a handful of the party faithful. There have been no debates, no concerted efforts to meet and engage with the electorate, no discussion of policies and future planning. Instead we are left with conspicuous displays of hubris and entitlement along with a barely suppressed contempt for the electorate. It would appear that many that currently hold office seem to be oblivious to the mood for change that is currently abroad in the country and are merely focused on business as usual and all the financial benefits that go along with it. All too often the aspirational and ideological aspects of party politics are lost over time, leaving just a self-serving imperative to maintain the status quo.
However, the UK has had a noticeable falling out with the status quo and is currently enduring a period of major political upheaval and societal divide along with a general disliking of most establishment institutions. Regardless of where you stand politically at present, a new “wild card” approach has been introduced into contemporary politics. Subsequently, traditional political certainties are not so reliable. The electorate has shown that it will upset the existing “apple cart” if it sees fit, even if that is ultimately an act of self-harm. Therefore, we may well see some interesting results and political fallout by the weekend. These elections may well be the final nail in UKIPs coffin. Brexit, The Windrush Scandal and a multitude of bespoke local issues could result in the government being punished and the Conservative Party losing control of several “safe” councils. We will also finally find out if Jeremy Corbyn’s leadership has any impact upon Labour support at council level. On a positive note, perhaps this set of elections will mark the beginning of a cultural shift away from traditional bi-partisan politics towards a broader system with more independent and minority party candidates.
