We Are Our Own Worst Enemy
Over the last five years, there has been an ever-increasing degree of monetisation in mainstream video games. The situation has sparked debate not only among gamers but also in the mainstream press. Loot boxes and the entire business model of “pay to start” has finally reached the scrutiny of several national governments. Furthermore, the triple A video games industry has been held to account and pressed to justify such practises. Yet despite the public attention and a degree of pushback from some gamers, the situation doesn’t in anyway look like it’s going to be resolved. In fact sales data seems to show that despite some negative coverage both in the video games media and the traditional press, games with egregious business models are far from being rejected by customers. Quite the opposite. Ironically two of the worst offenders that have recently been held up as games that exploit gamers financially, have just achieved record sales. Both Mario Kart Tour and NBA 2K20 have proven to be massive hits.
Over the last five years, there has been an ever-increasing degree of monetisation in mainstream video games. The situation has sparked debate not only among gamers but also in the mainstream press. Loot boxes and the entire business model of “pay to start” has finally reached the scrutiny of several national governments. Furthermore, the triple A video games industry has been held to account and pressed to justify such practises. Yet despite the public attention and a degree of pushback from some gamers, the situation doesn’t in anyway look like it’s going to be resolved. In fact sales data seems to show that despite some negative coverage both in the video games media and the traditional press, games with egregious business models are far from being rejected by customers. Quite the opposite. Ironically two of the worst offenders that have recently been held up as games that exploit gamers financially, have just achieved record sales. Both Mario Kart Tour and NBA 2K20 have proven to be massive hits.
For those gamers who are looking for change, this is a sad situation. Most reasonable and measured individuals recognise that the video games industry is a commercial endeavour and that developers and publishers needs to make money. The bone of contention is that excessive monetisation is actually spoiling games by impeding gameplay and progression. A game built around monetisation has different priorities to a game primarily designed just to be played. Ultimately there is a contradiction between a game in the traditional sense and a “live service”. Is it therefore unreasonable to try and seek the middle ground where a company can make a healthy profit, without compromising the game or the experience of playing it? We’ll it would appear that the answer is “yes, it is unreasonable” and sadly, the point of failure and source of blame is ultimately not actually the video games industry but gamers themselves. We are our own worst enemy.
It is naïve to expect big corporations to act ethically and sensibly when it comes to accruing wealth. If you want a companies such as Activision Blizzard, 2K Games or Ubisoft to moderate their financial strategy when it comes to video games, you must compel them to do so by law. As for any concerted effort by gamers to “school” these publishers through the old cliché of “voting with your wallet”, it is doomed to failure. Because gamers are not a homogeneous group. For every gamer that thinks that monetisation of gaming has gone too far, there is one who thinks the opposite and yet another who simply doesn’t care. Also, cognitive dissonance seems to be the default setting for most people when it comes to social issues these days. We all too often notionally agree with an ethical principle up to the point where acting upon it requires us to make a sacrifice or go without. Another factor that also impacts upon one’s attitude towards microtransactions, season passes and lootboxes is the generational difference in our attitudes towards money.
Naturally there are gamers with large disposable incomes who don’t concern themselves with the reality of game related monetisation. Any obstacle to enjoyment can be overcome by the application of money. However, in my lifetime there has been major changes in the regulation of consumer borrowing. Simply put, credit is easily accessible (despite the financial crash of 2008) and consumers are encouraged to spend. To put this in perspective, UK credit card debt was at £72.5 billion at the end of July 2019. So when video gamer publishers talk about “whales”, who exactly are they talking about? Those who can genuinely afford too throw money around or those who feel obliged to do so, with money they don’t really have? Over the course of my life, I’ve learned the esoteric and unfashionable act of living within my financial means. I would say that this is a social norm more pertinent to the over fifties. But for many people half my age, they have grown up in a world where ownership has been supplanted by paying for a service and the entire point of credit is to use it to try and live the lifestyle, you think you deserve.
So regardless of the “selective gamer pushback” and a degree of negative PR that is mainly driven by a moral imperative, the video game industry has had its monetisation policies 100% validated by recent sales figures. Hence it is highly unlikely that we shall see any major change in business practises in the immediate future. As a result, I shall continue to avoid many major triple A titles such as Tom Clancy's Ghost Recon Breakpoint (a franchise I had previously enjoyed) and will continue my blanket boycott of mobile games. But the rather unpalatable reality is that future games development is going to be determined by those who are currently enabling the monetisation practises of the video games industry. However there’s a chance that even the most ambivalent gamer may eventually be inconvenienced by some future iniquity of the video games industry. Yet I suspect that even if this tipping point is achieved, many gamers would refuse to acknowledge their involvement in creating the problem in the first place and their respective blame.
Strictly Come Dancing 2019 Part 4
Week 5 of Strictly Come Dancing once again saw some significant improvement among the celebrity dancers. Most notable were Alex Scott and Neil Jones who delivered a very enthusiastic Charleston. For the first time it appeared that both the technical and performance aspects of dancing “clicked” for Alex. After being saved by the judges in last week’s dance-off, Emma Weymouth and Aljaž Škorjanec's put on a beautiful display with their Viennese Waltz. The judge’s marks reflected their progress respectively by all awarding 9 marks out of 10. Then there was Will Bayley and Janet Janette Manrara whose emotional contemporary dance left judges Motsi Mabuse and Alfonso Ribeiro in tears. Will said before this year’s series that he was taking part in Strictly to “inspire people with a disability”. He certainly seems to be doing so and his commitment to the show and his constant training have earned him a strong fan base among viewers.
Week 5 of Strictly Come Dancing once again saw some significant improvement among the celebrity dancers. Most notable were Alex Scott and Neil Jones who delivered a very enthusiastic Charleston. For the first time it appeared that both the technical and performance aspects of dancing “clicked” for Alex. After being saved by the judges in last week’s dance-off, Emma Weymouth and Aljaž Škorjanec's put on a beautiful display with their Viennese Waltz. The judge’s marks reflected their progress respectively by all awarding 9 marks out of 10. Then there was Will Bayley and Janet Janette Manrara whose emotional contemporary dance left judges Motsi Mabuse and Alfonso Ribeiro in tears. Will said before this year’s series that he was taking part in Strictly to “inspire people with a disability”. He certainly seems to be doing so and his commitment to the show and his constant training have earned him a strong fan base among viewers.
With popular judge Bruno Tonioli away on a brief sabbatical, former Dancing with the Stars winner Alfonso Ribeiro, once again temporarily took his place. Alfonso is a big personality and always brings a great deal of optimism to the show. As I’ve written previously, the US version of the show has some subtle differences and the judging is one of them. The US judges although critical will always make positive comments, first and foremost. Although Strictly is an entertainment show, the judges in the UK still draw heavily upon their technical expertise and will be accordingly “picky”. The US approach seems to lean towards an overall summary and “big picture” analysis. They also tend to be more generous with their scores. Alfonso was no exception to this rule and his “generosity” often counterbalanced Craig Revel Horwood’s under marking. I’m also not so sure if the faux psychology that Alfonso espoused to David James was of any use but encouraging him to scream and let out his emotional energy was rather amusing.
Sadly, this was the third dance off for former England goalkeeper David. After a hesitant start on the show with his football-themed Foxtrot, lacklustre Paso Doble and American Smooth, David has highlighted the difficulties of dancing when you’re 6 foot 5 inches. His steps have often been hesitant and more importantly he has struggled to give a convincing performance. Yet last week he genuinely appeared to be enjoying himself with this Quickstep, with the judges’ hailing it a “miraculous” improvement. But Saturday’s Jive proved his undoing and his performance was laboured and awkward. And so he found himself in the dance off with Mike Bushell and the judges elected not to save him. David took his exit from the show well and was suitably complimentary to his partner Nadiya Bychkova. But this is the nature of Strictly, although not a pure dance competition it is a show where contestants are eliminated each week. Although it’s a shame to see a David go, he has upheld the Strictly tradition of being the underdog and has acquitted himself well.
Minas Morgul Preview
I spent several hours today on the Bullroarer test server, checking out the preview of the forthcoming Minas Morgul expansion for The Lord of the Rings Online. From a lore perspective this is a great zone and it neatly fills the geographical gap between Morgul Vale in North Ithilien and Gorgoroth in Mordor. As ever the visual style and sense of continuity is very good and Standing Stone Games have gone all in on atmosphere and ambience. The new area is often dimly lit, filled with fog and Minas Morgul itself has an eerie supernatural phosphorescence. Once again, I simply contented myself with just exploring the area and did not attempt any quests (apart from one to access a new instanced area). Let us not forget that this is a preview and therefore there is always potential for change. The new areas at present appear to be relatively clear of mobs and other sundry threats, so initially navigation between stables was relatively straight forward. However, the main fortresses of Minas Morgul and Bar Nirnaeth are densely populated with robust mobs.
I spent several hours today on the Bullroarer test server, checking out the preview of the forthcoming Minas Morgul expansion for The Lord of the Rings Online. From a lore perspective this is a great zone and it neatly fills the geographical gap between Morgul Vale in North Ithilien and Gorgoroth in Mordor. As ever the visual style and sense of continuity is very good and Standing Stone Games have gone all in on atmosphere and ambience. The new area is often dimly lit, filled with fog and Minas Morgul itself has an eerie supernatural phosphorescence. Once again, I simply contented myself with just exploring the area and did not attempt any quests (apart from one to access a new instanced area). Let us not forget that this is a preview and therefore there is always potential for change. The new areas at present appear to be relatively clear of mobs and other sundry threats, so initially navigation between stables was relatively straight forward. However, the main fortresses of Minas Morgul and Bar Nirnaeth are densely populated with robust mobs.
Yet despite the commendably brooding feel to the region, it is quite small and compact. Due to the fact that this zone is set in the Ephel Duath (Mountains of Shadow) many of the roads and trails twist and turn around the cliff face. Subsequently the Straight Stair and the Winding Stair, North of Minas Morgul, live up to their name. Torech Ungol (Shelob’s Lair) has several branching passages but the main path leads to an instance entrance. I wasn’t able to go right through the tunnel and didn’t have time to try and approach it from the Gorgoroth etrance. Minas Mogul itself, is a multi-tiered city, similar to Minas Tirith. Mercifully there are only four “circles”, each with a different supernatural theme. At the top is the Tower of the Crescent Moon, which will more than likely be home to a major instance or raid. It should also be noted that part of the new expansion, is set in the Second Age. “Mordor Besieged” takes place during the original siege of Barad-dûr by the Last Alliance. This is contained within a variation of the existing Dor Amarth map in Mordor. Accessing this area requires a quest from Gandalf and speaking with the shade of Isildur in the Gladden Fields.
