The Ongoing Gaming Divide
Love him or loathe him, Gevlon has been a fixed constant in the video games blogging community for over a decade. But he has recently seen fit to hang up his spurs and is no longer going to be maintaining his blog. Fair enough, if you see no value in what you do or feel that your pastime is no longer what it used to be, then I understand moving on. Gevlon likes games that offer challenge and then enjoys trying to find the formula for success. Many gamers do this enjoying coming to grips with a competitive game, mastering the underlying systems and then excelling in their gameplay. However, that is not the only approach to video games. Sadly Gevlon has always maintained a somewhat binary view on the subject and he cannot see beyond his own interpretations of what gaming is. The world has moved on and he has not. It is ultimately immaterial whether he or other gamers care for this or not. Life is predicated upon change and it happens in every aspect of our lives. Leisure activities included.
Love him or loathe him, Gevlon has been a fixed constant in the video games blogging community for over a decade. But he has recently seen fit to hang up his spurs and is no longer going to be maintaining his blog. Fair enough, if you see no value in what you do or feel that your pastime is no longer what it used to be, then I understand moving on. Gevlon likes games that offer challenge and then enjoys trying to find the formula for success. Many gamers do this enjoying coming to grips with a competitive game, mastering the underlying systems and then excelling in their gameplay. However, that is not the only approach to video games. Sadly Gevlon has always maintained a somewhat binary view on the subject and he cannot see beyond his own interpretations of what gaming is. The world has moved on and he has not. It is ultimately immaterial whether he or other gamers care for this or not. Life is predicated upon change and it happens in every aspect of our lives. Leisure activities included.
The evolution of video games from the seventies to the present day is a tale of a niche, hardcore pastime slowly becoming more widely popular. The arrival of online gameplay offered social interaction and a new approach to competitive gameplay. Yet increasing popularity has attracted money and this has often made gaming about adapting to what is popular and sells, thus moving away from previously established conventions. Plus there are multiple generations of gamers who have had differing experiences determined by what time they adopted this leisure activity. The first generation of MMO players have had their perspective shaped by the likes of Ultima Online. Those playing The Elder Scrolls Online today are being shaped by a very different game environment and set of rules. Plus so many gaming terms, labels and definitions have changed. The net result is that the term gamer is a very broad church and doesn’t really indicate anything more than a penchant for playing games. The same way that being a reader doesn’t say anything about what you read or enjoying music indicates the subtleties of your personal taste.
It is very hard to try and quantify gaming and break it down into clearly delineated groups and parts. One of the major handicaps of writing about this pastime is that you often have to speak in broad generalisations and prefix your points with caveats and contextualisation. For example, the overall point of this post is to highlight that there is a gaming divide. There are those who play as a test of skill, for competitive reasons and personal achievement. You can argue that these are similar motives to those who play sports. Then there are those who game more as a social and recreational activity, who feel that it is “the journey and not the destination”, so to speak. Yet both these two points are far too definitive and don’t hold up to close scrutiny. Gaming is not a Venn Diagram made up of just two intersecting circles but potentially hundreds. However, from a business point of view, such a diversity and complexity of player needs and preferences, makes it hard to create a product that satisfies the majority.
Overall, I believe there is an established gaming divide, although it is currently framed in very broad and not entirely accurate terms. This matter is further compounded by the current culture of “pigeonholing” and the general partisan nature of culture and politics that exist at the moment. I don’t have a lot of sympathy for video games publishers as they are pretty much in the same category of bankers and estate agents. All are group that compound and exploit the problems associated with their field of work, rather than address them. But I do understand the frustration that game developers must constantly encounter. There is never an overall consensus and every point regarding a game system or mechanic is frequently hotly contested. Plus because developers don’t hold the purse strings, they are often compelled to pursue what is popular, or proven to sell, over innovation and following their own creative leads. It seems that the commercial success of gaming is actively contributing to the gaming divide.
Returning to the matter of the disgruntled games blogger who is unable or unwilling to change and adapt to the new reality of the video games market, I think it highlights the folly of untempered fandom and any other social, political or cultural dogma. Change is a reality in our daily lives, and we seems as a society to cope with it fairly well (although that is now becoming debatable). Yet I suppose everyone has, or potentially has, a blind spot for something or other, and when they encounter it, make it the hill they’re prepared to die on. I guess it all comes down to a choice. There are several big budget games scheduled for release this year, that fall outside of my personal tastes. However, I do not see this as a problem, the same way I don’t resent all the products in my local supermarket that I don’t care for. There are still games that I like in existence and being developed. But I have never understood the mindset that dislikes what others enjoy, as if that is the sole reason why their needs are seemingly neglected. But again this is something that is becoming more prevalent both in gaming and wider culture. The net result of this outlook further exasperates the divisions in gaming, making the matter a cyclical problem.
Taking It Too Seriously?
In the past I’ve often been left somewhat flummoxed when I’ve read stories about fans knitting baby clothes for pregnant characters in soap operas. I’ve also been bemused when reading about actors being berated in the streets by members of the public, who seem incapable of separating the person from the fictional character they play. Such anecdotes have always been met with tutting and shaking of the head from myself. However, I have recently had to temper this rationalist outlook, due to a sudden fit of emotional investment in certain TV dramas. This curious epiphany has led me to conclude that it’s not just a case of good writing and acting (although these are key reasons), but ultimately a question of identifying with a character and empathising with them. Furthermore, who we identify with possibly says something about us to.
In the past I’ve often been left somewhat flummoxed when I’ve read stories about fans knitting baby clothes for pregnant characters in soap operas. I’ve also been bemused when reading about actors being berated in the streets by members of the public, who seem incapable of separating the person from the fictional character they play. Such anecdotes have always been met with tutting and shaking of the head from myself. However, I have recently had to temper this rationalist outlook, due to a sudden fit of emotional investment in certain TV dramas. This curious epiphany has led me to conclude that it’s not just a case of good writing and acting (although these are key reasons), but ultimately a question of identifying with a character and empathising with them. Furthermore, who we identify with possibly says something about us to.
To give the previous statement some context, I was watching Endeavour last night which is now in its sixth season. One longstanding character, Chief Superintendent Reginald Bright, a senior officer who is coming to the end of his career has had more than his share of woes of late. His command was merged with a larger regional neighbour and he has been side lined to head of traffic. His core team have all be reassigned and the murder of one of his officers remains unsolved. Played with great dignity by Anton Lesser, Bright is an anachronism, representing the old guard in a Police force that is modernising to address the social and political change of the late sixties. He is a refined man, steeped in old world manners and social etiquette. But he’s also a loyal and open-minded policeman who commands the respect of those who truly know him.
Perhaps my description already shows that I have become invested in this character, although the show has many more similarly compelling protagonists. So when the Sunday evening’s episode revealed that PCS Bright’s wife (Carol Royale) had lung cancer and that she had only a short amount of time left, it was a crushing development. This plot development was underpinned by the calibre of the understated acting and minimalist script. The emotion of this turn of events was carried by the actor’s non-verbal performance and our emotional connection to him. I was genuinely moved and even tweeted such. A little later I reflected upon how a drama could have such a strong emotional impact upon me, and judging from my Twitter timeline, numerous other viewers.
I think the reason we connect, identify or feel some sense of rapport with a fictional character ultimately is down to being able to relate to their experiences or agreeing with what they represent and extoll. The moment you make a personal connection, see parallels to your own life or just find yourself in some state of accord, then a character becomes more than the sum of their parts. Perhaps the concept of the Imago is relevant here? I’m not trained in such scholarly study, so I best not focus on too much armchair psychology. But as I’ve got older, I have found that well written dramas can strike this strong emotional chord and now I can see why people take fictional characters to their heart so. Perhaps I’ve felt this way before and just haven’t recognised it. Spock being a prime example. As for PCS Reginald Bright, I shall see where the story takes us both and no doubt I’ll be further saddened. Yet it will at least be a journey I care about. As for the criticism of “taking it too seriously”, I shall think long and hard before I say such a thing again.
Classic Movie Themes: Alien
Alien is a unique genre milestone. It challenged the established aesthetic created by 2001: A Space Odyssey of space travel being pristine, clinical and high tech and replaced it with a grimy, industrial quality. The space tug Nostromo is also a conspicuously “blue collar”, civilian venture, underwritten by a large corporation. As for H. R Giger’s xenomorph, it redefined the depiction of extraterrestrial life in movies. Director Ridley Scott brought visual style and atmosphere to particularly unglamorous and dismal setting. He also scared the hell out of audiences at the time with his slow burn story structure and editing style that hints, rather than shows. Overall, Alien is a text book example of how to make a horror movie and put a new spin on a classic and well-trodden concept.
Alien is a unique genre milestone. It challenged the established aesthetic created by 2001: A Space Odyssey of space travel being pristine, clinical and high tech and replaced it with a grimy, industrial quality. The space tug Nostromo is also a conspicuously “blue collar”, civilian venture, underwritten by a large corporation. As for H. R Giger’s xenomorph, it redefined the depiction of extraterrestrial life in movies. Director Ridley Scott brought visual style and atmosphere to particularly unglamorous and dismal setting. He also scared the hell out of audiences at the time with his slow burn story structure and editing style that hints, rather than shows. Overall, Alien is a text book example of how to make a horror movie and put a new spin on a classic and well-trodden concept.
