Yet More Politics and Video Games
Setting aside Jim Sterling’s showmanship, which may not be to everyone’s taste, he is consistently astute in his ongoing analysis of the Triple A Video Games Industry. Today’s episode of the Jimquisition addresses how major publishers are using political and social issues as the basis for the plots of many of their most popular franchises, while simultaneously denying any political stance or affiliation. He highlights how Terry Spier (the creative director for Red Storm Entertainment who developed The Division 2), and David Cage (the writer and director of Detroit: Become Human), have tied themselves in knots claiming their games are apolitical. It makes for interesting viewing and as ever Sterling’s arguments are compelling and sound. Furthermore, it shows that all the vices and ethical failures of traditional leisure industries such as TV and movies, inevitably bleed into the video games. Namely, wanting to reference “grown up” subjects without being hampered by their accompanying baggage.
Setting aside Jim Sterling’s showmanship, which may not be to everyone’s taste, he is consistently astute in his ongoing analysis of the Triple A Video Games Industry. Today’s episode of the Jimquisition addresses how major publishers are using political and social issues as the basis for the plots of many of their most popular franchises, while simultaneously denying any political stance or affiliation. He highlights how Terry Spier (the creative director for Red Storm Entertainment who developed The Division 2), and David Cage (the writer and director of Detroit: Become Human), have tied themselves in knots claiming their games are apolitical. It makes for interesting viewing and as ever Sterling’s arguments are compelling and sound. Furthermore, it shows that all the vices and ethical failures of traditional leisure industries such as TV and movies, inevitably bleed into the video games. Namely, wanting to reference “grown up” subjects without being hampered by their accompanying baggage.
What many find distasteful is not so much the “having your cake and eating it” attitude, but the underlying cynicism. Game publishers are not just sitting on the fence in this fashion to avoid having to take a stance on complex socio-political issues but doing so because they broadly have no opinion. Ubisoft is not interested in the implosion of western politics or the issue of gun control. Sony Interactive doesn’t have an agenda with regard to racial or gender oppression. But both are happy to exploit them for financial gain. Problems that real people face every day are simply a means to an end and if it became fiscally prudent to abandon such subjects, then I’m sure these companies would do so without hesitation. I am reminded of the concept of exploitation movies and how they differ from films that genuinely explore a subject. Think Penitentiary (1979) versus I Am a Fugitive from a Chain Gang (1932).
It has been argued that game publishers are pursuing a “politically neutral” policy to avoid controversy with specific online groups and avoid a #gamergate style debacle. Certainly the hostility of certain sectors of the video games community is problematic. But I suspect this claim is spurious, as it is founded upon an assumption of ethics. Something that it conspicuous by its absence in the Triple A video games industry. So once again we return to the myth of keeping politics out of gaming and how those who advocate such a position either don’t understand its inherent contradiction, or in the case of the game publishers, simply don’t care. Why let facts and honesty stand in the way of a dollar? And the last point actually highlights how unnecessary this stance is. Even if the publishers admitted to a political perspective, I doubt it would greatly harm sales. Not all genres are dependent upon their narrative to sell. Plus gamers per se suffer acutely from cognitive dissonance.
12 Years of Blogging
In March 2007 I had just started a new contract with Hewlett Packard working on a major office relocation for HM Land Registry. To cut a long story short there were quiet periods in-between the bouts of organised chaos and as I was desk bound, I decided to write a blog to maintain the illusion of being busy. I’ve always enjoyed writing so when the internet came along it seemed logical to use it as a platform. I created several HTML fan pages in the late nineties but when blogs started to become “a thing” I immediately jumped on that band wagon. Prior to 2007 I had created and abandoned several blogs, mainly because I couldn’t find the right subject to maintain my interest. However on this occasion, I decided to go with the old adage “write what you know” and chose to share my life long passion for movies. So I created an account with the now defunct platform of blog.co.uk, called my blog Did I Pay to See That? and have not stopped writing since.
In March 2007 I had just started a new contract with Hewlett Packard working on a major office relocation for HM Land Registry. To cut a long story short there were quiet periods in-between the bouts of organised chaos and as I was desk bound, I decided to write a blog to maintain the illusion of being busy. I’ve always enjoyed writing so when the internet came along it seemed logical to use it as a platform. I created several HTML fan pages in the late nineties but when blogs started to become “a thing” I immediately jumped on that band wagon. Prior to 2007 I had created and abandoned several blogs, mainly because I couldn’t find the right subject to maintain my interest. However on this occasion, I decided to go with the old adage “write what you know” and chose to share my life long passion for movies. So I created an account with the now defunct platform of blog.co.uk, called my blog Did I Pay to See That? and have not stopped writing since.
There are posts elsewhere on this site recounting the circumstances of how the various blogs I’ve run over the years have morphed into Contains Moderate Peril. Certainly the decision to consolidate all my writing projects in one location was the right choice and I marvel at the fact that I’m still regularly writing. But although it can be difficult at times to sit and create content, I find it far more unsettling not to do so. Writing is not only a passion for me but an indispensable form of therapy. The wider world is in a state of flux and the UK seems to be facing an existential crisis at present. Then there’s my own personal situation as I address my ageing parents caring issues. Being able to process all these complexities through the medium of writing is invaluable. I also enjoy the musings and thoughts of others, especially those bloggers that still maintain an in-depth writing style and tackle the bigger issues. I also like the sense of community. It’s still there although it has shrunk in size over time.
While reflecting upon over a decade of blogging, I have concluded that Contains Moderate Peril has certainly peaked and has already had its fifteen minutes of fame. In 2014 the blog and podcast were established in the LOTRO community and among the circle of MMO bloggers. The numbers were good, in fact the volume of website traffic was such that a more expensive hosting package was required. Something I couldn’t afford. However, I was offered sponsorship from HostOnePlus which was both welcome and a compliment. Certainly after migrating the site the statistics reflected the biggest audience I’ve ever had. But as ever, life has a habit of changing things. I was beginning to suffer from burnout and felt it was time for a break. A year later I temporarily stopped blogging and parted ways with HostOnePlus. I resumed again after a short break and relocated Contains Moderate Peril to Squarespace but the forward momentum was lost. Perhaps that was a good thing in a way, as I returned to writing for pleasure, rather than worrying about growth.
When I talk to friends and colleagues and tell them about my writing, I’m often asked if I regret sinking so much of my time into my “hobby”. The answer is always a resounding “no”. I’ve met many people through blogging and podcasting and I put great stock in such friendships. Writing has not only led to me reading more but it has also exposed me to far more diverse content. Maintaining a blog has also meant that I have learned new technical skills and improved how I communicate. And its also been a lot of fun. Riffing off other blogger’s content, exchanging ideas, even agreeing to disagree (something that so many people have forgotten how to do these days), has all been a positive experience. As to the future, I see no reason to stop writing, although there will be interruptions from time to time, brought about by the reality of my life. In the meantime its business as usual. I have three posts outstanding and I’ll get on with them, once I’m done looking at that bird on Mrs Coltart’s roof.
