Exclusivity: A Play in One Act

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Unscrupulous Video Game Developer: Hey you. Would you like to play an action-adventure video game based on the Marvel’s Avengers franchise?

Mildly Interested Gamer: Sure. Sound’s cool. What platform will it be available on?

Unscrupulous Video Game Developer: All of them!

Mildly Interested Gamer: Great.

Unscrupulous Video Game Developer: It gets better. After the launch, there'll be free DLC of additional playable characters. 

Mildly Interested Gamer: No way! 

Unscrupulous Video Game Developer: Yes away. First up we got Hawkeye.

Mildly Interested Gamer: Oh okay…

Unscrupulous Video Game Developer: And then we got Spider-Man

Mildly Interested Gamer: Outstanding. I’ll go pre-order my Xbox copy now and get me some of that Spider-Man action.

Unscrupulous Video Game Developer: Oh, sorry. Spider-Man is a Playstation exclusive.

Mildly Interested Gamer: Say what?

Unscrupulous Video Game Developer: Yeah. Spider-Man is only going to be available to owners of the Playstation version of the game.

Mildly Interested Gamer: Well that fucking sucks. How do you justify this shit?

Unscrupulous Video Game Developer: It says here in my “Marketing Guide to Tough Questions” that the standard answer is “that’s capitalism, bitch”. Plus Sony owns the rights to Spider-Man and Marvel were happy to go along with this “arrangement”.

Mildly Interested Gamer: But that’s so unfair. It’s like you’re punishing gamers that didn’t buy a Playstation.

Unscrupulous Video Game Developer: Not at all. We’re offering exclusivity and creating value. Admittedly we’re doing this by devaluing the product on competing platforms but we’re pretty sure we can get away with this. We’re even hoping that some gamers will buy a second console just so they can play as Spider-Man.

Mildly Interested Gamer: What makes you think that will happen?

Unscrupulous Video Game Developer: Because gamers such as you have a track record of being what we call in the business “fucking gullible”. You buy into all our “promises”, give us your money upfront before we’ve even finished a game and then you happily keep paying for baubles and trinkets while we pretend to fix the problems we created. 

Mildly Interested Gamer: You sonofabitch…

Unscrupulous Video Game Developer: And for all your posturing and complaining, you keep coming back like a Golden Retriever that’s desperate to please its owner after shitting on the carpet.

Mildly Interested Gamer: Fuck you. Not this time.

Unscrupulous Video Game Developer: Oh you will. You always do. It never ceases to amaze us as we sit around at night in our volcano lair, counting all our money, that the only reason we get away with so much is because you let us. You pathetic fools.

Mildly Interested Gamer: That’s it, I’m done.I’m quitting games. I’m going to keep bees.

Unscrupulous Video Game Developer: Really? Would you like to pre-order a Marvel themed virtual hive? 

3 Types of Underrated Content

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Blaugust Festival of Blogging is an annual event held usually during the month of August. It’s designed to encourage content creation of all kinds and foster a sense of community. This year due to the lockdown in many countries, the event was held early in April and was well received despite the difficult circumstances. Now that August has arrived, Belghast, the founder and organizer of this prestigious festival has decided to hold an additional event in the form of Promptapalooza. It’s a month of scheduled writing prompts and a blogging relay. Each day a designated writer will explore a specific topic and then pass the blogging baton on to another. Hence, over the course of August, the event will showcase the work of 30 different bloggers. The list of writing prompts are all available in advance for anyone who may wish to use them. 

Before I begin, I would like to thank Mailvaltar for their very kind introduction and urge you to read their previous Promptapalooza post “media that’s shaped my worldview”. It brought back fond memories of when I acquired my first radio/cassette player and the impact specific radio stations had upon me when I was young. Mailvatar also references a german author I’m not familiar with but the genre of books they wrote is certainly of interest to me. This highlights why the Promptapalooza event can be both entertaining and informative. Talking of which, let’s move on to my writing prompt which is  as follows.

“What type of content do you feel is severely underrated?”

This is an interesting prompt and can be considered from different perspectives, Because this is a blogging event I immediately thought of the question in terms of writing. IE What types of blog posts are underrated or can be far more informative than initially thought. However the question could be extrapolated to cover other sorts of content such as video games, TV or movies. But rather than use this post as an excuse to write about the “found footage” genre in cinema (something I must get around to doing), I think it’s more appropriate for me to focus on writing and the variety of content that can be produced by a blogger. So with that in mind here are a few ideas, many of which I have used myself here on Contains Moderate Peril.

