Indiana Jones and the Kingdom of the Crystal Skull (2008)
For many fans and enthusiasts, there are the original trilogy of Indiana Jones movies, all made in the eighties when director Steven Spielberg was reaching the height of his film making creativity. And then you have Indiana Jones and the Kingdom of the Crystal Skull; the poorly regarded, Johnny-come-lately fourth instalment made nearly twenty years later, that jumped the shark, or in this instance “nuked the fridge” and for some viewers, pretty much pissed on the memory of its three predecessors. Make no mistake, over a decade on from the films theatrical release there is still a lot of ill will held towards the fourth Indiana Jones adventure. Let us not forget that South Park based an entire episode around the contempt they have for the movie. Yet despite all this hostility, it should be noted that Indiana Jones and the Kingdom of the Crystal Skull was the most commercially successful entry in the franchise, grossing $786,636,033 worldwide. It was the second most successful movie in 2008 (the first being Christopher Nolan’s The Dark Knight) and although not universally well received by fans, it did broadly garner critical success. However, within that spectrum of reviews there were some strong negative opinions. All things considered Indiana Jones and the Kingdom of the Crystal Skull is somewhat of an enigma, in so far as being financially successful but a movie that most people don’t admit to liking.
Variations on a Theme or More of the Same?
While recently playing Assassin’s Creed: Odyssey I was struck by the similarities between some of the game’s mechanics and those found in Ghost Recon: Wildlands which I played extensively last spring. Using your eagle companion to spot enemies and tag them on the map in the former is virtually identical to launching a drone and scouting the terrain in the latter. However, as both games are Ubisoft titles this is hardly a revelation. Yet the more I’ve played ACO, it has become very clear that many of their top titles share a great deal of common systems and mechanics. This makes sound business sense especially when you’re a company that releases multiple titles each year. Why rebuild a system when you can simply re-use an existing one? Yet even after recognising the practical benefits of such an approach to games development, I couldn’t help but feel that if you play a great deal of Ubisoft games, there must come a point when they all begin to feel a little too familiar. Even more so when you’re playing different iterations of the same franchise.
Classic TV Themes: Star Trek Enterprise
Star Trek: Enterprise was the first show in the Star Trek pantheon to have a song performed by an established artist play over the opening credits, rather than a traditional theme tune. Up until 2001, the franchise had maintained a more formal approach, established with the iconic introduction to the original series composed by Alexander Courage. Needless to say, such a radical departure from established practise brought about consternation and debate among fans. In some respects, you can argue that point about the entire show itself, but that as they say, is an entirely different blog post. Needless to say, the dislike and hatred that the song Where My Heart Will Take Me engendered in certain quarters, lead to a petition to have it removed. Needless to say, this movement failed, and the show continued using it for four seasons. Seventeen years on this particular debacle has now died down and the song is often just referenced ironically by fans as an amusing anecdote and piece of Trek trivia.
A New Gaming Headset: A Convoluted Tale
I was at Crayford Sainsbury’s on Thursday (which apparently is their biggest store in the UK) and I saw that they were selling off Trust gaming headsets as part of the ongoing sale. As I had recently bought a new gaming mouse of the same brand, I sauntered over to the display and perused the sales blurb and subsequently bought one. To cut a long story short, due to an error on my part, I ended up purchasing an analogue headset instead of a USB one. This then raised a wealth of further software related problems, as well as logistical ones. My PC has far more strategically placed USB sockets, than 3.5 mm jacks. Hence, I have spent the last 48 hours troubleshooting this matter. Of course, I could have just returned the headset, but as it’s so devilishly comfy I decided against this. So here in detail are a list of the various problems that I encountered along with their respective solutions.
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”?
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.
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.
“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.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.