I suspect that for many LOTRO players, their respective enjoyment of the pending Minas Morgul expansion will depend very much upon how they felt about Mordor. Minas Morgul looks like being an atmospheric but tough zone. Because of its canonical nature it will probably be demonstrably harder than the recent Vales of Anduin. The dour ambience may also determine people’s opinion, after the lush and verdant nature of the previous update. There’s also the issue of the cost of the new expansion. As stated earlier, the new zone seems small and “Mordor Besieged” is just a variation of a region we’ve already experienced. Although the Stout-Axe race is bundled with all of the three versions of the expansion, I think that the most expensive version doesn’t seem particularly good value for money. Let’s hope that the story line is sufficiently engaging. Mordor had numerous questionable points but its robust narrative did much to redress the balance.
In fairness, considering the lore-based confines of setting an expansion in and around Minas Morgul, one cannot expect a massive amount of ecological diversity in the new zone. We effectively have fortresses, mountain paths, web covered tunnels and foggy woodland. I also think a lot of the relative value of this expansion will lie in the instances and raids. But if you are a casual, solo PVE player then you may not experience any of this. So as I write this post, the Siege of Mirkwood expansion comes to mind, which upon its release, also felt somewhat low key in scope when compared to its predecessor, the Mines of Moria. Naturally, LOTRO players are very loyal to their MMO of choice, so I suspect this expansion will sell well. But how well it’s received is another issue altogether. I shall definitely only buy the base version of the game and I don’t think this expansion will be my first priority over November and December. I do hope that my suspicions are unfounded and Minas Morgul doesn’t turn out to be a chore similar to Mordor.
Skills Rotation
While conducting some general housekeeping in The Lord of the Rings Online, I decided upon streamlining my “quickslots” as developers Standing Stone Games refers to them. Being an MMORPG from well over a decade ago, the game has a multitude of skills. By the time your character reaches level cap of 120, it is entirely possible to have filled all 72 of the available slots. If you have a combat pet, then you’ll receive another 11 buttons to “mash”. Now this situation got me thinking. I recollect a conversation I had about a year ago, when I was doing some group content in LOTRO. It wasn’t going especially well so there was a discussion about tactics and what specific skills to use. To cut a long story short, it became apparent that many players (including myself) did not know the exact name of all the skills that adorned their quickslots. Furthermore not everyone was au fait with the nature and purpose of each skill and how one could trigger another. Similarly not all were aware that some skills could be augmented by the use of another.
While conducting some general housekeeping in The Lord of the Rings Online, I decided upon streamlining my “quickslots” as developers Standing Stone Games refers to them. Being an MMORPG from well over a decade ago, the game has a multitude of skills. By the time your character reaches level cap of 120, it is entirely possible to have filled all 72 of the available slots. If you have a combat pet, then you’ll receive another 11 buttons to “mash”. Now this situation got me thinking. I recollect a conversation I had about a year ago, when I was doing some group content in LOTRO. It wasn’t going especially well so there was a discussion about tactics and what specific skills to use. To cut a long story short, it became apparent that many players (including myself) did not know the exact name of all the skills that adorned their quickslots. Furthermore not everyone was au fait with the nature and purpose of each skill and how one could trigger another. Similarly not all were aware that some skills could be augmented by the use of another.
Naturally there will be high end players who will read this and scoff “well I know what every skill is and what it does”, to which I say, “good for you”. But putting aside the moral judgement that always seems to go hand in hand with these sorts of discussions, I suspect that there are many players, not only in LOTRO but many other MMORPGs, who do not use their skills in an optimal fashion. They simply select what works for them. I also think its safe to assume that some player have the skills on their quickslots in the order that they were acquired. When they play, the simply work through them from left to right. In more contemporary MMOs such as The Elder Scrolls Online, you get to pick what skills are on you hotbar and the number is restricted to six (5 regular and 1 ultimate) which makes things easier to manage compared to the skills bloat that you find in LOTRO. But I suspect that many ESO players still do not pay as much to attention to the specific details of their skills as the developer’s would like.
When the average player (and that in itself is a hotly debated term) starts a new MMO, they are faced with finding a suitable path between learning the game’s mechanics and progressing as well as having fun. At lower levels, skills in many MMOs are simple and straightforward to understand. But as you progress skills can become more complex and interconnected. In ESO there is the extra dimension of morphing skills and choosing between two subtle variations. It is often round about here that players may start skipping over such information. For everyone that loves number crunching, understanding the maths behind each skill and min-maxing, there are two other players that don’t want their leisure activity to become a job or a school lecture. I have at times been guilty of this, although now I am very aware that the wrong choice can mean that I gimp myself. But this mindset exists and manifests itself in many curious ways. I know players who will never use food or potions because it just “over complicates things”. Such systems means you have to carry more stuff in you bags and worry about when not use them.
I recently did some research regarding ESO because I was finding melee combat difficult with a my Dragonknight. Turns out my choice of skill wasn’t the issue and that I just needed to be more mobile in combat. Having cut my teeth playing older MMOs such as LOTRO, I still find myself at times remaining static when in combat, instead of moving around the target. I have also discovered the importance of a lot of the passive skills and how they can boost stats and augment combat. Again, I’m sure I’m not alone in being nominally oblivious to the depths of the games systems. Yet despite these gaps I both my and other players knowledge, it doesn’t seem to be as much an impediment to our enjoyment of the game as some would think. Although we may not be killing mobs as efficiently as we can, we’re having fun doing things our way and on our terms. If it ain’t broke, then don’t fix it. Until we reach a point in the game when we can’t beat a boss due to our poor grasp of the game mechanics and our own skills. Then it will be everyone else’s fault.
Strictly Come Dancing 2019 Part 3
Well Saturday night’s show was an utter revelation. Many of the celebrity dancers who have been previously at the lower end of the leaderboard and therefore at risk of being in the dance off, decided to significantly up their game. Not only did this make for great entertainment, it also succinctly reiterated one of the fundamental aspects of what makes Strictly Come Dancing so popular; the “journey”. Yes, it is an incredibly cliched phrase but its something that seems to resonate with viewers. If the UK does have any national characteristics, then one of them is an appreciation of dogged determination. We tend to warm towards plucky underdogs who improve through hard work and dedication. And that is what we were treated to on last night’s show.
Well Saturday night’s show was an utter revelation. Many of the celebrity dancers who have been previously at the lower end of the leaderboard and therefore at risk of being in the dance off, decided to significantly up their game. Not only did this make for great entertainment, it also succinctly reiterated one of the fundamental aspects of what makes Strictly Come Dancing so popular; the “journey”. Yes, it is an incredibly cliched phrase but its something that seems to resonate with viewers. If the UK does have any national characteristics, then one of them is an appreciation of dogged determination. We tend to warm towards plucky underdogs who improve through hard work and dedication. And that is what we were treated to on last night’s show.
Chris Ramsey and Karen Hauer’s Elton John themed Jive to Saturday Night's Alright (for Fighting) showed a marked improvement both technically and performance wise. Chris is a very likeable guy and he seems to be committed to getting better each week. My concerns over Mike Bushell being given yet another “comedy” dance proved ill founded. He and Katya Jones danced a very formal Quickstep to Come on Eileen and it highlighted the level of training he’s undertaken this week. The dance wasn’t just a crowd pleaser with the audience but also found favour with the judges, with Oti Mabuse awarding the couple 9 marks out of 10. But the biggest surprise of the evening was surely David James. His Quickstep with professional dancer Nadiya Bychkova was not only well executed but he seemed to be thoroughly enjoying himself. It’s like he finally found his dancing mojo and just decided to enjoy what he was doing. This major turnaround was duly noted by the judges and reflected in his total score of 28. For me this is what Strictly is all about.
However, on tonight’s results show, we were given a timely reminder that Strictly is not just about dancing and that each celebrity’s survival is dependent upon the capricious nature of the British public. I fully expected to see Will Bayley and Alex Scott in the dance off as they were at the bottom of the leader board. But the public seemed to think otherwise and so instead we saw Dev Griffin and Emma Weymouth having to dance to remain on the show. The judges have been hard on Dev in recent week’s but this is down to the fact that he has great potential and they want him to improve. Emma has been making steady progress and like many others, seemed to “connect” with her dance this week. Hence judges felt that she was making more of a concerted effort. So Emma was saved and Dev was very surprisingly voted off the show. It was a shock to find both of these celebrities in the dance off but once you’re there, the judges have to make a decision based upon what they immediately see and not consider past performances.
I have a suspicion that the current season of Strictly Come Dancing is going to be full of surprises and upsets. Although I enjoy the format, I must admit that the last few years have been somewhat predictable. Usually, within one or two episodes you can effectively draft a list of contestants and determine who’ll be in the top three and the running order in which the rest will leave the show. I think that plan has been effectively thrown under the bus as of tonight and suspect that the remainder of the shows will be all the better for it. Is Kelvin a shoo-in to be this year’s winner or will Karim, Emma Barton or even Saffron climb the leaderboard and steal the prize? All will be revealed over the next ten weeks. Let’s hope that it’s anything other than a comfy ride. Let’s have more upsets and underdogs rising to the challenge, please!
Dragon Farming, Black Dots and Continuity
I logged into The Elder Scrolls Online today to do some Dragon farming. The Dragon Rise event includes both an XP and gold acquisition boost throughout Northern Elsweyr. Broadly, speaking this is a similar activity to Dolmen farming in the Alik’r Desert, although it is time sensitive as the event ends on Monday October 14th. There are three locations around the zone where Dragons regularly spawn and attack. Although it is possible to travel between these locations using the Star Haven, The Stitches and Scar’s End Wayshrines, it is not easy to do so. You need a fast mount and to be well acquainted with the topographical foibles of the region. I prefer to stay at one location and remain part of the loitering zerg. The Dragons arrive at approximately ten-minute intervals and if there are more than twenty or so players, dies very quickly. If there is less of you, then it can be quite tricky. Situational awareness is the key to success. Keep an eye on the Dragon and where you’re standing. It’s certainly safer if you used ranged attacks.
I logged into The Elder Scrolls Online today to do some Dragon farming. The Dragon Rise event includes both an XP and gold acquisition boost throughout Northern Elsweyr. Broadly, speaking this is a similar activity to Dolmen farming in the Alik’r Desert, although it is time sensitive as the event ends on Monday October 14th. There are three locations around the zone where Dragons regularly spawn and attack. Although it is possible to travel between these locations using the Star Haven, The Stitches and Scar’s End Wayshrines, it is not easy to do so. You need a fast mount and to be well acquainted with the topographical foibles of the region. I prefer to stay at one location and remain part of the loitering zerg. The Dragons arrive at approximately ten-minute intervals and if there are more than twenty or so players, dies very quickly. If there is less of you, then it can be quite tricky. Situational awareness is the key to success. Keep an eye on the Dragon and where you’re standing. It’s certainly safer if you used ranged attacks.
