The Iniquities of the Video Game Industry and Gamer Culture
Although I wrote several blog posts summing up my experiences with movies, blogging and social media in 2018, I didn’t get around to writing “a year in gaming”. There are several reasons for this. First off, it was a year in which I bought several games that just didn’t chime with me. No Man’s Sky and Monster Hunter: World were both white elephants. Also, I have yet to find a single player games that has had the impact of The Witcher 3: Wild Hunt, so overall my gaming experience was somewhat lacklustre in 2018. I did however rediscover my love of the MMO genre and therefore spent most my gaming time in The Lord of the Rings online and Star Trek Online. But secondly and possibly more importantly, as a fifty-one-year-old man, I find a lot of the shenanigans associated with the video game industry and so called “gamer culture” to be embarrassing and crass. We live in a time where fandom and openly expressing your interests is quite common place, mainly due to commercial. Having said that, why do I want to openly identify with an industry that has its mindset firmly stuck in the 1950s and with a fan community that is often insular and hostile to anyone who doesn’t “fit the bill”?
Although I wrote several blog posts summing up my experiences with movies, blogging and social media in 2018, I didn’t get around to writing “a year in gaming”. There are several reasons for this. First off, it was a year in which I bought several games that just didn’t chime with me. No Man’s Sky and Monster Hunter: World were both white elephants. Also, I have yet to find a single player games that has had the impact of The Witcher 3: Wild Hunt, so overall my gaming experience was somewhat lacklustre in 2018. I did however rediscover my love of the MMO genre and therefore spent most my gaming time in The Lord of the Rings online and Star Trek Online. But secondly and possibly more importantly, as a fifty-one-year-old man, I find a lot of the shenanigans associated with the video game industry and so called “gamer culture” to be embarrassing and crass. We live in a time where fandom and openly expressing your interests is quite common place, mainly due to commercial. Having said that, why do I want to openly identify with an industry that has its mindset firmly stuck in the 1950s and with a fan community that is often insular and hostile to anyone who doesn’t “fit the bill”?
In case you didn’t notice, neither the video game industry or the gaming community covered themselves in glory in 2018. Here’s are a few “highlights” from the last twelve months. Let’s start with start with lootboxes and live services. While some gamers aren’t interested in social commentary, diversity, equality or an industry that that behaves like an 18th century mill owner, a lot of them do care about getting fleeced. Therefore, when Electronic Arts and other companies opted to build this semi-gambling mechanic directly into several games there was a public rightly outcry. The Belgium government even found loot boxes to be in breach of their gambling laws, yet rather than feeling shamed, some games publisher played the victim card and made the issue all about them. We now live in an age where games as a “live service”, means that companies patent algorithms that figure out the best way to apply pressure to make players buy more. For a lot of the big dogs of the industry, it’s no longer just about the game. That’s just a secondary consideration. It’s first and foremost about building a commercial product around tried and tested monetisation mechanics. And 2018 was also the year that numerous game studios such as Telltale Games where closed, the staff ignominiously stripped of their benefits and kicked out the door, with out any consideration or empathy.
The gaming industry also has a track record of institutionalised sexism and poor workers’ rights that hasn’t improved over the last 12 months. “Me Too,” has exposed several companies for being just glorified boys’ clubs in which shitty behaviour is de rigueur. Riot Games even ended up facing a gender discrimination lawsuit from employees. Then there’s the numerous instances of "crunch" culture that have been reported on. Rockstar Games seemed even proud of its archaic macho ethos with co-founder Dan Houser crowing with pride about the arduous work hours required to complete Red Dead Redemption 2. And then there where numerous instances of companies utterly failing to grasp the fundamental of social media. Need I remind you of the Jessica Price debacle? The narrative designer was fired after she responded to a high-profile YouTuber who was a key ArenaNet influencer. Mistakes where made by both parties although the bulk of my sympathies lies with Jessica Price. This massive own goal could have been easily avoided if the company had a clear policy on social media usage. And then there was the usurping of #WontBeErased via GoG’s twitter account. This matter was dealt with swiftly but yet again it demonstrates an industry that seems to regularly employ square pegs for round holes.
And what of gamers themselves? Oh, where shall we begin? Apparently having female avatars in Battlefield V was beyond the pale, because many gamers have based their entire understanding of women’s contributions to World War II upon Mrs Miniver. Then there was Valves piss poor handling of sexual content on their Steam platform. The “debate” over this reflected very badly on some gamers that claimed an “anti-censorship” platform but really wanted to protect their own questionable tastes in products that range from the morally reprehensible to potentially illegal in many countries. Esports also continued to be a male dominated activity with a reciprocal fan base driven by notions of “gender essentialism”. A common mantra from this community is “keep your identity politics out of my gaming”. Other popular buzzwords among such “thinkers” are “social justice warriors” and “females”. Beyond such obvious sexism, the gaming community is rife with those that think the industry is there to serve their exclusive needs. Some gamers still fail to grasp that “being a fan” does not grant you anymore leverage, input and respect. Fandom is a self-appointed title that ignores the reality that we’re all just consumers.
So, on mature reflection why would I and indeed many of my colleagues and friends, wish to cry from the rooftops “Hey, you. You see this shit? We really dig all this and we’re immensely proud to be associated with it”? Couple all the above with a lack of games that have personally delighted me (and that is not a claim that there aren’t good games out there) and you’ll understand why I now just look at gaming per se as just an amusing diversion and no more. Yes, it can be art on occasions and it can affect social change, raise awareness and do good things (think Childs Play charity etc.) But in many respects these positives are often cancelled out by the negatives. Popular culture seems to have acquired too much of the bellicose, binary, “belief over fact” driven narrative of contemporary politics, along with all the fervour and zealotry of fundamental religious faith. So, I’ll leave it to others to hold the line and fight the good fight against all the above. I’m done my time and paid my dues. I’ll happily embrace the term “gamer” when it’s respectable again and the video game industry no longer behaves like a character out of a Dickens’ novel.
Get the Gringo AKA How I Spent My Summer Vacation (2012)
Mel Gibson fall from grace has been well documented, so I feel no need to dwell on it here. I also don't take any particular moral stance with regard to the man himself. I'm more interested in his work as an actor, director and the material he produces. People are flawed and we all make mistakes. Does this automatically invalidate our work? However, it would appear that I am in the minority on this one, as Mr Gibson has never truly bounced back. The Hollywood establishment has remained sceptical of him in recent years. Therefore, he has financed many of his film projects himself and personally arranged their international distribution deals. Get the Gringo AKA How I Spent My Summer Vacation is one such example of this and the movie premièred on VOD in the US rather than in theatres. However, it did get shown in movie theatres in other territories.
Mel Gibson fall from grace has been well documented, so I feel no need to dwell on it here. I also don't take any particular moral stance with regard to the man himself. I'm more interested in his work as an actor, director and the material he produces. People are flawed and we all make mistakes. Does this automatically invalidate our work? However, it would appear that I am in the minority on this one, as Mr Gibson has never truly bounced back. The Hollywood establishment has remained sceptical of him in recent years. Therefore, he has financed many of his film projects himself and personally arranged their international distribution deals. Get the Gringo AKA How I Spent My Summer Vacation is one such example of this and the movie premièred on VOD in the US rather than in theatres. However, it did get shown in movie theatres in other territories.
Get the Gringo was at the time of its release a clear return to form for Mel Gibson, harking back to the halcyon days of Payback. It’s a fast paced, hard edged action movie, with interesting if amoral characters. It shows all the intelligence and attention to detail you expect from Gibson. Although directed by Adrian Grunberg who usually specialises in second unit direction, the movie shows the presence of its star in all aspects of the production. Career criminal Gibson find himself in an experimental prison south of the border after a bank job goes wrong. Once inside he proceeds to run rings around gang bosses, corrupt official and play the very system for his own personal gain. Although far from a hero, he does extend a hand of friendship to ten-year-old boy (Kevin Hernandez) and his tough but caring mother (Dolores Heredia).
Now the astute reader may well be asking what is a child doing in a prison? Well the films setting is based on a genuine experiment the Mexican authorities undertook, in which prisoners were allowed to set up their own community while incarcerated. This included bringing their families and running business etc. An interesting idea on paper, but the reality of the situation was a lot closer to Escape From New York. Production designer Bernardo Trujillo has created a unique environment in which the story unfolds. Being a prison that story is a violent and bloody one. There is also an interesting subplot in which one of the crime bosses needs a liver transplant. The only suitable donor is of course the young boy under Gibson's protection. It makes for some curious developments.
Under different circumstances Get the Gringo would have garnered a great deal more attention and would have probably been a box office success if released at a different time. It certainly deserved a wider release within the US, but unfortunately some people in the film industry have long memories. The cinematography is solid, bringing to life the grimy environment and many Mexican clichés are turned on their head. The movie did receive a warmer welcome in the international market under its alternative title of How I Spent My Summer Vacation. For those that like more depth to their thrillers Get the Gringo is certainly worth a viewing and should provide more than just gritty action. There are strong performances and amoral conundrums to enjoy.
LOTRO: Out Levelling Content
As I fast approach level 50 with my recently created High Elf Guardian, I’m surprised by how much content I have bypassed in LOTRO. Levelling on Laurelin server nowadays is a radically different process to what it was on Gilrain, a decade ago. I am not an altoholic by nature, so levelling new characters is a recent development for me. For the bulk of the 10 years that I’ve played the MMORPG LOTRO, I have focused on my Lore-master, which was the first character I created when I started playing. Levelling back in 2008 was a very precise process and there was a very clear route throughout the zones contained within the Shadow of Angmar. Hence, I followed the epic story from region to region, supplementing this progression with XP from local quest hubs. These would also further embellish the narrative and clarify the Epic Story. However, now I find myself out levelling a zone quickly and jumping around locations to find quests that provide the greatest XP return. A new player following suite would certainly find the story arc much harder to keep up with.
As I fast approach level 50 with my recently created High Elf Guardian, I’m surprised by how much content I have bypassed in LOTRO. Levelling on Laurelin server nowadays is a radically different process to what it was on Gilrain, a decade ago. I am not an altoholic by nature, so levelling new characters is a recent development for me. For the bulk of the 10 years that I’ve played the MMORPG LOTRO, I have focused on my Lore-master, which was the first character I created when I started playing. Levelling back in 2008 was a very precise process and there was a very clear route throughout the zones contained within the Shadow of Angmar. Hence, I followed the epic story from region to region, supplementing this progression with XP from local quest hubs. These would also further embellish the narrative and clarify the Epic Story. However, now I find myself out levelling a zone quickly and jumping around locations to find quests that provide the greatest XP return. A new player following suite would certainly find the story arc much harder to keep up with.
