The LOTRO Legacy Bundle
I wrote recently about how I wished that lifetime subscriptions were still available for the MMORPG, The Lord of the Rings Online. I explored the value of such deals and concluded that the ongoing revival of the game, especially with regard to the launch of the progression Legendary Servers, presented the developers with the perfect opportunity to offer something similar to new players. Oddly enough, Standing Stone Games have just announced the LOTRO Legacy Bundle, which although not a lifetime subscription, offers a substantial quantity of game content and bonuses at a substantially discounted price. Here is a breakdown of what is on offer.
I wrote recently about how I wished that lifetime subscriptions were still available for the MMORPG, The Lord of the Rings Online. I explored the value of such deals and concluded that the ongoing revival of the game, especially with regard to the launch of the progression Legendary Servers, presented the developers with the perfect opportunity to offer something similar to new players. Oddly enough, Standing Stone Games have just announced the LOTRO Legacy Bundle, which although not a lifetime subscription, offers a substantial quantity of game content and bonuses at a substantially discounted price. Here is a breakdown of what is on offer.
One Year of VIP Access Time
Get all the perks of being a VIP like 500 LOTRO points every month, mobile mailbox access, all character trait slots, and no 5g currency cap!
All The Content For One Great Price
Get Quests, Instances, Raids, Deeds, and Regions that LOTRO has released as of December 31st, 2018, even quests from Expansions!
*Excludes expansion pre-order or bonus items, includes only Quests, Instances, Raids, Deeds.
A Gift For All Your Characters, Forever!
Get a Crystal of Remembrance for every character on your account! You'll also get a Crystal of Remembrance on every additional character you create on your account going forward.
Bonus Items
You'll also get one Legacy Package for the character of your choice. It includes tons of bonus items to help you through your adventures and enough housing writs to buy your own premium house with no upkeep fees! Upon redemption of your Legacy Bundle code, you will immediately receive your bonus items on the character you log in on.
Your Legacy Package (one per account) Includes:
250 Mithril Coins
Wallet
Riding Skill
5 vitality stat tome pickers
10 skill and slayer deed boosts
10 Reputation supply
A Fleet-Footed Goat
A Mount Picker (Steed of the White City, Steed of the Citadel Guard, Forest Elk, Snow-Beast Steed)
A Housing kit which includes:
20 Housing Writs
Bird Bath
Hedgehog House
Premium Ingredients Crates
Fish Pond
ALL House Crafting Items
Sleeping Cat
Bevy of Swans Ice Sculpture
Makeshift Mûmak
Hound Property Guard
Gondorian Supplier Horn
Quest Packs Include:
Mines of Moria* Quest Pack
Mirkwood* Quest Pack
Rise of Isengaurd* Quest Pack
Riders of Rohan* Quest Pack
Helm's Deep* Quest Pack
Mordor* Quest Pack
Eregion
Enedwaith
Angmar
Evendim
Forochel
Misty Mountains
Trollshaws
North Downs
Lothlorien
Great River
Wildermore
East Gondor
Central Gondor
West Gondor
Old Anórien
Far Anórien
March of the King
Battle of the Black Gate
Legacy of the Necromancer
Where Dragons Dwell
For further details visit https://www.lotro.com/en/LegacyBundle
Now it is abundantly clear that this is an offer that favours the new or returning player. If you already have a lifetime subscription, then this bundle doesn’t offer you much more than the LOTRO store extras. Lifetime subscribers already have permanent VIP status, and thus an indefinite monthly stipend of 500 LOTRO points, as well as continuous access to non-expansion quests. However, this bundle is good value to those who subscribe intermittently to the game and haven’t bought any of the expansion packs. For a player who has rolled a new alt, either on the Legendary Servers or any of the regular servers, this offers access to everything that exists in the game at present. Furthermore, after a year when the VIP subscription expires, all quest content will remains unlocked.
For a long-term player like myself, who has bought all previous expansions, this bundle is also quite enticing. I currently subscribe monthly to LOTRO at a cost of £8.99 per month. That’s £107.88 per year. I pay monthly because it suits me financially and allows me to stop paying when I’m not playing. I recently started a new alt that I intend to take to level cap. Hence the additional store items included in the bundle are eminently practical. The total price of $199, works out as £157 (rounded up). That covers my years subscription (at the price I would have paid for it) along with £50 worth of store goods, which I suspect would cost more than that if I bought them separately. Again, if I stop playing for a while and return at a later date when my VIP status has expired, I will not be locked out of any quest content, apart from material that is added after December 31st 2018.
Naturally one’s perspective on the $199 cost of the LOTRO Legacy Bundle, is determined by the state of your personal finances. However, with Christmas coming up, this bundle has great potential as a gift. I am certainly giving it serious consideration. For me it’s the next best thing to a lifetime subscription. Price wise, it’s also worth considering the following. If I bought premium additions of two newly released single player games, the cost would be broadly similar to the LOTRO Legacy Bundle. 2018 has been the years where I have bought several single player games that I have ultimately been disappointed with. LOTRO regardless of its age and specific flaws, is a known quantity and a tried and tested source of amusement, entertainment and social interaction. I therefore have until December 16th to make up my mind.
Caring for the Elderly: Part 6
Once again, I find myself writing about this subject in the hope that it will encourage others to reflect upon the nature of old age, illness and the consequences that arise from them. There is still a prevailing culture of not discussing and sometimes not even thinking about such matters, but both are an absolute certainty in everyone’s life. All too often people find themselves in extremely difficult situations brought about by such events and the difficulty and emotional trauma is increased due to there being no plan in place or provision to address matters. Therefore, I strongly advocate the following. Some may seem like very obvious points, but recent conversations I’ve had with other carers and people in similar situations, has shown that many people have not made even the most basic of provisions in this regard.
Once again, I find myself writing about this subject in the hope that it will encourage others to reflect upon the nature of old age, illness and the consequences that arise from them. There is still a prevailing culture of not discussing and sometimes not even thinking about such matters, but both are an absolute certainty in everyone’s life. All too often people find themselves in extremely difficult situations brought about by such events and the difficulty and emotional trauma is increased due to there being no plan in place or provision to address matters. Therefore, I strongly advocate the following. Some may seem like very obvious points, but recent conversations I’ve had with other carers and people in similar situations, has shown that many people have not made even the most basic of provisions in this regard.
Life insurance: There are a broad range of policies available and it really comes down to what you can afford and what you wish to achieve. You may wish to consider cover that pays during prolonged periods of illness or simply a policy that cover the expense of a funeral. It doesn’t have to be a complex or daunting process. Having life insurance in place affords you piece of mind that your loved ones will not be financially troubled if illness or death occur.
Last Will and Testament: Ensuring that you have a will is also a source of peace of mind. It ensures that your assets and property are smoothly transferred to those you choose and that your funeral arrangements are clear in advance. For most people it does not have to be a complex process and often a simple standard document will suffice. The absence of such a provision can lead to additional administrative and legal issues at a time when they are least needed.
Living Wills and Care Plans: I wrote in my previous post about DNR notices and again would like to highlight the importance of discussing in advance the long term wishes of the person you care for. Clear and honest communication are paramount, and it is counterproductive to shy away from such issues because it makes you feel awkward or sad. Everyone has their own unique view on what is acceptable and what is not when it comes to the quality of their own life. Therefore, it is practical to consider and plan for certain eventualities, regardless of whether they are imminent or not.
Another matter it is wise to consider in advance is the general increase in household expenditure that can occur as a result of getting old and infirm. Carers, medical supplies, house alterations and minor changes to one’s lifestyle all contribute to increased monthly spending. In the UK, there are benefits and allowances available to help with such costs, but they are often means tested. Sometimes families prefer to take control of such services themselves and make their own financial arrangements. In my father’s case, not only does he choose to employ a very specific care company to assist him twice a day, he also spends additional funds on disposable items such as batteries, kitchen towel and incontinence pants. All of which have a cost that adds to the monthly budget. Furthermore, my parent’s household produces a lot more domestic waste than the average home. They quickly found that the standard refuse bin was not adequate for their needs, so we had to apply for an additional one from the local authority.
Modern day life is very much focused on living in the moment. As a result, long term decisions are often overlooked or simply ignored. When you’re twenty-five or thirty, seventy is an abstraction and not something that you necessarily concern yourself with. Furthermore, those who are not in the highest paid jobs do not always have the luxury of saving or spending on long term schemes such as insurance policies. There are more pressing needs to deal and the future may not be one of them. However, it is folly to ignore the inevitable and addressing just some of these issues now is better than ignoring them completely. The internet can often shed light on schemes and payment plans that you may not know about. In fact, it is an area of some considerable growth. There are also a wealth of charities and trusts that can help you if you find yourself in a difficult position. Therefore, once again I would urge readers to look to their future and not to be caught out at a time when you least need additional problems and concerns.
LOTRO: Choosing a Skirmish Soldier
I’ve always enjoyed the skirmish system since it was introduced into LOTRO in late 2009 with the Siege of Mirkwood expansion. These one to twelve-person instances are designed to provide a short and targeted fix of combat, with linear objectives and a climatic boss fight. What makes them different from standard instances within the game, is that you have an AI companion or skirmish soldier. It is this facet of the game that lends itself to tactical variation, as you get to choose which variety of skirmish soldier best compliments your class and play style. As ever with LOTRO, there is not a single optimal choice to make and if you ask a hundred players what the best role is, you’ll get a hundred different answers. The other practical benefit of the skirmish system is that they provide an alternative means of levelling, outside of PVE questing.