Jerry Goldsmith’s sombre and portentous score is a key ingredient to the film’s brooding and claustrophobic atmosphere. Yet despite the quality of the music, Goldsmith felt that the effectiveness of his work was squandered by Ridley Scott and editor Terry Rawlings who re-edited his work and replaced entire tracks with alternative material. However what was left still did much to create a sense of romanticism and mystery in the opening scenes, then later evolving into eerie, dissonant passages when the alien starts killing the crew. The fully restored score has subsequently been released by specialist label Intrada and has a thorough breakdown of its complete and troubled history.
Perhaps the best track in the entire recording is the triumphant ending and credit sequence, which was sadly removed from the theatrical print of the film and replaced with Howard Hanson's Symphony No. 2 ("Romantic"). This cue reworks the motif from the earlier scene when the Nostromo undocks from the refining facility and lands on the barren planet, LV-426. It builds to a powerful ending which re-enforces Ripley’s surprise defeat of the xenomorph and its death in the shuttles fiery exhaust. Seldom has the horror genre been treated with such respect and given such a sophisticated and intelligent score. Despite its poor handling by the film’s producers, Alien remains one of Jerry Goldsmith’s finest soundtracks from the seventies and yet another example of his immense talent.
Star Trek Online: Non-Combat Missions
One of the commonest laments you’ll hear from Star Trek Online devotees is that the game is too orientated around confrontation and combat; there aren’t enough diplomatic, exploration and general non-combat missions in the game. It’s a matter I have mixed feelings about, because if you watch Star Trek TOS, then Kirk and the crew of the Enterprise didn’t always live up to the ideals that The Federation extols. However, this did change in later shows. I certainly wouldn’t be averse to having more non-combat missions in the game, although they would have to be of some substance to merit my interest. The removal of the Exploration Cluster missions from STO, in July summer 2014 was justified in my opinion, as they were somewhat arbitrary. However, if you take content out of a game, then it would be preferable to see something else put back in its place.
One of the commonest laments you’ll hear from Star Trek Online devotees is that the game is too orientated around confrontation and combat; there aren’t enough diplomatic, exploration and general non-combat missions in the game. It’s a matter I have mixed feelings about, because if you watch Star Trek TOS, then Kirk and the crew of the Enterprise didn’t always live up to the ideals that The Federation extols. However, this did change in later shows. I certainly wouldn’t be averse to having more non-combat missions in the game, although they would have to be of some substance to merit my interest. The removal of the Exploration Cluster missions from STO, in July summer 2014 was justified in my opinion, as they were somewhat arbitrary. However, if you take content out of a game, then it would be preferable to see something else put back in its place.
Having recently created a new Star Trek: Discovery era alt, I’m playing through the games content once again and have noted that a lot of it has been revised and streamlined. However, despite the removal of some content deemed sub-par or no longer relevant to the narrative, there are still some odd missions here and there that vary from the standard design. One of which is “Trade Deal” which can be found on Starbase 39 via Lt. Commander Brocal. She is trying to broker a trade deal between the Federation, Ferengi, Rigelians and the Deferi. Naturally there’s a snag and an impasse has been reached so the player has to visit each Ambassador and listen to their side of the story. Depending on how you respond, additional dialogue options then appear which give you a greater insight into the matter so you can successfully resolve the matter. Despite its somewhat linear design it is an enjoyable change from the standard “pew pew” missions.
Success in “Trade Deal” comes from reading all the dialogue and not rushing to what obviously appears to be the next stage. However, the fact that it requires reading, and playing at a measured pace will not endear it to some STO players. However, it does provide a hint as to what more non-combat missions could be like. There is also a diplomatic mission on Vulcan called “Ancestral Sin” where the player has to solve a threat made against a visiting Romulan Ambassador. Again the successful resolution of this mission comes down to the sequence of events that the player pursues and although a little dry, it does make for a welcome change from simply taking aggressive action against the latest Federation enemy. If Cryptic are going to ever integrate more of these sorts of activities in to STO then they would have to try and make them narratively engaging and possibly add a puzzle element to them to give them some added interest.
As for exploration, to make such a mechanic have any real depth other than the superficial, you’d need to have a lot of hidden mission chains placed in new map areas. Simply exploring an area and getting an accolade for cataloguing what is physically there is not something I’d want to do for too long. Going to a star system and making first contact with a race and then establishing trade or diplomatic relations is an interesting prospect, but then you’re effectively creating full blown feature episodes. The choice for Cryptic would then be do they create new narrative based around exploration or continue to write missions around established lore and canonical material. I’d personally like to have both, but I get the impression that the developers tend to stick with what has proven to work. However, as Star Trek Online seems to be faring well due to the current interest in Star Trek: Discovery, may be further resources will be allocated to expanding non-combat content in the game in the future.
LOTRO: A Lesson in Semantics
It’s always nice to know what a video game developer has in mind, especially given the currently volatility of the MMO market. Most of the MMO related news of late has been regarding studio closures and job layoffs. So the arrival of a new Producer’s Letter from Rob Ciccolini (AKA Severlin) is at first glance most welcome. Communication is not exactly Standing Stone Games greatest strength and there hasn’t been a great deal of news filtering down to the player base in the last six months. So this missive is welcome, as it does broadly feature this year’s road map for LOTRO. Furthermore, the details are interesting with further content and systems changes in development. As a long time LOTRO player who purchased the Legacy Bundle in December 2018, I want the MMO to continue grow and evolve.
It’s always nice to know what a video game developer has in mind, especially given the currently volatility of the MMO market. Most of the MMO related news of late has been regarding studio closures and job layoffs. So the arrival of a new Producer’s Letter from Rob Ciccolini (AKA Severlin) is at first glance most welcome. Communication is not exactly Standing Stone Games greatest strength and there hasn’t been a great deal of news filtering down to the player base in the last six months. So this missive is welcome, as it does broadly feature this year’s road map for LOTRO. Furthermore, the details are interesting with further content and systems changes in development. As a long time LOTRO player who purchased the Legacy Bundle in December 2018, I want the MMO to continue grow and evolve.
The list of features under development appear to be appropriate for a ten-year-old MMORPG. Naturally players at level cap want new content and so moving onto the Vale of the Anduin seems to be a logical choice. The unresolved plot regarding Shelob is also going to be addressed, with a return to Minas Morgul. Addressing difficulty issues and adding additional tiers to instances seems an equitable solution to those wanting a harder challenge. Over hauling the virtue system is long over due and it will be nice to see it made relevant again. Although I only dabble with crafting, I appreciate it is a source of enjoyment and challenge for many players. It SSG wish to expand and improve the system that’s fine with me, as it will hopefully mean a lot of new crafted gear appearing in the auction house. The ongoing work on the new 64-bit Windows client is eagerly anticipated, especially if it can address the games performance issues.
However, the Producer’s Letter is just as much as a PR and marketing exercise as it is a formal piece of communication. Therefore the devil is very much in the detail and in this case, the semantics. Consider the following quote. “So, while this does provide a road map for the year, the following letter focuses more on our goals for the game in 2019”. Goals being the key word. Because goals are not the same as formerly announced and mandated business commitments. They are aspirational achievements that can either be met or not. I think that SSG has chosen to use such language deliberately because their plans are dependent on revenue projections, set by their publisher the Daybreak Game Company. A company that is having a somewhat tumultuous time at present. So perhaps it would be wise for LOTRO players to temper their expectation for 2019, as there seems to be a clue in Mr Ciccolini’s words.
Auto Manage
As someone who plays video games for fun, rather than competitively, there are many common mechanics that I don’t care for or that I’m broadly indifferent to. These usually tend to be fiddly, time consuming tasks such as inventory management or having to excessively (a very subjective term) fine tune gear. The Legendary Item system in LOTRO being a great example of this. I fully appreciate that there are players who really dig this sort of thing and I am not in any way advocating that they have their “fun” taken away. However, what I would like to see in more games, especially MMOs, is the ability to auto manage some of these systems. To be able to just click a button and have the peace of mind that the most relevant item in my inventory will be equipped by default.
As someone who plays video games for fun, rather than competitively, there are many common mechanics that I don’t care for or that I’m broadly indifferent to. These usually tend to be fiddly, time consuming tasks such as inventory management or having to excessively (a very subjective term) fine tune gear. The Legendary Item system in LOTRO being a great example of this. I fully appreciate that there are players who really dig this sort of thing and I am not in any way advocating that they have their “fun” taken away. However, what I would like to see in more games, especially MMOs, is the ability to auto manage some of these systems. To be able to just click a button and have the peace of mind that the most relevant item in my inventory will be equipped by default.
Allow me to give an example. Back in 2003 I use to play a tactical squad based shooter called Hidden and Dangerous 2. You could spend ages equipping your team, meticulously pawing over the stats of each item and trying to ensure you had a cache of ammunition and supplies that suited your strategy. Or you if you preferred, you could click on a handy "auto manage" button that selected and equipped an adequate selection of items automatically. These were not the best or the worse items available and if you decided to choose for yourself you could do better. But they were sufficient for the task in hand, allowing the player to move on to the next step of the game. Overall the system was a nice compromise.
