LOTRO: Over a Week of Downtime
The MMORPG The Lord of the Rings Online has been plagued by technical problems for over a week now, resulting in multiple servers being offline. The game’s official forums have also been intermittently affected by these ongoing issues, as has Standing Stone Games other MMO, Dungeon and Dragons Online. The problems initially started on Wednesday the 15th of July with severe lag, rubberbanding and random client disconnections. LOTRO has had ongoing issues with all of these problems in the past and developers SSG have attempted to address them numerous times. It was hoped that the release of a 64 bit client last summer would improve matters and initially there were indications of performance improvements. However, the specific poor server performance that was identified last week has allegedly “cascaded” throughout SSG’s infrastructure.
The MMORPG The Lord of the Rings Online has been plagued by technical problems for over a week now, resulting in multiple servers being offline. The game’s official forums have also been intermittently affected by these ongoing issues, as has Standing Stone Games other MMO, Dungeon and Dragons Online. The problems initially started on Wednesday the 15th of July with severe lag, rubberbanding and random client disconnections. LOTRO has had ongoing issues with all of these problems in the past and developers SSG have attempted to address them numerous times. It was hoped that the release of a 64 bit client last summer would improve matters and initially there were indications of performance improvements. However, the specific poor server performance that was identified last week has allegedly “cascaded” throughout SSG’s infrastructure.
At present the specific nature of the “problem” remains unknown and somewhat nebulous. Furthermore it is likely to remain that way as SSG and prior to them Turbine, have never felt the need to provide details of technical outages. Now that is not exactly an unusual position to take as most companies do not feel the need to discuss infrastructure failings with their customer base. The matter may well be complicated by SLAs with 3rd party vendors etc. Businesses also have to deal with a great deal or internal politics and legal obligations. In this case SSG may well be constrained by policies set by their publishers (and pay masters) Daybreak Games. However, what is customary in such situations is for the “problem” to be handled by whatever internal departments handle communications and community management. Difficult situations like this become a “PR opportunity”.
The “problem” has come back…
Sadly, community management, interacting with the player base and providing reassurance is not SSGs strong point. In the past nine days there have been a litany of Twitter and Facebook posts about servers going on and offline. There have also been a few short messages apologising for the inconvenience. This is certainly civil but it really does seem like the bare minimum. The LOTRO player community is both seasoned and loyal. They are also extremely forgiving of these sorts of technical issues because they endured them before on more than one occasion. To use an old British colloquialism SSG and Turbine before them, have “form”. But it is a mistake for the game’s developers to rely too heavily on players' good will. 2020 has not been a “good year” so far and gamers per se may not be as “affable” as they usually are. At this point a little more transparency and frankly credible customer relations would be useful.
Are players asking for rash promises regarding technical solutions? No. Are they asking SSG to breach rules regarding disclosure and confidentiality? No. They’re looking for a simple, concise explanation as to the broad nature of the “problem”. They’re also looking for a reason to get behind the technical staff who I’m sure are working extremely hard under pressured circumstances. We appreciate that a bullet proof ETA on a solution is not practical. But regular, sincere updates on progress would be very reassuring. Everyone knows what’s at stake. We know that downtime means no one is playing and if no one is playing, then no one is paying. A drop in revenues is not good for any MMO. But SSG need to realise that the immense goodwill of their players that they have benefitted from for the last decade is not an infinite commodity. They need to communicate and keep everyone onboard, rather than push players away due to perceived indifference.
I have often reiterated the point that the LOTRO community should not overlook that they are consumers, as well as ardent fans. They may not immediately see both DDO and LOTRO as services but ultimately they are, the same as gas, electricity or your cell phone. So its is reasonable to have consumer expectations. Another point to consider is that good will needs to be maintained on both sides. A loss of revenue seldom pleases those who control the purse strings but if community relations are good, then the bean counters may well feel positive about the community returning and spending. If community relations sour, then a gap in the balance sheet and concerns over players not investing in the game, could contribute to more detrimental decisions being made. I therefore hope that SSG improves its PR and that LOTRO players keep their heads. The downtime is a frustration for all. I wish SSG staff well with the “problem”. But sometimes it’s not just about solving a problem but also how you handle it.
Greyhound (2020)
Greyhound is a curious film in that it flies in the face of one’s expectations. When I (and possibly others) see an advertisement or trailer for a World War II movie starring Tom Hanks, I naturally assume that the lead actor has been hired for his prodigious acting talent and that he’ll be providing an in depth character study. I was expecting Greyhound to be the story of an untested US Naval Commander enduring an ordeal by fire on his first escort mission. And that is to a degree what director Aaron Schneider provides but instead of the narrative arc focusing on Ernest Krause’s emotional struggles with his duties, we instead get a docudrama focusing on the technicalities of naval warfare. The latter approach is certainly engaging and at times tense and exciting but this decision narrows the appeal of the film. I personally would have preferred the former.
Greyhound is a curious film in that it flies in the face of one’s expectations. When I (and possibly others) see an advertisement or trailer for a World War II movie starring Tom Hanks, I naturally assume that the lead actor has been hired for his prodigious acting talent and that he’ll be providing an in depth character study. I was expecting Greyhound to be the story of an untested US Naval Commander enduring an ordeal by fire on his first escort mission. And that is to a degree what director Aaron Schneider provides but instead of the narrative arc focusing on Ernest Krause’s emotional struggles with his duties, we instead get a docudrama focusing on the technicalities of naval warfare. The latter approach is certainly engaging and at times tense and exciting but this decision narrows the appeal of the film. I personally would have preferred the former.
Based on the 1955 novel The Good Shepherd by C. S. Forester and adapted for the screen by Tom Hanks himself, Greyhound is the story of Commander Ernest Krause during his first war-time assignment. The USS Keeling, codenamed Greyhound, is the lead ship in a multi-national escort group defending a merchant ship convoy. As the allied vessels enter the aptly named "Black Pit"; the Mid-Atlantic gap where they are out of range of air support, a five day game of cat and mouse begins with a German U-boat Wolfpack. Will Commander Krause’s “by the book” approach be sufficient in countering the German threat? Can an unproven Commander deal with the pressure of naval warfare during the Battle of the Atlantic, only months after the U.S. officially entered World War II?
Several critics have raised the question as to whether Greyhound went through a major re-edit just prior to its release. As I have not read about anything to this effect I must conclude that this is not the case. Therefore it must be assumed that the brevity of this film and its focus on naval procedure and tactics was intended. As Tom Hanks is an actor often associated with in-depth character studies, many people (myself included) expected a movie which not only explored the Battle of the Atlantic but also dealt with the burden of command. The film gives us hints regarding Commander Krause. We see his fiancée give him a Christmas gift of monogram slippers. There are several scenes where he prays, implying that faith is a key facet of his personality. There is also a recurring joke in which he misses all the meals his steward prepares for him. All of these could have been expanded into broader vignettes and indeed I was hoping they were. However, they remain as simple asides.
From a technical perspective, Greyhound is both compelling and accurate. The naval tactics depicted are factually correct and well realised. The visual effects by DNEG (formerly Double Negative) are of a high standard. The ocean is a difficult medium to represent digitally but the action sequences focus upon technique rather than spectacle, so they offer a higher degree of realism than those in similar movies such as U-571. However, therein lies the main criticism of Greyhound. It is very much a facts driven WWII naval docudrama, as opposed to a character study about the men taking part. We see several members of the ship’s crew but beyond their duties we know little about them. I suspect there was more of a human element in C. S. Forester book. As it stands, Greyhound is a good film with niche market appeal. An extra 30 minutes of expanded character development may have turned a good film into a great one.
Busy Doing Nothing
As I mentioned recently in my monthly gaming roundup, I’ve currently stopped playing the three MMORPGs that are my usual gaming mainstay. Namely The Lord of the Rings Online, The Elder Scrolls Online and Star Trek Online. It’s something that I do from time to time when I’m tired of the repetition this genre offers. At present none of these titles has anything on offer that motivates me to play them enthusiastically. Especially LOTRO. I find weddings tedious and self indulgent in real life, so I’m hardly going to get “excited” about a virtual one set in Middle-earth. However, that’s not to say that I’ve lost interest in the MMO genre. I’m merely temporarily burned out at present. I find that after a few months or so, either new content is released that lures me back to these games or I tire of what I’ve been playing in their stead. It’s a cyclical process that I go through from time to time and nothing to worry about.
If you’ve figured out this tenuous movie reference then give yourself a pat on the back
As I mentioned recently in my monthly gaming roundup, I’ve currently stopped playing the three MMORPGs that are my usual gaming mainstay. Namely The Lord of the Rings Online, The Elder Scrolls Online and Star Trek Online. It’s something that I do from time to time when I’m tired of the repetition this genre offers. At present none of these titles has anything on offer that motivates me to play them enthusiastically. Especially LOTRO. I find weddings tedious and self indulgent in real life, so I’m hardly going to get “excited” about a virtual one set in Middle-earth. However, that’s not to say that I’ve lost interest in the MMO genre. I’m merely temporarily burned out at present. I find that after a few months or so, either new content is released that lures me back to these games or I tire of what I’ve been playing in their stead. It’s a cyclical process that I go through from time to time and nothing to worry about.
However, despite the fact I’m not actively playing these games, it’s surprising how they still manage to keep me busy. How do they keep me busy, I hear you ask? Have I not deleted them from my hard drive? Of course not, that’s crazy talk. Before I move on to the various tasks involved in not playing a game, let me first address this ludicrous assumption that if you’re not playing a game you can delete it from your hard drive and reinstall it later. Because we all have fast internet connections nowadays? Well for starters let me list the current installation size of these three MMOs. LOTRO 30.1GB, ESO 71.7GB and STO 35.5GB respectively. Those are not “small beer” and irrespective of your internet connection speed, if you wish to install these games from scratch you’re at the mercy of three separate game clients and three sets of patching servers. All of which are painfully slow and temperamental. So unless you desperately need to reclaim the space on your SSD or HDD, never delete a game just co’s you’re not playing it at present. Don’t even get me started on customisations and addons.
Moving on, these unplayed MMOs need constant tending. There’s constant patching, especially for ESO who seem to release new content based on two criteria; when it’s raining and when it’s not. Rather than be inconvenienced when I finally decide to return to these games by finding a ton of updates to download, it’s best to keep the client current just in case. And then there’s the login presents and rewards. Both LOTRO and ESO giveaway daily incentives or “free shit” as it’s called in marketing parlance, to encourage consumer loyalty. I may not be playing at present but FOMO is a real thing. I’d hate to pass up on a one off opportunity to claim the “Sword of Kagnazax” or a cosmetic Humboldt Squid pet. I’m also a member of at least one guild that regularly kicks players if they don’t log into the game after a set period of time. So I have to show a face, so to speak, at least once a week or I’ll be given my “marching orders”.