I’ve always enjoyed the skirmish system since it was introduced into LOTRO in late 2009 with the Siege of Mirkwood expansion. These one to twelve-person instances are designed to provide a short and targeted fix of combat, with linear objectives and a climatic boss fight. What makes them different from standard instances within the game, is that you have an AI companion or skirmish soldier. It is this facet of the game that lends itself to tactical variation, as you get to choose which variety of skirmish soldier best compliments your class and play style. As ever with LOTRO, there is not a single optimal choice to make and if you ask a hundred players what the best role is, you’ll get a hundred different answers. The other practical benefit of the skirmish system is that they provide an alternative means of levelling, outside of PVE questing.
Skirmish soldiers broadly reflect the roles of the main classes in LOTRO, as you can see from the above matrix. The idea is to choose one that provides skills that your primary alt does not directly have. Often players of all classes opt for the Herbalist simply to provide themselves with additional healing. Similarly, a DPS skirmish soldier such as a Warrior is also a solid, all-round choice. However, as my new character is a Guardian and can maintain threat, I thought it may be useful to have an Archer providing ranged DPS. The idea is to round up the mobs and have the Archer pick off them off while I hold aggro. I was also toying with choosing a Sage or Bannerguard, for their ranged debuff and buff abilities. But I’m not sufficiently knowledgeable of this sort of play style so eventually opted for the Archer. So far, it is proving to be an effective choice, but skirmishes at this level (24) are fairly straight forward.
Having re-rolled my Guardian on Laurelin (I now use the Legendary Servers as a “try before you buy” environment), I have access to my shared barter wallet and an ample supply of skirmish marks. Hence my Archer is relatively over powered at present, which is how I like things. If at higher levels, the Archer proves to be less effective, I have the option of slotting a different role and changing to another play style. Then of course there is the entire issue of running group skirmishes where an eclectic array of soldiers can lead to a very “interesting” experience. Because, despite both the statistical and cosmetic customisations that can be made to a skirmish soldier, they are still a somewhat blunt tool in combat. On occasions they can be used to great effect but more often than not they are chaotic and random. But in an odd way, this is part of their appeal. The other major choice a player is confronted with when equipping a skirmish soldier is exactly what to name them, but such matters are an entirely separate blog post.
Attack the Block (2011)
A lot was written about Joe Cornish's Attack the Block upon its release back in May 2011. I'll let you know right now that I have no intention of contradicting the popular consensus. This is an innovative, thoughtful, violent and very British Sci-Fi horror film. The contemporary inner London setting, and urban protagonists provide a very interesting take on a tried and tested subject. Do not be misled by certain journalists who try to make political capital out of claiming that the film endorses hoodie culture. It does not. There is no validation or glamorisation of that kind present. It’s simply an alternative setting for a somewhat formulaic story. As ever the devil is in the detail, which is subsequently supplied in the screenplay.
A lot was written about Joe Cornish's Attack the Block upon its release back in May 2011. I'll let you know right now that I have no intention of contradicting the popular consensus. This is an innovative, thoughtful, violent and very British Sci-Fi horror film. The contemporary inner London setting, and urban protagonists provide a very interesting take on a tried and tested subject. Do not be misled by certain journalists who try to make political capital out of claiming that the film endorses hoodie culture. It does not. There is no validation or glamorisation of that kind present. It’s simply an alternative setting for a somewhat formulaic story. As ever the devil is in the detail, which is subsequently supplied in the screenplay.
Sam (Jodie Whittaker), an overworked, underpaid nurse is returning home from her shift, while talking to her mum on her phone. She finds herself surrounded by a gang of five teenagers, led by Moses (John Boyega). As they demand her valuables, something falls from the sky and crashes into a nearby car. In the ensuing mayhem, Sam escapes while Moses and his crew find themselves at odds with an unexpected visitor. Everyone takes refuge in the tower block in which they live, as more extraterrestrial visitors continue to fall to earth. A siege begins, and the residents of Wyndham Tower have to band together to deal with the threat. Moses and his gang are motivated by the financial gain that the aliens may offer, but it soon becomes clear that it is them who are primarily being targeted by the visitors.
Cornish clearly shows his love for the genre in virtually every aspect of the production. From the lighting of the tower blocks to the bio-luminescent teeth of the aliens, all clearly demonstrate the influence of eighties cinema that the director grew up on. The script finds a comfortable balance between humour and action with the group of young residents spouting copious amounts of comic, patois-based dialogue. This has become the new benchmark in cult quotable sound bites, among discerning movie nerds. The pace of the narrative is strong and the set pieces hard edged. Attack the Block also maintains that very clinical feel that you often find in the best of British urban dramas.
It is very reassuring to see that films such as this are still being made and are directly competing against the ongoing tide of Hollywood blockbusters. UK film makers can effectively turn their hands to anything but are all too often only associated with period costume dramas or worthy slice of life, social comedies. Attack the Block and the action film Hanna (both released in 2011) have helped contribute to a greater diversification of British film making and have helped alter perceptions. As for Joe Cornish, he has clearly shown his abilities and set a high standard. I look forward to his next project. In the meantime, see Attack the Block, preferably twice. Once to enjoy it, then again to clock all the references. Wyndham Tower indeed.
LOTRO: Crafting
It’s only taken a decade. Yes, I’ve finally decided to start crafting in LOTRO, mainly out of necessity. After the “debate” on the recent podcast as to whether to continue to invest time and energy into my alt on the Legendary Server, I decided to recreate my High Elf Guardian on Laurelin. The main advantage being having access to my account-wide barter wallet and its respective resources. However, unlike the healthy economy of the Legendary Servers, established servers such as Laurelin have a distinct lack of armour, weapons and jewellery for lower level characters available on Auction House. As I like to play any MMO as over powered as possible, I decided to start crafting to ensure that my Guardian is optimally equipped for the progression ahead. Now I’ve always been told about the highs and lows of crafting in LOTRO, but it has certainly been interesting to finally experience them after all this time.
It’s only taken a decade. Yes, I’ve finally decided to start crafting in LOTRO, mainly out of necessity. After the “debate” on the recent podcast as to whether to continue to invest time and energy into my alt on the Legendary Server, I decided to recreate my High Elf Guardian on Laurelin. The main advantage being having access to my account-wide barter wallet and its respective resources. However, unlike the healthy economy of the Legendary Servers, established servers such as Laurelin have a distinct lack of armour, weapons and jewellery for lower level characters available on Auction House. As I like to play any MMO as over powered as possible, I decided to start crafting to ensure that my Guardian is optimally equipped for the progression ahead. Now I’ve always been told about the highs and lows of crafting in LOTRO, but it has certainly been interesting to finally experience them after all this time.
First off there’s the “fun” of gathering resources. Well it immediately struck me that the sensible thing to do was to use my level 120 Lore-master for this chore. They can freely move around low level zones without the being incommoded by the local population, plus I have the benefit of +78% mounts run speed. I then did the requisite research to find which zones I needed to go to and farm the necessary ore. Needless to say, Google is your friend in this matter and I quickly found maps that marked the locations of all the nodes. Within 75 minutes, after making several circuits of the area, I had sufficient for my needs. It was interesting to note that I didn’t encounter any other players in The North Downs while I did this. All gathered resources where then dumped into shared storage.
Next, the “fun and games” really started as I logged into my Guardian and trudged through the various professions and slowly advanced them. Having chosen the practical Vocation of an Armoursmith, I had to refine the ore into ingots via Prospecting. Naturally making such ingots gains crafting experience and once you have obtained sufficient, it unlocks the next tier. This is important because you cannot go out and farm the next tier of ore until you have done this. It took about an hour to unlock the first three levels; Apprentice, Journeyman and Expert. By then I could process Rich Iron Ore which was the material I required to craft armour at a level appropriate for my alt. I then started processing the various ingots I had amassed into standard Heavy Armour (no additional recipe required). Again, you have to unlock each tier to progress to the next, which means you have to craft a lot more armour than you need. Since there is no market for it on server, I simply sold it to a vendor afterwards.
Crafting is an odd facet of LOTRO. Because of the age of the game, it is suitably esoteric, time consuming and frankly tedious. However, crafting provides experience gain not only in your chosen profession, but also with respect your progression to level cap. Hence, I gained two entire levels while crafting and hit 20 as I finished (and was also rewarded with the “Undying” title as a bonus). I ended up with a full set of Elven Steel Armour which has an item level of 24 but can be used from level 22, so for the present I cannot use this set. However, despite this minor inconvenience I did derive immense satisfaction in crafting this set and knowing that I don’t have to rely on random drops or quest rewards for the immediate future. I also made an additional set of armour for a friend who has an alt at a comparable level, which was also pleasing to do. Such is nature of crafting in LOTRO. It’s a necessary evil and a pain in the butt, yet it also provides an odd sense of achievement. Something that other players have known for a decade and I just found out, yesterday.
