I Walked With a Zombie (1943)

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Until today, I have never seen the iconic horror movie, I walked With a Zombie. Some classic titles just seem to fall through your “movie net”, as it were. However, BBC iPlayer has a selection of RKO films available to watch for free (sadly, only for UK viewers), so as I had a convenient gap in my schedule, I finally caught up with this seminal title today. As expected it was visually an utter delight. Other aspects of the movie are more subtle and require some reflection to determine their virtue. The lurid title, doesn’t in any way do the film justice and was forced upon the production by studio executives. Essentially this is a romantic drama fused with the supernatural and set in an exotic location. The Caribbean setting and culture along with the voodoo element add an undercurrent of sexual tension to the central love, cleverly augmenting what is essentially a gothic tale by placing it in an alien setting.

Betsy Connell (Frances Dee), a young Canadian nurse travels to an island in the West Indies to care for Jessica Holland (Christine Gordon), the wife of plantation manager Paul Holland (Tom Conway). Jessica has been diagnosed by Dr Maxwell (James Bell) as suffering from a form of mental paralysis as a result of tropical fever. Betsy finds Paul Holland aloof and dour, yet strangely compelling. Wesley Rand (James Ellison), the plantation overseer and Paul’s half brother implies that Jessica’s condition is due to something Paul has done. Mrs Rand (Edith Barrett), mother to both sons, befriends Jessica. She runs the local pharmacy and has a deep understanding of local customs. Betsy suspects she may well know more than she says regarding the enmity between Wesley and Paul and the reason for Jessica’s condition. Eventually Betsy realises that modern medicine cannot provide a solution to Jessica’s malady and begins to suspect that the island’s voodoo heritage may provide an answer.

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I walked With a Zombie was the second collaboration between producer Val Lewton and director Jaques Tourneur. The high concept of transposing the plot of Charlotte Brontë’s Jane Eyre to the West Indies and juxtaposing the traditional love triangle (or in this case more of a love square) with the more sensational and salacious aspects of voodoo works very well. The traditional gothic beats played out against prophetic calypso songs and pagan customs add to the atmosphere and create a subtly different supernatural experience compared to traditional Hollywood fare of the time. Director of cinematography J. Roy Hunt uses light and shade to great effect. Traditional european architecture and graveyards are replaced by heavily backlit sugar cane fields and colonial plantation houses steeped in shadows. It is a remarkably eerie environment. The highlight of the film being Betsy and Jessica’s night time journey through the canefields, as they pass voodoo talismans and animal offerings, eventually ending in their iconic meeting with the towering somnambulist Carre-Four.

Jacques Tourneur's direction creates a palpable sense of fear and the film uses its 69 minute running time most efficiently. The film does not feel the need to explain all aspects of the island’s culture and its voodoo rituals. It provides just enough details to allow a degree of ambiguity to remain. Nor does the script shy away from the iniquities of slavery and it’s lasting effect on the population. There is also an element of religious symbolism with a ship's figurehead that is fashioned to represent Saint Sabastian. Performances are acceptable, although the gender roles and period attitudes may seem “dated” to modern viewers. The film reaches a suitably melodramatic climax which concludes the story in the only credible fashion possible. However, the film uses narration from the perspective of Betsy Connell to frame the story and the closing codicil suddenly introduces a degree of previously absent moral judgment. I found this a little incongruous.

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After watching I walked With a Zombie, it is clear where many of the tropes and mainstays of the horror genre come from. The movie doesn’t really offer a zombie in the modern sense, preferring to let the viewer decide if Jessica Holland is the victim of a bona fide medical condition, whether she’s been drugged and left virtually catatonic by esoteric native drugs, or if she has been truly cursed through the use of voodoo. The imperfections and character flaws of the two half brothers and their respective love for Jessica, is presented surprisingly even handedly. The moral sentiments that are espoused at the story’s climax strike me as an afterthought, forced upon the studio by the moral lobbyists of the time. Oddly, this is just another aspect of the film that makes it fascinating. If watched superficially, I walked With a Zombie offers a ghoulish love story with a supernatural subtext. But if one pays attention to detail there is a great deal of social commentary and existential angst to be found. Things seldom touched upon by contemporary horror movies.

