Gaming News Roundup
Once again, here are a handful of gaming news stories from the last ten days or so that caught my eye. I have refrained from writing an entire blog post on each, either because they are too trivial and cannot sustain an article in their own right, or because they might fuel a rant of some kind. I’m too old for that kind of nonsense nowadays. The video game industry really has transitioned from the unique independent position it enjoyed three decades ago, into just another corporate business. Rife with all the usual iniquities and failings. But it’s not all doom and gloom as one story indicates. Ridiculous character crossovers can still bring joy to gamers who love such things.
Once again, here are a handful of gaming news stories from the last ten days or so that caught my eye. I have refrained from writing an entire blog post on each, either because they are too trivial and cannot sustain an article in their own right, or because they might fuel a rant of some kind. I’m too old for that kind of nonsense nowadays. The video game industry really has transitioned from the unique independent position it enjoyed three decades ago, into just another corporate business. Rife with all the usual iniquities and failings. But it’s not all doom and gloom as one story indicates. Ridiculous character crossovers can still bring joy to gamers who love such things.
Alex Hutchinson and Streaming.
Alex Hutchinson, creative director of Stadia Games and Entertainment's Montreal studio thinks that “streamers should be paying the developers and publishers of the games they stream. They should be buying a license like any real business and paying for the content they use”. As you can imagine, these comments were not well received by streamers and some video games companies that have a close association with such platforms. Once again we have to endure the spectacle of someone opening their mouth and holding forth, without the benefit of engaging their brain. It’s becoming tediously commonplace these days. Mr Hutchinson’s arguments are flawed and lack any critical thinking. The benefits of having your products streamed are immense and most of those doing such things are far from “high rollers”. But stupid is as stupid does. However common sense prevailed from Google's global head of gaming for YouTube Ryan Wyatt. He tweeted that "publishers and creators have a wonderful symbiotic relationship that has allowed a thriving ecosystem to be created. One that has mutually benefited everyone".
Whatever Happened to VR?
Popular gaming website Massively Overpowered raised an interesting question recently. “Are we going to see a VR revolution and do you care?” This got me thinking about my own experience with this specific subset of gaming. A few years ago I bought the game Star Trek: Bridge Crew. The nature of the game is self-evident by the name. It was specifically designed to be a VR title but possibly due to poor sales, it was soon patched so it could also be played on the PC in a conventional, non VR fashion. And therein lies the inherent problem with VR. As of yet there does not seem to be a “killer game” that has a universal appeal and incentivises consumers to buy a VR headset. I am reminded of Wii Sports which in many ways played a major role in making the Nintendo Wii a success. VR lacks at present anything like this. Another reason I suspect the uptake of VR in its current form will always be limited is the need for the headset itself. The prospects of having something bulky and cumbersome over my eyes for any length of time, is not a good one. I suspect it is why 3D films have come and gone so many times.
More Exclusive Content for Consoles.
Call of Duty: Black Ops Cold War is to offer an exclusive Zombie mode on both the PS4 and PS5 for one year. Zombies Onslaught has two-players facing increasingly difficult waves of zombie hordes. The goal is naturally to kill the undead and survive. Zombie Onslaught mode will deploy players to locations from various multiplayer maps. Both participants have access to the custom loadouts as they do in existing Zombies and Multiplayer modes. Sounds fun for those who dig such things. But once again it highlights the divisive nature of exclusive content. It is often perceived by gamers not so much as a case of offering something bespoke to one particular group but as taking something out of a game for a significantly bigger group. I think exclusive cosmetics are a much more benign method of marketing and less likely to divide the player base.
Celebrity Guest Characters in Gaming.
Mortal Kombat has always been a shamelessly commercial franchise but because it has made no bones about this since the game’s inception, I don’t really have a problem with developers NetherRealms Studios. You know where you stand with them. As they have the publishing muscle of Warner Bros. Interactive Entertainment behind them they are quite creative in their choice of “celebrity guest characters”. So far the game has included Robocop (voiced by original actor Peter Weller) and The Terminator (based on Arnie’s image but without his voice acting). The next iconic screen persona to be added to the game is John J Rambo (with Stallone providing the voice). You’ll be able to do some fancy knife work, fire explosive arrows and rip out your opponents throat as a finishing move. It’s harmless fun and if I may quote Cupid Stunt “all done in the best possible taste”. And they say that creativity is dead.
LOTRO: Update 28 - War of Three Peaks
Players of the popular MMORPG The Lord of the Rings Online were informed just 24 hours ago by developers Standing Stone Games, that the new “mini expansion” would be released today. Under normal circumstances, Update 28 - War of Three Peaks would have just been marketed as a content update and have been free to VIP subscribers, lifetime account holders and purchasable with LOTRO points by F2P players. However, these are far from normal circumstances. From March to May this year, LOTRO enjoyed a major renaissance as the lockdown brought players back to the game. SSG felt so confident in this surge in the playerbase that they made all previous updates available for free. However throughout June, July and August the game suffered major technical problems that lead to the majority of game servers being down for weeks. During that time many players took their business elsewhere or at the very least deferred subscribing until the technical issues were resolved. This left a major hole in SSG’s finances, hence the latest update miraculously became a chargeable “mini expansion”.
Players of the popular MMORPG The Lord of the Rings Online were informed just 24 hours ago by developers Standing Stone Games, that the new “mini expansion” would be released today. Under normal circumstances, Update 28 - War of Three Peaks would have just been marketed as a content update and have been free to VIP subscribers, lifetime account holders and purchasable with LOTRO points by F2P players. However, these are far from normal circumstances. From March to May this year, LOTRO enjoyed a major renaissance as the lockdown brought players back to the game. SSG felt so confident in this surge in the playerbase that they made all previous updates available for free. However throughout June, July and August the game suffered major technical problems that lead to the majority of game servers being down for weeks. During that time many players took their business elsewhere or at the very least deferred subscribing until the technical issues were resolved. This left a major hole in SSG’s finances, hence the latest update miraculously became a chargeable “mini expansion”.
A month ago the new update was previewed on the Bullroarer test server and it became clear that it was just more of the same. IE Just another zone with multiple quest hubs. Essentially the same sort of material that SSG have been producing for the last few years. So if this was to be sold as a “mini expansion” then there would have to be some additional content included as well to justify selling it. Hence, the LOTRO community braced themselves as they awaited the pricing details for the War of Three Peaks, as Update 28 has been formally named. SSG usually sells three versions of an expansion. A Standard Edition, a Collector’s Edition and an Ultimate Fan Bundle. It should be noted there have been controversies in the past over previous legitimate expansions and their respective value for money. Oddly enough, SSG decided not to announce the price or exact content of all three editions until today when the “mini expansion” formally launched. However, marketing emails were sent out to some players so the pricing of the three editions became known by midday.
As you can see, the pricing for this mini expansion” is broadly comparable to the previous full expansion Minas Morgul. Considering that War of Three Peaks is just the size of a regular content update, the prices are exorbitant. The Standard Edition is the only one that I will even consider buying as there are insufficient extras in the other two versions to justify their cost. There has already been a degree of “pushback” over on the official LOTRO forums as players voice their displeasure at the pricing and the entire way this situation has been handled. I suspect that if the outcry is big enough, you may find SSG adding additional content to the Collector’s Edition and Ultimate Fan Bundle to try and redress the balance. But there are wider issues here beyond the mere price of this “mini expansion”. Are we about to see a major restructuring of the games business model? If so, is this change in policy down to SSG or their publisher (and potentially owners) Daybreak Game Company?
Charging all LOTRO players for future content updates may well become the “new normal”. Up until now, content updates have been free to subscribers and lifetime account holders. F2P players would purchase Quest Packs for new zones. However this may not have proven especially profitable. When I play LOTRO I subscribe a month at a time. The monthly fee is £9. Quest Packs cost on average 795 LOTRO points (approximately £8). During the course of a month I could play through two or three zones, making a subscription a lot more economical than buying all the respective Quest Packs. Furthermore, lifetime account holders have always received (up to now) access to all new content updates free of charge, so SSG has never made any revenue of this type from this section of the LOTRO community. It has often been argued that lifetime accounts for LOTRO were sold too prolifically during the game’s early years and as a result there is a large percentage of players that do not have to spend any money except for major expansions. If these current practises cease and everyone who plays has to buy new content three times a year then there is scope for SSG to increase their revenue.
However, if the sale of all new content became mandatory, it would invalidate the need for a monthly subscription. At present the only real advantage of subbing is free access to new content and the following additional services. Mailbox Field Access. Custom character portrait frame. Access All Character Trait Slots. Daily +100% XP*. 500 LOTRO Points per month. Free weekly Gold Hobbit Present.Access All Quest Packs and Skirmishes*. Access All Monster Classes. Many of these could be sold individually via the LOTRO store or bundled into a “starter pack” or something similar. The stipend of LOTRO points is a nice bonus and one that I enjoy but it is totally dependent on a subscription. It therefore isn’t really “free” but more of a quid pro quo. It should be noted that the MMORPG Star Trek Online removed subscriptions as of Spring 2018. Many of the benefits that came with subbing to that game simply became one off purchases.