Blogging about these games also adds to the every growing list of chores. Just because I’m not actively playing through current content doesn’t mean that I have nothing to say on the state of any of these three titles or regarding any breaking story or development associated with them. Which leads me to my next point, I often find myself without a suitable screen capture that I can use to illustrate a post. So I have to quickly log into the game in question and grab a few images. And of course you don’t get to just “log on and then log off”. There’s invariably someone online who spots you and decides to engage you in lengthy conversation regarding your health, what you’ve been up to and that wretched bird on Mrs Coltart’s roof (yet again). So as you can see, it can be quite exhausting not playing games. Talk about busy doing nothing. It’s amazing I find time for the games I actually am engaged with at present.
Scoob! (2020)
Scoob! is one of several movies that was slated for a theatrical release this summer but ended up being premiering on VOD instead due to the global pandemic. As a result, it is difficult to ascertain exactly how successful this animated film has been. A lot of trade newspapers have indicated that rentals have been high and that the film has proven more popular than Tom Hardy’s new movie Capone. Some industry sources have estimated a gross of $100,000,000 in a two week period. I suspect that the current lockdown has provided a market of children craving new entertainment and parents happy to pay for 90 minutes of peace and quiet. Hence Scoob! appears to have been in the right place at the right time. Whether that popular success would have happened if the movie had been released theatrically is another matter.
Scoob! is one of several movies that was slated for a theatrical release this summer but ended up being premiering on VOD instead due to the global pandemic. As a result, it is difficult to ascertain exactly how successful this animated film has been. A lot of trade newspapers have indicated that rentals have been high and that the film has proven more popular than Tom Hardy’s new movie Capone. Some industry sources have estimated a gross of $100,000,000 in a two week period. I suspect that the current lockdown has provided a market of children craving new entertainment and parents happy to pay for 90 minutes of peace and quiet. Hence Scoob! appears to have been in the right place at the right time. Whether that popular success would have happened if the movie had been released theatrically is another matter.
Scoob! is a computer-animated comedy mystery film produced by Warner Animation Group. Canonically, it’s both an origins movie and a soft reboot of the beloved Scooby Doo franchise. The film starts with a friendless young Norville "Shaggy" Rogers, adopting Scooby Doo as a pup. The two subsequently meet Fred Jones, Daphne Blake, and Velma Dinkley while out trick or treating on Halloween. Their subsequent exploration of a local haunted house leads to the unmasking of a local criminal. Hence the friends decide to form Mystery Inc. “I mean, like, how many scary monsters could there be?” Shaggy asks which ushers in possibly the highlight of the entire movie; a loving recreation of the original title sequence from Scooby Doo Where Are You! (Season 2). Sadly, it all goes rapidly down hill after this. Ten years later the gang splits after a business deal with Simon Cowell (yes you read that correctly) displeases Shaggy and Scooby. The pair are subsequently attacked by an army of small robots called “rottens” while bowling but are rescued by Dee Dee Skyes, Dynomutt, and the Blue Falcon. Scooby learns that he is being hunted by none other than Dick Dastardly who needs him to unleash Cerberus (from Greek mythology) from the underworld.
And therein lies the fundamental problem with Scoob! There seems to have been a lack of faith in the basics of the franchise. IE Scooby and the gang solving haunted house mysteries. Hence the production tries to crowbar in other Hanna-Barbera characters in an attempt to pander to the current cinematic vogue for superheroes. Then there’s Dick Dastardly (voiced by Jason Isaacs who is clearly having a lot of fun) and his comedy robot sidekicks which smacks of Gru from Despicable Me and his minions. Captain Caveman also makes an appearance for no real reason. So if you were expecting to see a back to basics reimagining of the adventures of Mystery Inc in Scoob! then you’re in for a “surprise”. Although in fairness, it should be noted that Scooby Doo did team up with the Blue Falcon and Dynomutt in the past but this was during the middle seventies and not during the classic original two seasons of Scooby Doo Where Are You!
The other major issue with Scoob! is the way the screenplay by Matt Lieberman, Adam Sztykiel, Jack Donaldson, Derek Elliott (yes it took four of them to write this) tries to throw a few jokes, references and homages to the adult viewers. It’s a common enough practise in animated films but the gags are somewhat varied and a few are even questionable. There’s a joke where Dick Dastardly’s crimes are discussed and not paying for Netflix is among them. If you read the list on the police database quickly you'll also find tripping old ladies in Lagos. These quips work well but others fall flat, often referencing the obscure. Plus hasn’t Simon Cowell’s notoriety now faded from popular culture? Wasn’t that all two decades ago? And of course Scoob! suffers from the inclusion of my personal cinematic bête noire; the overlong, excessively loud action sequence. Scooby Doo Where Are You! was all about comedic chases and not explosions.
So upon mature reflection and sobre analysis, I think it’s fair to say that Scoob! is a visually chaotic and tonally mixed viewing experience. It certainly won’t delight lifelong fans raised on reruns of the original incarnation of the show. The film smacks of a production driven by focus group and committee. The kind so brilliantly satirised in RoboCop 2. However, despite the qualms of adult fans and professional critics, it should be noted that I watched this movie (twice) with my 5 year old Granddaughters. They loved it. And that is possibly all that Warner Bros. Animation Group care about. I suspect that there’ll no doubt be a Scoob! 2, in the not too distant future. In the meantime, if you have small children that need to be entertained, then Scoob! will do just that. If you are a fan of the franchise then I’m sure I’m not the first to say Scooby Don’t.
Top Cat: The Movie (2011)
The first I found out about Top Cat: The Movie was when I received an email from an events company that was handling promotional screenings, prior to the film’s UK release in the summer of 2012. For some reason I missed the usual pre-production publicity that comes with the rebooting of a popular franchise. One of the benefits of this was that I didn't have time to fret or fuss about this reimagining of an integral part of my childhood. I must admit I was flummoxed that this 50-year-old franchise was subject to a makeover and was even more discombobulated to find out that the original show was a massive hit in Mexico and had garnered a huge cult following. This was why Warner Bros. subcontracted this production to Mexico's Anima and Argentina's Illusion studios. Subsequently Don Gato y Su Pandilla (Top Cat and His Gang) opened on 16th September 2011 in Mexico to weekend box office returns of 41m pesos ($2.9m). It subsequently became the highest-grossing independent animated films released in the United States that year.
The first I found out about Top Cat: The Movie was when I received an email from an events company that was handling promotional screenings, prior to the film’s UK release in the summer of 2012. For some reason I missed the usual pre-production publicity that comes with the rebooting of a popular franchise. One of the benefits of this was that I didn't have time to fret or fuss about this reimagining of an integral part of my childhood. I must admit I was flummoxed that this 50-year-old franchise was subject to a makeover and was even more discombobulated to find out that the original show was a massive hit in Mexico and had garnered a huge cult following. This was why Warner Bros. subcontracted this production to Mexico's Anima and Argentina's Illusion studios. Subsequently Don Gato y Su Pandilla (Top Cat and His Gang) opened on 16th September 2011 in Mexico to weekend box office returns of 41m pesos ($2.9m). It subsequently became the highest-grossing independent animated films released in the United States that year.
Now apparently, when Top Cat was originally shown in Mexico, the show was re-scripted and re-dubbed extensively to suit the local market. Something about TC's irrepressible personality and his anti-authoritarian high jinks resonated with the audience and they took him to their hearts. The original show became a major hit and remained in syndication for years. This needs to be considered when watching Top Cat: The Movie, as it is a production that has been created specifically for the Latin American market and then rendered back into a English friendly product. It is therefore a little left field and not entirely identical to the source material. The story has a contemporary setting and animation is a mixture of 2D characters within a CGI environment. The style is very much in the idiom of contemporary shows that you see on the cartoon network. However, that is not a bad thing. There are three versions of the movie available. A Spanish dialogue version. A US version featuring additional voice acting from Rob Schneider and Danny Trejo and a UK version where these actors are not present.
As to the film’s plot, Top Cat and his gang are all present as is his foil, Officer Dibble. The voices are not radically different, although Choo Choo has become even camper and now appears to be pink. However, I chose to overlook these changes as he is one of the most enjoyable members of the cast. The story is odd to say the least, revolving around a rogue robot police force and the villainous commissioner. At one point Top Cat goes to Dog Prison which raises a wealth of questions. The humour veers from gags cribbed from the original show to more modern double entendres and nudge, nudge humour. There is also some love interest introduced to the plot, but it is poorly handled and is hardly going to do any favours for the representation of women in movies. Overall, the narrative is somewhat haphazard and all over the shop. Yet it avoids complete failure due to the inherent fact that Top Cat and his gang are likeable. Top Cat: The Movie also wins by default because in direct comparison to recent reboots of old cartoon franchises such as The Smurfs and Yogi Bear, it’s simply not as bad.
Undemanding children unfamiliar with the heritage of the show will more than likely find Top Cat: The Movie acceptable. There’s enough slapstick humour and frenetic chases to keep the uncritical eyes of the young occupied. Bizarrely enough I did not object to this reboot anywhere near as much as I thought I would. It is different and certainly not as I expected but when you consider the films pedigree and the fact that the concept has been translated from one culture to another and then back again, it still retains facets of the original show. Perhaps the essential dynamics of Top Cat, his gang and their timeless shenanigans are simply too strong to be eradicated even by current studio perceptions of audience tastes and postmodern sensibilities. If you are a dyed in the wool Top Cat purist, then avoid this movie. If you are curious and have an interest in animation then give it a go. Overall I still think the Top Cat: The Movie should be filed under odd.
The Idiot Box
Thoughts on TV shows and my current viewing habits.
The last instalment of The Idiot Box was back in February, just before the lockdown started here in the UK. Since then, like so many people, my leisure time has increased dramatically due to being confined at home and the constraints placed upon my real world activities. Hence our household has watched a lot more TV than usual as a means of occupying ourselves. In some respects this has been a boon, being presented with an opportunity to catch up with our viewing. All those miscellaneous programmes that you record on your DVR “for some particular reason” and swear blind that “you’ll get round to watching”, have finally been cleared. I’ve also started working my way through my “to do” list of movies and TV shows that I’m supposed to be reviewing. But there have also been some curious downsides as a result of the quarantine restrictions.