Thoughts on Work Part 1
During the course of my career (1986 – 2016) I have worked in numerous complex social environments. I worked for the UK civil Service and saw the final days of very traditional, formal employment hierarchy. There were people with academic titles such as Doctor or Professor and there were also those with honorary monikers such as Sir. I even met an ex-army officer who clung to the old school etiquette of still being referred to by his former military rank (which was Captain). I was later employed at the London corporate headquarters of a global Indian company. It was fascinating to see the cultural differences along with the class structure and prevailing social dynamics. Over 30 years, I’ve worked for numerous high-profile organisations such as HP, Fujitsu Siemens and Symbian as well as other smaller businesses. All provided gainful employment, acceptable financial remuneration and an opportunity to learn more. However, all of them suffered from two of the most common faults found in contemporary employment; namely office politics and problematic members of staff.
During the course of my career (1986 – 2016) I have worked in numerous complex social environments. I worked for the UK civil Service and saw the final days of very traditional, formal employment hierarchy. There were people with academic titles such as Doctor or Professor and there were also those with honorary monikers such as Sir. I even met an ex-army officer who clung to the old school etiquette of still being referred to by his former military rank (which was Captain). I was later employed at the London corporate headquarters of a global Indian company. It was fascinating to see the cultural differences along with the class structure and prevailing social dynamics. Over 30 years, I’ve worked for numerous high-profile organisations such as HP, Fujitsu Siemens and Symbian as well as other smaller businesses. All provided gainful employment, acceptable financial remuneration and an opportunity to learn more. However, all of them suffered from two of the most common faults found in contemporary employment; namely office politics and problematic members of staff.
When I first started working, I embraced the reality of being the most junior member of staff. That’s not to say I liked it, because I didn’t. But you don’t just turn up to a job at the age of 18 and expect to know everything and go straight to the top of the pay scale. So, I listened, learnt and did what I was contracted to do. But it quickly became apparent that like everything else in life, the work environment was not a level playing field and did not function on logic or even merit. Being competent and reliable was not enough. If you wanted to get ahead it often came down to who you knew, favours owed or cashed in and whether your face fitted. I won’t go on but I’m sure that anyone who has the merest inkling as to what I’m like as a person will know that none of this sat well with me. The old boy network, office politics, dealing with the management bully is all bullshit as far as I’m concerned. I went to work to do my job and do it to the best of my ability. I’d also be civil and diplomatic, not always through choice, but because it made the process more efficient. But this not the way work is by default. All jobs end up employing a percentage of those who cannot or will not do what their contracted to do. And certain types of jobs and position attract the emotionally and socially dysfunctional.
Over the course of my working life, for every three pleasant and agreeable work colleagues, I’d always find another who was either a bully, institutionally racist (or some other kind of irrational prejudice), incompetent or basically just a shit who wanted to make those that they could, utterly miserable. As I’m not a big fan of monolithic hierarchies and chains of command, I looked to see if I could find a means by which I could insulate myself from the iniquities of the modern work place. I ultimately resolved these issues by changing disciplines, electing to move from admin and management, to working in IT. Furthermore, I did this at a time when there was a rapid growth in technology in the workplace. Because I enjoyed this line of work and thrived in it, I progressed from old school, hands on, first line support to IT management and all that came with it. Procurement, change management, network planning, security and recruiting staff for the IT department. The latter was a key element to job satisfaction. I’ve always been happy to be a team player. But it’s much better when you get to pick the team yourself and ensure that those you work with are reliable and sound.
For a while I held several fulltime positions, ran modest sized departments and had the pleasure of focusing on my work, enjoying the intellectual challenge that it offered and kept myself out of the fray that is office politics. In the late nineties there was still an element of uncertainty regarding technology and where it fitted in the hierarchy of the office structure. Were those in IT just jumped up “oily rags” or were we skilled professionals? Most of the companies I worked for erred on the side of caution and favoured the latter. Essentially, as long as the network was running and the technology worked, I found that I was left to my own devices and senior management contented itself with sniping at sales, who would then blame marketing or some such similar permutation. But after the Y2K debacle, the pendulum shifted, and people started wondering if we were not only “oily rags” but con artists as well.
In 2006 I decided to move into contract work as I’d had enough of corporate culture. Pursuing short term, targeted work was not only financially more lucrative it negated a lot of the social and competency issues among work colleagues, or so I thought. Turns out that even on short term contracts you’d find an engineer who seemed to have slipped through the screening process and was useless or problematic in some way. However, what I did find in this work environment was that if a problem was identified, it was dealt with quickly. If someone wasn’t pulling their weight and it got noticed, then a phone call to the agency that supplied them usually remedied the situation. Overall, I enjoyed working in this fashion. If a contract wasn’t especially engaging, I had the piece of mind to know that it wasn’t forever. Broadly most of the work I undertook was enjoyable. I worked on several major system upgrades and new software rollouts for various government departments. However I found working in hospitals the most satisfactory. Helping out the staff in A&E was especially rewarding.
In early 2011, I decided to draw upon my network of colleagues that I’d built up over the years and set up my own consultancy business. The idea was to provide a one stop solutions service to the myriad of small and start-up businesses in The City. I would handle the work that fell within my purview and I had associates who would cover more bespoke requirements. Broadly, it worked. It didn’t make me rich but it was a living and from a work perspective, it was on terms that I felt were equitable. And I believe that’s the most that many of us can expect from our “careers”. Some folk do get to do their dream job and thrive in it. But for many of us, work is a necessary evil and one we try to accommodate as well as we can. It often feels like battle of wills between our own needs and that of the employers. Occasionally you may find yourself in a situation were both parties are in accord but that seldom is the default state. Having now left formal employment to be a carer, I’m often asked if I miss traditional work. I sometime hanker after the intellectual challenge and the satisfaction of problem solving. Also the human element from time to time. But I don’t miss the politics or the “drama” that goes hand in hand with the contemporary work place. That is something I’m pleased to be rid off.
American Gangster: Unrated Extended Version (2007)
What is it with director Ridley Scott and his predilection for multiple edits of his films? Is he indecisive and a consummate tinkerer (like George Lucas) or a victim of studio politics? I suspect none of these are true. So how come there are always multiple cuts of his movies? Do his terms of employment always deny him final edit on a movie? I would think not. A film maker of his stature must surely get far more favourable terms when contract to make a film? Whatever the reason it leaves audience with a problem. How is one exactly to determine which is the best version of any of his films to see? For example, Kingdom of Heaven was greatly improved in its extended format. Yet his revised version of Alien is actually inferior to the original theatrical cut. And don’t even get me started on the plethora of versions of Blade Runner. His penchant for multiple edits therefore makes it difficult to debate his work.
What is it with director Ridley Scott and his predilection for multiple edits of his films? Is he indecisive and a consummate tinkerer (like George Lucas) or a victim of studio politics? I suspect none of these are true. So how come there are always multiple cuts of his movies? Do his terms of employment always deny him final edit on a movie? I would think not. A film maker of his stature must surely get far more favourable terms when contract to make a film? Whatever the reason it leaves audience with a problem. How is one exactly to determine which is the best version of any of his films to see? For example, Kingdom of Heaven was greatly improved in its extended format. Yet his revised version of Alien is actually inferior to the original theatrical cut. And don’t even get me started on the plethora of versions of Blade Runner. His penchant for multiple edits therefore makes it difficult to debate his work.