The problem lies (if indeed you see it at such) in the fact that all the regions contained within the original game, prior to entering Moria, have been streamlined and revamped several times. This was done initially in 2010 to accommodate the F2P conversion and then again in the proceeding years to deal with the games numerous level cap increases. It has left the Epic Story somewhat fragmented, as you can now start multiple books simultaneously. Due to some nominal story changes, some of the dialogue and cutscenes no longer accurately reflect that plot. For example, the level five instance “The Assault on Archet” originally featured the Angmarim Commander Éogan arriving in the burning town to claim Amdir. However, revisions made to the introduction quest line have replaced him with a more sinister Cargûl and Calder Cob. Yet the cutscene that plays at the end of this sequence of quests still feature Éogan. He is also referenced by several NPC during the game, despite not being particularly prominent. Thus, when Éogan features in the later instance “Unravelling the Thread”, there is potential for confusion as to his role in the story.
The other issue that stems from the streamlining of content in the Shadow of Angmar story, is that many of the game’s deeds will remain uncompleted unless the player actively chooses to pursue them. In the original version of the game, the structured progression from zone to zone meant that slayer, exploration and race deeds would slowly be completed as you cleared all local quest related content. The XP increase that has ensued in the intervening decade now means that a player will move on to a new region before completing these secondary activities. Faction reputation also suffers and will remain incomplete unless a player determines to repeat content, even when it becomes below their current level. Also, hastily moving through content and focusing on progression, can deny players the opportunity to fully experience the subtleties and detail of each area. LOTRO is a game where it still merits “stopping to smell the Roses” from time-to-time.
However, it should be noted that for some LOTRO players, the new streamline path through the first 50 levels of the MMO, is optimised perfectly for their play style. Not everyone is especially fussed about the narrative or being a completist. Deeds are a lot easier to clear when you return to them at a higher level. Plus, some players simply enjoy the game the most as they level, as it provides a clear goal. It can also be argued that if players wants a slower levelling experience, then the Legendary Servers provide that service. Some more invested LOTRO players have created detailed levelling guides that can steer alts through optimal progression paths, that also accommodate deeds and reputation. If you don’t care such organised gameplay, then there are the other options to consider such as simply staying in a zone and completing everything available or buying the Stone of the Tortoise from the LOTRO store. This item effectively disables all quest and monster kill XP. All things considered, whether you see out levelling content as a boon or a bane, it is a matter born of the longevity of LOTRO. Perhaps it is a small price to pay as the MMO enter its twelve year.
“Gamers are Dumb”
"Gamers are dumb. We are collectively dumb, and we will continue to buy pieces of shit, over and over and over". Bree Royce. Editor-in-Chief/Writer Massively Overpowered. This quote is from Massively OP Podcast Episode 203: New Year, Same Old Loot. At first glance it’s a bold, even inflammatory statement but when taken in context it makes a lot of sense. The framing discussion in the podcast is about Fallout 76 and the fact that despite the criticism from the gaming community about the broken state of the game, none of it really counts for squat because it will still sell well and make Bethesda a great deal of money. The underlying point is that gamers actively contribute to perpetuating the ongoing iniquities of game developers and publishers, by their contradictory actions. It’s a point that has been made time and time again over recent years and yet despite its broad acknowledgement, nothing really changes. I would go further and say that this “gamer paradox” is simply another symptom of a broader malaise that has crept into every facet of our lives. We have gotten so use to “I want it all and I want it now” culture, that the idea of having to deny ourselves to make a point, has become for many an unpalatable and unrealistic option.
"Gamers are dumb. We are collectively dumb, and we will continue to buy pieces of shit, over and over and over". Bree Royce. Editor-in-Chief/Writer Massively Overpowered. This quote is from Massively OP Podcast Episode 203: New Year, Same Old Loot. At first glance it’s a bold, even inflammatory statement but when taken in context it makes a lot of sense. The framing discussion in the podcast is about Fallout 76 and the fact that despite the criticism from the gaming community about the broken state of the game, none of it really counts for squat because it will still sell well and make Bethesda a great deal of money. The underlying point is that gamers actively contribute to perpetuating the ongoing iniquities of game developers and publishers, by their contradictory actions. It’s a point that has been made time and time again over recent years and yet despite its broad acknowledgement, nothing really changes. I would go further and say that this “gamer paradox” is simply another symptom of a broader malaise that has crept into every facet of our lives. We have gotten so use to “I want it all and I want it now” culture, that the idea of having to deny ourselves to make a point, has become for many an unpalatable and unrealistic option.
The established mantra of “voting with your wallet” does lack nuance and at first glance render debates about lobbying gamer developers into a binary argument. Effecting change is often more complex than that, but that is not to say that withholding funds is without leverage. The video game service industry is heavily focused and invested in pre-order culture as well as selling multiple iterations of games. Title often launch in a broken or unfinished state and early access culture has exacerbated this, blurring the lines with soft launches. Not purchasing a product until it was fit for purpose would certainly make an impact and get noticed. But because a large percentage of gamers are simple incapable of saying “no” or denying themselves, they continue to support an industry with ludicrous business practices. When you have such an infantilised playerbase that lacks the emotional literacy to forgo a product because they “don’t want to miss out”, how can you possibly expect a corporate entity not to capitalise on that?
This weird, dysfunctional relationship between customers who enable the questionable business practises of their service providers is not unique to gamers. I’ve heard similar complaints from sports fans about the cost of season tickets and club merchandise. Yet so many, despite their verbal protests, end up towing the line and putting their hand in their pockets. Similarly, cinematic audiences are allegedly tiring of comic book adaptation and super hero movies, yet the box office returns seem to strongly indicate otherwise. It seems that cognitive dissonance is a common bed fellow to most multi million-dollar leisure industries. And the net result of all this is that the actions of those who choose to withhold their hard-earned cash, ultimately counts for nothing. They still have to endure the consequences perpetuated by those who decide to do the opposite. Hence, the race to the bottom and the lowest common denominator prevail. Therefore, it does not seem unreasonable to expect more shitty video games and questionable business practises in 2019. If you lie with dogs you get fleas, as the saying goes.
Goodbye 2018
One of the benefits that comes with age (for some people at least), if the gift of realistic expectations. Having reached 51 years, I no longer harbour thoughts that each year will be a rollercoaster ride of excitement, mirth and personal gain. Nor do I count on the stars aligning so that I make my fortune and retire peacefully to the Cayman Islands, to live the life of a tax exile. If New Year’s Eve rolls round and no one has died, I’m not looking at being tried for murder and there’s still gin in the drinks cabinet, then I usually deem the previous twelve months an acceptable year. However, despite even these fairly lose and undemanding criteria I feel compelled to say that 2018 was bollocks and that I won’t be sad to see the back of it.
One of the benefits that comes with age (for some people at least), if the gift of realistic expectations. Having reached 51 years, I no longer harbour thoughts that each year will be a rollercoaster ride of excitement, mirth and personal gain. Nor do I count on the stars aligning so that I make my fortune and retire peacefully to the Cayman Islands, to live the life of a tax exile. If New Year’s Eve rolls round and no one has died, I’m not looking at being tried for murder and there’s still gin in the drinks cabinet, then I usually deem the previous twelve months an acceptable year. However, despite even these fairly lose and undemanding criteria I feel compelled to say that 2018 was bollocks and that I won’t be sad to see the back of it.
Both my parents have struggled with their health and personal well-being. The UK has continued to fracture socially, politically and economically as it embarks upon an act of national self-harm. Globally, international affairs continue to become more bellicose, crass and mean spirited. Yet for some reason, we’re supposed to forget all this at the stroke of midnight and participate in an act of national denial, and lie to each other that it’s all going to be great in 2019. However, humans as a species thrive on hope and I don’t want to be party to denying anyone such. So let’s see if I can muster up some from the depth of my soul and focus upon it to find some sort of positive message for the coming twelve months.
“Yay. We look like a fence”.
You don’t get to pick your family but you can choose your friends. Family can be loving, supportive and an integral part of your life. They can also be assholes, baggage and a never ending source of misery. Friends however are not thrust upon you by the capricious nature of genetics. They are a matter of choice. A friend is someone who knows all your flaws and has seen you when you’ve been as drunk as a sack and a total dick, yet they still keep coming back. Therefore, don’t take them for granted. Also trust them as they can be quite wise. And don’t bother your US friends when they spell words without the required “u”. It’s not their fault. Blame Henry Kissinger or Robert McNamara or someone.
It’s time to do that project or thing you keep telling people that you want to do. So you want to write that book, make your own muesli or provide Dachshunds with stilts? Then grasp the nettle and get going. If something is important you make time for it. No it’s not going to be easy. You may have to do extra work to finance your undertaking. You may have to cut some fun stuff out of your life to accommodate this project. But it’s the only way it’s going to happen. I believe there is wisdom to be found in Yoda’s words when he said “get off your lazy ass and do that shit you keep whining about, co’s I’m tired of your bullshit”. In twelve months’ time, if you get this matter sorted you’ll be pleased that you did. Furthermore you can bore other people about it and revel in your self-righteousness.
“I am an utter anachronism, poor thinker and redundant politician”.
Don’t add further to the angry, confrontational and anti- intellectual malaise that pervades all discourse at present. Or put more simply, don’t be a dick as there’s more than enough of them at present. I appreciate that it’s hard not to be jaded and cynical at present and it’s tempting to jump on the “fuck you” bandwagon along with everyone else. But it really doesn’t solve anything and despite what the tabloids tell you, getting angry doesn’t make you feel better. It’s tough to remain polite, rational and dignified when second rate politicians and fifth rate thinkers such as John Redwood MP are given knighthoods but throwing your toys out of the pram just eventually leads to you turning into that which you revile the most. Count to ten (or ten thousand), stay cool and maintain your own personal moral high ground.
And that’s about it. I really can’t muster up any more positive thoughts than that. I guess as a codicil I’d add something about global warming, eating your greens and the fact that poached eggs on toast remains a cheap and easy meal that is really delicious. 2019 will certainly have its challenges and no mistake. But I’m still going to be here sharing the love (as I so often do) and offering encouragement. There should be another Contains Moderate Peril podcast out soon, you lucky people. So, happy New Year to you all of you. I look forward to reading all those blog posts about stuff you’re not going to do next year, despite the fact I’ve offered sound advice and support. Tread boldly and may your god go with you. If you’re agnostic or an atheist, then yay, Carl Sagan and all that. Okay, I’m off to pour myself another gin. See you in 2019.
A Year in Blogging
I did not manage to maintain my writing schedule this year and have not posted everyday as I would’ve liked. I have produced over two hundred and seventy posts but still feel I could have done more. Blaugust was a welcome burst of enthusiasm that I managed to sustain for September and October, but I lost momentum in the run up to Christmas. At least I know what the root cause is which puts me a step nearer to resolving it. Having written several posts in the past about “writers block” and the other perennial excuse of not having anything to write about, I seem to have squarely fallen into both those traps. At present I find that motivating myself is the key problem. If I haven’t started writing something by midday, then it more than often gets left for the day. If I intend to escape this malaise, then I shall have to establish a far stricter writing schedule for 2019 and endeavour to do my writing first thing in the morning, when I am most focused.