All things considered, perhaps the release of War of Three Peaks as a “mini expansion” is more than just a short term fiscal adjustment, designed to fill a shortfall in the quarterly balance sheet. It may be part of a complete recalibration of the business model for LOTRO and a way to ensure that all players pay equally for the new future content that comes to the game. If that is the case then SSG needs to ensure that all updates meet a high standard. The LOTRO community is very supportive of the game and has more than its share of “whales” who buy cosmetic items prodigiously. However, potential changes such as these indeed to be implemented carefully and require adept community relations, marketing and PR to effectively sell them to the players. Skills that SSG are not renown for. It will be interesting to see how things pan out in the weeks to come. Firstly with the immediate reception of the new “mini expansion” and its respective value for money. Secondly, whether SSG formally announce a revision of the game’s business model. All of which could be a turning point for LOTRO but whether for good or ill remains to be seen.
LOTRO: Even More Community Management Problems
Video games are a somewhat unique consumer product, in so far that we, the customers, broadly seem to have a far more personal relationship with them compared to other recreational activities. For example, I subscribed to several online streaming services that produce TV and film content. However, I never worry about how well their business model is performing, nor do I particularly concern myself with their public relations image. I simply “pay and consume” and as long as I have no technical problems that impede my access, then that is the extent of my relationship with them. I also enjoy Hendrick’s Gin but I don’t worry about the manufacturer, William Grant & Sons. But for some reason, my relationship with video games is different. I am far more au fait with the activities of both the developers and publishers, as well as their overall corporate standing. I suppose it’s because video games are an interactive activity and that make things more personal.
Video games are a somewhat unique consumer product, in so far that we, the customers, broadly seem to have a far more personal relationship with them compared to other recreational activities. For example, I subscribed to several online streaming services that produce TV and film content. However, I never worry about how well their business model is performing, nor do I particularly concern myself with their public relations image. I simply “pay and consume” and as long as I have no technical problems that impede my access, then that is the extent of my relationship with them. I also enjoy Hendrick’s Gin but I don’t worry about the manufacturer, William Grant & Sons. But for some reason, my relationship with video games is different. I am far more au fait with the activities of both the developers and publishers, as well as their overall corporate standing. I suppose it’s because video games are an interactive activity and that make things more personal.
Hence, as a long time player and supporter of the MMORPG The Lord of the Rings Online I worry about the games long term future. It can be cogently argued (and I have done so myself in the past many times) that it is pointless adopting such a stance but I think this ultimately is just a foible of the human condition. It is in our nature to form communities around the things we love irrespective of whether such communities genuinely have any impact and traction. So bearing this in mind, I think that LOTRO is at a crossroads and that a triumvirate of problems could coalesce and have a very negative impact. The first of these three are technical issues that stem from the fact that LOTRO is a 13 year old game. If a subscription game doesn’t run reliably and consistently then some players take their business elsewhere. The next problem is the business model and the way that Daybreak Game Company is squeezing too hard. Update 28 becoming a “mini expansion” is a succinct example of this. And finally there’s the community relations and communications. They’re poor and often conducted in a very peremptory tone.
There has been a conspicuous lack of information regarding The War of Three Peaks since the preview on the Bullroarer test server on 23rd September. I don’t think the player base was especially impressed with what is essentially just another content update. However, SSG recently stated that the “mini expansion” would be coming in the next week or so. But when asked for further details community manager Jerry Snook stated that SSG would not reveal details of the three different versions of the new content update until the day of its release. If this were any other developer I would’ve been surprised by such a response but after years of such indifferences from SSG, I simply shrugged. They’ve always been shocking at marketing their own content. In recent years, teaser videos have always been hastily produced and hardly make the new content look exciting. Information has always been confined to the forums and never shouted from the rooftops. So the fact that SSG feels disinclined to market The War of Three Peaks is frankly par for the course. I used to think they were just bad at this stuff. I now think they just take their customers for granted.
In the past decade there have been several occasions where the future of LOTRO has appeared to be in doubt. Whether this was the case or not is another matter. However, due to the lack of communication that habitually blights this games community management, we’ve worried about license renewals, corporate takeovers and server relocations over the game’s lifespan. Ultimately, LOTRO has survived and continues to so due to its devoted community. They love the game and its realisation of Middle-earth. The fact that there is no alternative is another major factor. Yet SSG seem to be oblivious to this and have basically given a key role that is supposed to act as a conduit between consumer and vendor to a very grumpy man who always gives the impression he’d much rather be doing something else. They need to fix this problem, along with the technical issues and the business model. God help them if The War of Three Peaks is a dog’s dinner. You can’t keep kicking your community indefinitely, because eventually it will turn on you and leave.
The Woman in Black (1989)
They say that “absence makes the heart grow fonder”. Well until recently the 1989 UK television adaptation of Susan Hill’s ghost story, The Woman in Black has been conspicuously unavailable. There was a limited VHS release exclusive to the store WHSmith in 1990. This was followed by a Region 1 DVD release in 2000 which was a relatively small pressing of the media. Since then rights issues have dogged this TV movie, turning it into a genre classic among horror fans, which has often been discussed in hushed tones by those who saw the original TV broadcast and were left traumatised by “that scene”. However, Network Distribution have finally released a remastered Blu-ray (and DVD), complete with commentary from such luminaries as Mark Gatiss, Kim Newman and Andy Nyman (who appears in this adaptation). It can be viewed in a reframed 16:9 widescreen format or in its original 4:3 aspect ratio.
They say that “absence makes the heart grow fonder”. Well until recently the 1989 UK television adaptation of Susan Hill’s ghost story, The Woman in Black has been conspicuously unavailable. There was a limited VHS release exclusive to the store WHSmith in 1990. This was followed by a Region 1 DVD release in 2000 which was a relatively small pressing of the media. Since then rights issues have dogged this TV movie, turning it into a genre classic among horror fans, which has often been discussed in hushed tones by those who saw the original TV broadcast and were left traumatised by “that scene”. However, Network Distribution have finally released a remastered Blu-ray (and DVD), complete with commentary from such luminaries as Mark Gatiss, Kim Newman and Andy Nyman (who appears in this adaptation). It can be viewed in a reframed 16:9 widescreen format or in its original 4:3 aspect ratio.
In 1925, London solicitor Arthur Kidd (Adrian Rawlins) travels to the coastal market town of Crythin Gifford in North East England to attend the funeral and settle the estate of a reclusive widow, Alice Drablow. Upon exiting the train, Kidd meets Sam Toovey (Bernard Hepton), a local landowner who is unsettled by his prospective dealings in the affairs of the late Mrs Drablow. Kidd finds the townspeople reluctant to talk about either the Drablow's home, Eel Marsh House and the family in general. When Kidd attends the funeral with local solicitor Pepperell, he notices a woman in black in the church and then again standing among the gravestones. He mentions the woman to Pepperell who seems most perturbed by the sighting. While travelling through the village, Kidd witnesses a lumber truck shed its load, hitting and crippling a Romani child. He rescues her, while the villagers watch on, preventing her from being crushed to death by further falling logs. Later as he goes through Mrs Drablows papers at Eel Marsh House, Kidd experiences disturbances of a supernatural nature. Are several voice recordings made on wax cylinders by Mrs Drablow the key to the mystery?
Based upon the 1983 novel, this made for television adaptation was written by genre stalwart Nigel Kneale. It is broadly faithful to the source text (unlike the 2012 remake) but makes some subtle changes. The ending in this instance is bleaker than that of the book but all the better for it. Kneale, a writer with a knack for atmosphere and dialogue, creates a delicious, slow burn ghost story with several disquieting scenes and an iconic jump scare that has now entered the annals of horror fame. Although he touches upon many familiar tropes of the genre he brings a fresh eye to them. The way the locals close ranks and balk at the mention of the Drablow family is quite palpable and the appearances of the woman in black herself are deftly handled. Initially the viewer doesn’t even realise she is a spectre. The production also uses sound effectively to build tension such as the clatter of hoofbeats on the misty causeway outside Eel Marsh House.
The Woman in Black is perfectly paced, building a sense of portentous ambience. Performances are spot on and the production is polished with a lot of period detail. The subject matter of infanticide is bleak but well handled. There is little violence or overt unpleasantness. Just a sense of growing menace in which a child ball can suddenly become an object of terror. Director Herbert Wise understood that less is more in certain instances and he cleverly executes simple and immediate set pieces. Like all good ghost stories, just enough information is provided to hold the supernatural elements together. The notion that a spirit over time loses all facets of their personality leaving behind only an all consuming rage, is thought provoking. And rather than offering a story of spiritual redemption or of laying a ghost to rest, The Woman in Black is more of a cautionary tale. The moral being that no good deed goes unpunished.
Slayground (1983)
There have been several movie adaptations of the books of Jonathan Stark (AKA Donald E. Westlake) featuring his career criminal lead character, Parker. Sadly not all of them have fared well, either critically or at the box office. Many have deviated from the source material, often just using mere aspects of the original plot as the basis of their screenplay. Perhaps the most successful of these has been Point Blank (1967), directed by John Boorman and starring Lee Marvin. Slayground sadly follows the pattern set by previous adaptations. It changes several character names and takes two main elements from the source text and uses them as a premise. Specifically, a robbery that goes wrong which results in an accidental death and a climactic shootout in an out of season fairground. Due to the financing of the film, half of the story takes place in the US and the other in the UK. Much of the cast are British, resulting in a curious and at first glance somewhat incongruous film.