Thoughts on TV shows and my current viewing habits.
The last instalment of The Idiot Box was back in February, just before the lockdown started here in the UK. Since then, like so many people, my leisure time has increased dramatically due to being confined at home and the constraints placed upon my real world activities. Hence our household has watched a lot more TV than usual as a means of occupying ourselves. In some respects this has been a boon, being presented with an opportunity to catch up with our viewing. All those miscellaneous programmes that you record on your DVR “for some particular reason” and swear blind that “you’ll get round to watching”, have finally been cleared. I’ve also started working my way through my “to do” list of movies and TV shows that I’m supposed to be reviewing. But there have also been some curious downsides as a result of the quarantine restrictions.
Many of the ongoing TV shows that were approaching the end of their seasons in March and April, ended somewhat prematurely. NCIS usually finishes on a cliffhanger or features a story arc that will be continued in Autumn. That did not happen this time round. In fact many shows were two or three episodes short of a full season. Apparently the lockdown impacted upon post production and some episodes could not be completed. As mass gatherings have been prohibited, many TV (and radio) shows have not been recorded in front of “live audiences”. This does have an impact. Take for example the popular UK satirical news panel show, Have I Got News For You. This usually is recorded in a studio in front of several hundred people. This season the panel members interacted via videoconferencing (and the show was edited using Final Cut Pro X). The quality of material was just as good as usual but the lack of audience laughter altered the dynamic of the show. It oddly seemed less funny, which upon reflection wasn’t the case.
As I’m not a sports enthusiast, its conspicuous absence from TV has not been an issue. But I do appreciate that this is a major source of entertainment for many people and hence a major inconvenience. I cannot say for certain whether repeating classic content has been an adequate substitute or not but from those I have spoken with it has been a lacklustre replacement. Another issue stemming from the lockdown is the closure of ongoing TV and film productions. There’s a good chance that many eagerly awaited TV shows will not be ready on time and we have already seen the release date of numerous high profile movies postponed. Subsequently, there’s a real chance that there may be a shortage of new content on many of the major streaming services in Autumn. As for cinemas reopening, irrespective of whether this happens sooner or later, it will take a lot to convince me that it is safe to return to these air conditioned germ incubators.
In times of crisis, there are always winners and losers. Streaming TV subscription services have certainly been in the former group over the last four months. I already subscribe to Netflix and Amazon Prime which offers a broad range of material but with the increase in leisure time I decided to try a few others. My son has access to Disney+ so I got to check out what it has on offer recently. I can see why he has it, having twin five year old daughters who have totally bought into the “Disney Princess” concept. However, as I’m done with the MCU and my love affair with Star Wars is rapidly waning (apart for The Mandalorian), there’s not much for me or Mrs P. I also don’t care for the way that some films have been “tinkered” with to make them more family friendly, such as the adding of digital hair to hide Daryl Hannah’s minor nudity in Splash. And the withdrawal of the 30 day free trial just prior to the release of Hamilton on the platform was hardly good PR.
However BritBox has proven to be far more beneficial. If you like in depth and character driven dramas such as Broadchurch, Unforgotten and Call the Midwife then there’s plenty of such content. There’s also a wealth of classic British sitcoms and a good selection of classic movies. The main selling point for me is the extensive collection of Doctor Who episodes spanning all incarnations of the timelord. This has given me a great opportunity to re-evaluate material I previously watched when I was 5 years old and has proven quite a revelation. The other major selling point of BritBox is that they’ve recently added most of Gerry Anderson’s Supermarionation shows, so I’ve been revisiting Thunderbirds and Captain Scarlet yet again. I suspect that once the free 30 day trial has expired I shall continue subscribing for the immediate future.
So has there been any standout viewing in the Peril household over the last 4 months? Yes there has. Mrs P is a very social creature (yes that’s very ironic considering my temperament) and has found the lockdown very frustrating as it has curtailed her regular meetings with friends. However, one particular show which she binged watched (twice) on Netflix and found great enjoyment in is Schitt's Creek. She feels it takes a couple of episodes for the show to hit its stride but when it does the characters come to life and it is both equally touching and extremely funny. I’ll vouch for the fact then while she’s been watching it, you can hear constant uproarious laughter. For myself, my highlight of lockdown viewing has been Nebula-75 which is produced by a 3 man crew in self isolation. It’s available on YouTube. However, I shall dedicate a future blog post to this creative endeavour.
OK Gesture Removed From Call of Duty: Modern Warfare
Call of Duty: Modern Warfare and Warzone have a wealth of customisation and cosmetics options. One of which is the ability to assign hand gestures to your character. These can be used as a means of giving instructions when playing in a squad but more often they’re just used for fun or humorously. Players will use them after a kill or sometimes make them part of a trick shot, such as making a gesture with the left hand while firing from the hip with the right. I’ve not noticed a lot of use of gestures while playing nor do I use them myself. It takes all my concentration to stay alive. However, they do seem to feature in the various CoD clip shows I watch on YouTube, so they’re more of an affectation used by “top tier” players. Recently, developers’ Infinity Ward removed the OK gesture from the game. This minor change was not mentioned in the patch notes and the gesture was replaced with a new one called "crush".
Call of Duty: Modern Warfare and Warzone have a wealth of customisation and cosmetics options. One of which is the ability to assign hand gestures to your character. These can be used as a means of giving instructions when playing in a squad but more often they’re just used for fun or humorously. Players will use them after a kill or sometimes make them part of a trick shot, such as making a gesture with the left hand while firing from the hip with the right. I’ve not noticed a lot of use of gestures while playing nor do I use them myself. It takes all my concentration to stay alive. However, they do seem to feature in the various CoD clip shows I watch on YouTube, so they’re more of an affectation used by “top tier” players. Recently, developers’ Infinity Ward removed the OK gesture from the game. This minor change was not mentioned in the patch notes and the gesture was replaced with a new one called "crush".
Neither the developer Infinity Ward, or the publisher Activision have publicly commented on this minor change but it’s more than likely to do with this gesture’s appropriation as a “hate symbol”. In late 2019, the Anti-Defamation League added the OK gesture to its list of hate symbols after they identified its use by various white supremacist groups. Allegedly this gesture’s use in this context stems from the 4Chan “community”. Members of the site apparently propagated a bogus rumour that the OK sign had racist connotations as a means of baiting the media. Ironically, the OK sign was adopted by the “far-right” and hence some institutions now feel that it’s meaning within certain contexts has been usurped. It should be noted that Brenton Tarrant, the perpetrator of the 2019 Christchurch mass shooting in New Zealand, used this gesture during his first court appearance.
Now whenever something is changed in a popular game, there is inevitably some “push back” from certain players, irrespective of whether the change is justified or not. Also, anything that is vaguely motivated by socio political reasons will always cause a ruckus from certain quarters. Hence if you read a lot of the comments on gaming websites that have covered this story, you’ll find a lot of spurious arguments, bogus claims of censorship and spittleflect ire. “So divers can’t signal to each other anymore because it’s racist?” is one example of the incessant whataboutery I’ve seen bandied about. Naturally the answer is “divers can do what they want because their recreational pursuits doesn’t fall under the auspices of Activision Blizzard or take part exclusively in a space that they own and control”. But I seldom see any sense of arguing with idiots. “They will only bring you down to their level and beat you with experience” as the great George Carlin said.
As far as I’m concerned the removal of this gesture has simply eliminated something that could be used for trolling and causing “unrest” within an online community. There’s more than enough of that sort of culture associated with PVP and the FPS genre already. Do we really need something that can potentially contribute more? As ever, the “debate” that has arisen around this nominal change is nothing more than standard bloviations from career malcontents. It’s a shame that these gamers do not put the same sort of effort into reflection upon the real problems associated with the video games industry. But I suspect that many of the gamers who feel the need to be perpetually outraged, are cut from the same cloth as the problem staff that are often at the centre of the majority of gaming “controversies”.
Ennio Morricone (1928 - 2020)
Treasure of the Four Crowns (1983) is a somewhat confused and shoddy action movie that attempts to ride on the coattails of both Raiders of the Lost Ark and the 3-D revival of the time. It lurches between set pieces where anything and everything is thrown at the camera, to moments of unpleasantness and then into slapstick comedy. Yet there is one aspect of this unremarkable film that remains with the viewer after they’ve endured its 97 minute running time. The opulent and charismatic orchestral score by Ennio Morricone. Because "Maestro" Morricone always brought his immense talent to bear on a film regardless of its quality or provenance. Hence there are just as many genre movies and exploitation films with exceptional Morricone soundtracks as there are cinematic masterpieces and art house classics. As writer and director Edgar Wright said “he could make an average movie into a must see, a good movie into art, and a great movie into legend”.
Treasure of the Four Crowns (1983) is a somewhat confused and shoddy action movie that attempts to ride on the coattails of both Raiders of the Lost Ark and the 3-D revival of the time. It lurches between set pieces where anything and everything is thrown at the camera, to moments of unpleasantness and then into slapstick comedy. Yet there is one aspect of this unremarkable film that remains with the viewer after they’ve endured its 97 minute running time. The opulent and charismatic orchestral score by Ennio Morricone. Because "Maestro" Morricone always brought his immense talent to bear on a film regardless of its quality or provenance. Hence there are just as many genre movies and exploitation films with exceptional Morricone soundtracks as there are cinematic masterpieces and art house classics. As writer and director Edgar Wright said “he could make an average movie into a must see, a good movie into art, and a great movie into legend”.
Ennio Morricone was a prodigious composer, who eschewed Hollywood despite his success. He preferred to compose at his palazzo in Rome, working at a desk as opposed to a piano. He wrote in pencil on score paper, creating all orchestra parts from what he could hear in his mind. He would frequently compose after reading a just a script, viewing rushes or a rough cut of a film. Due to his musical diversity and at times experimental approach, he was much sought after by similarly creative film makers. His musical range was exceptional featuring an array of techniques; tarantellas, psychedelic vocalisations, sumptuous love themes along with minimalist beats to underscore tension. He was not afraid to be quirky or to use that most dangerous musical device silence. He composed for TV, cinema, wrote concert pieces, and orchestrated music for singers including Joan Baez, Paul Anka and Anna Maria Quaini, the Italian pop star known as Mina. Whatever he did both he and his music always left an impression.