In 1968, Frank Lucas (Denzel Washington) a driver, bouncer and minor collector, witnesses the death of his crime boss and mentor Bumpy Johnson. The loss of leadership causes unrest in Harlem crime circles. Frank decides to import heroin directly from Bangkok, using US military airplanes from Vietnam to USA. The quality of his drugs along with the lower prices makes Frank Lucas the number one distributor of heroin in USA at the time. Meanwhile, in the Essex County, detective Richie Roberts (Russell Crowe) is studying for the Bar Examination. Due to his service record and tough stance on corruption, he is invited to join and head a Federal Investigation Team and set about bringing down all the biggest dealers in the US. Inevitably his path is destined to cross that of Frank Lucas.
I recently viewed the Unrated Extended version of American Gangster. I had not previously seen the theatrical release so can’t make any comments about major differences and which is the superior cut. What I can say is that it’s a well written drama with very strong central performances. Exactly what you would expect from such a director and cast. However, although the core subject is very interesting, American Gangster does not bring anything radical or new to the genre. It is absorbing, rather low key and driven by the two leads. It is not epic in its scope or especially illuminating with regard to the subject matter. Perhaps therein lies the problem. We have reached a point where we always expect the directors work to be visionary in scope and are therefore somewhat wrong footed when he sets his sights lower.
American Gangster doesn’t make the obvious mistake of glamorising the genre. Its portrayal of drug addiction is ugly and harsh, which is exactly as it should be. For a film that focuses on one of the most violent aspects of American culture, it is quite restrained in its depiction. The sub plot relating to Police corruption at times seems the more intriguing of the multiple story lines. The involvement of US Army personnel and the violation of the war dead, whose caskets are used for smuggling heroin could have been explored further. Considering the magnitude of this particular crime and the reverence with which the US public holds veterans, I had hoped this matter would have been played a greater dramatic part in the proceedings. However, the central performances are exemplary from both Denzel Washington and Russell Crowe, exactly as you would expect, although the films ending does somewhat strain one sense of credibility.
The gangster genre has not performed as well with critics in recent years as it has in the past. For example The Departed did not clinch the Best Film Oscar it so desperately wanted in 2006. The most interesting entries in this field of late have mainly been international releases, such as Mesrine and The Baader Meinhof Complex. All of which have brought a new European perspective to a traditional genre. American Gangster strives to be worthy and certainly covers a lot of ground (especially in the 176-minute Unrated Extended version) yet it strays too far from the historical facts and ultimately despite good performances, feels a little too routine and less than the sum of its parts. The story has many wider sub plots that are insufficiently developed and subsequently squandered. In many respects, the viewer is left wanting to know more despite the strong central performances. Overall, American Gangster is by no means a poor way to spend three hours, but viewers should adjust their expectations accordingly.
13 Assassins (2010)
13 Assassins is one of Takashi Miike's most restrained and mature movies. Set in Feudal Japan and based on true events, a venerable clan suffers under the reign of the cruel young Lord Naritsugu (Goro Inagaki), who commits atrocities at will. Unable to break their oaths, the samurai are torn between duty and shame. Some of the masters in the clan even go so far as to commit Seppuku in protest. Unable to endure the status quo, a plan is formed to gather a small team of the deadliest samurai and assassinate Lord Naritsugu while he is travelling between clan territories. The responsibility falls upon Shinzaemon Shimada (Koji Yakusho) to take on this potentially fatal task. The matter is further complicated by Lord Naritsugu’s personal bodyguard (and Shimada’s former rival) master samurai Hanbei (Masachika Ichimura), who is a force to be reckoned with.
13 Assassins is one of Takashi Miike's most restrained and mature movies. Set in Feudal Japan and based on true events, a venerable clan suffers under the reign of the cruel young Lord Naritsugu (Goro Inagaki), who commits atrocities at will. Unable to break their oaths, the samurai are torn between duty and shame. Some of the masters in the clan even go so far as to commit Seppuku in protest. Unable to endure the status quo, a plan is formed to gather a small team of the deadliest samurai and assassinate Lord Naritsugu while he is travelling between clan territories. The responsibility falls upon Shinzaemon Shimada (Koji Yakusho) to take on this potentially fatal task. The matter is further complicated by Lord Naritsugu’s personal bodyguard (and Shimada’s former rival) master samurai Hanbei (Masachika Ichimura), who is a force to be reckoned with.
The storyline of 13 Assassins plays to the strengths its director. Despite the formality and traditional nature of the story, he still manages to imbue scenes and characters with his hallmark quirks and foibles. The first act clearly established Lord Naritsugi's evil credentials and establishes the moral framework within the story to justify his death. Once the violent introduction is complete, the film settles into a measured second act punctuated with a degree of gallows humour. This relies on the formulaic assembling of the titular assassins, and the planning of Lord Naritsugu's demise. The climax is an epic battle that dominates the final third of the films running time. The action is gritty and credible and the fight scenes although technically accurate are not designed to be excessive balletic in their choreography, like some other Samurai movies.
It is to Miike’s credit that he maintains a strong narrative throughout all three acts. His direction is thoughtful, and he does well with managing a large number of protagonists, many of whom are not especially well defined. The cinematography is gorgeous and makes an interesting counterpoint to the unpleasantness that unfold within the story. There is minimal use of CGI and a reliance on traditional physical effects. This combined with the strength of the script and performances ensures that the film never becomes boring or baggy. Overall, 13 Assassins is a very moral film in a perverse way, with a very surprising conclusion. It maintains the right balance between exploring philosophical themes and providing dynamic escapist entertainment. For those not familiar with the work of Takashi Miike, this movie is a very good starting place.
Star Trek Online: City on the Edge of Never
Out of the original seventy-nine episodes of Star Trek, one of the most respected and beloved is The City of the Edge of Forever. Written by Harlan Ellison the story is one of the more thoughtful and tragic in Trek Canon. It was also the first episode to feature a temporal plotline. Doctor Leonard McCoy (DeForest Kelley) accidently receives an overdose of medication and flees the Enterprise while in a delusional state. Beaming down to an alien planet he uses a temporal gateway (The Guardian of Forever) to travels back in time to earth during the Great Depression. By doing so he accidentally changes history. Captain Kirk (William Shatner) and Spock (Leonard Nimoy) follow him through the gateway to New York in hope of correcting the timeline. While awaiting the arrival of McCoy, Kirk falls in love with Edith Keeler (Joan Collins) who runs the 21st Street Mission. However he and Spock soon determine that to restore the timeline they must allow her to die.
Out of the original seventy-nine episodes of Star Trek, one of the most respected and beloved is The City of the Edge of Forever. Written by Harlan Ellison the story is one of the more thoughtful and tragic in Trek Canon. It was also the first episode to feature a temporal plotline. Doctor Leonard McCoy (DeForest Kelley) accidently receives an overdose of medication and flees the Enterprise while in a delusional state. Beaming down to an alien planet he uses a temporal gateway (The Guardian of Forever) to travels back in time to earth during the Great Depression. By doing so he accidentally changes history. Captain Kirk (William Shatner) and Spock (Leonard Nimoy) follow him through the gateway to New York in hope of correcting the timeline. While awaiting the arrival of McCoy, Kirk falls in love with Edith Keeler (Joan Collins) who runs the 21st Street Mission. However he and Spock soon determine that to restore the timeline they must allow her to die.