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Here’s a picture intended to engender both cosy and benign sentiments towards blogging

Recurring Posts: Over the years my writing has gone from being specific to one game to covering a wide variety of subjects. Sometimes I find that I want to talk about something in broad terms rather than in specific detail. A prime example of this is what I’ve been watching on TV recently. As I consider Contains Moderate Peril to be broadly comparable to a magazine in its format, it was a logical step to have recurring posts just like the regular columns you find in print media. These posts afford me to write about a spectrum of subjects and provide updates and references on a rolling basis. With regard to my TV viewing habits, I started a recurring post under the tile of “The Idiot Box”. I have a similar post which covers what games I’ve been playing each month. I feel that these sorts of posts can be invaluable to summarising activities and touching upon talking points without getting bogged down in excessive minutiae. They also have a more personal aspect to them which can be invaluable in building a rapport with your audience.

Personal Posts: I read numerous blogs for a multitude of different reasons. Some writers have a knack for technical detail, where others exude an accessible, everyman/woman, “Tom Hanks” of blogging approach. Where some blogs are first and foremostly defined by the subject(s) they write about, others are more of a vehicle for the author’s personality (although they may not realise this). Never underestimate this factor. I know some bloggers are quite content to write about personal aspects of their lives and that others do their utmost to minimise the amount of information they reveal about themselves. But whatever approach is taken, there comes a point when aspects of your personality eventually bleed through into your written work via some strange process of literary osmosis. And as “you are your own brand” whether you like it or not, this becomes one of the reasons your readers relate to you. Therefore I think the occasional, well considered personal post can be invaluable in connecting with your audience. I’ve written about my caring commitments and more recently about my own personal health. These are aspects of life that are common to all and sometimes sharing one’s experience can be beneficial to others as well as cathartic for oneself.

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Walter and Finwë have featured both in my writing and in my “tweets”. I suspect they they have plans to go “solo”

Multimedia Posts: I have jokingly advised in the past, that if new bloggers are stuck for an idea, then just post a few screenshots from a game they’re currently playing. However, this isn’t as facetious as it first appears. Readers often like screencaptures and videos from games they haven’t yet played or are thinking about buying. Material from grassroot sources, as opposed to official press kits, can be very informative and useful to others. I frequently log onto the LOTRO test servers and take copious amounts of screenshots of forthcoming content. This often results in a spike in website traffic as not everyone wants to install the test client or has the time to look for themselves. I also advocate posting pictures of other activities, such as day trips or vacations. Again this ties in with personal posts as well as providing readers with a chance to see material they may not encounter elsewhere. If you want to write about some specific piece of music or artist, then you may wish to include audio content or a YouTube video. Far from posts of this nature being a “lazy cop out”, I find they can be engaging and at times a more immediate means of expressing a sentiment or making a point.

And that concludes my take on types of “underrated content”. The next participant in Blaugust Promptapalooza is Everwake from Everwake’s Internet Adventures. They’ve already tackled two of the writing prompts and have some very interesting thoughts on “Fandom” and “Popular Content” which I recommend you peruse at your leisure. On Tuesday 4th of August they’ll be addressing the curious and intriguing subject of “personal rituals”. Being a creature of habit myself, I can certainly relate to this and look forward to reading Everwake’s thoughts on the matter. In the meantime enjoy Blaugust Promptapalooza and feel free to get involved throughout the course of the month. Don’t forget to join us on Discord for help, advice and a friendly chat.

Firestorm (1998)

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Firestorm was originally written as a vehicle for Sylvester Stallone, however when the production company Savoy Pictures went bankrupt the screenplay was bought by Twentieth Fox and the scope of the movie reduced to suit a lower budget. It’s broadly similar to Cliffhanger in so far as the lead character is a specialist in a certain field who runs afoul of criminals in a perilous environment. Whereas Cliffhanger is set in the Rocky Mountains, Firestorm takes place in the forests of Northern Wyoming. After the script was revised four times, the finished screenplay was given a final “polish” by Graham Yost who has considerable experience with the action movie genre. As stallone was no longer associated with the project and the production had been repurposed to be less extravagant, the movie was assigned to former NFL star Howie Long. Long had already appeared in the John Woo movie Broken Arrow (1996) and the Firestorm was seen as a means to give him a star vehicle.