Given his extensive body of work across multiple genres, it is difficult to collate a short list of material that adequately summarises Ennio Morricone’s musical capabilities. His mainstream renown stems from his work with director Sergio Leone and “The Dollar” trilogy which has quite rightly become an integral part of cinematic pop culture. However his collaborations with the “Master of the Giallo”, Dario Argento, are equally noteworthy. The Bird With The Crystal Plumage (1970) features pop inflected vocal harmonies, avant improvisation and salacious lounge music. The Mission (1986), features a plot device in which a Jesuit Priest uses his Oboe to fill the cultural divide between the Catholic Church and the idigenous people of Paraguay. This is sublimely realised by Morricone in his iconic piece “Gabriel’s Oboe”. Director John Carpenter 1982 sci-fi horror The Thing benefits greatly from Morricone’s minimalist synth driven score. And the sleazy 1972 thriller What Have You Done to Solange? becomes more than the sum of its parts due to melancholic and melodic Morricone score.
Here is a short and personal selection of music cues and tracks by Ennio Morricone that I enjoy. He leaves behind an exemplary legacy and body of work as well as having influenced several generations of musicians and composers. A friend of mine who is also a “man of the cloth” and a commensurate fan, once told me that he feels that “there are brief glimpses of the divine” in Morricone’s work and that on occasions “it reflects the majesty of creation”. Although I’m not especially religious myself, I feel that there is truth in these words. Ennio Morricone’s music, especially his more sumptuous scores for the likes of Roland Joffé, Giuseppe Tornatore and Brian De Palma, contain an inherent beauty. And that beauty is pure and timeless. Addio Maestro.
The Social Etiquette of Quitting a Multiplayer Game
I was watching a YouTube video recently of someone trying the new Fennec SMG in Call of Duty Modern Warfare Multiplayer. It was a 5 versus 5 game and the player who made the video was clearly quite skilled. After quickly racking up multiple kills, 3 of the enemy team left mid game. He laughed and pointed out that they had “rage quit”, although that is just conjecture. They may have left the game for a multitude of reasons (a point I shall return to later). As ever this video began a train of thought which I would now like to explore. Multiplayer games often go hand in hand with a lot of informal social etiquette. Much of which stems from the original MMOs from two decades ago. However, these conventions are not in any way mandatory or enshrined in any games terms of service. Yet quitting in the middle of a multiplayer game is still frowned upon in certain quarters, often being seen as an act of selfishness and childish anger. However, like everything in life, I think it’s not as simple as that.
I was watching a YouTube video recently of someone trying the new Fennec SMG in Call of Duty Modern Warfare Multiplayer. It was a 5 versus 5 game and the player who made the video was clearly quite skilled. After quickly racking up multiple kills, 3 of the enemy team left mid game. He laughed and pointed out that they had “rage quit”, although that is just conjecture. They may have left the game for a multitude of reasons (a point I shall return to later). As ever this video began a train of thought which I would now like to explore. Multiplayer games often go hand in hand with a lot of informal social etiquette. Much of which stems from the original MMOs from two decades ago. However, these conventions are not in any way mandatory or enshrined in any games terms of service. Yet quitting in the middle of a multiplayer game is still frowned upon in certain quarters, often being seen as an act of selfishness and childish anger. However, like everything in life, I think it’s not as simple as that.
Firstly, let’s consider the rectitude of quitting a multiplayer game halfway through. If the game you are playing has a fail state that is dependent on a full team, or requires players of a certain class to be successfully completed, then leaving will definitely inconvenience others. Raids, dungeons and other complex group content often require planning and a degree of organisation. If you have committed to such an undertaking then it is not unreasonable to be expected to honour it. If the group content is not going to plan then the “problem” should be discussed within the group. However, if genuine external factors mean that you must leave the group, then it is best to inform your colleagues and then depart at the most appropriate juncture. Simply quitting because things are not going well or because something potentially more entertaining presents itself, does strike as inconsiderate. The Healer or Tank leaving a group will often make specific tasks impossible.
However, as previously mentioned, group situations are frequently nuanced. If you are taking part in a multiplayer game and subject to abuse of any kind, then leaving is most certainly an option. Events and activities organised via friends or a guild hopefully reduce the risk of such behaviour but many games now include auto grouping tools. “Pick Up Groups” are potentially far more problematic due to their random nature. I personally will not tolerate any sort of prejudicial abuse and will leave if I encounter such. Unless it is essential to talk, I mute voice chat with strangers and communicate via preset ingame commands. More often than not I find that people leave PUGS if the task in hand is not being completed in an optimal fashion. Another issue is joining a full group but finding that several players have deliberately gone AFK. This is usually done so that an achievement or reward can be gained. Some games will detect such activities and sanction the player by kicking them from the group or applying a time penalty preventing further auto grouping.
But not all group situations come with the same stakes. In the FPS genre auto grouping is a common practise used to assemble players quickly and conveniently. Furthermore, players are not always interdependent upon each other. Irrespective of whether your team wins or loses a Deathmatch you’ll still be rewarded XP and weapons will unlock. Due to the popularity of certain genres, there are a wealth of players to draw upon when forming groups. Hence if players leave in the middle of a multiplayer game, they are seamlessly replaced. And players do leave often. Circling back to the original anecdotes about the players leaving the 5 versus 5 game on CoD MW, this is frequently due to the inadequacy of the “Skill Based Matchmaking”. It is beneficial to all concerned if players are grouped with others of a broadly comparable ability. Nothing kills your enjoyment quicker in these sorts of games than one or several players dominating events. Hence players will simply remove themselves from a situation that is not conducive to their enjoyment.
The MMO genre is still predominantly a social one, filled with guilds that run on player interaction and association. People build up relationships overtime and as such social rules and cultural norms often come into play when undertaking group content. Activities that are arranged and managed directly by multiple people logically require a different level of social commitment from those participating. The more impersonal game mechanic of autogrouping for content with less complex fail states (and therefore fewer consequences), requires a lower social dynamic. And let us not forget that paying to play a game can considerably alter one's relationship with it. The moment money is involved players often adopt a more transactional mentality. Anything that impedes enjoyment or progression is seen as a failure of service delivery and not necessarily in terms of the capricious nature of gaming.
Therefore, quitting a multiplayer game halfway through is not a binary issue (I wish I had £1 every time I’ve written that over the years). It is very much a contextual matter. I do not see an auto grouped undertaking in a FPS or similar game as commensurate with a pre-planned raid in an MMO with people I know. Leaving halfway through has different consequences in both scenarios and should be treated accordingly. Raiding and similar events in the MMO genre are a far more logistically and socially complex endeavour than joining a PUG in a Team Deathmatch. If a raid isn’t working there may well be planning issues to address or social problems within the group. But these are human failings and not always attributable to the game content. Competing with players of greater skill is not something that an individual can so easily address, apart from the obvious solution of leaving. But cultural attitudes and societal baggage towards what are your “social obligations” vary among gamers. So there is no definitive answer beyond the one you fathom for yourself.
A Month in Gaming
I stopped subscribing to The Lord of the Rings Online in June. I’ve always had a very cyclical relationship with this MMO and at present I feel I need a break from the games somewhat linear formula. Plus the new content scheduled for release centred around the wedding of Aragorn and Arwen doesn’t exactly sound enthralling. So I’ve left my primary character in Langflood and will return to the game later in the year when I feel the need to catch up with content. I have also abandoned the ongoing events in Star Trek Online as they’re getting too repetitive. I would like to see a new longterm story arc rather than just a continuous cycle of short term events and repeatable content. I don’t mind working towards a goal but it has to be something I want and the rewards offered in this MMO are getting a little too generic for my liking. I shall return to the game at some point as I’m a lifetime account holder and I’m curious to see how developer’s Cryptic overhauls the Klingon story arc.
I stopped subscribing to The Lord of the Rings Online in June. I’ve always had a very cyclical relationship with this MMO and at present I feel I need a break from the games somewhat linear formula. Plus the new content scheduled for release centred around the wedding of Aragorn and Arwen doesn’t exactly sound enthralling. So I’ve left my primary character in Langflood and will return to the game later in the year when I feel the need to catch up with content. I have also abandoned the ongoing events in Star Trek Online as they’re getting too repetitive. I would like to see a new longterm story arc rather than just a continuous cycle of short term events and repeatable content. I don’t mind working towards a goal but it has to be something I want and the rewards offered in this MMO are getting a little too generic for my liking. I shall return to the game at some point as I’m a lifetime account holder and I’m curious to see how developer’s Cryptic overhauls the Klingon story arc.
I found a good deal on the latest expansion for The Elder Scrolls Online and so I purchased the Digital Upgrade Edition of Greymoor. I mainly wanted to see what the new Harrowstorms events were like and was pleasantly surprised by their difficulty. Dolmen become easier when more players are present but that is not necessarily the case with Harrowstorms. I have so far refrained from playing any of the story content in this new zone as I’m still committed to playing the narrative content in ESO in order. I like to keep the installation of ESO on my PC up to date as my twin granddaughters enjoy this game. They will often ask to see what the “lady with the burnt face and big boobies” is doing (their description, not mine) when they come round and visit. They also like the exotic cosmetic pets and the Khajit “cat people”. The recurring dragon events in Southern Elsweyr is also a source of entertainment for them.
June also saw several games uninstalled from my PC, as I had either completed them or had reached a point where I wasn’t going to return to them any time soon. So I removed Red Dead Redemption 2 as it really is a title you need to apply yourself to. To get the best out of the game it helps if you play for several hours at a time and immerse yourself in the story. I haven’t done this for a while and so my connection to the narrative was lost. Another thing I’ve noticed when playing these densely plotted RPGs is that I sometimes spend too much time pondering over decisions. Games with branching narratives are interesting but I occasionally find myself worrying that I will somehow “hobble” myself at some point in the future, if I make a “bad” choice. It’s a curious paradox as these decision making mechanics are designed to provide a sense of immersion but the “worry” they can produce can sometimes have the opposite effect.
Overall, Call of Duty Modern Warfare is still keeping me engaged after two and a half months. I do find it frustrating the way various game modes come and go. I was just beginning to learn the layout and foibles of the “Trench” map in 5 versus 5 battles when this was taken out of the game menu. However, Plunder Mode has proven to be a good alternative to the standard Battle Royale Mode in Warzone. The object is to collect cash from various stashes around the main map and then airlift it out. There are several prime landing zones in the Downtown area that are always heavily contested. However, for the more cautious player, you can explore and accrue money in the outlying areas and bank it by regularly buying Cash Deposit Balloons from Buy Stations. Combat is not so frenetic in this permutation of the game, although you do still have to keep your eyes open for players doing exactly the same as you. Auto Grouping is also not so problematic in Plunder Mode either. Players seem to take a more casual attitude to proceedings so you can play collaboratively or do your own thing if you prefer. This mode also provides a lot of XP if you’re levelling through the Battle pass.