One of the most enjoyable elements of the MMORPG Star Trek Online, are the various game missions that reference plot lines and characters from all of the Star Trek franchises. One such mission is City on the Edge of Never which involves the player character travelling to the Gateway system and using the Guardian of Forever to travel through time to 2270 to stop Klingons intent on altering history. The episode has the Guardian projecting a time portal into space, allowing the player to take their vessel through to the past. It also features voice acting by Nimoy which adds further to the sense of nostalgia. City on the Edge of Never is a part of the Klingon War story arc and is certainly one of the more engaging missions. Due to its iconic nature it was well received by reviewers upon the release of STO back in 2010. Kotaku writer Mike Fahey said "This mission might have just made the entire game for me. Everything about it was simply perfect. If Star Trek Online fails for some reason, this mission will always be remembered”.
Sadly this mission, along with several others has been temporarily removed from the game as part of an ongoing content revamp. Cryptic mentioned in a previous Priory One podcast interview that the missions were supposed to get revamped before the end of 2018, but the developer who was undertaking the task is on leave. However, it was still their intention to see the content restored to the game. At present the absence of these missions, especially City on the Edge of Never, does have an impact upon the overall story arc of the Klingon War. The storyline is somewhat briefer and lacking in its original impact. For fans who feel that TOS era specific content is a little thin on the ground in STO, the swift return of these missions couldn’t come sooner. It would also be interesting if Cryptic could expand further upon use of the Guardian of Forever. Some additional scientific research missions under the Vulcan Science Council would be a welcome addition to the game and a pleasant addition to the non-combat related content.
Personal Health
Personal health as a concept, refers to your overall well-being both physically and mentally. It is about taking charge of your health by making a conscious decision to improve and maintain it. It not only refers to your physical state but the respective wellness of the emotional, intellectual and even spiritual aspects of your life. Sadly it is something that many of us are not very good at dealing with or choose to ignore. All too often good intentions get sidelined by the realities of life. Sadly, physical and mental issues are usually only addressed after something bad has occurred. Furthermore, much of the most basic and practical information needed to improve our personal health is drowned out by the white noise of fads, quackery and those seeking to sell you a “solution”.
Personal health as a concept, refers to your overall well-being both physically and mentally. It is about taking charge of your health by making a conscious decision to improve and maintain it. It not only refers to your physical state but the respective wellness of the emotional, intellectual and even spiritual aspects of your life. Sadly it is something that many of us are not very good at dealing with or choose to ignore. All too often good intentions get sidelined by the realities of life. Sadly, physical and mental issues are usually only addressed after something bad has occurred. Furthermore, much of the most basic and practical information needed to improve our personal health is drowned out by the white noise of fads, quackery and those seeking to sell you a “solution”.
In recent years I have experienced a great deal of illness through my family and have subsequently pondered upon issues that I may not have considered otherwise. As a fifty-one-year-old man I am acutely aware of where I am in terms of the human life cycle and how I am now at a point where I need to get my house in order with regard to my personal health. A problem diagnosed now is a potentially a lot easier to remedy than in a decade’s time. Simply put, I’ve seen what can happen potentially to me and have decided I want to avoid such an outcome. So I saw my GP last week and explained my concerns. Fortunately, the NHS in the UK is becoming more proactive in its healthcare, as it is often more cost effective to do so. Hence my Doctor was happy to help.
As a society we seem to suffer greatly from cognitive dissonance when it comes to our physical health. We live in an age where information about living a healthy lifestyle is readily available. Yet we wilfully choose to ignore it because snacks are tasty, exercise is dull and doing what is right often means denying ourselves, which makes us sad. So we do our own thing and suffer the consequences. And I’m just as guilty as everyone else. However, I have decided to change my lifestyle and intend to do so by sensible and practical increments. I had the sense to quit smoking in 2001 and have never gone back. I couldn’t afford to smoke nowadays. My former thirty a day habit would cost me over £3,500 a year now. The next and most obvious step for me now is to address the issues of weight and exercise.
I presently weigh 180 lbs, which according to the BMI makes we overweight. Now the BMI is a flawed measurement, however a cursory look in a mirror is sufficient verification that I’m carrying some surplus pounds. I need to shift about 6 to 12 lbs to be at a sensible weight for my height (5’ 11”) and build. To do this I’m adopting a two meal a day policy. Breakfast of either cereal, toast or eggs. And a late afternoon meal of fish and vegetables. Snacks and any additional eating outside of those two meals is prohibited. I shall also limit my alcohol consumption to just Wednesday evenings when I talk to friends on Discord. As for exercise, I mainly do this through walking and shall be actively pursuing a target of ten thousand steps a day. I do lots of chores such as shopping and household maintenance for my parents, which also counts towards periods of exercise. I shall be tracking both my weight and step count via my phone and am considering writing regularly about my progress.
I shall be seeing the Practise Nurse at my local surgery this coming week to have my heart and lung function checked. This is all part of the “NHS Health Check” which is intended to “to spot early signs of stroke, kidney disease, heart disease, type 2 diabetes or dementia”. This service is specifically aimed at those over the age of 40. I am cautiously optimistic that there won’t be any surprises in store for me. My GP took my blood pressure which was fine, along with my “sats”. However, if something is discovered it is best to grasps the nettle now. We may not get a choice in the exact time of our death, but we can certainly have a say in the manner of it. I know for some people that may sound somewhat heavy or dour, but life has taught me that we should not avoid certain subjects because they make us feel uncomfortable. Therefore I would urge everyone to reflect upon their health and if you have any concerns, go and see a medical professional about them. Avoid quackery, keep a positive attitude and don’t take the status quo for granted.
LOTRO: Thoughts on the Current Downtime
As I am writing this post, the popular MMORPG The Lord of the Rings Online has been offline since 2:00 AM EST on 6th March (7:00 AM GMT). The game servers, website and account portal are offline for maintenance and it would appear that the actually physical hardware is being relocated within the datacentre that Standing Stone Games uses. Like any complex IT project of this nature there are always potential problems and it would appear that some have occurred as the initial 22 hours projected down time has now become nearly 3 days. Naturally this has had an impact upon the LOTRO community as Friday evening is often prime gaming time. From SSG’s perspective the extended outage is not good for business or community relations and so they have been using social media to keep players informed.
As I am writing this post, the popular MMORPG The Lord of the Rings Online has been offline since 2:00 AM EST on 6th March (7:00 AM GMT). The game servers, website and account portal are offline for maintenance and it would appear that the actually physical hardware is being relocated within the datacentre that Standing Stone Games uses. Like any complex IT project of this nature there are always potential problems and it would appear that some have occurred as the initial 22 hours projected down time has now become nearly 3 days. Naturally this has had an impact upon the LOTRO community as Friday evening is often prime gaming time. From SSG’s perspective the extended outage is not good for business or community relations and so they have been using social media to keep players informed.
Community manager Cordovan (Jerry Snook) presented a brief live stream earlier tonight to provide a more hands on summary of issues and to endeavour to placate LOTRO players. He re-iterated that the downtime was too facilitate a server move and that there have been hardware issues and other related problems as a result. He also stated that no data had been lost. Third party contractors are involved, and overall trouble shooting is progressing. He stated that the downtime would continue to at 6:00 PM EST (11:00 AM GMT March) and that hopefully by then “there would be good news. Once service has been resumed for both LOTRO and DDO, there would be a more comprehensive statement put out about player compensation, an extension of the skirmish event and general billing enquiries. He couldn’t be specific at present, but he was clear that players would be suitably recompensed as they have been in the past.
“In technical terms, I thinks it’s totally fucked. Let’s blame it on the intern Colin”.
