What Are We Going to Watch?
It’s a simple question but I suspect that the answer may not be so straightforward. The autumn TV schedule is fast approaching and as of yet, many popular shows have not yet resumed production. There is talk on many of the “entertainment” websites that CBS will start location filming for its NCIS franchises in early September and if the studio side of the production follows suit, then there’s the possibility of completed episodes being available by November. But naturally all of this is dependent on a lot of variables that could change. Will COVID-19 cases diminish in the months to come or will there be a second “spike” and thus another lockdown. Will the ongoing loss of revenue caused by the pandemic further harm the production of new content. Will studios, networks and production companies have to make some hard choices and as a result, will we see some popular shows cancelled?
It’s a simple question but I suspect that the answer may not be so straightforward. The autumn TV schedule is fast approaching and as of yet, many popular shows have not yet resumed production. There is talk on many of the “entertainment” websites that CBS will start location filming for its NCIS franchises in early September and if the studio side of the production follows suit, then there’s the possibility of completed episodes being available by November. But naturally all of this is dependent on a lot of variables that could change. Will COVID-19 cases diminish in the months to come or will there be a second “spike” and thus another lockdown. Will the ongoing loss of revenue caused by the pandemic further harm the production of new content. Will studios, networks and production companies have to make some hard choices and as a result, will we see some popular shows cancelled?
Another mainstay of TV, are all the major sporting fixtures. This year has already seen the cancellation of Wimbledon and the Tokyo Olympics. In recents weeks, some sports have resumed, although obviously sans spectators. This has been welcomed by households and has filled a gap in the market. However, the loss of ticket sales has already hit this global industry hard. The UK Premier League could potentially lose £1billion in revenue by the end of the year, especially if a second wave forces even the spectator less games to be cancelled. However, the simple fact is that those sporting bodies that are the wealthiest are better placed to weather the storm. Smaller league and county level sports such as cricket, basketball and rugby league face a bleaker future. Some are seeking government assistance or a rebate from the TV companies they have sold the viewing rights to. The support industries associated with major sporting events have also suffered.
However, where older viewers who still focus on traditional media, may well be facing a dearth of new content, the youth market has been turning in increasing numbers to YouTube and live streaming services such as Twitch. YouTube has seen a 29% increase in channel subscriptions, especially in the gaming, food and educational categories. Between March and April Twitch saw a 50% increase in the hours watched compared to the previous month. Average viewing figures over a 30 day period now stand at 1.645 billion hours. Many people have also tried their hand at live streaming during the lockdown resulting in a surge in new channels. However, many of these have already fallen into abeyance. Furthermore the increase in YouTube and Twitch usage has not necessarily seen a commensurate increase in advertising revenue. This is blamed on changes to advertising policies by both platforms and drop in money spent by advertisers per se, due to the pandemic.
Returning to the original question, I suspect that despite a lot of effort to try and return to normal program schedules, there are inevitably going to be delays and some major disappointments along the way. TV in all its manifestations is going to have a shortage of new content. Although I do maintain a healthy amount of active subscriptions on platforms such as YouTube and Twitch, I do not feel that these mediums will be able to fill the emerging “entertainment gap”. The biggest issue is quality control. For every Jim Sterling, Lindybeige or Noah Caldwell-Gervais there are fifty other “regular people” making bland and unremarkable content. I find everyday social interaction dull enough already and look to TV and newer mediums to offer something more than just entry levels “vox pops”.
Hence I think the real winners in the month to come will be those streaming services that offer an extensive back catalogue. There has been an abundance of good TV in recent years and I have certainly not seen all of it. There are several shows that have been recommended to me, that I have not pursued due to time limitations. These can now be addressed over both autumn and winter. I have just returned to watching Evil which is a prime example of catching up in this way. I will also renew my subscription to BritBox and tackle a few outstanding UK dramas and police procedurals. I still have several seasons of Star Trek: Voyager to finish. But due to the phenomenon of “TV poverty”, not everyone will be in such a position. There are still substantial numbers of homes in the UK that still just rely on digital terrestrial TV. As a result I suspect a lot of friends and families will be sharing account access to streaming services to bypass this consumer inequality.
Libraries
If you wanted to find me on a Saturday afternoon during the late seventies and early eighties, then the local library was a safe bet. At one point I belonged to three including one in a neighbouring borough but Blackfen Library was my favourite. It was the nearest to our home and I was fond of the oddly austere building. Both of my parents have always been prodigious readers so going to the library quickly became a regular part of my youth. Initially, I was content to confine myself to the children’s section reading Hergé's Adventures of Tintin and the escapades of Asterix the Gaul. However, I was never really content with fiction aimed at children and especially stories about children. Hence as I grew older I expanded my horizons and strayed into the adult section. My parents didn’t interfere in my choice of books and took the attitude that if I were reading, then I wasn’t getting into trouble. My Dad would make the occasional recommendation. Usually classic science fiction by authors such as Ray Bradbury, Isaac Asimov and Arthur C. Clarke.
Blackfen Library prior to it’s relocation in 2004
If you wanted to find me on a Saturday afternoon during the late seventies and early eighties, then the local library was a safe bet. At one point I belonged to three including one in a neighbouring borough but Blackfen Library was my favourite. It was the nearest to our home and I was fond of the oddly austere building. Both of my parents have always been prodigious readers so going to the library quickly became a regular part of my youth. Initially, I was content to confine myself to the children’s section reading Hergé's Adventures of Tintin and the escapades of Asterix the Gaul. However, I was never really content with fiction aimed at children and especially stories about children. Hence as I grew older I expanded my horizons and strayed into the adult section. My parents didn’t interfere in my choice of books and took the attitude that if I were reading, then I wasn’t getting into trouble. My Dad would make the occasional recommendation. Usually classic science fiction by authors such as Ray Bradbury, Isaac Asimov and Arthur C. Clarke.
Despite it’s somewhat foreboding appearance, Blackfen Library was always warm and tranquil inside. The library ticket system was uncomplicated. Your ticket was a small cardboard pocket. Each book had a physical ticket associated with it which was filed along with your ticket when you borrowed it. Inside the cover of each book was a “date due” sheet which was stamped by the librarian with the return date. I believe you could keep your books for up to three weeks and borrow a maximum of six. As this was the seventies, the books were filed and organized using the Dewey Decimal System. I quickly learned to use this so I didn’t have to rely on the librarians to assist me. Choosing my books was always an exciting process. Sometimes I’d know in advance what I wanted and I’d race in between the heavy wooden bookshelves to the required section to see if my prize awaited. Other times I’d peruse the shelves in a leisurely fashion, reading the plot synopsis on the dust covers. They say not to judge a book by its cover but when you’re 10 years old, a glossy illustration by Chris Foss or Frank Frazetta was a major selling point.