I’ve been toying with the idea of buying Ghost Recon Breakpoint. I initially declined to do so due to the broken nature of the game upon its release and the conspicuous lack of AI teammates. They were present in Wildlands, the previous iteration of the franchise and were a boon for anyone who didn’t have a copiously populated friends list. However, Ubisoft is finally adding AI Squad functionality to Breakpoint this month so I may see if I can get a deal. A lot of the game’s problems have been fixed and there’s now over a year’s worth of content to be played through including a guest appearance by Sam Fisher from Splinter Cell. Furthermore he’s voiced once again by Michael Ironside. I may also see if there are any smaller games I can try in July to take my mind off the fact that the video game industry and associated culture just seems to be a continuous dumpster fire. It’s going to be a long uphill struggle to see these institutions evolve and adapt into something vaguely equitable and ethical.
Ray Harryhausen
Today Ray Harryhausen would have been 100. Sadly he died on 7th of May 2013. He is one of a handful of creative artists who due to his skill, passion and good nature, influenced generations of fans and had a significant impact on filmmaking worldwide. In 2010 I had the pleasure of attending Ray’s 90th Birthday celebrations held at the British Film Institute. Hosted by charismatic director John Landis, all manner of celebrities, actors and filmmakers queued to heap praise on this quiet and retiring gentleman. It was a wonderful evening and a fitting way to honour a man who was not only a pioneer in the visual effects industry but a great source of inspiration for so many. His work was so influential that it has shaped many aspects of contemporary fantasy cinema. For six decades Ray Harryhausen made unique movies where he breathed life into monsters and mythical creatures. Through the medium of stop motion animation he endowed all of his creations with a unique character. He quite simply made dreams real. And that unique gift had a colossal impact
Today Ray Harryhausen would have been 100. Sadly he died on 7th of May 2013. He is one of a handful of creative artists who due to his skill, passion and good nature, influenced generations of fans and had a significant impact on filmmaking worldwide. In 2010 I had the pleasure of attending Ray’s 90th Birthday celebrations held at the British Film Institute. Hosted by charismatic director John Landis, all manner of celebrities, actors and filmmakers queued to heap praise on this quiet and retiring gentleman. It was a wonderful evening and a fitting way to honour a man who was not only a pioneer in the visual effects industry but a great source of inspiration for so many. His work was so influential that it has shaped many aspects of contemporary fantasy cinema. For six decades Ray Harryhausen made unique movies where he breathed life into monsters and mythical creatures. Through the medium of stop motion animation he endowed all of his creations with a unique character. He quite simply made dreams real. And that unique gift had a colossal impact
As a child growing up in the seventies, audiences had a subtly different relationship with blockbuster movies and special effects than they do today. They were not as ubiquitous or cynical as contemporary films and hence had an immense impact upon young and impressive minds. Jason and the Argonauts, The First men in the Moon and One Million Years B.C. had a profound influence upon me and subsequently shaped my future tastes, not only in terms of film but also in TV and literature. I studied Classical Civilisation at school in part due to my curiosity in ancient Greece that Ray had inspired. His work also sparked for me an interest in the technicalities of filmmaking. Something I still revel in today. I don’t just like to watch a film, I enjoy learning about the entire production and the creative choices made by all involved. Cinema is after all a collaborative process. My love of his work is also one of the reasons I blog about films today and through writing I often encounter others who were equally inspired by his unassuming genius.
One of the things that came across a decade ago when I saw this softly spoken man, was how passionate and genuine he was, even at the age of 90. He was more disposed to talk about others than his own work. Something his good friend Ray Bradbury pointed out in a video message. Ten years on, although Ray’s talent is no longer with us, his work and the art of stop motion animation still lives on through his foundation, I'd like to say thank you Ray for the hours of wonder and joy you gave to us all. Not only for the visual delights you entranced us with but for the honest storytelling with its gentle morality that under pinned it all. By giving us Medusa, Talos, Ymir (and even Bubo) you also gave us Rick Baker, Peter Jackson, Tim Burton, Peter Lord, Phil Tippett and so many others. You were an innovator and a true artist. Those who collaborated with you, such as Bernad Herrmann and Miklós Rózsa, knew this. Your profound influence will continue to inspire future generations and your work will always find news fans because it is timeless. True art always is.
Dawn of the Dead: Complete Cut (1978)
Five years ago, I wrote about a fan edit of George Romero’s horror classic Dawn of the Dead that attempted to recreate the original rough cut of the movie. The so-called “Extended Mall Hours” cut was composed of the 139 minute Cannes edit of the film and the 117 minute Dario Argento version. It was a very interesting project but as it consisted of DVD quality material (including deleted scenes) it was not an optimal presentation. Being a fan edit, there were obvious issues regarding legality, so I never really expected to see anything comparable to this version being officially sanctioned or released. So I was therefore most surprised to learn that a recent Blu-ray boxset release by Austrian distributors XT Video included a “Complete Cut” which similarly combines all available material. This is presented in 1080p, at a ratio of 1:85:1 and runs 155 minutes. It is superior in quality to the “Extended Mall Hours” cut and is most likely the nearest any fan is ever going to get to seeing Romero’s initial edit of the film.
Five years ago, I wrote about a fan edit of George Romero’s horror classic Dawn of the Dead that attempted to recreate the original rough cut of the movie. The so-called “Extended Mall Hours” cut was composed of the 139 minute Cannes edit of the film and the 117 minute Dario Argento version. It was a very interesting project but as it consisted of DVD quality material (including deleted scenes) it was not an optimal presentation. Being a fan edit, there were obvious issues regarding legality, so I never really expected to see anything comparable to this version being officially sanctioned or released. So I was therefore most surprised to learn that a recent Blu-ray boxset release by Austrian distributors XT Video included a “Complete Cut” which similarly combines all available material. This is presented in 1080p, at a ratio of 1:85:1 and runs 155 minutes. It is superior in quality to the “Extended Mall Hours” cut and is most likely the nearest any fan is ever going to get to seeing Romero’s initial edit of the film.
Having recently watched the “Complete Cut”, I again reiterate the same comments I made when watching the “Extended Mall Hours” fan edit. The film takes on a somewhat bleaker tone with some additional dialogue scenes between Peter and Stephen. The expanded “Biker Raid” adds to the action and certainly increases the threat that they pose to our protagonists. And there is a lot more additional zombie related violence. However, this version does a far better job of adjusting the soundtrack to accommodate the additional material. Some tracks by Goblin that were not used in previous edits of the film have been integrated back into the movie. Hence we do not get too much repetition of cues. The visual elements are of a superior quality this time round so there is no significant disparity between old and new material. The editing is also seamless and the addition of new content does not disrupt the narrative flow or the overall pacing of the film.
The addition of this version of Dawn of the Dead to the existing three cuts of the film raises the inevitable question of which is best? Although I often prefer the most comprehensive version of movies, I’d advise those who have not seen the film before to start with the standard theatrical version first. It has a sense of immediacy that makes it possibly the most accessible edit. Other versions are best watched once an opinion of the base movie has been established. Some of the material in the “Complete Cut” may mainly be of interest to completists who want to see additional zombie footage. However, some of the extra make up effects and action scenes are not quite as polished as those that have always been present, which may well be the reason that director George Romero removed them. However, if you are an aficionado then this version of the film is worth seeing for scholarly reasons. However, please note that the boxset that contains this cut was a limited edition and is now very expensive to obtain.
Community and Friendship
I joined Twitter back in 2010. Perhaps the most surprising thing I quickly discovered about the platform is the immediacy of communication that it offers. You can follow someone, reply to something they say or initiate a conversation with them in real time. Hence interacting with those who share a common interest becomes very accessible and enjoyable. It’s a far cry from going to a convention, wandering around and then plucking up the courage to speak to someone or join in a conversation that others are having. Social media removes those awkward “ice breaking” moments. Of course not every Twitter exchange is a pleasant experience but overall I’ve not encountered many problems using social media over the past decade. Twitter has broadly been a positive experience and introduced me to a wider community. It has provided me with an opportunity to meet new people and become part of something that is both social and positive.
I joined Twitter back in 2010. Perhaps the most surprising thing I quickly discovered about the platform is the immediacy of communication that it offers. You can follow someone, reply to something they say or initiate a conversation with them in real time. Hence interacting with those who share a common interest becomes very accessible and enjoyable. It’s a far cry from going to a convention, wandering around and then plucking up the courage to speak to someone or join in a conversation that others are having. Social media removes those awkward “ice breaking” moments. Of course not every Twitter exchange is a pleasant experience but overall I’ve not encountered many problems using social media over the past decade. Twitter has broadly been a positive experience and introduced me to a wider community. It has provided me with an opportunity to meet new people and become part of something that is both social and positive.
Although I have always written throughout my life, it was my introduction to MMOs that really galvanised my endeavours. When I enjoy something I often feel compelled to write about my experiences and share them with others. So I initially blogged about The Lord of the Rings Online and later expanded my writing to encompass other games. Twitter proved to be a good medium to promote my material and I quickly found others who shared similar interests and wrote their own blogs or produced their own podcast. In an act of hubris I actually emailed one such podcaster and “suggested” he have a “european correspondent”. The next thing I knew I was talking to the two existing hosts of that show on Skype and subsequently found myself part of the team. This act of kindness and good faith was quite remarkable when you think about it. Here were two people who were doing a podcast by the “seat of their pants”, that were prepared to take a risk on some over enthusiastic British guy who basically tried to gate crash their project. But they took a gamble and it worked out well.
This was one of many acts of kindness that I’ve encountered over the years. The podcasting and blogging helped me find a very industrious and friendly fan community. Many of which were already established and had an online presence. Yet all were happy to promote new blogs and podcasts, leave positive feedback and generally be supportive. But it seems to be a recurring theme. So many of the content creators I’ve met over the years seem disposed towards helping others by default. And outside of our immediate shared fandom, it’s nice to get to know folk from all over the world. Because you do get to know people over time. Many of us are careful about what we share on social media or write about in our blog posts. Privacy is ever evolving and can be abused, so it is logical that people don’t fully “pull back the curtain” on their lives. Yet often a writer’s personality will bleed through into their work. They’ll occasionally throw in an anecdote about their life, be it a remark about their work, partner or family. It is these personal touches that build a sense of rapport.