Having worked in the past in such technical environments as datacentres and been involved in projects of similar scope, I am sympathetic towards SSGs plight. No matter how well you plan there is always potential for something to go pear shaped. It’s often something innocuous or an aspect of the project that was deemed trivial and left to the intern Colin to sort out. Frankly there is never a good time to shut a server down. Just a period that is the “least inconvenient”. Clearly in this case the situation has gone beyond this and I ‘m sure there are a lot of folk working very hard to pull the company’s proverbial chestnuts out of the fire. Who knows, maybe this extended downtime has a valuable moral lesson to teach us about something or other. I’m not really sure, as I’m not known for my morality and I’ve just played more Star trek Online instead. However, I am looking forward to seeing LOTRO back online. I’d miss it if it wasn’t about anymore.
Update:
Cordovans deadline has been and gone and sadly the downtime has been further extended. As of 23:25 PM GMT the current speculative end to the outage is 12:00 PM Eastern (5:00 AM GMT) Saturday, March 9th.
Learning How to Live Stream Part 1
Sometimes, it’s good to try something different and to learn new skills. I’ve been mentally restless of late and miss applying myself to technical problems and expanding my skills. It’s one of the few aspects of traditional “work” that I miss. So after some deliberation, I’ve decided to try live streaming. Whether I’m successful at it and maintain a regular streaming schedule is another matter altogether. But I’m going to give it a go and have already determined how I intend to approach it and what “my angle” is going to be. However, first things first. Matters such as style, tone and presentation are concerns for later. I spent today getting to grips with Streamlabs OBS and learning the basics. I thought I’d share my experiences because it hasn’t been as straight forward a process as I’d imagined.
Sometimes, it’s good to try something different and to learn new skills. I’ve been mentally restless of late and miss applying myself to technical problems and expanding my skills. It’s one of the few aspects of traditional “work” that I miss. So after some deliberation, I’ve decided to try live streaming. Whether I’m successful at it and maintain a regular streaming schedule is another matter altogether. But I’m going to give it a go and have already determined how I intend to approach it and what “my angle” is going to be. However, first things first. Matters such as style, tone and presentation are concerns for later. I spent today getting to grips with Streamlabs OBS and learning the basics. I thought I’d share my experiences because it hasn’t been as straight forward a process as I’d imagined.
First off, this post is not intended as a guide, it is more of a commentary on SLOBS and the wealth of information that is available online. Like most “free software” there is a minimal amount of information contained within the program itself. There are some video links for a standard installation and an overview of the software’s functionality. New users are encouraged to use the SLOBS Discord channel but getting help in such an environment is a mixed bag. You’re at the mercy of who’s online, how helpful they are and whether they’re a good communicator. The latter is a criticism that plagues most of the You Tube content on this matter. I sat through dozens of videos today, that were intended to help and share information. Sadly most were rambling, vague and poorly expressed. Fortunately, I have access to an existing streaming community who managed to answer most of my enquiries. Therefore I’d say lesson number one is to speak to other streamers if you can and try to replicate their settings.
Having configured SLOBS, I attempted a test. Rather than “Go Live” on my Twitch account, I opted to record the results. This proved very useful. New streamers will save themselves hours of grief if they ensure from the beginning to run SLOBS as an administrator. Otherwise it will not find the game that you’re streaming. Another foible of the software happens when tabbing between the game you’re playing and SLOBS itself, which mutes the sound of your live stream. This is an “active window” issue and the only immediate solution is to not do this while you’re “live”. Fortunately, there is a SLOBS Remote app for phones and tablets, so you can manage your scene transitions and management without the need to tab to SLOBS itself. However, this brings me to lesson number two. It is not essential, but it will certainly make matters easier if you have a second monitor.
And therein lies the rub. It is casually implied by Streamlabs and many of the internet guides that you can just install the software and “go”. However, the reality is not quite as simple. SLOBS has multiple functionality and there’s a wealth of widgets you can add to manage subscriptions and social interactions. It even integrates the chat from your Twitch channel into the UI when you “Go Live”. Therefore having a second monitor, a mobile device for SLOBS Remote and establishing a lot of additional key binds for extra functions are all desirable. All of which have to be implemented in a way that is accessible, while you’re playing a game. I’m sure a lot of good streamers get by in their own unique fashion, but for optimal performance, you need a large desk with lots of space, a multiple monitor set up and possibly a tablet or bespoke device such as Stream Deck.
I don’t really have the room for a second monitor on my desk nor want at this stage in the proceedings to invest in any further hardware. So I’ve settled for having SLOBS Remote on my phone for scene management and having chat from my Twitch channel displayed on my tablet. At this point I am not going to complicate matters by having a webcam and integrating myself into my live streams. Coming form a podcast background I prefer things to be about what is being discussed rather than my sartorial elegance and rugged good looks. Today’s test streams worked although they were minimalist in nature. Now comes the task of templates and scene design, although I want to keep this as basic and functional as possible. I shall cover the next stage of my “adventures” in my next post on live streaming. In the meantime, I have adjusted my opinion on all who try this medium as it isn’t as straightforward as it first seems.
Cryptic to Close the Foundry
Cryptic have announced that they will be removing the Foundry from both Star Trek Online and Neverwinter on April 11th. The Foundry was first introduced to STO back in 2011 and has proven a popular means for players to create and share their own missions, using in-game assets. Cryptic state in their press release that “the legacy knowledge required to maintain the Foundry at our quality standards is no longer available”. This is a roundabout way of saying that the member of staff responsible for curating and quality testing the service has no left the company. Naturally, Cryptic has stated that they will acknowledge those players who have contributed to the Foundry over the years by handing out various virtual trinkets and baubles. There has been quite a strong reaction of the STO subreddit as no one like to see content removed from a game. However, the isn’t a black and white as it first appears, because the Foundry has been broken for a while.
Cryptic have announced that they will be removing the Foundry from both Star Trek Online and Neverwinter on April 11th. The Foundry was first introduced to STO back in 2011 and has proven a popular means for players to create and share their own missions, using in-game assets. Cryptic state in their press release that “the legacy knowledge required to maintain the Foundry at our quality standards is no longer available”. This is a roundabout way of saying that the member of staff responsible for curating and quality testing the service has no left the company. Naturally, Cryptic has stated that they will acknowledge those players who have contributed to the Foundry over the years by handing out various virtual trinkets and baubles. There has been quite a strong reaction of the STO subreddit as no one like to see content removed from a game. However, the isn’t a black and white as it first appears, because the Foundry has been broken for a while.
I personally haven’t played a Foundry mission for at least two years and have often only tried those I’ve specifically read about. One of the systems biggest faults is poor indexing and curation. Finding good player created content beyond the most popular missions that has been voted to the top of the list, has always been a challenge. Then for several years now every time Cryptic have revised STO in some way or simply added a new feature episode, it has always resulted in the Foundry going offline. Yes there have been some standout player created missions over the years that reflect the passionate nature of the STO community and that of Trek fans per se. But for every good mission you also get three indifferent ones. Often the latter have been created by opportunists trying to facilitate some sort of in-game benefit or provide a fast path to advancement. And on a narrative level, many of these missions are just further examples of poor fan fiction.