Classic science fiction with Chris Foss artwork
Due to my parents and my local library, I still have a deep and abiding love for books and reading. One of my favourite excursions (pre-lockdown) is to travel to Rochester in Kent and lose myself in Baggins Book Bazaar, the biggest second hand bookshop in the UK. It has many similarities with a library and is a haven of tranquility in an otherwise noisy and frenetic world. Sadly, the original Blackfen Library in Cedar Avenue has now closed and the building was demolished and the land sold to a property development company in 2004. There’s a block of flats on the site now. The library has relocated to new premises in Blackfen Road. It has diversified and modernised in an attempt to stay relevant. It now has internet access and PCs that you can use. The premises also offer several meeting rooms and run numerous clubs and activities. It’s now a bustling and dynamic place. It’s all a far cry from the black and white tiled floors and quiet atmosphere of the former site.
As you may discern, I believe passionately in libraries and making books, knowledge and learning accessible to all. The ability to read is not only a great leisure activity and escape from the rigours of life but it’s also an opportunity for self improvement and to expand one's horizons. Which is why I greatly resent and deplore the closure of over 800 public libraries that have happened since 2010 in the UK. A recent survey from the Chartered Institute of Public Finance and Accountancy (Cipfa) has found that there are 3,583 public libraries open at present. 35 fewer than last year and 773 fewer than in 2010. The closure of nearly a fifth of the UK’s libraries is a result of a decline in spending by 29.6% over the past decade. The reduced funding is due to the UK government cutting spending on all public services after the banking crash of 2008. The debate continues as to whether this was necessary or driven by political ideology. I believe author and comedian Alexei Syale may have some insight when he said “austerity is the idea that the 2008 financial crash was caused by Wolverhampton having too many libraries”.
Blackfen Library as of 2020
I am a child of the seventies and although I won’t universally extol the merits of that decade, it did have some good points from a child’s perspective. Blackfen Library introduced me to the joys of H. G. Wells, Arthur Conan Doyle, Agatha Christie, J. R. R. Tolkien and many other classic authors. It also taught me that silence is not to be feared but something to be savoured when appropriate. Like most adults, as I’ve got older I find that I don’t read as much as I used to, although I still manage a book each month or so. Reading for me now centres on blogs and other online news outlets. But I still enjoy finding a quiet corner and losing myself in a good book. And I still visit my local library (which have now reopened) although now it tends to be more when they hold events. But it is important that we as a society fight any further closures and continue to foster in our children the importance and pleasure of reading. Although I suspect this will be more of an uphill struggle in the current political climate.
Your Writing Environment (Again)
I thought I’d tackle another Blaugust Promptapalooza writing cue. Today’s question is “Tell us about your physical creative space, and how it influences your content creation” and the official promoter of this prompt is Krikket over at Nerd Girl Thoughts. Do go check out their very candid thoughts and personal experience on this subject. Because where you sit and create your content is a big factor in the process. Sadly, for practical reasons it is often the one that is most overlooked or neglected due to the realities of life (as Krikket explains in their post). Very few of us have a purpose built studio or specifically designed workspace. Most of us just try to adapt an existing part of our home and make do with that. I have done this in the past, when I was living in a rented flat. The lounge dining table also doubled as a writing desk, as well as a computer workstation. It was a little too high for such purposes and it ruined my posture after a while. The ergonomics of where you sit is not something that should be ignored.
My desk as of August 2020
I thought I’d tackle another Blaugust Promptapalooza writing cue. Today’s question is “Tell us about your physical creative space, and how it influences your content creation” and the official promoter of this prompt is Krikket over at Nerd Girl Thoughts. Do go check out their very candid thoughts and personal experience on this subject. Because where you sit and create your content is a big factor in the process. Sadly, for practical reasons it is often the one that is most overlooked or neglected due to the realities of life (as Krikket explains in their post). Very few of us have a purpose built studio or specifically designed workspace. Most of us just try to adapt an existing part of our home and make do with that. I have done this in the past, when I was living in a rented flat. The lounge dining table also doubled as a writing desk, as well as a computer workstation. It was a little too high for such purposes and it ruined my posture after a while. The ergonomics of where you sit is not something that should be ignored.
In 2016, having moved, I started using the spare bedroom in the Peril household as an office. I live in a Bungalow and the bedrooms are at the front property. This is a common foible of buildings of this type from the 1930s. It’s a robust, red brick built home with a South facing garden. Consequently, the “office” faces North and is cool in hot weather. The window looks out into a busy tree lined avenue. I wrote in a previous blog post on this subject about how my original plans were “thwarted” by the arrival of my twin granddaughters. At the time I had to share my “creative workspace” with two travel cots. Hence I initially chose a very small desk. However, the twins are now 5 years old and so the travel cots have gone. There is now a single bed in the room, which has a second pull out mattress in the base. I have now expanded “my domain” and got a bigger desk. One that is the right height and has adequate room for me to type or write longhand.
Ignore the cable management and focus on Pliny and Magnus
I like a tidy and organised work space. My desk is laid out in accordance with my needs.I have a single document tray for my paperwork. There’s a headset available for impromptu online chats. It is an analogue model that plugs into a 3.5mm jack. I have an extension cable that ends in a female socket to hand under the monitor stand. There’s an Xbox controller for those games that require one. I have my internet router under my monitor so I can address any issues, should they arise. This model has greatly improved the wireless network in the home but my PC is attached via an ethernet cable. I have my Fire HD 10 to hand and my phone in a wireless charging cradle. Notebooks and pens are available should they be required. I also have an HP printer, copier, scanner next to my desk. I’ve had the same computer chair for 4 years and have already replaced the gas cylinder. It is getting a little worn but I’m reluctant to part with it as it is very comfortable.
When writing I tend to prefer a quiet environment. If I shut the office door and Mrs P does the same in the lounge then neither disturbs the other. Sometimes if I find my attention wandering and I’m spending too much time watching the shenanigans of “punch above his weight man” who lives across the road, or some other example of life’s rich pageant, then I’ll draw the curtains. I’ve recently started getting up earlier in the morning and now try to do the majority of my writing before 11:00AM. Because I am very much at ease with myself when I’m at my desk and I feel it’s a place where I 100% belong, I’ll often get lost in my writing. On the days when the ideas come and I’m invested in the subject I’m writing about, I can be quite productive. Some days when I’m outraged by something I’ve seen on the news or online, my office is a haven of reason to retreat to. Having been self-employed in the past and regularly worked from home, I can effectively compartmentalise my time. If I’m supposed to be writing then there’s no skiving allowed. Gaming (which I do on the same PC) is allotted to specific times of the day and can only be indulged in when all other obligations have been met.
The beer on the desk is a semi-permanent fixture
I consider myself very fortunate to live in a home that has a spare room that I can use in this way. Shit, I think I’m fortunate to even have a home but that’s a subject for a separate blog post that I may tackle at a future date. Simply put I have a decent sized room in my home that I can appropriate and use simply to write, record podcasts (which I haven’t done for a while), play video games and watch pointless but amusing YouTube videos. One a month or so, my granddaughters come to stay for a night or two and I can’t use “the office” from 8:00 PM for about twelve hours. It’s hardly an inconvenience. Many of my fellow bloggers and content creators do not enjoy this luxury. Families, especially young children take up space. Therefore there may not physically be a room or area to claim for indulging your artistic muse. Or there may be a corner or snug but it needs to be cleared out or maintained before it can be used. Try doing that after pulling a 12 hour shift. And if you rent, then you may find there are restrictions in your leasing arrangement.