I did not manage to maintain my writing schedule this year and have not posted everyday as I would’ve liked. I have produced over two hundred and seventy posts but still feel I could have done more. Blaugust was a welcome burst of enthusiasm that I managed to sustain for September and October, but I lost momentum in the run up to Christmas. At least I know what the root cause is which puts me a step nearer to resolving it. Having written several posts in the past about “writers block” and the other perennial excuse of not having anything to write about, I seem to have squarely fallen into both those traps. At present I find that motivating myself is the key problem. If I haven’t started writing something by midday, then it more than often gets left for the day. If I intend to escape this malaise, then I shall have to establish a far stricter writing schedule for 2019 and endeavour to do my writing first thing in the morning, when I am most focused.
However, despite the reduction in output, I have enjoyed writing this year. I feel that my style and content continues to improve. The Blaugust writing event was a great way to discover several new blogs and it is heartening to see many of the participants are still producing regular posts. However, the ongoing decline of long-form writing is still evident online. Many still see Twitch TV and You Tube as the easiest means to establish an online presence and gain an audience. This is especially true with respect to gaming and its associated fandom. There are good streamers out there that frequently produce quality output, but it seems to become increasingly harder to find them among all the competing white noise. I still maintain that the written word is a subtler and more flexible medium for self-expression and discourse so I’ll continue to advocate for it. Perhaps further planned writing events in 2019 that encourage and nurture potential bloggers, would be beneficial.
It has also been pleasing to see a growth in website traffic over the last twelve months. Contains Moderate Peril seems to be increasing it reach globally as the stats show that a third of the traffic now comes from outside of Europe and the US. Google also brings a lot of readers to the site. The film reviews are a major contributor to this, as they are not as transient as some of the gaming posts. 2018 has once again shown that referrals via social media are not as important as one would surmise, unless you have hundreds of thousands of followers. My tweets promoting new posts do attract some traffic but not as much as a link from a fellow blogger or mainstream website such as Massively Overpowered. The statistical analysis also shows that due to the international nature of its audience, Contains Moderate Peril sees the most traffic between 11:00 PM and 3:00 AM GMT.
The posts that received the most views this year are once again a rather eclectic mix. My thoughts on a proposed Silmarillion movie adaptation that I wrote back in May 2017 proved the most popular. Similarly, my short return to The Elder Scrolls Online led to two posts that have gained substantial traction. Alik’r Desert Dolmen Farming and Levelling and Gear Progression in ESO were the second and third most read posts. The fourth article which continues to garner a regular amount of traffic is a review for a fan edit of the iconic George Romero movie, Dawn of the Dead. As this version is a reconstruction of the original work print it is a subject of interest among movie fans. And the fifth most read blog post of 2018 were my initial thoughts on Update 23 for LOTRO, which I wrote when it became available on the Bullroarer Test Server. In fact, posts about The Lord of the Rings Online tend to gain traction, especially in recent months as the MMORPG has enjoyed a renaissance among both old and new players.
I’d like to thank all those who have continued to support Contains Moderate Peril over the last twelve months by reading posts and linking to my work. As a writer it is rewarding to know that one’s content is enjoyed and well received. 2018 was certainly the year that I made peace with “the death of website comments”. It seems to be something that people no longer feel disposed towards. Feedback usually comes directly from the links I post on social media, so I guess it’s not so much a loss of reader input, but merely a change in the means of providing it. I shall naturally continue to write as often as I can in 2019 and will more than likely motivate myself to ensure that January is at least well represented. I shall also continue my “Thoughts on Blogging” series of posts and continue to encourage others to do so. I also look forward to reading my fellow bloggers content over the year ahead. May they all be prolific.
A Year in Movies
Throughout my adult life I have always gone to the cinema as a leisure activity. 2018 has been of note in this regard as it’s the year I’ve been to the cinema the least. I have visited my local multiplex just three times over the last twelve months. It’s not that good quality movies are not made anymore. Far from it. It’s just that they don’t always get released theatrically. Furthermore, the cost to entertainment ratio has simply become too much of a gamble. Standard tickets are priced between £12 to £15 locally and I resent such an outlay for a film that may only be adequate or worse. Perhaps my outlook on pricing is unreasonable but I am not going to pay such money for mediocre entertainment. I don’t expect every movie I see to be a cinematic milestone or genre classic but nor do I expect it to be an exercise in indifference. If I had paid such ticket prices to see The Predator or Death Wish at my local Cineworld, then I would have been singularly annoyed. Mercifully I saw them both at home and therefore at a much lower cost.
Throughout my adult life I have always gone to the cinema as a leisure activity. 2018 has been of note in this regard as it’s the year I’ve been to the cinema the least. I have visited my local multiplex just three times over the last twelve months. It’s not that good quality movies are not made anymore. Far from it. It’s just that they don’t always get released theatrically. Furthermore, the cost to entertainment ratio has simply become too much of a gamble. Standard tickets are priced between £12 to £15 locally and I resent such an outlay for a film that may only be adequate or worse. Perhaps my outlook on pricing is unreasonable but I am not going to pay such money for mediocre entertainment. I don’t expect every movie I see to be a cinematic milestone or genre classic but nor do I expect it to be an exercise in indifference. If I had paid such ticket prices to see The Predator or Death Wish at my local Cineworld, then I would have been singularly annoyed. Mercifully I saw them both at home and therefore at a much lower cost.
2018 has been another year of ongoing change for the movie industry. Netflix continues to release films from established directors that have been made exclusively for their own platform. Two of these of note were Mute directed Duncan Jones and Outlaw King by David Mackenzie. Some of these movies had nominal theatrical releases to raise their profile or possibly to meet the criteria for the various cinematic awards that are bestowed in spring 2019. Just prior to Christmas Netflix released Bird Box directed by Susanne Bier. Apparently, the video on demand service offers very lucrative terms to directors and a degree of creative freedom that is not always available when working with traditional film studios. There is also a more measured and open-minded approach to ideas from Netflix, allowing film makers to pursue more bespoke and niche market products.
Netflix has also become a convenient outlet for studios that have films that they wish to "offload" or have lost commercial faith in. For example, Alex Garland's Annihilation received a limited US release which generated low box office returns. Hence the film was then sold to Netflix rather than released theatrically to the rest of the world. Warner Bros. also sold Mowgli: Legend of the Jungle straight to Netflix, bypassing any kind of theatrical release. Make of that what you will. There also continues to be an ongoing debate about whether Netflix movie needs to have a cinema release to be able to compete with commercially released movies for awards. Such arguments are often driven by passions, adherence to established culture and dare I say a little snobbery. Whatever side of the debate you are on, the way we consume movies is changing and the day of the simultaneous cross platform release is not far off.
Mainstream cinema continued to be dominated by big budget, CGI driven spectacles in 2018. Such movies are frequently filled with action but often woefully lacking in plot, in-depth characters and dramatic impact. The Meg was one of the few examples of a big dumb movie that was fun. Sadly, Skyscraper was just a movie that was big and very, very stupid. Not even Dwayne Johnson’s charisma could save this one. Jurassic World: Fallen Kingdom offered the viewing public yet more dinosaurs and during its second act a distinctly gothic take. Steven Spielberg’s Ready Player One adaptation was a mixed bag which struggled to make it’s mark under the weight of its myriad pop culture references and homages. The Marvel Cinematic Universe lumbered on at the box office with Black Panther and Avengers: Infinity War finding both critical and commercial success. Sadly, my interest in this genre expired several years ago
2018 was certainly a good year for horror movies. Some ill-informed journalists proclaimed that the genre was back, overlooking the fact that movies of this ilk have been cleaning up at the box office habitually for the last two decades. There was a lot of buzz and hyperbole over Hereditary. It is a good movie but far from the genre milestone that some have claimed. A Quiet Place proved to be a solid all-round hit with robust central performances from Emily Blunt and John Krasinski (who also wrote and directed the movie). Unfriended: The Dark Web took the “screen life” genre further forward, proving it to be an interesting medium if intelligently done. However, like the “found footage” format, it may quickly suffer from fatigue if utilised too often. Two other notable horror movies released in 2018 were Halloween and Ghost Stories. The former being a direct sequel to John Carpenter’s original movie and the latter being a film adaptation of Andy Nyman and Jeremy Dyson's stage play. Both were well made, skilfully executed and entertaining.
The traditional action genre was not so well represented in 2018. Major studios remain ambivalent towards ratings higher than PG-13. Hence, The Commuter, a mystery thriller set on a train, focused more upon the convoluted plot rather than violence. It’s all a bit silly and farfetched but broadly saved by his towering presence and soft Irish tones of Liam Neeson. The latest Tomb Raider adaptation starring Alicia Vikander did not find favour with the critics. However, it was competently made and captured the tone of the rebooted games well. Its biggest flaw was not doing anything with its main villain played by Walton Goggins but it had a lot more style and depth than your average super hero movie with which it was competing. I was also greatly surprised by the critical indifference that met The Equalizer 2. It was a well written sequel that still focused on the character of Robert McCall (Denzel Washington) and his struggles. The acting was top notch and there were some finely crafted visceral action scenes. Seldom does the action genre get this cerebral.
I watched the lion’s share of the movies I saw in 2018 at home. It’s something that I have grown use to now and I only like going to the cinema these days if it is at the British Film Institute or somewhere similar. In these instances, the audience are dedicated film fans and thus well behaved throughout the proceedings. I have also grown use to watching movies in 1080p and am somewhat discombobulated when I find myself having to watch a film in standard definition out of necessity. 2019 is also likely to be the year that our household upgrades to 4K, which means replacing the existing TV and Blu-ray player. It will also be interesting to see if the gap between theatrical and home media/VOD release dates get’s any shorter. It currently appears to be between two and three months. As mentioned earlier I believe simultaneous release across all platforms will not be far off. One thing I’m certain off, there will still be plenty of quality films released in 2019. It’s just that the discerning viewer will have to look across an increasing spectrum of platforms to find them.
A Year in Social Media
The term social media is a broad church. For me it primarily means Twitter as that is the only platform of that ilk that I use regularly. I maintain a presence on Facebook simply to stay in touch with friends who have emigrated to the US. We have a private page where we catch up instead of using the traditional medium of emails. It is more immediate but also more frivolous. If it weren’t for need that it serves, I would have long closed my Facebook account. 2018 was also the year where I tried to continue using Instagram but failed. I don’t tend to catalogue and display my life in the manner that this medium tends to demand and use it mainly to see what my granddaughters have been up to. For me Twitter is the social media platform I feel most comfortable using and feel that I have mastered. I use it to promote my writing and for quips, banter and social interaction. Beyond that I think its benefits are both limited and even questionable.