The recent introduction of the Personal Endeavor system in STO, pretty much the last nail in the coffin for the Foundry. Endeavors are essentially daily missions that earn statistical upgrade points and are designed to encourage players to try Task Force Operations (group PVE content) and repeat old missions. However, many players looked to Foundry content to try and clear Endeavors as quickly as possible. Why spend thirty minutes in a structured TFO that runs to a timed script, when you can run a player created mission that allows you to achieve your goal far quicker? Naturally, Cryptic were not going to allow this to continue. So when you consider this along with the flaky nature of the system to begin with, and the fact that no one is available to maintain it, it’s surprising that the plug wasn’t pulled earlier.
The Foundry in STO is one of those concepts that looks great on paper and seems like an invaluable community service when discussed. But the reality is that it never delivered as much good content as hoped for and its curation and cataloguing further hindered “the cream from rising to the top”. It can also be argued that Cryptic never promoted the service as much as they could. But irrespective of the quality of content and its accessibility, this is still a case of something being taken out of both STO and Neverwinter and that is never an easy sell. If content is taken out, one naturally feels that something else should replace it. Whether Cryptic does this remains to be seen and I won’t hold my breath. As for the Foundry, I suspect it’s a bit like the concept of “shopping locally”. It’s something we all like in principle but seldom do in reality, therefore we as players, have actively contributed to its demise.
The Cost of Content Creation
Back in July 2017 I wrote a blog post about how monetising your content fundamentally changes the relationship you have with your audience and how that isn’t always a good thing with regard to maintaining ones creative independence. I then went on to describe how I see both my blog and podcast as personal “indulgences” and that I had no intention of using Patreon or having a virtual tip jar. This remains the case and I’m not looking to my readership for funding of any kind. However, it is spring and for me at least, that means that a lot of yearly costs associated with my content creation are up for renewal. Therefore I thought it an appropriate opportunity to discuss the subject of the cost of blogging, podcasting, streaming and other forms of content creation.
Back in July 2017 I wrote a blog post about how monetising your content fundamentally changes the relationship you have with your audience and how that isn’t always a good thing with regard to maintaining ones creative independence. I then went on to describe how I see both my blog and podcast as personal “indulgences” and that I had no intention of using Patreon or having a virtual tip jar. This remains the case and I’m not looking to my readership for funding of any kind. However, it is spring and for me at least, that means that a lot of yearly costs associated with my content creation are up for renewal. Therefore I thought it an appropriate opportunity to discuss the subject of the cost of blogging, podcasting, streaming and other forms of content creation.
Rather than use a free service such as WordPress, I host Contains Moderate Peril via Squarespace which is a subscription service. The infrastructure is robust, secure and the service has several advantages over others that don’t charge. Squarespace has its own statistical package which affords me more than an overview of my website traffic. My current subscription also allows me to host my podcast, which saves me using another service such as Libsyn. At present I choose to pay monthly, so if my circumstances quickly change (and as a carer they certainly can) I can simply cancel the service. At present, the subscription costs £11.14 per month. I also recently renewed my domain, which I do via Go Daddy. It currently costs £23.38 per year, which is about £1.95 per month.
Although there are free alternatives, I still use Microsoft Office and subscribe to Office 365. Last year I bought year’s subscription for a little over £30 from a third-party key seller. Sadly, I couldn’t find such a deal this time, so I have opted to pay £5.99 per month. This is not the most economical option, but it suits my current needs. I have always been a strong advocate of both Microsoft Word and Outlook and rely heavily on the functionality they provide. I use Word for more than just blogging, having a great deal of administrative work to do. Similarly, I manage multiple email accounts and find that Outlook is by far the best tool for this. Email for Contains Moderate Peril, along with a second domain linked to my former business, are both handled via a hosted Microsoft Exchange service costing £17.86 per month.
Overall, it costs me £36.94 to maintain a blog and produce a monthly podcast. That may not sound like a lot of money, but how you view what is and what isn’t expensive is highly subjective. As a carer on a fixed income I’ve had to think long and hard about such expenditure and I’ve briefly considered cheaper options. However, I do not like to dependent on free services and prefer to have the safety net of customer support and legal recourse that comes with paid third-party vendors. So for the present I shall continue to pay in the manner I’ve described. I’d be interested to hear from fellow bloggers and content creators regarding their expenditure or whether they manage to get by without spending anything. Is there a price limit on your hobby or have you been tempted to look to a service such a Patreon to cover costs?
The Idiot Box
Thoughts on TV shows and my current viewing habits.
Tonight’s season finale of Endeavour was possibly the best episode to date. All the outstanding plot lines were resolved and despite my concerns that a tragedy may occur with regards to one of the central characters, the ending saw the prevailing status quo of previous seasons restored. This series has been exceedingly creative with regard to the subjects and themes it has explored and there have been some exceptional performances from Anton Lesser and Roger Allam. Writer Russell Lewis (a very interesting person in his own right) continues to embellish the proceeding with “metatextuality” which is always a source of joy for me. Recent references to Gordon Murray’s Trumpton, Camberwick Green and Chigley were exceeding droll, yet if the causal viewer missed them, there is still plenty of practical story and historical referencesfor all to get their teeth into. I also thought that the final episodes exploration of a tower block collapse was particularly brave and relevant, considering that the Grenfell Tower Inquiry is still proceeding.
Thoughts on TV shows and my current viewing habits.
Tonight’s season finale of Endeavour was possibly the best episode to date. All the outstanding plot lines were resolved and despite my concerns that a tragedy may occur with regards to one of the central characters, the ending saw the prevailing status quo of previous seasons restored. This series has been exceedingly creative with regard to the subjects and themes it has explored and there have been some exceptional performances from Anton Lesser and Roger Allam. Writer Russell Lewis (a very interesting person in his own right) continues to embellish the proceeding with “metatextuality” which is always a source of joy for me. Recent references to Gordon Murray’s Trumpton, Camberwick Green and Chigley were exceeding droll, yet if the causal viewer missed them, there is still plenty of practical story and historical referencesfor all to get their teeth into. I also thought that the final episodes exploration of a tower block collapse was particularly brave and relevant, considering that the Grenfell Tower Inquiry is still proceeding.
Ricky Gervais is a controversial figure and opinions surrounding him are often binary. His work is often challenging, and I fully understand why some find it such difficult viewing. However, comedy and satire can be incredibly astute vehicles for analysis and criticism of the human condition, and I believe that is something Mr Gervais does well when his work hits the mark. So having seen the various trailers for his new show After Life, I am cautiously optimistic. After Life follows Tony, who enjoys a good life until his wife suddenly dies. After considering suicide, he subsequently decides to live long enough to punish the world for his wife's death by literally saying and doing whatever he wants to. His behaviour has unexpected results. I suspect that this show will touch upon numerous subjects close to my heart, such as the superficial nature of modern life, social etiquette and pointlessness of many contemporary jobs. The entire season of eight episodes is released on Netflix on 8th March.
In between my other viewing commitments, when ever I have a spare hour, I try to catch up with Star Trek: Voyager. It is one of the few Trek shows I neglected upon release as I only watched the first season. Like other shows in the franchise, it took a few seasons to get going and find its feet but by late season three, it started to reach its potential. I am currently watching this via Netflix (UK) which has the rights to all Star Trek shows. Sadly, unlike TOS and TNG, Star Trek: Voyager has not been remastered and is not available at present in High Definition (The same is true for Star Trek: Deep Space Nine). Therefore the image does look a little “soft” at times which is especially noticeable in some of the FX shots. Like TNG, although the live action was shot on film, the show was edited via video and so there are no trational master negatives of each episode. A full restoration means remastering the live action and recombining it with the FX elements and credits, making it a very costly endeavour. I suspect that the right holders will have to think long and hard before financing such a project. In the meantime, what is available on Netflix will have to suffice.