Top Tip: The Universal Toolkit is essential. Without it crafting becomes even more tedious and annoying.
Writing Film Reviews
"You’ve probably gone over it before, but I’d like a refresher for how you go about choosing the movies you watch - I’ve got Netflix and Amazon Prime, but your titles always seem to go all over the place. Did you ransack a Blockbuster Video before it went bankrupt?" Rambling Redshirt. I was asked the above question recently, via Discord chat, because I do appear to post a rather eclectic range of film reviews. So, I thought I’d clarify my respective process (or lack thereof) as to which movies I choose to write about. I’d also like to share my thoughts on what I consider constitutes a good film review and the procedure I use when writing about the films I’ve watched.
"You’ve probably gone over it before, but I’d like a refresher for how you go about choosing the movies you watch - I’ve got Netflix and Amazon Prime, but your titles always seem to go all over the place. Did you ransack a Blockbuster Video before it went bankrupt?" Rambling Redshirt. I was asked the above question recently, via Discord chat, because I do appear to post a rather eclectic range of film reviews. So, I thought I’d clarify my respective process (or lack thereof) as to which movies I choose to write about. I’d also like to share my thoughts on what I consider constitutes a good film review and the procedure I use when writing about the films I’ve watched.
First off, here’s a little background about my relationship with cinema. Both my parent grew up during the thirties and forties when the primary form of entertainment were films and radio. Hence when I was a child, watching movies together was a common family activity. Mainstream network channels showed a lot more movies during the seventies, where now they’ve been replaced with property, cooking and quiz shows. Satellite and cable options did not exist in the UK at the time and there were just three analogue terrestrial channels. Sunday afternoon was a day where there’d be a movie scheduled on BBC Two mid-afternoon. We’d have our Sunday roast and then settle down to watch the likes of The Mark of Zorro or Top Hat or The Dam Busters. As these were my most formative years, my passion for film was kindled. This was how I was introduced to the works of Ray Harryhausen, George Pal and Hammer Horror.
As a carer, I now have a fixed schedule which although busy, provides me with periods of time that I can use to pursue my interests. Thus, during a week, I will watch about three or four movies. Because I don’t go to the cinema so often these days, some of these will be recent releases, especially now that the gap between the theatrical and video-on-demand release is as little as two months. I also have a “watch list” that contains both old and new films, that regularly has new titles added to it. These will be recommendations from critics or genre classics that I want to familiarise myself with. I often re-visit films I’ve previously seen for a re-evaluation, especially if it has recently been “dissected” on any of the film related vlogs and podcasts that I subscribe to. However, there is not a great deal of rhyme or reason to the order in which these movies are watched. All can potentially be written about.
I do not consider myself a casual watcher of films. I believe film making to be an art form and I can find merit in all genres. Many people see films as disposable entertainment. Something you passively observe and then move on from. That’s fine. You do whatever is good for you. I however, watch, analyse and reflect. I like dialogue and the way it’s written. I focus and consider the composition of shots and the construction of scenes. Lighting, production design and style are all important to my enjoyment. I can also remember details and visualise how scenes played out, after I have watched a film. As I have this level of interest, I naturally read and seek out data about film stars, film makers and movie production. If you like sports you will often become knowledgeable on the subject, especially stats. I do the exactly the same with films. Why? Because they bring me pleasure, they tell stories and they entertain. And this passion drives me to write about them.
Moving on, here are the rules that I broadly try to apply when writing about a movie. Just for the record, I often sit on the sofa with a pen and notebook in hand to write my thoughts down as they occur to me. This can be a little confusing to anyone watching with me.
1). Be sure to establish the genre of the film in question. Is it a comedy, a drama, a horror? If so, judge the film within the confines of said genre. Don’t make the mistake of comparing apples to oranges. All movies require a degree of “suspension of disbelief”. You have to vary this according to what you are watching. A drama such as On the Waterfront does not need to be watched with the same objective removal from reality as Dog Soldiers.
2). Consider all aspects of filmmaking when writing your review. Reflect upon directing, writing, editing, acting and other aspects of the production. Did they contribute positively or negatively to your experience? Where they of note contextually? IE with regard to the budget of the movie. If you have points you wish to highlight, then give specific examples in your review.
3). Imagine that your readers know nothing about the film in advance. It’s your job to introduce it to them and to provide them with a succinct and salient summary. How would you describe the film to a friend in one sentence? That may not always be possible with movies like Cloud Atlas but strive to be concise. Also do your best to avoid spoilers. If there is a dramatic event that serves as a surprise, don’t reveal this in your review. Provide enough information to intrigue readers so that they can choose to watch the film if they see fit.
4). When summarising your overall experience, think about who would enjoy this film, what its appeal is and in what circumstances. It helps to contextualise this, so if possible, why not make a broadly equivalent film comparison. IE Under Siege is Die Hard on a ship. Watership Down is essentially The Wild Bunch but with Rabbits. Any movie with Ben Stiller, is like a good comedy but with all the humour, talent and enjoyment conspicuously absent.
Finally, I’d like to finish with a quote from top UK movie critic Mark Kermode. Here are his top five ingredients for a proper film review, taken from his book The Good, The Bad & The Multiplex. Needless to say, I think he’s spot on.
“Opinion, description, contextualisation, analysis and entertainment.
1. Opinion
Saw 3D is rubbish.
2. Opinion and description
Saw 3D is a horror film that is rubbish.
3. Opinion, description and contextualisation
Saw 3D is the seventh episode and the first stereoscopic instalment in a long-running horror series, and it is rubbish.
4. Opinion, description, contextualisation and analysis
Saw 3D is the first instalment in a series that began life as a tortuously inventive low-budget chiller but which has descended over the course of six sequels into gory, boring torture porn which is rubbish.
5. Opinion, description, contextualisation, analysis and entertainment
It took the once-inventive but increasingly depressing Saw series seven movies to resort to the hackneyed headache of 3-D, but despite the promise that this is ‘The Final Chapter’ (just wait till the sums say otherwise) you keep wishing those protruding spikes would leap a little further out of the screen and puncture your eyeballs to ensure that you never have to watch rubbish like this ever again”.
The Raid 2 (2014)
It is very difficult to write about The Raid 2 without descending into hyperbole or gushing like a fanboy. As the movie poster shows, the popular press used pretty much every cliché available on the film’s release in 2014. If I remember, they did this previously with the original movie, The Raid in 2011. I may have leaned towards such enthusiasm myself when reviewing the previous movie. One thing that can be said about The Raid 2 is that it's a game changer and a genre milestone. It is more than just an action movie, in the same way that Enter the Dragon is more than just a martial arts movie and Singin' in the Rain is more than just a musical. Director Gareth Evans has stepped beyond the traditionally narrow scope of the genre to produce something far more ambitious.
It is very difficult to write about The Raid 2 without descending into hyperbole or gushing like a fanboy. As the movie poster shows, the popular press used pretty much every cliché available on the film’s release in 2014. If I remember, they did this previously with the original movie, The Raid in 2011. I may have leaned towards such enthusiasm myself when reviewing the previous movie. One thing that can be said about The Raid 2 is that it's a game changer and a genre milestone. It is more than just an action movie, in the same way that Enter the Dragon is more than just a martial arts movie and Singin' in the Rain is more than just a musical. Director Gareth Evans has stepped beyond the traditionally narrow scope of the genre to produce something far more ambitious.
The Raid 2 exceeds the claustrophobic confines of its predecessor and offers a far more ambitious plot. Following two hours after the siege on Boss Tama’s tower block complex (as seen in the first film), cop Rama (Iko Uwais) is asked to go undercover in a maximum-security prison so he can infiltrate a Jakarta crime syndicate. Rama manages to penetrate the inner circle of Ucok (Arifin Putra), the son of crime boss Bangun (Tio Pakusodewo). When rival gang leader Bejo (Alex Abbad) instigates a turf war for the streets of Jakarta, Rama quickly finds that all may not be as it seems, both in prison and within the ranks of his own police department.
The Raid 2 has a running time of two and a half hours, but it does not out stay its welcome despite its length. It manages to keep the narrative moving forward and switches seamlessly from action scene to occasional exposition. It is clear that director Evans has been influenced by the works of Akira Kurosawa, Park Chan-wook, Takeshi Kitano and Alan Mak, both visually and thematically. There are clear homages to several genre classics; a mass fight in a prison yard that has turned to mud, the use as claw hammers as a weapon and the complex inner politics of the crime syndicate. The movie also excels with its cinematography, editing and choreography. The action is superbly framed and presented in such a way that allows the audience to enjoy the frenetic pace but still see exactly what is happening on screen.
The Raid 2 is not for the squeamish. It is a brutal and unflinching in its depiction of violence. Yet there is a poetical quality to the never-ending litany of broken limbs, stabbings and sundry mayhem. Edwards manages to succeed in making the violence both titillating and disturbing at once. The audience is never quite sure what is going to happen next. It is this element of unpredictability that works so well in the film favour. It’s a radical change in approach to the distinctly passive experience that contemporary mainstream action movies have become in the west. Four years on we have yet to see a third instalment of this franchise, which is a shame. There is still talk of a US remake of the original film, for those viewers that cannot cope with subtitles or a non-American cast. For viewers with broader cinematic taste, The Raid 2 is well worth seeking out and seeing in its original language, because it is a superior, stylish and honest product.