Requesting such a system (albeit rhetorically), is not such an outrageous demand, because a quasi-version of auto manage already exists in many games. For example, many shooters, such as the COD franchise come with default builds for each class. Again these may not be the best permutation of gear and weapons available, but they certainly work. In fact on occasions I have stuck with such loadouts without any major impediment. Such a facility also exists in real time strategy games. I can remember playing Star Wars: Rebellion back in the late nineties and allowing the AI to manage resources on the planets that were occupied. Again this was not the optimal choice, but it served a purpose if you didn’t wish to be bogged down in the minutiae of planning, building and maintaining factories, army barracks and ship yards.
Having an option to auto manage is about choice and allowing the player to do things in a fashion that suits them. There are many popular titles at present that have inventory management as a core game mechanic. Having a means to manage this process may well make such games attractive to a broader audience. Another factor to consider is the finite availability of leisure time. I certainly cannot spend an entire evening playing as I did a decade ago. Therefore when I do spend an hour or two playing a game, I want to be as productive as possible. The inclusion of some sort of auto manage facility would certainly contribute toward this and help with achieving goals in-game goals. The content gamer is one who is happy to log back in the next day. In an age of “live services” and an industry governed by churn, surely a content gamer is desirable?
MMOs I No Longer Play
I started playing MMORPGs over a decade ago, at a point when the genre was growing. It seemed at one point that every developer wanted to produce the game that usurped World of Warcrafts crown. I therefore ended up trying many of these massively multiplayer online games yet ended up sticking with few. All too often many of these titles were too generic or had an inherent flaw or flaws that killed my enjoyment. Sometimes it was just a case that the game just didn’t chime with me. Naturally over time, I have revisited some of these MMOs and a few have become a mainstay of my gaming activities. The Lord of the Rings Online, Star Trek Online and The Elder Scrolls online are three such examples. Yet there are numerous other games from this genre that I have not returned to or if I have, I still found them to be problematic, so they have not become part of my leisure activities.
I started playing MMORPGs over a decade ago, at a point when the genre was growing. It seemed at one point that every developer wanted to produce the game that usurped World of Warcrafts crown. I therefore ended up trying many of these massively multiplayer online games yet ended up sticking with few. All too often many of these titles were too generic or had an inherent flaw or flaws that killed my enjoyment. Sometimes it was just a case that the game just didn’t chime with me. Naturally over time, I have revisited some of these MMOs and a few have become a mainstay of my gaming activities. The Lord of the Rings Online, Star Trek Online and The Elder Scrolls online are three such examples. Yet there are numerous other games from this genre that I have not returned to or if I have, I still found them to be problematic, so they have not become part of my leisure activities.
Age of Conan: Hyborian Adventures (or Unchained as it is now suffixed) was one of the first MMOs I tried after LOTRO. Broadly I enjoyed the game although I found combat to be somewhat cumbersome. I liked the aesthetic of the game and the atmosphere, but like so many other players, was extremely disappointed when I discovered that the voice acting, and extensive cut scenes only applied to the starter zone of Tortage. And because it was a time when there was plenty of competition available, I can remember just abandoning the game and moving on to another title. Oddly enough that was STO but that game had a bad launch and was incomplete in spring 2010. It took several years for it to find its feet. Therefore I didn’t stay there for too long either.
Rift was my next MMO port of call and although I wasn’t especially inspired by the game’s lore and story, there was a broad spectrum of possibilities when it came to class builds. By now the novelty of traditional social gaming, participating in organised guilds and devoting large amounts of time was beginning to wear a little thin. The dynamic events that Rift introduced where you could simply join a zerg and participate in a localised event, was a welcome change. Yet Rift fell between two stools. Although it did new and innovative things it still struggled with skills bloat and was saddled with too many traditional MMO mechanics. So I moved on again, just in time for Star Wars: The Old Republic in December 2011. Out of all the MMOs that I’ve played over the years, this was the one that seemed to have the most expectations associated with it.
I like so many other gamers, really wanted to like SWTOR. So I gave it possibly more of a chance than it deserved. I liked many aspects of the game; the gunslinger smuggler class that I chose, the companion system and oddly enough the ship that wasn’t quite a house. The narrative was extremely good, and I liked the way gear could be upgraded. But there were quite a lot of negative points as well. The combat was slow and there was an excess of skills, many of which could simply be ignored. Plus, although it was Star Wars, it wasn’t the period of history that so many players wanted access to. Perhaps the biggest issue was that once you had burned through all the PVE content, there was little to do at level cap. Hence there was a mass exodus of players leading to the game having to go free-to-play just to survive. A lot has been done with the game since then and I did return a couple of times but although the narrative was still strong the game is just too old school for my liking.
And so in 2012, I dabbled with The Secret World in the hope that Funcom would honour their promises to do something different with the genre. And broadly that’s what they did. The story was adult and uncompromising. There was a lot of dialogue, which I enjoyed, and the game made you think. The skill wheel system did indeed lend itself to a far more nuanced approach to fine tuning your character. But the combat was slow, repetitious and far from fun and if you wanted to spend your skill points elsewhere, they were not transferrable. Hence you had to repeat content. Needless to say I parted company with The Secret World and moved on to possibly the last big MMO release Guild Wars 2. I could easily write an entire blog post about what I liked about this MMO. But for the sake of brevity, I shall say the flexibility of the classes, the horizontal progression, the fluid combat and the fact that there was always something to do. Out of all the titles I played, this is possibly the most frictionless, although I say this only of the base game. Things changed too much for me with the first expansion Heart of Thorns. But for the first year of two Guild Wars 2 was the most casual friendly MMO I played. You could return after a while and jump straight back in and pick up where you left off.
It’s odd how business demands will sometimes take you in the opposite direction of where you intend to go. The first expansion for Guild Wars 2 essentially put into the game all the systems and ideas that were conspicuously absent from it at launch. I could no longer easily freelance and join zergs to accomplish what I wanted. And as I was never a big fan of the lore, I had nothing to hold me when things changed. In fact lore appears to be a major selling point for me in the MMO genre. ESO is odd in so much as unlike LOTRO and STO, I was not familiar with the lore and history of the franchise, prior to playing. But because I consider the writing to be of a high standard, I do actually consult the games Wiki to gain a greater understanding of things. And ESO has established for me that action combat, a sensible amount of skills and systems is how a modern MMO should be. It will be interesting to see what changes another decade brings to the genre and what, if anything, I’ll still be playing.
An Angry Discourse
“Video game discourse has gotten me down lately. Why are some people so shitty about their favorite hobby?” This comment from Jake Baldino, a presenter over at Gameranx, appeared in my Twitter timeline today and garnered some interesting responses. A lot of people stated it was all down to a “loud minority” of gamers, which is a very common refrain. But I’m not so sure. Whereas I may well have trotted out such a response a decade ago, recent events seem to indicate otherwise. I have a sneaking suspicion that “people” aren’t as nice as we may have previously thought and that includes gamers. Yes, the anonymity of the internet does encourage some hostility among “keyboard warriors”, but you only have to turn on your TV to see people happily being bellicose and objectionable in public. So perhaps it’s not just a case of the “the squeaky wheel” getting noticed. May be there has been and continues to be, a major cultural shift in the way we interact with each other.
“Video game discourse has gotten me down lately. Why are some people so shitty about their favorite hobby?” This comment from Jake Baldino, a presenter over at Gameranx, appeared in my Twitter timeline today and garnered some interesting responses. A lot of people stated it was all down to a “loud minority” of gamers, which is a very common refrain. But I’m not so sure. Whereas I may well have trotted out such a response a decade ago, recent events seem to indicate otherwise. I have a sneaking suspicion that “people” aren’t as nice as we may have previously thought and that includes gamers. Yes, the anonymity of the internet does encourage some hostility among “keyboard warriors”, but you only have to turn on your TV to see people happily being bellicose and objectionable in public. So perhaps it’s not just a case of the “the squeaky wheel” getting noticed. May be there has been and continues to be, a major cultural shift in the way we interact with each other.
Contemporary politics has shown us that despite what a lot of us thought, we don’t all share the same values. Politics and the wider discussion to be had around it, has become far more partisan. There’s no longer seems to be any attempt to “agree to disagree”. A lot of the media are no longer concerned with balance. It’s all about clicks, viewing figures and “likes”. So pretty much everything in the news, be it politics, economics or social issues is just presented as a binary choice. You’re then invited to pick a side and scream, because we live in an age where we are encouraged to get angry and its fast becoming a national pastime. And this mindset then bleeds out into everything else. The work environment gets angrier as a result. People will fly off the handle while queuing at the supermarket. So it’s therefore hardly surprising to see such behaviour appear in out leisure activities.
Gaming is a broad church but two of its biggest defining features are competitiveness and social interaction. These are things that people become very passionate about. Furthermore, we live in an age of growing identity politics and defining who we are on our own terms. Gaming has therefore become a facet of personal identity for some, as opposed to just a leisure activity. When you mix such a mindset into a wider culture that is becoming increasingly adversarial, then you’ll eventually encounter problems. Despite what some people think, you cannot keep politics and social commentary out of gaming because it has become more than the sum of its parts. Whenever people interact and engage on masse, you’ll find pockets of an emergent communal identity. Groups then become mediums for wider ideas. But groups can also lead to hierarchies, power struggles and conflict.