Finally, as a grandparent I end up watching a lot of children’s TV either directly, or by being around when it is on in the background. Surprisingly enough, a lot of it is inoffensive and usually has some lesson to impart to its young audience. I do find the associated toy marketing a nuisance as I have spent about a year now having to endure Paw Patrol both on and off the screen. However, one show I do admit to enjoying is Hey Duggee. This animated program is set in The Squirrel Club, an activity group for children, similar to The Scouts. The children take part in all kinds of activities, have adventures and earn badges for their accomplishments. The novelty lies in the fact that the children are an Octopus, Rhino, Crocodile, Mouse and Hippo. Duggee, the leader of The Squirrel Club, is a big floppy eared dog who communicates via the onomatopoeia "Woof". Yet everybody understands him perfectly. This is another show that smuggles a great deal of pop culture references into the short seven-minute stories. A simple journey in a river boat to find a missing sheep quickly alludes to both Joseph Conrad’s Heart of Darkness and Coppola’s Apocalypse Now. Who would have thought that children’s TV could become so “meta” and clever.
A Month in Gaming
Every other video game blogger I know writes a monthly summary of what they’ve been playing and then details what they hope to achieve in-game over the next four weeks. It’s a very effective example of blogging as it’s easily to relate to and it’s nice to see what everyone else is focusing their “gaming attention” on. So I’ve decided to do the same. It’s a relatively straight forward post to write and it also makes collating an end of year analysis of my gaming habits a lot easier. So here is a broad breakdown of what I got up to last month, gaming wise.
Every other video game blogger I know writes a monthly summary of what they’ve been playing and then details what they hope to achieve in-game over the next four weeks. It’s a very effective example of blogging as it’s easily to relate to and it’s nice to see what everyone else is focusing their “gaming attention” on. So I’ve decided to do the same. It’s a relatively straight forward post to write and it also makes collating an end of year analysis of my gaming habits a lot easier. So here is a broad breakdown of what I got up to last month, gaming wise.
February in review:
I initially put off starting the Siege of Mirkwood expansion in LOTRO because it remains as frustrating a zone as it was back upon its release in 2009. The mobs are densely packed and it’s a dull and dismal region that’s difficult to navigate. So I spent some time levelling both in Enedwaith and in The Great River zones, which was more enjoyable and challenging. Having reached level 70 on my Guardian a few days ago, I have now returned to Southern Mirkwood and will blitz through the Epic Story. As I’ve out levelled the content, this shouldn’t be such an uphill struggle and I can focus on the narrative which is the main point of interest for me at present.
Having created a new Discovery era alt in Star Trek Online, I’ve been working my way through the various episodic missions and it’s been quite a revelation. Like LOTRO, a lot of the earlier content found in the game has been revised, streamlined and has new cutscenes added. Hence there are cameo appearances by Trek actors early on in the game. However, although the stories do make sense, there are often details and embellishments to be found when you create a new alt from a different race and experience the same story form a different perspective. Also levelling this new alt is proving a lot easier this time round as I have access to a lot of account wide assets, that I’ve unlocked on previous characters. Playing through at a lower level makes experimenting with different ship builds a lot cheaper.
Alas, my return to Tamriel has stalled and I haven’t progressed beyond installing ESO and tweaking my addons. Plus to effectively play the game, it’s best to subscribe as this unlocks all DLC and gives the player a separate crafting inventory, which greatly improves loot management. However, I don’t really want to subscribe until I’m in a position to play the game regularly and at present I don’t think that’s a realistic option. I am beginning to come to terms with the fact that my present circumstances only allow me to focus on two MMOs. However, I shall keep ESO installed and updated, just in case things change.
March Goals:
I’m currently re-installing the Bullroarer test client for LOTRO, as SSG were hinting recently that new content would be available for testing soon. LOTRO is currently saddled with a very slow installer that drags on for hours, irrespective of the speed of your internet connection, so I thought it best to get this copy of the game installed now, rather than on the day when Bullroarer next goes live.
I’m also considering returning to my primary, level cap Lore-master on Laurelin and clearing some of the outstanding deeds I have. Deeds have always been a grind in LOTRO however many now provide Motes of Enchantment, which the player can then barter for gear or cosmetic items. Plus if I have all virtues at maximum level by the time SSG revise the system it means I won’t have to spend any additional time on improving them.
I want to diversify my ship builds in STO as I tend to broadly favour the existing meta, which is primarily beam boats. I’ve been experimenting with cannons although success does hinge upon effectively flying your ship and be able to strafe efficiently. I find torpedoes interesting and have been reading about how the Quantum Phase Torpedo can be a major asset in a projectile based build. The great thing about STO is that a lot of the best gear in the game is tied to specific missions, all of which are repeatable. So it’s easy to collate a shopping list and clearly work towards what you want.
Death in MMOs
There was a post today over at Keen and Graev’s Gaming Blog, which raised the subject of “corpse runs” in old school MMOS such as Ultima Online. In-game death came with penalties back then and there was the prospect of XP loss or that your corpse could be looted, and you could potentially lose rare gear. It got me thinking because I’ve never played an MMO that has had, to my mind, such harsh sanctions. In fact game mechanics such as permadeath, corpse runs, and the loss of equipment will put me off playing any such game that has them. I suspect that unless you’re a player who is particularly motivated by achievement, competitiveness and challenge, then such systems are seen mainly as an inconvenience and impediment.
There was a post today over at Keen and Graev’s Gaming Blog, which raised the subject of “corpse runs” in old school MMOS such as Ultima Online. In-game death came with penalties back then and there was the prospect of XP loss or that your corpse could be looted, and you could potentially lose rare gear. It got me thinking because I’ve never played an MMO that has had, to my mind, such harsh sanctions. In fact game mechanics such as permadeath, corpse runs, and the loss of equipment will put me off playing any such game that has them. I suspect that unless you’re a player who is particularly motivated by achievement, competitiveness and challenge, then such systems are seen mainly as an inconvenience and impediment.
Death in MMOs and the function it is supposed to serve, is just another aspect of the genre that has changed over time. The genre is not the same time sink it used to be and an ageing player base has meant that many core mechanics have had to become more flexible and accommodating to shorter periods of gameplay. Many players who played MMOs because of the raiding, competitive PVP and the culture of league tables and results have moved on to other games that still focus on such systems. For me, MMOs are about the narrative, levelling and occasional social gameplay. Death is mainly an inconvenience and not something I wish to have any greater impact than it does already. Gaming is for me a primarily a leisure activity.
In STO, death means just respawning and mainly serves as a warning to change your strategy or to consider revising your build. If you play the TFOs at a higher level, then your ship will get damaged if destroyed, but the cost of repair is hardly prohibitive. In LOTRO defeat is again not a major setback. If you’re playing in a group, then your team mates can revive you and the only cost incurred is your armour repairs. However, reviving yourself is limited to once per 2 hours, which means that if you cannot do so, you must retreat to a Rally Circle. This is a nuisance in the more recent zones as SSG doesn’t seem to be so generous with the quantity of rally circles in the game. Also being kicked from an instance can mean a major journey back to the entrance. ESO has a similar mechanic with either self-resurrection via Soul Gems or retreating to a Wayshrine. However, I found that stockpiling Soul Gems is an easy undertaking, therefore easily mitigating death.