There have been several movie adaptations of the books of Jonathan Stark (AKA Donald E. Westlake) featuring his career criminal lead character, Parker. Sadly not all of them have fared well, either critically or at the box office. Many have deviated from the source material, often just using mere aspects of the original plot as the basis of their screenplay. Perhaps the most successful of these has been Point Blank (1967), directed by John Boorman and starring Lee Marvin. Slayground sadly follows the pattern set by previous adaptations. It changes several character names and takes two main elements from the source text and uses them as a premise. Specifically, a robbery that goes wrong which results in an accidental death and a climactic shootout in an out of season fairground. Due to the financing of the film, half of the story takes place in the US and the other in the UK. Much of the cast are British, resulting in a curious and at first glance somewhat incongruous film.
Long term thief Stone (Peter Coyote) and his accomplice Joe Sheer (Bill Luhrs) arrive in a rundown part of New York State to rob an armoured car. When their usual driver Laufman fails to join them, Sheer employs local driver Lonzini (Ned Eisenberg). Despite successfully undertaking their robbery, Lonzini collides with another car while making their getaway. When Stone investigates the wreckage he discovers all passengers are dead including a young girl. Shocked and outraged by this needless tragedy, Stone threatens to kill Lonzini, however, Sheer intervenes and the gang go their separate ways. But the Father of the dead girl (Michael M. Ryan), a wealthy sports businessman, hires charismatic assassin Costello (Phillip Sayer) and instructs him to find all involved in her death and to kill them. Stone soon learns that he is a marked man, when Lonzini is found brutally murdered. He flees to the UK and seeks out former associate Terry Abbatt (Mel Smith), in the hope of lying low and avoiding the price on his head. But Costello is tenacious and pursues him, relentlessly killing all in his path.
Slayground was written and adapted by British screenwriter Trevor Preston, a veteran of such British cop shows as The Sweeney. Hence several scenes reflect his customary gritty and hard boiled dialogue. The movie starts in a run down part of the US and then relocates to a comparably run down part of the UK. This narrative continuity may well have had a greater significance initially. But Slayground feels like a film that may have substantially re-edited prior to release. It runs for a tight 89 minutes and doesn’t waste it’s time on niceties or unnecessary embellishments. The direction by former cameraman Terry Bedford is uncomplicated and reflects the down-at-heel lifestyle and world of the main characters.
Yet there are major narrative gaps in the proceedings. Where Walter Hill wrote deliberately minimalist characters for The Driver, the flow of events in Slayground gives one the distinct impression that there is 10 to 15 minutes of expositional material is missing. Furthermore, the hitman Costello has a penchant for arranging the bodies of his victims. Yet these scenes are brief and their actual death sequences are conspicuously absent.
Hence the cast are left with precious little to do. Stone is no more of an archetype, rather than a fully rounded character. Billie Whitlaw has only a few scenes as Madge, the owner of a financially failing amusement park, although she gets by on the strength of her personality. And Mel Smith doesn’t arrive until the film’s final act. He delivers a particularly powerful soliloquy about a criminal’s lot in life and we get a brief glimpse of his straight acting talent. But again the proceedings surge ahead towards the climactic showdown between Stone and Costello and the production seems to dismiss the gaps in the plot . What we should have experienced throughout Slayground is a man’s journey through his past as he reflects upon the lifestyle he has chosen and its consequences. Sadly we are instead taken on a journey from A to B to C, where everyone we meet becomes another corpse within minutes of being introduced.
Yet despite its multiple shortcomings, there are a few aspects of Slayground that standout. The film starts with a small vignette that shows the fate of the original getaway driver, Laufman. It is a creative opening gambit. The hitman Costello is also an enigmatic character with his fedora hat and the way we never fully get to see his face. His playful tanting of his victims is an interesting foible. The denouement in the amusement park is suitably creepy, as the fairground automatons are caught in the crossfire. But ultimately this movie fails to reach its full potential, either because of ill conceived editing designed to “streamline” the story, or because the director simply didn’t have the experience to craft a more rounded and detailed narrative. As it stands, Slayground remains a curious anomaly. One of four films produced by Thorn EMI in the early eighties under the auspices of Verity Lambert. The others being Comfort and Joy, Morons from Outer Space and Dreamchild.
Hard Drives and Data Migration
I recently bought three new drives. A 2TB external hard disk drive, a 1TB solid state drive and a 4TB internal hard disk drive. I got all three from Amazon for £250, which was a good price. The external 2.5 inch 2TB HDD is attached to the Blu-ray player in the lounge. This is used for the storage of TV shows and movies. The other two drives are upgrades for my PC. The 1TB SSD replaces an older 240GB model. This is mainly reserved for the operating system and programs such as Microsoft Office. The larger 4TB HDD is for game installations and data storage such as music and photos. All drives are branded names such as Western Digital, Crucial and Toshiba and were chosen because of their performance specifications and capacity. It’s all a far cry from the 120MB HDD that came with my first desktop PC in the middle nineties.
I recently bought three new drives. A 2TB external hard disk drive, a 1TB solid state drive and a 4TB internal hard disk drive. I got all three from Amazon for £250, which was a good price. The external 2.5 inch 2TB HDD is attached to the Blu-ray player in the lounge. This is used for the storage of TV shows and movies. The other two drives are upgrades for my PC. The 1TB SSD replaces an older 240GB model. This is mainly reserved for the operating system and programs such as Microsoft Office. The larger 4TB HDD is for game installations and data storage such as music and photos. All drives are branded names such as Western Digital, Crucial and Toshiba and were chosen because of their performance specifications and capacity. It’s all a far cry from the 120MB HDD that came with my first desktop PC in the middle nineties.
However, there is a downside to replacing drives in your PC and that is the prospect of data migration. Reinstalling an operating system is not as problematic as it used to be and there are now lots of useful tools to make this process easy. The most time consuming task is customising your installation and ensuring that you don’t overlook any important software and files. For example having to reload The Elder Scrolls Online from scratch and then set up all your add-ons is a pain in the ass and hardly a prospect that fills me with glee. The game has a notoriously slow client installer and then making sure your mods are correctly configured is very much a case of trial and error. So with this in mind, I decided to clone my existing C: drive to see if this approach would be easier and quicker. A colleague recommended using Macrium Reflect software as it has a 30 day free trial which doesn’t limit the scope of the software.
To cut a long story short, I successfully cloned the contents of the old SSD but the partition on the new drive was set to the size of the original, which was smaller. I then tried to extend the partition to encompass the entire size of the new Crucial SSD but here’s where the problems began. The drive refused to boot after this change. It was at this point I decided not to conduct some sort of tech based autopsy but to grasp the nettle and undertake a new installation of the operating system, games and apps. So I created a bootable USB flash drive containing Windows installation media and had a fully patched, up to date version of Windows 10 on my PC within two hours. I then started migrating my videos, music, photos, pictures and documents over to the new D: drive. I automated this process and let it run overnight. I use TeraCopy for file transfer, rather than the native Windows Explorer utility, as it is more flexible and reliable.
The Good: I was surprised to learn that it is easy to copy games that have been installed via Battle.net such as Call of Duty Modern Warfare/Warzone. This was most gratifying as the current version is 225GB in size. All I had to do was reinstall the Battle.net client and then copy a single folder which contained the entire game. Similarly, The Elder Scrolls Online can be moved without any major problems. Minion mod manager can also be relocated. Just copy the main installation folder and then the additional “.minion” folder that can be found in the “users\your name” directory. There is also a further “Elder Scrolls Online” directory in the default “Documents” folder that needs to be migrated. Once these three data sources were relocated to reciprocal locations on the new drives, I could log into ESO with all my addons and settings intact.
The Bad: Older games such as The Lord of the Rings Online are temperamental and don’t like to be messed with. So rather than risk moving my current installation, I just started a new download. Again, this is another task I let run overnight as the patch servers are woefully slow. Before I logged into the game, I downloaded and installed DirectX End-User Runtime Web Installer. This ensures you have the appropriate DirectX software that this older game requires. After successfully logging in, I migrated the following files from my old installation to ensure my custom settings were maintained. The “UI folder”, “UserPreferences.ini” and “UserPreferences64.ini”, all of which are found in “The Lord of the Rings Online” Folder, which is located by default in “Documents”. Although this is a fairly straightforward process it takes a long time to download the game and LOTRO isn’t always co-operative with more recent hardware.
The Ugly: I have a wireless HP Deskjet 3630 printer, scanner and copier. I can connect to it via a USB cable but wireless access makes it easier for Mrs P when she uses her laptop in the lounge and wants to print something. HP regularly produces comprehensive all in one driver and operating software for their devices. This is often bloated, resource heavy and the kind of program that likes to get it’s claws into every aspect of your operating system. I don’t like any software that doesn’t allow you to fully control its functionality. Hence, I was not impressed with their latest offering “HP Smart”. Admittedly, this software did set up access to my printer quickly and efficiently. But it also gated a great deal of functionality behind cloud based services. Therefore if you want to scan a document you have to “set up an account” and the data will be held online for you to “access anywhere”. Let it suffice to say a few choice Anglo-Saxon terms were bandied about and this software was summarily removed. I found an older version which provided the functionality I required and expected.