The Raid (2011)
I was not a big fan of Gareth Evans 2009 movie Merantau. Although it was an interesting showcase for Iko Uwais and Pencak Silat martial arts, the story had a ponderous narrative and was thirty minutes too long. The human drama seemed at odds with the action content. However, in early 2011 I started to hear positive things about his follow up movie The Raid. When I finally got to see the international version of the film the following year, I was summarily impressed. The Raid was the most entertaining, all out, kick you in the nuts action film I’d seen since Hard Boiled at that point. Every so often, a film comes along that breathes new life in to an ageing and tired genre. The Raid was exactly such a movie and it didn’t take long for people to take note.
I was not a big fan of Gareth Evans 2009 movie Merantau. Although it was an interesting showcase for Iko Uwais and Pencak Silat martial arts, the story had a ponderous narrative and was thirty minutes too long. The human drama seemed at odds with the action content. However, in early 2011 I started to hear positive things about his follow up movie The Raid. When I finally got to see the international version of the film the following year, I was summarily impressed. The Raid was the most entertaining, all out, kick you in the nuts action film I’d seen since Hard Boiled at that point. Every so often, a film comes along that breathes new life in to an ageing and tired genre. The Raid was exactly such a movie and it didn’t take long for people to take note.
Seven years on (and a sequel later) I recently watched this movie for a second time. Let it suffice to say it still boasts a formidable pedigree. It reaches high gear within minutes of starting and simply does not let up for its hundred-minute duration. It is atmospheric, mean and dirty with one of the highest bodycounts to running time ratios I’ve encountered. And it remains extremely hard hitting. If your forays into the action genre have been mainly PG-13, mainstream US fodder, then you’re in for a “great big fucking surprise” as Jack Watson said in The Wild Geese. This is a fast paced and frenetic movie with a hard edge. It’s violent slick and compelling. It’s lack of Hollywood gloss makes it gritty and a refreshing change from other western genre movies.
A group of elite SWAT style specialist cops launch a dawn raid on 30 floor tenement block that doubles as armed fortress for an evil local drugs baron. However, the textbook plan goes terribly wrong, leaving the forces of law and order decimated. The fire fights with automatic weapons give way to hand to hand combat as honest cop Rama (Iko Uwais) tries to keep the remainder of his team alive and carry out their mission. The Raid boast a grimy production design which is credible and atmospheric. The cinematography by Matt Flannery captures the rundown aesthetic of Jarkarta’s slums very well. Even when the mayhem becomes somewhat balletic, the down to earth setting keeps the viewer grounded. There are shades of Carpenter’s Assault on Precinct 13 in the narrative as well as nods to John Woo and Walter Hill. Director Gareth Evans balances tone, pacing and a feel for action sequences perfectly.
The Raid succeeds because it does not aim to high. There is a wealth of action and wall to wall mayhem. Blood flows freely, but the movie does not make the mistake of copying standard Hollywood output. We don’t have a hero who is bullet proof, blessed with limitless ammunition and can take down a plane with a single shot. We have a flawed hero, who bleeds. Of course, we have to suspend our sense of disbelief. But we do not have to seal it in a lead container and drop it into the ocean to be recovered at a later date. If you like old school action movies, then see The Raid. You won’t regret it. If only Hollywood would take note. Less is more in this case. Also using a talented director who knows what he’s doing, helps. Unfortunately, the US studios seem oblivious to what the fans want and still blithely continue churning out there “targeted products”.
Here is some further trivia on The Raid. The title of the movie was altered from The Raid to The Raid: Redemption in the United States because the production company SPC could not secure the rights to the title; this also allowed Gareth Evans to plan out future titles in the series. The US version also sports a different soundtrack. While the original film was still in production, in May 2011, Sony Pictures Worldwide Acquisitions acquired the distribution rights of the film for the U.S. and asked Mike Shinoda of Linkin Park and Joseph Trapanese to create a new score for U.S. release. The original score from the Indonesian version was composed by Aria Prayogi and Fajar Yuskemal, who worked with Evan's on his previous film, Merantau. This version can be found on the international DVD and Blu-ray release of the movie.
LOTRO: Resetting the Economy
If you go to the auction house on Laurelin server, you will see all the hallmarks of an established, long term playerbase that have multiple characters at level cap. IE Mainly nothing but high-end crafted items being sold at ridiculously high prices. MMO inflation is a weird thing. Naturally people who have played LOTRO for a long time have substantial reserves of in-game gold. Gold therefore is not an asset of value in itself per se. Yet due to peoples complicated relationship with money, be it real or virtual, there is still a propensity to hoard it and increase one’s reserves. Hence, relatively sought-after items tend to be posted for sale on auction house at grossly inflated prices. Now regardless of the reasons why this inflation happens, the net result is always the same. A skewed economy with increased prices at one end of the gear spectrum and a shortage of items at the other, because no one is crafting anything beyond what they need for their new alts.
If you go to the auction house on Laurelin server, you will see all the hallmarks of an established, long term playerbase that have multiple characters at level cap. IE Mainly nothing but high-end crafted items being sold at ridiculously high prices. MMO inflation is a weird thing. Naturally people who have played LOTRO for a long time have substantial reserves of in-game gold. Gold therefore is not an asset of value in itself per se. Yet due to peoples complicated relationship with money, be it real or virtual, there is still a propensity to hoard it and increase one’s reserves. Hence, relatively sought-after items tend to be posted for sale on auction house at grossly inflated prices. Now regardless of the reasons why this inflation happens, the net result is always the same. A skewed economy with increased prices at one end of the gear spectrum and a shortage of items at the other, because no one is crafting anything beyond what they need for their new alts.
However, the launch of the two new Legendary Servers on November 8th provided an interesting opportunity, economically speaking. Some resources, perks and benefits in LOTRO are account wide, such as cosmetic items associated with the purchase of expansion packs. However, gold, mithril coins and skirmish marks are all server bound and can only be shared between alts therein. Thus, no one came to Anor and Ithil with the advantage of previously earned wealth. As a result, it has done wonder for these servers’ economies. Players are having to craft all the items they need and sell the surplus. There is also a healthy trade in the resources that sustain crafting. Two weeks on from launch and the acquisition of gold is still a relatively balanced process. Subsequently, buying new gear is still a viable option beyond that which you earn through questing. There are also lots of new kinships which support the needs of their members. So far, the game economy is not derailed.
As ever, it will be very interesting to see if this balanced and broadly equitable situation continues over the month to come. Perhaps the release of further content in four-months’ time will alter the status quo. By then there will likely be a percentage of wealthy players at level cap, along with those who are doing “okay” and some who are neither at cap or have a proverbial “pot to piss in”. Such is the nature of MMOs and those who play them. The other thing to keep an eye out for on the new servers is the presence of gold farmers. As gold is not transferable between existing servers, it has to be earned from its current location. So far, there is not a sufficient surfeit of gold to be assimilated and “redistributed” by such third party “institutions”. This again main change when the Mines of Moria expansion is added to both legendary servers. In the meantime, I am already buying any potential bargains I find on auction house, not only for my primary alt’s current needs but for the future as well. It certainly is a pleasant change from the dearth of choice currently found on the older LOTRO servers.
Amazon Fire HD 10
I find that the key to successfully buying any new item of technology is to know in advance exactly what you want from it and setting yourself a realistic budget. The next step, which is detailed research, is the one that I struggle with. Because it always involves a particular foible of human nature that really sets my teeth on edge. Far too many reviewers and technology journalists don’t fully grasp the concept of budgets as well as the idea of committing to the item that they are writing about. IE I often encounter sentiments such as “the Gruntmeister 2000 is a good option, but if you spend a little bit more you can get the 3000 model”. It’s habit that infuriates me. A budget of £100 is exactly just that. No more, no less. Therefore, if a buyer has specified their financial limit then it is illogical, crass and frankly damned rude to mention products that fall outside of that price range. Oh, it makes me want to punch until there’s brain matter on the walls. However, now that we’ve got that out of the way, I managed to track down exactly the new tablet that I needed. Furthermore, I got a bargain as it’s “Black Friday”.
I find that the key to successfully buying any new item of technology is to know in advance exactly what you want from it and setting yourself a realistic budget. The next step, which is detailed research, is the one that I struggle with. Because it always involves a particular foible of human nature that really sets my teeth on edge. Far too many reviewers and technology journalists don’t fully grasp the concept of budgets as well as the idea of committing to the item that they are writing about. IE I often encounter sentiments such as “the Gruntmeister 2000 is a good option, but if you spend a little bit more you can get the 3000 model”. It’s habit that infuriates me. A budget of £100 is exactly just that. No more, no less. Therefore, if a buyer has specified their financial limit then it is illogical, crass and frankly damned rude to mention products that fall outside of that price range. Oh, it makes me want to punch until there’s brain matter on the walls. However, now that we’ve got that out of the way, I managed to track down exactly the new tablet that I needed. Furthermore, I got a bargain as it’s “Black Friday”.