The term social media is a broad church. For me it primarily means Twitter as that is the only platform of that ilk that I use regularly. I maintain a presence on Facebook simply to stay in touch with friends who have emigrated to the US. We have a private page where we catch up instead of using the traditional medium of emails. It is more immediate but also more frivolous. If it weren’t for need that it serves, I would have long closed my Facebook account. 2018 was also the year where I tried to continue using Instagram but failed. I don’t tend to catalogue and display my life in the manner that this medium tends to demand and use it mainly to see what my granddaughters have been up to. For me Twitter is the social media platform I feel most comfortable using and feel that I have mastered. I use it to promote my writing and for quips, banter and social interaction. Beyond that I think its benefits are both limited and even questionable.
Initially I thought that having a large Twitter following would be invaluable for promoting my writing and podcast. Ten years later I have definitively concluded that it is not so. Yes, I do generate traffic from my tweets but it’s less than a quarter of all visits to my blog. You also very quickly learn that informed debate is also an impossibility on this platform. Muting specific keywords, blocking people and generally pruning the list of accounts that you follow is the key to happiness and success when using this Twitter. You are not obliged to debate and discuss with all and sundry who see fit to question you. Twitter is not a moderated, civilised arena for intellectual discussion. It is more akin to a hectoring at a sporting venue. Treat Twitter like your own front door. You don’t have to open it, especially if an itinerant asshole or professional malcontent is knocking.
On a more serious note, as you get older (or at least I find so), friends and colleagues tend to settle down, have families and do the “usual” things in life. Social circles therefore contract and alter. This is perfectly natural and nothing out of the ordinary. Over the last ten years, I have come to know a broad and diverse group of people via Twitter. They hail from all walks of life and from numerous countries. I greatly value their company and daily thoughts. I consider this to be the real benefit that Twitter brings, as the virtual company of my colleagues has often helped me through some bleak periods. The debate over the validity of online friendships still rages on but I genuinely believe that is can be just as important as those offline. I would happily meet up with all my Twitter chums and enjoy their company over a meal. Hopefully these positive benefits of social media will continue into 2019.
A Year in Technology
My relationship with technology has changed over the years and my enthusiasm has tempered greatly. Having worked in the IT field for 25 years (up until 2016), I have been immersed in technological advancement and due to my age have seen a great deal change. I was at one time an early adopter of anything I considered to be potentially beneficial to me and at times have been guilty of acquiring something “new and shiny” simply for its own sake. I have even flirted with that dubious notion of tech as a fashion accessory. But sometimes age does bring wisdom, so nowadays, I’m a firm believer in finding the sweet spot between “the right tool for the job” and “if it isn’t broke, don’t fix it”. Subsequently, 2018 has not seem me acquire a great deal of new technology. However, what I have bought this year or started using has been well received and useful.
My relationship with technology has changed over the years and my enthusiasm has tempered greatly. Having worked in the IT field for 25 years (up until 2016), I have been immersed in technological advancement and due to my age have seen a great deal change. I was at one time an early adopter of anything I considered to be potentially beneficial to me and at times have been guilty of acquiring something “new and shiny” simply for its own sake. I have even flirted with that dubious notion of tech as a fashion accessory. But sometimes age does bring wisdom, so nowadays, I’m a firm believer in finding the sweet spot between “the right tool for the job” and “if it isn’t broke, don’t fix it”. Subsequently, 2018 has not seem me acquire a great deal of new technology. However, what I have bought this year or started using has been well received and useful.
I managed to keep my ageing PC adequately performing for another 12 months, although I’m pretty sure that everything that can be improved, has been. This year I finally added an SSD as the existing hybrid drive just wasn’t cutting it. Naturally Windows 10 is now performing significantly better and has a much-improved boot up time. The clean installation I carried out has meant that a lot of games are no longer installed and those that are benefit from being on the SSD. At present this is just limited to LOTRO and STO. Assassin’s Creed: Odyssey, which I recently bought in a sale, has been placed on a secondary traditional hard drive due to its large size. This new game performs well but I cannot max out the settings, as I did with titles three or four years ago. I think 2019 will see me purchase a new PC but for the present my four-year-old system continues to serve well. However, that is mainly due to a memory upgrade, replacement graphics card and now solid-state drive.
I don’t know about you, but I get through a lot of keyboards and mice. I replace them both at least once a year and sometimes even twice. Keys tend to lose their markings and those that are used the most IE vowels, spacebar and backspace will become less responsive as their mechanism wears out. Similarly, I find that mice lose their left click quickly and that the perspiration from my hands eats through the plastic case. Both of these issues can be remedied by purchasing high quality replacements, but I tend to just buy a standard Microsoft keyboard from the supermarket along with whatever gaming mouse is being discounted. I bought a Trust CXT 105 mouse earlier this year which has the “added novelty” of changing colour. It does however have a fabric covered cable to prevent tangles which does appear to work quite well.
I recently wrote about buying a new tablet and how I eventually opted for the Fire HD 10. Some people don’t care for the device due to the pervasive way the Amazon ecosystem is integrated into the GUI. However, it has zero impact upon the consumption of content and I can read books, comics and watch videos in comfort and on a surprisingly good quality full HD 10-inch screen. 2018 also saw further improvements upon that other Amazon flagship products, the Echo. I originally purchased the first generation “smart speaker” back in November 2016. It continues to be regularly used in our household for news, music and internet enquiries as well as timers and alarms. This is also the third year I have been an Amazon Prime customer and once again, I have reaped the benefits of the subscription. I purchase not only for myself but for other members of my family. Subsequently I have a very eclectic purchasing history that often leads to some curious suggestions.
I acquired a new phone late in 2017 so have now had my Samsung Galaxy S8 over a year. I recently noticed some burn in on the screen so have moved icons and changed background to try and minimise any further problems of this kind. I have endeavoured to not be one of those people who is continuously on my smartphone and I’ve successfully imposed a set of rules to ensure that it is not used all the time, especially in social situations. I have removed a lot of superfluous apps this year focusing on those that seem to access my contacts and location for no valid reason. I have managed to not use Uber Eats excessively although it does make ordering unhealthy food on a whim and having it delivered to your door worryingly too easy. If they ever bring out a similar app for gin, then I may be doomed. The Taxi Card service that allows me to reliably book black cabs at a discounted rate for my disabled parents has been invaluable.
Technology is everywhere and permeates so many aspects of our lives. I order medical supplies for my father online and have an app on my phone that shows me what carers have visited him in the morning and evening and what actions they have taken with regard to his wellbeing. I can email my local pharmacist with prescription requests and have them delivered if required. The internet age certainly has benefits when managing my parents’ affairs. However, as a household we still choose to grocery shop at the actual supermarket, rather than shop exclusively online. And although apps, hardware and web-based services bring a great deal of convenience, they do not provide the social element that traditional face to face transactions bring. Therefore, I continue to try and maintain a healthy balance between the two. I also remain sceptical of so called “free” services that continue to harvest our personal data. Overall, I still think that my life has benefitted by the technology and services that it provides. It remains to be seen whether this equitable balance continues into 2019.
Classic Movie Themes: Hawk the Slayer
According to Wikipedia “Hawk the Slayer is a 1980 British sword and sorcery adventure film directed by Terry Marcel and starring John Terry and Jack Palance. The film has developed a cult following”. That doesn’t do the movie justice by any reckoning. Hawk the Slayer is a quirky, low budget, high camp fantasy movie that compensates for its budgetary shortcoming by being so preposterously silly. It is loaded with hard boiled, fantasy steeped dialogue that parodies well known genre tropes. It treads a fine line between utter bilge and stupid fun. It is very much a product of its time and is also filled with British character actors. Some viewers will see nothing more than a cheap and cheerful cash-in on the eighties Sword and Sorcery boom. Others will delight at this inventive, stylised and silly fantasy orientated outing. Such is the nature of cult movies.
According to Wikipedia “Hawk the Slayer is a 1980 British sword and sorcery adventure film directed by Terry Marcel and starring John Terry and Jack Palance. The film has developed a cult following”. That doesn’t do the movie justice by any reckoning. Hawk the Slayer is a quirky, low budget, high camp fantasy movie that compensates for its budgetary shortcoming by being so preposterously silly. It is loaded with hard boiled, fantasy steeped dialogue that parodies well known genre tropes. It treads a fine line between utter bilge and stupid fun. It is very much a product of its time and is also filled with British character actors. Some viewers will see nothing more than a cheap and cheerful cash-in on the eighties Sword and Sorcery boom. Others will delight at this inventive, stylised and silly fantasy orientated outing. Such is the nature of cult movies.
Harry Robertson (19 November 1932 – 17 January 1996) was a musician, bandleader, music director and composer. He worked as a musical director on British television shows throughout the fifties and sixties. He also composed and arranged the scores for various feature film, notably those of the Hammer production company during the late sixties and seventies (The Vampire Lovers, Lust for a Vampire and Countess Dracula). For Hawk the Slayer, Robertson chose to write a bright and modern score (within the idiom of the times), infusing a traditional orchestra heavy on strings and brass with synthesizers and electric guitar. There are plenty of nods to his own favourite composers such as Bernard Herrmann, Jerry Goldsmith, Quincy Jones, Ennio Morricone, and John Barry.
While the aesthetic of the film was to emulate Kurosawa in terms of camera angles and direction, Robertson considered the movie a Fantasy Western and wrote his score as such. He assigns the hero Hawk a signature motif not too dissimilar to The Man with No Name. There are several major themes used throughout the film to signify various characters. Like the movie itself, Robertson’s soundtrack will either delight or annoy. It a time reminds me of Jeff Wayne’s War of the Worlds in places. Here is the main title theme and central motif for the film. It is played as Hawk tracks down his various comrades and subsequently during various action scenes. It is a fun cue that encapsulates the inherent spirit of the film and channels a lot of eighties synth pop.
Jeff Wayne's Musical Version of The War of the Worlds
I try and keep abreast of what's happening and going on, especially in those areas of interest to me such as movies, TV and gaming etc. Occasionally stuff passes me by that I subsequently discover at a later date, often to the refrain of WTF? A few years ago I was idly channel surfing only to discover that a seminal UK children's TV show from my youth, the Mr. Men, had been remade in a more contemporary idiom. Luckily, the source characters were still relatively unscathed, and the revamped show did a competent job in bringing Roger Hargreaves work to a new generation. Still, no one had told me and discovering this, in such a fashion was a bit of a surprise.
I try and keep abreast of what's happening and going on, especially in those areas of interest to me such as movies, TV and gaming etc. Occasionally stuff passes me by that I subsequently discover at a later date, often to the refrain of WTF? A few years ago I was idly channel surfing only to discover that a seminal UK children's TV show from my youth, the Mr. Men, had been remade in a more contemporary idiom. Luckily, the source characters were still relatively unscathed, and the revamped show did a competent job in bringing Roger Hargreaves work to a new generation. Still, no one had told me and discovering this, in such a fashion was a bit of a surprise.
Now I'm sure this is something we've all experienced at various points in our life. Often, we are more bemused by the fact that such a thing has happened without our being aware of it, rather than the specifics of the change. Frequently the matter is compounded by the fact that we have a strong sentimental attachment to that which has been altered, rebooted, re-imagined or generally messed with. Furthermore, surprise discoveries of this nature cause short periods of discombobulation. This phenomenon happened to me again quite recently. An innocuous chain of events, led to a surprise discover followed by a sense of shock, then incredulity and a lenghty string of profanities.