Often, the space we'd like to have for our creative endeavours and the one we actually use are not the same thing. However, despite the reality of the situation many bloggers, podcasters, streamers, vloggers and online creators manage to regularly produce good quality material without the benefit of a designated office or bespoke studio. They get by the best way they can and it could be argued that having to create on the fly, guerilla style, is why they create such good material. But I won’t belabor that point because I’m sure many would most certainly like a suitable “den”. I also should add that I’m lucky that Mrs P hasn’t seen fit to use “the office “ as her “sewing room”, “Kabaddi Dojo” or some such similar creative undertaking. If that were the case, I’d be back to writing via the lounge table, on a laptop. How would I be able to see the birds on Mrs Coltart’s roof?
It’s Not Losing That’s the Problem But How You Lose
The title of this post doesn’t really cover what I’m trying to express but it’s the best I could come up with that wasn’t an essay in itself. Now I’m going to try to be as brief as possible, as I know sometimes I write too much and get bogged down in the minutiae. Hopeful you’ll follow my train of thought. So to begin, some video games have a very specific fail mechanic. If you play Mortal Kombat either against bots or with another player, there can be only one winner. If it’s not you then you have lost. It’s the same in Call of Duty Warzone if you play Battle Royal Mode. Looking to other genres such as MMOs, if you don’t defeat the boss at the end of the raid and your team wipes, then again you’ve lost. But this doesn’t have to be a problem. The player knows in advance exactly what the criteria for winning is. You lose due to the mechanics of the game, the skill of other players or the lack of your own.
The title of this post doesn’t really cover what I’m trying to express but it’s the best I could come up with that wasn’t an essay in itself. Now I’m going to try to be as brief as possible, as I know sometimes I write too much and get bogged down in the minutiae. Hopeful you’ll follow my train of thought. So to begin, some video games have a very specific fail mechanic. If you play Mortal Kombat either against bots or with another player, there can be only one winner. If it’s not you then you have lost. It’s the same in Call of Duty Warzone if you play Battle Royal Mode. Looking to other genres such as MMOs, if you don’t defeat the boss at the end of the raid and your team wipes, then again you’ve lost. But this doesn’t have to be a problem. The player knows in advance exactly what the criteria for winning is. You lose due to the mechanics of the game, the skill of other players or the lack of your own.
As a man of a certain age, I tend not to get too annoyed when I lose playing video games. More often than not what frustrates me is my own incompetence and poor reactions. I am more often than not, the architect of my own demise. And when I play any sort of game in a pick up group, I lower my expectations by default. Sometimes I’ll find myself in a group that plays as a team, follows a strategy and performs well. All of which is done with the minimum of conversation, be it text or voice. On occasions it goes the other way where the selfish behaviour and stupidity of some players actively impede your progress and this is something I find less palatable. A point I shall return to in a moment. Overall failure and losing are an inherent part of video games. Hopefully you learn from your mistakes and “git gud” or something like that. Also, although I’m not exactly enamoured by elitist gaming culture or like over competitive people (they’re so tediously wearing), winning too easily or too often does mitigate the point of certain types of games.
Still with me? Good. I’m nearly at my point. To summarise, losing is an integral part of gaming although you don’t have to like it. It is an important component that contributes to the overall environment from which the fun, enjoyment or whatever else you get from video games derives. It is not malevolent per se. However, there is another kind of losing or fail state that comes via a human agency. It is predatory in nature and happens when you lose because someone decided to mess with you. It’s the gaming equivalent of someone coughing or nudging you when you’re playing darts and about to throw. This manifests itself in PVP and survival games when players predate other new or less knowledgeable players. Or in racing games when one player knows they will not win so willfully causes carnage or tries to block others. I saw such behaviour today while watching someone streaming Fall Guys: Ultimate Knockout. At first glance this looks a very benign game but it would appear that players will wait at the finishing line to try and stop people from crossing. Even in a easygoing, fun environment such as this, there are still people who want to fuck with you.
And therein is the issue. Life is problematic enough because some people just aren’t happy unless they’re doing something to others. Do we really need this in our game space as well? I don’t mind losing, failing or getting beaten in a game by its mechanics or more skilled players. But I don’t want to be inconvenienced because someone just wants to fuck with me for the sake of just doing so. And this is where I trot out my standard argument about how being a paying customer changes the dynamics of gaming. Forget notional ideas about freedom of expression and emergent gameplay. The moment money is paid, I expect rules and parameters to constrain others bullshit shenanigans. The same way when I go swimming at the sports centre and racing competitively, no one is allowed to enter my lane and mess with me.
Irrespective of what genre(s) of game you play, I think we can all make the distinction between losing in an intended fashion IE falling foul of a game’s fail state mechanics and having something done to you by some asshole. It’s paradoxical that developers will always sing from the rooftops about the superiority of playing with and against real people and then subsequently being utterly flabbergasted by the fact that people treat each other abominably. But players will happily indulge in sociopathic behaviour if given an opportunity. Look at the recurring problem with aimbots that plague popular FPS games. As for losing “building character”, that’s a bogus term and a flawed philosophy. But losing in the manner discussed is an object lesson in why so many problems in life are just people problems. As a society, we still await a solution to this, although judicious use of a claw hammer as a correctional tool is a good place to start.
Choo Choo
Adding a train to a Battle Royale game is hardly a new concept. Both Apex Legends and PlayerUnknown’s Battleground have successfully done this. So it was only a matter of time before one was added to Call of Duty Warzone. We were tipped off by the addition of train tracks last season. The launch of Season 5 this week finally made the “choo choo” a reality. I must admit, I’m quite surprised at how adding something as straightforward as a freight train has reinvigorated the game. That and the fact that you can now access the stadium seems to have really enthused the playerbase. Since Tuesday, whenever you play Warzone or one of its variants, a large number of players head straight to the stadium or the station where the armoured freight train starts its journey around the map. As a result of this, new players or those who aren’t so skilled in combat can navigate the outlying areas of Verdansk with a greater degree of freedom and safety. Everyone else is at either of those locations.
Adding a train to a Battle Royale game is hardly a new concept. Both Apex Legends and PlayerUnknown’s Battleground have successfully done this. So it was only a matter of time before one was added to Call of Duty Warzone. We were tipped off by the addition of train tracks last season. The launch of Season 5 this week finally made the “choo choo” a reality. I must admit, I’m quite surprised at how adding something as straightforward as a freight train has reinvigorated the game. That and the fact that you can now access the stadium seems to have really enthused the playerbase. Since Tuesday, whenever you play Warzone or one of its variants, a large number of players head straight to the stadium or the station where the armoured freight train starts its journey around the map. As a result of this, new players or those who aren’t so skilled in combat can navigate the outlying areas of Verdansk with a greater degree of freedom and safety. Everyone else is at either of those locations.
I try and avoid the stadium as it has too many open corridors and because of the rewards that can be found there, too many skilled players. I see no reason to provide an easy target for such individuals. Let them prey on their own. The train however is a more interesting proposition. It again offers the orange supply crates which contain the best weapons and gear. But it also provides a means to navigate the map and potentially flank enemies. It can also offer a degree of cover and I’ve used it as a means of escaping difficult firefights several times. Contrary to popular belief, strategically withdrawing is a sound option in Warzone. Another great aspect of the train is that it provides endless opportunities to mess about with friends. I’ve already seen videos of players parking as many vehicles as possible to try and derail the train. They quickly discovered that it is unstoppable.
