Battle, Sedlescombe and Hawkhurst

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Today Mrs P and I resumed our monthly excursions into rural Britain. Our last outing was at the end of March when we spent the day at Eastbourne. Since then our travelling schedule has been somewhat interrupted over the last three months due to various real-world issues. However, today was a very pleasant 31° Celsius (87.8° Fahrenheit) so as we had no outstanding commitments, we planned our route and left promptly at 9:30 AM. As I mentioned previously, the trips our primarily for sightseeing and enjoyment but we’re also keeping an eye on property prices and potential locations to move to. Being based in South East London (we have a Kent postcode) we are ideally placed to travel to multiple counties within a ninety-minute or two-hour drive.

First stop today was the town of Battle in East Sussex. Battle is the site of the Battle of Hastings, where William, Duke of Normandy, defeated King Harold II to become William I in 1066. Due to its historical significance Battle has numerous buildings and sites of historical significance. There’s the Abbey and its opulent gate at the South End of the main street. Then there’s the High Altar which is allegedly built on the spot where Harold fell and the Walled Gardens. We visited these along with the Battle Museum of local history. Despite its modest size it has exhibits of Roman remains, the Battle of 1066 and details regarding the towns production of Gunpowder in the eighteenth century. Next door are the Almonry gardens which are immaculately kept. The walls and terrace provide a tranquil and secluded respite from the noise of the buy main road. Battle is very tourist friendly with numerous restaurants and tea rooms. Many of the buildings are “listed” and therefore have been preserved in their original style.

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We then followed the road East to the village of Sedlescombe. This picturesque settlement mixes both the old and the new sporting modern bungalows along with traditional terrace cottages. Surrounding the central village green are a restaurant, a hotel and the Queen’s Head pub. As well as all the quaint houses there is a small Victorian pump house that is now preserved. Sedlescombe is both sedate and affluent. It is the epitome of rural seclusion for those seeking an escape from city life. However unlike Battle this is not a major tourist location. Beyond the local church at the North of the village there is not much else of historical note. The village is residential with a traditional veneer. The local geese appear to have free rein throughout the village with many residents leaving food and water out for them. We had lunch in the pub and the meal was outstanding. We only intended to stop for a quick drink but when we saw the quality of the food being served to other patrons, we decided to stay.

In the afternoon, we crossed over the county line into Kent and the village of Hawkhurst. This is yet another clearly wealthy area (there’s a Waitrose) which seems to again have a mixture of the old and new. The Moor, to the south, consists mainly of cottages clustered around a large triangular green, while Highgate, to the north, features a colonnade of independent shops, two country pubs, and hotels. Tourism is most definitely a factor here with Hawkhurst ideally positioned as the place to stay, for those who wish to travel the South East coast. The village itself falls within High Weald Area of Outstanding Natural Beauty. There are numerous copses and meadows with traditional cottages nestled between them. There are also several nineteenth century Almshouses that are currently being converted into luxury apartment. The village has charm and character. However a major A road runs though the middle and it is very busy and noisy. But the side roads offer a quiet retreat.

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During our visit, we looked in numerous estate agent’s windows and made note of the property prices. Although they are not as high as those in Greater London, they still reflect the affluence of the local area. Also many of the properties are listed and therefore subject to a great deal of building control. It is wise to consider this before committing to purchasing. Overall this was a very pleasant day away from the hubbub and bustle of the London suburbs. The weather was wonderful and it was an ideal for some rural exploring. Out of all three locations Battle had the most immediate attractions and things to do, although I found the peace and quiet of Sedlescombe to be very rewarding. Hawkhurst in many ways encapsulates all the common preconceptions of a traditional English village. Something I think it is happy to play upon. It will be interesting to compare it to villages in Wales and Scotland when we visit next year.

Apocalypse Now Final Cut (1979)

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Writing a review of Apocalypse Now is a somewhat redundant exercise, unless you have never seen the any of the previous versions of the movie, or your analysis is offering a unique and wholly original perspective. It is one of the most scrutinised, dissected and studied films in the history of cinema. Furthermore, the stories associated with the films tumultuous production have become as equally legendary as the movie itself. There is as much apocrypha associated with Apocalypse Now as there are legitimate anecdotes. In many respects the documentary Hearts of Darkness: A Filmmaker's Apocalypse, which was shot during the films production, is equally as fascinating as the iconic movie. So with all this in mind, I will simply try to succinctly summarise my thoughts on this third version of Francis Ford Coppola’s magnum opus, which has been officially labelled “Final Cut” by the director.

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Apocalypse Now Final Cut has been restored from the original camera negative via a 4K scan. Previous transfers used for the Redux version, were made from an interpositive. The new version has a runtime of 183 minutes, with Coppola having cut 20 minutes of the added material from Redux print. The original theatrical release in 1979 ran for 147 minutes. As for changes in scenes, the extended plot detour that takes place on the de Marais family's rubber plantation remains. Some critics consider this to be an unnecessary digression that slows the narrative. I see it more as an interesting statement on imperialism and its failures, which are subsequently being repeated by the United States and their interventionist foreign policies. The extended episode with Lieutenant Colonel Kilgore (Robert Duvall) culminating in the theft of his surfboard also remains. However, the scene in which Willard (Martin Sheen) and his men find the Playboy Bunnies, marooned after their helicopter transport has run out of fuel, has been removed. So has one of few daylight scenes showing Kurtz (Marlon Brando) reading aloud from Time Magazine to a group of Cambodian children. No further new footage has been restored to the film either.

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Upon mature reflection, I would say that Apocalypse Now Final Cut is the most polished and substantial version of the film out of all three edits. It makes its points about the nature of war, its inherent absurdity, as well as contradictions and does so at the right pace. This time round Willard’s journeys upriver to both a metaphorical and literal place of insanity, is done at exactly the right pace. There no longer feels like they’re narrative gaps or changes of pace. For those familiar with the bootleg VHS assembly print that was in circulation in the early eighties, there are still several legendary scenes missing. But I would argue that they wouldn’t really add anything to the overall film. If any still exist then they would better serve as “extras” on the Blu-ray release. The beautifully restored print is also a timely reminder of how complex action scenes use to constructed in the pre-digital age. The helicopter attack on the coastal village is still a staggering feat of logistical organisation and co-ordination.

More Podcast and You Tube Recommendations

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As part of the Blaugust Festival of Blogging, I thought I’d take the time to promote some of the content creators whose work I enjoy. Despite all the white noise, click bait and snake oil salesmen, there is still a wealth of good material to be found online, be it blogs, podcasts, You Tube channels or streamers. Most of what I currently enjoy, I discovered through word of mouth. I feel more disposed towards trusting the views and opinions of friends than I do of “recommendations” made by Google and You Tube, driven by their “questionable” algorithms. These are often determined by key words and have no ability to ascertain quality. So here are a mixture of You Tube channels, podcasts and blogs that I wholeheartedly recommend. Between them they cover such subjects as movies, gaming, comedy and history. Feel free to leave comments about my choices and share your own recommendations.

Dark Corners Reviews. If you have a liking for cult, obscure and trash cinema, then Dark Corners Reviews can provide in-depth commentary upon such content. Presented by writer Robin Bailes, films such as The Clones of Bruce Lee, Trog and Warriors of the Apocalypse are dissected in a droll and knowledgeable fashion. Robin also provides some very detailed retrospectives on classic horror movie franchises such as Universal Horror movies of the thirties and Hammer Studios Frankenstein series. These are extremely well researched and offer intelligent genre analysis along with clear love and affection. Dark Corners Reviews has been running for over five years so there is a wealth of content available on the channel. It is also interesting to see Robin refine his style and technique over time.

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Extra Credits. Created by Daniel Floyd and James Portnow in 2008, Extra Credits was initially a You Tube channel about video games studies. However over the years it has broadened its scope and now offers regular content analysing Science Fiction, History and Mythology. Each subject is presented as an animated video with casual but extremely informative narration. It’s a great way to come to grips with weighty subjects such as the history of the Irish Potato Famine or Greek Myths. The games study videos are all written by those with first-hand experience and explore such subjects as common mechanics, development schedules and sales and monetisation. Furthermore, the videos are always presented in an upbeat fashion, even when tackling tough issues. The team also put out updates to previous videos and will correct or append content where appropriate. It’s all extremely professional, intelligent and yet presented in an entertaining and easily digestible format. All involved seem to be genuine and likeable. Something that’s quite rare online these days.

Rule of Three. This is a somewhat niche market podcast but is really excels at what it does. British comedy writers Joel Morris and Jason Hazeley invite other comedians, actors and writers to discuss what they find funny and provide one example for discussion. Hence you will get the likes of comedian Phil Jupitus waxing lyrical about animator Chuck Jones, comic actor Kevin Eldon heaping praise upon The Rutles and writer Charlie Brooker dissecting the comedy genius of the movie Airplane. The show is informative, extremely funny and at times an utter geekfest. These guys know about their craft (as do their guests) and among all the humour and banter, the budding writer can glean a lot of useful information via their show.

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Scormus Fails. As long as I can remember, Scormus (formerly known as the MMO Troll) has been writing, podcasting, producing You Tube videos and live streaming. He is a familiar face in the MMO fan community; part of the furniture if you will. Like many of us, he has seen an ebb and flow in his content and audience. Yet he doggedly produces content, tries different mediums and talks about the things he loves. He knows he’s not to everyone liking but he is resolutely his own man. You have to admire someone who just does their own thing and keeps going. Over the years his sense of humour has grown on me and I enjoy dipping into his various content. I think he sends a very positive message to those who are just starting out on their blogging, podcasting or streaming career.