It was while I was waiting and chatting to a friend on Discord, that I noticed what initially looked like a dead pixel in the top left-hand corner of my screen. However, a cursory check showed that the problem did not persist, when I tabbed outside of the game. The offending pixel vanished when I checked my desktop or launched any other application. Furthermore, if I placed my mouse cursor over the black dot, it couldn’t be seen. Now anyone who knows me, will tell you that I hate conundrums like this. So I quit the game (because I couldn’t concentrate on anything else) and set about troubleshooting the problem. Through the application of “Occam's razor” it became apparent that this had to be an addon related issue. A Google search subsequently indicated that I was not the first ESO player to have this problem. It turned out to be a bug associated with the Wykkyd Achievement Tracker. When inactive and minimised it leaves a single black dot on the screen. The solution was simply to disable the addon which I did.
The offending “black dot”
In other ESO news, I decided to play through the new Dragonhold prologue quests. I got wind of the fact that it ended in a solo Dragon fight, so I thought it best to use my primary character, a Magicka DPS Sorcerer with 200 plus champion points. It proved to be a wise decision because the final battle is quite tough. I ended up having to fight the offending beastie at close quarters to avoid the constant barrage of “Dragon shouts”. However, it was great fun and I liked the grappling bow as a means of traversing the multi-level tombs. As ever there were several puzzles but to successfully solve them all you got to do is read the quest text, although this seems like an anathema to some. The thing I was most curious about in this quest was the return Sai Sahan. In the main story of ESO, there reaches a point where you have to sacrifice one of the remaining Five Companions for complicated narrative reasons. I chose to sacrifice Sai Sahan when playing through with my Sorcerer, so I was interested to see what complicated reason the writers had used to justify his return. I laughed out loud at the vagueness of the explanation, although I’m sure it will be elaborated upon later on.
The Cost of Doing Business with China
In the last few days, a great deal has been written about Activision Blizzard and their subsequent banning of a Hearthstone player who expressed support for the Hong Kong protestors during a competition live stream. The US-based game developer and publisher has also chosen to withhold the prize money he would have earned from competing in the tournament. As a result of this media coverage, I do not feel obliged to address the rectitude of Blizzard’s decision. It was never going to be anything different than what it was. They made their choice regarding ethics and morality the moment they decided to expand their business operations in mainland China. Because once you decided to enter into a business partnership with a totalitarian regime that actively runs “re-education camps”, you’ve pretty much nailed your colours to the mast and chosen a side. It’s not just business, despite what apologists may tell you. Judge a man or a business by the company they keep.
The moment Chung “blitzchung” Ng Wai made his protest
In the last few days, a great deal has been written about Activision Blizzard and their subsequent banning of a Hearthstone player who expressed support for the Hong Kong protestors during a competition live stream. The US-based game developer and publisher has also chosen to withhold the prize money he would have earned from competing in the tournament. As a result of this media coverage, I do not feel obliged to address the rectitude of Blizzard’s decision. It was never going to be anything different than what it was. They made their choice regarding ethics and morality the moment they decided to expand their business operations in mainland China. Because once you decided to enter into a business partnership with a totalitarian regime that actively runs “re-education camps”, you’ve pretty much nailed your colours to the mast and chosen a side. It’s not just business, despite what apologists may tell you. Judge a man or a business by the company they keep.
However, there are two wider issues that have arisen from this situation that perhaps can be seen as broadly positive. Firstly, parts of the gaming community have finally had the scales lifted from their eyes regarding the true nature of the video games industry. Secondly, people are now becoming more aware of the extent of Chinese business influence both in the US and other countries and to what extent Western business is happy to appease them. Let us take a moment to consider the first of these. I have been banging on for years about how so many gamers erroneously think that the companies that make their favourite games are somehow their friend. In many ways Blizzard has been the embodiment of this fallacious and specious notion. Although there are some developers or community managers who are genuinely reasonable and measured individuals, these are not the people driving the company. Corporate policy is decided at a much higher level by people such as Bobby Kotick. And like a lot of other modern CEOs, ethics, morality and generally being a decent human being are not top priorities. In fact they’re a major hindrance. Do some research of your own on Mr Kotick (or ask Jim Sterling) and decide for yourself what sort of man he is.
Bobby Kotick. Personally worth about $1 Billion plus
So a lot of gamers have suddenly got wise to the fact that the company they used to think was cool because staff don’t wear suits to work and can unicycle around the office, is in fact just another corporate behemoth striving to make as much money as possible, irrespective of the consequences. Blizzard is tainted and now some gamers are worried about guilt by association. It’s an odd situation to be honest. Some gamers are obviously staggeringly naïve but there again, that’s hardly surprising as people are surprisingly politically illiterate these days. I don’t mean this is a pejorative sense, it’s just a simple truth. A lot of people are not in any way credibly informed about domestic politics, let alone the complexities of international relationships. And then there’s another element to this. The gamer who suspects that there’s an unethical wider picture to the video games industry but chooses to not “know about it”. I heard similar arguments regarding eating meat, which go something like this. “I choose to remain wilfully ignorant of the iniquities of the meat industry. I suspect that livestock are treated appallingly but if I choose not to know, I can enjoy eating meat without any moral burden and maintain my claim that I’m a good person”. Yep, gamers have their own version of this, too.
Moving on to the second potentially positive point that’s come out of this whole sorry affair; people have now realised that it is not just Activision Blizzard who are happy to self-censor and generally side with China whenever there’s a conflict of interest between West and East. Over the last few days, several websites and subreddits have compiled substantial lists of companies towing the political line to appease China and keep the revenue flowing. Furthermore, because China is such a big market for mainstream Hollywood movies these days, it’s come to light that a lot of screenplays are being tailormade for its specific “political and social” requirements. And irrespective of the need to “accommodate” China for “business reasons”, people are now beginning to become aware of the scope and reach of Chinese business in the West per se. This isn’t really the place for an in-depth dissection of what they do and do not own but if you do some research, you’ll find China is involved with key US and UK industries such as farming, logistics and utilities. And then there’s the issue of land banking. All of which can be used for political leverage if required.
You get the idea?
Now as a result of this debacle, there has been a plethora of tediously predictable kneejerk reactions. As usual some gamers have been calling for a boycott of Blizzard products. There’s also been the “restless lynch mob” mentality on social media and moral outrage has been turned up to 11. Such hastily contrived bandwagons often fizzle out and can do more harm than good. However, a measured campaign of publicly questioning the cognitive dissonance inherent in being an American business that consorts with a dictatorship, may yield results in the long term. Raising questions via your political representative can take time but the wheels do turn. Now it has been pointed out by the “usual suspects”, that it’s a bit rich getting all “high and mighty” about the ethics of this one issue, when our consumer lives are rife with Chinese products. But I refute the intellectual bankruptcy of this faux argument that seems to think that one can only have an ethical position of worth, if you are 100% morally pure. Bullshit. Yes, we are all to a degree complicit in bolstering China by our consumer choices but that doesn’t mitigate the worth or rectitude of beginning to make a stand. It takes time to inform people and then get them to change their views and habits.
And as for those people who think that this whole situation is just business doing what business does, please stop assuming that your lack of morals and empathy is also the default position of society. It isn’t. People do actually expect a degree of ethical behaviour from corporations. Now that may be foolish but it remains a valid view. And as big business has shown time and time again that it doesn’t have a shred of human decency, the only way we are going to get companies to act in a vaguely appropriate fashion is to legally compel them to do so and sanction them when they do not. Doing business with China is not the same as doing business with any other democratic country. It is a Faustian arrangement which comes with caveats. Caveats that may put a company at odds with the inherent principles of their own country. There is a price to pay for such an arrangement and that is your “corporate reputation”. I still find it odd that people and business that act appallingly try to cultivate an image of “be nice”. I have far more respect for the “bastard” that’s content to be one.
The fate of Tank Man remains unknown to this day
For those who still remain unconvinced that the censoring and sanctioning of Chung “blitzchung” Ng Wai by Blizzard is anything to worry about, let me remind you of what China’s top broadcaster, government-run CCTV, stated recently about the concept of freedom of speech. That it should not be extended to points of view counter to the ruling Communist Party’s. “No comments challenging national sovereignty and social stability fall within the scope of freedom of expression”. Reflect upon that. Blizzard and many other companies are in a business relationship with a regime that is at odds with Western values. Furthermore, these international companies choose to actively collude with a government in its acts of oppression, because of the financial opportunities available. At the very least that is immoral. At the worst they are benefitting from blood money. If you thinks that’s hyperbolic please remember the 1989 Tiananmen Square protests when China mobilised 300,000 troops on the streets of Beijing and fired upon student protesters. A historical event that is still supressed in China itself. And considering the current events in Hong Kong, one that may be soon repeated? Blizzard and many other companies need to reflect upon this, although I suspect they won’t. I’m not sure if they are capable.
Two Worlds II: The Game That Keeps on Giving?
I’m suffering from a distinct sense of déjà vu as I write this post, as feel I’ve written something very similar before. Actually, I know perfectly well that I have and here’s the previous blog post. So, once again let’s recapitulate what was previously discussed. Back in 2014, I was searching for another RPG to fill that post Skyrim vacuum. I ended up buying Two Worlds II and its expansion, Pirates of the Flying Fortress. There was an exceptionally well-priced bundle available at the time. Furthermore, a little research showed that this game by German developers Reality Pump Studios, had quite a following. So I invested about 90 hours of my time into this franchise and enjoyed it far more than I expected. The game visually has a lot of rough edges. There are weird character models and a rather ponderous propensity of using faux "Olde English" in all dialogue. But the games core systems are great. Crafting and spells have a great deal of depth. There’s a wide variety of weapons and armour. Plus there’s sailing. I really dig this aspect of the game.
I’m suffering from a distinct sense of déjà vu as I write this post, as feel I’ve written something very similar before. Actually, I know perfectly well that I have and here’s the previous blog post. So, once again let’s recapitulate what was previously discussed. Back in 2014, I was searching for another RPG to fill that post Skyrim vacuum. I ended up buying Two Worlds II and its expansion, Pirates of the Flying Fortress. There was an exceptionally well-priced bundle available at the time. Furthermore, a little research showed that this game by German developers Reality Pump Studios, had quite a following. So I invested about 90 hours of my time into this franchise and enjoyed it far more than I expected. The game visually has a lot of rough edges. There are weird character models and a rather ponderous propensity of using faux "Olde English" in all dialogue. But the games core systems are great. Crafting and spells have a great deal of depth. There’s a wide variety of weapons and armour. Plus there’s sailing. I really dig this aspect of the game.
Circa June 2017, I and many other gamers were surprised to learn that there was further DLC coming to Two Worlds II. As well as some additional multiplayer maps, a standalone story Call of the Tenebrae was to be released in Q2 and another, Shattered Embrace, was to become available in Q3. Because I had fond memories of the game, I bought a season pass and dutifully installed the first of the new DLC. However, due to the fluid nature of “life”, I never made much progress with Call of the Tenebrae. Eventually, when I had more leisure time available, other games took priority and so I forgot about Two Worlds II. Until today. To cut along story short I was looking for a discount key for a specific game and I found myself perusing the TopWare Interactive online store. And there, as bold as brass, was a banner for Shattered Embrace. Turns out it wasn’t released back in 2017 due to “reasons” and is scheduled to come out this November. As I have a season pass, I should get this free of charge, so I duly re-installed all of Two Worlds II. It didn’t take long for the games niche market charms to come flooding back.