Jesse Graves (Howie Long) is a “smokejumper”; an elite group of firefighters who parachute into areas on fire and tackle them from “ground zero”. He and his mentor Wynt Perkins (Scott Glenn) are dealing with a series of forest fires in Northern Wyoming which threaten to merge and cause a firestorm. When additional help is drafted in from the local state penitentiary, a group of convicts led by the notorious Randall Alexander Shaye (William Forsythe) use the fire as cover for an escape and go in search of Shaye’s stolen haul. Disguised as Canadian firefighters the gang kidnap Jennifer (Suzy Amis), a passing ornithologist who is in the forest studying a rare species. Jesse parachutes into the forest after seeing Shaye and his men from the air and quickly ascertains that they are not who they say they are. A game of cat and mouse ensues as Jesse rescues Jennifer and seeks to escape the blazing forest as well as Shaye who is hellbent in retrieving his cash and tidying up any loose ends.

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Firestorm is both formulaic and by the book. It is tightly paced and does not out stay its welcome at a running time of 89 minutes. It is competently directed by Dean Semmler, who is an established cinematographer. As action vehicles are not usually designed to have complex narratives, the focus is mainly upon action scenes and the charisma of the lead actor. Howie Long certainly does not disgrace himself with his performance but the role is very two dimensional, presenting firefighter Jesse Long as nothing more than a squared jawed archetype. The presence of stalwart character actors such as Scott Glenn and Willaim Forsythe does much to bolster proceedings, as they effortlessly carry off their respective roles. As for the action scenes and visual effects, they are relatively low key and as a result work quite well. There’s a bike chase that ends in a high fall and parachute jump and some solid hand to hand fist fights. The blazing forest is a mixture of digital and physical effects.

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Despite doing as much as possible with the resources at hand, Firestorm was not a box office success. Perhaps the audience wanted a more complex narrative or just more bang for their buck. Despite its R rating the movie is not excessively violent or profane. The bravura demise of the central villain and an unpleasant undercurrent of threatened sexual violence from a character who is a rapist, may have been the reason why the rating went above PG-13. Firestorm is not a terrible movie by genre standards nor is it an overlooked gem. It is filled with plot holes (exactly why are canadian firefighters in Wyoming?) and is a high concept idea designed to facilitate a series of action scenes. But this is standard practise in the action movie genre. There are also worse “charisma vacuums” than Howie Long (I’m looking at you Brian Bosworth). Perhaps the film’s failure was simply due to its timing or publicity. 22 years on it can provide an undemanding diversion if you require one.

A Month in Gaming

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As I mentioned in the last instalment of “A Month in Gaming”, I was toying with the idea of buying Ghost Recon Breakpoint. However, I have decided against that. Yes the game may well be a third person, co-operative shooter but ultimately it’s yet more explosions and military hardware fetishism, which isn’t anything new. I have more than enough of that at present with Call of Duty Modern Warfare/Warzone. I also don’t feel disposed towards giving Ubisoft any of my money at the moment, until they get their house in order. I am so tired of continuously reading about how shitty the video game industry is to work in. It’s difficult to protest in a meaningful way but I guess for the present not buying a product is as good a way as any. So rather than purchasing any further games, I decided in July to play at least one of the many titles I’ve got in my existing library.

After perusing my existing catalogue of games, I decided to install The Sinking City. I’ve enjoyed Frogware’s Sherlock Holmes games and this title includes many of the systems and mechanics from that franchise. It’s a Lovecraftian themed investigation game, set in a semi-open world environment. The emphasis is on dialogue trees, finding clues and then making the correct deductions via the “Mind Palace” system. There is much to like about the game and the plot, visuals and general ambience is steeped in the Cthulhu Mythos. However, despite the city being large, a lot of assets are repeated, traversing the streets is difficult as many are submerged and you can only interact with about a quarter of the NPCs that you meet. Combat is also very clunky as you cannot rapidly fire any of the guns. Yet despite these issues, the game has a charm about it. The developers may have over reached in some respects but they totally nail the essence of Lovecraft’s work.