Murf Versus. I wrote a blog post a while ago about how overfamiliarity can be fandom’s Achilles Heel. In my case it’s movies. I’ve seen a lot and therefore, it takes more to impress, surprise or inspire me. However, a great tangential way to enjoy material you’re already familiar with, is through the experiences of others. And that is why I enjoy Murf’s blog. He and his partner Diane regularly sit and view classic films and do their upmost to put aside their own cultural baggage and give a fair and logical appraisal. Sometimes they find a point of entry and some common ground. Other times not so. Murf writes eloquently and thoughtfully. His musings are often astute and mature. He is also happy to eschew critical consensus. If he doesn’t like a cinematic sacred cow, he’ll happily say so and provide cogent reasons for doing so. So if you are more than just a casual movie viewer then do take a look at his blog. You may or may not agree with him on certain films but you cannot fault his honesty.

Transporter 3 (2008)

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Do I really need to present you with some sort of plot synopsis for Transporter 3? No, I didn’t think so. More of the same as Frank Martin (Jason Statham) and his police chum, Inspector Tarconi (Francois Berleand) become embroiled in yet another high-octane escapade. There's fights, car stunts, exotic international locations and a strong sense of humour. This time, the disposable love interest is a Ukrainian girl named Valentina (Natalya Rudakova) who fulfils her role succinctly. The film benefits by being set back in Europe, after the mistake of basing Transporter 2 in the US. This time, the story takes us to such locations as Budapest and Odessa. The international film crew once again bring a veneer of panache to the production that is conspicuously absent in US action movies. For a modest budget fil, Transporter 3 it looks very good. Again the proceedings are given a boost by a pertinent soundtrack by Alexandre Azaria and a selection of European “tunes”.    

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The fight scenes and car chases are well crafted and pitched at the right level for a PG-13 rated action-fest. The devil is in the editing, which is done in a very modern idiom, as you would expect. It is this fast pace style that allows the film to be get away with some of the content. The violence is strong but not dwelt upon. There are also some subtle references within the fight sequences to other classic films. Particularly Fist of Fury and Game of Death. Film buffs will know them when they see them. The dry banter between Statham and the sundry heavies he dispatches works well and embellishes the action. The franchise by this instalment has developed a sense of self-parody and there’s an amusing scene in which Frank give chase, not via some high-performance car but by bicycle instead. The joke works well, which is a surprising for a film that is derivative of a genre, that in itself, is self-plagiarising.

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Transporter 3 has no pretensions to be anything else, other than what it is. It is very dumb, stylised and no cliché is left unturned. Its tone is pitched just right for this sort of movie. There is a running joke about Frank not liking to get his suit dirty when fighting and his disrobing becomes a potential weapon. The underlying homoeroticism of previous movies is openly explored this time (“You’re the gay?”) and is rather amusing. All in all, this film delivers perfectly what you expect in such a genre offering. Director Olivier Megaton (Taken 2 and Taken 3) thrives on this sort of material and seems to know inherently how to handle it. For once the movies rating and content do not work against it. The Transporter franchise may well be commercial and disposable, but it is also very entertaining. This in some respects, is the best sequel. The TV series that followed was lacklustre and the 2015 reboot failed to ignite audiences’ interest, despite Ed Skrein doing his best. The shadow of Jason Statham looms large in this franchise.

Cheap Beer

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Cheap and cheerful or a surprisingly good bargain?

I often trot out the old adage “you get what you pay for”. However, upon reflection I think it’s a saying that should be used carefully. If employed when referring to buying a shirt, then it carries weight. I recently bought a double cuff shirt from Hawes & Curtis and the high price reflected the quality of the stitching and material. I could have bought another shirt for a tenth of the cost from Primark but it simply wouldn’t have been comparable. So on this occasion, the phrase was relevant. But if employed with regard to products like biscuits or laundry detergent then it doesn’t always hold up. Because the adage implies that a cheaper product is inferior by default, yet that is patently not the case with the examples I’ve given. Many supermarkets range of store brands can provide good alternatives to well-known premium products. It can be a process of trial and error to discover them but they do exist. Also even though attitudes are changing, there is still a lot of snobbery and brand loyalty associated with grocery shopping. In the UK the is a clear hierarchy of supermarkets.

So where is this all going, I hear you ask? Well, I want to discuss cheap bear. Actually, I specifically want to discuss one particular brand but we’ll come to that in a moment. First, a few words about my drinking habits. I enjoy a wide variety of alcohol and drink several times a week. I’m a bit of a seasonal drinker favouring heavier red wines and stout in autumn and winter, then moving to lager and white wine during the warmer months. I also like gin, vodka and brandy. I have a personal drinking hierarchy. For example I will sometime buy an artisan beer and drink it to savour its flavour. Alternatively, if I’m drinking socially at a barbecue or some similar event, the alcohol consumed tends to be more generic. I’ll happily add lime to a standard mid-tier lager. But I wouldn’t bastardise a fine malt whiskey. And then there’s very cheap alcohol. Strong beer or cider that is specifically manufactured for the purpose of rapid intoxication. I tend not to buy these products.

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Michael Caine only drinks beer “in a thin glass”…

Now I was in Aldi today. If you are not familiar with the supermarket, it’s a German chain. They are rapidly increasing their share of the UK market. They sell predominantly their own range of products or have exclusive contracts with European suppliers that are not so well known in the UK. Hence you avoid the mark up associated with premium brands but that doesn’t mean that the quality is inferior. Over time Aldi has managed to swim against the tide of cultural snobbery and now enjoys a very eclectic cliental that straddles several socio-economic groups. As the weather is pleasant at present and looks to stay that way for the bank holiday weekend, I thought I’d buy some beer. So I ended up buying 12 cans of Rheinbacher Premium Pilsner. Each pack of four 500ml cans cost £3, so I spent £9 in total. 500ml fills my favourite pint glass with just a centimetre or so gap at the top. The beer itself is a pale lager in the North American style. It pours with a pale gold body with a light white head. It has a fruity aroma and a mild, sweet malt taste. It’s doesn’t reinvent the wheel but it’s surprisingly pleasant and makes for solid evenings drinking if you stick with it.

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Is this man a beer snob? Who knows?

Out of idle curiosity, I did a little digging online and discovered that there are numerous beer aficionados running review websites. Rheinbacher Premium Pilsner scores surprisingly well, although you quickly ascertain that a percentage of beer drinking community are utter snobs. And like most snobs, their prejudice is founded in irrationality. Because the main criticism of this particular beer is its price and where it is sold. Factors that have zero relevance regarding its taste. However, despite the garrulous inanities of the idiot brigade, there were plenty of positive reviews. Which brings me full circle back to my opening gambit and getting what you pay for. Sometimes, something can be inexpensive without compromising on quality. Today’s purchase was a nice reminder to look beyond traditional brand loyalty and try something new. Cheap does not necessarily mean poor quality. I suspect that there are “hidden gems” in all supermarkets. I shall certainly be doing some further experimenting next time I go to Aldi.

Player Representation and Video Games

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There was a time when you bought a game, played it, possibly completed it and then that was the end of the matter. Along the way you determined whether you were enjoying it. Often that conclusion dictated how much time you spent playing. Gaming at this point in time, was a relatively straightforward business transaction. If your experience was broadly positive, you’d remember the publisher and look favourably upon their future products. As for the actual business dynamics, it was simple. You paid for the game up front and then later decided the respective value of that financial transaction. How things have changed and not necessarily for the better. We now live in the age of “live services”, microtransactions and games where your expected to forever put your hand in your pocket if you want to keep playing. Games are no longer one-off purchases. Games are an ongoing symbiotic relationship between player and vendor. Or if you want a bleaker analogy, games are a form of interactive, quasi-legal, managed addiction.

As a publisher, if you are selling a continuous smörgåsbord of content to a player base that you want to keep paying, there comes a point where you have to interact with that community and maintain the pretence that your interested in them beyond their ability to keep paying. Hence in some game communities, particularly in the MMO genre, you sometimes get some form of player representation. The most immediate one that comes to mind is The Council of Stellar Management in EVE Online. It’s a player advocacy group consisting of 10 members democratically elected by the players to advise and assist developer’s CCP in the evolution of the game. Back in 2013 Turbine created a player council for The Lord of the Rings Online. An exercise that lasted until 2016. More recently I discovered that there was even a player senate for Star Wars Galaxies Legends. Yes, a game that is officially defunct but has a grey emulation server, has player representation. And many other games, although lacking such councils, have community managers, preferred influencers and high-profile players who are happy to act as a go between.

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But does any of this representation work? Is it a genuine conduit between developer, publisher and consumer? Or is it just an PR exercise, that attracts the wrong sort of people, ending in acrimony, rancour and dissent, rather than inclusion, cordial relationships and glasnost. We’ll here’s a quote from Massively Overpowered editor, Bree Royce about the recent SWGL player senate elections. "It did occur to me along the way that in thumbing through the candidates’ platforms, I’ve already spent more time considering the election in an emu for a dead video game than most people spend on actual elections that affect their real lives. That’s… depressing". Yes, it is indeed. Plus I’m sure that electioneering within any game’s community is going to be rife with the same duplicitous, mealy mouthed, spurious bullshit that is endemic with real world canvassing. Politics uses the illusion of inclusion to advance the interest of specific groups, often at the expense of others. Why should that be any different in a game community than in the real world?