So what happened exactly? Well I had just downloaded a free Kindle version of H.G Wells science fiction novel, War of the Worlds. It is a literary classic and a good read after all. Because I am a man of a certain age, I have fond memories of Jeff Waynes' progressive rock, musical concept album from 1978. The mixture of spoken world, music and song left a big impression on me at the age of eleven. So, naturally my train of thought led me over to You Tube to quickly listen to a track or two from the aforementioned seminal recording. I idly clicked on The Eve of the War, expecting to hear the smooth baritone voice of Richard Burton as he narrated the introduction. Instead I suddenly became aware that I was listening to a completely different but not unfamiliar actor. The soft melodic Irish tones were unmistakable. It was Liam Bloody Neeson!
After my initial shock, I did some research to determine what was exactly going on. I discovered that the entire album had been re-recorded in 2012 under the revised title, Jeff Wayne's Musical Version of The War of the Worlds – The New Generation. This new album features more contemporary artists. Gary Barlow has replaced Justin Heyword, Joss Stone is covering Julie Covington and Ricky Wilson has usurped David Essex. All of this has come as something as a shock. However, on mature reflection I am not especially aggrieved by this change. It’s the same as when a new production of a famous stage musical is undertaken on Broadway or in the West End of London. A new cast brings a fesh perspective to the material and scope for alternative interpretations. I guess I was mainly flummoxed because I just didn't expect it and to find out in such a fashion.
Well it would appear that after the release of The War of the Worlds - The New Generation in 2012, a sumptuous stage show toured round most of the UK's major arenas, just as the original production did in 2006. This featured a performance of the entire album with a full orchestra conducted by Jeff Wayne himself. The holographic projection of Richard Burton's head has now been replaced by a twenty-foot image of Liam Neeson. The live pyrotechnics have been ramped up, as have the back projected visual effects. The live tour features a slightly different cast compared to the studio recording, with Marti Pellow and Jason Donovan taking major roles.
I managed to track down a Blu-ray release of the stage show that was recorded at the London 02 Arena and I must admit that the whole spectacle works very well. The music itself is still as powerful and compelling as it was back in 1978. Just bear in mind when it was written and the fashionable musical idioms of the time. The laser lighting combined with the CGI effects work and faux Victorian news footage does much to enhance the performance, as does the forty-foot Martian fighting machine. The cast are universally good, especially Jason Donovan who really throws himself in to the role of crazed cleric Nathaniel. The orchestra is also outstanding, as are guitarist Chris Spedding and the legendary Herbie Flowers on bass, who both appeared on the original recording.
Inadvertently stumbling across The War of the Worlds - The New Generation was both a shock and a surprise, but it has also provided a fresh perspective on something I’ve always enjoyed. If I have any complaint, then perhaps it's the fact that Mr. Nesson didn't point out to the Martians that he has a very particular set of skills and then proceed to punch them senseless. But I guess that would be too much of a deviation from the source text. NB After digging around online further, it would appear that on 29th November 2018, a brand-new production entitled Jeff Wayne's The War of The Worlds: The Musical Drama was rleased on Audible.com. This is a brand new five hour Audible Original Production based upon Jeff’s Musical Version and HG Wells’ source text, featuring new story and musical content. The all-star cast includes Michael Sheen as The Journalist, Taron Egerton as The Artilleryman, Ade Edmondson as Ogilvy, Theo James as Parson Nathaniel, with Anna Maie Wayne as Carrie, The Journalist’s Wife. I suspect I shall be listening to this over the Holiday period.
The Proust Questionnaire Part 2
At the beginning of November, I started to answer the various questions set out in The Proust Questionnaire, mainly because at some level I do like the occasional insight that “internet questions” can provide. Although most of my answers are frequently tinged with a degree of levity and at times even scorn, every now and then the right question can provoke a sincere response. So here are my measured replies to the remaining interrogative enquiries, for your consideration and edification. If you do not agree with them or find yourself at odds with my mindset, please address any complaints care of the late Marcel Proust (10th July 1871 - 18th November 1922).
At the beginning of November, I started to answer the various questions set out in The Proust Questionnaire, mainly because at some level I do like the occasional insight that “internet questions” can provide. Although most of my answers are frequently tinged with a degree of levity and at times even scorn, every now and then the right question can provoke a sincere response. So here are my measured replies to the remaining interrogative enquiries, for your consideration and edification. If you do not agree with them or find yourself at odds with my mindset, please address any complaints care of the late Marcel Proust (10th July 1871 - 18th November 1922).
18). If you could change one thing about yourself, what would it be? This is an odd question because if implies that changing one thing about yourself is impossible and can only be discussed in the abstract. This is of course nonsense. We can change ourselves physically via exercise, or surgery, make up or even by bathing regularly. As for making emotional, philosophical or psychological change to oneself, there are equally just as many options. I have always embraced the concept of continuous self-improvement. My life is a work in progress.
19). What do you consider your greatest achievement? I raised a son who now has a family of his own. He’s a thoroughly decent human being. Far more so than I. I helped contribute to this.
20). If you were to die and come back as a person or a thing, what would it be? If I was a seventies comedian from the North of England, I’d probably say “a woman’s bicycle saddle”. But I’m not, so I’ll go with an incurable plague virus.
21). Where would you most like to live? Robertsbridge in East Sussex. Or Horsham in West Sussex.
22). What is your most treasured possession? Walter.
23). What do you regard as the lowest depth of misery? I assume this question is supposed to be drawn from your own experience. If so, the most emotionally challenging period of my life and when I was “the most miserable” would be when I got divorced and the accompanying emotional trauma that comes with such a situation.
24). What is your favourite occupation? Interesting. Does this question mean occupation as in job or in the sense of an activity or pursuit? Either way, for me it’s writing. I’m content whenever I am sitting at my desk, typing away on my PC, expressing my thoughts. I like the clarity that writing can bring as well as constructing a measured and logical argument. I also like the banter that can be found on Twitter (if you follow the right people).
25). What is your most marked characteristic? I suspect it may be my sense of humour and my somewhat sardonic manner. The world is a very odd, incongruous and at times illogical place. The current intellectual blackout that is spreading throughout western democracies, scares the hell out of me along with the general decline of politics. Therefore, I use humour and an irreverent attitude as a coping mechanism and prism through which to view life, without being directly broken by its crushing futility and inherent unfairness. I consider humour to be an important human characteristic, as long as one has the ability to focus that humour at oneself, as well as the rest of the world. Beware those individuals who lack any sense of mirth. I believe it betrays more about their nature.
26). What do you most value in your friends? The fact that they know me and yet still stick around.
27). Who are your favourite writers? JRR Tolkien, MR James, Charles Dickens, Ray Bradbury, Agatha Christie, Arthur C Clarke, Saki, HP Lovecraft, Roger Hargreaves, Richard Dawkins, Shirley Jackson, Nigel Kneale, Alan Moore, Arthur Conan-Doyle, HG Wells, Isaac Asimov, William Hope Hodgson, Rod Serling, Marcus Aurelius and many more.
28). Who is your hero of fiction? The Hungry Caterpillar. Also, Mr Tickle and Sam Gamgee.
29). Which historical figure do you most identify with? Robin Hood. I had to wear a stylised Robin Hood outfit in a school play when I was very young. The experience left me traumatised. I bet the real Robin Hood’s outfits were made by his mum.
30). Who are your heroes in real life? Everyday people that do “good” things without the benefit of media scrutiny or praise.
31). What are your favourite names? Xavier, Telemachus, St John (pronounced Sinjun) and Throatwobblermangrove.
32). What is it that you most dislike? A lack of critical thinking. Emotive beliefs and the politics of “feelings”. And people with poor personal hygiene. Wash your clothes and bathe regularly.
33). What is your greatest regret? Leaving my finger prints at the crime scene.
34). How would you like to die? What a stupid question. In my sleep of course and not being torn to pieces by a pack of rabid animals or having my nuts bitten of by a Laplander.
35). What is your motto? Pecuniam vertemus which translates as “Take the money and run”.
Christmas Carol: The Movie (2001)
There’s a degree of hubris implicit in such a definitive title. At the very least the inference is that this is a notable adaptation of Charles Dickens’ classic book. And at first glance, it is perfectly reasonable to assume just that. Jimmy Murakami was an animator of note with such unique movies as The Snowman and When the Wind Blows to his credit. Hence it is reasonable to expect a similar quirky and experimental treatment of this well know yuletide story. However, what audiences actually get is a rather bold adaptation that substantially embellishes upon the established narrative. Veering between sinister and borderline psychedelic imagery, this is a very inconsistent version that tries to be too many things at once. Just as you think you’ve got a handle on the film approach it takes an abrupt turn in the opposite direction. Comedy, drama and even power ballads are thrown into the mix. Sadly, all these elements do not hang well together.
There’s a degree of hubris implicit in such a definitive title. At the very least the inference is that this is a notable adaptation of Charles Dickens’ classic book. And at first glance, it is perfectly reasonable to assume just that. Jimmy Murakami was an animator of note with such unique movies as The Snowman and When the Wind Blows to his credit. Hence it is reasonable to expect a similar quirky and experimental treatment of this well know yuletide story. However, what audiences actually get is a rather bold adaptation that substantially embellishes upon the established narrative. Veering between sinister and borderline psychedelic imagery, this is a very inconsistent version that tries to be too many things at once. Just as you think you’ve got a handle on the film approach it takes an abrupt turn in the opposite direction. Comedy, drama and even power ballads are thrown into the mix. Sadly, all these elements do not hang well together.
Christmas Carol: The Movie begins with an expanded prologue that creates a more substantial back story about Scrooge (Simon Callow) and his former fiancée Belle (Kate Winslet). Having bought the debt of a local children’s hospital, Scrooge proceeds to seizes its meagre assets and has the Doctor who runs it, thrown into debtors’ prison. Old Joe the Pawn Shop owner (Robert Llewellyn) is seen here to be the personal bailiff of Scrooge and Marley. Nurse Belle who works at the hospital writes a letter to her former fiancée imploring him not to let her down a second time. It is at this point that the traditional elements of the story broadly play out. One change of note is that Scrooge is haunted by a luminescent Marley’s Ghost (Nicolas Cage) at his office, rather than in his suite of rooms. Scrooge also tips a bucket of water over carol singers, one of whom is Tiny Tim who has only recently recovered from pneumonia. The focus of the story is more upon the ending of Scrooge’s engagement and his tumultuous relationship with his father. Belle in this instance is a friend of Fan, Scrooge’s sister.