"Tryhards"

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I discovered the term “tryhard” recently after reading a game related blog post. Like many contemporary terms the definition seems somewhat fluid. So the one that I think fits best is “a person who is perceived as putting too much effort into something recreational, such as a game”. Although I think this succinctly distils the essence of the phrase, I do feel a little further qualification and contextualisation is required. I don’t think this term is applicable to legitimate competitive gaming, so it’s not a label I’d apply to someone playing any sort of esport. Nor do I think it is meant for those players that just seek to become well versed in an MMO or similar genre of game. I feel this epithet is the province of those who seek to excel in games where the focus is having fun and not just winning. The post in which I read this term was discussing Fall Guys: Ultimate Knockout and I think that is a perfect example. I have encountered other players that fit this category while playing this game and you’ll find plenty more on twitch.

So I guess the first question that arises from the label “tryhard”, is what is so bad in trying to be good at something? To which I’d answer, nothing in principle. The point I think people are trying to make when they label someone in such a fashion, is that these players whose sole focus is the pursuit of excellence end up leaching all the pleasure out of the game for others. Furthermore, if a significant percentage of the playerbase falls into the “tryhard” category, it creates a sort of philosophical fun divide and an environment where new and casual players are either squeezed out or at the very least deprived of the fun that the game is predicated upon. If you want an analogy, I’d say it’s like the over competitive parent who has been in training all year long for the Mum or Dad’s race at their child’s school sports day. Something that is supposed to be lighthearted and about the spirit of participation, is usurped by those who are determined to win and make some kind of statement.

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However, I’m a contrary bastard at times. Although I’m not especially enamoured with the “tryhard” mindset and will loudly refute the bogus argument that “it’s never just a game”, I don’t like the idea of a self appointed “fun police”. This is why I think it’s important for game developers who make competitive titles, to ensure they have some viable matchmaking system in place, so that players are grouped according to their skill. Surely implementing such mechanics would please all parties? Unless being a “tryhard” isn’t just about the gratification of excelling but just another way of trolling others. The idea being that it’s another facet of the self aggrandising, braggart culture that pervades gaming. An excuse to sneer at those who don’t succeed and a means of controlling a game at the expense of others enjoyment. I wouldn’t say that all “tryhards” are elitists pricks but I’d certainly put money on elitist pricks being “tryhards”.

It seems that a week cannot go by without the video games industry or gaming culture highlighting or manifesting some unpleasant facet of human nature. Friends and colleagues assure me that there isn’t any major cultural shift occurring and that gaming (and life) has always had a degree of “douchebaggery” associated with it. But I’m not so sure. Anecdotally speaking, I’ve consistently found myself coming last in Fall Guys: Ultimate Knockout, while other players leave me in their wake. It does surprise me that some people have become quite so adept, so quickly. I’ve also seen a lot of players loitering at key locations in the game and deliberately impeding and hampering other players. Again, if it doesn’t breach the games TOS, then technically it’s okay to do so but isn’t this supposed to be lighthearted fun? There’s an ongoing debate at present as to whether games are becoming less fun, I’m not so sure. It’s difficult to tell. But we as a community don’t seem to be doing ourselves any favours.

Fandom Memories

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Syp over at Bio Break leads the charge with today’s Blaugust Promptapalooza writing prompt, with this interesting question. “What is your earliest memory related to one of your core fandoms?” Please do read his thoughts on going to see Return of the Jedi upon its original release back in 1983. It is something I can certainly relate to. I’m a decade older than Syp and so I can recollect actually seeing Star Wars for the first time at my local cinema. However as that was a starting point for a specific fandom rather than an “ongoing” example, I won’t cite it here. I have even earlier recollections of going to Longleat Safari and Adventure Park and having the extra bonus of seeing the Doctor Who Exhibition which ran there from 1973 to 2003. This would have been in August 1974 and I was six at the time. I have dim recollections of all the exhibits being mainly from the Jon Pertwee era and the Daleks being the high point of my day.