It is also naïve to ignore the financial dynamic to gaming culture and the impact that it has. Becoming a cash cow in a relatively short period of time is not always as beneficial as you may think. Money has a habit of causing conflict. What gamers and game developers want are not necessarily the same thing. So when you add this to the seismic change in public interactions and the angry world that we now find ourselves in, it is hardly surprising that video games discourse has taken a reciprocal nose dive. Perhaps the eternal optimists among use need to recalibrate and come to terms with the fact that a lot of people aren’t inherently good. I’m not saying that the battle is lost and that we have to roll over and play dead. Human failings should be challenged and not ignored. But I think we need to come to terms with societal change and temper our expectations with regard to video games discourse, until the pendulum swings the other way again.
The Elder Scrolls Online and Addons
After recently watching several friends stream The Elder Scrolls Online, I have re-installed the game (funny how that often happens). I played quite consistently last spring and the game finally “clicked” for me. The narrative driven structure is something I enjoy, and I also like way you can pick and choose the content you undertake. So after letting the 70.9 GB game client download overnight, I fired up the game yesterday and found my level 50 High Elf Sorcerer in Auridon, where I left them last Easter. The first thing that immediately stood out was the plain vanilla default UI, which is minimalist to say the least. After a heavy sigh, I realised that if I wanted to continue efficiently playing ESO I would have to install a bunch of addons via Minion. The only minor problem was that after replacing my Hard Drive last November, despite backing up most data, I had not made a note of which addons I was using. Luckily, a friend who still had the game installed went through their current installation, so I was able to collate a suitable list.
After recently watching several friends stream The Elder Scrolls Online, I have re-installed the game (funny how that often happens). I played quite consistently last spring and the game finally “clicked” for me. The narrative driven structure is something I enjoy, and I also like way you can pick and choose the content you undertake. So after letting the 70.9 GB game client download overnight, I fired up the game yesterday and found my level 50 High Elf Sorcerer in Auridon, where I left them last Easter. The first thing that immediately stood out was the plain vanilla default UI, which is minimalist to say the least. After a heavy sigh, I realised that if I wanted to continue efficiently playing ESO I would have to install a bunch of addons via Minion. The only minor problem was that after replacing my Hard Drive last November, despite backing up most data, I had not made a note of which addons I was using. Luckily, a friend who still had the game installed went through their current installation, so I was able to collate a suitable list.
I don’t feel inclined to debate the rights and wrongs of addons in this post, simply let it suffice to say that they are a necessary evil in the case of ESO. Not having them makes playing a lot less efficient and frankly less enjoyable. However, third party addons need to be regularly updated and maintained but as their creators are not paid professionals, contractually bond to do so, they effectively become a lottery, to say the least. Then there is the issue of conflicts, UI errors and poor documentation, all leading to hours of tweaking settings and loading and unloading each add-on to get it to work as described. At present I have this tedious chore ahead of me because as you can see from the screen capture, my UI is an absolute dog’s dinner at present. However, once I’ve sorted the issue out according to my preferences, the presences of 16 addons should enhance my gameplay experience and I can get on with enjoying ESO.
Considering that ESO seems to be doing well within the MMO market and that developer ZeniMax are regularly producing new content and expansions for the game, I find it curious that there is still a reliance upon third party addons. Surely some time and attention could be spent improving and upgrading the UI, officially. Could ZeniMax not take a lead from the most popular addons and create something comparable and officially integrate them into the game? Doesn’t Blizzard Activision have a similar policy with World of Warcraft? It seems odd in an age of corporate control and the monetisation of all aspects of a game, that there is still a relatively free and unregulated culture of third-party addons allowed in some MMOs. Perhaps it’s a cultural hangover from the success of Skyrim? In the meantime I’ll get around to tweaking my own addons in ESO and hopefully won’t have to worry about them for a while. Not until the next expansion Elsweyr is released on June 4th and promptly breaks them all.
General Rock Renton and the Moon Rangers
I am a big fan of the detective drama Endeavour, considering it to be one of the best UK shows currently in production. It has well rounded, interesting characters and their journey through the sixties affords the writer, Russell Lewis, plenty of opportunity to explore the political and social issues of the time. Lewis further embellishes the scripts with numerous period and contemporary pop culture references, all of which add to the shows charm and appeal. Tonight’s episode “Apollo” set against the historical moon landings of Apollo 11, saw Morse and Thursday investigating the death of a promising young astrophysicist and his girlfriend. Initially thought to be a car accident, it becomes clear that there is foul play. As ever the plot was complex and established story arcs were moved forward. Shaun Evans also made his directorial debut with this episode.
General Rock Renton and the Moon Rangers.
I am a big fan of the detective drama Endeavour, considering it to be one of the best UK shows currently in production. It has well rounded, interesting characters and their journey through the sixties affords the writer, Russell Lewis, plenty of opportunity to explore the political and social issues of the time. Lewis further embellishes the scripts with numerous period and contemporary pop culture references, all of which add to the shows charm and appeal. Tonight’s episode “Apollo” set against the historical moon landings of Apollo 11, saw Morse and Thursday investigating the death of a promising young astrophysicist and his girlfriend. Initially thought to be a car accident, it becomes clear that there is foul play. As ever the plot was complex and established story arcs were moved forward. Shaun Evans also made his directorial debut with this episode.
What made “Apollo” especially enjoyable for me, was the story featuring a pair of television producers who bore more than a passing resemblance to Gerry and Sylvia Anderson of Thunderbirds fame. Jeff and Hildegard Slayton (Matthew Cottle and Mary Stockley) ran a studio producing puppet shows very much in the “Supermarionation” idiom. As the murder victim was a scientific advisor on their latest show, Moon Rangers, Morse and Thursday had reason to visit the production studios which were not to dissimilar to those of Century 21 Television at Slough. Hence viewers were treated to footage of the Slayton’s watching daily rushes of a model car crash, the miniature crew blowing up a rocket on a replica moon surface and the puppeteers on a gantry over a miniature set operating marionettes. All of which lovingly referenced the halcyon days of Stingray and Thunderbirds.
Note posters for faux shows “The Adventures of Super Jim” and “Cloud Stop 500”.
And how were such wonders so lovingly recreated? Via the talented folk over at Century 21 Films, the spiritual successor to the original Anderson production company. Having recreated several puppets for their 2014 documentary Filmed in Supermarionation, the team of talent staff subsequently formed a multi-faceted production company providing documentary services as well as miniature and other practical effects. In 2015 to celebrate the 50th anniversary of Thunderbirds, they produced three brand new episodes of the show using all the classic techniques. The series, produced in association with copyright holders ITV, was based upon three original 1960s voice recordings. With such talent available who else were Mammoth Screen, the producers of Endeavour, going contract to create the fictitious General Rock Renton and the Moon Rangers?
This possibly is the biggest and most complex, pop culture reference and homage to feature in Endeavour to date. However, I don’t see it as self-indulgent but an accurate portrayal of the public interest in science at the time. The real shows that the Anderson’s produced reflected and capitalised upon the optimistic attitude towards the space race. Therefore, having characters such as the Slaytons in Endeavour is a historically relevant. As for the Moon Rangers, for the casual viewer this was a nice period aside. For the Supermarionation aficionados, it was hog heaven. Miniatures, explosions, very familiar looking puppets and the voice talents of Justin Lee and the wonderful David Graham (Parker, Grandpa Pig and The Wise Old Elf). Even Century 21 Films director, Stephen La Rivière, got a cameo appearance as part of the puppet crew on the gantry. As a fan all I can really say is well done to all involved. You made one of my favourite shows, even better.
Emotes, the "Carlton Dance" and Copyright
Actor Alfonso Ribeiro has been told he cannot copyright the "Carlton Dance" his character performed in the hit US sitcom Fresh Prince of Bel-Air. Ribeiro, who played Will Smith's pretentious cousin Carlton Banks in the popular TV show, had tried to sue both Take-Two Interactive and Epic Games over use of the routine as an emote in the video games NBA2K16 and Fortnite. The US Copyright Office's denial of the claim was revealed in a motion to dismiss Ribeiro's lawsuit against Take-Two Interactive. Although a court is not bound by the determination, it is very likely that it will take it into consideration. A hearing on the motion to dismiss the lawsuit is scheduled for 18th March. If successful it will effectively end any current legal action taken by Mr Ribeiro and potentially set a precedence for any future lawsuits of this nature. Or will it?
Actor Alfonso Ribeiro has been told he cannot copyright the "Carlton Dance" his character performed in the hit US sitcom Fresh Prince of Bel-Air. Ribeiro, who played Will Smith's pretentious cousin Carlton Banks in the popular TV show, had tried to sue both Take-Two Interactive and Epic Games over use of the routine as an emote in the video games NBA2K16 and Fortnite. The US Copyright Office's denial of the claim was revealed in a motion to dismiss Ribeiro's lawsuit against Take-Two Interactive. Although a court is not bound by the determination, it is very likely that it will take it into consideration. A hearing on the motion to dismiss the lawsuit is scheduled for 18th March. If successful it will effectively end any current legal action taken by Mr Ribeiro and potentially set a precedence for any future lawsuits of this nature. Or will it?
We live in curious times when existing laws regarding copyright and the protection of intellectual property struggle to keep up with the digital age. The Ribeiro case reminded me of brouhaha from late 2017 when singer Taylor Swift sought to copyright phrases from her album Reputation "in order to use them on a wide range of merchandise that includes everything from guitar picks to t-shirts". And then we have the ongoing culture war between Star Wars fans and Disney, regarding fan films and the like. Regardless of which side of the debate you support, these situations highlight the paradox of popular culture. People absorb and the re-iterate the tropes and motifs that appeal to them, but unlike traditional mediums such as the written word, determining who is the “owner” of the source content is far harder. There may well have to be a recalibration of such things in the not too distant future and like any big legal change it may prove to be an uphill struggle and will have substantial consequences.