Two days later and I now have a fully functional PC once again. I used this opportunity to purge some software from my standard PC build and am now trying to maintain a policy of only installing programs that I use everyday. It is nice to have a PC free from bloatware and partially uninstalled software. The new drives are performing well and I certainly won’t have to worry about storage space anytime soon. I may even make backup images of both the C: and D: drives for any future eventualities and store them in one of the cloud storage options I currently have. Obviously, the temptation with additional disk space is to install more games, irrespective of whether I play them or not. In the meantime I have all the immediate benefits of a PC hardware upgrade as well as those that come through data “housekeeping”.
White Noise (2005)
Successful writer Anna Rivers (Chandra West) goes missing prior to the launch of her new book. Shortly after, her car is found abandoned by the roadside and her body is discovered in the harbour. The Police conclude that there's been a tragic accident. Her husband, architect Jonathan Rivers (Michael Keaton), is devastated by her loss. When he is approached by Raymond Price (Ian McNeice), who claims he has recorded messages from Anna through electronic voice phenomena (EVP), Jonathan is both sceptical and angry. However, his curiosity eventually gets the better of him and he meets with Raymond and quickly becomes immersed in EVP phenomenon. As Jonathan experiments with EVP recording he begins to discern messages from the dead. However, it soon becomes apparent that these communications are of a precognitive nature and that there are more sinister forces at work.
Successful writer Anna Rivers (Chandra West) goes missing prior to the launch of her new book. Shortly after, her car is found abandoned by the roadside and her body is discovered in the harbour. The Police conclude that there's been a tragic accident. Her husband, architect Jonathan Rivers (Michael Keaton), is devastated by her loss. When he is approached by Raymond Price (Ian McNeice), who claims he has recorded messages from Anna through electronic voice phenomena (EVP), Jonathan is both sceptical and angry. However, his curiosity eventually gets the better of him and he meets with Raymond and quickly becomes immersed in EVP phenomenon. As Jonathan experiments with EVP recording he begins to discern messages from the dead. However, it soon becomes apparent that these communications are of a precognitive nature and that there are more sinister forces at work.
White Noise is a slick and glossy production, sporting a modern clean aesthetic that reflects the world of its central character. Much of the story takes place in Jonathan’s home which is a brightly lit, glass palace. The visual style along with the use of what was contemporary technology effectively juxtapose the arcane nature of the supernatural. In this film the shadowy forms of the dead appear on TV screens and monitors, instead of dimly lit corridors. It’s an interesting divergence from typical ghost story tropes but it alone cannot sustain the story. Pretty much everything else about White Noise is formulaic and predictable. That’s not to say that the production is poorly constructed. Director Geoffrey Sax keeps proceedings on track and the story doesn’t out stay its welcome. It’s just that there’s very little that’s different on offer. Keaton and the rest of the cast rely on their acting personas to keep the audience engaged, as all characters are not especially well defined.
It is not easy to quickly and efficiently establish a loving relationship in the first act of a film, and make it seem natural. It requires subtle writing and a talent for focusing on the little things that we share daily with our loved one, to imbue such scenes with a sense of credibility. You’ll find it in Poltergeist (1982) and its depiction of the Freeling family. In White Noise, the opening scenes that try and convey the love between Anne and Jonathan just seem contrived and perfunctory. Hollywood’s predilection for alway making successful, white, middle class men the protagonist in most films, is also an impediment when it comes to generating emotional investment. Beyond the superficial, IE a man who is grieving, it is not difficult to warm to Jonathan Rivers. He’s not a bad man, just a bland one. The way he sidelines his young son due to his growing obsession is hardly endearing either.
Fifteen years on, despite its visual style, White Noise already seems somewhat dated. The continual advance of technology being every film’s Achilles’ heel. It’s quite nostalgic to return to a world filled with CRT TVs and monitors, MiniDiscs, Nokia phones, audio cassettes and VHS tapes. But beyond this minor appeal, the film is underdeveloped and lacking in distinguishing attributes. The story as it is, would be better suited as an episode of The Twilight Zone. The scares are mainly of the “quiet, quiet, loud” variety and any unpleasantness falls squarely into the shallow end of the PG-13 rating. If you want a straight forward, uncomplicated, horror-lite supernatural tale, then White Noise may well scratch that itch. But for genre enthusiasts, this is a somewhat indifferent film, which is possibly a bigger failing than being a bad one.
The McPherson Tape (1989)
In many ways the story behind The McPherson Tape is a lot more interesting than the film itself. This early found footage movie from 1989, was shot on home video on a virtually non-existent budget. The director Dean Alioto eventually found a distributor but on the eve of the movie’s home video release, the warehouse burned down and allegedly destroyed the master tape and all the promotional artwork. Yet this was not the end of the story. It was common practice in the eighties for small distributors to send advance copies to local independent video stores. Hence The McPherson Tape found its way into the pirate video ecosystem. It then migrated to the UFO community where it was circulated as being a video of a legitimate alien abduction. Dean found himself in the unusual position of having to debunk his own work. Three decades later due to the intriguing tale associated with The McPherson Tape, it has been remastered from the newly rediscovered 3/4" tape and re-released.
In many ways the story behind The McPherson Tape is a lot more interesting than the film itself. This early found footage movie from 1989, was shot on home video on a virtually non-existent budget. The director Dean Alioto eventually found a distributor but on the eve of the movie’s home video release, the warehouse burned down and allegedly destroyed the master tape and all the promotional artwork. Yet this was not the end of the story. It was common practice in the eighties for small distributors to send advance copies to local independent video stores. Hence The McPherson Tape found its way into the pirate video ecosystem. It then migrated to the UFO community where it was circulated as being a video of a legitimate alien abduction. Dean found himself in the unusual position of having to debunk his own work. Three decades later due to the intriguing tale associated with The McPherson Tape, it has been remastered from the newly rediscovered 3/4" tape and re-released.
On the evening of October 8, 1983, the Van Heese family gather in the Connecticut mountains to celebrate the birthday of 5-year-old Michelle. The family consists of Ma Van Heese (Shirly McCalla), her three sons Eric (Tommy Giavocchini), Jason (Patrick Kelley), and Michael (Dean Alioto), Eric’s wife Jamie (Christine Staples), his daughter Michelle (Laura Tomas) and Jason’s girlfriend Renee (Stacey Shulman). Michael uses his hand-held camera to record the night’s events, much to the amusement and irritation of his family. They chat and argue as families do as the evening progresses. However when a circuit breaker trips the brothers go outside to restore power. An unusual red light overhead arouses their curiosity so they walk to a neighbouring property, only to find a spacecraft has landed. They flee back to their own house when they are noticed by the extraterrestrial occupants. Armed with shotguns they nervously await pursuit. When something tries to enter via a window, Eric shoots it and brings the body into the house as “evidence”. Is this the end of the siege or do further perils await them?
There is the germ of a good idea in The McPherson Tape and first time writer and director Dean Alioto should be applauded for trying to do something so unusual and ambitious like this back in 1989, when this genre was still in its infancy. But the film struggles to sustain its relatively short hour running time. Despite all the logical concessions that you can make to both the production and cast, this is a ponderous undertaking and a tough watch. It genuinely does at times come across as exactly watching someone’s home videos. Despite restoration, the picture quality is poor however that does work in the films favour to a degree. The characters act in a relatively plausible fashion, arguing among themselves and generally acting impulsively and without any critical thinking. But events take too long to go anywhere and by the time we reach a point where things start to get “interesting” the film ends because it has achieved its purpose.
Hence, I cannot recommend The McPherson Tape to the casual viewer, as it doesn’t really meet mainstream entertainment standards. This is most definitely a niche market product that will best suit the genre completist and aficionado. The editing is minimal and cleverly disguised making The McPherson Tape look very much like a continuous piece of footage. The camera at times is out of focus or points at a plate or the floor. Keeping things simple in scope certainly helps the proceedings and therefore we only see a small amount of the UFO and the aliens themselves. The commentary track on the new Blu-ray release is by far the biggest selling point and it is fascinating to learn how a small budget film ended up fuelling alien abduction conspiracy theories. The director later went on to remake the film with a larger budget and studio backing in 1998, under the title Alien Abduction: Incident in Lake County.
Star Trek Online: Beginners Guide Part 2 - Careers, Factions and Species
Welcome to the second part of my Star Trek Online: Beginners Guide. I thought it may be useful to write a series of posts, offering practical information for those who are just starting out in STO. Nothing fancy or in any way definitive. Just a few basic tips that may help orientate the new player. I’ve been playing STO since its launch in 2010 and this MMO has seen a lot of changes. The game features a lot of systems and mechanics that are not always immediately intuitive to grasp. So I’ll be doing my best to cover a selection of these in each post and try to provide a broad overview. Like a lot of advice, it can be subjective. Ultimately it comes down to each player how they wish to play. In this instalment, I shall be writing about career paths, factions and races.
Welcome to the second part of my Star Trek Online: Beginners Guide. I thought it may be useful to write a series of posts, offering practical information for those who are just starting out in STO. Nothing fancy or in any way definitive. Just a few basic tips that may help orientate the new player. I’ve been playing STO since its launch in 2010 and this MMO has seen a lot of changes. The game features a lot of systems and mechanics that are not always immediately intuitive to grasp. So I’ll be doing my best to cover a selection of these in each post and try to provide a broad overview. Like a lot of advice, it can be subjective. Ultimately it comes down to each player how they wish to play. In this instalment, I shall be writing about career paths, factions and species.