From my own perspective, I’m not aware of the LOTRO player council ever having achieved anything of any note. If they did it certainly wasn’t overtly publicised. Having checked though archived blog posts I wrote at the time; it seems that the whole enterprise was nothing but a source of problems. All of which can be distilled into one simple point. Gamers are not a uniform group. They are motivated for a multitude of different reasons and unlike Belinda Carlisle, don’t dream the same dream, nor want the same thing. Hence player councils of these type are seldom truly representative. And just like forums and subreddits, it’s the most vocal that seek to be elected so they can lobby for what they want. Furthermore, for such an enterprise to work, it also requires goodwill and genuine intent from the developer or publisher side. Considering the growing iniquities of the so-called “Triple A” video game industry, the likelihood or there being any to begin with is risible.

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I am reminded how during the #gamergate debacle, by the time the main stream press had actually got wind of the matter, there was a debate as to whether there needed to be a “face of gaming” to go on TV chat shows and put the gamers side of things. This was another truly ludicrous idea, based upon the erroneous assumption that gamers are a cohesive social group with a common agenda and set of values. Mercifully it quickly withered on the vine. Overall, there is no quick, easy and accurate way to compartmentalise gamers and represent them. Frankly, old school market research and surveys, with all its flaws and baggage, is potentially a more suitable tool. Overall, I still think it’s a mistake for players to perceive video games as anything else other than a commercial product and themselves as consumers. Yet this myth that the MMORPG genre is some how more than the sum of its part and due to its social component, some sort of autonomous collective, still persists. Considering how often things have ended in tears, you’d think some gamers would have learned by now. But there are none so blind as those who will not see.

The Pirates! In an Adventure with Scientists! (2012)

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The Pirates! In an Adventure with Scientists! is Aardman Animations fifth feature film and is based on the first two books in the Pirates! series by Gideon Defoe. For reasons known only to the marketing department, this movie has been retitled The Pirates! Band of Misfits! for its US release. When, I first saw the trailer for this movie way back in 2012, I thought that it had the potential to be a witty, inventive, quirky, and entertaining piece of film making, because that's what Aardman Animations does. The day they produce an inferior product is the day to quit watching movies, right? But let us not forget that even the most exemplary studio record can be blemished by the occasional wrong step (Yes, I'm looking at you Pixar after Cars 2). Happily that is not the case here. Having seen The Pirates! In an Adventure with Scientists! twice now, it is an extremely droll and clever animated movie. The film was nominated for the 2013 Academy Award for Best Animated Feature but lost to Pixar's Brave.

The Pirates! In an Adventure with Scientists! is a finely tooled, richly embellished, genuinely funny piece of film making. It works on so many levels and once again succinctly demonstrates that Aardman Animations totally "get" the art of film making in every possible way. Furthermore you have a movie that can genuinely appeal to all age groups. There's none of your contrived focus group driven, age or gender specific targeting here. Just an engaging film that is accessible to all and entertaining on multiple levels. Hollywood take note. You don't need a bunch of bean counters pawing over market research and surveys to make a successful and quality film. You simply need to have an abiding love and respect for the medium, as well as a good screenplay. It also helps if you credit your audience with some degree of intelligence. Plus make sure you have Jokes. Lots of jokes. Sight gags, slapstick and verbal humour.

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Okay, for those who insist on a plot synopsis, the narrative focuses on the Pirate Captain (Hugh Grant) who is desperately trying to win the much-coveted Pirate of the Year Award. But he's not exactly at the top of his game and is often ridiculed by fellow Pirates Peg Leg Hastings, Cutlass Liz and Black Bellamy. Furthermore the Pirate Captain's crew are somewhat lacklustre, being named after their personal attributes and foibles. These include such individuals as the Pirate with Gout (voiced by Brendan Gleeson and looking suspiciously like the actor to), the Pirate with a Scarf, the Albino Pirate and the Surprisingly Curvaceous Pirate (who is in fact a woman). After boarding the Beagle and capturing naturalist Charles Darwin (voiced by David Tennant) in a desperate attempt to improve his reputation, the Pirate captain discovers that his new parrot Polly is actually the last Dodo. Darwin convinces him that such a discovery could be invaluable to all concerned. I shall say no more than that. The plot even manages to have a few twists that may surprise the audience.

It is a cliché to say "hilarity ensures" after providing a plot summary. In fact it is often a prefix which carries a degree of derision or irony, as so many comedy films confuse hilarity with being crass. However in the case of The Pirates! In an Adventure with Scientists! The phrase can be genuinely used. The humour is subtlety different from Aardman Animations usual Wallace and Gromit fare, but is no less charming or emotive for it. There is a strong streak of traditional English humour throughout the movie that reflects a strong understanding and love of the UK's comedic heritage. From Monty Python and Douglas Adams to the Goons. It manifests itself in both overt and subtle ways. From Darwin’s chimpanzee butler Mr Bobo (who sports a monocle and communicates with cure cards) to the underlying fixation with ham. Every scene is packed with visual embellishments and throwaway gags. Certainly, this is a film that can happily sustain multiple viewings and still offer up new surprises.

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The craft involved in this cinematic undertaking is staggering. There is CGI in places, usually to deal with wider environmental aspects such as the ocean and the weather. But pretty much everything else that you see is traditional hand-crafted stop motion animation and it works beautifully. The range of expressions along with the pathos and drama that is created via the medium puts a lot of contemporary Hollywood fodder to shame. If you watch any of the “making of” extras found on the DVD and Blu-ray release of the film, you'll see and appreciate the minute attention to detail that the animators have lavished on every aspect of the production. Often it only registers fleetingly on the screen, but it’s all done due to a consummate love of their craft and its presence enhances every single frame.

As film making is a financial endeavour as well as an artistic one, Sony Pictures decided to temper some of the British excesses of this production and create a separate version for the US market. As previously mentioned, the title of the film was changed and some minor jokes that referenced foibles of UK culture were removed. Furthermore, there have been some alterations to the voice acting. The Albino Pirate, voiced in the UK version by Russell Tovey, was replaced by Anton Yelchin. Similarly, Ben Whitehead's performance as The Pirate who likes Sunsets and Kittens, has been replaced by Al Roker. Overall these changes do not undermine the film in any major way. However, if you’re a cinematic “purist” then I would recommend the UK print over the US version. Either way, if you enjoy animated movies then The Pirates! In an Adventure with Scientists! is well worth viewing. Aardman Animations are an exemplar of all that is best in film production and standout like an oasis of talent in the current desert of Hollywood mediocrity. Plus any movie that features Swords of a Thousand Men by Tenpole Tudor on the soundtrack can’t be bad.

Do MMOs Have a Specific Window of Opportunity?

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World of Warcraft was the MMO that broke the mould. The reasons for its success are too numerous and complex for this blog post, so let it suffice to say that it rode a perfect storm of factors and has maintained a strong presence for fifteen years. And as a result, subsequent developers have often sought to duplicate its success. Yet frequently the opposite has happened. In fact several MMOs have launched and experienced a brief time “in the sun” only for things to come crashing down thereafter. Perhaps the most well-known example of this was SWTOR which experienced a triumphant launch in December 2011, yet within three months the majority of players had left for pastures new. It took the game going F2P and a lot of hard work by BioWare to claw back the playerbase. It has also been argued that many MMOs have grown too big for their own good? It is true that a new player starting a game such as LOTRO today has a long slog ahead of them and some may simply find that too daunting. 

The reason I mention these two points is because I think they are linked and reflect a shift in mindset towards MMOs. Many of the older MMOs were originally based around group content and the formation of guilds. As a result many titles have a sizeable community of players that have reached level cap with multiple alts. Players such as this have played through pretty much all the content that the game has to offer. They play within guilds that have lasted years and have strong social bounds. Now consider a new player that has just started playing LOTRO for example. They have a prodigious amount of content to play through before they reach level cap. Furthermore because many players now prefer to play solo, they have an even more arduous task ahead of them. 

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Now I know some will argue that it's not about racing to level cap but the journey itself. This is a fair point if you are a player who is content to work through content in this fashion. However many games developers are still focused on the so-called endgame and creating new content for those at level cap. If you start playing LOTRO today, the only way you can reach Western Gondor or The Grey Mountains is if another player summons you there. It's a shame that so many of the older titles are hindered by such a linear approach to landmass and content but that's the way these titles were created. I personally would like to see more of an open world approach like The Elder Scrolls Online where content scaled according to your level and you are broadly free to go where you want.

So considering these points, I am beginning to think that for many MMOs there is an initial window of opportunity as to when it is most favourable to start playing the game. I started playing LOTRO in late 2008, just after The Mines of Moria expansion launched. As I was playing through The Shire, Bree and The Lonelands, senior members of my guild were levelling from fifty to sixty in Moria. However because I was very invested in the game at the time (it was my first MMO) I managed to catch up within nine months. I am now part of the group of players permanently at level cap and I can therefore immediately enjoy whatever new content Standing Stone Games develops for the game.

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The Elder Scrolls Online and Guild Wars 2 are both relatively new titles, so I think one could start playing these games and still be participating during the optimum window of opportunity. Plus they do not have such a difficult levelling curve or level cap that is extremely high. Is this the same case with EVE Online, Final Fantasy XIV or Black Dessert Online? I'm not so sure. These are games where the key to success is the investment of time. Some MMOs have mechanics or store items that will allow you to level quickly but does that really solve the issue? There is an inherent contradiction in selling an item to boost your level, hence paying money to bypass playable content. But levelling through intermediate level content can be a lonely process sometimes. Zones can be devoid of other players. At least in Guild Wars 2 the game downscales players to the zones specific level thus providing an incentive for the veteran player to return. Sadly many other titles do nothing to encourage players at cap to revisit lower level areas.    