Which brings me back to video games and in particular emotes, that are so popular among players. I have no idea what the specific psychology is that makes these short-animated vignettes so enthralling, but gamers desire them and that is sufficient for them to be monetised and become valuable source of revenue to publishers. Furthermore, many of these emotes have their roots in pop culture, which makes Ribeiro case so interesting. Star Trek Online features a “Zombie” dance emote which obviously comes from Michael Jackson’s iconic Thriller dance routine. There’s also an “Unusual” dance emote that is suspiciously similar to the “Carlton Dance”. They’ve been there for a while and naturally haven’t garnered any attention as the MMO doesn’t have an audience comparable to that of Fortnite. But if these were to be removed from the game along with all the emotes in LOTRO, ESO and every other multiplayer title, then it would diminish the enjoyment of the games for a substantial group of players. It may not be a deal breaker for all, but the loss of emotes may well be an impediment for role-players. It would also mean a loss of revenue as so many emotes are granted via lootboxes.
If, for the sake of argument, emotes did become intellectual property and protected by copyright, then naturally some developers would remove them from their games to avoid paying potential licensing costs. Could such a situation lead to wider pop culture references becoming similarly subject to copyright law and eliminated from current products? Such a situation would certainly prove a headache for the likes of Blizzard and their flagship MMORPG World of Warcraft. We live in an age of increasingly bold business practices and a prevailing ethos of “if it can be monetised then do it”. Hence artists will look to all aspects of their work as a source of revenue, be it a dance unique to them, a catchphrase or even a style or aesthetic. And naturally video games as a “live service” want to include such things as emotes and cosmetic skins in their products. But although all parties like the idea of making financial charges, no one like to be on the receiving end of them. Ultimately, this all becomes a very difficult circle to square. I suspect that the Ribeiro case is not the last we shall here about this matter.
Project Blue Book (2019)
Many years ago, I use to rush home from school to watch Project UFO. Based loosely on the real-life Project Blue Book, this show from 1978 featured two U.S. Air Force investigators, Maj. Jake Gatlin (William Jordan) and Staff Sgt. Harry Fitz (Caskey Swaim) and their subsequent investigation into alleged UFO sightings. Sometimes there would be rational explanations and on other occasions, there was clearly extraterrestrial involvement. By the second season out protagonists experienced a close encounter of their own. It wasn’t the most densely plotted of dramas and was produced and presented in the idiom of mainstream television of the time. However, for a ten-year-old boy it had some excellent miniature work (Brick Price Movie Miniatures) and anything about UFOs was always a source of interest. There was also a great and very seventies theme tune by Nelson Riddle. So when I discovered that History (formerly The History Channel) had produced a science fiction drama series called Project Blue Book, I became somewhat nostalgic and equally intrigued.
Many years ago, I use to rush home from school to watch Project UFO. Based loosely on the real-life Project Blue Book, this show from 1978 featured two U.S. Air Force investigators, Maj. Jake Gatlin (William Jordan) and Staff Sgt. Harry Fitz (Caskey Swaim) and their subsequent investigation into alleged UFO sightings. Sometimes there would be rational explanations and on other occasions, there was clearly extraterrestrial involvement. By the second season out protagonists experienced a close encounter of their own. It wasn’t the most densely plotted of dramas and was produced and presented in the idiom of mainstream television of the time. However, for a ten-year-old boy it had some excellent miniature work (Brick Price Movie Miniatures) and anything about UFOs was always a source of interest. There was also a great and very seventies theme tune by Nelson Riddle. So when I discovered that History (formerly The History Channel) had produced a science fiction drama series called Project Blue Book, I became somewhat nostalgic and equally intrigued.
Set in the early fifties and loosely (now there's an understatement) based on the US government's real-life Project Blue Book investigations, the show centres on Captain Michael Quinn (Michael Malarkey) and Dr. Allen Hynek (Aidan Gillen). The pair are tasked by the US Air Force to investigate reports of UFOs and debunk them, or at least come up with rational explanations for them as a means to quash growing public concern. While Quinn, a career serviceman, doesn't care beyond carrying out his superiors’ instructions, the sceptical Hynek quickly becomes convinced that not everything is as it first appears. This brings him into conflict with General James Harding (Neal McDonough) whose involvement with the project is far more complex. Meanwhile, as Cold War paranoia spreads among the US population, Hynek's lonely wife Mimi (Laura Mennell) is befriended by a charismatic blonde Susie Miller (Ksenia Solo) who appears to be more than interested in her husbands work. As Quinn and Hynek investigate further cases, they encounter traumatised “encounter victims”, secret military experiments and are shadowed by a sinister man in black.
Having now watched the first six episodes of Project Blue Book, I do find myself somewhat conflicted with regard to the show. This is a high budget, quality production with great period detail, surprisingly good digital visual effects and a cast of reliable character actors. It ticks pretty much all the boxes you’d expect from this kind of TV show. Are there rational explanations for UFOs or is it all a government cover up? Are the military tinkering with recovered alien technology? Are extraterrestrials drawn to earth due to the human’s first tentative steps into space and the dawn of the nuclear age? Project Blue Book also adds some new elements such as focusing on Dr Hynek’s wife, who is frequently left alone and shut out of his work. The role of a “wife” from this era could easily sustain a drama in itself and is an interesting angle. So is the inclusion of Soviet spies in the local neighbourhood. Yet despite all these elements, it still feels like something is missing and then there is my over familiarity with this genre. Hence, I am still waiting for the show to reach a key moment where everything falls into place for me. At present each episode just increases the number of dramatic loose ends that are outstanding.
The old adage “there is nothing new under the sun” is particularly pertinent to television. However, the key to success when revisiting tried and tested territory, is to put a sufficiently new spin on things. Tell an old story from a new perspective, find new ways to explore and interpret the themes. Reverse roles, think outside the box and generally try not to simply do “more of the same”. So far there is precious little of this in Project Blue Book which seems to be falling into the standard, deep conspiracy plot device that was done to death in The X-Files. This leaves me with a choice to make. Cut my loses now and spend my time watching something else, or soldier on with the remaining episodes of season one (there are four more I believe) in the hope that it will improve and offer something new. I cannot say that I’m confident of the latter and I get frustrated with shows that chase their own tails or make it up as they go along (Lost and again The X-files). Still nostalgia is a powerful motivator and every now and then, Project Blue Book provides a fix. So I suspect I shall watch the remaining episodes and see if things improve, yet I have a nagging doubt that this may be the wrong choice.
New Ships, Keybinds and Voice Acting
There has been a degree of controversy over the Discovery Operation Pack that has recently been made available for purchase in Star Trek Online. The bundle featuring ships, bridge officers, cosmetic items and more is displeasing some core players who feel that it is over priced and lacks anything relevant for Romulan and Klingon races. Personally, I’m only interested in two specific items from the pack, such as the Tier 6 Gagarin Miracle Worker Battlecruiser and the combat pet Tardigrade but at present they cannot be purchased separately. So, I shall not be parting with any money at present. The Gagarin Miracle Worker Battlecruiser is relatively similar to the Tucker Tactical Miracle Worker Cruiser, which I already own. However, it is an improvement aesthetically speaking (a subjective point, admittedly), so for me the obvious compromise is to purchase the fleet version and forgo the unique space trait and settle for an additional console slot. As I’m not a high-end player, the look and feel of a ship has as much appeal to me as its stats.
There has been a degree of controversy over the Discovery Operation Pack that has recently been made available for purchase in Star Trek Online. The bundle featuring ships, bridge officers, cosmetic items and more is displeasing some core players who feel that it is over priced and lacks anything relevant for Romulan and Klingon races. Personally, I’m only interested in two specific items from the pack, such as the Tier 6 Gagarin Miracle Worker Battlecruiser and the combat pet Tardigrade but at present they cannot be purchased separately. So, I shall not be parting with any money at present. The Gagarin Miracle Worker Battlecruiser is relatively similar to the Tucker Tactical Miracle Worker Cruiser, which I already own. However, it is an improvement aesthetically speaking (a subjective point, admittedly), so for me the obvious compromise is to purchase the fleet version and forgo the unique space trait and settle for an additional console slot. As I’m not a high-end player, the look and feel of a ship has as much appeal to me as its stats.
Although not as bad as some MMOs, STO does suffer from a degree of skills bloat, which means that space combat can be somewhat of a “clickfest” at times. Therefore, a lot of players, especially those who pursue high DPS, use keybinds to facilitate the efficient activation of skills. There are third party tools that allow multiple abilities to be assigned to a single hotkey. Most people tend to use the spacebar for this, which can then be quickly used to activate each skill, one after the other. It certainly removes extraneous mouse movement and furious clicking but after some recent experimentation, I have decided return to the old school approach. Manually picking skills and making tactical decisions is half of the fun of space combat and automating this process robs the game of some of its allure, or at least for me it does. Oddly enough, while doing some research as to how to use keybinds and what software to use, I discovered that the console version of STO allows players to automate skills use, as well as weapons fire. On the PC version, only the latter is available. I wonder if Cryptic intend to address this disparity?