If you like open world RPGs and are prepared to try a flawed but interesting game, then why not give Two Worlds II a try. If you shop around you can get the base edition for an absolute song on numerous key seller sites. The GUI and combat mechanics are intuitive and fairly simple to master. The tutorial is integrated into the prologue quests which helps a lot. The dialogue is frequently droll and self-referential and it curiously mitigates some of the game’s rough edges. Some of the human character models are a bit weak and look quite awkward, where others such as the various beats and monsters are quite pleasing. The lighting is especially good and helps make the open world more atmospheric. The game is very good at servicing the players immediate needs, presenting them with many key RPG tropes and systems. The story itself is not anything special and is merely a narrative MacGuffin, rather than a major selling point. But not every game can be as well written as the Dragon Age franchise.
One of the most appealing aspects of Two Worlds 2 is the fact that you're not tied to a specific class. You can switch between melee, ranged and sorcery on the fly and the spell customisation process is based upon cards. It's very flexible and allows for a very diverse set of skills. The multiplayer element of the game supports co-operative play through specifically designed content; a sort of MMO-lite mode. I have never got around to exploring this aspect of the game but it would seem that the developers, Reality Pump Studios, are at least trying. There are numerous collaborative modes and it’s not just generic death matches. If you want a more in-depth analysis, then here’s a link to an episode of the Angry Joe Show in which he casts a critical eye over the game. In the meantime, I intend to slowly replay the game or at the least catch up with Call of the Tenebrae before the release of the final DLC Shattered Embrace next month. In an age when the lifecycle of a game can be comparatively short, it’s nice to see a developer still producing content nine years after the original release.
Strictly Come Dancing Versus Dancing with the Stars
As I’ve mentioned before, the one piece of reality TV that I avidly watch is Strictly Come Dancing. I’ve been a regular viewer since 2005. Once you’ve got your head around the format and have fully understood what the show is and is not, it makes for entertaining viewing. Strictly is not a pure dance competition by any shakes. If it were, then the public wouldn’t have any say in who remained on the show and it would all be left to the professional judges. But such a show would have very limited appeal. Hence, we have audience participation and all the theatrics of reality television. Talent and ability can be trumped by popularity and frequently is. Over the last fifteen years, the shows formula has been finely tuned and we now find ourselves with a very controlled format. The broad spectrum of celebrities fulfil the role of various archetypes and the judges all have distinct roles to play. But at its heart the show is still about people learning to dance (or not) and that is a difficult skill to master. For me therein lies the entertainment.
As I’ve mentioned before, the one piece of reality TV that I avidly watch is Strictly Come Dancing. I’ve been a regular viewer since 2005. Once you’ve got your head around the format and have fully understood what the show is and is not, it makes for entertaining viewing. Strictly is not a pure dance competition by any shakes. If it were, then the public wouldn’t have any say in who remained on the show and it would all be left to the professional judges. But such a show would have very limited appeal. Hence, we have audience participation and all the theatrics of reality television. Talent and ability can be trumped by popularity and frequently is. Over the last fifteen years, the shows formula has been finely tuned and we now find ourselves with a very controlled format. The broad spectrum of celebrities fulfil the role of various archetypes and the judges all have distinct roles to play. But at its heart the show is still about people learning to dance (or not) and that is a difficult skill to master. For me therein lies the entertainment.
Now Strictly Come Dancing is a franchise and after finding success in the UK, the format has been exported all over the globe. You’ll find versions of the show being broadcast in over 40 countries. In the US (and in other territories) the somewhat esoteric British title of the show has been replaced with the more self-explanatory Dancing with the Stars. As this is the most accessible both linguistically and logistically, of all the international versions, I decided to watch an episode or two to see how it stacks up with the BBC’s show. So I sat down this morning with Mrs P and caught up with last night’s instalment of Dancing with the Stars, which I just happened to find lying around the internet. I took a few notes while viewing because there were some important subtle differences between this incarnation and the UK equivalent.
In the UK, Strictly has become a major part of British popular culture. This is not just a successful show but a major institution. You know that Autumn has arrived when Strictly mania returns to our screens and the season last right the way up to Christmas. It is the BBCs flagship entertainment show on Saturday night, where it is broadcast live. The results are then recorded the same evening and broadcast on Sunday. A cursory Google search clearly shows that Dancing with the Stars is a very popular show in the US but it doesn’t seem to have quite the same cultish following. Furthermore the US seasons are shorter lasting about 12 weeks. It should also be noted that TV network ABC has two seasons a year. The format is broadly the same with regard to celebrities. Both countries draw upon personalities from the sporting, music and entertainment industries. The US professional dancers naturally have a similar high pedigree as those in the UK, although they don’t seem to be such a focus of the show.
Dancing with the Stars is broadcast on a Monday night in the US. Because it airs on a commercial network, there are liberal quantities of commercial breaks. In fact the entire show appears very time conscious to my British eyes. The videos showing the celebrities training are far more condensed and focused. It would appear that the dances are about 10 or so seconds shorter as well, lasting about 75 to 80 seconds in total. Which then brings me to the judge’s comments. Although Dancing with the Stars features UK judges Len Goodman and Bruno Tonioli on their panel of four, they take a slightly different approach to their comments, compared to the UK. Comments tend to be broadly more positive. Yes there are technical criticisms but even celebrities who have just performed atrociously are still given at least one upbeat comment. The scores are more generous as well. Former NBA star Lamar Odom, struggled with his Viennese waltz last night. He managed the to follow the steps but lacked any “performance”. However, the scores ranged as follows. 5, 7, 4, 4. It would seem that fellow permanent judge Carrie Ann Inaba and guest judge Leah Remini boosted the overall score.
The other most significant difference between Strictly Come Dancing and Dancing with the Stars is the voting system. In the US show, the judge’s votes are combined with those of the public to determine the ranking on the leader board. The judges then decide which one of the two lowest scoring contestants gets to remain on the show. Again it’s all done very promptly and efficiently. Whereas in the UK, the voting is a similar combination of the judges’ marks and votes from the public via a phone in and the internet. However, the bottom two contestants then have a “dance off” and then the judges decide accordingly. It’s a more dramatic process and sometimes the “dance off” provides a celebrity with a second chance to dramatically improve. Due to the show being a popularity competition as well, sometimes a very competent dancer with a poor fan base can find themselves dancing to stay on the show.
Having made this comparison between the two different versions of the show, I don’t actually think one is specifically superior to the other. Both formats are designed to serve the needs of each respective audience. In the US, Dancing with the Stars is a popular show but it isn’t the cult hit that it is in the UK. Therefore, the spritely running time and the focus on the dancing, with less attention on the trappings and “the journey”, allows for an efficient Monday evening program. Where Strictly Come Dancing in the UK is a three-ring circus and all the better for it. Not only do you have the sprawling Saturday night show with extra dances by the professional dancers and the tense Sunday evening results, but a daily spinoff show and continuous social media content, providing fans with their fix during the week. It all reflects that this is the BBC’s autumn flagship entertainment show. Ultimately, these different variations show the flexibility of the format and that whatever version you choose to watch, it all works very well.
Strictly Come Dancing 2019: Part 2
There really is an excess of genuine talent in this year’s show. It’s week three and the standard has been raised yet again. Michelle Visage and Giovanni Pernice delivered a smouldering Quickstep to Cabaret, proving once again that it is unwise to write anyone off based purely on age. Furthermore actress Catherine Tyldesley dancing with Johannes Radebe stunned the audience and judges alike with a Rumba to the ballad Shallow from the film A Star is Born. The Rumba is a notoriously difficult dance to perform and to pull off such a feat so early on in the season was quite incredible. And we were also treated to our first Street Dance, with Dev Griffin and Diane Buswell performing an outstanding Aladdin themed routine. Considering that Diane had an accident during the week, it made such an assured performance even more remarkable. And let us not forget Kelvin Fletcher and Oti Mabuse’s robust Charleston.
There really is an excess of genuine talent in this year’s show. It’s week three and the standard has been raised yet again. Michelle Visage and Giovanni Pernice delivered a smouldering Quickstep to Cabaret, proving once again that it is unwise to write anyone off based purely on age. Furthermore actress Catherine Tyldesley dancing with Johannes Radebe stunned the audience and judges alike with a Rumba to the ballad Shallow from the film A Star is Born. The Rumba is a notoriously difficult dance to perform and to pull off such a feat so early on in the season was quite incredible. And we were also treated to our first Street Dance, with Dev Griffin and Diane Buswell performing an outstanding Aladdin themed routine. Considering that Diane had an accident during the week, it made such an assured performance even more remarkable. And let us not forget Kelvin Fletcher and Oti Mabuse’s robust Charleston.
Mike Bushell once again gave a frenetic and entertaining turn on Saturday’s show. What he lacks in technique is made up for with his commitment to the routine and the spirit of Strictly. It is obvious to all and sundry that he’s really enjoying himself and giving his all. I often find such celebrities of similar ability, somewhat trying but I’m warming to Mike because he just takes everything on board and gives one hundred percent (and you can’t give anything more can you?). I think he can achieve a higher standard if things are kept simple and he focuses on technique. Katya often comes up with rather theatrical routines designed to play to her partners strengths. However, I suspect it would be in Mike’s best interest to have a simple and more traditional routine that gives him some straightforward moves that he can not only learn but master. He can do better.
Which brings me on to David James. His American Smooth to Seal's Kiss from a Rose with professional partner Nadiya Bychkova was a significant improvement over his previous two dances. His progress was also reflected in the judge’s comments, all of which indicated that he is finally finding his feet and moving forward. Now let us be realistic about reality of his Strictly journey. I do not think we will see an miraculous improvement and a surprise seizing of the trophy. But I feel he deserves a few more weeks to up his game. There’s nothing viewers like more than persistence and a contestant finding their dancing mojo. I just hope that another week of being in the dance off doesn’t dampen his spirits. As for Anneka Rice well she thoroughly deserved to be there. Her Charleston with Kevin Clifton lacked any distinct classic moves and often her partner seemed to be simply providing a diversion for her woeful lack of musicality. It was an act of kindness to vote her off and set her free.