I also think this window of opportunity may be tied to wider factors, other than the games progression system. Many MMOs experience a period when the fan base thrives and produces a wealth of content. This can be blogs, guides, podcasts, You Tube videos or livestreams. However this tends to be cyclical. Due to the rise of the casual player and their migratory nature, this if often more pronounced. I remember sites like the LOTRO Combo Blog that used to aggregate fan related blogs. It has long since gone. Another example you can see is the way your Twitter timeline may be awash with content regarding a new title and then over time it simply fades away. Twitch TV is also another interesting litmus test. A look at the homepage will quickly tell you what is popular and what is not. Is the window of opportunity for MMOs therefore not only verifiable but also clearly getting shorter? 

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There are other genres and franchises that experience similar optimum windows of opportunity. Harry Potter and Friday the 13th are two examples from the movie industry. There was a clear period in time when both were immensely successful franchises. However, their transition from silver screen to multiplayer game took a lot longer and perhaps the proverbial boat was missed. The Wizarding World eventually found a home in the mobile gaming market and not as an MMO. Friday the 13th fared slightly better as a multiplayer game and captured a nostalgia wave. Yet it was ultimately hamstrung by legal issues surrounding the rights to the franchise. MMOs take a lot of time to develop and the market trends can change during that time. Amazon Game Studio appears to have halted the development of New World. Is this game now going to be repurposed to tie in with their Middle-earth themed TV show. If that is the case the game may launch during the optimum window of interest.

Finally there is an odd codicil to this question. We have seen recently a trend towards “Classic” servers which strive to serve up a broadly comparable experience to that of launch and the first year of an MMO. Is nostalgia the key to successfully creating a second window of opportunity for a game. Is it sustainable? Or is it going to have an even shorter arc? So far, the LOTRO Legendary Servers seem to be ticking over and I have not at present seen any data pointing to a decline in population. Perhaps the launch of World of Warcraft Classic on the 27th August will provide a greater insight into the longevity of nostalgia. In the meantime there is much to reflect upon, as the points raised here have barely scratched the surface of the matter. Because when we talk of a window of opportunity for an MMO, there is the player perspective and then there’s the business perspective. For all the market research and data analysis, I suspect that there are also some other factors that are much harder to quantify.

The Bourne Legacy (2012)

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Jason Bourne originally graced our screens for the first time seventeen years ago. The Bourne Identity was a gritty, minimalist take on the espionage genre and a welcome change from the excesses of the Pierce Brosnan Bond era. The story arc was sustained over three movies and ended efficiently and succinctly. After which Matt Damon moved on, as did the director of two of the movies, Paul Greengrass. Which leaves us with The Bourne Legacy; the tangential sequel that arrived in 2012. A film that exists because the money men and bean counters hate to pass up on a franchise until it has been squeezed utterly dry. Hence, they commissioned the writer of the series, Tony Gilroy, to come up with a screenplay and direct a spinoff movie. Jeremy Renner was cast in the lead role. Yet despite narrative and production continuity, The Bourne Legacy was not a Jason Bourne movie with the star appeal of Matt Damon. Although the film turned a profit, it had the lowest box office returns out of the entire franchise.

The plot is constructed in such a way to dovetail nicely into the existing storyline. Whether its clever or contrived, I'll leave you to judge. Aaron Cross (Jeremy Renner) is an enhanced soldier from the Outcome program. This is the military's equivalent to CIA’s Treadstone project. After the events of The Bourne Ultimatum, Colonel Byer (Edward Norton) decides to eliminate all traces of Outcome. Not just the agents, but all medical researchers and admin staff. I wouldn't be surprised if that included the cleaners and stationery suppliers as well. So it's not long before Cross goes on the run the run with Dr Marta (Rachel Weisz), the one scientist who designed the physically and mentally enhancing "chems" that cross must take daily. Cue two hours plus of chase scenes, followed by plot exposition by character actors such as Stacy Keach and Scott Glen, followed by more chase scenes. Rinse and repeat.

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It’s all very professionally made and somewhat soulless. One of the main selling points of the original Bourne trilogy was the lead character’s amnesia, struggle for identity and possible redemption. This plot device is absent from this movie and thus we’re much less emotionally connected with our hero. The concept of chemically altering a person into a Nietzchean superman is initially intriguing, portraying Cross as an addict. However it is conveniently dispensed with when we discovers that going cold turkey reveals that the drug’s effects are permanent. The ending leaves matters conveniently open for yet further exploration. Overall, The Bourne Legacy is somewhat perfunctory with its matter of fact, A to B style of film making. The movie lacks any dramatic focus.

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The Bourne Legacy will provide you with adequate entertainment if you want nothing more than a technically competent chase movie for two hours or so. If you like your fight scenes edited so quickly you haven't a clue who just wupped who, then you're in for a treat.  Yet considering the strength of the cast, this is a somewhat grey action movie. Apart from The Hurt Locker and The Town, I have yet to see Jeremy Renner in a role that he excels in. Certainly not any of his performances as Hawkeye, the dullest member of The Avengers. Overall, fans of the entire franchise can easily skip this instalment. It is worth noting that Matt Damon returned for a fourth movie in 2016 which provided a codicil to the Jason Bourne story arc. However, even this may not be the definitive end to the franchise. A further spinoff television show called Treadstone is due to be broadcast in October this year.

Tinker Tailor Soldier Spy (2011)

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John le Carré's Cold War thriller Tinker Tailor Soldier Spy, is not only a good example of the spy novel genre, but a fine piece of seventies British literature per se. Therefore I was most surprised when I learned back in 2011 that it was to be made as a film. Could the complexities and subtleties of this cerebral and deliberately slowly paced book be adequately brought to the big screen, by today’s studio system? Could it compete with the previous BBC television adaptation starring Alec Guiness that was made in 1979? Thankfully, director Thomas Alfredson and Working Title films have successfully managed to distil the complex plot into the film’s 127-minute running time. Furthermore, the ensemble cast have a quality script to work with and the entire production benefits from the flair of a quality European director who brings an interesting outsiders dynamic to this very British tale. 

In October 1973, the head of British Intelligence, Control (Sir John Hurt), resigns after an operation in Budapest, Hungary goes seriously wrong. It transpires that Control believed one of four senior figures in the service was in fact a Russian Agent. The Hungary operation was an attempt to identify which of them was the mole. George Smiley (Gary Oldman), who had been forced into retirement by the departure of Control and changes within the corridors of power, is returned to office and tasked with the investigation into the alleged spy and preventing a major scandal. Rogue Agent Ricky Tarr (Tom Hardy) has evidence to suggest that the claims are true. Smiley also considers that the failure of the Hungary operation and the continuing success of Operation Witchcraft, which appears to be yielding significant Soviet Intelligence, may be linked. As smiley digs deeper into the affair he finds that much within British Intelligence is not what it seems.

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Modern mainstream cinema is fast, frenetic and often fun. Yet it can also be bombastic, self-indulgent and lacking in depth. Although the technical aspects of film making is continuously advancing, I often feel that art of writing a tight, engaging and credible screenplay is in decline. Plot detail, character development and credible dialogue is frequently sidelined so that a narrative can be expedited. Fortunately, that is not the case with Tinker Tailor Soldier Spy. The skilful screenplay by Bridget O'Connor and Peter Straughan credits the audience with the necessary intelligence to keep up with the plot. The viewer has to be attentive to the dialogue, connect the dots myself and do a degree of thinking. Tinker Tailor Soldier Spy also requires an overview of the political status quo of the Cold War. However, those who engage with the ongoing story are rewarded with a high-quality, narrative driven film. It’s been a while since my brain was given such quality fodder as this.

Purists will be happy to know that Tinker Tailor Soldier Spy has not made any major plot alterations to their beloved source text. There have been some reordering of events for cinematic effect but by and large the story remains intact and true to the source text. Performances are outstanding and Gary Oldman makes the iconic role of George Smiley his own within minutes of being on screen. The look and feel of the time is suitably captured, especially the grimy down at heel world of the intelligence community. This is not the faux, stylised depiction of the era you’ve seen on television shows which still strive to make this decade chic in some fashion. It is ironic that such a quintessentially British product has been successfully brought to the screen, by Swedish director Alfredson. His Scandinavian sense of style and clinical attention to detail, previously shown in Let the Right One In, is ideal in realising this sort of period production.

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I could extol the merits of many aspects of this film, such as the cinematography, soundtrack, production design and editing. But frankly it is much better for potential viewers to discover these things for themselves without any advance notification. Tinker Tailor Soldier Spy was rather arbitrarily and obviously labelled "old school" by some film critics upon its theatrical release. It is not. It is simply a succinct reminder of how quality cinema should be made. If you start with a good story, that is written well then you have a solid foundation for a good movie. That is as pertinent now as it was when film making was in its infancy. If you like strong stories and quality performances that play out over a measured running time, then Tinker Tailor Soldier Spy will be of interest to you. If you do not like having to think of yourself, listening or paying attention and prefer style over substance, then you may want to look for entertainment elsewhere.

The Stepfather (1987)

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The evil stepparent is a common trope in cinema. One can argue that is does perpetuate a negative stereotype but then Hollywood has never been quick to reflect social change or been overly concerned about its depiction of certain aspects of society. However, as a plot device this is money for old rope. So dovetailing a murderous stepfather into a slasher movie was a logical step in 1987 when the genre was booming. In many respects The Stepfather is an arbitrary, low budget movie, with all the associated hallmarks. Its cinematography is functional but no more so and it is shot on low grade film stock. Hence the colour palette is somewhat lurid. It is mainly a housebound production with standard suburban exterior shots. The score is a typical eighties synthesiser offering, that both under performs and dates the proceedings. Yet one thing stands out and makes The Stepfather better than what it deserves. The central performance by Terry O'Quinn is compelling and drives the movie forward.