But as the question is about “core fandoms” I think I’ll reference a more contemporary example. One that I can recollect more clearly and so provide a more specific anecdote about. So I’d like to talk about my love of the horror genre and how as I got older, became a consummate fan. I’ve recently written about how during the 80s and 90s the UK home video market endured some rather restrictive regulations that lead to a lot of horror films being unavailable or heavily edited. Due to magazines such as Fangoria and Starburst, fans would be aware of both mainstream US and independent productions long before they were released in the UK. Hence we’d often become aware of those occasional titles that had already caused a stir “stateside” or in Europe and would therefore naturally run into distribution and censorship issues when it came to a British release. How could such films be shown in the UK? The answer was the “film festival”, which provided a limited or one off showcase, where the audience could be strictly regulated. Such events weren’t providing mainstream national distribution.

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Now film festivals per se are always a great occasion for fans. I find that watching a cult classic with a like minded audience in a traditional movie theatre setting, rather than watching at home on your own, is a superior way to enjoy a film. I believe there is some truth to the “shared experience”. For example I feel the slapstick shenanigans of Charlie Chaplin work a lot better when viewed with a group. Bearing this in mind, on Saturday 24th February 1990, not only did I get the chance to indulge this theory by going to my first film festival but I was afforded the oppurtunity to see a controversial film that was heading into trouble. That film being Henry Portrait of a Serial Killer. The Splatterfest 90 film festival was held at the Scala Cinema, in Kings Cross, London. The venue was a known private cinema that excelled at hosting such events, as well as regularly showing bizarre and baroque movies.

I remember quite clearly, the atmosphere in the cinema. The Scala was a sumptuous but somewhat dilapidated 1920s building, which lent itself well to its niche market purpose. Between films it was quite noisy with fans talking and constantly going to and fro to the lobby. But when Henry Portrait of a Serial Killer started the audience settled and fell silent. The film was a gruelling 83 minutes experience which left the audience shocked, uncomfortable yet utterly engaged with the proceedings. I subsequently learned that several examiners from the BBFC had attended the screening as an opportunity to “research” a movie they knew would be “problematic” when it eventually sought a formal UK theatrical release. There was a very interesting Q&A with director John McNaughton which shed a lot of insight into the film and its production.

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There were several other movies shown that night making Splatterfest 90 a very enjoyable film festival. Brian Yuzna’s Bride of Re-Animator which is a great sequel to the original Re-Animator, was very well received. As was the excellent documentary Document of the Dead, which was made during the filming of George A. Romero’s Dawn of the Dead. However, one film did not go down particularly well. The Comic, a “psychological drama” about a stand up comedian who murders his way to success in a dystopian future, was met with derision, objects hurled at the screen and cries of “for fuck’s sake, turn this shit off”. Director Richard Driscoll was due to be interviewed after the screening but bid a hasty retreat after his film’s suboptimal reception. Overall Splatterfest 90 was a very good introduction to film festivals and was certainly a “grassroots” experience of fandom. I’ve been to many similar events since then but none have had quite the same impact or left such memories as this one.

An Ode to the VCR

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The Sony C6 Betamax VCR. A “Titan” in the format wars

Sometimes it really helps to have “been there” to fully appreciate an event or cultural phenomenon. We now live in an age where there is easy access to a multitude of television channels and movies, 24 hours a day. TVs are no longer bulky, luxury items that sit in a corner of your lounge. They are now elegant flat screened devices that occupy nearly an entire wall, offering crystal clear, high definition picture quality. Movies are now available for home viewing a lot sooner after their theatrical release and the current pandemic has brought the era of simultaneous release on all platforms just a little bit closer. And even the most obscure and niche market films are accessible in a remastered, HD or UHD format. It’s all a far cry from my youth when cinema and television were far more compartmentalised and consumers had far less choice along with access. All of which you can explain to those born into this modern world of plenty but they’ll never fully comprehend the realities of living such a life and in such times.

I shall try to keep my reminiscing to a minimum for reasons of brevity. Anyone who is familiar with my writing will know that film played an integral part of my youth. My parents loved cinema as it was the primary form of entertainment when they grew up. Hence by the age of ten or so, I was well versed in classic Hollywood, mainly through watching films on TV with my family at weekends. However, we had little say over what they watched. Firstly it took several years for major films that had been successful at the box office to be broadcast on TV. Major titles tended to be shown at either the Christmas or Easter when audiences were potentially the biggest. Also, when a “big” movie finally got shown on TV there were often broadcast in a sanitised, re-edited version. Furthermore, if a film was originally shot in an aspect ratio such as 2:35:1 then it would be panned and scanned to accommodate the 4:3 academy ratio of TV screens. And let us not forget that commercial networks would have advertising breaks throughout. So the optimal way to view a film would be at the cinema. Watching at home on TV was an inferior experience but it was what we knew, so we accommodate it.