I’ve mention in the past that as games have become more mainstream and more monetised, players have subsequently revised their own perspective on death mechanics. If you aren’t interested in the challenge of planning a carefully considered strategy to avoid death, its presence just becomes a source of annoyance. Especially if you see video games more as a leisure service, rather than means of testing yourself. Being inconvenienced by a mechanic in a game that you are paying for is a difficult line to tread. An incentive that shapes your gameplay is one thing. A penalty that wastes your time is something entirely different. Hence, I think it is something we will continue to see diminished in mainstream MMOs, yet I suspect it will linger as a key component of more challenging games.
Politics and Video Games
I frequently read blog posts, forum comments and reddit rants that can be broadly filed under the heading “keep politics out of video games”. Actually, there’s a tendency to put a far more possessive inflection on the statement by saying “keep politics out of my video games”. It’s a rather unsophisticated response to a broader and more nuanced question about the whether it is both desirable or indeed possible to keep a socio-political subtext out of any gaming narrative. But as a lot of gamers don’t do “nuance” and there’s a growing aversion to thinking per se these days, debating such a position is often an uphill struggle. However, I saw a gaming news story today that addressed this issue head on, and it wasn’t the usual pussyfooting around the issue.
I frequently read blog posts, forum comments and reddit rants that can be broadly filed under the heading “keep politics out of video games”. Actually, there’s a tendency to put a far more possessive inflection on the statement by saying “keep politics out of my video games”. It’s a rather unsophisticated response to a broader and more nuanced question about the whether it is both desirable or indeed possible to keep a socio-political subtext out of any gaming narrative. But as a lot of gamers don’t do “nuance” and there’s a growing aversion to thinking per se these days, debating such a position is often an uphill struggle. However, I saw a gaming news story today that addressed this issue head on, and it wasn’t the usual pussyfooting around the issue.
Ndemic Creations, the developers behind the virus-spreading strategy simulator Plague Inc, are to add a new scenario to the game which sees anti-vaxxers as the threat. This is due to a request from core fans who felt that this subject was both topical and relevant to the game. They even went so far as to set up an online petition. Ndemic responded via Twitter and stated, “If this petition gets to 10k, will add a specific new anti-vaxxer scenario to Plague Inc.”. The requirement was subsequently met and so Ndemic are now working on creating a suitable scenario and integrating it into the game.
At a time where there is a significant increase in measles cases across the United States, it is reassuring to see a video games company buck the trend and make an overt political statement on an issue that affects everyone. Hopefully by adding to the public debate on the issue and robustly standing against the ludicrous position of anti-vaxxers, it will contribute to a positive outcome. Already State legislatures in both Washington and Oregon are considering laws that would remove non-medical exemptions for the routinely administered measles vaccine. Both states currently allow parents to opt out of the measles immunisations if they have a religious or philosophical objection.
As for those players of Plague Inc and the wider gaming community, who may object to such an overtly political subject being added to “their game”, I would encourage them to step back for a moment and reflect upon the nature of the what is it that they’re exactly playing. Plague Inc is a Pathogen simulator designed to infect the world. The game touches upon such issues as vaccination, global pharmaceutical companies and the political aspects of combating a global pandemic. The CDC have even talked to the games developer regarding how the game can be used to educate the public. All of which are directly or indirectly political issues in themselves. Surely this renders any complaints redundant?
Not all, but many video games have some sort of underlying narrative to facilitate the game’s systems and mechanics. Irrespective of the genre, there is usually some sort of plot that justifies the players actions in the game. It may be something simple and childish such as theft of bananas in Donkey Kong Country, but it’s there all the same. And unless the developers go out of their way to make this narrative as basic and neutral as possible, there is scope for it to be interpreted in wider socio-political terms. Furthermore, many mainstream, popular games are predicated on violence, conquest, the acquisition of territory and the vanquishing of an opponent. None of these are apolitical ideas and themes. Which is why I despair of the “keep politics out of my video games” mantra. It shows an immense lack of self-awareness. Plus consciously trying to purge video games of any semblance of political opinion is by its very nature, a political act.
They Don't Work for Us
If you want a good quote to use as a starting point for a blog post then Bree Royce, the Editor-in-Chief and writer for the video game website Massively Overpowered, seems to have a good line in them. In the latest Massively OP Podcast, Bree and Justin Olivetti where discussing the recent round of layoffs that have seen over 800 Activision Blizzard staff lose their jobs. Like many others, Bree and Justin were far from impressed with these events, especially in light of the companies increased profits. When referencing the faux angst of CEO Bobby Kotick who claimed it was a “tough call”, Bree stated “they’ve definitely proven who they work for. It ain’t us”. A simple and inescapable conclusion about the triple A video game industry. Yet it is something that many gamers still struggle to come to terms with. Because so many do not see video games purely as a product, there seems to be an emotional blind spot associated with the game themselves, the developers who make them and the companies that publish them.
If you want a good quote to use as a starting point for a blog post then Bree Royce, the Editor-in-Chief and writer for the video game website Massively Overpowered, seems to have a good line in them. In the latest Massively OP Podcast, Bree and Justin Olivetti where discussing the recent round of layoffs that have seen over 800 Activision Blizzard staff lose their jobs. Like many others, Bree and Justin were far from impressed with these events, especially in light of the companies increased profits. When referencing the faux angst of CEO Bobby Kotick who claimed it was a “tough call”, Bree stated “they’ve definitely proven who they work for. It ain’t us”. A simple and inescapable conclusion about the triple A video game industry. Yet it is something that many gamers still struggle to come to terms with. Because so many do not see video games purely as a product, there seems to be an emotional blind spot associated with the game themselves, the developers who make them and the companies that publish them.
Perhaps this is why so many ill-conceived, crowd funded gaming projects get championed my enthused gamers, who choose to ignore the realities of modern business practises. The romantic notion that independent games development is some sort of artisan “cottage industry” still persists. That devs exist in anarco-sydicalist communes, producing quality games and thriving on the bountiful revenue supplied by the likes of Kickstarter, is still believed by some. But such success stories are few and far between. Crowd funded games have a high mortality rate, often due to poor management and unrealistic promises. Which leaves the mainstream industry which exists primarily to make money and to keep shareholders happy. That’s not to say that they don’t make good games, because they do. We’ve played them. But too often the artistic and creative vision of the developers is either sidelined or hobbled to accommodate multiple means of monetising the overall product.
The triple A video game industry seems to be pursuing unsustainable growth and if left unchecked, will eventually end in a crash. Gamers will eventually balk at their business practices, although they still seem to be enabling them at present, and the fall in revenue will lead to an exodus of investors as they seek a new market to exploit. Venture capital companies seldom have any deep and abiding commitment to that which they seek to monetise. Their loyalty is to profit and if it becomes financial expedient to play the opposite side of the fence to that which they’re playing today, then they’ll do so. It’s not personal, it’s just business. And that is why the likes of Activision Blizzard don’t work for you. Gamers are not strictly the customer. The gamer or should I say the gamer’s money is the crop to be harvested. The shareholders are the real customers and they bankroll the tools needed to harvest that “available cash”. Therefore gamers need to get over the way their passion for their hobby blinds them to the nature of business.
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.