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Ironically, I decided to return to The Lord of the Rings Online in late July and catch up with some of the outstanding content I’ve yet to complete. I thought it best to try and get The Great Wedding out of the way, something I’m not especially interested in, so I could then continue with the Wells of Langflood. However, the server outage that plagued the game for nearly a fortnight put pay to that plan. It was a timely reminder of how Standing Stone Games seem to flounder when it comes to communication and customer relations. The situation also led to me visiting both the official and unofficial LOTRO forums for news. Despite me not being active on either of these platforms for several years, nothing appears to have really changed with either communities. Both seem to exhibit the exactly the same “problems” that they’ve always had with “overzealous” fans and fandom.

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As to my plans for August, I may catch up with some of the new Klingon themed content that has recently been added to Star Trek Online. The yearly summer festival starts shortly, offering a Risian Weather Control Vessel as the prize. It’s a Tier 6 Escort Class but I’ve reached the point in the game where I don’t really feel the need to grind for another ship. Season 5 of Call of Duty Warzone is also imminent and I still haven’t decided whether or not I shall buy the new Battle Pass. I’ve played the game constantly for 4 months and I’m not certain if I can sustain my interest. However, Infinity Ward are well versed at altering the game map, adding new play modes and weapons, so I may be able to stay engaged. I suspect that I may once again look towards my existing game library for further entertainment in the weeks ahead. I have so many titles that remain untouched.

Living With Chronic Pain

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To begin with, I am not claiming to be living with “chronic” pain in this blog post. I am fully aware of the definition of the term and am fortunate that my current injury does not force me to endure such levels of discomfort. However, my recent experience has provided me with a new insight into something that most of us only notionally know about and have little or no true understanding. I believe I appreciate my Mother’s daily circumstances a lot better now (as well as several friends and colleagues who also live with chronic pain) and finally understand how debilitating both physically and mentally living in constant and acute pain can be. Hence I decided to write this piece. To share my experience with an injury that continuously hurts and to help inform others about the realities of living with chronic pain. Sometimes you need to experience something first hand to fully get the measure of it.

Approximately 8 weeks ago, I was vacuuming my Mother’s bedroom. I needed to move the bed to reach underneath it, so without thinking I grabbed the frame and lifted one end. This is the sort of thing you usually do without thinking because normally, a bed isn’t necessarily that heavy. However, on this occasion I forgot that this is a hospital bed which weighs over 170 lbs (77 kg). To cut a long story short I damaged my radial collateral ligament (RCL) in my left elbow. It hurts when I extend my arm or rotate my wrist. The pain is considerable and continuous. The only practical way to minimise this is to strap the joint tightly with a bandage or sports support and then use a sling with the left arm raised as high as possible. The doctor has recommended resting the limb for the immediate future. As a carer of two disabled parents that is not a viable possibility.

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Being in constant pain to the degree that I currently experience is unpleasant and frustrating. The pain is sufficient to be ever present regardless of what activity you’re doing. The most innocuous action can sharply remind you of your injury, making the most mundane, everyday tasks problematic and irritating. Using cutlery is difficult at present. Trying to find a comfortable position to sleep is challenging. Washing and getting dressed takes twice as long as normal due to a new degree of self imposed caution. The net result of these factors is a change in mood and demeanour. It is difficult to be positive and upbeat when you are in pain. You also become aware that because of your mood it may be best to avoid other people. Now all of the above has been sufficient for me to stop and think. Imagine what day to day life is like for those who are experiencing a more intense and continuous level of pain?

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My Mother will be 90 years old in October. She has ongoing Rheumatoid arthritis; an affliction that has plagued her since her late sixties. Her ankles, knees and hands are the most affected part of her body, although her shoulders and hips are getting progressively worse. To tackle the levels of pain that she faces each day she is currently prescribed transdermal patches containing 20 micrograms of Buprenorphine, that are changed weekly. These are supplemented with paracetamol. Both drugs combined simply diminish the pain and do not eliminate it. Due to her continual discomfort, lack of mobility and declining faculties, she is often morose and taciturn with a penchant for lachrymosity. It is only in recent weeks that I’ve come remotely close to fully understanding what she endures daily. So if you know anyone with a chronic and painful medical condition, who at times is a little cantankerous and curmudgeonly, think twice before judging them too harshly. Living with pain is a terrible burden from which there is often no respite. I wouldn’t wish it on my worst enemies.