Q: Which career is best for new players?
A: The answer to this conundrum really comes down to playstyle and personal choice. There is no optimal path as such in STO. Yes some builds can deliver higher DPS but game skill also plays a part. Having the so-called “best” doesn’t mean you’ll perform in a comparable fashion. So to begin with there are three career paths in STO. A Tactical Captain deals damage, an Engineering Captain is designed to absorb damage and is thus a tank and a Science Captain focuses on buffs, debuffs, energy drain, hold and heals. All three careers have their own strengths and weaknesses. However, these can be tempered by your choice of traits, skills, ground and space gear and ship. And this is where the enjoyment lies; creating your own hybrid build. IE an Engineer using a heavy cruiser to tank, or a Science Captain focusing on healing while using a fast tactical escort.
Q: What faction should I choose?
A: At present there are six factions in Star Trek Online.
Starfleet (the 25th century Federation faction).
Klingon Defence Force.
Romulan Republic.
TOS Starfleet (the 23rd century Federation faction).
Dominion.
DSC Starfleet (the 23rd century Federation faction, Discovery era and pre-TOS).
All of which offer levelling from 1 to 65 (the present level cap) apart from the Dominion which starts at 60 and extends to 65. Each faction has bespoke traits and offer an initially unique storyline for approximately a third of the game. There then comes a point when certain missions are completed, the main story becomes centralised and applicable to all factions. At this juncture, Dominion faction players and Romulan Republic players must decide whether to ally themselves with either Starfleet or the KDF. Once this choice is made, it cannot be changed. However, at this point, as the story is the same to all factions, the only major differences are the NPCs who bestow missions and more importantly what vessels you have access to. The latter is an important consideration.
Personally, I don’t think any faction has a superior story arc. All have been overhauled over the years and are now very well realised. I think most players choose a faction based upon their personal relationship with Star Trek. I was raised on reruns of Star Trek TOS, so the TOS Starfleet faction certainly provided a great “fan service”. If you love Klingon culture then the KDF faction is an ideal choice. Remember that STO has a wealth of voice acting from original cast members which greatly adds to the game’s ambience. It can be argued that the Dominion faction and DSC Starfleet faction storylines are a little shorter than others but such brevity may suit some players. It should also be noted that developers Cryptic have been pragmatic and created the most ships for the most popular faction in the game, which is Starfleet. There are not quite as many vessels available for some factions. However, the allegiance system has addressed this. Plus there are some unique crossfaction vessels.
Q: What species should I pick?
A: Again, there is no single species that has a definite advantage over others in STO, although some have desirable unique traits. But as I previously mentioned, there are many other factors that affect your build and its viability, so it is ultimately a matter of choice. Each faction has a variety of races available. Lore dictates that certain races cannot be accessed by certain factions but Cryptic have been quite inventive with regard to fudging this to a degree. At present the following species are available to the following factions.
Starfleet: Andorian, Bajoran, Benzite, Betazoid, Bolian, Caitian*, Cardassian*, Ferengi, Human, Klingon*, Liberated Borg**, Pakled, Rigelian, Saurian, Talaxian**, Tellarite, Trill, Trill (Joined)*, Vulcan, Alien.
Klingon Defense Force: Cardassian*, Ferasan*, Gorn, Klingon, Lethean, Liberated Borg**, Nausicaan, Orion, Talaxian**, Trill (Joined)*, Alien.
Romulan Republic: Romulan, Reman, Liberated Borg**, Alien
TOS Starfleet: Andorian, Human, Tellarite, Vulcan.
Dominion: Jem’Hadar, Jem’Hadar Vanguard*.
DSC Starfleet: Human, Vulcan, Alien.
* Purchasable from C-Store
** Requires lifetime subscription
If you cannot make up your mind or because of your choice cannot access a specific species, then consider picking “alien” as a race. It has the most visual customisation options available in the game and hence you can create an avatar that looks Human, Vulcan, Andorian etc. You can also create faux Cardassians and replicate a passable facsimile of many other races in the game. Another advantage of the “alien” is that it doesn’t have fixed racial traits and the player can choose an additional ground and space trait instead.
Caring for the Elderly Part 13
The funeral service for my late Father was held today. As ever I would like to collate my thoughts and present them here in the hope that I may be able to assist someone else who is currently dealing with a bereavement. Funerals can be challenging at any time but are further complicated at the moment due to the various restrictions imposed due to the global COVID-19 pandemic. However, there is still scope to give a loved one a fitting send off. You just have to be a little more creative about it and try to be understanding of the current regulations regarding social gatherings. Despite my concerns today’s service at our local Borough crematorium went well, if such a term is appropriate. I feel that my Father was honoured appropriately and that his family and friends were able to pay their respects and celebrate his life in a manner that he would approve of.
The funeral service for my late Father was held today. As ever I would like to collate my thoughts and present them here in the hope that I may be able to assist someone else who is currently dealing with a bereavement. Funerals can be challenging at any time but are further complicated at the moment due to the various restrictions imposed due to the global COVID-19 pandemic. However, there is still scope to give a loved one a fitting send off. You just have to be a little more creative about it and try to be understanding of the current regulations regarding social gatherings. Despite my concerns today’s service at our local Borough crematorium went well, if such a term is appropriate. I feel that my Father was honoured appropriately and that his family and friends were able to pay their respects and celebrate his life in a manner that he would approve of.
When my Father died on September 16th one of the first tasks that followed was the registering of his death. During that process there was the option to include the details of which Funeral Directors you are utilising. As I had done some research prior to speaking to the registrar, I had already chosen the Co-op Funeralcare as my vendor of choice. I made this decision based on recommendations from two friends who had used their service and because of the comprehensive FAQ the company has on their website. They have clear guidance of what to do after a bereavement from registering the death, notifying all relevant third parties, administering a will and the etiquette and protocol of arranging a funeral. The information is clear and accessible. Co-op Funeralcare also has a range of products which suit a variety of budgets. They also offer environmentally friendly options and can accommodate humanist and non-religious services.
I subsequently booked an appointment with my local branch of Co-op Funeralcare and was seen five days after my Father’s death on 21st September. The Funeral Arranger was sympathetic, supportive and exceedingly helpful. We discussed a range of potential options for my Father’s funeral in a relaxed atmosphere. The offices are designed to be “homely” and less like standard corporate premises. The first question discussed is whether the deceased was to be buried or cremated. Cremation was the case in this instance. I then picked a coffin from an extensive range. As the family did not wish a viewing, there was no requirement for an open casket, embalming or any other morticians services. We then moved on to the logistics of the service. Usually the coffin is brought to the crematorium via a hearse. There are limousines available to bring family members. However, due to the lockdown there are restrictions on the use of limousines, so it is more efficient to simply make your own way to the crematorium. My Father wasn’t a religious man so there was no requirement for a minister of any kind. Hence, the overall costs for the funeral were quite low.
All of this was arranged on my first visit to the funeral directors. When I left, the date had been set for the service, which was to be held at the local Borough Crematorium. With regard to the costs, there were several payment plans available from the funeral directors, depending on the customer’s financial circumstances. I paid the entire cost by bank transfer the following day. Over the next week there were a few additional tasks to sort out. I had to choose two pieces of music to be played at the service. One for when guests arrive and take their seats in the chapel. The other at the end when they exit into the garden of remembrance. For the former I opted for Tchaikovsky: Souvenir d'un lieu cher, Op.42 - 3. Mélodie performed by Janine Jansen. I chose this because my Father played the violin in his youth and loved such music. For the second piece my Father had specifically requested Ich hatt' einen Kameraden ("The Good Comrade"). This is a popular tune played at German military funerals. My Father had a penchant for military culture, having done his National Service after WWII and then joined the Territorial Army in the Fifties. I must admit I was pleasantly surprised when the funeral director’s managed to find the latter track performed on the Trumpet by Dirk Jess. Apparently a lot of UK funeral directors use the Wesley Media library which is quite comprehensive.
I took some clothes to the funeral directors. Although my Father was in a closed casket, I wanted him dressed in his regimental blazer and tie, rather than just a funeral shroud. Another aspect associated with funerals are floral tributes. My Father left instructions that attendees not buy any as he considered this wasteful. Instead he suggested that a charitable donation was made in his name, in lieu of flowers. In this case his charity of choice was The Royal British Legion, which provides financial, social and emotional support to members and veterans of the British Armed Forces, their families and dependants. However, I did order a floral spray for the coffin, so it was not completely unadorned when placed on the catafalque. The final arrangement I had to make was creating and printing an Order of Service. There are plenty of online printers that offer this service, providing templates in all the most common formats, so this was not a major problem. Adobe also offers a free online service for editing photos. This proved useful in restoring an old photo of my Father, for use in the Order of Service.