There was a boom time for gaming blogs and it has now passed. Many of those who were active within the community have moved on or significantly reduced their output of content. And then there are those who just keep going because it’s “what they do”. Yet the blogging diaspora still endures and many of the people I met a decade ago are still about on social media. It’s always pleasant when someone you haven’t heard from for a while turns up in your timeline. It’s very much like bumping into an old friend as you come back from grocery shopping. And yes I am happy to use the word friend. I think the somewhat dismissive view that online friendships are not the same as those with people you physically meet, is archaic and simply incorrect.
I hold my online friends and peers in very high regard. I respect their opinions and am very grateful for the support they’ve shown me over the years and the way they’ve encouraged my content creation. I also find the different perspectives that they often provide invaluable in helping me to understand the modern world and learn about life. I like to hear about their families, their pets and the shenanigans that go on at their work. It proves that people have far more in common than differences. I am also saddened by the trials and tribulations that some face and hope I can be supportive when they need it. Even if all I can do is to raise a wry smile. And yes, if possible, I’d love to meet up with all of them. I think it would be a most enjoyable experience to finally put faces to virtual names.
The world is a complicated and difficult place at times. There certainly seems to be a palpable sense of gloom spreading at the moment and we’re all too often encouraged to get angry with each other. Yet I take immense comfort and hope from the community that I am part of and the people I am proud to call my friends. The mutual respect, support and kindness, along with the capacity to keep a sense of humour is in many ways an antidote to all the negativity that abounds. While writing this post I toyed with the idea of referencing a few of my Twitter buddies and what I enjoy about their virtual company. However, I quickly realised that it was impossible to do so as I didn’t want to leave anyone out and I am fortunate to know so many good people. So I’ll simply finish with a classic quote from Bilbo Baggins. “I don’t know half of you half as well as I should like; and I like less than half of you half as well as you deserve”. Thanks for being you, so to speak.
Why Are So Many Gamers Assholes?
First off before we begin, I am not going to apologise for using the term “asshole”. Yes I could use more eloquent language but finding a non profane definition is complicated and potentially difficult to agree upon. Are we talking about antisocial gamers, the deliberately obtuse or those with specific prejudices and axes to grind? Is this all about tribalism, real world political affiliations or the whims and caprices of professional malcontents? Perhaps all these examples are correct and just different facets of the same problem? See, it’s easy to get bogged down just with the terminology. But most people know what is meant by the phrase “asshole”. Within the confines of gaming culture, we know exactly who and what they are. We also know where to find them and sadly they are not an endangered species.
A representation of an “asshole”
First off before we begin, I am not going to apologise for using the term “asshole”. Yes I could use more eloquent language but finding a non profane definition is complicated and potentially difficult to agree upon. Are we talking about antisocial gamers, the deliberately obtuse or those with specific prejudices and axes to grind? Is this all about tribalism, real world political affiliations or the whims and caprices of professional malcontents? Perhaps all these examples are correct and just different facets of the same problem? See, it’s easy to get bogged down just with the terminology. But most people know what is meant by the phrase “asshole”. Within the confines of gaming culture, we know exactly who and what they are. We also know where to find them and sadly they are not an endangered species.
Moving on to the main question, “why are so many gamers assholes”, there are numerous explanations to consider. Perhaps the all time classic answer is the old “anonymity of the internet” theory. The idea that because someone can hide their identity and thus avoid any repercussions, they will by default indulge in abhorrent behaviour. But this explanation is not as comprehensive as it first appears. I often have opportunities to indulge in consequence free behaviour, yet refrain from doing so. If none of us did then there wouldn’t be a gaming community per se, as it would just be a constant battleground. So like all social issues, the reality is more complicated and nuanced when scrutinised properly. Yes, the freedom that the internet affords is certainly a factor in the problem but not the defining one. So what are the other possible explanations?
Although gaming and sports are not identical in nature, there is certainly a lot of crossover in their social attributes. Both have a culture of fandom that is often based upon tribalism and competitiveness. The former is not something that can be reasoned with, leaning more towards blind loyalty. The latter can at times lapse into a “winning at any cost” mindset, which is hardly conducive for equitable community relationships. Stepping away from sport, public discourse in politics and the news agenda has become more partisan and bellicose in recent years. Traditional notions of data driven debate and facts underpinning an argument has given way to slogan driven rhetoric, gaslighting and appealing to “feelings”. All of which are incredibly flexible for those who don’t want to be restrained by reason or logic.
A bona fide “asshole”
Other factors to consider are levels of emotional and social literacy. There is data to suggest that certain quarters of society are not learning the social skills needed to navigate life. Then there has been decades of reinforcement of the old trope of resolving conflict through violence via TV, cinema, music and literature. But perhaps the biggest factor is one that has blighted not just leisure activities but most social communities. Gaming has for years been perceived, defined and marketed as a white male “space” and it is only in recent years there has been any attempt to challenge and change that. It should be noted that such efforts have always seen a reciprocal amount of pushback from those who see it as “their preserve”. As gaming has become more culturally “acceptable” and hence more commercially viable, it has reached wider audiences and demographics. Yet the industry has been slow to embrace representation as many of those who effectively run it are not cut from the cloth of inclusivity.
And at a grass roots level, a great deal of “assholery” goes unchallenged and unchecked due to there being little effective community based moderation or policing. Censorship and free speech are often invoked as a bogus defense but usually it just comes down to cost. The most effective moderation is done by experienced people and employing them comes with a cost. Plus imposing sanctions on “assholes” hits the bottom line, irrespective of their character traits. “Assholes” are paying customers. Sometimes they are whales. Hence we all too often see the pretense of caring and a lot of hollow press releases and mission statements that promise much but deliver little. Environments such as these, along with the wider social factors discussed are ideal for “assholes” and allow them to thrive.
Now there are some who think that the entire toxic gamer trope is blown out of all proportion and that the reality is different to the perception. Arguments often centre on “assholes” being just a disproportionately vocal minority and it all being a case of visibility bias. Then there are sound arguments to be had about nonverbal cues and how social media often masks intent etc. Are all of those who trot out inflammatory epithets really advocating them and the philosophy behind them or simply repeating something they’ve read in an attempt to get a rise? Is there genuine malice behind all incidents? I have also discussed with others whether the brevity and lack of nuance that is inherent in all text based chat systems makes it difficult for anyone not to appear as an “asshole” at some point. However, where I think many cases do fall into these categories, it doesn’t excuse or explain those gamers who exist in a perpetual state of malcontentment. You’ll find examples of these people on every game related forum and subreddit. They seem obligatory, like a copy of Queen’s Greatest Hits in your music collection.
A man who sang about “assholes”
Finally, I would like to add another reason to explain the abundance of “assholes” in the gaming community. A somewhat depressing one that some folk may reject due to its implications. Maybe people collectively just aren’t as nice as we like to think. It has always been purported within western society that there are more good guys than bad. We tell our children to study and then work hard, play by the rules and that society and the establishment will treat you well. The myth that there is a sort of cultural social contract and quid pro quo. I suspect that the last decade may have proven that this is patently not true. Social conventions and lack of access to communication platforms masked this in the past but now the reality is clearer to see. A lot of people have a beef with life be it legitimate or imagined. Plus being nice takes effort. Being an “asshole” does not.
Yes there are good people who do the right thing, that believe in fairness, equality and treating people as they like to be treated themselves. There always will be. But then there’s an opposite constituent that is self centred and mortally afraid of difference. Anything perceived to threaten the status quo that enshines their world view and socioeconomic advantage is resisted. I think the big revelation of recent years is that the former group is not the majority as previously thought or claimed. In fact the split between the two is probably a lot more even. Hence there are more “assholes” than previously thought. As for the question of whether we can beat or contain the tide of “assholery”, the answer is the same as it always has been. You call out offenders, challenge the ideologies that drive them and lead by example. But it takes an unified effort from all and ultimately, you cannot elect to just sit it out. We tend to get the standard of communities that we allow, rather the ones we notionally aspire to. And that is why so many gamers are “assholes”. We let them.
ESO: Animation Cancelling and Weaving
Whenever you use a skill on your hotbar in The Elder Scrolls Online, there is an associated animation as it is inducted and utilised. These animations may vary in length from one to several seconds depending upon their nature. Although these animations add to the ambience of the game, they do come with a direct consequence. The player has to wait for the animation of one skill to complete before they can use another. For those seeking to optimise their performance or DPS output, these delays are an impediment. However, they can be negated through animation cancelling and weaving. Animation cancelling is as it states the stopping of a skill related animated sequence by the use of a follow up action such as bash/tap block/dodgeroll. Weaving is slightly different, in so far as instead of stopping the inducted animation immediately, it allows for the process to be cut short as another animation is started. Typically this is done by using a light attack and then immediately using a skill.
Whenever you use a skill on your hotbar in The Elder Scrolls Online, there is an associated animation as it is inducted and utilised. These animations may vary in length from one to several seconds depending upon their nature. Although these animations add to the ambience of the game, they do come with a direct consequence. The player has to wait for the animation of one skill to complete before they can use another. For those seeking to optimise their performance or DPS output, these delays are an impediment. However, they can be negated through animation cancelling and weaving. Animation cancelling is as it states the stopping of a skill related animated sequence by the use of a follow up action such as bash/tap block/dodgeroll. Weaving is slightly different, in so far as instead of stopping the inducted animation immediately, it allows for the process to be cut short as another animation is started. Typically this is done by using a light attack and then immediately using a skill.
There are 5 main types of weaving and animation cancelling that can be done in the ESO.
Light Attack Based Weaving:
Light Attack > Skill
Dodge Based Animation Cancelling:
Light Attack > Dodge
Skill > Dodge
Light Attack > Skill > Dodge
Block Based Animation Cancelling:
Light Attack > Block
Skill > Block
Light Attack > Skill > Block
Bash Based Animation Cancelling:
Light Attack > Bash
Skill > Bash
Light Attack > Skill > Bash
Weapon Swap Based Animation Cancelling:
Light Attack > Swap
Skill > Swap
Light Attack > Skill > Swap
Like most explanations, this may seem straightforward in principle. However, to be able to effectively undertake these attack chains requires a great deal of practise. Players may also wish to reconsider the order in which some skills appear on their hotbar and remap some keyboard functions. If you’re in a Guild, then the best way to practise is to go to the Guild Hall and use the training dummies there. Advance players may wish to set up macros or use addons that show skill cooldown timers etc. Animation cancelling and weaving is essential in PVP and when playing advanced dungeons. But is it necessary for the casual player? No. You can play PVE content without using this technique. But it is certainly advantageous for new players to learn the most basic weaving skill of using a light attack immediately followed by a skill. It allows you to do damage more quickly and efficiently.