Plunder is my game of choice in Warzone and I’ve developed my own short term strategy for the train. I suspect that after a week or two it will no longer be viable as the overall meta strategy of most players will alter. As present, most players head for the train as soon as they parachute into Verdansk and congregate at the station. Hence for the first stretch of its journey, the train is smothered in players. However after about 4 minutes or so, as the train passes the eastern side of the Hospital, it enters a tunnel. This leads to the Great Bridge area where the track follows the perimeter of the International Airport and Maintenance Block. You can wait above the tunnel exit and subsequently ambush any players remaining on the train. Admittedly many have gone by this point but there’s usually two or three. You can then jump down onto the train. If you miss the chance to do so, there’s a quad bike nearby so you can catch up. You can’t outrun the train.
This is a good way to start a game. At the very least it's a way to get some easy kills and collect some gear. If the players you’ve disposed of have already looted the orange supply crates, then you will get some good gear. If they haven’t then you’ll at least get some money and one armour plate. After I’ve collected any loot, I move to the front of the train which has the best cover and then find an appropriate location to get off. There are houses around the perimeter of the airport and these offer a good place to snipe at those fighting around the hangers. I tend not to stay on the train any longer as there are further bridges ahead and sooner or later, someone else will decide to get on. Conversely, if you do not wish to loot the train, then the route I’ve mentioned offers ideal high ground and cover to attack those on it. Both options keep me amused, however I think that players will soon adjust their strategy to counter this. But that’s what I like about Warzone. Both the developers and the players continually find ways to change things and keep the game fluid.
Walter
I shall be taking a degree of “artistic license” with today’s Blaugust Promptapalooza writing prompt. The original question (as given by Rambling Redshirt over at Beyond Tannhauser Gate) is “If you had a mascot to represent you, what would it be?” but I’ve decided to adjust this slightly. I already have an unofficial mascot for Contains Moderate Peril and they have featured in several blog posts. Furthermore, as an experiment in marketing, they have also appeared in several social media campaigns. The idea was to see whether they could gain more traction with existing “followers” and provide a more effective means of promoting this site. I was initially surprised by the results but upon reflection, given what usually proves popular on social media (IE things that are deemed “cute”), it should have been obvious from the start. So without further ado, if you are not familiar with him already, allow me to introduce Walter.
I shall be taking a degree of “artistic license” with today’s Blaugust Promptapalooza writing prompt. The original question (as given by Rambling Redshirt over at Beyond Tannhauser Gate) is “If you had a mascot to represent you, what would it be?” but I’ve decided to adjust this slightly. I already have an unofficial mascot for Contains Moderate Peril and they have featured in several blog posts. Furthermore, as an experiment in marketing, they have also appeared in several social media campaigns. The idea was to see whether they could gain more traction with existing “followers” and provide a more effective means of promoting this site. I was initially surprised by the results but upon reflection, given what usually proves popular on social media (IE things that are deemed “cute”), it should have been obvious from the start. So without further ado, if you are not familiar with him already, allow me to introduce Walter.
Walter is a cuddly Panda soft toy or plushy as they call such things “across the pond”. He’s about 3 feet and has his own chair, which is positioned in the lounge, next to the TV. His origins are somewhat mysterious. Walter first appeared in my home roundabout Easter 2014. Mrs P saw him in a charity shop window for the bargain price of £3 and in a fit of generosity, bought him for £5. I woke up to find him looking at me and thus began a strange and interesting symbiotic relationship. I have often wondered about Walter’s previous life before he became part of the Peril household but he has remained uncommunicative about the subject. He likes to give the impression that his past is enigmatic but I suspect he was given his marching orders by his previous “owners” for taking up too much room. Walter doesn’t help out with household chores, preferring to “hold court” from his chair. He watches a lot of TV and has strong opinions on popular culture.
Now if you have a 3 foot cuddly Panda, knocking about your abode, it’s only a matter of time before you decide to take a photo of them in a comical situation or with some kind of droll caption. Hence Walter made his first appearance in a post I wrote about the perils of playing Mortal Kombat. NB This featured on a previous iteration of the Contains Moderate Peril website but the post was updated and republished here. Naturally, readers were curious about my new companion and he made further appearances both on the blog and Twitter. His dry sense of humour gained him a degree of traction with readers and followers alike and I started getting requests for him to feature more often. Hence I decided to try a small experiment and planned a series of tweets featuring Walter watching classic movies and TV and making informed pronouncements upon the proceeding. There are some very good online tools available for analysing social media traffic, so I created #WalterWatches as a means of tracking the experiment.
If I may quote Spandau Ballet, to cut a long story short Walter’s viewing commentary generated about four to five times more online activity than my regular tweets. Season 1 (for want of a better phrase) of #WalterWatches ran from March to May in 2019 and proved that if used properly, then social media can really “boost your signal”. Season 2 ran from January to February 2020 and stopped mainly due to the lockdown. Naturally, I have genuinely considered creating a separate Instagram and Twitter account for Walter. Mrs P even suggested making outfits for him (she’s a dab hand at sewing and dressmaking). However, all these ideas have withered on the vine. Walter’s popularity is due to him. I’m not sure if trying to crowbar his persona into promoting my work would be so well received. Plus making outfits, videos and setting up photos is time consuming and I struggle enough to write consistently. Plus now that Walter’s cousin Finwë has come to live with us, the pair of them are too busy and not especially fussed about becoming “influencers”.
There may well be a lesson to be learned in this tale, although I’m not quite sure what it is exactly. Certainly mascots are a great marketing tool but I suspect you have to have a clear idea of how to use them effectively to get the most out of them. And before I end this post I will share two further Walter related anecdotes. Firstly, Walter got his name because if you look at him from the right angle (and with the help of alcohol), he looks like the actor John Noble who played Walter Bishop in the TV show Fringe. Secondly, in late summer 2014, I was ill with Swine Flu. At one point I was running a very high temperature and beginning to slip in and out of consciousness. I awoke from a lengthy sleep to find a wet towel tied not around my own forehead but Walter’s. I’ve never quite got to the bottom of what happened and he’s never felt disposed to say anything. It’s just another of the many unanswered questions surrounding him. I’m still trying to figure out how come he’s got his own special chair and I haven’t?
Host (2020)
In his review in the New York Times Kyle Turner states that the new horror movie Host “seems to speak to a collective id” and serves as “an analogy for mourning the recent past”. I’ve read several other critiques of this nature that both praise the film and make similar philosophical musings upon its nature. As a long standing horror aficionado I am always a little sceptical when a new movie quickly gains a lot of traction and a critical consensus swiftly forms. Especially when a genre product suddenly gains the attention of the mainstream media who subsequently stray into hyperbole and hype. This happened last year with Midsommar which was hailed as a groundbreaking horror movie and indicative of a renaissance in the genre. Although an intelligent and disturbing film, Midsommar is not without flaws and is far from universally accessible. It is also frustrating the way the mainstream media is oblivious to the ongoing financial and critical success of the horror genre that has existed since the inception of cinema.