I like to do specific tasks via specific devices. As my phone is constantly with me, I primarily use it to access emails, texts, WhatsApp and Twitter. My desktop PC is where I write, create and edit podcasts and play games. My tablet is mainly for the consumption of content, such as podcasts, e-books and reading comics. The form factor lends itself to comfortably sitting on the sofa, reading a good book. A decent case means it can sit on bathroom unit, while I soak in the bath and listen to one of my favourite shows. And of course, perusing a quality graphic novel on a 10-inch screen is definitely a good way to enjoy the medium. So, bearing all this in mind, I knew in advance that I didn’t need a top end Samsung tablet along with it’s accompanying price tag. It soon became apparent that the Amazon Fire HD 10 would cover all my needs and I am happy to confirm that it certainly does. Its total cost was £100, although I also bought the matching case which added a further £25 on the overall price.
To start with let’s get the “negative” points out of the way first. Samsung and Apple tablets always feel incredibly robust, solid and “good quality” when you handle them. The Amazon Fire HD 10 feels cheaper. That’s not to say fragile because it’s not. But it’s rudimentary plastic build is what it is. The Fire operating system is not pure Android but Amazon’s own customised build. This is optimised towards Amazon’s own eco-system and therefore excludes rival apps. However, it is far from difficult to sideload Google Play store and add those apps you desire. The camera is also below par, but as it’s not really what I bought the table tablet for, it seems irrelevant. Frankly does anyone buy a tablet for the camera? The Amazon Fire HD 10 plus points are by far more important. First off there’s a nice 1920 x 1080 display. Its is sharp bright and vibrant making it eminently suitable for watching movies and streaming content. Battery life is also robust offering 10 hours of “mixed” use. The MediaTek quad-core processor is combined with 2GB of RAM and performs well. Navigation is smooth and there’s no major lag when navigating the interface. And then there’s the price which is approximately a third of the latest iPad.
I bought the 32GB version of the Amazon Fire HD 10, which so far is adequate for my needs. If there are any issues, then I can make use of the microSD card slot which offers up to another 256GB of storage space. Contrary to what I expected I have not had to make too many changes to the UI. I have turned off some of the superfluous Amazon promotional features and have dragged the unnecessary icons into a single tidy folder. I quickly found simple instructions online as to how to install the various Google apps I needed. At present my tablet has both Netflix and Amazon Prime, along with Podcast Addict, You Tube and Challenger Comics Viewer. I have no immediate intention of bloating OS with additional services, although I’m sure it can easily accommodate them. I also like the simple but functional Amazon case that I bought. Overall, I am pleased with this purchase as it has totally met my expectations. Compared to the past where I used to jump in feet first with new tech and tended to be an early adopter, I now favour this more targeted and measured approach. If your tablet needs are equally as straight forward to mine, you too may find the Amazon Fire HD 10 to be the best option currently on the market.
Thoughts on Blogging Part 5
This week, a rather high profile sub-reddit associated with the Star Trek Online community, changed its status to “private” as a means of protesting against the state of the game and the way developers Cryptic are handling things. That matter was surprisingly resolved within 24 hours after an olive branch was extended from the STO community manager on reddit. However, it is not the protest itself nor the state of the game that I wish to focus upon, but the importance of /r/stobuilds as a shared community resource. A lot of STO players enjoy optimising their builds and tweaking their loadout and this site it the place to go to share such information. There is also a group of hardcore players that dig deep into the games data and comprehensively crunch number and generate useful information. Hence if a resource such as this was taken offline for longer period of time, it would have a tangible impact upon players and the wider community.
This week, a rather high profile sub-reddit associated with the Star Trek Online community, changed its status to “private” as a means of protesting against the state of the game and the way developers Cryptic are handling things. That matter was surprisingly resolved within 24 hours after an olive branch was extended from the STO community manager on reddit. However, it is not the protest itself nor the state of the game that I wish to focus upon, but the importance of /r/stobuilds as a shared community resource. A lot of STO players enjoy optimising their builds and tweaking their loadout and this site it the place to go to share such information. There is also a group of hardcore players that dig deep into the games data and comprehensively crunch number and generate useful information. Hence if a resource such as this was taken offline for longer period of time, it would have a tangible impact upon players and the wider community.
Now not every fansite, blog or player run resource are of a comparable size and significance, but I would cogently argue that they all contribute to their respective communities in essentially the same manner. They’re sharing information, enthusiasm and support for the things that they love and are entertaining and communicating with others. A fellow blogger who wrote a popular MMO fansite, once told me that they considered their writing as a public service in a way. I do not think the remark was a reflection of their vanity. It simply showed that they enjoyed participating in a wider community and sharing what they knew. However, they also remarked that once you find yourself in a position where your work becomes important to the wider community, you can become a “prisoner of your own success”. This then raises the spectre of “obligation” over writing for pleasure. If you’re creating guides for an MMO or data mining the latest patch, then you can end up in this position.
I have a plethora of websites and blogs, bookmarked in my web browser. Most are run by fans and despite the fact they are amateur publications, many are of an extremely high standard. In fact, they often put the professionals to shame. Such blogs are often done by sole individuals, busy couples or over stretched collectives who are passionate about their subject. A lot of people benefit from the hard work that they put in. The recent LOTRO renaissance has highlighted for me just how many great fan-based resources still exist, but it has also reminded me of how many blogs and podcast have retired of “faded” over the years. The absence of some are still sorely missed. Expressing yourself through written words is more labour intensive than producing content for other platforms. It is less ephemeral due to the thought and consideration that good writing takes. In some respects, the bloggers surrounding certain games are a microcosm of the of the wider community.
There’s been a lot of talk of late regarding preserving video games history. It is indeed an interesting proposition because it is in historical terms such a relatively recent phenomenon. However, if you wish to preserve games per se, as we currently do with other art forms such as movies, music and books, then surely preserving their associated impact on popular culture is equally as important? Fifty years from now when it can be safely assumed that World of Warcraft should have run its course, having access to the myriad of websites and fan resources that evolved around the MMO will be key to understanding the popularity of the game itself. Surely, such a concept logically extends to blogging around any aspect of popular culture? Naturally not every site or blog is destined to be of paramount historical importance, but all contribute in their own unique way to bigger community picture. Consider that next time you write, and it may help motivate you. Or it may do the opposite.
Hanna (2011)
Some people seem to draw parallels between Hanna and Mathew Vaughn’s Kick-Ass but the similarities are somewhat superficial. One is traditional, intelligent action thriller about a youthful female assassin. The other is a tongue-in-cheek neo-exploitation movie, involving a preteen vigilante. The more you compare them the greater the differences become. So, let us start by dismissing such erroneous comparisons.
Some people seem to draw parallels between Hanna and Mathew Vaughn’s Kick-Ass but the similarities are somewhat superficial. One is traditional, intelligent action thriller about a youthful female assassin. The other is a tongue-in-cheek neo-exploitation movie, involving a preteen vigilante. The more you compare them the greater the differences become. So, let us start by dismissing such erroneous comparisons.
One of the most compelling reason to see Hanna is Saoirse Ronan's performance, previously seen in Atonement and Peter Jackson’s The Lovely Bones. It is precise and utterly compelling. Another selling point is Joe Wright's tight and well measured direction. This is a real revelation as his previous works tend to be costume pieces or worthy human dramas. Yet he shows a real feel for the genre proving that some directors can successfully change verticals (unlike Marc Forster, who struggled to grasp the concept of a Bond movie, with Quantum of Solace).
The plot is a straight forward affair about an individual raised in isolation and subsequently discovering on contact with the real world, that they are “different”. There is the implication that Hanna is not only the product of her upbringing, by ex-assassin Eric Bana, but potentially the child of a genetic experiment. Once the initial premise has been established, the script is essentially a series of action sequences, shot in a very contemporary fashion (hence achieving its PG-13/12A rating). The story is neatly structured although formulaic, with a twist ending that really isn't that much of a revalation.
Yet director Joe Wright manages to expand the story's subtext, providing more rounded characters than you would expect in a genre piece such as this. Cate Blanchett and Tom Hollander, provide superior performances as the films antagonists. The score by the Chemical brothers is another innovative aspect that should be applauded. Soundtracks in the action movies are so often perfunctory, these days. Hanna overall is pure escapism but is elevated above the mundane by the significant talent of Joe Wright. Let us hope that he continues to experiment with different genres.
The Tractate Middoth (2013)
The BBC has a long and illustrious history of commissioning innovative adaptations of the works of M R James. Consider a moment the likes of Jonathan Miller's Whistle and I'll Come to You or The Ash Tree by Lawrence Gordon Clark. If you are unfamiliar with these short television dramas, then I strongly advise you to seek them out. They are the epitome of quality television forays into the world of the supernatural. The Tractate Middoth, written and directed by Mark Gatiss, once again demonstrates how well the finely crafted short stories of Monty James lend themselves to the medium of film. Mr. Gatiss has a clear understanding and passion for the horror genre and proves (as he did with Sherlock) that "adaptation" does not have to mean "bastardisation".