Revisiting Doctor Who: Part 1

Last month, I tried a 30 day free trial of the streaming service BritBox. One of the main selling points was that the platform has an extensive back catalogue of Classic Doctor Who. Although I initially tried to keep up with the reboot of the franchise in 2005 my interest waned after several seasons. I am not opposed to any of the changes made and I am very pleased that the show has found a new audience. However, it doesn’t resonate with me so much anymore and I find that there is too much human drama for my liking. So I decided to revisit my youth and watch some classic Doctor Who; episodes that I haven’t seen in over forty years (yes, I’m that old). Now I’m fully aware of the potential issues that can come from returning to things that you enjoyed in one’s youth, so I believe I did my best in managing my expectations. However, the results of my nostalgia trip were interesting. The things I thought would be a problem nowadays weren’t so and the things I expected to hold up well despite the passage of time, didn’t always succeed. It’s been a curious experience.

I chose to resume watching Doctor Who at the beginning of the John Pertwee era. I have vague memories of some of the later episodes so I thought it an appropriate place to begin. I decided to temporarily bypass the first and second incarnations of the Doctor, due to the number of missing episodes and my unfamiliarity with these actor’s portrayal of the iconic Timelord. Hence I began watching Spearhead from Space which provided some continuity for me as I was familiar with the UNIT storyline. Due to industrial action within the BBC at the time, this story was entirely shot on film which gives the four episodes a very unique aesthetic. It was customary at the time to film exterior scenes on 16mm stock and record on videotape all studio scenes. However, this exclusive use of film was deemed too costly and so was not maintained. It’s a shame as the look and feel of these episodes really adds something to the show and lends it a little more gravitas.

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As for Pertwee himself, although a skilled actor with definite onscreen presence, I’m not sure if the new attributes he brought to the show improve the character overall. He is more suave and dynamic than his predecessors. But often the action sequences and hand to hand fight scenes feel a little incongruous. It seems like the production team were trying to straddle too many genres and this move into Bond territory feels a little forced. Another contrivance that ends up becoming counter productive is the plot line that sees the Doctor being stranded on earth as a form of punishment by the Timelords. Hence for the first few seasons the stories centre around his role at UNIT and it all gets a little too familiar. However, the appearance of Roger Delgado as the Master is a real asset. Delgado brings a great deal of charisma to the role and effortlessly switches from charming to sinister. He was an excellent foil for Pertwee and sadly his premature death robbed the show of a suitable climax to their ongoing story arc.

Despite attempts by the production team to broaden the scope and appeal of Doctor Who during Pertwee’s tenure, there are some fundamental issues to consider. Oddly enough I found the low budget production values quite endearing and the use of chroma key video compositing quite innovative. Pertwee often had fun during such cheap and cheerful VFX sequences and his gurning is now quite noticeable. For me the more important issue is the writing and the thematic shift which happened between 1970 and 1974. Clever and nuanced stories have always been the mainstay of Doctor Who. They’re still present in this era and they don’t shy away from difficult themes. The genocidal ending to The Silurians is a good example. However, there is a strong “Nigel Kneale-esque” tone to many of the stories and at times I felt that Bernard Quatermass would have been equally at home investigating them. Again I return to my point about the more action packed Doctor and trying to embrace too many genre tropes. The BBC just didn’t have the resources to do such things justice.

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Sadly as an adult, I now see that even a BBC production such as Doctor Who did not escape the prevailing societal biases of its time. I appreciate that fans are immensely fond of many of the companions that have accompanied the Doctor in his travels over the years but Jo Grant (Katy Manning) is a terribly written character, enduring all the sexist stereotypes of the time. Her final appearance in The Green Death where she falls in love with a scientist and environmental activist (who is an equally contrived creation) is somewhat embarrassing as no cliche is left unturned. Another problem that I felt quite jarring is that a lot of the stories from this era are stretched out too long. What could be effectively handled in four installments is often expanded to six or seven episodes. Sometimes events and plot twists are not evenly spaced out throughout the story, resulting in occasional  dull episodes and then a narrative rush at the denouement.