In his review in the New York Times Kyle Turner states that the new horror movie Host “seems to speak to a collective id” and serves as “an analogy for mourning the recent past”. I’ve read several other critiques of this nature that both praise the film and make similar philosophical musings upon its nature. As a long standing horror aficionado I am always a little sceptical when a new movie quickly gains a lot of traction and a critical consensus swiftly forms. Especially when a genre product suddenly gains the attention of the mainstream media who subsequently stray into hyperbole and hype. This happened last year with Midsommar which was hailed as a groundbreaking horror movie and indicative of a renaissance in the genre. Although an intelligent and disturbing film, Midsommar is not without flaws and is far from universally accessible. It is also frustrating the way the mainstream media is oblivious to the ongoing financial and critical success of the horror genre that has existed since the inception of cinema.
However, my ambivalence notwithstanding, in the past few days positive comments about Host have constantly appeared in my social media timelines, many of which come from grass roots sources that I trust (such as the Evolution of Horror podcast). Hence I signed up to a seven day free trial of the streaming service Shudder and watched Host under optimal conditions. IE knowing as little about the plot as possible and in a darkened room, late at night. Having had time to reflect upon my viewing and go through my notes, I believe that the popular consensus surrounding Host is certainly justified. The film is a finely honed 59 minutes, that is an intelligent reinvention of many classic horror tropes. Cleverly crafted, dovetailing modern fears and social angst with the traditional, it provides an array of scares while maintaining a tense atmosphere in that allegedly benign environment; the modern home. Is it a genre defining milestone? Not necessarily so but what it does do is tap into a lot of the psychological concerns prevalent in the current climate and integrate those into the established fear of the supernatural. Host is certainly very pertinent and “of the moment”.
Six friends, Haley, Jemma, Emma, Radina, Caroline and Teddy meet online via a Zoom video conference call. All are at home or living with partners during the ongoing lockdown. Rather than playing games or having a quiz Haley has hired a spiritual medium to hold a seance. Emma, Radina and Caroline are a little scared by the prospect of such a thing but Eddy and Jemma are both sceptical and prone to mocking it. Medium Seylan reminds the group to be respectful of the spirits and briefs them on managing their thoughts and most importantly how to correctly leave the “circle” if they become uncomfortable with the situation. As the seance progresses, Jemma screams when something touches her neck and she finds herself thinking of a friend from school called Jack who hung himself. Seylan is then disconnected from the call and one by one, each of the friends experience supernatural occurrences in their homes. Rather than contacting a benevolent spirit it becomes clear that they’ve enabled a far more malign force. Can they close the seance circle and dismiss the spectral guest?
One of the film’s greatest assets is the medium in which it is filmed. Buy using Zoom and phones on selfie sticks, there is a great sense of immediacy and the common place tech makes events more accessible. The narrative touches upon the frustrations and alien nature of the current lock down, something that is perhaps more keenly felt among the young. The characters are broadly likeable as well as plausible and the cast perform well. They’re behaviour is also in line with how people react in unknown situations. Some cope well, others go to pieces. As this is a UK production and there is a healthy dose of British colloquialisms and profanities. Where Host excels is in the effective use of its running time. The plot set up, introduction of the characters and dissent from normality into panic is perfectly paced. The idea of having the film last the length of a free Zoom call is sublime.
When supernatural events start to occur, they are initially small in scale and well implemented. Chairs move, a glass shatters and noises are heard off camera. There’s also an innovative use of the filters that come with contemporary phones and video conferencing software. In one scene the filter is triggered by the presence of the spirit and it is a genuinely scary and original sequence. Host handles the building tension well and has plenty of robust and jolting scares. If you are a long standing horror fan who has watched a prodigious amount of genre material, then you well may be able to predict some but not all. The creepy music box is an obviously telegraphed example but others will wrong foot you. The denouement is in some respects inevitable but that does not diminish its power. By the time it comes round you are so invested and engrossed in the proceedings that you still hope that things may work out.
Host is well made, inventive and exceedingly timely. It meets viewers expectations and delivers a white knuckle experience in spades. It’s also a textbook example of how the genre re-invents itself by taking its essential tropes and themes and interpreting in a way that is relevant for a modern audience. Host will especially resonate with the youth market but is still totally accessible to older horror fans who will recognise much that is traditional and de rigueur. I’m not sure if there is a universally accepted term for such movies as Host yet. Wikipedia classifies such productions as “computer screen films” and a subset of the “found footage” genre. However, I’m sure those associated with the production of Host such as director Rob Savage and writers Gemma Hurley and Jed Shepherd will find themselves much sought after. They’ll no doubt be a flood of inferior films in the months to come. But they won’t stand out like Host which has found an audience through talent, enterprise and a genuine appreciation of the genre.
Finding Wisdom in Quotes
Today’s scheduled Blaugust Promptaplaooza writing prompt is “what is/are your favourite quote(s)”. Now I have always had a liking for quotes and feel that a well selected one can often contribute to a good conversation. Something like “The only thing necessary for the triumph of evil is for good men to do nothing” which is attributed to Edmund Burke. Furthermore, a cunning quotation can also be used to bluff your way through a discussion, especially if it’s a subject that you have no knowledge of. The more esoteric the quote the better, I find. Something like Immanuel Kant’s “Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck”. And I also have a tendency to append day to day statements with obscure pop culture references, mainly for my own amusement. I often shout “Bullshit, Mr Han Man!” at the TV, when politicians are interviewed on the news.
Marcus Aurelius is a source of numerous good quotes
Today’s scheduled Blaugust Promptaplaooza writing prompt is “what is/are your favourite quote(s)”. Now I have always had a liking for quotes and feel that a well selected one can often contribute to a good conversation. Something like “The only thing necessary for the triumph of evil is for good men to do nothing” which is attributed to Edmund Burke. Furthermore, a cunning quotation can also be used to bluff your way through a discussion, especially if it’s a subject that you have no knowledge of. The more esoteric the quote the better, I find. Something like Immanuel Kant’s “Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck”. And I also have a tendency to append day to day statements with obscure pop culture references, mainly for my own amusement. I often shout “Bullshit, Mr Han Man!” at the TV, when politicians are interviewed on the news.
So with this in mind I have selected one serious quote that I feel is especially relevant at present, especially in light of “post truth culture” and the current state of tribalistic and acrimonious public discourse. The rest are film quotes. Some of these illustrate a wider philosophical point. Others just amuse and entertain me.