Once all of the above preparations were made, it was simply a case of inviting family and friends to the service. Under current rules up to 30 people can attend a funeral in the UK. The service is allotted 30 minutes running time. Which brings me to today’s events; the funeral service itself. We all met at the Eltham Crematorium which has an outside waiting area inbetween it’s two chapels. At present the internal waiting rooms are closed. The noticeboard told us which of the two chapels our service had been assigned. The hearse arrived and I was greeted by the funeral director. We had been given a choice in advance as to whether a party of mourners wished to carry the coffin into the chapel. We decline this and my Father’s coffin was carried in by staff with suitable reverence. The first piece of music played and we entered and sat on the pews in a socially distanced manner. There were ten people in total. I welcome all attendees and then read my eulogy to my father. My Aunt, his only surviving Sister (93) then gave some lovely personal reminiscences about their childhood. Finally, one of my Father’s best friends spoke of their 65 year friendship and how they met in the Territorial Army. There was then a minute's silence for prayer and reflection. We then exited in the garden of remembrance and made small talk, as you do at such events. As there was no function or wake in light of the pandemic, we said our goodbyes and departed.
So these are my recent experiences of arranging and attending a funeral for a loved one in 2020. Due to my Father’s specific wishes, I don’t know if the service would have been radically different even if there wasn’t a pandemic. We may have used the limousine service and perhaps have sung a few of his favourite hymns but beyond that I don’t think there would have been too many further embellishments. Overall I did not find this an emotionally overwhelming experience and certainly feel that Co-op Funeralcare did much to make the arrangements and logistics as straightforward as possible. In the space of three weeks, I have administered as many of my Father’s affairs as I can. Some must now be dealt with by solicitors. I think the funeral service struck the right tone. There was deference and dignity but the speeches focused on celebrating my Father’s life. And so, now that everything that can be done, has been done, it’s a question of moving forward. In a week I can collect my father’s ashes. I’m sure the reality of my loss will catch up with me then and I shall grieve in my own way. But life goes on.
I, Monster (1971)
I, Monster is a low budget Amicus production and a cunning retelling of Robert Louis Stevenson’s “The Strange Case of Dr. Jekyll and Mr. Hyde”. Due to copyright reasons, these names are not used in the film and are replaced with new characters, Marlowe and Blake respectively. However, despite the modest budget and the aforementioned legal issues, this is a very faithful adaptation of the original gothic novella. Milton Subotsky’s screenplay incorporates all the essential elements of the source text which is both a boon and a bane. A boon because it really does capture the essence of Stevenson’s concept, which has been drastically misrepresented by previous adaptations. And a bane in so far that the original novella is a little too insubstantial to sustain a feature film. Even at a modest 75 minutes running time I, Monster feels somewhat “thin”.
I, Monster is a low budget Amicus production and a cunning retelling of Robert Louis Stevenson’s “The Strange Case of Dr. Jekyll and Mr. Hyde”. Due to copyright reasons, these names are not used in the film and are replaced with new characters, Marlowe and Blake respectively. However, despite the modest budget and the aforementioned legal issues, this is a very faithful adaptation of the original gothic novella. Milton Subotsky’s screenplay incorporates all the essential elements of the source text which is both a boon and a bane. A boon because it really does capture the essence of Stevenson’s concept, which has been drastically misrepresented by previous adaptations. And a bane in so far that the original novella is a little too insubstantial to sustain a feature film. Even at a modest 75 minutes running time I, Monster feels somewhat “thin”.
Psychologist Charles Marlowe (Christopher Lee), a strong advocate of Sigmund Freud, argues about man’s capacity for evil with his colleagues at his Gentlemen’s club. Dr. Lanyon (Richard Hurndall) refutes his assertions on medical grounds. Enfield (Mike Raven) reflects on a life based upon self gratification. Utterson (Peter Cushing), Marlowe’s Lawyer argues that human civilisation is based upon governing our passions. But Marlowe feels that research in this field could reduce patient’s inhibitions, which are often the root cause of their problems. He subsequently uses a drug he has created on two of his patients. It seems to either make the subject docile or facilitate their secret urges. As he ethically cannot risk any further tests, he takes the drug himself, releasing his alter ego Edward Blake. At first Blake is content with the most obvious worldly pleasures but over time he becomes more violent and uncontrollable. Marlowe’s friends are unaware of his experiments and fear that Blake is simply a ruffian that is blackmailing the doctor.
I, Monster is a somewhat set bound production with a few locations scenes. As the screenplay is true to the novella, a lot of Blake’s crimes are discussed retrospectively by the main cast and not shown on screen. There is a knife fight and a chase scene that culminates in a murder but overall, the film is some what light on unpleasantries for a horror film. It isn’t especially long either which is another issue. However, Christopher Lee’s performance is compelling and does much to mitigate the production’s shortcomings. Unlike other film adaptations there are no overly theatrical transformation scenes. When Lee initially “releases” his alter ego, we simply see his stern Victorian demeanour relax into a rather sinister and lascivious smile. Over time Blake’s features become coarser. His rictus smile is like that of a slavering beast and his complexion reflects his debauched lifestyle. Simple make-up is effectively used to reinforce Lee’s physical performance.
The rest of the cast provide robust support, with Peter Cushing as ever bringing dignity, gravitas and conviction to his modest role. There is a simple fight scene at the end of the film which takes place within a small room. Filmed through the exterior windows, it does “quite a lot with very little” and works well. It makes the conflict between Utterson and Blake very personal. This is where the film’s budget provides some creativity and innovation. Sadly, despite practical cinematography by Moray Grant, the film has an unpleasant colour palette with an emphasis on greens and yellow. This may be due to a 3D process that was originally intended but subsequently abandoned prior to release. Ultimately I, Monster did not perform well at the box office. Its brevity and lack of scope couldn’t compete with bigger budget, more contemporary horror movies that were replacing the gothic genre. However, the film has seen a critical reassessment in recent years, mainly due to Lee’s strong performance.
A Month in Gaming
September has been a difficult month. A family crisis and subsequent bereavement meant that gaming got pushed down the daily agenda. However, after the various chores and duties were done I did need some downtime and means to relax. Hence I did play some games in a limited fashion. Nothing fancy, just stuff like Fall Guys: Ultimate Knockout and Gang Beasts, which are light-hearted and undemanding. I also took the time to log on to The Lord of the Rings Online test server and check out the preview of the forthcoming “mini-expansion”. Not only was this informative but it provided material for a blog post. But overall I didn’t really achieve anything substantial with my gaming throughout September. Gaming was relegated to being just a convenient diversion from the immediate problems I’ve been facing but as such, it did fulfil that role well.
September has been a difficult month. A family crisis and subsequent bereavement meant that gaming got pushed down the daily agenda. However, after the various chores and duties were done I did need some downtime and means to relax. Hence I did play some games in a limited fashion. Nothing fancy, just stuff like Fall Guys: Ultimate Knockout and Gang Beasts, which are light-hearted and undemanding. I also took the time to log on to The Lord of the Rings Online test server and check out the preview of the forthcoming “mini-expansion”. Not only was this informative but it provided material for a blog post. But overall I didn’t really achieve anything substantial with my gaming throughout September, apart from finishing the main story in The Sinking City . Gaming was relegated to being just a convenient diversion from the immediate problems I’ve been facing but as such, it did fulfil that role well.
At present, Call of Duty Modern Warfare/Warzone continues to provide what I call “quick fix” gaming. I’ve been playing since April and every new season, developer’s Infinity Ward continue to add new features to keep the game engaging. Season Six started on 29th September and came with some interesting new maps and weapons to unlock. At present there appears to be a glitch with the SP-R-208 marksman rifle, as there is no bullet drop. Hence it has temporarily become the weapon of choice of all “wannabe” snipers. Even I can hit things with this weapon. There’s also another glitch with the AS VAL silenced assault rifle. When converted to use SPP ammunition, these armour piercing rounds penetrate everything with no reduction in bullet velocity. You can effectively shoot through an entire building and hit a target. I suspect that a patch will quickly eliminate these issues.
Despite my lack of time for in-depth gameplay during September, I did acquire four new games, which came as a surprise to me given the circumstances. Firstly, I was gifted Spiritfarer via Steam. This is a charming and thoughtful game. You play as Stella, (accompanied by her pet cat Daffodil), who takes over from the mythological Charon as the new Spiritfarer. As a ferrymaster you must sail the sea to find spirits, grant their last wishes and finally take them to the Everdoor, the gateway to the afterlife. This is a game that provides relaxation and an opportunity to reflect on the nature of life and death. I also bought two new RPGs. Elex and Horizon Zero Dawn. The latter is a known quantity and a recent console conversion. The former is a smaller title developed by Piranha Bytes who previously made the Gothic and Risen franchises. Elex mixes futuristic and medieval locations, in which the player can use guns, swords and magic against enemies. Finally Toren is an action adventure puzzle game from a small independent Brazillian developer. I found the basic premise of a baby girl protagonist who grows up as she progresses through a trap filled tower intriguing.
In October, I plan to start playing one of the above RPGs and try again to see if I can catch up with content in The Lord of the Rings Online. I’m hoping that there will be an improvement in server performance. It will also be interesting to see how the community responds to the “mini-expansion”. I may return to Star Trek Online but that is more of a question of conducting research for a series of blog posts. What I crave the most from my gaming at present is something different. Hence I have tried content outside of my usual genres during the lockdown. I cannot find any compelling reason to return to The Elder Scrolls Online at present. That is a game I like to apply myself to, due to the richness of the lore. I don’t want to just dabble with it, so I think I’ll keep it in reserve for later. I suspect it may well be a difficult autumn and winter so perhaps an MMO such as this, will be the ideal solution to the dark nights.