Another aspect of Christmas Carol: The Movie, along with the “expansion” of the story, that makes it stand out from other adaptations is its varied animation style. Each Ghost is accompanied by a distinct aesthetic. It is very noticeable in such scenes where the Ghost of Christmas Past transports Scrooge back to the time of this youth and when the Ghost of Christmas present spreads good cheer via his “horn of plenty”. These “trippy” sequences are dramatic and innovative, yet by this point in the proceedings, the film is tonally all over the shop. We’ve already veered from comedy mice (both Belle and Scrooge have a small murine companion), to insipient infant mortality, and then back to comedy evictions. Then we have the “ignorance and want” scene which has the skin shrinking on the emaciated face of “ignorance” until his skull shatters in a cloud of dust. One for the kids, I think. Also, in some editions of the movie the animated main story is framed between a live action sequence involving Dickens visiting the US and talking about A Christmas Carol to an avid theatre audience. Again, it makes for a very inconsistent piece of cinema.
The conclusion of the story see’s Scrooge reformed and reunited with Belle. He then undertakes the financing of a new hospital. Sadly, the movies lacks any emotional impact because it has tried too hard to be too many things in the proceeding seventy minutes. I can just about muster some praise for Jimmy Murakami for attempting to do something different with such a familiar story, but the film over reaches and cannot decide in what manner to commit itself. Thus, we are left with a rather odd but flawed adaptation that will only really be of interest to niche market film fans. Otherwise, Christmas Carol: The Movie is just something you’d have idly playing in the background over the Christmas holidays, because you’re too full of wine and mince pies to bother to change channel.
Bird Box (2018)
The unfolding apocalypse and the unseen forces that bring it about are never fully explained in Bird Box. The movies also eschews overblown, CGI driven set pieces and spectacle. The scenario is simply the MacGuffin which director Susanne Bier uses to facilitate her exploration of the angst of motherhood and societal decay. This is superficially a genre movie but it’s mainly about people, performances and ideas. There have been some comparisons to A Quiet Place, but this movie is actually closer to The Mist. The film is at its best during the first act, when setting up its premise and at the start of “the event”. The second act remains above average mainly due to the strength of the cast, as they weather the ongoing storm. The denouement is somewhat functional and is possibly the weakest aspect of the film. Yet, the strength of what has gone before and as ever the robust nature of Sandra Bullock’s performance keeps things on track.
The unfolding apocalypse and the unseen forces that bring it about are never fully explained in Bird Box. The movies also eschews overblown, CGI driven set pieces and spectacle. The scenario is simply the MacGuffin which director Susanne Bier uses to facilitate her exploration of the angst of motherhood and societal decay. This is superficially a genre movie but it’s mainly about people, performances and ideas. There have been some comparisons to A Quiet Place, but this movie is actually closer to The Mist. The film is at its best during the first act, when setting up its premise and at the start of “the event”. The second act remains above average mainly due to the strength of the cast, as they weather the ongoing storm. The denouement is somewhat functional and is possibly the weakest aspect of the film. Yet, the strength of what has gone before and as ever the robust nature of Sandra Bullock’s performance keeps things on track.
Artists Malorie (Sandra Bullock) is pregnant and struggling to come to terms with her impending motherhood. While in hospital for a routine check-up, she and her sister Jessica (Sarah Paulson) witness an outbreak of mass psychosis. Driven by some unseen force, people start killing themselves. Fleeing the ensuing carnage, they escape by car only to crash due to the ongoing unrest. Malorie takes shelter along with others in a large house, owned by suburban house husband Greg (BD Wong). Among the survivors are Greg’s surly neighbour Douglas (John Malkovitch) and ex-soldier Tom (Trevante Rhodes). They theorise that the unseen force kills you by manifesting itself as your greatest fear or tricks you by pretending to be a loved one or friend. Trapped and with diminishing supplies the group realise that if they venture outside, they will have to remain blindfolded, rather than risk seeing the threatening malevolent presence.
The initial scenes of chaos and its rapid spread are well handled by director Susanne Bier. The depiction of people beating their heads against plate glass windows, stepping out into traffic and acts of self-immolation are genuinely shocking. Because the scope and scale of these events are far more localised, as opposed the grandiose aerial shots of the zombie apocalypse in Wold War Z, they are quite powerful. The focus on character during the scenes where the cast are secure in the house or when they venture out to the supermarket are also refreshing. Instead of excessive set pieces, we simply get a strong study of beleaguered people trying hard not to lose their grip on reality. Sometimes the script by Eric Heisserer (Arrival, Extinction) does become a little too expositionary. But there are enough succinct musings and philosophical introspection among the cast to keep things moving forward.
Bird Box presents viewers with two timelines, one set during the apocalypse and the other five years on. The first deals with the survivors and their struggle to secure their house. The second focuses on Malorie’s blindfolded journey down a river with two young children. Both are well crafted but the conspicuous absence in the latter timeline of some of the protagonists from the first, somewhat mitigates the tension, as most viewers will accurately surmise their fate. The final act is also predictable as the screenplay paints the narrative into a dramatic corner. Again, astute audiences will guess the way events will end and the conceit of the film conclusion. That is not to say that the story’s resolution is inadequate, but it is somewhat reduced in impact as a result of its lack of surprise. However, Sandra Bullock does a lot of heavy lifting here and carries the proceedings over the finish line.
Despite the inconsistencies of the script, Bird Box hits its stride when it focuses on the basics. By presenting us with a precarious safe place to hide from the apocalypse, it gives audiences an opportunity to muse upon how they would react under such circumstances. If also gives us a sufficient glimpse of “hell on earth” rather than belabouring us with endless CGI showreels. The enigmatic foe (or foes) are also an intriguing plot device. What the screenplay alludes to as to what is exactly happening, is just enough to oil the wheels of suspense. It’s a timely reminder that less can indeed be more. Finally, it should be noted that Netflix movies do not carry much overt information with regard to ratings. Bird Box is not a family friendly film and it would have certainly received a R rating if released theatrically. The lack of computer-generated spectacle does not mean an absence of violence.
A Christmas Carol (1938)
I have written previously about the versatility of Charles Dickens’ classic story and how it lends itself to multiple adaptations and interpretations. This 1938 film version tests that very theory as the reformation and redemption of Ebenezer Scrooge is presented through the medium of Golden Age Hollywood. A Christmas Carol sees the source text sanitised, infantilised and presented as a polished example of wholesome American film making. It has the high production values you’d expect from a studio such as MGM at the time, along with a cloyingly sentimental screenplay that dodges the politics of the book and renders the proceedings into an odd mixture of comedy and soft US Christian propaganda. It presents a very stylised depiction of Dickensian England and bears too many of the obvious foibles and tropes of the studio system that produced the movie.
I have written previously about the versatility of Charles Dickens’ classic story and how it lends itself to multiple adaptations and interpretations. This 1938 film version tests that very theory as the reformation and redemption of Ebenezer Scrooge is presented through the medium of Golden Age Hollywood. A Christmas Carol sees the source text sanitised, infantilised and presented as a polished example of wholesome American film making. It has the high production values you’d expect from a studio such as MGM at the time, along with a cloyingly sentimental screenplay that dodges the politics of the book and renders the proceedings into an odd mixture of comedy and soft US Christian propaganda. It presents a very stylised depiction of Dickensian England and bears too many of the obvious foibles and tropes of the studio system that produced the movie.
This movie deals in caricatures and archetypes. Reginald Owen portrayal of Scrooge is hamstrung immediately due to his comical stylised “age make up”. His performance is neither scary, embittered or intimidating. He simply comes across as rather grumpy old man who is just “put out” about contemporary life. His Nephew Fred (Barry MacKay) has an expanded role and an ongoing romantic interest via his fiancée. As for Bob Cratchit (Gene Lockheart), his is reduced to nothing more than a comic foil (who is sacked due to his participation in a snowball fight). His rotund build hardly convinces viewers of his poverty. Similarly, his home, children and wife are only “poor” in the Hollywood sense of the word. With such one-dimensional depictions, it is very hard to become overtly invested in the characters.
Moving on to Marley’s Ghost (Leo G. Carrol) and the three spirits, all of these characters are subsequently bastardised. Scrooge calls the night watchmen when Marley first appears, and the use of comedy again robs the subsequent scenes of any drama. The Ghost of Christmas past looks like she’s stepped straight out of a Broadway chorus line, complete with a star on top of her hat. The Ghost of Christmas Present is also saddled with humorous vignettes as he uses the spirit of Christmas to stop several contrived comedic fights. The final spirit follows the standard depiction of a hooded spectre, but its scenes are pure melodrama. The screenplay removes the more sinister and bleaker elements of the book, such as “ignorance and want”, along with the pawn shop meeting and Scrooge lying dead in his own bed. There are further frivolous scenes of Fred and his fiancée attending church to bolster their piety.
This is a far from subtle or nuanced adaptation. It is contrived and tonally somewhat childish with its continual veering from humour to melodrama. Scrooge’s redemption and subsequent visit to the Cratchits house to make amends is borderline nauseating and devoid of any genuine adult emotion. It’s all very highly polished and superficial. The only aspect of the story that is clear is the perfunctory handling of the Christian message, which is no more sophisticated in this instance than “don’t be mean to each other”. Plus, this film includes one of the healthiest Tiny Tim’s ever seen. A Christmas Carol may amuse and entertain those who are interested in seeing how classic Hollywood film making was a finely-honed process that always lead to a specific product. It may also be of interest to completists who wish to seek out as many versions of the book as possible. But for those who want a more robust, honest and sophisticated adaptation of Dickens, then look elsewhere.
A Divided Nation
I’ve heard some journalists and political pundits refer to Brexit as an insoluble problem. Technically that is not the case. A Hard Brexit would effectively meet the criteria of the 2016 referendum result and its binary question. What is insoluble is the government delivering a result that pleases all parties and more importantly doesn’t put the UK economy at risk. Brexit is a microcosm of everything that is wrong with UK politics at the present. The original very straight forward question on the ballot paper did not indicate in any way the logistical, procedural and legal complexities of extricating the UK from the EU after over forty years of major harmonisation and integration. The leave campaign openly stated that this very process would be easy and getting a good deal was not an issue. Both were lies. Hence, we now find ourselves in a situation where the realities of what Brexit entails are manifestly clear, and no one agrees as to what is the best way to proceed. And all of this is panning out against a background of broken, tribal and hostile politics. It is a recipe for disaster and now that the Brexit Pandora’s Box has been opened, there is no scenario that doesn’t lead to future problems and unrest.
I’ve heard some journalists and political pundits refer to Brexit as an insoluble problem. Technically that is not the case. A Hard Brexit would effectively meet the criteria of the 2016 referendum result and its binary question. What is insoluble is the government delivering a result that pleases all parties and more importantly doesn’t put the UK economy at risk. Brexit is a microcosm of everything that is wrong with UK politics at the present. The original very straight forward question on the ballot paper did not indicate in any way the logistical, procedural and legal complexities of extricating the UK from the EU after over forty years of major harmonisation and integration. The leave campaign openly stated that this very process would be easy and getting a good deal was not an issue. Both were lies. Hence, we now find ourselves in a situation where the realities of what Brexit entails are manifestly clear, and no one agrees as to what is the best way to proceed. And all of this is panning out against a background of broken, tribal and hostile politics. It is a recipe for disaster and now that the Brexit Pandora’s Box has been opened, there is no scenario that doesn’t lead to future problems and unrest.