Jerry Blake (Terry O'Quinn) has recently married widow Susan Maine (Shelly Hack) after moving to a small town. He sells real estate and extols the virtues of the American Dream; of family, home and hard work. Yet his stepdaughter Stephanie (Jill Schoelen) is suspicious of him and still grieves for her natural father. She shares her fears with her therapist Dr. Bondurant (Charles Lanyer). Meanwhile, in the next town Jim Ogilvie (Stephen Shellen) searches for evidence regarding the murder of his sister and her family by the mysterious man she married. The police have no clues and the local press are disinclined to pursue the story any further. Jim suspects that there may be a serial killer travelling the state preying on widows and searching for the perfect family. Is Jerry Blake that man? Are Stephanie’s fears about him founded or is she just struggling to come to terms with the changes in her family.

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The Stepfather has a good cold opening which clearly establishes where the plot is going. Although the rather formulaic screenplay by Donald E. Westlake unfolds in a somewhat expected fashion, it does have a few points of interest along the way. This is the era prior to DNA evidence and the proliferation of CCTV. Local police departments simply don’t have the manpower to undertake extensive door to door searches. If clues are not immediately forthcoming then a murder investigation quickly goes cold. Such a time obviously made moving around the country and changing one’s identity a lot easier. The film also touches upon the American love affair with small towns and how they represent all that is considered good and wholesome and about the American way of life. There are hints that the story by Brian Garfield (of Death Wish fame) is a metaphor for how this was considered under attack at the time, from social change.

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The cast do the best they can and the screenplay endeavours to give some depth to the Mother and Daughter relationship and how it is unbalanced by the arrival of Jerry in their lives. But overall the proceeding are dominated by Terry O’Quinn. The way he veers from the quietly spoken Father figure to an angry sociopath is quite startling. There is not an excess of violence in The Stepfather but when it comes, it is powerfully handled. When Jerry finally snaps and has his iconic “who am I here” moment, where he momentarily forgets what identity he has currently assumed it remains a standout scene. Director Joseph Rueben gets as much mileage from his cast and the film’s 90-minute running time as possible. He refined this process even further to better result in 1991, when he made the similarly themed movie Sleeping with the Enemy with Julia Roberts.

Gas and Meat

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Over the last few weeks, Bree has mentioned on the Massively OP Podcast how she’s been farming both gas and meat in Star Wars Galaxies (played via an emulator. No pedantry please). Co-host Justin has naturally ribbed her and raised the question as to whether this is a valid and more importantly, fun use of her time while gaming. This is some of the light-hearted banter that makes this particular show so enjoyable. But there’s an old adage that states “many a true word spoken in jest”. Most people who have played any MMO, even in the most casual fashion, have at some point found themselves farming specific commodities for crafting or sale. Or they may spend time repeating a task as a means of gaining experience points. Perhaps they’ve gone so far as to undertake some extensive project for something as arbitrary as a title or a reward that simply amuses them. The bottom line is at some point we have all done the “gas and meat” thing.

There was a time in The Lord of the Rings Online, when there was a healthy trade in ore on the auction house. People wanted to craft but didn’t necessarily have the time or inclination to do it themselves. Hence, I would spend hours collecting Dwarf-iron and Platinum ore in Western Evendim, circulating through the zone in an orderly fashion to ensure the various nodes had time to respawn. Often, I’d have music playing or I’d listen to a podcast while carrying out this somewhat ponderous task. Yet the results were tangible. The ore would sell and the gold would come rolling in, allowing me to then buy gear to improve my build. I would even go so far as to suggest that this task (and those similar in other MMOs), if approached in the right fashion, can be quite relaxing. In the same manner as a clicker game.

I suspect that “gas and meat” syndrome (as I shall now dub it) probably serves several other purposes and may indeed say something about the gamer who pursues it. It becomes very clear after reading gaming blogs, written by grassroots level players, that MMOs often serve as more than just a game. They can act as a means of therapy and de-stressing. Repetitive acts that yield results provide a clear sense of purpose. They are also something that you can control and manage. They may even serve in a symbolic fashion, as a way of imposing order upon a chaotic world. Games offer us a degree of control and stability that is not always found in our real lives. So we grind out Task Force Operation in Star Trek Online. Or we farm Dolmen in The Elder Scrolls Online. All of which can provide a sense of accomplishment and offer a brief Dopamine hit.

Finally, I recently discovered the UK TV comedy, Dead Pixels. It follows the lives and experiences of a group of friends that play an MMO called “Kingdom Scrolls”. It’s surprisingly well observed and is clearly written by people who have played MMOs, rather than being a non-gamers perception of MMO players. Here’s a clip in which Nicky (Will Merrick) is depressed after his favourite Kingdom Scrolls streamer has died and decides to “pick up every leaf in the game” as way to keep himself busy. There is a ring of familiarity to this “act” and what happens next is also very relatable. Bear all of this and the above in mind, next time you decide its time to go farm some “gas and meat” or whatever your equivalent is, in your favourite MMO. And if you see someone in-game doing something like this, give them a /cheer to show your solidarity.

Thoughts on Work Part 2

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The joys of commuting to work

In a previous post I wrote about my own personal employment history and the various ups and downs of my working life (so far). In this post I want to reflect upon the broader concept of work, because it has radically changed since I entered the job market in the late eighties. Contracts, job descriptions, the working environment and even the way in which we find work have evolved rapidly due to the internet and the advent of social media. Some of these changes have been good, but others I feel have been detrimental for job seekers. The job market is always subject to a lot of ebb and flow and depending on the state of the economy, it can either favour of the employer or employee. At present in the UK, it strikes me as being very much the former.

When I left full time education at the age of eighteen (I didn’t want to go to university as I had no clear career plan), the commonest means to find work were the classified ads of certain regional newspapers. Applications where usually made in writing or you’d request an application form by return of post. You could also visit your local Job Centre (which are part of the Department of Work and Pensions), which not only handled social security benefits but also listed local jobs. However, most of the work advertised at the time, tended to be unskilled labour and traditional “blue collar” positions. However, regardless of how you looked for work, the process was slow and ponderous. Positions were advertised for a fixed period of time and selections for interview often ran to a strict timetable. As I had no specific idea of what I wanted to do, I ended up in a government position, working in the UK Civil Service.

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Also known as the “dole office”, “the zoo” and “the social”

During the last major financial crash back in 2008-2009, I found finding contract work a little harder due to the market slowing, so I visited the Job Centre a few times. Twenty years on, the sort of positions available there had changed considerably so it was quite useful to peruse their listings. I spoke to several people during that time who had lost their jobs and it was quite a culture shock to be back in the jobs market. Many had not adjusted to the necessity with registering with online recruitment agencies and learning when the key times were to search and apply for work. Many were still carrying paper copies of their Curriculum vitae (résumé) and trying to find jobs via the press. It was a steep learning curve for them. Many job markets now have preferred ways of presenting your skills and work history. Plus the modern job markets requires applicant to be able to effectively sell themselves. Employers don’t just want the right skills but the right type of person. Some people just can’t handle the “you are your own brand” concept.

Moving on from how one finds work, I would like to reflect upon the actual work environment itself, because when you step back and look at it objectively, it really is an incongruous concept.  At its heart it is founded upon the hope and belief that a complete group of strangers are expected to get on. Furthermore, this goes beyond being able to work co-cooperatively. There is usually an expectation of some sort of wider cordial relationship. Hence, we find that birthdays, marriages and other social activities are dragged into the workplace. There are cards to sign, collections to contribute to and drinks after work to go to. The other thing that has struck me, is how despite robust recruitment processes, how so many obviously socially and emotionally dysfunctional people fly under the radar and find gainful employment. Bullies, racists, misogynists, tedious bores and people who are just lazy or shit at their job abound. Over the course of my 30-year working life, I’ve seen so many square pegs in round holes. Considering the friction and drama that arises so often within the work environment, I am genuinely surprised that there isn’t a higher murder rate stemming from work.

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“No, I won’t be signing Kendra’s leaving card and if you ask me again, I’ll cut you…”

Another thing that has changed about work culture, is that it is no longer just about being skilled at what you do. Now everyone is trying to be the best they can be, working towards a personal development plan, striving for targets and reaching for goals. This sort of corporate bullshit may be applicable to highfliers and certain types of jobs. But is it relevant to cleaners? Should someone on minimum wage, working a zero hours contract worry about whether they’re bringing value to their work, or upholding the company mission statement while mopping up faecal matter? But where corporate attitudes towards work have changed, so has that of employees and wider society. People of my parent’s generation where sold the myth that if you work hard, you’d be rewarded. Although this can still happen, for many it is no longer true. Too many people have got wise to the fact that they’re doing a pointless or arbitrary job, with no major hopes of advancement. They are neither respected nor valued by their employer, who mainly sees them as an asset. A tool to be used and then put down immediately when it’s no longer required. Social media has shown how the other half lives and popped a lot of bubbles. People now know that their life is pretty much pre-ordained by factors such as where you are born, the quality of your education and the social economic group you belong to. Therefore the modern workplace can be fractious and jobs are sometimes not done well, because why bother?