Finally, I read this week about allegations of sexual misconduct made against voice artists and actor Vic Mignogna. I am only familiar with the man through Star Trek Continues and his voice work in STO as Captain Isaac Garrett and was not aware that he was well known in the Anime community for his vocal talents. A few contributors to the STO subreddit have raised the question as to whether his dialogue should now be removed and replaced with an alternative actor. It certainly made me stop and think. I am by no means an advocate of kneejerk reactions, but I can also understand why companies, especially those based in leisure industries would want to distance themselves from such a situation until due process has run its course. It will be interesting to see what (if anything) developers Cryptic decided to do. Irrespective of Vic Mignogna’s respective innocence or guilt, the entire matter is escalating and potentially getting subsumed into the wider ongoing culture wars. #Animegate is sadly now a thing and as such I wouldn’t want to see that anywhere near STO or take root in its community.
Mirkwood, Enedwaith or The Great River?
Due to the nerfed levelling curve of Shadows of Angmar and Mines of Moria, I recently completed the Epic Story up to Volume II, Book 8: Scourge of Khazad-dûm and reached level 64 without any major problems. Hence, I wrote about preparing to play through the Siege of Mirkwood expansion. Content that I haven’t touched since its release in 2009. Well to cut along story short I completed the prologue and travelled over the Anduin to the Malledhrim bridgehead and quickly remembered why I disliked the dark and dingy forest with its densely packed mobs. So I revised my plans and decided to go to Enedwaith as I was the right level to revisit that zone. I was not a big fan of the story, finding the feuds between Dunlending clans and the machinations of Saruman somewhat of a distraction. However, I did like the sub-plot about the Dwarf Nâr at the library at Zudrugund to be more engaging, so I headed South, rather than striking East.
Due to the nerfed levelling curve of Shadows of Angmar and Mines of Moria, I recently completed the Epic Story up to Volume II, Book 8: Scourge of Khazad-dûm and reached level 64 without any major problems. Hence, I wrote about preparing to play through the Siege of Mirkwood expansion. Content that I haven’t touched since its release in 2009. Well to cut along story short I completed the prologue and travelled over the Anduin to the Malledhrim bridgehead and quickly remembered why I disliked the dark and dingy forest with its densely packed mobs. So I revised my plans and decided to go to Enedwaith as I was the right level to revisit that zone. I was not a big fan of the story, finding the feuds between Dunlending clans and the machinations of Saruman somewhat of a distraction. However, I did like the sub-plot about the Dwarf Nâr at the library at Zudrugund to be more engaging, so I headed South, rather than striking East.
Enedwaith is a curious zone, made when the game transitioned to hybrid, free-to-play back in 2010. It looks very different from other regions and the terrain looks less European and more like North America in places. But frankly it makes for a nice break after trekking through Moria. So I started moving through the various quest hubs which are very linear. The XP flowed freely, and I soon gained another three levels. Yet due to my rather orderly approach to life, my subconscious started nagging me for bypassing Mirkwood. I must admit, I also got a little bit frustrated with some of the quests which did that classic LOTRO thing of sending you backward and forwards, continuously between two remote points, on a endless spree of spurious errand. Hence, I decided to move on, but did I go and join the Malledhrim? No, I promptly went to The Great River area, where the initial level 70 content gave out substantial XP.
Naturally, if I had remained playing on the Legendary Server none of this would have been an issue but I stand by my choice to roll a new alt on Laurelin. So as a compromise, I have decided to do some skirmishes (the current event is good motivation for this) and then mop up some outstanding deeds in lower level zones. Hopefully this should get my Guardian up to 70 and then I shall bite the bullet and follow just the Epic Story through Southern Mirkwood. Then it will be time to tackle the journey of the Grey Company through Enedwaith and Dunland. However, I do find this “agony of choice” malaise to be a curious thing. I guess the reason I’ve never encountered it before is because I don’t usually level alts and have previously just played through all content on my primary character, as it was released. The fact that there weren’t options and choices in the past is why I simply blitzed through what was on offer. I also think that it’s preferable for me to stick with content in the order it’s intended, because having played quite intensively since last August, the narrative has made a lot more sense. You notice how minor characters reappear in the story later and tend to have more significance than you think. So to recap, I’m bound for Dol Guldur but reserve the right to contradict myself and change my mind, because gaming is about enjoying yourself.
Further Iniquities of the Video Games Industry
If you are naïve enough to think that the video games industry is an equal partnership between those a pursuing an artistic vision and their benevolent financial benefactors, then todays news that Activision Blizzard is laying off approximately 800 staff despite a enjoying a “record year”, must have comes as a surprise. For the rest of us who are fully conversant with the iniquities of the business, this sad news has an air of tedious inevitability to it. If you want a coherent distillation of the unsustainability of the triple A games industry, then Jim Sterling’s latest episode of The Jimquisition pretty much nails it. Simply put the current levels of revenue growth seen of late by a lot of the major publishers cannot be maintained and will eventually end in a hard crash, further job losses and a migration of venture capitalists looking to make a killing somewhere else. For those who work in games development it means job insecurity, stress and financial worries. For gamers it could lead to popular titles being shutdown because they don’t make “sufficient” revenue.
If you are naïve enough to think that the video games industry is an equal partnership between those a pursuing an artistic vision and their benevolent financial benefactors, then todays news that Activision Blizzard is laying off approximately 800 staff despite a enjoying a “record year”, must have comes as a surprise. For the rest of us who are fully conversant with the iniquities of the business, this sad news has an air of tedious inevitability to it. If you want a coherent distillation of the unsustainability of the triple A games industry, then Jim Sterling’s latest episode of The Jimquisition pretty much nails it. Simply put the current levels of revenue growth seen of late by a lot of the major publishers cannot be maintained and will eventually end in a hard crash, further job losses and a migration of venture capitalists looking to make a killing somewhere else. For those who work in games development it means job insecurity, stress and financial worries. For gamers it could lead to popular titles being shutdown because they don’t make “sufficient” revenue.
This problem is hardly unique to the video games industry, and you’ll find many other big corporations acting in a similar fashion. But the due to the social nature of gaming, many of the associated businesses find themselves confronting their demons in a far more public arena. As a result, today’s news seems to be appearing on even the most casual gamers radar. My Twitter timeline has been full of it this evening and there’s a lot of sympathy and “finger wagging” going on. This is essentially a good thing, as it means people care and recognise that behind the headlines there’s a very real human element to it all. 800 individuals are now directly affected by this and are having to actively seek new employment. Hopefully all concerned will secure new positions and do so with minimum inconvenience, but even such a positive outcome only addresses the symptoms and not the root cause of the problem.
Few businesses are ethical by default. Hoping that the “bad ones” will change their ways is a fool’s hope. Hectoring them from the wings is also a failing strategy as it simply becomes a PR battle. We sadly live in an age of spin doctors and “alternative facts” so being right is no guarantee of winning. The only real solution to this problem is a political one. Workers in the industry need to unionise, lobby for regulatory legislation and employer rights. All of which are an anathema to many workers (screams of “oh no, that’s socialism”), because such concepts have been maligned by decades of increasingly strident partisan politics. Sadly, modern governments are far too deferential towards corporate lobbying, so you cannot rely on them to universally embrace employee protection. So if people really want change then they must robustly campaign for it through collective bargaining, engaging with their political representatives and building up a head of steam. They must also promote such activities positively in the media to gain public support and win the moral high ground. The alternative is to simply complain about corporate greed, while piously hoping that you don’t get trampled underfoot by the likes of Activision Blizzard.
"TV Poverty"
Here’s a quick history lesson for those too young to remember or who reside elsewhere. During the seventies, there were only three analogue, terrestrial television stations available in the UK. BBC One, BBC Two and ITV. Actually, ITV at the time was a network of separate regional commercial television channels. Television stations usually only broadcast for 16 or so hours a day and home video recorders only started to become common place towards the end of the decade. Therefore, as a ten-year-old in 1977, if I wanted to watch something, I had to be physically present to do so. Furthermore, as there was at that time only one television set in the home and I was a child, my viewing was pretty much at my parent’s pleasure and discretion. “Viewing rights” were often used as a bargaining chip. But there were some positive sides to viewing TV in this fashion. Popular programs enjoyed viewing figures unheard of today. And television was a far more shared experience than it is now. Saturday evening’s episode of Doctor Who was naturally a major topic of discussion at school the following Monday. If you missed it or any other “essential viewing, you were effectively a social outcast.
Here’s a quick history lesson for those too young to remember or who reside elsewhere. During the seventies, there were only three analogue, terrestrial television stations available in the UK. BBC One, BBC Two and ITV. Actually, ITV at the time was a network of separate regional commercial television channels. Television stations usually only broadcast for 16 or so hours a day and home video recorders only started to become common place towards the end of the decade. Therefore, as a ten-year-old in 1977, if I wanted to watch something, I had to be physically present to do so. Furthermore, as there was at that time only one television set in the home and I was a child, my viewing was pretty much at my parent’s pleasure and discretion. “Viewing rights” were often used as a bargaining chip. But there were some positive sides to viewing TV in this fashion. Popular programs enjoyed viewing figures unheard of today. And television was a far more shared experience than it is now. Saturday evening’s episode of Doctor Who was naturally a major topic of discussion at school the following Monday. If you missed it or any other “essential viewing, you were effectively a social outcast.