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Bond movies came to UK TV approximately 4-5 years after their theatrical release during the 70s and 80s

Another aspect to consider was that TV companies would license the showing of movies and naturally wanted as much bang for their buck as possible. Certainly the BBC offered a broad choice. But you would often find that a lot of content just didn’t make it onto TV. Or if it did, it would be shown at obscure hours. If you failed to watch something then you missed your opportunity to do so. There was a culture of financially successful films getting re-released at the cinemas. Disney has always been an exponent of this, understanding quickly the benefits of controlling supply and demand. But broadly speaking, what you could watch was decided and controlled by private companies and driven by vested interests. So the advent of the home video cassette recorder (VCR) was a major cultural and consumer revolution. Video tape recorders (VTR) had existed since the 1950s but were mainly industry products. But the moment the technology was made available for domestic use in the 1970s via bespoke cassette formats, it quickly gained traction.

The ability to record TV programs from one station while watching another was exceedingly novel at the time. Often big TV networks prided themselves upon making viewers make a tough choice over what shows they watched at prime time. As a child I remember having to decide whether to watch either Doctor Who or Space 1999 (season 2). It’s one of the reasons why UK viewing figures for popular shows were so high at this time. This and the fact that until 1982, there were only 3 terrestrial analogue TV stations broadcasting. So naturally the VCR was met with a lot of pushback from network TV. There was a lot of talk over the legality of recording shows etc. but it was too late and the genie was out of the proverbial bottle. And then there was the second aspect that the VCR offered consumers; pre-recorded tapes containing movies or other content. Initially the big studios simply didn’t grasp that people would want to watch a movie of their own choice, at home, at a time that suited them. When they began to see how independent distributors were getting on the bandwagon they sought to “fight fire” with lawyers. The Motion Picture Association of America (MPAA) were especially aggrieved. But common sense and business acumen prevailed, leading to the growth of the video rental market, the rise of Blockbuster and the social etiquette of rewinding a tape and returning it on time.

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BBFC rating title card

Now the next anecdote is specific to the UK. As soon as cinema became a popular form of entertainment in the early twentieth century, then a regulatory body was set up. A film had to be rated by the British Board of Film Censors before it could be shown in cinemas. Hence the establishment guarded public morals and suppressed sentiments and subjects it didn’t like. Mercifully this doesn’t happen now. The BBFC has changed radically in the last 20 years. It is now formally the British Board of Film Classification and it’s focus is rating. Censorship is now mainly self imposed by distributors who seek the most commercially lucrative rating. But that is a separate subject. Back in the late seventies, all cinema releases required a BBFC rating or else they didn’t get shown. VCRs, like most technological changes, caught the establishment off guard. All of a sudden there was a medium for distributing content outside of the auspices of the BBFC, free from any form of censorship. Overnight small independent video companies sprung up, disseminating any material they could get their hands on. A wealth of european exploitation cinema suddenly found its way into UK households. For someone like me it was hog heaven but it didn’t go down well with lobbyists concerned with declining morals.

In 1982 our household became a proud owner of a Sony C6 Betamax VCR. We already had an older C5 but that was a top loader. The C6 stylishly loaded tapes from the front. By now our family was fully immersed in video rental culture. There seemed to be a video rental store on every street corner. Even newsagent and corner shops would have a rack of tapes to rent for £1 or so. At this point VHS had not fully won the format wars in the UK and most stores had material equally available on both formats. I remember one that even rented V2000 tapes. At one point my Dad had rental cards for about six different establishments. We’d rent films to watch as a family and then my parents would indulge myself and my sister, so we’d often come back home with horror films. I remember one store in Burnt Ash Hill Road in Lee Green, which used to put the most lurid VHS cases in the shop window. I and my school friends would gawp at the likes of Driller Killer, Cannibal Holocaust and Zombie Flesh Eaters. But this brief halcyon period of unfettered access to uncut eurosleaze quickly came to an end.