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Co’s this is what cleaning is really like

Despite growing up in the seventies, I do not believe that I am defined by my job (which I perceive to be a very American outlook). I have learnt the true value of leisure time and over the years have worked mainly for my own intellectual stimulation and just for the money. But many people don’t have that luxury. They do the jobs that are available, rather than what they desire and have little say over the salaries they earn. Furthermore, I suspect that this situation will only get worse. AI and globalism will further continue to reshape the employment market. There will be less jobs and those available will require more skills. Governments will need to have plans to address such a state of affairs or there will be consequences. As for me. I sometimes miss the social aspects of work but only because I was very fortunate with most of my colleagues. But commuting and listening to friend’s stories about what goes down where they work, soon makes me appreciate that I’m well out of all this. When my granddaughters get older, I shall try and impress upon them that need to gain skills. As I believe this is the key to successfully navigating the jobs market and ensuring that your working life is something you control, rather than something that happens to you.

The Banana Splits Movie (2019)

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I was very surprised when I first saw a trailer for The Banana Splits Movie. It is unusual for a big studio such as Warner Bros. to allow one of its intellectual properties to be “repurposed” in this way. However, a little research online has yielded a few interviews in trade magazines where the inference is that this movie is a test. Naturally the studio wouldn’t take such a risk with a more popular franchise like The Flintstones or Scooby Doo, so The Banana Splits were chosen instead to see if they could successfully crossover into another genre. And the horror genre lends itself to low budget productions that can quickly be made, marketed and yield a satisfactory return on investment. It will be interesting to see if this gamble pays off and whether we’ll see a sequel or another beloved children’s show turned into a blood-soaked comedy horror.

The Banana Splits Movie starts in a fairly innocuous fashion with an episode of The Banana Splits Show (which has been running in this movie universe since 1968) being recorded at the Taft Studios. But due to a change in programming policy the production is to be closed. Furthermore, the Banana Splits (who are robots for “some particular reason”) seem to be having problems with their latest software upgrade. Meanwhile young Harley Williams (Finlay Wojtak-Hissong) is visiting the studio with his Mother Beth (Dani Kind), older Brother Austin (Romeo Carare) and Stepfather Mitch (Steve Lund) to watch a live recording. It’s Harley’s birthday and he is a big fan of the show, although his parents worry that he’s a little old for such things. Since Harley’s Father died, he’s become very insular and Beth struggles to find one of his school friends to join his birthday celebrations. Zoe (Maria Nash) reluctantly comes along, although she finds the show somewhat “lame”. However, the Banana Splits have no intention of being cancelled and start reaping bloody revenge against both studio staff and the audience. After all, the show must go on. Will the Williams family survive?

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The horror genre often lends itself to high-concept film making and The Banana Splits Movie falls clearly into this category. It has all the key ingredients required for such a movie, with its low budget, tongue in cheek approach and liberal quantities of gore. But this film has some of the flaws that are also inherent with these sorts of productions. The initial thirty minutes leading up to the first murder drag a little. The cast try hard and there is a little more backstory to the characters than you expect with such films, but performances are variable. Plus the screenplay by Jed Elinoff and Scott Thomas, dithers a little over what exactly to do with Fleagle, Bingo, Drooper and Snorky. There is no attempt to explain why they’ve gone “bad”, not that it is essential to the narrative. Horror movies have their own fluid, internal logic and audiences tend to indulge such things. There are also some editorial issues which leave some minor gaps in the narrative. A character loses some fingers off camera. During the end credits we see them lying on the floor. Has a greater significance been edited out?

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If you adjust your expectations accordingly and keep in mind the realities of low budget horror movies, The Banana Splits Movie can be an amusing 90 minutes. The cast are sincere and there is an inherently creepy quality to the idea of something as benign as The Banana Splits behaving psychotically. Gore fans will not be disappointed as there are several quite detailed and grisly kills. If only the screenplay had focused more upon the interaction between Fleagle, Bingo, Drooper and Snorky. Naturally there are some obvious homages to The Terminator franchise and gamers will see clear parallels with Five Nights at Freddy’s. As for cries of “you’ve ruined my childhood” from the usual suspects, these can be dismissed as hyperbole from people who patently aren’t familiar with the writings of Marcus Aurelius. The Banana Splits Movie ends with plenty of scope for a follow up. It just remains to be seen whether this movie finds an audience who take it in the spirit it is intended.

NB Snorky is my favourite.

Quest Bestowal in MMOs

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When playing a massively multiplayer online role-playing game, such as The Lord of the Rings Online, acquiring quests is a very straightforward process. Key locations such as towns, villages or anywhere with a stable are usually quest hubs. Non-playable characters denote that they have quest(s) available by having a glowing ring icon above their heads. It’s not subtle but you’d have to have a bag over your head to miss such an obvious clue. Most MMOs have some version of this bestowal system. A clearly visible means to show that an NPC or object is the starting point for a quest. It’s a rather unsophisticated system but it gets the job done. Hence it has been around for quite a while in the genre (silence, dissenting old school gamers, blathering on about how in the good old days, MMOs didn’t have quests).

Now this functional process has limitations. Quest giving NPCs tend to be static for practical reasons. You don’t want them perambulating around the town, making you have to search them out. So while those not bestowing quests can have all sorts of fancy animations to try and bring the illusion of life to area, quest giving NPCs just stand around, breaking the immersion that other aspects of the game have worked so hard to build. Plus in LOTRO, there is seldom any voice acting beyond the first line of the quest bestowal text. Therefore, it’s a somewhat dull process. In the MMO Star Trek Online, NPCs will sometime hail you while you’re in-sector space, as a means to imparting a mission. It certainly seems more natural and is totally in the correct idiom of the intellectual property. Plus, as a gamer, if you find this process intrusive, you can turn it off. Hence, different developers have tried to polish this quest giving system and make it more dynamic and feel more natural. ZeniMax have certainly tried a different approach with The Elder Scrolls Online. But it comes with its own consequences.

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Even if you own just the base version of ESO, you notice that not all quest bestowals come via the traditional NPC, lounging around and lollygagging in the various towns and ports of Tamriel (although the game certainly has these). You may be riding past a farm, only for an NPC to come running out and declare that “Brother Numpsie* has been kidnapped by the foul Myrmidons” or some such standard fantasy-based reason. This mixture of proactive solicitation, along with voice acting is initially quite compelling. You may find yourself diverging from your current course of action to rescue the imperilled individual. Certainly this approach to quest bestowals suits an open world where players my just want to go out and explore, rather than follow a clearly delineated plan. However, this process can become a nuisance. At present, whenever I enter the Mages Guild, I am greeted by Arch-Mage Shalidor who invites me to participate in the next part of a quest line. I am frequently pursued in most towns by an Orc courier named Stuga, who tells me how long she’s been looking for me. Nag, nag, nag.

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Joking aside, this interactive game mechanic can get a little wearisome. If you accept some quests it will remedy the problem of the quest givers overt diligence. But on occasions this can lead to immediate instanced content, so you may not wish to accept them. I am currently looking into the various game’s settings in ESO to see if there is a way of disabling or at least controlling this process. I bet there’s an addon to address it, somewhere. Oddly enough, ESO has another alternative way of starting quests or at least the main storylines of all major DLC. Wrapper missions can be launched from the Collections tab in-game. You don’t have to be in a zone and seek out the NPC who starts things. However, it would seem that no game has yet managed to design a creative quest bestowal system that doesn’t have some sort of drawback, limitation or even nuisance factor. Again I can hear the true sandbox devotees shouting about the why there has to even be a requirement of quests per se? But I like narrative driven content and don’t want to put my faith in emergent content. So until the developers improve the situation, I’ll continue to ask Billy No-Mates in LOTRO if they have any quests, and get chased round Tamriel, Benny Hill style, by the Prophet and Abnur Tharn.

*There seems to be a conspicuous lack of consensus with regard to how you spell Numpsie.

The Day the Earth Stood Still (2008)

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Fellow blogger and all round good guy Murf, posted an ode to Bill & Ted’s Excellent Adventure today. It is clearly a movie that he enjoys (Go read his review). He references how due to this movie (along with others), as well as being a decent person in real life, that actor Keanu Reeves enjoys a great deal of goodwill from fans and pop culture cognoscenti. Which is a good thing for Mr Reeves, because goodwill often means that folk are prepared to overlook past transgressions and misdemeanours. And in cinematic terms, Keanu has had a few. The Day the Earth Stood Still is definitely one of them. Now I’ve questioned before the wisdom and merits of writing a predominantly negative film review and believe me my thoughts on The Day the Earth Stood Still are most definitely so. However, I think that something positive can still be gained from scrutinising this film. It can be held up as a textbook example of how not to remake a classic.

In a prologue sequence set in 1928, a solitary mountaineer encounters a glowing sphere. He loses consciousness after touching it and upon waking, he notices a scar on his hand where a sample of his DNA has been taken. Moving on to the present day, Dr. Helen Benson (Jennifer Connelly) is summoned to a military facility along with several other scientists when an alien spacecraft arrives in New York City. Aboard is a human-like alien (who looks like the earlier mountaineer) and a giant robot of immense size and power called Gort. The alien identifies himself as Klaatu (Keanu Reeves) and states he has “come to save the Earth”. The US Secretary of Defense Regina Jackson (Kathy Bates) sees him as a threat decides to have him interrogated more robustly. Dr. Benson considers this unethical and decides to facilitate Klaatu’s escape. However, when she learns exactly what his words mean, she tries to convince him to rethink his views on humanities iniquities and change his intentions.