The BBC has a long and illustrious history of commissioning innovative adaptations of the works of M R James. Consider a moment the likes of Jonathan Miller's Whistle and I'll Come to You or The Ash Tree by Lawrence Gordon Clark. If you are unfamiliar with these short television dramas, then I strongly advise you to seek them out. They are the epitome of quality television forays into the world of the supernatural. The Tractate Middoth, written and directed by Mark Gatiss, once again demonstrates how well the finely crafted short stories of Monty James lend themselves to the medium of film. Mr. Gatiss has a clear understanding and passion for the horror genre and proves (as he did with Sherlock) that "adaptation" does not have to mean "bastardisation".
The Tractate Middoth relocates the events of the story from the Edwardian era, to the early Fifties but apart from this change the production remains remarkably faithful to the text. We meet young librarian Mr. Garnett (Sacha Dhawan) who has a rather disturbing experience while searching for an old tome of Hebrew text for an irascible academic John Eldred (John Castle). It would appear that a mysterious third part may have an interest in the book. While recovering from his shock, with a dose of country air, Mr. Garnett meets Mrs. Simpson (Louise Jameson) and her daughter Anne (Charlie Clemmow). They tell a strange tale of a missing last will and testament that would make them heir to a sizeable inheritance. Unfortunately, the document has been written in an obscure book. Could it be the very same volume that lead to Mr. Garnett's supernatural experience?
This delightful adaptation blends the erudition and macabre atmosphere of M R James with the wit and intelligence of Mark Gatiss. The two complement each other very well. M R James's liking for comedic minor officials and bureaucrats is embellished by Mark Gatiss, leading to some clever observational humour and comic asides. However, this is not done to the detriment of the brooding atmosphere or the central supernatural plot. The thirty-minute adaptation has a minimum of superfluous CGI, keeping as much effects work as possible in-camera, thanks to the stylish cinematography of Steve Lawes. The prosthetics for the central ghost are suitably ghoulish and very much in accord with the original story.
The period feel is authentic and still maintains M R James cardinal rule that a good ghost story should always be set in the past and related by those who have indirectly experienced it. Performances are universally good ensuring that characters do not descend in to genre caricatures. The handsome production design and art direction reflect the architectural and topographical detail that is synonymous with all of James's short stories. It is to the director’s credit that the supernatural climax is effectively carried out in broad daylight without losing any dramatic impact. The final sting in the tail, although a whim of Mark Gatiss, is far from out-of-place.
As with the BBC adaptations from the seventies, this latest production has a distinguished pedigree, sporting such names as Una Stubbs, Eleanor Bron and John Castle. There is also a clear sense that everyone involved has a love and respect for the work of Montague Rhodes James. The Tractate Middoth is text-book example of the sort of quality television that can be produced when the right people are involved and deferred to. Mark Gatiss has spoken of the freedom afford to him by the BBC Arts Department and it is clear that their trust in him has paid off. The Tractate Middoth, is well paced and lovingly crafted, delightfully unsettling. There are several jolts leading to a classic Jamesian Wallop (Thank you Will Ross and Mike Taylor for coining that phrase).
Awake (2007)
Publicity and word of mouth are curious bedfellows. Awake came to my attention mainly because it starred Hayden Christensen, an actor whose portrayal of a young Darth Vader, looms large over his career. Not necessarily for the right reasons. The gossip of the time inferred that his performance in Awake was of a similar nature. Yet the basic premise for the movie is quite intriguing, so I decided to see for myself. Medical based thrillers are a curious and underrepresented sub-genre. Directed by Joby Harold, Awake is a "high-concept" movie that deals with the universal fear of hospitals, surgery and "anaesthetic awareness". It also features several plot twists that takes the film in a direction that the viewer may not have anticipated. The production shows signs of being influenced by the works of Hitchcock and M. Night Shyamalan and the Italian Giallo genre.
Publicity and word of mouth are curious bedfellows. Awake came to my attention mainly because it starred Hayden Christensen, an actor whose portrayal of a young Darth Vader, looms large over his career. Not necessarily for the right reasons. The gossip of the time inferred that his performance in Awake was of a similar nature. Yet the basic premise for the movie is quite intriguing, so I decided to see for myself. Medical based thrillers are a curious and underrepresented sub-genre. Directed by Joby Harold, Awake is a "high-concept" movie that deals with the universal fear of hospitals, surgery and "anaesthetic awareness". It also features several plot twists that takes the film in a direction that the viewer may not have anticipated. The production shows signs of being influenced by the works of Hitchcock and M. Night Shyamalan and the Italian Giallo genre.
Clay Beresford (Hayden Christensen) is a young industrialist, with a heart defect. Secretly engaged to his secretary Sam (Jessica Alba), Clay worries about their future. He shares these with his heart surgeon friend, Dr. Jack (Terrence Howard) who urges surgery. On the very night of his secret marriage, a heart donor is found, and Clay is rushed into hospital. His controlling mother (Lena Olin) wants her choice of surgeon to handle the transplant. Once under general anaesthesia, Clay finds he is fully awake but unable to communicate his condition to any of the operating theatre staff. As the heart transplant procedure begins, Clay must endure the agony. With all his senses working, he soon learns that greater threats lie ahead and that his current situation is far from a medical mistake.
The narrative unfolds quite rapidly during the first act of Awake, moving the film along at a fast pace. Unfortunately, this is at the expense of character development. Both Alba and Christensen give adequate performances, but the film is carried by the Olin, and Howard who frankly have more interesting roles to sink their teeth into. I got the feeling that there was a lot of dialogue removed from the final edit of the film. The narrative seems too focused on moving forward. There are apparently seven deleted scenes on the Region 1 DVD release. Perhaps the film would have benefited from their reinstatement.
The despite horrific idea of "Anaesthesia Awareness", it is explored with a degree of subtlety. The scenes of surgery are unpleasant but not excessive and are sufficient to put your teeth on edge. Writer and director Joby Harold decide to employ several plot twists that increasing tax the audience’s suspension of disbelief. It is here that opinion divides. Some critics felt that there were simply too many narrative indulgences that strained credibility. There is also a specific point in the story when the film takes an unexpected turn into a completely different genre. I would also argue that even the most casual of viewer would see through some of the medical inconsistencies.
Awake had a troubled production with multiple cast change. As a result, the studio lacked confidence in the film. In more experienced hands, the scares would have been harder and the performances stronger. Yet despite these shortcomings, I still enjoyed Awake. It reminded me of film noirs of the fifties such as DOA and also of the sort of tales you’d find in The Twilight Zone. Even considering its faults, at least we have a film that tries to approach its subject with a degree of creativity. Awake does not wholly deserve the battering it received at the hands of the critics. So, if you are of a forgiving nature and have a liking for more traditional thrillers, it may be worth ninety minutes of your time.
Pick-up Groups and MMOs
Star Trek Online has recently revamped group PVE activities and rebranded them Task Force Operations. These are just instanced events designed for five players, that have a handful of objectives and a boss fight at the end. Players can group with friends or use the auto-grouping tool that is available, to play through TFO of their own choosing. Alternatively, there is the option to join a pick-up group and play a random TFO for greater rewards. Now although not unduly complex, TFOs usually have a basic set of rules to follow if you want to complete them quickly and efficiently. For example, closing dimensional portals reduces the number of trash mobs joining the TFO, so it makes sense for at least one of the five players to focus on this activity. However, PUGs are open to all players and therefore there is always a chance that you may group with an inexperienced player or someone who wants to do things “their way”. Either way, if you are seeking optimal gameplay, then PUGs may not be the best place to look.
Star Trek Online has recently revamped group PVE activities and rebranded them Task Force Operations. These are just instanced events designed for five players, that have a handful of objectives and a boss fight at the end. Players can group with friends or use the auto-grouping tool that is available, to play through TFO of their own choosing. Alternatively, there is the option to join a pick-up group and play a random TFO for greater rewards. Now although not unduly complex, TFOs usually have a basic set of rules to follow if you want to complete them quickly and efficiently. For example, closing dimensional portals reduces the number of trash mobs joining the TFO, so it makes sense for at least one of the five players to focus on this activity. However, PUGs are open to all players and therefore there is always a chance that you may group with an inexperienced player or someone who wants to do things “their way”. Either way, if you are seeking optimal gameplay, then PUGs may not be the best place to look.
Now, you may well ask “why are you stating the bleedin’ obvious about PUGs?” Well the reason I’ve chosen to succinctly distil and reiterate their respective pros and cons is because I continuously come across gamers regularly lamenting the iniquities of PUGs, as if they’re supposed to function in a fashion that is contrary to their nature. It’s a bit like complaining about a compass for pointing north or a politician for lying. Joking aside, pick-up groups are not intended to be efficient. They are designed to facilitate group play in an expedient manner. Many MMOs have players who either cannot find a guild, do not want to be in a guild or simply have time restrictions that impede grouping with regular friends and online colleagues. PUGs and auto grouping tools are a means to facilitate such players in accessing instances and other content designed to be played as a group. It’s not as if game developers are oblivious to the potential shortcomings of such systems. Hence in STO and other MMOs, players will receive a bonus reward for playing via auto grouping.