Contemporary viewing habits have changed radically in the last forty years. We may all still watch popular shows, but we often do it in different ways because there is no longer just one single path of access. There are still viewers that like to watch a show as it is broadcast. Other will record and watch later using some form of PVR. Then of course there is VOD and other streaming services. And to complicate things further the market is fragmented, and a lot of content is specific to a platform or outlet. If you do not have access to particular channel that is showing the latest episodes of your favourite show, then you may have to wait a year or more for older seasons to be syndicated to a station you do have. But this doesn’t always happen nowadays especially with shows that have been created specifically for streaming services such as Amazon Prime and Netflix. In such circumstances if you wish to see Stranger Things and are not a Netflix subscriber, then your only recourse is to purchase a boxset on DVD or Blu-ray. However, due to licensing issues, some of these shows do not get released on home media.
Despite living in a time where there is a wealth of quality television to watch, the way much of it is tied to specific platforms and outlets, means that if you wish to legally view a dozen or so of the most popular show, you have to subscribe to multiple services. For example, currently in the UK if you want to watch Game of Thrones, The Haunting of Hill House, Jack Ryan and Star Trek: Discovery then you’ll need to subscribe to either a satellite, cable or IPTV service such a Sky, Virgin of BT TV as well as Amazon Prime and Netflix. That’s a monthly spend of about £65 or so. Considering the current economic climate in the UK, that is not a sum of money that every household can or wishes to pay. Hence people will either simply opt for what they can afford or result to piracy. The latter is a big subject and not one I intend to address in this post. And so there exists a situation where if you only have access to free-to-air, terrestrial television via either a rooftop aerial or Freesat, you are going to have limited or no access to what may be deemed as premium content. In fact, I have seen the phrase “TV Poverty” used in this context, on a television marketing website.
Returning briefly to my reminiscences from the seventies, rightly or wrongly, socio-economic distinctions were often made here in the UK, according to which TV channels you watched and what were your favourite shows. Nowadays, I’d say that perhaps what platforms you have access to would be a more contemporary indicator. I’m certainly not going to suggest that having limited access to specific TV content is an impediment or social handicap in some way, but it does reflect a growing societal divide. However, in the UK if you only have access to terrestrial TV, then at least that includes BBC content, which is still of a very high standard, despite what some quarters may say. Yet, while recently visiting a family member in hospital, I spent some time waiting in “The Family Room” which had a bog-standard LCD TV with a simple aerial connection. It was a reminder that much of the free content is old and presented in the poorest of fashions. IE numerous onscreen graphics, material shown in the wrong aspect ratio and of course twelve to eighteen minutes of advertisements in each hour of content. It is does not make for an enjoyable viewing experience. Although the phrase “TV Poverty” does seem somewhat hyperbolic, it does indicate that there are clear and legitimate economic distinctions in the industry. Furthermore, I suspect they’ll become more prevalent in the years ahead.
Contagion (2011)
Director Steven Soderbergh is no stranger to complex narratives, shot in a near documentary style. And this is exactly this approach that he brings to bear upon Contagion. A movie that beneath its contemporary trappings, still has the air of an all-star disaster movie. Unlike so many current films which suffer from underdeveloped characters due to poor writing, Soderbergh makes conscious decision to focus more upon the mechanics and nature of a global pandemic than the main protagonists. This somewhat detached approach may not be to all viewers liking. But the format starkly scrutinises and catalogues events in an honest fashion and doesn’t shy away from the realities of the situation or get side tracked by the emotional aspects of the ongoing human tragedy.
Director Steven Soderbergh is no stranger to complex narratives, shot in a near documentary style. And this is exactly this approach that he brings to bear upon Contagion. A movie that beneath its contemporary trappings, still has the air of an all-star disaster movie. Unlike so many current films which suffer from underdeveloped characters due to poor writing, Soderbergh makes conscious decision to focus more upon the mechanics and nature of a global pandemic than the main protagonists. This somewhat detached approach may not be to all viewers liking. But the format starkly scrutinises and catalogues events in an honest fashion and doesn’t shy away from the realities of the situation or get side tracked by the emotional aspects of the ongoing human tragedy.
Although the movie is driven by the technicalities of the narrative, there is still a strong ensemble cast. This includes that includes Marion Cotillard, Bryan Cranston, Matt Damon, Laurence Fishburne, Jude Law, Gwyneth Paltrow, Kate Winslet, and Jennifer Ehle. But Contagion is mainly concerned with the logistics of managing an outbreak of global proportions. It also scrutinises the governmental procedures and protocols for dealing with public health issues. The story interestingly draws parallels between the spread of the virus and the resulting panic via social media and Internet. It clearly demonstrates that the weak link in any national strategy for containing a pandemic is the public themselves. The film excels at showing the transference of germs via the most innocuous means. You could also argue that the original source of contamination, made via a credit card, is a broader metaphor itself.
There are some very modern themes included into the story. The idea of blogging and social networks as a potentially negative force (within the confines of the plot) is a clever concept. There is also an exploration of homeopathy and the trend among certain areas of society to reject science and the look for solace elsewhere. The juxtaposition between the proliferation of technology and its failure to cope with the growing public health issue is handled well. Although a lot of traditional ideas and imagery associated with this subgenre are used, they are dealt with in a subtly different fashion from other movies of this idiom. The military response, the use of mass graves and the subsequent social unrest are not skewed by any moral stance. They are simply shown as cause and effect.
There were allegations of racism from some quarters, upon the film’s release, but I do not think this is the case. The fact that the virus originates in the Far East, simply reflects genuine issues that real countries face due to rapidly growing populations and industrialisation. The plot reflects genuine health scares of recent years and does not carry any subtext or message that I was aware of. Viewers have also questioned the irrational behaviour of cast, especially those representing the wider public. Has not history continuously shown us that people often make poor decisions in times of trouble? I would also argue that this is a plot device which enables the narrative to move forward and hence is a necessary evil.
Unlike Wolfgang Petersen’s Outbreak, Contagion purposely avoids an excess of human drama among the wider catastrophe. Rather than grim scenes of carnage, the film builds tension through depicting a credible disaster and remind viewers of the ongoing battle against the microscopic world that society fights every day. I enjoyed Steven Soderbergh’s somewhat cold approach and certainly did not feel that Contagion was a hectoring faux science documentary, as some is labelled it. This is not Irwin Allen. There are no noble sacrifices, broken relationships fixed upon the way, or valuable lessons learned about life. It is Soderbergh’s refusal to add any cinematic sweetener to the proceedings that makes Contagion so effective.
LOTRO: Ill Omens Skirmish Event
The following was included in last Monday’s LOTRO patch notes (Update 23.3 Release Notes). February 7th brings a new event: “Ill Omens” to Skirmishes throughout the game! Evil stirs in Minas Morgul, and harbingers of the Dead City spread across Middle-earth! Each day, your characters will have the chance to participate in a Skirmish Assault, which will send them to specific sets of existing Skirmishes in search of dangerous new foes. Characters who complete a Skirmish Assault will earn a special currency that can be exchanged for new equipment and cosmetic rewards. As for the most dedicated Skirmishers of Middle-earth, there are several new Deeds and titles to be earned during “Ill Omens”. In addition, characters who complete twelve Skirmish Assaults while the event is active will earn a powerful cap-level statted reward.
The following was included in last Monday’s LOTRO patch notes (Update 23.3 Release Notes). February 7th brings a new event: “Ill Omens” to Skirmishes throughout the game! Evil stirs in Minas Morgul, and harbingers of the Dead City spread across Middle-earth! Each day, your characters will have the chance to participate in a Skirmish Assault, which will send them to specific sets of existing Skirmishes in search of dangerous new foes. Characters who complete a Skirmish Assault will earn a special currency that can be exchanged for new equipment and cosmetic rewards. As for the most dedicated Skirmishers of Middle-earth, there are several new Deeds and titles to be earned during “Ill Omens”. In addition, characters who complete twelve Skirmish Assaults while the event is active will earn a powerful cap-level statted reward.
I finally got around to logging into LOTRO today, as I’m preparing my level 64 Guardian to enter Southern Mirkwood. So, after spending some additional points on my skirmish soldiers to boost their statistics, I decided to try the Ill Omens event. A new NPC, Nedda Pinleaf, has been added to the Southern Bree skirmish camp (as well the ones in the Twenty-first Hall and at Ost Galadh) who bestows both a daily and a meta quest. Effectively you’re required to run four out of five specified skirmishes and defeat the “Harbingers of the Dead” that now appear as an additional encounter. Completing this daily event earns you Tokens of Ill Omens which can be used like any other barter currency in the game. As ever the rewards are mainly cosmetic offering pets, cloaks and housing items. After completing 12 daily events successfully, players are rewarded with an Epic Level Essence of their choice.
I subsequently played through Defence of the Prancing Pony on my Guardian (with Archer Skirmish Soldier) and then Thievery and Mischief on my Lore-master (with Warrior Skirmish Soldier) to determine what (if any) difference adding the “Harbingers of the Dead” has made to these skirmishes. Although it is enjoyable to have an additional enemy included in the proceedings, it doesn’t significantly impact upon the difficulty. So far, the Harbingers that I have fought have been statistically comparable to standard encounter bosses. However, they may still present a challenge to the ill prepared player. Furthermore, it should be noted that for the daily quest to be completed you must undertake the required skirmish at your current level. If you reduce the difficulty level via the Instance Finder, then the quest will not register as completed, despite a successful outcome.