I did not watch all four seasons featuring John Pertwee’s Doctor. I chose to view selected stories recommended by several fansites. However, I feel I watched sufficient to make an informed decision about his tenure. I think that this was a period of experimentation where the show tried to encompass other elements from popular entertainment of the time. Not all of it worked but I admire those involved for thinking outside the box. Certainly, when the writing hit the mark it was very good indeed. My personal favourite stories being The Daemons and The Terror of the Autons. The latter is especially creepy. However, my revisiting of Doctor Who did not end with John Pertwee. I decided to push on and jump straight into the adventures of the Fourth Doctor. I make no bones about the fact that the Tom Baker era is the one I am most familiar with. I was seven by the time he took on this iconic role and at an age where his unique persona and style left a marked impression upon me. I shall cover my thoughts on the Baker episodes that I’ve recently watched on BritBox in future blog post.

Never the Twain Shall Meet?

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Video games can offer a great opportunity for personal growth. If you are the sort of player who likes to prove themselves and continuously test one’s mettle, then some titles can provide the challenge required to be the best of the best. Hence many games are competitive, have league tables and other formal structures for measuring success. It is one of the reasons why esports have become so popular. But this desire to excel and master a particular play style extends beyond competitive games. For some players part of a games allure is understanding the numbers and stats that drive the game mechanics. Because these are often the key to optimising your build and maximising DPS output. Hence you will find skilled and learned players in a variety of games across multiple genres. Although they are often motivated for different reasons, they all strive to be elite players.

I have been playing video games in some shape or form since the coin-op days of the eighties. But I have never been anything more than an average player. Plus I am motivated primarily by having fun and have never seen any game as some sort of personal trial or path to spiritual enlightenment. That’s not to say that I don’t try and attempt to improve. I just know that I won’t progress beyond a certain level of ability because the fun to work ratio will no longer be to my liking. And I’m not alone in this and have written before about how I believe the majority of gamers are “average” with regard to skill. Which brings me to my point. If you look at the skilled, top tier gamers and the average players in terms of a venn diagram, then there’s not a lot of overlap. Depending on the genre of game, I think that overlap reduces even further.

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I joined a kinship (guild) in The Lord of the Rings Online in 2009 and I’m still in it. It has some extremely knowledgeable players who are skilled at multiple classes. Occasionally we will do group content and these players will “coach” (or even carry) the less able players. They are often already familiar with the dungeon or raid in question because they’ve completed it numerous time’s with their skilled peers. They spend the majority of their time with players of comparable abilities. When they do help out with what I shall politely call “The B Team”, I often become acutely aware of the disparity in skill and DPS. Hence the Ralph Wiggum meme at the top of this post. And once the group content is done they politely withdraw and go back to “swimming at the deep end of the pool”. The social panel in LOTRO tells players where their friends and colleagues are and whether they’re in a group. These folk are always busy doing the “hard stuff”.

At least in the MMO genre, you may occasionally encounter top tier players. I find that in other genres such as FPS games, there is clear segregation based on skill. When I play Call of Duty Modern Warfare Multiplayer, I will frequently play game styles and specific maps that do much to level the playing field. The small confined space of the “Shipment” map means that there’s scope to get by on luck and sporting a loadout that allows you to fire from the hip. Although I do encounter good players who are well versed in tactics and have good reactions, there is a chance to counter them. But I find that the players I encounter in Battle Royale and Plunder mode are broadly comparable to myself. Let it suffice to say that the quality of players I see in the various YouTube clip shows that I watch, have never crossed my path. Not that I’m complaining. Players should be grouped with those of similar skill.

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Now I’m not advocating that this naturally occurring segregation of gamers based upon skill is a bad thing. Skilled players mainly prefer the company of their peers. Average players do not like being “target practise” and “cannon fodder” for the elite. And both groups are paying customers and as such should be afforded an experience that they enjoy. But it is curious how gaming is often spoken of as a shared experience and something that a wide variety of people have in common, when the reality is far more compartmentalised. Most MMO players have never participated in a raid. Many of those who enjoy the Battle Royale genre have yet to win a game. The reality is that a lot of video game content is never played, exotic weapons remain locked and achievements, accolades and deeds are left incomplete. Although we are united by the fact that we all play video games, that is where the common ground both starts and ends.

LOTRO: Over a Week of Downtime

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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”.

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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.

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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)

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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?

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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.

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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

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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.

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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”.

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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)

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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.

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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.

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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)

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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.

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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.  

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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

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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. 

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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.

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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.

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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

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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.

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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)

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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.

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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

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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. 

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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.

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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

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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.

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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.

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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

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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. 

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 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)

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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.

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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.

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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

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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. 

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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. 

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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.