The key to successfully using any PUG mechanic in an MMO is to greatly temper your expectations and to use auto grouping tactically. For example, I recently used LFF chat in LOTRO to run a particular 6-man instance. I did not expect to successfully complete everything but was simply tagging along to see if we could defeat the first boss, which I needed for a deed. The group performed poorly, and it was a struggle to progress, but we did get to the end. Not only did I complete the deed, but I also got the benefit of some loot that I wasn’t anticipating on getting. For me this was an added bonus, so I was not discouraged by the multiple wipes that the group endured. Where some players felt we’d performed poorly, I was pleasantly surprised because I had been realistic about what we could achieve as a group, right from the start.
PUGs are not always a bad experience and there are many factors that determine their outcome. Some groups in certain games require very little direct interaction. The TFOs in Star Trek Online can be undertaken without any need for chat. I personally always say “hello” and “good game” but it’s not essential. Quitting a group for whatever reason usually doesn’t involve too big a penalty. It may result in a thirty-minute sanction or reduced rewards but nothing more. Depending on the game, some will offer rewards even if the primary goals of an instance aren’t even achieved. This alone can make the use of auto grouping viable for some players. As the MMO genre has been around for over two decades, it has developed several universal foibles. One of these is the capricious nature of collaborating with random strangers. Would you expect five random people in the real world to work extremely efficiently together after just meeting? Of course not. So why should something as frivolous as a game be any different? Frankly excessive criticism of the PUG system with regard to MMOs is redundant. PUGs in other genres of games is a separate matter.
LOTRO: Coming Full Circle
I returned to LOTRO in August and started to work through all the outstanding content that had built up during my absence. I have subsequently completed the Mordor expansion pack, along with all of Update 22: Legacy of the Necromancer and Update23: Where Dragons Dwell. This has meant consistently playing, re-gearing my primary character (twice) and generally tweaking different aspects of their build. I have applied myself to the various stories and have not felt overwhelmed by the narrative. Overall, I haven’t played LOTRO this diligently since I joined back in late 2008. This recent experience, along with launch of the Legendary Server, has been extremely satisfying. It’s all been very nostalgic, and I have found myself of late occasionally recapturing the feelings that I had a decade ago. Especially so when questing with friends and tackling group content. I have also thoroughly enjoyed the new Dwarven focused storyline in the Grey Mountains. It’s a rugged yet interesting zone with some exceeding good ambient music.
LOTRO: 14th September 2009
I returned to LOTRO in August and started to work through all the outstanding content that had built up during my absence. I have subsequently completed the Mordor expansion pack, along with all of Update 22: Legacy of the Necromancer and Update23: Where Dragons Dwell. This has meant consistently playing, re-gearing my primary character (twice) and generally tweaking different aspects of their build. I have applied myself to the various stories and have not felt overwhelmed by the narrative. Overall, I haven’t played LOTRO this diligently since I joined back in late 2008. This recent experience, along with launch of the Legendary Server, has been extremely satisfying. It’s all been very nostalgic, and I have found myself of late occasionally recapturing the feelings that I had a decade ago. Especially so when questing with friends and tackling group content. I have also thoroughly enjoyed the new Dwarven focused storyline in the Grey Mountains. It’s a rugged yet interesting zone with some exceeding good ambient music.
It’s a curious thing, that despite having regularly played a specific MMO for a decade, I am not exactly an expert on any of the games systems or the specifics of my primary characters statistics. I often just inspect other players of the same class and have copied their build. I have not been especially selective about the skills tree either and have simply maxed out the red line and put the few remaining points into what seem relevant in the blue and yellow lines. It is only since August that I’ve started taking a greater interest in min-maxing in LOTRO, mainly because the gear check that appears early on in Mordor is so abrupt. As a result, I’ve changed my virtue traits, replaced settings, runes and gems on my LI and been far more particular about the stats on any gear that I equip. The subsequent benefits have been quite noticeable. I even pay more attention now to my skills rotation and vary it according to the enemy. It’s only taken ten years for me to start playing at this “level”, although I still find an excess of number crunching ultimately quite dull.
LOTRO: 16th November 2018
Despite having changed PC several times since I started playing LOTRO and re-installed the game numerous times, I still have every screen capture I’ve ever taken. I found on taken on 14th September 2009 back when I was playing on the European server, Gilrain. My Lore-master is sporting a very simply cosmetic outfit, comprising of some Elvish light armour (bought in Rivendell) and dyed black. In a fit of nostalgia, I promptly recreated the outfit today and am currently wearing it for old time sake. It’s strange but this simple act seems to embody the sense I have at present of coming full circle. Playing the same MMO for a decade is a substantial investment of time. A lot has happened both in-game and to me personally during this period. I suspect that a good many other players are also having similar such moments of introspection at present. The Legendary Servers seem to have roused many lapsed players into returning to the game. A LOTRO renaissance if you will. Who would have thought it?
LOTRO: Releasing the Complete Soundtrack
I have written in the past about the quality of the soundtrack for the MMO The Lord of the Rings Online and how it is far more than an embellishment to the game but a character in itself. Now the developers of LOTRO Standing Stone Games (formerly Turbine) have released over the years a variety of soundtrack CDs and digital downloads, offering a selection of music usually associated with specific expansions for the game. Although these have been well received, they have only provided a percentage of the music that is present in the current release of LOTRO. In the latest build there is approximately 4GB of audio in the game. Admittedly some of this will be dialogue and ambient sounds but the majority of that is music cues in .ogg format. I sure I’m not the only LOTRO aficionado who would like to see a more comprehensive release of the games musical content.
I have written in the past about the quality of the soundtrack for the MMO The Lord of the Rings Online and how it is far more than an embellishment to the game but a character in itself. Now the developers of LOTRO Standing Stone Games (formerly Turbine) have released over the years a variety of soundtrack CDs and digital downloads, offering a selection of music usually associated with specific expansions for the game. Although these have been well received, they have only provided a percentage of the music that is present in the current release of LOTRO. In the latest build there is approximately 4GB of audio in the game. Admittedly some of this will be dialogue and ambient sounds but the majority of that is music cues in .ogg format. I sure I’m not the only LOTRO aficionado who would like to see a more comprehensive release of the games musical content.
When LOTRO was released in 2007, there was a soundtrack CD in the Collector’s Edition. This included 26 tracks from the Shadow of Angmar written by composers Chance Thomas and Steve DiGregorio. A similar CD was then released in the Collector’s Edition of The Mines of Moria expansion. This included 18 tracks. I believe that Turbine also made a digital download available comprising of 61 cues from the base game, shortly after this. Neither of these two official soundtrack CDs were ever made commercially available outside of these boxsets. The digital download is also no longer available. Since 2010, when LOTRO went free-to-play, there have been three further soundtrack CDs released (also available via digital download). Two of which are music written by composer Chance Thomas for the Riders of Rohan and Mordor expansions. Then there’s a tenth anniversary CD and download featuring a compilation of 26 tracks, of mainly previously available material by both composers. Some of these are alternative versions and there are a handful of new cues. These CDs are still available. It should also be noted that composer Steve DiGregorio has posted the soundtrack for the Helm’s Deep expansion and Update 14: Paths of the Dead on his Soundcloud account.
Music rights, licensing and distribution arrangements can be legally complex to administer. I am not privy to the specific arrangements that Standing Stone Games has with regard to the game’s soundtrack and its respective composers. However, the fact that music from the game has been released previously must be a positive sign. What I can say with confidence is that LOTRO’s music is held in very high regard among both fans and wider MMO players, due to its particular high standard and artistic scope. Therefore, if SSG wanted to release a more comprehensive selection of music from the game, that was broken down by region, race or release date, I’m sure it would receive a warm welcome from the player base and more importantly, sell very well. Furthermore, it is a non-egregious form of monetisation that they could continue to perpetuate as the game grows. It remains to be seen if lobbying for such a release will yield any results, but I can’t help but feel that SSG are missing out on an opportunity in this instance.
Gone Girl (2014)
Gone Girl is an exquisitely crafted piece of contemporary film making. Its visual aesthetic is sleek, elegant and ever so modern. At times the interior shots of Nick and Amy’s Missouri home, take on an almost clinical quality. Everything is of the finest quality but utterly soulless. This of course is the central theme of the entire movie. This is a tale to two people with no true identity of their own, who are desperately pursuing an abstract concept of who and what they should be. Gone Girl is about utterly dysfunctional, broken people, the worst excesses of the consumerist culture and the stark impact that rolling news has upon public opinion. It is not the overall storyline that is horrific but the reality of the world in which it takes place. It makes for fascinating viewing but leaves one feeling incredibly bleak about certain quarters of society.
Gone Girl is an exquisitely crafted piece of contemporary film making. Its visual aesthetic is sleek, elegant and ever so modern. At times the interior shots of Nick and Amy’s Missouri home, take on an almost clinical quality. Everything is of the finest quality but utterly soulless. This of course is the central theme of the entire movie. This is a tale to two people with no true identity of their own, who are desperately pursuing an abstract concept of who and what they should be. Gone Girl is about utterly dysfunctional, broken people, the worst excesses of the consumerist culture and the stark impact that rolling news has upon public opinion. It is not the overall storyline that is horrific but the reality of the world in which it takes place. It makes for fascinating viewing but leaves one feeling incredibly bleak about certain quarters of society.