Finally, the BBC appears to be struggling with keeping the results of the show secret. At present, after the main competition is broadcast live on Saturday evening, the votes and the dance off are recorded and broadcast 24 hours later. It’s all seems a little unnecessary to me as the show use to have the main competition and results in one evening. The bottom line is that there’s a 24-hour period during which the BBC has to rely upon the goodwill of audience members and production staff to keep the quiet. However, in recent years, several dedicated websites have started posting the results roundabout midnight. It would appear now that some folk are openly sharing the outcome of Saturday’s show on Twitter, while travelling home, thus undermining the pretence of the Sunday show. You can argue until you’re blue in the face as to the moral rectitude of such behaviour but that doesn’t solve the matter. Perhaps it’s time to simply shelve the Sunday show and just extend Saturday’s coverage to include the results.
The Kentucky Fried Movie (1977)
Written by Jim Abrahams, David Zucker, Jerry Zucker and directed by John Landis, The Kentucky Fried Movie is an eclectic collection of skits, parodies and bogus commercials, lampooning what you’d see on seventies TV or in the movie theatres of the time. The sketches are fast paced and many feature well known faces from TV and cinema such as Bill Bixby, George Lazenby, Donald Sutherland and Henry Gibson. Some of the parodies may not “connect” with modern audiences who may not get the source references but for every skit that misses the mark, there are at least two others hit the target. Overall, it’s a litany of visual gags, stupid humour and endless puns and wordplay. Just what you’d expect from the team that went on to bring you Airplane! and Top Secret! The Kentucky Fried Movie is at its best when it satirises the movie industry, with such wonderful faux movies trailers as Cleopatra Schwartz; a blaxploitation action movie featuring a foxy African American vigilante and her devout Hasidic Jew partner.
Written by Jim Abrahams, David Zucker, Jerry Zucker and directed by John Landis, The Kentucky Fried Movie is an eclectic collection of skits, parodies and bogus commercials, lampooning what you’d see on seventies TV or in the movie theatres of the time. The sketches are fast paced and many feature well known faces from TV and cinema such as Bill Bixby, George Lazenby, Donald Sutherland and Henry Gibson. Some of the parodies may not “connect” with modern audiences who may not get the source references but for every skit that misses the mark, there are at least two others hit the target. Overall, it’s a litany of visual gags, stupid humour and endless puns and wordplay. Just what you’d expect from the team that went on to bring you Airplane! and Top Secret! The Kentucky Fried Movie is at its best when it satirises the movie industry, with such wonderful faux movies trailers as Cleopatra Schwartz; a blaxploitation action movie featuring a foxy African American vigilante and her devout Hasidic Jew partner.
There’s some rather broad humour in The Kentucky Fried Movie. But it also serves quite well as a reflection of cinema and public attitudes of the time. The trailer for the faux porno flick Catholic High School Girls in Trouble, not only crassly raises a wry smile ("More shocking than Behind the Green Door. Never before has the beauty of the sexual act been so crassly exploited!") but reminds us that pornography was on the fringes of becoming mainstream and was seriously analysed by some movie critics. And then there are some dry send ups of public service announcements. In United Appeal for the Dead Henry Gibson speaks at great length about how “death” is the number one killer in the United States and what his charity can do to help those who have died lead a normal life. That's Armageddon, featuring George Lazenby, parodies every Irwin Allen disaster flick made. There’s even an angry Gorilla sketch that includes an early Rick Baker ape costume. And let’s not forget Danger Seekers, the show that follows those intrepid men who live for the thrill of adventure and risk.
However, the movie's centrepiece, A Fistful of Yen, is by far the jewel in the crown. This spot-on parody of Enter the Dragon and the martial arts genre clocks in at thirty plus minutes. The UK government hires Loo (Evan C. Kim playing a Bruce Lee lookalike with an Elmer Fudd voice) to penetrate Dr. Klahn's (Han Bong-soo) mountain fortress and destroy his operation. Loo refuses the mission at first, but happily agrees once he is told “but you’ll have the chance to kill fifty, maybe sixty people”. The jokes are not only obvious takes on standard tropes of martial arts cinema but there’s also a clever deconstruction of the pseudo philosophy and dialogue inherent in the genre (“you have our gratitude”). This is the most obvious precursor to later Jim Abrahams, David Zucker and Jerry Zucker productions such as The Naked Gun. It should also be noted that the actual fight scenes in A Fistful of Yen are competently constructed and hold up quite well on their own.
The Kentucky Fried Movie is not in any way a sophisticated satire. The humour is far from nuanced or cerebral but it barrels along at a pace, throwing gag after gag at viewers. By the law of averages, whatever your taste in humour, some of them will land. If it’s watched on its own terms and with an eye on the context of the times (IE not being politically correct) then it will entertain. Both the writing team and the director went onto bigger and better things in the years after the movies’ release. But their style and many longstanding jokes were created and refined here. For example we see an early iteration of the See You Next Wednesday gag, common to many subsequent John Landis movies. Also Jim Abrahams, David Zucker, Jerry Zucker reference their abiding love for The Wizard of Oz at the end of A Fistful of Yen. A theme that later showed up in Top Secret!
A Month in Gaming
September saw The Elder Scrolls Online becoming my primary gaming focus. No real surprises there as I’ve been having so much fun of late with this MMORPG. I managed to get my Argonian Necromancer to level cap and then had the fun task of trying to equip them suitably. I don’t quite know why this aspect of gaming appeals to me so much but I just get a real kick out of trawling around looking for appropriate gear. I tend to enjoy it in all the MMOs I play. There’s just something inherently satisfying about equipping a new piece of armour or jewellery and seeing your stats noticeably increase. This process is even more enjoyable in ESO as there isn’t any server wide auction house, so you have to travel around from region to region, individually checking each guild trader you find. It really is virtual shopping. Once I managed to find the right gear for this character, I promptly created a new Imperial Dragon Knight and started playing through the Daggerfall Covenant storyline as it the one faction I haven’t yet completed. Oh and in ESO cosmetic pet news, the ghost chicken (official name Spectral Chicken) is outstanding.
September saw The Elder Scrolls Online becoming my primary gaming focus. No real surprises there as I’ve been having so much fun of late with this MMORPG. I managed to get my Argonian Necromancer to level cap and then had the fun task of trying to equip them suitably. I don’t quite know why this aspect of gaming appeals to me so much but I just get a real kick out of trawling around looking for appropriate gear. I tend to enjoy it in all the MMOs I play. There’s just something inherently satisfying about equipping a new piece of armour or jewellery and seeing your stats noticeably increase. This process is even more enjoyable in ESO as there isn’t any server wide auction house, so you have to travel around from region to region, individually checking each guild trader you find. It really is virtual shopping. Once I managed to find the right gear for this character, I promptly created a new Imperial Dragon Knight and started playing through the Daggerfall Covenant storyline as it the one faction I haven’t yet completed. Oh and in ESO cosmetic pet news, the ghost chicken (official name Spectral Chicken) is outstanding.
I decided to buy a single player game on a whim and ended up purchasing the Untitled Goose Game. As I’ve already written a more specific post about that title, I won’t bang on about it too much here but it is a delightful diversion. It provides not only plenty of mirth and merriment but it also reminded me that not all game developers and publishers are complete bastards who will happily steal your eye and comeback for the socket. Furthermore, the games success may now lead to some DLC being developed which is fine by me. The game has topped the download charts on the Nintendo Switch console in the UK and Australia. It has even beaten one of Nintendo's own highly anticipated games, the Legend of Zelda: Link's Awakening.
There’s an ongoing event in Star Trek Online which pays out a Tier 6 Elachi ship with a complete set of crescent beam weapons. So I’ve been dutifully logging in an running a dedicated TFO and 2 easy patrols to earn the necessary XP. And while I’ve been doing this, I’ve decided that I might as well complete the daily “endeavours”. Gaining resources and building up account wide perks always pays off in the long run. And as I’m on the subject of Cryptic games, I reinstalled Neverwinter as I predicted last month. Bearing in mind I last tried this game during the beta test in 2013, I was very surprised to still find my original character. Naturally, I have no recollection as to how to play this game but I shall find the time to give it a second go. It certainly has plenty of content available.
I also gave Guild Wars 2 another try but it didn’t take long to remind me that all the issues with the Heart of Thorns expansion are still present in the game. Plus I’ve never found any particular aspect of this MMO to get especially invested in. I find the lore unfathomable and I’m never quite sure about the intricacies of the major stories. It is very playable and easy to jump in and out of but for me at least, the game lacks a lasting hook of some kind to keep me engaged. I tried the retail version of Mario Kart Tour and the Ghost Recon Breakpoint beta. Both failed to impress and I’ve written a separate post about how unbelievably shitty their respective business models are. Unfortunately I didn’t get around to trying the Modern Warfare reboot beta. There’s not enough hours in the day to keep up with half the things we’d like to, especially when it comes to gaming.
I genuinely tried to make some progress in LOTRO but I’m still floundering just outside Mordor with my High Elf Guardian. Once I commit to the battle on the slag hills outside the Black Gate, then it’s straight onto Mordor and I’m just not ready to grind through there again, even if I’m over levelled. I also failed to take my Lore-master any further through Vales of Anduin. The region is appealing but I always seems to have something inherently more interesting to do in another game. I did try the new Stout-Axe Dwarf race on the Bullroarer test server and enjoyed the creative way that SSG have crowbarred them into the existing Epic Story. I think I’ll buy the new Minas Morgul expansion a little closer to launch. After reviewing the various options, I’ll probably just purchase the base edition as I don’t require any of the additional consumables.
So that’s the summary of what I’ve been up to over the last 30 odd days. I’ll be back in early November with a further breakdown of this month. I haven’t made any firm plans as of yet and will likely just see where my fancy takes me. I have quite a lot on in real life at present and it needs to take priority. So any gaming time is a bonus at the moment, so it’s best not to try and aspire to potentially unrealistic goals and targets. Due to this time of year being a popular release period, I may well make another game purchase on a whim.
Excessive Monetisation
I have numerous happy memories from playing Super Mario Kart on the SNES back in the early nineties. It was at the time and remains so today, a truly great game because it’s fun, very accessible and inherently social. Hence over the years there have been multiple iterations of Mario Kart across all of Nintendo’s platforms. All of which have been well received and provided gamers with what they want. In many ways it is one of key titles that have made Nintendo a global success as a gaming company and a brand. If you see any advertising featuring Mario and friends in go-karts, then it can be taken as read that the game will be a yet another great instalment of the franchise. Or can it? Which brings me neatly (and sadly not happily) to Mario Kart Tour; Nintendo’s latest foray on mobile platforms.
I have numerous happy memories from playing Super Mario Kart on the SNES back in the early nineties. It was at the time and remains so today, a truly great game because it’s fun, very accessible and inherently social. Hence over the years there have been multiple iterations of Mario Kart across all of Nintendo’s platforms. All of which have been well received and provided gamers with what they want. In many ways it is one of key titles that have made Nintendo a global success as a gaming company and a brand. If you see any advertising featuring Mario and friends in go-karts, then it can be taken as read that the game will be a yet another great instalment of the franchise. Or can it? Which brings me neatly (and sadly not happily) to Mario Kart Tour; Nintendo’s latest foray on mobile platforms.