COVID-19 Pandemic 2020 Part 6
When I last wrote about the COVID-19 Pandemic in May, the UK was just beginning to see an easing of lockdown restrictions. As a lot of people surmised, the government was trying to do too much, too soon and without the appropriate logistical support. Hence the last five months have been a litany of political disasters, all of which have contributed to the UK having the highest COVID-19 related deaths in all of Europe. Furthermore, the government's failure to provide PPE, make available a universally accessible testing service and implement an effective national tracing service, has highlighted their lack of talent and overall incompetence. Every week another “dead cat” is thrown on to the altar of politics in an attempt to divert the attention of 24 hour rolling news away from their utter ineptitude. Hence on top of the COVID-19 Pandemic, we’ve seen the spectre of both BREXIT and the “migrant crisis” re-emerge.
When I last wrote about the COVID-19 Pandemic in May, the UK was just beginning to see an easing of lockdown restrictions. As a lot of people surmised, the government was trying to do too much, too soon and without the appropriate logistical support. Hence the last five months have been a litany of political disasters, all of which have contributed to the UK having the highest COVID-19 related deaths in all of Europe. Furthermore, the government's failure to provide PPE, make available a universally accessible testing service and implement an effective national tracing service, has highlighted their lack of talent and overall incompetence. Every week another “dead cat” is thrown on to the altar of politics in an attempt to divert the attention of 24 hour rolling news away from their utter ineptitude. Hence on top of the COVID-19 Pandemic, we’ve seen the spectre of both BREXIT and the “migrant crisis” re-emerge.
There is a general malaise of confusion abroad in the UK at present, as local lockdowns and seven months of constantly changing messages have left people perplexed or indifferent to the latest rules. Several high profile transgressions of the lockdown by senior politicians and their special advisors has further contributed to the crumbling of public support. It has become clear that we are not all in this together. The poor have to return to work regardless of the risks and the rich want them to do so because they require access to the service industries that employ the poor. And then there are the COVID deniers and those who object to the minor inconveniences that arise from being considerate. Who would have thought that wearing a mask as you enter a shop, would be held up as an unconscionable violation of human rights? And by a demographic group that up until now, haven’t been especially concerned about such things. What times we live in.
For my family, life goes on in much the same way as it did in March. My Mother is disabled and housebound, having daily carer visits. Those who care for her still wear PPE and maintain scrupulous hand hygiene. Although my Sister is currently off sick, the government department for whom she works, is still mainly working from home. It is unlikely that staff of her garde will return to the Central London offices anytime soon. I visit their home daily at present although I am looking to reduce this schedule. I go shopping twice a week and visit the pharmacy and doctor’s surgery once a month. Beyond these journey’s I remain in my own home which is one road away. I have coped with the lockdown quite well and maintain a strong social presence online. However, Mrs P who in normal circumstances has a packed social schedule, has found the travel restrictions quite frustrating. But we try to work within the regulations to come up with viable ways to do some activities.
I fully expect the next three to four months to be bad both economically and with regard to COVID-19 deaths. I think we can finally dismiss all thoughts that the pandemic will be a touchstone for social change and a fair and equitable restructuring of the UK’s job market. The country is divided and volatile. Traditional politics has been subsumed by a culture war and it is playing out exactly as expected. Everyone is retreating into their respective “safe space” and battening down the hatches. It’s just a case that some people’s “safe spaces” are better than others. Oh and the panic buying is happening again. As soon as it was announced last week that the Prime Minister was to address the nation, the middle class started block booking all the supermarket delivery time slots and toilet paper once again began flying off the shelves. So I shall do my best to enjoy whatever curious Christmas 2020 has to offer. Because I suspect that it might be the calm before the storm. COVID-19 may well turn out to be an unwelcome New Year guest.
The Return of the Mystery Blogger Award
“The Mystery Blogger Award is an award for amazing bloggers with ingenious posts. Their blog not only captivates; it inspires and motivates. They are one of the best out there, and they deserve every recognition they get. This award is also for bloggers who find fun and inspiration in blogging, and they do it with so much love and passion”. Okoto Enigma
The Rules:
Ensure the award logo is used in your post.
List the rules.
Thank whoever nominated you and provide a link to their blog.
Mention the original creator of the award and provide a link to their site.
Tell your readers 3 things about yourself.
You have to nominate 10 – 20 people.
Notify your nominees by commenting on their blog.
Ask your nominees any 5 questions of your choice.
Share a link to your best post(s).
“The Mystery Blogger Award is an award for amazing bloggers with ingenious posts. Their blog not only captivates; it inspires and motivates. They are one of the best out there, and they deserve every recognition they get. This award is also for bloggers who find fun and inspiration in blogging, and they do it with so much love and passion”. Okoto Enigma
The Rules:
Ensure the award logo is used in your post.
List the rules.
Thank whoever nominated you and provide a link to their blog.
Mention the original creator of the award and provide a link to their site.
Tell your readers 3 things about yourself.
You have to nominate 10 – 20 people.
Notify your nominees by commenting on their blog.
Ask your nominees any 5 questions of your choice.
Share a link to your best post(s).
I have been tagged again for yet another internet questionnaire. But as I enjoy these sorts of things, this is not an issue and I’m happy to participate a second time. But before I start, I shall be making my usual minor “adjustment” to the rules. I find that nominating other potential participants can be a little problematic. I don’t want to pressurise anyone into feeling obliged to respond to a nomination. Nor do I want anyone to feel excluded because they didn’t receive one. Therefore my standard compromise is to suggest that if you like internet questionnaires and wish to be involved, then do so.
So to begin with, I’d like to thank Dan (AKA Magi) from Indiecator for the nomination. This is the second time he’s asked me to participate, so I assume he finds something of note in my writing. Do go and visit his website or stop by when he’s streaming. You’ll find reviews and social commentary there and it’s always useful to read someone else's perspective on popular subjects.
Three Things About Me:
I have a penchant for organising objects because I like things neat and tidy. I keep my pocket change on the window ledge in my office and stack the coins in size order.
Over the years, I have been gradually losing my sense of smell. This has been further exacerbated since I caught COVID-19 in April. I can still detect odors but not as well as I could a decade ago but luckily there has been no reciprocal deterioration in my sense of taste. In some circumstances having restricted olfaction is an advantage.
I really miss producing a weekly podcast. Contains Moderate Peril podcast ran for 180 episodes and Burton and Scrooge got as far as 32 shows. Over time myself and co-host Brian found a style, tone and show format which worked and built a modest but loyal audience. However, scheduling recordings, finding guests and the complexities of post production were tough. Plus it’s hard to maintain your enthusiasm for specific games and sometimes you feel the need to take a break. Eventually real world commitments put both shows on hiatus and eventually we just stopped doing them altogether. However, I still feel that I have plenty to say on gaming, movies, TV and other aspects of popular culture so I may try one of two things. I might try to record a new show to see how I cope with the work involved and determine if past listeners are still interested. The second option is to try and “gatecrash” someone else’s show. The latter is a lot easier. You just turn up, talk, leave and let someone else do the complicated stuff like editing. Either way, I need to address this podcast itch as it just doesn’t want to go away.
Magi’s Questions:
Q: You have to ban one game for eternity. This game shall never be played or watched again and nobody is allowed to talk about it. Which game do you pick?
A: I’m broadly not an advocate of “banning” things, although I believe there is a case for measured regulation in certain circumstances. For example, I see no reason why someone in western society needs to own a fully automatic assault rifle and have no problem with the current UK regulations for firearms. However, unless a video game is in breach of existing libel and defamation laws, I don’t see why a video game should be banned. I don’t see it as a role of government and the wider establishment to police things that may well be morally reprehensible and in poor taste. We should have the freedom to find out the suitability of a game for ourselves and then make an informed choice as to whether to purchase it ourselves. We also have the right to protest against it and upbraid those who created it. But I don’t hold with “cancel culture” and “no platforming”. You win arguments and hold the ethical high ground by engagement. Not by pretending something doesn’t exist.
Q: How was your day? What have you been up to? Hope you’re well.
A: At the time of writing this blog post, I have just taken my late Father’s best suit, regimental tie and shoes along to the funeral directors, in preparation for his cremation next Monday. Have a wild guess how my day’s been. Usually I am a content, self sufficient person but the last two months have been difficult to say the least. However, once my Father’s funeral is over and I get the chance to grieve, privately and on my own terms, I’m sure I will be okay. Because life goes on and I’m too old now with too few days ahead of me to waste on sadness and problems.
Q: If you could take any vehicle/plane/etc. from any game/show/book/whatever to use in our world, what would you pick and where would you go?
A: Sam Loover’s car from Joe 90. I don’t drive. I never have done so. So my response is based purely upon the impression this vehicle left on me when I first saw it as a child. And the fact that it still looks cool. And because it has self sealing and re-inflating tyres. Plus I had a toy version of it during the seventies.
Q: This one’s weird! It’s not a question… it’s an answer! “No, but the raisings certainly belong to this office.” – Find the question that this answer answers!