Mystery Blogger Award
“The Mystery Blogger Award is an award for amazing bloggers with ingenious posts. Their blog not only captivates; it inspires and motivates. They are one of the best out there, and they deserve every recognition they get. This award is also for bloggers who find fun and inspiration in blogging, and they do it with so much love and passion”. Okoto Enigma
The Rules:
Ensure the award logo is used in your post.
List the rules.
Thank whoever nominated you and provide a link to their blog.
Mention the original creator of the award and provide a link to their site.
Tell your readers 3 things about yourself.
You have to nominate 10 – 20 people.
Notify your nominees by commenting on their blog.
Ask your nominees any 5 questions of your choice.
Share a link to your best post(s).
“The Mystery Blogger Award is an award for amazing bloggers with ingenious posts. Their blog not only captivates; it inspires and motivates. They are one of the best out there, and they deserve every recognition they get. This award is also for bloggers who find fun and inspiration in blogging, and they do it with so much love and passion”. Okoto Enigma
The Rules:
Ensure the award logo is used in your post.
List the rules.
Thank whoever nominated you and provide a link to their blog.
Mention the original creator of the award and provide a link to their site.
Tell your readers 3 things about yourself.
You have to nominate 10 – 20 people.
Notify your nominees by commenting on their blog.
Ask your nominees any 5 questions of your choice.
Share a link to your best post(s).
I appear to have been tagged for yet another internet questionnaire. However, I’ve stated previously in numerous blog posts, that I have a weakness for these sorts of things, so I don’t consider this a problem. But before I start, I shall be making one minor “adjustment” to the rules. I find that nominating other potential participants can be a little problematic. I don’t want to pressurise anyone into feeling obliged to respond to a nomination. Nor do I want anyone to feel excluded because they didn’t receive one. I think the best compromise is to suggest that if you like internet questionnaires and wish to get involved, simply take the initiative and do so.
So to begin with, I’d like to thank Dan (AKA Magi) from Indiecator for the nomination and kind words about my writing. It’s nice to know that someone finds some merit in my ramblings. Do go and peruse his website or stop by when he’s streaming. Dan has all the enthusiasm and optimism of youth and this is reflected in the earnest nature of his content.
Three Things About Me:
I think “Deaf, Dumb and Blind” by Clawfinger is the worst album I ever bought in youth. The lyrics are staggering puerile as the band struggle to address complex social issues.
I recently bought a picnic backpack because I really like going out and having picnics.
When I was at Junior School, there was a sports day each summer. If you weren’t deemed “suitable” for regular events such as the 100 metres or high jump, you’d find yourself in the “catch the train” race. This involved getting out of a sleeping bag, removing a pair of pyjamas and then having to navigate an obstacle course while carrying a precariously balanced object. It was deemed “socially undesirable” by pupils to find oneself in this race. Those who participated were usually “bad at sports” and were openly mocked by teachers. Schools were different in the seventies.
Magi’s Questions:
Q: What’s the weirdest combination of food items that you can think of that should not work… but actually does work really good?
A: Marmite and peanut butter works well together on toast. Especially when accompanied by a good Stout. Lime pickle complements black pudding.
Q: What’s the most important thing you’ve learned over the course of time in regards to Blogging and/or Streaming?
A: Keep going. If you are looking to build an audience or to simply become part of a community, then ensure you steadily produce content and maintain a presence. You get better at anything through practise. Also, be nice. The internet never forgets and assholery has a knack of catching up with you.
Q: You’re forced to swap out your country’s “leader” (party/politician/etc.) with a videogame antagonist (like Borderlands’ “Handsome Jack”). What antagonist do you choose and why exactly?
A: I’d swap the current UK Prime Minister Boris Johnson with Doctor Neo Cortex from Crash Bandicoot, because at least he has a plan.
Q: What are the top 5 games on your wishlist and what’s the next thing you’ll get?
A: My wishlist is somewhat neglected. Not much “floats my boat” at present. I was briefly excited by Star Wars: Squadrons but the moment I found out it was first person only I lost interest. Hopefully, they’ll be another Sniper Elite game in 2021.
Q: Do you have a playlist/some playlists for different tasks in games like grinding or PvP, etc. and if so, can you share them with us and explain why you use them for those specific tasks?
A: If I’m grinding arbitrary dailies or resource farming in an MMO, then I’ll listen to a podcast while doing so. Such as Massively OP Podcast, A Podcast to the Curious, Rule of Three or the Geek to Geek Podcast.
My Questions:
Do you feel that “life” is something that you actively participate in or something that just happens to you. Has it lived up to your “expectations”?
How would you go about encouraging collaboration and rewarding it in a sandbox game, so that it doesn’t just become another race to the bottom?
Have you had enough of Star Wars?
What the fuck is “building character”. Is it simply a convenient alibi for sociopaths and bullies?
Liberal values encourage us not to judge on appearance, especially in “affairs of the heart”. But humans behaviour is greatly shaped by the fact that we perceive so much of the world visually. Can this dichotomy be reconciled?
Finally, here’s a link to my best posts :)
Star Trek Online: Beginners Guide Part 1 - The Cost of Playing
I’ve mentioned in the past that a lot of important information regarding the MMORPG Star Trek Online is centralised within the official subreddit. That’s fine if you enjoy using this platform but it’s not for everyone. I’ve always found Reddit somewhat esoteric and I don’t really like the way it visually displays information. I have to use a browser addon to make it more user friendly. Unlike other communities, STO does not seem to have that many fan produced blogs. However, I may be wrong regarding this, so feel free to correct me (and provide URLs). In the meantime, I thought it may be useful to write a series of simple guides, offering practical information for those who are new to STO. Nothing fancy or in any way definitive. Just a few basic tips that may help orientate the new player. This time we’re going to look at the business model for STO and the cost of playing the game.
I’ve mentioned in the past that a lot of important information regarding the MMORPG Star Trek Online is centralised within the official subreddit. That’s fine if you enjoy using this platform but it’s not for everyone. I’ve always found Reddit somewhat esoteric and I don’t really like the way it visually displays information. I have to use a browser addon to make it more user friendly. Unlike other communities, STO does not seem to have that many fan produced blogs. However, I may be wrong regarding this, so feel free to correct me (and provide URLs). In the meantime, I thought it may be useful to write a series of simple guides, offering practical information for those who are new to STO. Nothing fancy or in any way definitive. Just a few basic tips that may help orientate the new player. This time we’re going to look at the business model for STO and the cost of playing the game.
Q: What is the business model for STO?
A: STO is a free to play game. Unlike some other MMOs there are no major impediments to new players. Story based content is not locked behind any sort of paywall. Once a player has completed the tutorial and reached level 10 (which is easy to do) they can play the latest material. Some content is scalable. STO has several earnable in-game currencies; Energy Credits, Dilithium and Lobi Crystals. You can also purchase Zen for real money. This currency is used to buy in-game store items such as ships, character slots and bank space etc. If you don’t want to spend any real money, you can grind Dilithium and exchange it for Zen, legitimately within the game.
Q: Is there a subscription?
A: STO used to have a subscription option but this was removed from the game in December 2018. If you play for free, you have Silver account status. This applies a degree of limitations upon the game, such as an Energy Credit cap of 15 million and your overall number of character slots, bank slots, Bridge Officer and ship slots. None of these are a deal breaker for new players. If you enjoy the game and wish to create multiple alts or feel that you need more space, you can purchase all these additional resources via the store. Gold account status used to be gained by subscribing but now it is only available by the purchase of a lifetime account.
Q: Are there any essential items to purchase?
A: Although I wouldn’t define it as “essential” the Elite Services Starter Pack does offer a lot of benefits to a new player. It costs 1,000 Zen and can be found in the C-Store. It includes 36 bank slots and 36 inventory spaces, two Bridge Officer slots and three retrain tokens (for reallocating your skill points). If these items were bought separately it would cost the player 2,250 Zen. Hence, the Elite Services Starter Pack is a real bargain working out at less than $10. Again if you don’t want to buy any Zen with real money, you can grind Dilithium by playing game content and exchange it for Zen. It will take about one week to earn sufficient Zen for the Elite Services Starter Pack.
Q: Is the Lifetime subscription worth it ?
A: This very much depends on how often you play STO. I would not encourage new players to contemplate such a purchase until they have played STO for a while and determined how invested they are in the game. If it becomes your MMO of choice and you log on several times a week or more, then it does offer value for money. Upon purchase you immediately unlock Veteran Rewards which include unique ships, uniforms and other game rewards. But perhaps the biggest incentive is a monthly stipend of 500 Zen. A Lifetime subscription retails at $299 but there are often sales throughout the year when the price is dropped to $199.
Q: Should I buy a ship straight away?
A: Unless you have your heart set on a specific ship and are happy to pay real money, once again I would advise those just starting out to not do so. The game provides the player with 5 free ships as they progress through the game. This occurs at levels 10, 20, 30, 40 and 61. The ships are level specific. If you follow the story, then a free shuttle is also available. STO holds several events throughout the year which also allow players to earn a Tier 6 ship. However, part of the appeal of STO is its expansive collection of iconic ships. Developer’s Cryptic rely on the sale of these for much of their revenue. They recently made many Tier 6 ships scalable, so they can be used by new players and will level with them. So it ultimately comes down to your personal choice and budget. However, a free player will not be penalised for not spending money. They simply have less choice. Again, if you’re prepared to invest the time then you can earn the appropriate currencies to obtain a Tier 6 ship at no financial cost.
Classical Music in Movies
Classical music has often been used to great effect in cinema since the advent of sound. It has certain advantages over bespoke compositions, in that it can imbue a scene with a sense of gravitas and emotionally connect with viewers who may already be familiar with the piece being played. Legendary director Stanley Kubrick famously rejected Alex North’s score for 2001: A space Odyssey after finding the classical tracks he used for the temporary soundtrack complement the visuals perfectly. Over the years, some particular pieces of classical music have proven to be very popular and flexible, thus appearing in a wide variety of films across multiple genres. Hence, I have chosen two well known tracks that demonstrate this. I would also like to highlight contemporary classical music and have also selected one example that I feel demonstrates how the genre sublimely compliments cinema.