The pastor, theologian and anti-Nazi dissident Dietrich Bonhoeffer
“Stupidity is a more dangerous enemy of the good than malice. One may protest against evil; it can be exposed and, if need be, prevented by use of force. Evil always carries within itself the germ of its own subversion in that it leaves behind in human beings at least a sense of unease. Against stupidity we are defenseless. Neither protests nor the use of force accomplish anything here; reasons fall on deaf ears; facts that contradict one’s prejudgment simply need not be believed – in such moments the stupid person even becomes critical – and when facts are irrefutable they are just pushed aside as inconsequential, as incidental. In all this the stupid person, in contrast to the malicious one, is utterly self satisfied and, being easily irritated, becomes dangerous by going on the attack. For that reason, greater caution is called for when dealing with a stupid person than with a malicious one. Never again will we try to persuade the stupid person with reasons, for it is senseless and dangerous”. Dietrich Bonhoeffer, Letters and Papers from Prison
Excalibur (1981)
Escape From New York (1981)
Galaxy Quest (1999)
The Warriors (1979)
How to Get Ahead in Advertising (1989)
Wild Geese (1978)
Enter the Dragon (1973)
Fellow blogger Wilhelm Arcturus has also tackled this writing prompt today. You can find his thoughts on the matter over at his blog The Ancient Gaming Noob.
Exclusivity: A Play in One Act
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: 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
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.
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.
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.
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)
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.
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.
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.
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
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.
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.
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.
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
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.
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.
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?
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.
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.
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.
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?
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.
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.
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.
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
The MMORPG The Lord of the Rings Online has been plagued by technical problems for over a week now, resulting in multiple servers being offline. The game’s official forums have also been intermittently affected by these ongoing issues, as has Standing Stone Games other MMO, Dungeon and Dragons Online. The problems initially started on Wednesday the 15th of July with severe lag, rubberbanding and random client disconnections. LOTRO has had ongoing issues with all of these problems in the past and developers SSG have attempted to address them numerous times. It was hoped that the release of a 64 bit client last summer would improve matters and initially there were indications of performance improvements. However, the specific poor server performance that was identified last week has allegedly “cascaded” throughout SSG’s infrastructure.
The MMORPG The Lord of the Rings Online has been plagued by technical problems for over a week now, resulting in multiple servers being offline. The game’s official forums have also been intermittently affected by these ongoing issues, as has Standing Stone Games other MMO, Dungeon and Dragons Online. The problems initially started on Wednesday the 15th of July with severe lag, rubberbanding and random client disconnections. LOTRO has had ongoing issues with all of these problems in the past and developers SSG have attempted to address them numerous times. It was hoped that the release of a 64 bit client last summer would improve matters and initially there were indications of performance improvements. However, the specific poor server performance that was identified last week has allegedly “cascaded” throughout SSG’s infrastructure.
At present the specific nature of the “problem” remains unknown and somewhat nebulous. Furthermore it is likely to remain that way as SSG and prior to them Turbine, have never felt the need to provide details of technical outages. Now that is not exactly an unusual position to take as most companies do not feel the need to discuss infrastructure failings with their customer base. The matter may well be complicated by SLAs with 3rd party vendors etc. Businesses also have to deal with a great deal or internal politics and legal obligations. In this case SSG may well be constrained by policies set by their publishers (and pay masters) Daybreak Games. However, what is customary in such situations is for the “problem” to be handled by whatever internal departments handle communications and community management. Difficult situations like this become a “PR opportunity”.
The “problem” has come back…
Sadly, community management, interacting with the player base and providing reassurance is not SSGs strong point. In the past nine days there have been a litany of Twitter and Facebook posts about servers going on and offline. There have also been a few short messages apologising for the inconvenience. This is certainly civil but it really does seem like the bare minimum. The LOTRO player community is both seasoned and loyal. They are also extremely forgiving of these sorts of technical issues because they endured them before on more than one occasion. To use an old British colloquialism SSG and Turbine before them, have “form”. But it is a mistake for the game’s developers to rely too heavily on players' good will. 2020 has not been a “good year” so far and gamers per se may not be as “affable” as they usually are. At this point a little more transparency and frankly credible customer relations would be useful.
Are players asking for rash promises regarding technical solutions? No. Are they asking SSG to breach rules regarding disclosure and confidentiality? No. They’re looking for a simple, concise explanation as to the broad nature of the “problem”. They’re also looking for a reason to get behind the technical staff who I’m sure are working extremely hard under pressured circumstances. We appreciate that a bullet proof ETA on a solution is not practical. But regular, sincere updates on progress would be very reassuring. Everyone knows what’s at stake. We know that downtime means no one is playing and if no one is playing, then no one is paying. A drop in revenues is not good for any MMO. But SSG need to realise that the immense goodwill of their players that they have benefitted from for the last decade is not an infinite commodity. They need to communicate and keep everyone onboard, rather than push players away due to perceived indifference.
I have often reiterated the point that the LOTRO community should not overlook that they are consumers, as well as ardent fans. They may not immediately see both DDO and LOTRO as services but ultimately they are, the same as gas, electricity or your cell phone. So its is reasonable to have consumer expectations. Another point to consider is that good will needs to be maintained on both sides. A loss of revenue seldom pleases those who control the purse strings but if community relations are good, then the bean counters may well feel positive about the community returning and spending. If community relations sour, then a gap in the balance sheet and concerns over players not investing in the game, could contribute to more detrimental decisions being made. I therefore hope that SSG improves its PR and that LOTRO players keep their heads. The downtime is a frustration for all. I wish SSG staff well with the “problem”. But sometimes it’s not just about solving a problem but also how you handle it.
Greyhound (2020)
Greyhound is a curious film in that it flies in the face of one’s expectations. When I (and possibly others) see an advertisement or trailer for a World War II movie starring Tom Hanks, I naturally assume that the lead actor has been hired for his prodigious acting talent and that he’ll be providing an in depth character study. I was expecting Greyhound to be the story of an untested US Naval Commander enduring an ordeal by fire on his first escort mission. And that is to a degree what director Aaron Schneider provides but instead of the narrative arc focusing on Ernest Krause’s emotional struggles with his duties, we instead get a docudrama focusing on the technicalities of naval warfare. The latter approach is certainly engaging and at times tense and exciting but this decision narrows the appeal of the film. I personally would have preferred the former.
Greyhound is a curious film in that it flies in the face of one’s expectations. When I (and possibly others) see an advertisement or trailer for a World War II movie starring Tom Hanks, I naturally assume that the lead actor has been hired for his prodigious acting talent and that he’ll be providing an in depth character study. I was expecting Greyhound to be the story of an untested US Naval Commander enduring an ordeal by fire on his first escort mission. And that is to a degree what director Aaron Schneider provides but instead of the narrative arc focusing on Ernest Krause’s emotional struggles with his duties, we instead get a docudrama focusing on the technicalities of naval warfare. The latter approach is certainly engaging and at times tense and exciting but this decision narrows the appeal of the film. I personally would have preferred the former.
Based on the 1955 novel The Good Shepherd by C. S. Forester and adapted for the screen by Tom Hanks himself, Greyhound is the story of Commander Ernest Krause during his first war-time assignment. The USS Keeling, codenamed Greyhound, is the lead ship in a multi-national escort group defending a merchant ship convoy. As the allied vessels enter the aptly named "Black Pit"; the Mid-Atlantic gap where they are out of range of air support, a five day game of cat and mouse begins with a German U-boat Wolfpack. Will Commander Krause’s “by the book” approach be sufficient in countering the German threat? Can an unproven Commander deal with the pressure of naval warfare during the Battle of the Atlantic, only months after the U.S. officially entered World War II?