The UK is a divided country. Its political parties seem to have abandoned very specific parts of society and entire regions have been neglected by successive governments. The gap between rich and poor is increasing, and the middle classes are no longer insulated from the country’s economic woes. Social changes over the last fifty years have seen a shift away from traditional political doctrines and the sense of being part of specific communities and groups. Consumerism has led to politics being seen as a means of personal gain and that is what often shapes the electorates position on major issues at elections. There is also an ever-widening gulf between the generations and the way they view the world. The young are happy to embrace a global market and are not constrained by past prejudices and cultural baggage. They also do not fear social change. Where as the Baby Boomer generation are very much entrenched in a mindset born of their time. Hence foreigners cannot be trusted and fantasies about British Exceptionalism are still harboured. A fictional past is mourned, and a modern future is feared.
Possibly the most worrying development in recent years is the shift in politics from fact based, intellectually driven debate into wanton tribalism. The “politics of feelings” has emerged as a result of social media and the internet. Equal access to online platforms has fostered an environment of false equivalence and the mainstream medias obsession with balance has perpetuated the myth that all views, no matter how unfounded or extreme, are of equal merit. Then there was Michael Gove’s misquoted statement that “people in this country have had enough of experts”. Although he was referencing a very specific group of tail chasing think tanks, the point was embraced in certain quarters. There has been a growing pushback of late against academia because it is by its very nature exclusionary. Some people simply do not like the idea that having no knowledge or experience of a specific thing, somehow keeps them from the top table and that their views are not treated with the same deference of those with a deeper understanding. The current socio-political changes in the UK go hand-in-hand with the spreading intellectual blackout throughout western democracies.
A great many people are legitimately unhappy with the way politics and social change has bypassed their concerns and wishes. The UK has an ageing political system that seems to be ill equipped for the modern world and more importantly an increasing diversity of opinions and views. Both the major political parties seem to be far too self-obsessed and removed from the reality of most of the electorates daily experience. Parliament needs to be overhauled, relocated and divested of many of the patrician traditions it is steeped in. Proportional representation also needs to be embraced. Yet sadly, none of these things appears to be immediate propositions. The growing disillusionment with mainstream politics leaves much of the electorate politically homeless. The major concern here is that the gap left by the demise of the only UK protest party, UKIP, may drive some into the waiting arms of the hard right or the extreme left. Are we looking at a return to the violent and tumultuous political times of the seventies? Because politics and governance driven by either extreme of the political spectrum seldom benefits the country.
What next for Theresa May’s EU deal?
And so the UK continues to act out of character with ongoing acts of protest and catharticism. Journalist Agnes C. Poirier, the UK editor for the French weekly magazine Marianne recently said on the BBC news discussion show Dateline London, that the UK “was behaving in a very un-British way” in so far as after decades of not cleaving to strong ideologies it is now doing the opposite over Brexit and also by being “passionate”, which is not a trait usually associated with the UK populous and their relationship with politics. It begs the question where will it all end? Well I think with regard to Brexit, the answer is not well. I believe any outcome available will be broadly unsatisfactory to the UK electorate. A Hard Brexit comes with potential economic turmoil, job loss and more. The Prime Minister’s compromise deal pleases neither side of the debate and entails the risk associated with a finite transition period and a dependency for the government to negotiate “good trade deals”. And the prospect of cancelling Brexit and retroactively remaining will cause social unrest and a further loss of faith in the UK political system. No one group is going to win, because there’s nothing to win. Brexit has simply removed a plaster from a festering national wound that has been neglected for decades.
As we as a nation are navigating uncharted territory politically and socially, it makes it very difficult to make any accurate predictions. I have never held the view that we cannot leave the EU. I have simply maintained that it cannot be done quickly and yet expected to yield the economic results that some politicians claimed. If the referendum had asked a more detailed question, stating a staged exit over several parliaments, then the very small leave result would be more palatable and practical. But it wasn’t and that is why we find ourselves in this mess. And Brexit is just the tip of the iceberg. It is simply a distillation of ongoing divide in opinion that is rife in the UK. Over the last two years it has become increasingly clear that many of the so-called shared “British values” are not universally embraced. The public do not all think in the same way regarding racism, equality, empathy and shared economic prosperity. And due to the “footballfication” of these sorts of issues, there is no scope for concessions, compromise of “agreeing to disagree”. You simply pick a side and hate the other. If you dare to opt out, then by default you’re an enemy because the prevailing mindset is “it’s my way or the highway”.
The British Empire at its height in the 20th Century
I am expecting a Hard Brexit and the consequences that go along with that. One can prepare to a degree but so many of the potential issues that could arise are out of our personal control. I fully expect the UK public to be in turmoil as a result and for there to be a series of minority governments in the immediate years to come. If there are hard economic consequences, then many who voted for Brexit may well be surprised that they are suffering as a result of their actions. Naturally blame will be placed at every door bar those who are genuinely responsible. The divide between rich and poor will grow, and social unrest increase as a result. As for the thorny issue of immigration, we will simply see European migrant labour replaced with international or, more than likely, Commonwealth migrant labour. That will not be well received in certain quarters. The systemic failing of our educational system and the cultural snobbery regarding many service-related jobs will leave us ill equipped to maintain the status quo regarding the way we live and consume. I suspect that the resulting backlash that is coming will end in violence and even fatalities. I believe the political classes will be at increased risk. But maybe Brexit and what proceeds it is a much needed and long postponed reality check for a nation. Perhaps we can finally lay to rest the myth on British Exceptionalism as well as put our colonial past and glory days behind us and find a new appropriate role in the modern world. However, if such a lesson can be learned it will be long, extremely painful and come with a significant price.
The Christmas Edition of the Radio Times
For those outside of the UK, The Radio Times is one of the most popular TV guide magazines in the country. It was the world's first broadcast listings magazine when it was founded in 1923 by John Reith, then general manager of the BBC. It used to exclusively cover only BBC TV and radio content but over the years has expanded its listing to cover all terrestrial, satellite, cable and internet TV channels. As well as printing the various TV schedules it also contains articles, reviews and interviews associated with most forms of UK media. It is broadly deemed to be in good standing with the population and still boasts a high standard of journalism. However, over recent years The Radio Times has suffered a decline in readership the same way that all traditional print media has. Hence the bulk of its current readership are mainly those who have grown up with it and have a strong bond with it.
For those outside of the UK, The Radio Times is one of the most popular TV guide magazines in the country. It was the world's first broadcast listings magazine when it was founded in 1923 by John Reith, then general manager of the BBC. It used to exclusively cover only BBC TV and radio content but over the years has expanded its listing to cover all terrestrial, satellite, cable and internet TV channels. As well as printing the various TV schedules it also contains articles, reviews and interviews associated with most forms of UK media. It is broadly deemed to be in good standing with the population and still boasts a high standard of journalism. However, over recent years The Radio Times has suffered a decline in readership the same way that all traditional print media has. Hence the bulk of its current readership are mainly those who have grown up with it and have a strong bond with it.
Which leads me nicely on to the point of this post. Every year, The Radio Times publishes a double edition that spans the Christmas and New Year period. It naturally has a seasonal cover and for many people, marks the imminent arrival of Christmas itself. For as long as I can remember, I have always bought or at least had access to this bumper festive publication. Pawing over it, checking the remote and obscure reaches of the TV schedules for hidden gems has always been a Christmas ritual for myself and many others. The significance of this process was especially important during my youth in the seventies. As I have mentioned in previous posts, watching TV as a family, especially films were a major part of our leisure time. It nurtured my love of cinema, film making and broadened my cultural horizons. The Radio Times Christmas edition exemplified this as it represented a two-week period in which I was off from school, most of the shops were closed and the days were cold and short. This presented an ideal opportunity to curl up on the sofa and watch TV (which consisted initially of just three channels).
It’s difficult to convey to a generation that is used to having access to a wide variety of content across multiple platforms and devices, the excitement brought about by the Christmas TV schedules in seventies Britain. There was a far greater quantity and variety of content aged at children as the broadcasters new the schools were closed. Hence you could often start the day with a Disney Classic such as The Aristocats or The Love Bug. There would also be frequent classic films throughout the days, often with a seasonal flavour, such as Alistair Sim as Scrooge. It was also more likely that fantasy films would make the schedules, so movies such as Jason and the Argonauts or At the Earth Core were warmly welcomed. Then as I got older and TV expanded into late night and twenty-four hours programming, I frequently found that my taste for seasonal supernatural content was catered for, with repeats of classic MR James adaptations or by actors of note such as Tom Baker or Christopher Lee reading a spooky tale. For decades, this time of year was also the only chance you would get to see various Laurel and Hardy shorts.
Sadly, the march of time and progress has changed the TV scheduling landscape and the very way we consume television. Gone are the days were the Christmas Special episode of a popular sitcom or variety show would garner audiences of over 20 million viewers. The other major change with respect to films, is that I’ve seen most recent releases long before they reach terrestrial channels in the UK. Unfortunately, the Christmas Edition of The Radio Times, no longer holds any substantial surprises or hidden gems. Naturally there are some new shows of merit to look forward to, but it doesn’t require me to circle titles in the magazine itself anymore. Nor do I have to write a detailed list and program multiple VCRs. If I now miss anything of note I simply watch it via an on-demand player. Or if I see that The Devil Rides Out is showing in the small hours of a commercial station, I simply put on my Blu-ray copy and enjoy it in high definition, in the right aspect ratio and without the annoyance of adverts every ten minutes. Times change and there comes appoint where tradition and ritual are abandoned. I have just read through the latest Christmas Edition of The Radio Times, but the process now serves as an exercise in nostalgia rather than practical necessity. However, I’m not quite ready to let go yet (mainly due to Talking Pictures TV). Perhaps next year or the one after.
Scrooge (1935)
This 1935 British adaptation of Dickens’ classic book was the first movie version of the story to have sound. Director Henry Edwards had to work creatively to stretch the productions modest budget. Subsequently the production is reliant on fog and snow shrouded sets, mainly to keep costs down. However, this does provide a veneer of authenticity in its depiction of a divided and polluted London. There are a few miniature shots showing the capital city at night and a handful of location shots inside various public buildings to establish the period setting. But mainly this is a set bound production and a sombre one at that. The underlying thrust of this adaptation is to highlight the class division as well as the contrasting wealth and poverty of the country at the time. It is this perspective that is used as the fulcrum of Scrooge’s redemption.
This 1935 British adaptation of Dickens’ classic book was the first movie version of the story to have sound. Director Henry Edwards had to work creatively to stretch the productions modest budget. Subsequently the production is reliant on fog and snow shrouded sets, mainly to keep costs down. However, this does provide a veneer of authenticity in its depiction of a divided and polluted London. There are a few miniature shots showing the capital city at night and a handful of location shots inside various public buildings to establish the period setting. But mainly this is a set bound production and a sombre one at that. The underlying thrust of this adaptation is to highlight the class division as well as the contrasting wealth and poverty of the country at the time. It is this perspective that is used as the fulcrum of Scrooge’s redemption.