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UK poster for Lucio Fulci’s Zombi (1979)

The eighties were a decade with a strong streak of moral and social conservatism running through it. This was embodied by the National Viewers' and Listeners' Association (NVLA) led by christian lobbyist Mary Whitehouse (known to her enemies as Mary Shitehouse; a shitehouse being UK slang for a toilet). The organisation lead campaigns against the publication and broadcast of media content that it viewed as harmful and offensive, such as sex, violence, profanity and blasphemy. To cut a long story short the unregulated video market became an easy target and the NVLA and the “popular press” went for it like a dog with a bone. They coined the hyperbolic phrase, “video nasty” to describe exploitation films such as I Spit on Your Grave. As usual, the least informed and poorest thinkers among our parliamentary representatives saw an easy bandwagon to jump on. And then tragically in 1993 a two year old boy, Jamie Bulger, was murdered by two ten year old children, Robert Thompson and Jon Venables. It was an horrendous case made even worse by the tabloid feeding frenzy. It was alleged in some newspapers that the attack on Bulger was inspired by the film Child's Play 3. There was no evidence for this but the campaign against unregulated videos gained support and ultimately led to the Video Recording Act of 1984. This granted the BBFC powers to rate existing and all future video releases and ushered in a decade of censorship. Many titles simply became unavailable for nearly twenty years, such was the sense of social hysteria.

But time and tide wait for no man. The VRA had some very interesting side effects. A cottage industry of fanzines sprung up, reviewing and analysing many of the horror movies that were “temporarily available”. I met many people through this medium, participated in film festivals and partook of the black market trade in second generation VHS copies that sprung up. As the eighties gave way to the nineties and the BBFC still enforced arbitrary cuts to most mainstream films, I discovered the Laser Disc format and imported uncut movies from the US and Japan and so moved away from video tapes. Laser Disc and VHS were subsequently replaced by DVDs and by the time the year 2000 arrived, the BBFC in the UK had a major change in policy once the longstanding incumbent Director, James Ferman, retired. Censorship as I mentioned previously, is not really an issue anymore although a BBFC rating is still required to show a film theatrically or to distribute on home media. Most streaming TV platforms and VOD services rate their content in accordance with BBFC guidance. Despite my dislike of censorship, I believe in rating movies for consumer advice and believe the BBFC do a very good job of it nowadays. Leopards can sometimes change their spots.

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The Pioneer DVL-909 combination Laser Disc and DVD player was a thing of beauty

I like the advances that have been made in home cinema. I prefer to watch films in the correct aspect ratio and in the best picture quality available. Hence I do not miss the technical limitations of the VHS or Betamax tapes (especially the NTSC VHS EP tapes which had awful washed out colours). But having been in the past, a consummate film collector, I still fully understand the allure of physical media. Whenever I see an old VHS rental tape at a collectors fare, it briefly rekindles that sense of excitement I got as a child. Because our access to entertainment was not as ubiquitous as today and we were also not aware of every aspect of a film production due to the internet, a VHS tape of a movie you hadn’t seen before held so much promise. When you combine this allure with an impressionable child who considers watching exploitation cinema as a test of endurance, it becomes clear why such a strong association was created and remains. VCRs, video rental stores and “video nasties” were my generations Rock and Roll, which is why just a small part of me nostalgically misses those days.

Social Gaming Alone

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This post started out as something completely different. I was simply going to write about a popular new game, how it came to my attention and my impressions and thoughts once I had purchased it. But while reflecting on one aspect of the game; the social element that stems from playing with friends, I realised I had more to say about this rather than just writing a review. But such is the nature of writing. In my experience my train of thought is seldom linear. So this post has now morphed into some musings about social gaming and how it is an integral aspect of modern game design. Because playing games with friends is often regarded as a superior experience to playing alone. At least by game developers. I think that the reality is more nuanced and dependent on the game in question. However, I do think that some games are better played with people you know and that playing on your own or in a PUG is less fun. Because that has been my experience of late.