I have always enjoyed the Skirmish system in LOTRO and therefore welcome this event that highlights their presence in the game. Skirmishes are great for social, group gaming but can also provide a quick fix for the solo player who wants to get things done. The cosmetic rewards that the Ill Omens event offers are not that important to me, but I do welcome the opportunity to earn some high-end essences. At the current level cap, tweaking your build with replacement essences can make some interesting differences. Plus running skirmishes earns skirmish marks which are invaluable when levelling alts, due to their account wide availability. My Guardian is currently decked out in level 63 skirmish vendor gear. Plus, I think it is prudent to have regular events in an MMO, to keep players engaged. Being able to set achievable short terms goals is a mainstay of my approach to gaming
Are You a Team Player?
There’s an interesting post over on Tobold’s Blog, regarding how he personally had a successful game in World of Tanks, yet because his team mates didn’t perform as well, they failed to meet the overall group reward criteria. This all too familiar anecdote got me thinking about teams and group play mechanics that are still prevalent in many game genres. Over the years I have tempered my attitude towards teaming up with other gamers and being dependent on them to achieve a collective goal. I have moved from a social gaming mindset born out of my initial altruistic experiences playing MMOs, to a far more transactional outlook. I suspect that I’m not the only player who currently thinks this way.
Unless your team is full of incompetent fools…
There’s an interesting post over on Tobold’s Blog, regarding how he personally had a successful game in World of Tanks, yet because his team mates didn’t perform as well, they failed to meet the overall group reward criteria. This all too familiar anecdote got me thinking about teams and group play mechanics that are still prevalent in many game genres. Over the years I have tempered my attitude towards teaming up with other gamers and being dependent on them to achieve a collective goal. I have moved from a social gaming mindset born out of my initial altruistic experiences playing MMOs, to a far more transactional outlook. I suspect that I’m not the only player who currently thinks this way.
I suspect that the issue that Tobold faced in World of Tanks, was down to auto-grouping and teaming up with random players. I have had similar experiences in Star Trek Online when joining Task Force Operations. Although there is a Team Chat facility it tends not to get used in any useful fashion. Most of the PUGs I join tend to avoid discussing any strategy and assume that players know the accepted method for efficiently clearing the content. Naturally there are times when it’s a free for all and somewhat chaotic and on such occasions a suboptimal outcome is most likely. Such is the nature of PUGs as opposed to grouping with friends and playing co-operatively in a more organised and co-ordinated fashion.
A decade ago, games such as LOTRO required much of the content to be played as a group. Plus, MMOs still had an air of novelty to them and the community was possibly more socially orientated. I have written previously that this was a period of my life that lent itself to such gameplay. I had both the time and inclination to group, form a plan and play towards shared goals. In the case of LOTRO, we had a lot of high tier players in our kinship who were happy to group. So most of the time, instances and, raids usually went well. Therefore, if we failed, it wasn’t a major blow. Sadly, that mindset is no longer the default position. Time is now a premium and so it is desirable to ensure that any group activity is efficient, resulting in a positive outcome.
Gaming has changed in many ways in the last decade. For a while there was an egalitarian air to the MMO genre. The social dynamic was embraced, extolled and acted upon. But as gaming became more commercial and more “business like”, that community vibe slowly dissipated. That’s not to say it doesn’t exist. There are still plenty of social guilds and player who do everything as a team. There just seems to have been a major pendulum swing. I still join guilds in other games I play but they are a means to an end, rather than a specific social choice. Auto-grouping has become my default means of grouping because it’s quick and easy. Overall, I prefer to play solo and endeavour to do as much as I can that way. The main reason for this is time and not wishing to be dependent on others. Grouping despite its social benefits is not always an efficient use of game time.
I guess whether you’re a team player or not, comes down to several things. Are you disposed to such behaviour in real life? Do you play to specifically to interact with people? Do you feel that it’s tactically better to play as a group? Whatever the reasons, I’m not entirely sure that game developers looks at this social imperative in the same way as they use to. Auto-grouping is really just auto-facilitating. It simply allows players to loosely co-operate in the most basic of terms. It’s also a lot easier to implement in a game and thus leads to the ongoing evolution or dilution, depending of your perspective, of the MMO genre. And I’m not much help because I’m on the fence with this issue. There are occasions when I have the time and inclination, that I want full blown, old school group play. But most of the times, I just want to get stuff done via the path of least resistance. What about you? Are you a team player?
Regulate Online Influencers, Community Specialists and Game Ambassadors
Thomas Cheung (AKA Elvine), an employee of Hi-Rez game studio and a partnered Twitch streamer, was arrested last weekend in Brookhaven, Georgia in connection an ongoing child sex investigation. Police charged him with using a computer service “to seduce, solicit, lure or entice” a minor, which is a felony in the state. Cheung is a prominent member of the World of Warcraft community and is generally a known "influencer" in specific gaming quarters. As a result of the ongoing investigation and charges, his corporate sponsors, SteelSeries, have withdrawn their support and Hi-Rez studios are distancing themselves from Cheung who was a community specialist for both Smite and Paladins Strike. Obviously, it is not appropriate to speculate and comment unduly on an ongoing criminal investigation, but I would like to articulate some wider points. With an issue as harrowing and sensitive as child sex abuse, it is understandable to tread cautiously and choose one’s words wisely. We certainly wish to avoid arbitrary “knee jerk” reactions as these tend to do more harm than good. But we must not shy away from big issues such as this although it is something that the gaming industry has been doing for too long.
Thomas Cheung (AKA Elvine), an employee of Hi-Rez game studio and a partnered Twitch streamer, was arrested last weekend in Brookhaven, Georgia in connection an ongoing child sex investigation. Police charged him with using a computer service “to seduce, solicit, lure or entice” a minor, which is a felony in the state. Cheung is a prominent member of the World of Warcraft community and is generally a known "influencer" in specific gaming quarters. As a result of the ongoing investigation and charges, his corporate sponsors, SteelSeries, have withdrawn their support and Hi-Rez studios are distancing themselves from Cheung who was a community specialist for both Smite and Paladins Strike. Obviously, it is not appropriate to speculate and comment unduly on an ongoing criminal investigation, but I would like to articulate some wider points. With an issue as harrowing and sensitive as child sex abuse, it is understandable to tread cautiously and choose one’s words wisely. We certainly wish to avoid arbitrary “knee jerk” reactions as these tend to do more harm than good. But we must not shy away from big issues such as this although it is something that the gaming industry has been doing for too long.
In real life, any significant gathering of people sadly attracts criminality and predators. In the UK the Police regularly remind people attending events such as carnivals, concerts, or even demonstrations to be mindful. Furthermore, it has also become apparent that organisations that deal with people, especially those who are marginalised or vulnerable, similarly attract of percentage of individuals whose motivations are far from good. Hence, we saw last year a scandal involving the Red Cross and a small percentage of their aid workers who were also exploiting sexually the very people they were supposed to be helping. And of course, any social or sporting activity that involves children has to be especially careful as to who they employ. I myself have volunteered to do charitable work in the past and had to give plenty of advance notice to afford the organisers time to do suitable background checks.
Due to some very hard and tragic lessons in recent years, dealing with others or representing an organisation in a public environment has to be regulated, policed and reviewed to ensure the safety and welfare of all parties. We as a society have reticently grown to accept this. Many of us don’t want to think the worst of our teachers, social workers, sports coaches or scout leaders by default, but it is irresponsible not to make provision to ensure that predators don’t slip through the net. But although this sort of social auditing has become common place in the real world, it still seems to be neglected, overlooked or in some instance deliberately sidelined online. Gaming and other internet-based leisure industries still maintain a close and profitable relationship with third party “influencers”. Tapping into popular social media personalities and having them become ambassadors for your game or service is immensely beneficial. Yet it is becoming increasingly clear that many of these affiliate staff are not in anyway scrutinised, checked or held to any sort of standard or accountability. Such a rash policy is inevitably going to end in tears. Perhaps it already has and we’re simply going to find out when the fallout becomes public knowledge.
Big business seldom does the right thing as a default choice. Yes, there are a few examples of ethical companies out there, but I am not disposed towards thinking this is the norm. Far from it. Which is why in the real world we have regulatory bodies, legislation and processes that ensure that business does the right thing, whether they like it or not. It is time that similar institutions and procedures are introduced to ensure that online businesses and communities are held to a similar degree of accountability. It is bad enough that a games developer can “unwittingly” associates itself with Twitch Streamer who turns out to be a racist, because they could be bothered to invest in a more formal employment relationship which would guarantee security checks. But potentially enabling a sexual predator for similar reasons of “fiscal prudence” and general indifference, a disgraceful nadir in free market irresponsibility. And for those “libertarians” that eschew any governance on principle, consider this. If the games industry doesn’t get its house in order voluntarily or embrace measured changes, they may face the worse kind of panic legislation and witch hunt culture next time something really bad happens. If you make money off the backs of a community that you cultivate and nurture, you have a duty of care, especially so if that community includes minors. It infuriates me that online business, especially gaming is always playing catch up due to having dodged real-world rules. Redress the balance and proactively put this situation right.