Mario Kart Tour is a litany of gacha mechanics, multiple currencies and gated content. It’s a game that’s designed upon grinding through levels and earning currencies. Racing go-karts appears to be very much a secondary consideration. Naturally the game has the traditional Nintendo aesthetic, with the colourful environment and characters looking great on a modern smartphone screen. But it’s all superficial, as the game itself is hideously compromised by its monetisation. Characters, tracks and vehicles are locked behind pay walls that you can grind for, or if you prefer, spend some money to access. In its base form Mario Kart Tour is little more than a gaming tease. If you want to actually play the game in any meaningful sense, then you have to pay. And then there’s the insanity of the Gold Pass, a £4.99 monthly subscription allowing access to the 200cc racing class, which gives the highest point rewards and the best races. A price point that also buys you access to Apple Arcade and a hundred of the best mobile games around.
However, Nintendo are not the only company that’s happy to push ahead into the realms of excessive monetisation. Ubisoft have seen triple A gaming as a “service” for several years. However, the recent release of Tom Clancy's Ghost Recon Breakpoint takes monetisation to new levels. There’s such a degree of microtransactional content it’s almost as if Ubisoft are trolling their player base. Skill points, crafting materials, weapons and their associated upgrades, are available to be purchased, right from the get-go. All of which have a direct impact on gameplay. And folk use to balk at the idea of a paid season pass. Plus some of the items in the in-game store are exclusives and not available by any other means other than paying. Considering that the base game (or should I say empty shell of a game) costs £60, it raises the question exactly how much must a player spend to have access to everything? Assuming that you are then presented with a fully functional game. I’m sure the answer to that question will emerge in the days to come.
Yet despite the egregious nature of such excessive monetisation being as plain as the nose on your face, a large percentage of gamers don’t appear to care. Mario Kart Tour was downloaded by 90 million unique users in its first week, which is six times more than Nintendo's second most popular game. It is too soon to ascertain sales data for Tom Clancy's Ghost Recon Breakpoint as the game is currently in early access for those who pre-ordered and formally launches on Friday October 4th. But this is one of Ubisoft flagship franchises and I’m sure anticipated sales will feature heavily in their Q4 revenue targets. The bottom line is there is a lot of cognitive dissonance in the gaming community. People are happy to pay lip service to complaints of excessive monetisation yet end up doing the complete opposite and supporting the very thing that is the “problem”. Some gamers are enabling and validating the questionable practises of certain publishers and in doing so contribute to video games being held hostage by untrammelled greed.
Video games are a commercial undertaking and no one thinks that game developers and publishers shouldn’t be able to make a profit. But like any other consumer industry, video games needs to be a balanced and realistic quid pro quo. Payment should provide you with a fully functional game. Paid additional content should be an adjunct and not integral to the proceedings. If there must be microtransaction then make them cosmetic, although this also comes with its own set of problems, depending on the games core demographics. But the whole concept of “pay to start” is questionable in so far as you have not really been sold an entire product that is fit for purpose. Logicly, there will come a point when companies such as Ubisoft will go too far and finally the majority of gamers will simply say “no”. The film industry has had several tent pole movies woefully underperform leading to a re-calibration of business practises. Will we eventually see a record number of triple A games fall flat on their face? It’s not impossible. But the biggest question is when?
Destiny 2 Goes F2P
I bought Destiny 2 shortly after it originally launched in October 2017, mainly due to the positive word of mouth comments of friends and colleagues. I got a good deal at the time from an online CD key vendor. As I have enjoyed FPS titles in the past and Destiny 2 also has elements of the MMORPG genre, I spent some time in-game levelling my character. Certainly I had no complaints about the nuts and bolts of the game. The graphics are good and the games systems appropriate and responsive. Combat is fast and dynamic and there is always something to do if you just wanted to jump into some action. But after some time my interest in the game waned. The central story wasn’t exactly compelling and as I was playing solo, there wasn’t any strong social aspect keeping me logging in. So after a few months I stopped playing and moved on to something else.
I bought Destiny 2 shortly after it originally launched in October 2017, mainly due to the positive word of mouth comments of friends and colleagues. I got a good deal at the time from an online CD key vendor. As I have enjoyed FPS titles in the past and Destiny 2 also has elements of the MMORPG genre, I spent some time in-game levelling my character. Certainly I had no complaints about the nuts and bolts of the game. The graphics are good and the games systems appropriate and responsive. Combat is fast and dynamic and there is always something to do if you just wanted to jump into some action. But after some time my interest in the game waned. The central story wasn’t exactly compelling and as I was playing solo, there wasn’t any strong social aspect keeping me logging in. So after a few months I stopped playing and moved on to something else.
Because I try to keep up with the ongoing tsunami that is daily gaming news, it recently came to my attention that developer’s Bungie has ended its relationship with Activision and the game was no longer going to be available on the Battle.Net game launcher. I was therefore curious to see which platform the game migrated to. I even briefly harboured thoughts of trying the game again. However, my initial good humour upon learning that the game was to be available via Steam was quickly dispelled when I learned that Destiny 2 was also going “Free to Play”. I know it’s illogical and I am fully conversant with the “sunk cost fallacy” but I always get the feeling that I’m getting rooked when a game that I own goes F2P. Perhaps on some psychological leveI, I resent the fact that some bastard is getting something free that I had to pay for. On a more serious note, F2P transitions always come with issues.
If like me, you have previously bought Destiny 2 and wish to transfer your existing characters and paraphernalia, this can be done via your existing Bungie account. You simply have to link to your Steam account and then the game will appear in your library. However, at the time of doing this (mid-afternoon UK time on Tuesday October 1st), the system was under a great deal of strain due to the volume of players availing themselves of the service. It took me about three or four attempts before I got anything vaguely resembling a confirmation message. The game finally appeared in my Steam library about an hour later. At some point I’ll look into what sort of status my account has in the revised, post F2P hierarchy of Destiny 2. Will I be deemed a premium player or a VIP? Or does my previous custom count for nowt and for me to be a “good citizen” Bungie now expect me to buy the new Shadowkeep expansion?
Because of my age, I experienced the early days of PC gaming and the business model of those times. You bought a product and owned it. Sometimes you’d get some additional free DLC. But any significant additional content was chargeable, however not at the same price of the base game. I fully realise that times change and we now live in the era of games “as a service”. You don’t just buy something anymore. Content is gated behind pay walls and games are built from the ground up with monetisation determining their structure and form. Yet despite comprehending these things and realising that I can vote with both my wallet and my feet if I don’t like something, deep down on an emotional level, such changes really don’t sit well with me. I have an irrational resentment that someone is getting something free of charge, that I had to pay for. It’s an odd state of affairs. I don’t even play Destiny 2 anymore and have no strong attachment to the game. Yet I moved my account today and the only reason for doing this boils down to “I paid for this”. It can be odd at times being human.
The Idiot Box
Thoughts on TV shows and my current viewing habits.
In August Elementary finally came to an end after seven years. The last season spanned a tighter than usual 13 episodes and introduced a new and very contemporary archnemesis; tech giant Odin Reichenbach (James Frain). Although it can be argued that the story arc was very formulaic, it also drew upon many elements of Conan Doyle’s original stories. Holmes realises that he may have to sacrifice himself to take down a foe and protect those nearest to him. Then there is the issues of his “death”. For many viewers such as myself, the final season wasn’t so much about a clever narrative but simply seeing what happened to all the major cast members. Broadly, it was all very satisfactory. Spoiler Alert. Captain Gregson retired and Marcus remained at the NYPD instead of taking his position with the US Marshal service. Joan finally adopted a child and Morland was killed while trying to broker one of his high-level deals. All story lines were brought to a neat and acceptable end. Furthermore the door was clearly left open for a future revival of the show if required.
Thoughts on TV shows and my current viewing habits.
In August Elementary finally came to an end after seven years. The last season spanned a tighter than usual 13 episodes and introduced a new and very contemporary archnemesis; tech giant Odin Reichenbach (James Frain). Although it can be argued that the story arc was very formulaic, it also drew upon many elements of Conan Doyle’s original stories. Holmes realises that he may have to sacrifice himself to take down a foe and protect those nearest to him. Then there is the issues of his “death”. For many viewers such as myself, the final season wasn’t so much about a clever narrative but simply seeing what happened to all the major cast members. Broadly, it was all very satisfactory. Spoiler Alert. Captain Gregson retired and Marcus remained at the NYPD instead of taking his position with the US Marshal service. Joan finally adopted a child and Morland was killed while trying to broker one of his high-level deals. All story lines were brought to a neat and acceptable end. Furthermore the door was clearly left open for a future revival of the show if required.
Mindhunter Season 2 has proved to be an improvement over the first series. The focus has moved away from FBI Special Agent Holden Ford (Jonathan Groff) and now Bill Tench (Holt McCallany) and Professor Wendy Carr (Anna Torv) have been given more scope to develop. Bill’s young son was inadvertently involved in the killing of another child which has put his marriage under a lot of strain. Wendy continues to navigate the male dominated corridors of power and struggles with her own closeted sexuality. As with the first season the interviews with the various serial killers prove absolutely hair raising, with much of the dialogue coming from original FBI transcripts. Season 2 also benefitted from a continuous story arc exploring the Atlanta child murders. It was both harrowing and depressing to see countless children’s deaths ignored by the authorities due to entrenched racism and the way in which politics and business colluded to sweep matters under the carpet once a potential culprit was found.
Although there has been plenty to watch over the last four months since I last wrote an instalment of The Idiot Box, I am getting a little tired at the way that successful genres quickly become popular band wagons. After years of the fantasy genre being underrepresented, we now find a glut of such material. I was briefly interested in Carnival Row as I initially thought it was simply going to be a period set, police procedural like Ripper Street. But then it became clear that it was just another “fantasy” based drama with little originality. I’m also completely over anything about superheroes, so have given The Boys a wide berth, despite it getting good reviews. The basic premise is just so uninspiring. However, I am looking forward to Star Trek: Picard when it’s released in early 2020 because it is part of a long-established franchise. I’m curiously optimistic about The Witcher series which looks more promising than expected.
Here’s a summary of what else I’ve been watching:
Dead Pixels. A UK sitcom about a fictitious MMORPG called Kingdom Scrolls and an eclectic group of players. After years of perpetuating stereotypes about gamers, Dead Pixels is possibly the first major comedy that successfully captures some of the quirky foibles of the gaming community. It’s funny and honest as it’s not afraid to show some of the less positive attributes associated with gamers.
The Shining (1997). A two-part miniseries directed by Mick Garris, that follows Stephen Kings source text a lot more closely than the Kubrick movie. It is functional and adequate but suffers from a low budget and some poor CGI. The grandeur of the 1980 version is lost. There’s a nice performance from Steven Weber who has a far more measured decent into insanity than Jack Nicholson. I enjoyed the cameo from Melvin Van Peebles as Dick Hallorann.