Now the “buzz” surrounding Fall Guys: Ultimate Knockout reached my social media timeline a few days after the games release on August 4th. As I already play a Battle Royale game (Call of Duty Warzone) I didn’t feel the need to investigate the new game any further. However, after several YouTube channels that I subscribe to reviewed the game positively, I decided to delve a little deeper. So I watched some live streamers play the game and quickly decided to give Fall Guys: Ultimate Knockout a go. Mainly because everyone I saw playing it was having fun. The game has a cartoon-like aesthetic and the collision physics are endlessly amusing. But what stands out the most from all the video footage of gameplay I’ve seen, is that it engenders a sense of communal fun. That kind of “in the moment”, organic enjoyment that stems from friends being together and sharing an experience.

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And that is exactly the opposite experience to what I’ve had. Although Fall Guys: Ultimate Knockout is most definitely fun, playing like a cross between “Takeshi’s Castle” and “It’s a Knockout/Jeux sans frontières”, it does feel like something is missing when you play solo. There’s no one to share the moment with when you fail spectacularly, or run “interference” against other players if you’re having difficulty. Choosing an exotic costume becomes somewhat arbitrary as a single player, compared to the mirth it creates when riffing off friends. Outside of Fall Guys: Ultimate Knockout, there are benefits to be had from playing socially in other games. I enjoy Call of Duty Warzone but when I watch live streams and YouTube videos, you cannot deny that the game can be played far more effectively in co-ordinated groups. You just don’t get that with PUGS, which usually range from adequate to “herding cats” to mental torture.

The summit of my social interaction in video games is when I play MMORPGs. I’ve been in the same kinship in The Lord of the Rings Online since 2009 and still regularly enjoy organised gameplay via Discord. Although this is fun, it is limited to just one game and the nature of MMOs doesn’t really lend itself to a great deal of diverse experiences. I haven’t played any games from other genres with friends and people I know since 2016. The last time was when there was an organised game night via The Newbie Blogger Initiative and a few people got together and played Overwatch. Since then I’ve just used the auto grouping option in the games that I play. It’s not so much an issue of a lack of friends but the fact that no one seems to be playing the same games as me (and vice versa). The fact that not all games support crossplay is another factor.

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I also suspect that age may well have a bearing on this. Younger people tend to have larger, active social circles. These decline over time, something I have written about in the past. Now naturally my online friends play and enjoy video games. It’s usually one of the reasons why I follow someone on Twitter. But many of the people I know locally, despite being of a comparable age to me, don’t play video games. They tend to be interested in more traditional leisure activities like football, reading tabloids and casual bigotry. So upon mature reflection, despite there being a focus on social gaming as a source of fun by the industry itself, my reality is not the same. Returning to Fall Guys: Ultimate Knockout for example, my experience is not like those who play in a group. It’s like being at a party where you drink and move around the periphery of events, laughing at jokes you overhear but not actively participating in any meaningful interaction. It’s an odd sort of fun by osmosis, just by dint of being present. Social gaming alone, as it were. And I’m beginning to tire of it.

What Are We Going to Watch?

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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.

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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”. 

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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

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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.

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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”.

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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)

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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.

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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. 

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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

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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.

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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.

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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

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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.

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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.

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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.

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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

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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.

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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”.

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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)

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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”.

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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. 

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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

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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.

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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

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Excalibur (1981)

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Escape From New York (1981)

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Galaxy Quest (1999)

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The Warriors (1979)

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How to Get Ahead in Advertising (1989)

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Wild Geese (1978)

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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

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

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

Unscrupulous Video Game Developer: All of them!

Mildly Interested Gamer: Great.

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

Mildly Interested Gamer: No way! 

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

Mildly Interested Gamer: Oh okay…

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

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

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

Mildly Interested Gamer: Say what?

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

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

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

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

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

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

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

Mildly Interested Gamer: You sonofabitch…

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

Mildly Interested Gamer: Fuck you. Not this time.

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

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

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

3 Types of Underrated Content

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

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

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

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

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

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

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

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

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

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

Firestorm (1998)

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

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

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

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

A Month in Gaming

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

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

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

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

Living With Chronic Pain

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

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

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

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

Revisiting Doctor Who: Part 1

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

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

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

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

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

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

Never the Twain Shall Meet?

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

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

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

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

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