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When you consider this production’s budget, the quality of the support cast, along with the advances in visual effects, this movie could have been so much better. Director Scott Derrickson is far from a genre hack and I consider his previous work on The Exorcism of Emily Rose, Sinister, Doctor Strange to be of interest. I think his concept of retelling Robert Wise’s classic 1951 movie as a more benevolent tale, rather than an imperious threat, is a valid idea. Yet all these good intentions are lost due to a woefully inept screenplay by David Scarpa. One can’t help but feel that the narrative scope of the film tries too hard and that several well-intentioned casting decisions were ultimately a bad choice. Dr Benson’s stepson, played by Jaden Smith, is supposed to be conflicted due to the premature death of his father but comes off as simply intransigent and annoying. And then there is Keanu Reeves decision to try and play Klaatu in a similar disconnected idiom to David Bowie, in The Man Who Fell to Earth. Instead of being an understated performance it simply fails to convey any depth and conviction.

I’m a fan of unconventional casting when it works but Professor Barnhardt, played by a curiously deadpan John Cleese, whose character has won a Nobel prize for his work on "biological altruism” is too much of a stretch. As for the plot device of paranoid politicians, well if you want it to have any semblance of dramatic impact, then you really have to try and do something different with it. Sadly, such inspiration is sadly lacking and we’re just presented with the usual paranoid clichés about the military and our elected officials. Hence by the time the movie reaches its finale and the Robot Gort, transforms into a swarm of all consuming insect like nano-machines, the spectacular denouement lacks any emotional impact. Given what the audience has witnessed over the proceeding hour, I’m sure most right-minded people would say “fuck it, let humanity die, the bastards”. But at the last moment, Klaatu reverses his decision and sacrifices himself for the sake of humanity, thus ending an emotionally lacklustre and tonally deaf film.

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The Day the Earth Stood Still lacks the portentous quality of its predecessor. Klaatu is no longer a biblical judge but a vaguely indifferent administrator, who is inconvenienced by humanity as he vacuum packs earth’s wildlife. Gort is robbed of his metaphorical status and is simply relegated to a MacGuffin designed to facilitate a spectacular ending. And the screenplay, instead of making the audience reflect upon the consequences of mankind’s propensity for violence and destruction, simply pays lip service to the environmental crisis and a few other token social issues. There is no conviction or gravitas present. Nor is there a soundtrack comparable to that of the original by Bernard Herrmann. This is big budget Hollywood science fiction, trying to be politically and socially relevant but refracted though the prism of a big studio that doesn’t really grasp either of those things. But returning to the original point, Keanu Reeves has firmly put this behind him and risen above it, thanks to impart to the John Wick Trilogy. Movies such as this have indefinitely stalled less fortunate actors’ careers.

Classic Game Themes: Lords of the Fallen

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Lords of the Fallen is an action role-playing game from 2014, played from a third-person perspective. It is broadly in the same idiom to Darksiders and Dark Souls with the emphasis on complex and challenging combat. And it is for that reason that I didn’t get on with this title when I bought it in a Steam sale a few years ago. I felt that the long, protracted fights were an impediment to the narrative, which I quite enjoyed. However, the game was designed this way to appeal to the combat focused gamer and “git gud” culture. But I think that it’s important to try different genres of games from time to time and to step occasionally out of your comfort zone. I would cite the Hand of Fate series as a positive example of this. Both of those titles are from a genre I wouldn’t usually consider and playing them turned out to be a very positive experience.

One aspect of Lords of the Fallen that did stand out for me, was the score by Norwegian composer Knut Avenstroup Haugen. Haugen is best known for his association with video game developers Funcom and writing the soundtrack for Age of Conan. His work on that MMO was very broad in scope, encompassing inspiration from a wide variety of world cultures. However, his approach for Lords of the Fallen is quite different. The main title cue is a simple track which blends ethereal vocalisations and strings with a strong percussive beat. This surprisingly versatile leitmotif is subsequently used in interesting variations throughout the game. This very clear musical style reflects the games central theme of an individual on a path of self-discovery and bolsters it very effectively.

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To highlight how well Knut Avenstroup Haugen uses the concept of the leitmotif in Lords of the Fallen, here are three tracks from the game’s soundtrack album. “Winter’s Kiss (Theme from Lords of the Fallen)” which establishes the central musical concept. “Sacrifice” which presents a robust variant as the main character progresses through the game’s narrative. And finally, “Atonement” which beautifully adapts the main theme to a triumphant and emotional end piece. It should be noted that the score Lords of the Fallen was nominated for the Hollywood Music in Media Awards by critics. This was due to its adaptable simplicity which lends itself to significant variation and interpretation.

Can LOTRO Modernise Any Further?

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Has the Lord of the Rings Online avoided the “complexity trap”?

A while back Syp wrote a blog post over on his personal website Bio Break, in which he discussed how The Lord of the Rings Online had avoided the “complexity trap” he feels affects other MMORPGs over time. It’s a sentiment I broadly concur with. The 12-year-old game has now reached a point where it has a fixed set of systems. Developers Standing Stone Games continue to produce regular PVE content in the form of quests, instances and raids. But they haven’t added a major new component to the game since the introductions of Epic Battles. Instead they have refined and fine-tuned existing facets of the game. Consider the recent overhaul of the Virtue Trait system. The basic functionality remains but the way a player advances their chosen virtues has been streamlined and now provides more tangible benefits. Overall, LOTRO has settled into a comfortable niche. New content is forthcoming but is very much a case of “same meat, different gravy”.

Now Syp’s post logically raises the question could LOTRO be more complex? Is it possible to add a radical new mechanic to the game at this stage in its lifecycle? Because LOTRO is an old game by industry standards. It may have launched in 2007 but the code is older due to the games longwinded development process. As a developer, SSG has two main problems as a result of this. Can the game technically be altered in a major capacity and is there the expertise in house to undertake such a project. Because that latter is a regular issue for many companies. Staff come and go and that means expertise can be lost. It is a major reason why Cryptic closed The Foundry in Star Trek Online. I believe it is also why no new skirmishes were forthcoming in LOTRO for a long time. Something the developers have now addressed through the hiring of new staff. Furthermore, SSG have surprised their playerbase by successfully managing to produce a 64-bit client for the game. Although it remains a work in progress, considering the technical hurdles, this was quite a coup.

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But before we embark upon this thought experiment, let us take a moment to reflect upon what LOTRO does that is quite advanced by the standards of the genre. It is the only MMO that I play that has auto-looting direct to your bags. All the other’s want me to press at least one key to select lootable items. LOTRO just hoovers them up. The game also has vendors that you can add to your house. There is also a tinker that can be summoned to a campfire to fix broken armour. Both of these services set a precedence that could potentially be expanded. LOTRO also offers a thorough personal transportation system. The reputation based “return” skills cover a surprisingly wide percentage of the game’s zones. However, I don’t think the game could accommodate a loss or consolidation of skills to become more of an action combat-based game. I think this would be a far too controversial. Rather than changing class and race attributes, it would be better to focus more on what you can done in the “wider world”.

So exactly what new systems or mechanics would be beneficial to a MMORPG such as LOTRO? My immediate answer is dynamic, public events in relevant zones, that can be justified from a lore perspective. Next it would be good to see some sort of scaling content system. A mechanic that allows a max level player to revisit older zones and adjust to the right level. This is something The Elder Scrolls Online does very well. The levelling of content is seamless and there are plenty of World Bosses, Dungeons and Dolmen to complete. Furthermore, they are all clearly marked on the zone map. LOTRO is halfway there with some similar systems, such as roving threats for example. But they need to be easier to find. Similarly too many instances in LOTRO are tied to discovery or specific quest lines. Accessibility and promotion are lacking. And let us not overlook the state of housing in LOTRO, which remains mainly a glorified storage service. The Cape of Belfalas housing has some pleasant leisurely quests but they are not repeatable. Housing needs to offer players a reason to spend time in the neighbourhood. I would also advocate improving the skirmish soldier system, to make them more versatile companions, rather than the blunt tool that they currently are.

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Zone Guides in The Elder Scrolls Online offer more than just a simple map

Naturally I have barely scratched the surface, with regard to ideas to improve LOTRO and expand its scope and complexity. But I believe there is a focal point, that if addressed properly, would potentially lead to further improvements. A lot of the game’s existing functionality is hidden or too esoteric. The UI needs to be made “smarter”. To be able to provide more information, make suggestions be more proactive. Again I’d say look to ESO and its zone guides. Something similar in LOTRO would ensure that players got the most out of the content they’ve purchased. An optional list that let’s players know if there are any quests or places of interest that they haven’t completed or discovered. A lore book of some kind may also be useful. The existing skill trees need to do more than just inform a player of what they can earn. I would welcome suggestions regarding specific class builds based upon player preferences. I know that a great deal of useful information exists outside of many MMOs, curated by fans. But I’ve always felt that tabbing out of a game is counterproductive. Can this information not be brought in-game?

Finally, as we’re considering complexity, let us reflect upon social interaction. It is still a regular lament from certain quarters that the MMO genre is losing its social element. So why not address this issue by incentivising kinships with some additional perks. STO has gear and other items that are only accessible by joining a fleet and running fleet projects. Again, the more you think about it, the more it becomes clear that this is an aspect of LOTRO that could be expanded and improved. However, if there ever was a concerted move to broaden the complexity and scope of LOTRO it would have to be done within specific parameters. Or else there would come a point where it would be easier to just create a new game. So bearing all of this in mind, is any of this likely to happen? Well if you had asked me a few years ago, I would have said “no”.  But the pipe dream of the 64-bit client has now become a reality, so who can say? Perhaps, there is hope after all. But perhaps the biggest obstacle to any potential change to LOTRO would be the playerbase itself. Trying to find a consensus would be extremely difficult. So may be SSG have decided on a policy of “if it isn’t broke, don’t fix it”. I wouldn’t blame them.