Several critics have raised the question as to whether Greyhound went through a major re-edit just prior to its release. As I have not read about anything to this effect I must conclude that this is not the case. Therefore it must be assumed that the brevity of this film and its focus on naval procedure and tactics was intended. As Tom Hanks is an actor often associated with in-depth character studies, many people (myself included) expected a movie which not only explored the Battle of the Atlantic but also dealt with the burden of command. The film gives us hints regarding Commander Krause. We see his fiancée give him a Christmas gift of monogram slippers. There are several scenes where he prays, implying that faith is a key facet of his personality. There is also a recurring joke in which he misses all the meals his steward prepares for him. All of these could have been expanded into broader vignettes and indeed I was hoping they were. However, they remain as simple asides.
From a technical perspective, Greyhound is both compelling and accurate. The naval tactics depicted are factually correct and well realised. The visual effects by DNEG (formerly Double Negative) are of a high standard. The ocean is a difficult medium to represent digitally but the action sequences focus upon technique rather than spectacle, so they offer a higher degree of realism than those in similar movies such as U-571. However, therein lies the main criticism of Greyhound. It is very much a facts driven WWII naval docudrama, as opposed to a character study about the men taking part. We see several members of the ship’s crew but beyond their duties we know little about them. I suspect there was more of a human element in C. S. Forester book. As it stands, Greyhound is a good film with niche market appeal. An extra 30 minutes of expanded character development may have turned a good film into a great one.
Busy Doing Nothing
As I mentioned recently in my monthly gaming roundup, I’ve currently stopped playing the three MMORPGs that are my usual gaming mainstay. Namely The Lord of the Rings Online, The Elder Scrolls Online and Star Trek Online. It’s something that I do from time to time when I’m tired of the repetition this genre offers. At present none of these titles has anything on offer that motivates me to play them enthusiastically. Especially LOTRO. I find weddings tedious and self indulgent in real life, so I’m hardly going to get “excited” about a virtual one set in Middle-earth. However, that’s not to say that I’ve lost interest in the MMO genre. I’m merely temporarily burned out at present. I find that after a few months or so, either new content is released that lures me back to these games or I tire of what I’ve been playing in their stead. It’s a cyclical process that I go through from time to time and nothing to worry about.
If you’ve figured out this tenuous movie reference then give yourself a pat on the back
As I mentioned recently in my monthly gaming roundup, I’ve currently stopped playing the three MMORPGs that are my usual gaming mainstay. Namely The Lord of the Rings Online, The Elder Scrolls Online and Star Trek Online. It’s something that I do from time to time when I’m tired of the repetition this genre offers. At present none of these titles has anything on offer that motivates me to play them enthusiastically. Especially LOTRO. I find weddings tedious and self indulgent in real life, so I’m hardly going to get “excited” about a virtual one set in Middle-earth. However, that’s not to say that I’ve lost interest in the MMO genre. I’m merely temporarily burned out at present. I find that after a few months or so, either new content is released that lures me back to these games or I tire of what I’ve been playing in their stead. It’s a cyclical process that I go through from time to time and nothing to worry about.
However, despite the fact I’m not actively playing these games, it’s surprising how they still manage to keep me busy. How do they keep me busy, I hear you ask? Have I not deleted them from my hard drive? Of course not, that’s crazy talk. Before I move on to the various tasks involved in not playing a game, let me first address this ludicrous assumption that if you’re not playing a game you can delete it from your hard drive and reinstall it later. Because we all have fast internet connections nowadays? Well for starters let me list the current installation size of these three MMOs. LOTRO 30.1GB, ESO 71.7GB and STO 35.5GB respectively. Those are not “small beer” and irrespective of your internet connection speed, if you wish to install these games from scratch you’re at the mercy of three separate game clients and three sets of patching servers. All of which are painfully slow and temperamental. So unless you desperately need to reclaim the space on your SSD or HDD, never delete a game just co’s you’re not playing it at present. Don’t even get me started on customisations and addons.
Moving on, these unplayed MMOs need constant tending. There’s constant patching, especially for ESO who seem to release new content based on two criteria; when it’s raining and when it’s not. Rather than be inconvenienced when I finally decide to return to these games by finding a ton of updates to download, it’s best to keep the client current just in case. And then there’s the login presents and rewards. Both LOTRO and ESO giveaway daily incentives or “free shit” as it’s called in marketing parlance, to encourage consumer loyalty. I may not be playing at present but FOMO is a real thing. I’d hate to pass up on a one off opportunity to claim the “Sword of Kagnazax” or a cosmetic Humboldt Squid pet. I’m also a member of at least one guild that regularly kicks players if they don’t log into the game after a set period of time. So I have to show a face, so to speak, at least once a week or I’ll be given my “marching orders”.
Blogging about these games also adds to the every growing list of chores. Just because I’m not actively playing through current content doesn’t mean that I have nothing to say on the state of any of these three titles or regarding any breaking story or development associated with them. Which leads me to my next point, I often find myself without a suitable screen capture that I can use to illustrate a post. So I have to quickly log into the game in question and grab a few images. And of course you don’t get to just “log on and then log off”. There’s invariably someone online who spots you and decides to engage you in lengthy conversation regarding your health, what you’ve been up to and that wretched bird on Mrs Coltart’s roof (yet again). So as you can see, it can be quite exhausting not playing games. Talk about busy doing nothing. It’s amazing I find time for the games I actually am engaged with at present.
Scoob! (2020)
Scoob! is one of several movies that was slated for a theatrical release this summer but ended up being premiering on VOD instead due to the global pandemic. As a result, it is difficult to ascertain exactly how successful this animated film has been. A lot of trade newspapers have indicated that rentals have been high and that the film has proven more popular than Tom Hardy’s new movie Capone. Some industry sources have estimated a gross of $100,000,000 in a two week period. I suspect that the current lockdown has provided a market of children craving new entertainment and parents happy to pay for 90 minutes of peace and quiet. Hence Scoob! appears to have been in the right place at the right time. Whether that popular success would have happened if the movie had been released theatrically is another matter.
Scoob! is one of several movies that was slated for a theatrical release this summer but ended up being premiering on VOD instead due to the global pandemic. As a result, it is difficult to ascertain exactly how successful this animated film has been. A lot of trade newspapers have indicated that rentals have been high and that the film has proven more popular than Tom Hardy’s new movie Capone. Some industry sources have estimated a gross of $100,000,000 in a two week period. I suspect that the current lockdown has provided a market of children craving new entertainment and parents happy to pay for 90 minutes of peace and quiet. Hence Scoob! appears to have been in the right place at the right time. Whether that popular success would have happened if the movie had been released theatrically is another matter.