Seymour Hicks plays Ebenezer Scrooge. A distinguished actor from the Edwardian era his initial portrayal of iconic miser is both petulant and terse. Whereas Bob Cratchit (Donald Calthrop) is depicted as a dominated man who fears for his situation. Unlike other productions, this one spends more time focusing on the different social classes inhabiting the capital. We see Scrooge’s nephew Fred buying Christmas provisions and entering into the spirit of the season. This is then offset against Scrooge taking a lonely meal on his own. Bob Cratchits meagre yuletide provisions and his family’s poverty are then contrasted by the rich gathering at a Lord Mayor’s banquet. The screenplay also spends more time building up to Jacob Marley’s visit. This is quite a tense and atmospheric stretch of the film. It has a hint of gothic horror about it and is well contrived.
Sadly, possibly for budgetary reasons, Marley’s ghost can only be seen by Scrooge. We hear his voice but see only doors open and Scrooge addressing an empty chair. This approach does diminish the power of the scene. The next Ghost, the Spirit of Christmas Past is merely a glowing shape of a man. The screenplay then proceeds to abridge much of the source text and we see nothing of Scrooge’s school days or apprenticeship with Fezziwig. We simply go straight to the termination of Scrooge’s engagement. The Spirit of Christmas Present (Oscar Asche) is thankfully a physical being and sticks to the traditional depiction of the character. The Ghost of Christmas Yet to Come is shown as the silhouette of pointing hand. There are a few optical effects to embellish these later scenes. Again, at this stage of the story, the screenplay further condenses much of narrative. Scrooge himself becomes quite complaint by his second ghostly visit.
Yet despite the various omissions of certain iconic scenes, the script still keeps occasional snatches of dialogue direct from the book. Bob Cratchit jests about the possibility of someone climbing over the back wall and stealing the family’s Christmas pudding. We also get a montage of how everyday people celebrate the meaning of Christmas. We see both a ship’s crew at sea and two remote lighthouse keepers exchanging season’s greetings. The movie takes a second turn towards the sinister when the Housekeeper, the Washer Woman and Undertaker meet up at Old Joe’s pawn shop and hawk the wears they’ve plundered from a dead Scrooge. It is atmospheric and shot in a rather menacing and baroque fashion. It makes its point well. It should also be noted that this is one of a handful of adaptations that shows Bob Cratchit mourning over the actual body of a dead Tiny Tim. It is both a tragic and rather stark scene.
The climax of the film focuses very much on a joyous and genuinely happy Scrooge. The screenplay makes it very clear that this is about his spiritual salvation, rather than just an old miser discovering the joy of helping others. We see Scrooge visit his nephew, but the focus is more upon his compulsion to help Bob Cratchit. When he sees him at work the following day their redefined relationship culminates in a visit to church with an emphasis upon spiritual conversion. All of which would work fine as an ending, if Scrooge’s character transformation hadn’t had been so abrupt. The tipping point comes to early during the film and is made too clear, so therefore lacks nuance. However, the film is still of note for attempting to depict the fundamental inequalities made clear in original story. Scrooge is surprisingly bleak, tonally quite grim and doesn’t sanitise the notion of poverty.
NB. This movie has been in and out of the public domain for many a year. There is a truncated US version that runs just 63 minutes and the longer UK edit that I watched that runs 78 minutes. Many prints that are in circulation are in very poor condition. The US release is also available in a colourised edition. However, there was a full restoration undertaken by Renown Pictures in 2009 which is available on Amazon Prime in the UK. This version by far offers the best picture quality and is the one I would recommend people to watch.
Star Trek Online: The Other MMO
It’s a curious thing that despite having played the MMORPG Star Trek Online, fairly regularly since its launch in 2010, I don’t write about it consistently. This realisation has given me pause for thought because I’ve spent a of lot of time playing my primary character over the years. I enjoy the fundamentals of this game. It is very lore friendly, with strong narratives and themes. As a hybrid free-to-play game it is very accessible, especially to new players. There are regularly events and activities scheduled throughout the year, outside of the core game content. And yes, if you want to sink a fortune buying ships from the cash store, you certainly can do so but it is not essential to have a positive game experience. Yet despite many positive points, looking back over my written output this year, STO doesn’t get as much attention from me as LOTRO. Which I guess is the reason for this post. I feel “obliged” to say something about the game.
It’s a curious thing that despite having played the MMORPG Star Trek Online, fairly regularly since its launch in 2010, I don’t write about it consistently. This realisation has given me pause for thought because I’ve spent a of lot of time playing my primary character over the years. I enjoy the fundamentals of this game. It is very lore friendly, with strong narratives and themes. As a hybrid free-to-play game it is very accessible, especially to new players. There are regularly events and activities scheduled throughout the year, outside of the core game content. And yes, if you want to sink a fortune buying ships from the cash store, you certainly can do so but it is not essential to have a positive game experience. Yet despite many positive points, looking back over my written output this year, STO doesn’t get as much attention from me as LOTRO. Which I guess is the reason for this post. I feel “obliged” to say something about the game.
At present in Star Trek Online, the seasonal festival Q’s Winter Wonderland, is in full swing. As ever it is packed to the gunwales with activities. Players can battle the Kramp’lhri, enjoy a snowball fight, try Klingon fishing as well as take part in a pie eating competition. The daily “Fastest Game on Ice” contributes towards claiming a new, shiny Fek’Ihri S’torr Warship (T6). If you earn this on one character it unlocks across your entire account for other alts. Compared to other Winter Festivals, the one in STO doesn’t quite feel as false and contrived. Having the bizarre variety of events pan out as part of a scheme cooked up by Q works quite well lore-wise. The events themselves are also enjoyable and there is plenty of scope to earn the respective yuletide barter currency. After all, who doesn’t want a Christmas sweater for their Gorn captain?
The episodic nature of much of the narrative content of STO means that it‘s a game that can be tackled in either bite size chunks or at length, depending on your preference. I often play in fits and starts, when I’m between other games. At present I’m slowly advancing some alts through older content and bringing them all slowly up to speed with the various reputation factions. I have sufficient ships at present and have a build that I am happy with, that gets things done. So, there’s no need for any major tweaking for the moment. STO certainly provides me with a healthy fix of MMO excitement but unlike other games such as LOTRO, it doesn’t blow me away with its community and wider social component. I converse and exchange ideas with other in Reddit Alert chat when I log into the game, but I don’t “know” other players as I do in other games. And I miss that to a degree but the community although friendly is very insular and self-sufficient. If you want more, then you have to seek it out. It doesn’t proactively come to you.
Unlike some MMOs that have struggled in recent years, STO seems to be ticking over quite well at present. It is currently tied-in to season 2 of Star Trek: Discovery and has voice acting credits from Mary Wiseman, reprising her role as Starfleet Cadet Sylvia Tilley. A road map for the year ahead has already been published, indicating that the game has further feature episodes, epic events and taskforce operations to come in 2019. Admittedly a lot of this will be more of the same, but for an MMO that is coming up to nine years old, the addition of new content is always welcome. If Cryptic could also spend some time on “quality of life” improvements and polishing some of the game’s rough edges, then that would certainly improve community relations. They’ve been strained of late. But overall, I am pleased to have this MMO at my disposal as it has proven, over yet another twelve months, to be a dependable game. Whether filling the gaps in my leisure schedule or being its focus.
Strictly Come Dancing 2018: Part 2
Series 16 of Strictly Come Dancing has been in many ways the most predictable season to date. It became clear within a matter of weeks as to which couples were the front runners, who had potential to grow and who would only go so far. Apart from the slight anomaly of Vick Hope going out early in week 5 due to a poorly conceived dance (blame Graziano for that), the show has followed a fairly unsurprising route. Therefore, it really comes as no shock to find Joes and Diane, Stacey and Kevin, Ashley and Pasha as well as Faye and Giovanni are going through to next week’s final. Nor should we be astonished by the subtle distinction between the judge’s favourites, and the couples that the public related to and take to their hearts.
Series 16 of Strictly Come Dancing has been in many ways the most predictable season to date. It became clear within a matter of weeks as to which couples were the front runners, who had potential to grow and who would only go so far. Apart from the slight anomaly of Vick Hope going out early in week 5 due to a poorly conceived dance (blame Graziano for that), the show has followed a fairly unsurprising route. Therefore, it really comes as no shock to find Joes and Diane, Stacey and Kevin, Ashley and Pasha as well as Faye and Giovanni are going through to next week’s final. Nor should we be astonished by the subtle distinction between the judge’s favourites, and the couples that the public related to and take to their hearts.
I must admit, I do feel a degree of sympathy for Ashley Roberts and her professional dance partner, Pasha Kovalev. She is a singularly talented and it is clear that she and Pasha spend numerous hours rehearsing and perfecting their routines. Sadly, it is obvious that the lady does not have a substantial fan base, unlike Stacey Dooley and Joe Sugg. It must be incredibly disheartening to find oneself continuously in the dance off despite being top of the leaderboard. I wonder if similar doubts will cross her mind about the final. Irrespective of how good their performances are next week, I do not believe that the public is sufficiently invested in them as a couple. Sadly, this is often the case with couples that are clearly “good”, right from the get-go. The public much prefer those celebrities that go on a traditional “strictly journey”.
Sadly, tonight saw the departure of Paralympian Lauren Steadman. Lauren has been a tenacious and diligent contestant throughout the weeks, along with her professional partner AJ Pritchard. I also feel that she has often been undermarked and given a harder time compared to fellow sportsman Graeme Swann. But such is the nature of Strictly Come Dancing. It is not a pure dance competition and the public vote changes the dynamics of the proceedings greatly. I think its fair to say that Lauren won a great deal of public support which compensated for the lack of marks from the celebrity judges. However, once she found herself in the dance-off tonight against Ashley, the outcome was inevitable. Nevertheless, I feel she can leave feeling proud of her achievements, once again clearly showing that “its about ability and not disability”.
As to the obvious question of who will win next week, I have mixed feelings on the matter. I think that on a purely technical level, it should be either Faye or Ashley. But personality and “the journey” are also key factors. Plus, the public are often governed by their feelings and can be very tribal. Joe Sugg has a strong internet-based fan base and I think it will certainly mobilise to support him. Yet if I were to go to the bookies and place a bet, I put my money on Stacey Dooley. She very much “one of the people” and possibly reflects a lot of the core Strictly fan demographics. Also, she is partnered with Kevin Clifton who is a firm favourite with viewers. He’s been in the final four times and so there’s the question of “always the bridesmaid, never the bride”. And we also are living in times when the general public are not so deferential towards experts or in this case judges. However, this time next week we’ll know for certain. Regardless of the outcome, it’s been a very entertaining season and once again the bar has been raised.