Star Trek Online: The Problem with the Latest Roadmap

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Game developers enjoy a “roadmap”, don’t they? I always get snippy about marketing speak as it’s an industry I have zero respect or tolerance for. Perhaps such a position is a cliché? But I digress. Cryptic recently released their latest roadmap for Star Trek Online, after their successful appearance at the Star Trek: Las Vegas convention. At first glance it promises a lot of content which is its purpose. But if you take a minute or two to digest the list of forthcoming material, it soon becomes clear that it is predominantly group Task Force Operations. Apart from one new story episode, Awakening, it is decidedly light on narrative material. Now Cryptic have constantly tinkered with the story arc of STO over the years and have also experimented with the format in which its presented. Hence terms such as “featured episode” have become ambiguous. But if you look beyond the semantics, there seems to have been fewer story driven missions being this year.

For me, the appeal of STO is centred upon the IP and the way Cryptic has successfully continued stories and themes from the various television shows. When I returned to the game during the Delta Recruit Event of 2015, the story was building up to the Iconian War. Content came thick and fast and the plot was gripping. The post war narrative of New Dawn was also regularly added to. But the pace has slowed noticeably. Although I am pleased to see Star Trek: Discovery themed storylines the release schedule has been ponderous. I had virtually forgotten about Ju’la the renegade Klingon and her theft of mycelium technology. This dearth of story content is further compounded by the fact that several stories have been removed from the game for “retooling” and Cryptic have still not put them back. It’s a little frustrating because new players do not get the full story arcs that were present in the game 18 months ago.

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Although I welcome new content, Task Force Operations are not full stories. They are repeatable events with just a wrapper of dialogue and a smattering of cutscenes. They may well offer an opportunity to earn tokens for a specific item but they eventually run the risk of becoming repetitive and dull after a time. They’re supposed to be an addition to the big story arcs, not a substitute for them. Therefore I hope that the current roadmap is a temporary holding pattern and that at some point soon, they’ll be an announcement regarding a new expansion with a lot more narrative content. Or at the very least, the missing content will be returned to the game, with new wrappers and subtle tweaks, so that the various story arcs are fully restored. I am not hopeful that STO will tie in with the new Star Trek: Picard show. I suspect that certain members of the Star Trek alumni are either too expensive to hire or just won’t play ball.

In the meantime, I am slowly winding down my activities in the game, now that I’ve finished the Summer festival and got the ship. I shall just be checking in a few times a week. Last night I started the Arena of Sompek event mainly because I’m interested in the reward, the Section 31 Heavy Phaser Rifle. However, I’m not sure if I’ll be able to stay the course due to waning interest. If I fail to earn the requisite number of tokens in time, I can buy 10 from the C-Store. It’s a curious business model that seems to undermine the point of playing the repeatable event. But all these minor niggles notwithstanding, it is clear that I’m running out of things to do in STO. Phoenix Prize Packs are currently available for the next seven days. Having earned sufficient Dilitium (400,000 refined) over the last few months, I purchased 100 packs yesterday. All I wanted from these were the Phoenix Tech Upgrades. I ended up with 175 of them and applied them to my current build. Now all items are Mark XV and Epic (Gold) quality.

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It is common for content to ebb and flow in the MMORPG genre and for players to come and go accordingly. I have argued in the past that STO usually has sufficient to keep one busy but it does feel that things are slowing to a degree. If you roll an alt, then three of the factions available have a partially bespoke storyline. Therefore you will get some different content before you find yourself playing missions that are universal to all. There are still residual patrol missions dotted about the various sectors of the galaxy and if you investigate via the STO Wiki, you’ll find some interesting minor missions tucked away in the game. But I think I may be heading for a break, as I don’t know if I want to create a seventh character. I have never played STO socially, although I am in the Reddit Alert Fleet. Hence there are no ties with friends to keep me logging in. Perhaps that is part of the problem.

The Pleasure of Internet Questionnaires

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Naithin over at Time to Loot has compiled a Blaugust related internet questionnaire. As I’ve made clear in the past, I have a weakness for these sorts of things and will happily indulge the most peculiar enquiries. I’m not really sure why I like to do questionnaires. Perhaps I feel at some level that even the crassest or vacuous of questions can yield a good or at least entertaining answer. Not that I’m saying that Naithin’s questions are any of those things. In fact I think they are quite engaging. The other thing about questionnaires is that I can make a really obscure and impenetrable pop culture reference about the band Sparks. So here are my responses to the all of them in full. An unedited stream of consciousness or load of bollocks, depending upon your perspective. I hope some of the other Blaugust participants also take part. It will be interesting to compare notes, so to speak.

What hobbies or interests do you have that you might not regularly include on your blog?

I used to paint and draw a lot when I was younger. It something that runs in the family on my Dad’s side. I joined the school art club as a teenager and would have happily taken an art exam at GCE O Level but it was not to be. When I later became a Father, I would draw with my son but when he got older, it once again fell by the wayside. It’s a hobby that has returned now that I’m a Grandfather. I like to do simple line drawings with a pencil and if I paint, I favour water colours. However, at present I’m mainly called upon to draw Peppa Pig and such like. It’s a very relaxing pastime and if I’m in the right frame of mind, I don’t mind sharing my doodles online. May be one day I may take a formal course and learn to draw human anatomy properly. Oh and I’m also a big fan of travel Kabaddi.

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Are you learning any skills at the moment? If not, what would you like to learn?

For the majority of my adult life I have worked with information technology and as such, a lot of the skills I have gained have been self-taught. I suspect it is the nature of the industry and the people who work in it. Blogging has been a learning experience, although I have always enjoyed writing in some shape or form. Running a blog has given me a modicum of basic design skills, as well as a simple overview in relevant coding. When I started the Contains Moderate Peril podcast, that was another area in which I had to learn on the fly. Recording, editing and other aspects of post-production are skills I have picked up via You Tube and other internet resources. I like to learn how to do things and see life an ongoing opportunity for self-improvement. This year, the latest “project” has been live streaming. It has both technical and communication-based challenges. Yet so far, the results have been okay. Well, no one’s filled a restraining order.

If you were invited on a one-way trip to Mars to establish a new colony, would you go?

No. I want to live the remainder of my life in peace, comfort and relative solitude. I’ll leave the one-way ticket to Mars to those who are qualified and who want to contribute to the greater good. I’ve paid my societal “dues”. I was a trade union member; I’ve been on demonstrations protesting about burning injustices and I’ve done jury service. Over the years I have also regularly given to charity and tried to think of others interests when voting. So although I like science, Professor Brian Cox and the concept of space exploration, Mars can basically fuck off. Michael Palin likes to travel, send him.

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What is the one thing that you most want readers to come away from your blog with? A feeling, thought, or understanding.

The British Broadcasting Corporation was founded upon the principles of “inform, educate and entertain”. I do not consider Contains Moderate Peril to be in any capacity commensurate with that august institution but I certainly believe in their abiding sentiments. When I write a detailed film review or a long from post critiquing an aspect of the video games industry, I hope that I have made some lucid and salient points as well as given the reader pause for thought in an engaging fashion. I aspire to make my written output appealing on some level, so that people will leave comments, or interact with me and others on social media. I feel that I am part of a community and that I act as an ambassador in some capacity. May be if people like what they’ve read, it will encourage them to get involved. I put a great deal of stock in writing and would encourage all to avail themselves of its positive merits.

What excites you most about having a blog?

The fact that I have a corner of the world where I can order my thoughts and then share theme. It also presents an opportunity to engage with others on what I consider to be a fairly level playing field. I sure a psychiatrist would have a field day analysing my motivations, but I suspect having a blog is a symbolic act. A means of trying to impose a little order on a universe that is hell bent on doing things its own way. A blog is also a socially acceptable means of controlling one’s “look at me” genes, which we all have to a greater or lesser degree. Plus it can be used as a front for exchanging covert messages, according to an episode of NCIS I recently watched.

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If you could make one thing from a book, TV show or movie real, and in your possession, what would it be?

Definitely the One Ring. On second thoughts a phaser. Actually loads of shit from Star Trek. Falkor the Luckdragon. No sod that, Vermithrax Pejorative from Dragonslayer instead. A Glaive. No not some fool polearm, I mean like from Krull. Or maybe the Lament Configuration. Nope, that could be painful. Howabout Thunderbird 2? Gizmo from Gremlins. Or a friendly Cylon. Like the one in that episode of Galactica 1980, when Starbuck was marooned and rebuilt a broken one to be his companion. I wouldn’t say no to a real Hitchhiker’s Guide to the Galaxy. So many possibilities. A more practical answer would be a number Swiss bank account with an undisclosed sum of money that was set aside for CIA wet work and accidently forgotten about. Fuck it, I’d settle for a suitcase full of used £20 notes. Or an endless supply of gin.

They say everyone has at least one book in them — if you were to write a book, what would it be about?

Oh I have a book currently in development hell. I drafted the basic structure, its various chapters and what they will cover over three years ago. I have detailed notes along with all the various data sources that are to be referenced. I researched in-depth how you craft a non-fiction book and spent about nine months laying down the foundations. And then I fell victim to a common malady among writers. I got despondent because it was taking too long and then got distracted with my other projects that could yield more immediate results. But the book is going to be dusted off and put firmly back on the agenda, because I have spoken to a few people who work in publishing and they think it could be a viable undertaking. So at some point soon, I will have to pull my finger out and just apply myself to writing the damn thing. As for the subject matter, it’s about my personal relationship with cinema over the course of five decades. It’s squarely aimed at film nerds.