Scoob! is a computer-animated comedy mystery film produced by Warner Animation Group. Canonically, it’s both an origins movie and a soft reboot of the beloved Scooby Doo franchise. The film starts with a friendless young Norville "Shaggy" Rogers, adopting Scooby Doo as a pup. The two subsequently meet Fred Jones, Daphne Blake, and Velma Dinkley while out trick or treating on Halloween. Their subsequent exploration of a local haunted house leads to the unmasking of a local criminal. Hence the friends decide to form Mystery Inc. “I mean, like, how many scary monsters could there be?” Shaggy asks which ushers in possibly the highlight of the entire movie; a loving recreation of the original title sequence from Scooby Doo Where Are You! (Season 2). Sadly, it all goes rapidly down hill after this. Ten years later the gang splits after a business deal with Simon Cowell (yes you read that correctly) displeases Shaggy and Scooby. The pair are subsequently attacked by an army of small robots called “rottens” while bowling but are rescued by Dee Dee Skyes, Dynomutt, and the Blue Falcon. Scooby learns that he is being hunted by none other than Dick Dastardly who needs him to unleash Cerberus (from Greek mythology) from the underworld.
And therein lies the fundamental problem with Scoob! There seems to have been a lack of faith in the basics of the franchise. IE Scooby and the gang solving haunted house mysteries. Hence the production tries to crowbar in other Hanna-Barbera characters in an attempt to pander to the current cinematic vogue for superheroes. Then there’s Dick Dastardly (voiced by Jason Isaacs who is clearly having a lot of fun) and his comedy robot sidekicks which smacks of Gru from Despicable Me and his minions. Captain Caveman also makes an appearance for no real reason. So if you were expecting to see a back to basics reimagining of the adventures of Mystery Inc in Scoob! then you’re in for a “surprise”. Although in fairness, it should be noted that Scooby Doo did team up with the Blue Falcon and Dynomutt in the past but this was during the middle seventies and not during the classic original two seasons of Scooby Doo Where Are You!
The other major issue with Scoob! is the way the screenplay by Matt Lieberman, Adam Sztykiel, Jack Donaldson, Derek Elliott (yes it took four of them to write this) tries to throw a few jokes, references and homages to the adult viewers. It’s a common enough practise in animated films but the gags are somewhat varied and a few are even questionable. There’s a joke where Dick Dastardly’s crimes are discussed and not paying for Netflix is among them. If you read the list on the police database quickly you'll also find tripping old ladies in Lagos. These quips work well but others fall flat, often referencing the obscure. Plus hasn’t Simon Cowell’s notoriety now faded from popular culture? Wasn’t that all two decades ago? And of course Scoob! suffers from the inclusion of my personal cinematic bête noire; the overlong, excessively loud action sequence. Scooby Doo Where Are You! was all about comedic chases and not explosions.
So upon mature reflection and sobre analysis, I think it’s fair to say that Scoob! is a visually chaotic and tonally mixed viewing experience. It certainly won’t delight lifelong fans raised on reruns of the original incarnation of the show. The film smacks of a production driven by focus group and committee. The kind so brilliantly satirised in RoboCop 2. However, despite the qualms of adult fans and professional critics, it should be noted that I watched this movie (twice) with my 5 year old Granddaughters. They loved it. And that is possibly all that Warner Bros. Animation Group care about. I suspect that there’ll no doubt be a Scoob! 2, in the not too distant future. In the meantime, if you have small children that need to be entertained, then Scoob! will do just that. If you are a fan of the franchise then I’m sure I’m not the first to say Scooby Don’t.
Top Cat: The Movie (2011)
The first I found out about Top Cat: The Movie was when I received an email from an events company that was handling promotional screenings, prior to the film’s UK release in the summer of 2012. For some reason I missed the usual pre-production publicity that comes with the rebooting of a popular franchise. One of the benefits of this was that I didn't have time to fret or fuss about this reimagining of an integral part of my childhood. I must admit I was flummoxed that this 50-year-old franchise was subject to a makeover and was even more discombobulated to find out that the original show was a massive hit in Mexico and had garnered a huge cult following. This was why Warner Bros. subcontracted this production to Mexico's Anima and Argentina's Illusion studios. Subsequently Don Gato y Su Pandilla (Top Cat and His Gang) opened on 16th September 2011 in Mexico to weekend box office returns of 41m pesos ($2.9m). It subsequently became the highest-grossing independent animated films released in the United States that year.
The first I found out about Top Cat: The Movie was when I received an email from an events company that was handling promotional screenings, prior to the film’s UK release in the summer of 2012. For some reason I missed the usual pre-production publicity that comes with the rebooting of a popular franchise. One of the benefits of this was that I didn't have time to fret or fuss about this reimagining of an integral part of my childhood. I must admit I was flummoxed that this 50-year-old franchise was subject to a makeover and was even more discombobulated to find out that the original show was a massive hit in Mexico and had garnered a huge cult following. This was why Warner Bros. subcontracted this production to Mexico's Anima and Argentina's Illusion studios. Subsequently Don Gato y Su Pandilla (Top Cat and His Gang) opened on 16th September 2011 in Mexico to weekend box office returns of 41m pesos ($2.9m). It subsequently became the highest-grossing independent animated films released in the United States that year.
Now apparently, when Top Cat was originally shown in Mexico, the show was re-scripted and re-dubbed extensively to suit the local market. Something about TC's irrepressible personality and his anti-authoritarian high jinks resonated with the audience and they took him to their hearts. The original show became a major hit and remained in syndication for years. This needs to be considered when watching Top Cat: The Movie, as it is a production that has been created specifically for the Latin American market and then rendered back into a English friendly product. It is therefore a little left field and not entirely identical to the source material. The story has a contemporary setting and animation is a mixture of 2D characters within a CGI environment. The style is very much in the idiom of contemporary shows that you see on the cartoon network. However, that is not a bad thing. There are three versions of the movie available. A Spanish dialogue version. A US version featuring additional voice acting from Rob Schneider and Danny Trejo and a UK version where these actors are not present.
As to the film’s plot, Top Cat and his gang are all present as is his foil, Officer Dibble. The voices are not radically different, although Choo Choo has become even camper and now appears to be pink. However, I chose to overlook these changes as he is one of the most enjoyable members of the cast. The story is odd to say the least, revolving around a rogue robot police force and the villainous commissioner. At one point Top Cat goes to Dog Prison which raises a wealth of questions. The humour veers from gags cribbed from the original show to more modern double entendres and nudge, nudge humour. There is also some love interest introduced to the plot, but it is poorly handled and is hardly going to do any favours for the representation of women in movies. Overall, the narrative is somewhat haphazard and all over the shop. Yet it avoids complete failure due to the inherent fact that Top Cat and his gang are likeable. Top Cat: The Movie also wins by default because in direct comparison to recent reboots of old cartoon franchises such as The Smurfs and Yogi Bear, it’s simply not as bad.
Undemanding children unfamiliar with the heritage of the show will more than likely find Top Cat: The Movie acceptable. There’s enough slapstick humour and frenetic chases to keep the uncritical eyes of the young occupied. Bizarrely enough I did not object to this reboot anywhere near as much as I thought I would. It is different and certainly not as I expected but when you consider the films pedigree and the fact that the concept has been translated from one culture to another and then back again, it still retains facets of the original show. Perhaps the essential dynamics of Top Cat, his gang and their timeless shenanigans are simply too strong to be eradicated even by current studio perceptions of audience tastes and postmodern sensibilities. If you are a dyed in the wool Top Cat purist, then avoid this movie. If you are curious and have an interest in animation then give it a go. Overall I still think the Top Cat: The Movie should be filed under odd.