Classical music has often been used to great effect in cinema since the advent of sound. It has certain advantages over bespoke compositions, in that it can imbue a scene with a sense of gravitas and emotionally connect with viewers who may already be familiar with the piece being played. Legendary director Stanley Kubrick famously rejected Alex North’s score for 2001: A space Odyssey after finding the classical tracks he used for the temporary soundtrack complement the visuals perfectly. Over the years, some particular pieces of classical music have proven to be very popular and flexible, thus appearing in a wide variety of films across multiple genres. Hence, I have chosen two well known tracks that demonstrate this. I would also like to highlight contemporary classical music and have also selected one example that I feel demonstrates how the genre sublimely compliments cinema.
Symphony No7. II. Allegreto (A Minor) by Beethoven.
This rather portentous piece builds over its 9 minute duration. The movement is structured in a double variation form. It starts with the main melody played by the violas and cellos, an ostinato. This melody is then played by the second violins while the violas and cellos play a second melody. Because of the music’s ominous quality it has featured in numerous films. It plays over the montage showing Charlotte Rampling’s and Sean Connery’s ageing and death at the end of John Boorman’s Zardoz (1974). It is also used in Alex Proyas’ science fiction thriller Knowing (2009) when Nicholas Cage returns home to his estranged Father as the world is consumed by solar flares.
Adagio in G minor ("Albinoni's Adagio").
This sombre track is commonly attributed to the 18th-century Venetian master Tomaso Albinoni but was actually composed by 20th-century musicologist and Albinoni biographer Remo Giazotto, purportedly based on the discovery of a manuscript fragment by Albinoni. The piece evokes a sense of loss and melancholia. Hence it was used to great effect in Peter Weir’s influential World War I movie Gallipoli (1981). It features in Kenneth Lonergans’ human drama Manchester by the Sea (2016), although some critics felt that the piece’s ubiquity was actually distracting. Irrespective of this criticism it remains a very moving piece of music.
Lacrimosa by Zbigniew Preisner.
Taken from Polish composer Zbigniew Preisner Requiem for a Friend, this track appears in Terrence Malick’s experimental philosophical drama The Tree of Life (2011). It features during the “creation of the universe” sequence, which is itself a fascinating work of art. This scene, which features practical visual effects by famed special effects supervisor Douglas Trumbull, is further imbued with religious ambience and a sense of the divine by the power of this piece and the beauty of the soprano vocals by Sumi Jo. As the cosmos coalesces, there is a profound sense of both human insignificance and wonder.
MMO Tropes: Shipwrecked
I have played more than “a few” MMORPGs over the years. It’s an enjoyable (and accessible) genre of video games. But like any other type of game, MMOs have a fairly standard formula based on a handful of game mechanics. There is levelling, gaining experience and the acquisition of skills and points. Gear such as armour, jewellery and weapons come and go as you progress through the game. Then there’s crafting, trading and gaining “gold”. Another key aspect is the social dynamic. Often there’s content specifically designed for groups to complete. But this homogeneity also extends beyond the systems that underpin the games. The MMO genre is rife with its own set of tropes; recurring themes and motifs that have become established and ubiquitous. All of which are ideal material for a hastily produced, lazily conceived, recurring blog post.
I have played more than “a few” MMORPGs over the years. It’s an enjoyable (and accessible) genre of video games. But like any other type of game, MMOs have a fairly standard formula based on a handful of game mechanics. There is levelling, gaining experience and the acquisition of skills and points. Gear such as armour, jewellery and weapons come and go as you progress through the game. Then there’s crafting, trading and gaining “gold”. Another key aspect is the social dynamic. Often there’s content specifically designed for groups to complete. But this homogeneity also extends beyond the systems that underpin the games. The MMO genre is rife with its own set of tropes; recurring themes and motifs that have become established and ubiquitous. All of which are ideal material for a hastily produced, lazily conceived, recurring blog post.
So where to begin? Ah yes,let us start with a commonly used trope that conveniently affords game developers with a means to orientate new players. Because it should never be assumed that a player is by default familiar with the basics of the game that they are playing. Hence many MMOs need a simple plot device at the start of a game that can justify or accommodate the need to explain everything. And one of the most common of these is the “shipwreck” trope. It covers all bases from a narrative perspective and is convenient. The new player finds themselves washed up on the beach, which is often a starter area and then has to go through some basic tasks that orientate them. These include movement via WASD keys, obtaining a weapon and combat, gaining XP, using consumables and interacting with NPCs. At first glance it’s a perfectly good idea and it achieves what it sets out to do. But if you encounter it too often it gets old very quickly.
I first ran into this particular MMO trope when I played Age of Conan, circa 2009. The game had (and unless it has changed still does) a character creation process that starts on a ship in which you are a galley slave. As expected the ship sinks in a storm and your character is subsequently washed up on a beach on the island of Tortage. Cue the game tutorial. Then in 2013 when I played the Beta Test of Neverwinter, I encountered this trope for a second time. This time foul beasties destroy the ship you’re on and you wash up on the shore to again start a tutorial. If you play The Elder Scrolls Online, this plot device is used at the start of the Ebonheart Pact storyline. There is currently an ongoing Beta Test for another MMO (due to an NDA I cannot mention by name) that begins with yet another shipwreck and integrates it into the tutorial. This trope is also commonplace outside of the MMO genre and can be found in other games such as Monster Hunter: World and Risen and The Legend of Zelda: Link's Awakening.
Some old adages are themselves cliches but I still consider that there is some truth in “familiarity breeds contempt”. While playing this new MMO that cannot be named (go on, guess, it’s hardly difficult) I was somewhat disappointed when this trope was trotted out, as it further reinforced my opinion that this particular title doesn’t offer anything new. However, it is important to remember new players and that this title may well attract a lot of people who haven’t played an MMO before. Considering the marketing clout of the company that owns the developers, this game when released on August 25th, may well gain some initial traction. Bearing that in mind, the “shipwrecked” trope that I find hackneyed may well be an innovative and useful plot device to those who have not experienced it before.
Call of Duty Warzone Season 4 and Battle.net Patch Servers
Setting aside the debate regarding the rectitude of the Battle Pass system in Call of Duty Modern Warfare, I certainly enjoyed Season 3. I managed to find multiplayer games that suit my ability along with loadouts that allow me to hit something every once in a while. It was very much a learning process but from April 12th to June10th, I slowly improved my performance and re-acquainted myself with the fact that the FPS genre can be fun. I finally got to try a Battle Royale game and was pleasantly surprised by how accessible they are. However, (and there’s always a however) Activision Blizzard seem to be hell bent on losing the good will they seemed to have gained in recent months. Today’s release of Season 4 has been blighted by major performance issues with the patch servers. Furthermore, the developers still insist in removing certain maps and game modes to promote new ones. This “lottery” which results in a lack of choice for many players is especially galling when you’ve just bought the new Battle Pass.
Setting aside the debate regarding the rectitude of the Battle Pass system in Call of Duty Modern Warfare, I certainly enjoyed Season 3. I managed to find multiplayer games that suit my ability along with loadouts that allow me to hit something every once in a while. It was very much a learning process but from April 12th to June10th, I slowly improved my performance and re-acquainted myself with the fact that the FPS genre can be fun. I finally got to try a Battle Royale game and was pleasantly surprised by how accessible they are. However, (and there’s always a however) Activision Blizzard seem to be hell bent on losing the good will they seemed to have gained in recent months. Today’s release of Season 4 has been blighted by major performance issues with the patch servers. Furthermore, the developers still insist in removing certain maps and game modes to promote new ones. This “lottery” which results in a lack of choice for many players is especially galling when you’ve just bought the new Battle Pass.
Season 4 which was originally due to be released on June 3rd, was delayed for 8 days due to the ongoing protests regarding George Floyd and other issues currently monopolising the news cycle. The patch servers became available at 7:00 AM BST today and I started updating my installation of the game at about 9:00 AM. The patch is 45GB in size but a lot of the files are replacing existing ones. It quickly became apparent that there was an issue as the download rate soon dropped to 200 KB/s. Changing region within the Battle.bet launcher had no effect. Blizzard’s Twitter Customer Service account was conspicuously silent, despite the EU forums being rife with comments from frustrated gamers with similar issues. The unofficial solution was to install a VPN service and select a US or French server to ensure a faster download. I initially installed Proton VPN as they offer a week’s free trial and this did indeed help at first. But as other players did the same, the capacity of the free service that Proton offers dropped accordingly. I eventually had to renew my subscription to IPVanish at a cost of $10 to finish installing the patch. This fiasco took about 11 hours plus to resolve.
It is very easy to say “gamers are their own worst enemies” and glibly advise us to vote with our wallets. I’m guilty of doing so myself on occasions. But living outside of the US, I am used to having access to decent customer services when things go wrong. If matters cannot be resolved via such channels I rely on EU consumer regulations and legislation to ensure I’m protected and not given the shitty end of the stick by sociopathic corporations. Hence I was angry that not one of the various social media accounts associated with CoD MW/WZ made any attempt at an apology for today’s shambolic update. I also resent, greatly, the arbitrary way the Infinity Ward removes on a whim, specific game modes leaving me with a greatly reduced choice. I wish to continue to play Clean Up on Aisle 9 and Shipment via 6 versus 6 players. There’s also a lot of balance issues that are not getting addressed. The new Warzone Rumble mode as well as the classic MW2 map Scrapyard, are great in principle but are effectively usurped by snipers. The ubiquity of these plays means that game play is constrained, with everyone camping and not pushing forward.
I spent £16.49 on a Battle Pass Bundle today. My mistake was purchasing it before the game had finished patching, as I didn’t know in advance what changes had been made to the various game modes. It really does feel like Activision Blizzard don’t care about the playerbase beyond securing their payments. As a 52 year old man I don’t feel comfortable dealing in simplistic stereotypes regarding “greedy” companies and binary arguments about corporate culture. But when I look at the way that Activision Blizzard behaves, I struggle to see any justification for their actions other than the obvious. There have been thousands of forum and reddit posts regarding game balance, map rotations and play modes as well as bugs in the game that still persist months after launch. To just ignore such feedback because you simply have such an enormous customer base is lazy and cynical. If Call of Duty Modern Warfare/Warzone wants to sustain its current success, it would be wise to listen to it’s players and ensure at the very least, that choice is not limited. The majority of players are not high end achievers but distinctly average. You need to keep them engaged. And sort out your patch servers. Much smaller games manage to this process, why can’t you. If these problems persist into Season 5, then I’m done.