Chernobyl. This is an utterly compelling docudrama that just reeks of authenticity. The science is chilling, as is the myopic nature of the Soviet authorities’ response to the unfolding crisis. The performances are measured and the tone is tragic. However, it’s a difficult watch as it quickly becomes apparent that many of the cast have doomed themselves to a singularly unpleasant demise.
The Twilight Zone Season 5. I started watching the first season of The Twilight Zone April 2018 and over recent months have slowly worked my way through the entire back catalogue. The first three seasons certainly have the best episodes. Season 4 moved from a 25-minute format to 50 minutes and some of the stories cannot sustain that running time and are ponderous. Season 5 saw a return to the original duration but the stories are not so strong. Still, I am glad that I’ve taken the time to fully acquaint myself with this iconic show. It may be a cliché but this was ahead of its time and although various other shows have tried to replicate its success, few have succeeded.
The Terror: Infamy. The first season of The Terror was the big television surprise of 2018. A curious blend of fact, historical conjecture and mysticism. It was a delightful slow burn drama and a solid analysis of mental disintegration in adverse conditions. Season 2 is a radically different beast but no less fascinating. Set during the internment of Japanese Americans citizens during World War II, this is another measured foray into horror. The ghost story being told is relatively straight forward but it is the cultural trappings that make it quite different and compelling. Plus its always a pleasure to see George Takei in anything.
Instinct. I was most surprised this show got a second season. It’s a curious hybrid of police procedural, forensic psychology with Alan Cumming starring as Dr. Dylan Reinhart; an author, university professor and former CIA operative who now consults for the NYPD. The show also focuses on Reinhart’s relationship with his husband Andy (Daniel Ings), a lawyer-turned-bar owner who still uses his law skills to help their mutual friends when needed. It’s all somewhat contrived and tries to cover a little too much ground but I watch it mainly because of Cummings, who holds it all together and sports some wonderfully flamboyant suits.
TV To Do List:
Evil. I stumbled across this show while looking for reviews of another. The plot sounded intriguing; a sceptical forensic psychologist allies with a priest and a contractor to investigate purported supernatural incidents. So I’ve decided to give it a go. Robert and Michelle King who created the show have an established pedigree with titles such as The Good Wife and The good Fight. And I'm a sucker for anything with Michael Emerson in. So let’s see how it pans out.
The Dark Crystal: Age of Resistance. I really want to catch up with this show. The Dark Crystal is a grossly underrated movie. The sort of experimental film making that thrived briefly during the post Star Wars period. Plus anything with puppets and animatronics caters to my tastes. I suspect I’ll binge this show over a couple of nights in October.
Strictly Come Dancing 2019: Part 1
There is obviously some sort of psychological comfort in being spoon fed the same content, again and again and again. Because that is what Strictly Come Dancing, the BBC’s flagship Autumn entertainment show, definitely does. And I don’t mean that in a derogatory way, because once again, I am one of the 8 million viewers avidly watching this seasonal ritual. But is must be said, that the show is incredibly formulaic and that the production team are expert at playing upon all the foibles of the format. Hence every September we get a wide spectrum of “celebrities” eager to learn how to dance. All of whom fall neatly into the various categories that have been established over the last 15 years. There are those who display an innate ability right from the start. Then there are the determined improvers. We also have wild cards whose content wildly changes in quality. Another favourite are the rhythmically challenged whose embarrassing failures are deemed “entertaining”. And let us not forget those who are just hopelessly out of their depth and you know are going to fall at the very first hurdle.
There is obviously some sort of psychological comfort in being spoon fed the same content, again and again and again. Because that is what Strictly Come Dancing, the BBC’s flagship Autumn entertainment show, definitely does. And I don’t mean that in a derogatory way, because once again, I am one of the 8 million viewers avidly watching this seasonal ritual. But is must be said, that the show is incredibly formulaic and that the production team are expert at playing upon all the foibles of the format. Hence every September we get a wide spectrum of “celebrities” eager to learn how to dance. All of whom fall neatly into the various categories that have been established over the last 15 years. There are those who display an innate ability right from the start. Then there are the determined improvers. We also have wild cards whose content wildly changes in quality. Another favourite are the rhythmically challenged whose embarrassing failures are deemed “entertaining”. And let us not forget those who are just hopelessly out of their depth and you know are going to fall at the very first hurdle.
Which leads me very neatly onto this evening result show. After two episodes a clear hierarchy has been established and at present, everyone respective position on the leaderboard is justifiable. The top five have all shown a degree of talent and have worked diligently to do so well after just a few weeks. Those at the bottom may well have put in the hours but do not seem to have a comparable amount of talent. And therefore it was absolutely no surprise to find the bottom two celebrity contenders, David James and James Cracknell in the dance off. Furthermore, James was a dead cert to go out and has now done so. Now I admire anyone who has the courage to stand in front of a live TV audience and attempt to do something as deeply personal as dancing. It is a complex skill that is both physically and mentally demanding. It also requires a degree of bravado. So fare play to James for trying his best, especially in light of his recent recovery from a brain injury. But you have to question the wisdom of embarking upon such an enterprise, when you patently cannot clap in time or have any semblance of musicality. James was both physically and emotionally awkward and it was clear from the get-go that dancing in public simply wasn’t for him.
Another interesting facet of this year’s Strictly pantomime is the perceived “rewarding and punishing” of the various celebrity dancers. Kevin Clifton has always been a firm favourite with the core audience for a while but his personal life seems to have prejudice this perception. Since his popular win with celebrity Stacey Dooley last year, the UK tabloids have been filled with salacious gossip about their relationship and the collateral damage it has caused to others. Hence Kevin has been partnered with Anneka Rice, who although is a popular figure with the public, is not likely to progress too far into the competition. Conversely, Anton Du Beke, a pro dancer who has far too often been saddled with the most hopeless partners, has been blessed this year with actress Emma Barton. Emma has already demonstrated a degree of ability and now needs to find her dancing mojo. She’s definitely one to file under “wild card” and I expect her to have a textbook “Strictly journey”.
Finally, the BBC has decided to go all in with Strictly in its annual ratings battle with commercial broadcaster ITV. Apart from the weekly show on Saturday evening there’s Strictly Come Dancing: It Takes Two, an analytical companion show that runs from Monday to Friday. Hosted by Zoe Ball and now Rylan Clark-Neal, this behind the scenes and gossip program has been expanded from 30 minutes to 45 and has also been moved from BBC Two to BBC One. The Beeb have also ramped up the online components of the show. All dances can be revisited on YouTube and there is a Strictly presence on all social media platforms. This is also the second year where some of the celebrity dancers have been drawn from social media personalities and influencers. This is a direct attempt to widen the demographic appeal of the show and reach a younger audience. Last year it was Joe Sugg, this time round it’s Saffron Barker. Both have sizeable online followings. It should be noted that Saffron Barker has shown some talent and is currently one of the bookies favourites. However, things don’t always go to plan with Strictly. There’s always scope for upsets. As the expression goes, watch this space.
Classic Movie Themes: The Long Good Friday
The Long Good Friday not only launched then career of Bob Hoskins but remains a uniquely British take on the gangster genre. Featuring authentic performances and a credible plot, the screenplay touches upon many of the social and political issues of the time; police corruption, the IRA, urban renewal and the decline of industry, along with EEC membership and the free-market economy. It’s a gritty and unrelenting drama that is still relevant today. Furthermore, the film is filled with quotable dialogue and has several stand out scenes that showcase Bob Hoskins’ smouldering performance. It’s also offers of “who’s who” of British character actors and there is one sequence still has the power to shock even today.
The Long Good Friday not only launched then career of Bob Hoskins but remains a uniquely British take on the gangster genre. Featuring authentic performances and a credible plot, the screenplay touches upon many of the social and political issues of the time; police corruption, the IRA, urban renewal and the decline of industry, along with EEC membership and the free-market economy. It’s a gritty and unrelenting drama that is still relevant today. Furthermore, the film is filled with quotable dialogue and has several stand out scenes that showcase Bob Hoskins’ smouldering performance. It’s also offers of “who’s who” of British character actors and there is one sequence still has the power to shock even today.
One of the many elements that contribute to The Long Good Friday being such a seminal movie is the score by Francis Monkman. A classically trained composer, conversant with multiple musical instruments, Monkman’ was the founder member of both the bands Curved Air and Sky. His score is a striking electronic synth hybrid featuring the talents of Herbie Flowers, Kevin Peek, and Tristan Fry. The addition of Stan Sulzmann and Ronnie Aspery on saxophone lends an interesting juxtaposition to the various tracks. It’s all evocative of mid-seventies UK police procedurals dramas with a blend of pulsing synths that you found in TV science fiction at the time. Yet despite its curious antecedents, it works very well on screen reflecting the story’s themes of old giving way to the new.
The Long Good Friday title theme is a brassy, pulsing affair. It is used several times throughout the film and works the best in an early scene when Harold Shand (Bob Hoskins) arrives at Heathrow airport after a flight on Concorde. It superbly establishes his character as he confidently strolls through customs after setting up a major deal with the Mafia in the US. “Fury” is a very interesting cue as it starts with a dark electronic passage as the Harold discovers the magnitude of his predicament. It evolves into a powerful and soulful sax driven piece as Harold washes the blood from himself after a frenzied attack. Both tracks are from the recent anniversary soundtrack album where the remastered score is finally available in stereo.
A Welcome Return or Just Repeating a Mistake?
When I first started playing MMOs, it was very easy to maintain a degree of “gaming monogamy”. The Lord of the Rings held my attention for two years, without any distractions because everything was new to me at the time. But eventually, the allure of other genre titles became too great that I moved on to pastures new. And so I spent between 2009 and 2014 trying numerous other games. Star Trek Online, Age of Conan, Aion, Guild Wars 2, Star Wars: The Old Republic, The Secret World, Neverwinter, WildStar and The Elder Scrolls Online to name but a few. If a game took my fancy, I would invest a great deal of time and make substantial progress. Conversely, if the “shoe didn’t fit”, it was quickly dispensed with. For example World of Warcraft never “clicked with me. It’s no reflection on the game itself. I just didn’t warm to any aspect of it. Similarly, the reality of EVE Online was vastly different to what I had imagined and expected.
Aion. July 2011
When I first started playing MMOs, it was very easy to maintain a degree of “gaming monogamy”. The Lord of the Rings held my attention for two years, without any distractions because everything was new to me at the time. But eventually, the allure of other genre titles became too great that I moved on to pastures new. And so I spent between 2009 and 2014 trying numerous other games. Star Trek Online, Age of Conan, Aion, Guild Wars 2, Star Wars: The Old Republic, The Secret World, Neverwinter, WildStar and The Elder Scrolls Online to name but a few. If a game took my fancy, I would invest a great deal of time and make substantial progress. Conversely, if the “shoe didn’t fit”, it was quickly dispensed with. For example World of Warcraft never “clicked with me. It’s no reflection on the game itself. I just didn’t warm to any aspect of it. Similarly, the reality of EVE Online was vastly different to what I had imagined and expected.