Failing author Nick Dunne (Ben Affleck) comes home to find his wife Amy (Rosamund Pyke) missing and signs of struggle. The Police are initially sympathetic but when Nick fails to behave in accordance with public expectations at the press conference, opinion and tabloid outrage turns against him. It is not long before evidence indicates that not all is well in their relationship and Nick becomes the prime suspect in a potential murder investigation. Of course, nothing is as it seems and the movie re-invents itself several time during the two and half hour duration.
Gone Girl does not shy away from examining the reality of a failed relationship and the dialogue is frequently ripe and the camera unflinching. Director David Fincher, along with writer Gillian Flynn who adapted her own novel, dissects the hollow existence of the aspirational classes as well as their warped interpretation of the institution of marriage. Perhaps the movies boldest move is its scrutiny of sexual politics and gender roles in modern America. There are monologues stripped straight from the book that may shock those of a more conservative nature, in that “did she really say that out loud” way?
Like so many movies of this nature that are centred on a complex mystery and plots within plots, it falls down somewhat during the third act when trying to neatly bring all the plot threads together. Yet this does not mitigate the films core themes, nor diminish the strength of the lead performances. Rosamund Pyke is hypnotic whenever on screen. It would also be remiss of me if I didn't mention the movies only likeable character that of Detective Rhonda Boney played with conviction by Kim Dickens.
On many levels Gone Girl is an extremely laudable piece of film making. It is confident, technically outstanding and emotionally detached from its subject matter. Often, we are simply shown events and left to dwell on them from our own moral and ethical perspective. Yet my enjoyment of the movie was tempered by the fact that I was consciously prejudice towards the central characters. This is a movie about what I consider to be awful human beings and the very culture that makes them the way they are. Such an exploration is fascinating to behold but simultaneously repellent due to my lack of empathy towards these dry husks, masquerading as people.
World War Z (2013)
Contrary to a lot of the pre-release doom and gloom regarding re-edits and extensive new footage being shot, World War Z turned out to be far from the disaster that some critics implied. Ultimately there were some good ideas and snatches of interesting dialogue. Some of the characters were unusual and there seems to have been an attempt do something different with the genre. All of these things are laudable. Unfortunately, despite these positive attributes the movie clearly shows the signs of post-production interference and material from the extensive re-shoot is all too apparent. That’s not to say that is bad because that is not the case. It’s because it is noticeably different in style and tone from the rest of the film.
Contrary to a lot of the pre-release doom and gloom regarding re-edits and extensive new footage being shot, World War Z turned out to be far from the disaster that some critics implied. Ultimately there were some good ideas and snatches of interesting dialogue. Some of the characters were unusual and there seems to have been an attempt do something different with the genre. All of these things are laudable. Unfortunately, despite these positive attributes the movie clearly shows the signs of post-production interference and material from the extensive re-shoot is all too apparent. That’s not to say that is bad because that is not the case. It’s because it is noticeably different in style and tone from the rest of the film.
World War Z performs best in the first act, in which the global disaster is convincingly set up. We are efficiently introduced to a likeable lead Gerry Lane (Brad Pitt) and his family and within minutes they are caught up in a major outbreak incident in Philadelphia. The movie excels at showing large scale and convincing scenes of destruction, scratching that perennial cinematic itch audiences seem to have for scenes of an apocalyptic nature. Yet even at this point, the narrative has moments of hesitation which undermine the overall movie. World War Z is reticent to clarify exactly whether this is a true Zombie scenario or some sort of viral outbreak. If this was done for dramatic effect, I can understand it as a plot point to reinforce the sense of national confusion. But I feel the ambiguity is actually a result of the movies re-editing.
The plot soon takes on a globetrotting sub plot as our World Health Organisation hero (Brad Pitt) travels from South Korea, to Israel and then to Wales in attempt to find patient zero. We meet many characters along the way, yet few of them have sufficient screen time to become anything more than just a means of exposition. The Navy seal officer who sacrifices himself, the ex-CIA agent turned arms trader, the Hispanic parents who become infected and turn on their own children, all show promise dramatically. The dialogue also has possibility, showing a leaning towards the more philosophical. Perhaps an extra twenty minutes of material could correct these deficiencies. Zombies hurling themselves at potential victims cannot sustain a movie.
As I stated earlier the final act, although interesting, doesn't sit well with the previous two. Set in a WHO laboratory in Wales, it is a far more sedate and traditional denouement. The absence of the shaky cam and lightning editing of the first hour is noticeable. There is also the incongruous casting of Peter Capaldi as a research scientist which, after years of seeing him as Malcolm Tucker in The Thick of It, it becomes hard to see him in a role where every other word is not a profanity. Furthermore, the movie's conclusion, although plausible within the context of the story, is derailed by it being solely the brain work of Gerry Lane. The whole point of World War Z is surely its global dimension and thus its resolution is based upon the involvement of multiple parties. The one man saves the day concept seems somewhat lazy.
Ultimately, despite promising concepts World War Z fails to satisfy any of its target audiences and demographics. The PG-13 rating forces too many restrictions upon a genre that by its very nature has to be visceral. Death is cruel and ugly, and zombies reflect this. Yet such a low rating has meant that the producers have had to obfuscate and fudge the violence and horror through rapid editing and out of shot framing. The movie does have a dark and brooding tone, but this is not enough to sustain the horror theme alone. Perhaps Max Brooks' book, which is very challenging to adapt, would have been better suited to a TV mini-series. But is that required in the wake of The Walking Dead? I certainly question whether Marc Forster was the right person to direct World War Z. In the mean time if you do elect to watch World War Z then seek out the unrated version which at least has a little more gore and an increase sense of urgency.
Searching Content on Contains Moderate Peril
If you are a WordPress user, there are a multitude of plugins that you can apply to your blog to tweak and customise it. The only downside of this is that every time WordPress upgrade their software, all your plugins subsequently need to be updated. Many plugins are written by third parties and therefore you do not have guaranteed long-term support. Plugins can also be exploited, which is why I ultimately decided to stop using WordPress for my website. I made the transition to Squarespace for my hosting needs in August 2015 and have never looked back since then. However, I have been using the same template for three years now and I was pondering recently whether it was time to change it. Yet a change of this kind is bound to have knock-on effects and could potentially end up creating more problems than it solves. So rather than go off half cocked, I decided to do some research to see if I could improve the functionality of my blog.
If you are a WordPress user, there are a multitude of plugins that you can apply to your blog to tweak and customise it. The only downside of this is that every time WordPress upgrade their software, all your plugins subsequently need to be updated. Many plugins are written by third parties and therefore you do not have guaranteed long-term support. Plugins can also be exploited, which is why I ultimately decided to stop using WordPress for my website. I made the transition to Squarespace for my hosting needs in August 2015 and have never looked back since then. However, I have been using the same template for three years now and I was pondering recently whether it was time to change it. Yet a change of this kind is bound to have knock-on effects and could potentially end up creating more problems than it solves. So rather than go off half cocked, I decided to do some research to see if I could improve the functionality of my blog.
After taking an in-depth look at my blog stats, both via Squarespace and Google Analytics, it’s clear that a third of readers are using their phones to access Contains Moderate Peril. Fortunately, the template I’m currently using is mobile friendly and I’m pleased with its performance. For PC users the blog is functional, despite lacking is certain interactive elements such as sidebars, blog rolls and social media links. All posts are clear and easy to read. As I think that content is by far the most important aspect of any blog, as long as it is accessible and easy to navigate then the current template is doings its job. I also consider it important to provide readers with links to similar material to that which they are already reading. Hence, all articles have a list related posts at the bottom of the body of text. This is invaluable for building an audience and exposing readers to more of your work. I find it most rewarding when I look at my blog stats and see that someone has read an article about LOTRO and then perused further content of a similar theme.
However, there is one limitation to these “summary blocks” as Squarespace calls them. They only display a maximum of 28 links to previously posted content. Subsequently as more content is added to Contains Moderate Peril, older material is gradually excluded from the “summary blocks”. Yet there is an obvious and convenient workaround. All posts are indexed by categories displayed at the page footer. If you click on any category it will then list all other posts associated with it. Hence clicking on “movies” will list all posts in that category. The site shows twenty posts at a time and readers can then access the next twenty by clicking on “older”, again at the bottom of the page. You can search by author in the same fashion. There is also a calendar on the Post Archive page (which you can access via the top menu) which lists all posts for the month. The month can be adjusted, and so readers can comprehensively see all posts that have been published since Contains Moderate Peril migrated to Squarespace. There is also a search facility for the entire site, again found on the top menu.
Ultimately, all the changes I have made to the website template are to the backend. Minor changes to SEO, key words and indexing will hopefully improve performance and allow readers to find further material if they so wish. It will be interesting to see if this post has an impact upon traffic and the way the site is used. As I’ve said in such events as The Newbie Blogger Initiative and Blaugust, writers or bloggers shouldn’t be driven by purely stats and website traffic. But if you are publicly publishing your work it is logical to make it as accessible to you readers as possible and to ensure they can search it effectively. Promotion of content via social media is one way of doing this but having an online presence that is easy and intuitive to use is also essential. Not all posts are time specific and there may be occasions when you specifically want your audience to find older content that is still pertinent. Therefore, if you aren’t already using a “related posts” or a post archive facility on your blog then you are doing yourself and more importantly your readers a disservice.