Hence, I’ve left numerous MMOs behind me in my gaming wake over the years. Games that I learned were not for me. Or were they? The thing is, I’m not immune to cognitive dissonance. I’m quite capable of holding two contradictory ideas simultaneously. Namely, that hardy perennial among gamers, “I know I didn’t like [insert game title here] last time I played but maybe it’s changed”. And so due to a combination of factors, I have recently found myself revisiting several MMOs I have previously parted company with. Because of the recent coverage of Guild Wars 2 on the Massively OP Podcast, I decided to reinstall the game and return to Tyria. Much to my surprise, I rediscovered that I had three characters at level cap. A Human Ranger, a Norn Warrior and a Charr Engineer. My primary alt was still based in Queensdale which brought back pleasant memories of the “Choo Choo” or Queensdale Express. In fact within a few minutes of pottering around the zone, I began to recall how the various game systems and mechanics work. It began to feel like putting on a comfortable pair of slippers. And then I ported to the Maguuma Jungle and things rapidly went South.
Guild Wars 2 Beta. April 2012
The Heart of Thorns expansion killed my enjoyment of Guild Wars 2. If memory serves, I lasted until summer 2016 and then I quit the game. The “verticality” of the new zone and the grinding for Mastery Points to get the gliding skill and such like, were and remain the primary problem. That and the fact that this expansion made playing solo demonstrably harder and more reliant on others. Path of Fire may well do much to redress these issues but I’ll have to trudge through the first expansion before I can reap any benefits of the second. And as I play MMOs for primarily for pleasure and do not welcome any enterprise that “gets on my tits”, to coin a phrase, I shall be progressing no further in Guild Wars 2. I mistook the MMO for an absent friend because I was focused on my enjoyment of the base game. But the first expansion remains just as frustrating as it originally was and so all I’ve done is repeat a mistake by reinstalling things. I won’t get fooled again. No honestly, I won’t.
Neverwinter Beta. March 2013
So, fresh from this lesson, I decided that it would be a really good idea to ignore what I had just learned and retry Neverwinter. This a game I haven’t played since the beta test in 2013. Unlike Guild Wars 2, I really couldn’t remember much about the game. The only things that stuck in my mind was the combat which was a curious action hybrid. But beyond that, the game didn’t leave that much of an impression upon me. I was most surprised when I found my original avatar still available. However, for practical reasons I think it best to roll a new alt as I have no idea how the game plays. But over the next day or so, I will give this MMO another go. It’s odd that despite being an inferior game to Guild Wars 2, this is the one that seems to be more welcoming. Perhaps I didn’t play sufficiently to become prejudice against Neverwinter. Or may be after a while, suppressed memories will come flooding back. Perhaps my experiment to revisit older MMOs is already a forgone conclusion and these games have been abandoned for obvious and legitimate reason. Either way, it all makes for ideal material for a blog post. If there are any interesting developments I’ll keep you posted.
The Big Bus (1976)
Being a child of the seventies I have a soft spot, cinematically speaking, for the various disaster films of that time. Iconic titles such as The Towering Inferno, The Poseidon Adventure and Airport franchise. The latter was superbly lampooned in the 1980 movie, Airplane! by Jim Abrahams, David Zucker and Jerry Zucker. The team of writer/directors went on to make numerous other comedies in a similar idiom. However Airplane! was not the first major spoof of this particular genre. Four years earlier, director James Frawley made The Big Bus which similarly sends up the standard tropes of all major disaster movies. Where Airplane! was right on the money, The Big Bus is a little more scattershot in its approach and takes a while to find its feet. But James Frawley had a background in TV comedy, having worked on The Monkees TV show, and he does much within the limitations of the films budget. The films greatest asset is that it keeps up the pace. If a gag doesn’t work then don’t worry, there’s another immediately afterwards.
Being a child of the seventies I have a soft spot, cinematically speaking, for the various disaster films of that time. Iconic titles such as The Towering Inferno, The Poseidon Adventure and Airport franchise. The latter was superbly lampooned in the 1980 movie, Airplane! by Jim Abrahams, David Zucker and Jerry Zucker. The team of writer/directors went on to make numerous other comedies in a similar idiom. However Airplane! was not the first major spoof of this particular genre. Four years earlier, director James Frawley made The Big Bus which similarly sends up the standard tropes of all major disaster movies. Where Airplane! was right on the money, The Big Bus is a little more scattershot in its approach and takes a while to find its feet. But James Frawley had a background in TV comedy, having worked on The Monkees TV show, and he does much within the limitations of the films budget. The films greatest asset is that it keeps up the pace. If a gag doesn’t work then don’t worry, there’s another immediately afterwards.
The titular bus is in fact a nuclear-powered articulated vehicle that can carry 100 passengers on a luxurious non-stop trip from New York to Denver. However, someone seems hellbent on sabotaging Coyote Bus Lines new flagship project and a bomb goes off at the lab where it is being prepped for its maiden voyage. Professor Baxter (Harold Gould), is seriously injured while the driver and co-driver are killed. Hence, Baxter’s daughter, Kitty (Stockard Channing), has to find new driver. Kitty turns to a former lover, Dan Torrance (Joseph Bologna), to drive the bus. Dan is currently in disgrace within the bus driver community, after a serious crash at Mount Diablo and allegations of eating the passengers. However, he accepts the job and recruits “Shoulders” O’Brien (John Beck) to be his co-driver, who unbeknownst to him is narcoleptic. The bus departs New York along with all-star cast including Lynn Redgrave, Richard Mulligan, Sally Kellerman, Rene Auberjonois, and Ruth Gordon. However, the real star is bus itself AKA “The Cyclops”. Which features a bar (with Murphy Dunne as lounge singer), a bowling alley and an exclusive captain’s dining room. However, the saboteur has no intention of giving up and plants another bomb onboard. Hilarity ensues along with a never-ending barrage of verbal and sight gags.
The Big Bus hits many of its marks as it dismantles a well-known genre. Many of the cast are exactly the sort of actors that would have appeared in genuine disaster movies. Character actors such as Ned Beatty, Larry Hagman, Bob Dishy, Jose Ferrer, and Howard Hesseman. And then there’s David Shires score which totally gets the musical idiom of these movies and delivers a suitably hyperbolic soundtrack. Like Airplane! there are many sight gags and a strong streak of absurdist humour. There’s a bar fight in which a milk carton is broken and used as a weapon and then there’s the recurring gag of “Shoulders” O’Brien constantly falling asleep at inopportune moments. I was not familiar with actor Joseph Bologna and his previous body of work but he gives a good performance as the flawed hero. It should also be noted that The Big Bus is a little more rating conscious and doesn’t stray as far into adult humour as Airplane! Plus there’s a lot of conspicuous product placement which obviously helped with the movies financing.
The Big Bus doesn’t outstay its welcome, clocking in at sensible 88 minutes. The ending is a little lacklustre compared to the first two acts and it seems that the writers Lawrence J. Cohen, Fred Freeman were a little lost as to how to wrap things up. However, there is still much to enjoy. There are several good physical stunts involving The Cyclops which would nowadays been done with CGI. The cast chews the scenery exactly as you expect them to. René Auberjonois is rather good as a priest on the brink of losing his faith. However, despite being very well intentioned, The Big Bus only did moderate box office upon release and received mixed reviews. Director James Frawley later directed The Muppet Movie and subsequently returned to television Over the years, The Big Bus has lost its crown to Airplane! which is a shame. It isn’t as polished or as accomplished as its predecessor but it certainly pioneered the zany parody genre. Furthermore, it can still raise a wry smile.
LOTRO: Minas Morgul Pre-Order
The forthcoming Minas Morgul expansion for The Lord of the Rings Online, became available for pre-order today. Furthermore, Update 24.3 was also released, making the new race of Stout-Axe Dwarves immediately available for those who have purchased the aforementioned expansion. Minas Morgul will provisionally be launched on Tuesday 29th of October, although Standing Stones Games have stated that this may be delayed for a few days should there be any technical issues. As with the previous expansion, Mordor, there are three versions of the game with a variety of additional baubles and trinkets available. These are mainly cosmetic items and sundry buffs and boosts. The pricing ranges from $40 for the Basic Edition, $80 for the Collector’s Edition and $130 for the Ultimate Fan Bundle. Again, as with the last expansion, the respective value of the most expensive tier is currently being “disputed” by players, although having logged into the game, it is already clear that many people have already bought it.
The forthcoming Minas Morgul expansion for The Lord of the Rings Online, became available for pre-order today. Furthermore, Update 24.3 was also released, making the new race of Stout-Axe Dwarves immediately available for those who have purchased the aforementioned expansion. Minas Morgul will provisionally be launched on Tuesday 29th of October, although Standing Stones Games have stated that this may be delayed for a few days should there be any technical issues. As with the previous expansion, Mordor, there are three versions of the game with a variety of additional baubles and trinkets available. These are mainly cosmetic items and sundry buffs and boosts. The pricing ranges from $40 for the Basic Edition, $80 for the Collector’s Edition and $130 for the Ultimate Fan Bundle. Again, as with the last expansion, the respective value of the most expensive tier is currently being “disputed” by players, although having logged into the game, it is already clear that many people have already bought it.
All editions of Minas Morgul come with the following content. Over 250 New Quests. 7 New Instances. Updated Crafting Guilds. Further instalments in the Black Book of Mordor Storyline. A new Shelob Raid and “more”. It should be noted that the instances and raid will follow in patches after launch of the expansion. Furthermore, according to developer’s Stand Stone Games “Minas Morgul will take you on an expedition deep into the Morgul Vale in search of answers to a mystery that spans three thousand years. The words of the shade of Isildur will unearth secrets and visions of the Second Age that have remained untold until now, revealing playable landscape and new adventures from a crucial time in Middle-earth’s history”. There is also yet another increase in the game’s level cap from 120 to 130. Thus creating a new gear check for those who wish to have appropriately levelled armour and jewellery.
For long term LOTRO players, SSG’s announcement and overall marketing strategy for this new expansion holds no surprises. This is pretty much exactly what they did when they launched Mordor in late 2017. The appeal of Minas Morgul is aimed predominantly at core players, although the Character Level Boost to 120 may be of interest to new players who wish to join and play with friends at cap. SSG seem to have found a content release schedule that works well for them, offering an ongoing diet of “same meat, different gravy” which satisfies core players. For those who do not feel the need to pre-order the expansion, it will be available for purchase via the in-game store with LOTRO points in March 2020. Base Edition (includes the Minas Morgul Region & Instances only) is priced at 2495 Points. For those who just want to unlock the Stout-Axe Dwarf race, it will cost 1000 Points.