A: I don’t understand what the answer means. Perhaps the question comes from someone recovering from a major head injury or someone who is not a native speaker of English. Can the verb raise be used in such a fashion? This question would also have been a lot more fun if the answer has been “No but the raisins certainly belong to the office”, because then I could weave a tale of dried fruit based theft and intrigue.
Q: What’s your favourite Indie title that you personally love that nobody seems to know?
A: I stepped completely out of my comfort zone when I bought Hand of Fate in 2015. This deck based game which blends RPG style action combat really grabbed my attention upon its release. It’s quirky, intriguing and has brilliant voice acting by Anthony Skordi as the sinister “Dealer”. The sequel, Hand of Fate 2, improved the game and did something very clever with the existing narrative. It effectively turned the protagonist from the first installment IE the character you previously played, into the antagonist that you were playing against, the second time round. Both games had a great score by composer Jeff van Dyck. In many ways these games are exemplars of the indie gaming ethos. Sadly Defiant Development closed down shortly after the release of Hand of Fate 2, which is a damn shame. They’re next project, A World in my Attic, looked very interesting.
My Questions:
Does it concern you that so many video games are predicated upon or at least involve acts of violence towards other people?
What is your relationship with academia and intellectual rigour? Do you enjoy weighty documentaries and non-fiction books? Do you like understanding complicated issues? Do you revere knowledge? Or does all of the above perplex or disinterest you?
What is the biggest and most profound change in your life that you've personally experienced in the last decade?
Do you enjoy silence or does a lack of noise or conversation bother you?
What fills you with a sense of joy?
Finally, here’s a link to my best posts :)
Nintendo Switch: The Best Console I Haven’t Bought
I recently wrote about the allure of console gaming and how exclusive titles can often be a big incentive to buy one. However, I’ve been a PC gamer for 25 years now and find that the biggest stumbling block regarding consoles is using the dual thumbsticks on the controller. I can cope with one but having to use two simultaneously is just not something I can do in a coordinated fashion. Hence I won’t be buying a Xbox of Playstation anytime soon. The Nintendo Switch is another matter altogether. This platform is unique in several ways. I like the immediacy of a handheld gaming option and of course Nintendo has the benefit of the Mario franchise. Many of the games for the Switch are more “benign”, lacking the inherent violence and destruction of other platforms' flagship titles. Like Nintendo itself, the Switch exists in its own specific niche.
I recently wrote about the allure of console gaming and how exclusive titles can often be a big incentive to buy one. However, I’ve been a PC gamer for 25 years now and find that the biggest stumbling block regarding consoles is using the dual thumbsticks on the controller. I can cope with one but having to use two simultaneously is just not something I can do in a coordinated fashion. Hence I won’t be buying a Xbox of Playstation anytime soon. The Nintendo Switch is another matter altogether. This platform is unique in several ways. I like the immediacy of a handheld gaming option and of course Nintendo has the benefit of the Mario franchise. Many of the games for the Switch are more “benign”, lacking the inherent violence and destruction of other platforms' flagship titles. Like Nintendo itself, the Switch exists in its own specific niche.
Since writing that post earlier on in the week I have given serious consideration to buying this unique console. I spent some time looking at the various bundles that are on sale and trying to ascertain which retailers were offering the best deal. It would seem that the standard price for the Switch in the UK is £279, which is a reasonable price from my perspective. The latest games on physical media seem to maintain a fixed price but I found plenty of online key sellers that were offering digital download codes at discounted prices. The other major advantage that the Switch offers is that I can play in the lounge if I choose to connect to the TV. This offers a better environment for social gaming, which is again another good selling point for this console. My Granddaughters are at an age where the colourful and friendly games that Nintendo offer are becoming appealing to them.
Sadly, during the course of my research I hit a problem. One that put my plan to purchase a Nintendo Switch on hold, indefinitely. I just can’t find any games that I especially want. That’s not to say that the platform doesn’t have any. Quite the opposite. It has a lot of quirky and interesting games to offer. However, none of them especially appeal to me. I wanted a RPG but the most popular titles appear to be JRPGs and that is a genre I struggle with. I don’t like the aesthetic or propensity for hyperbolic voice acting. I’m also not sure if my love for Mario Kart alone can justify the purchase of a new console. I did toy with the idea of buying Skyrim and Witcher III but as I have those titles on the PC already, it seemed redundant to pay for them a second time. So I decided to postpone this acquisition for the immediate future until a game comes out that grabs my attention. It’s a shame really because the Switch seems to have so many positive things going for it. I guess for the present, it’s the best console I haven’t bought.
LOTRO: Bullroarer Update 28 Preview #1
I spent several hours last night exploring the preview of Update 28: War of the Three Peaks on the Bullroarer test server. I usually take a look at all new content for The Lord of the Rings Online in advance, as it always makes for an interesting blog post. However, this preview has proven a little more controversial than usual, as Update 28 is not going to be free (as all prior updates have been). Standing Stone Games announced recently that it is to be sold as a “mini expansion”, which caused a stir among the LOTRO community. Hence my excursion on the public test server was not just to ascertain the scope of the new zone but to ascertain whether there was sufficient content and value to justify being sold as a “mini expansion”. Sadly, from what I have seen, I do not believe that to be the case.
I spent several hours last night exploring the preview of Update 28: War of the Three Peaks on the Bullroarer test server. I usually take a look at all new content for The Lord of the Rings Online in advance, as it always makes for an interesting blog post. However, this preview has proven a little more controversial than usual, as Update 28 is not going to be free (as all prior updates have been). Standing Stone Games announced recently that it is to be sold as a “mini expansion”, which caused a stir among the LOTRO community. Hence my excursion on the public test server was not just to ascertain the scope of the new zone but to ascertain whether there was sufficient content and value to justify being sold as a “mini expansion”. Sadly, from what I have seen, I do not believe that to be the case.
The new region, Elderslade, is North of Misthallow in the Wells of Langflood. As the road winds further into the hills the trees give way to rocks, grass and shrubs. The flora changes from shades of green to yellow hues. The first main Dwarf encampment is Annak-Khurfu in the South of the zone. It delves into the hillside and is in the same aesthetic idiom as Skarháld. You’ll find Durin and Gloin inside and a wealth of PVE content including the new “Missions”. These are instanced solo or duo, narrative driven quests. Outside of Annak-Khurfu, the stable-master provides access to all the other regional Dwarf camps as well as the War of the Three Peaks zone. This is a separate phase of the entire Elderslade region. Wyrmgraf is a ravine to the East of the zone, filled with worms and drakes. This leads to an instanced network of caves. To the extreme North, at the end of the road lies Car Bronach. Its iron gate blocks further passage. And to the West of the region you find the Gates of Gundabad. Ancient Dwarf ruins infested with Orcs, Goblins and Trolls. There is also an Iron Crown settlement in the centre of the map called Zudramdan. The overall design of the zone is suitably dour and bleak, due to its altitude.
Gates of Gundabad and Zudramdan
Overall, Update 28: War of the Three Peaks seems to be just a standard LOTRO update. It offers a single new map, PVE content and “Missions”, which seem to be a variation of skirmishes. Then there is this separate phase of Elderslade, which may be for PVP. I’ve not found a clear explanation yet but that’s hardly surprising as SSG are poor at communicating and collating information in a single accessible place. As an Update, the forthcoming Elderslade region offers “more of the same” in game terms but I don’t think that this content merits the label “mini expansion”. Apart from creating a new environment, the zone just recycles existing Dawrven, Orcish and Angmarim assets. The fact that the Collectors and Ultimate Fan Editions are to be bolstered by such cosmetic items as the Wild Boar mount indicates that maybe SSG thinks so too. And in the space of just 24 hours, players have already taken umbrage at both the proposed changes to the Guardian and a reduction in disenchanting embers from some existing instances.
I suspect that the recent downtime and the ongoing performance issues that are still blighting the game have hit SSG hard financially. They are probably obliged to hit specific financial targets set by Daybreak Game Company and have failed to do so in recent months. If that is the case then they’ve probably been “instructed” to raise revenue via alternative means and this hasty repackaging of an update into a “mini expansion” is their “get out of jail” card. Or at least on paper. Because I’m not sure if this is going to work. I have not yet renewed my subscription due to the games performance. Why should anyone pay for a game that is plagued by lag and random server disconnects. Bearing this in mind, why would I buy a “mini expansion” that is light on content and potentially just as unplayable as other areas in the game? Although I enjoy LOTRO and still have a soft spot for this MMO, I think this business decision smacks as too much of a “fire sale”. Will core fans yet again indulge SSG or are we reaching a tipping point? Only time will tell.
Star Trek Online: Buying Reputation
It would appear that Standing Stone Games isn’t the only MMORPG developer making controversial business decisions at present. Cryptic announced yesterday that they were introducing a means to purchase reputation tiers in Star Trek Online. A move that was met with much virtual eye rolling over on the games unofficial subreddit and more angry comments on the Massively Overpowered website about “pay to win”. The main issue isn’t the adding of this particular mechanic to the game. STO is no stranger to adding services that allow you to bypass “the grind” by spending money. Monetisation has been built into the game since it went F2P in spring 2012. The primary objection to this rep buyout system is the price which is about £20. Furthermore this only buys reputation up to Tier 5. Tier 6 still has to be earned and it’s a particularly arduous chore. There are also 13 reputation factions to complete.
It would appear that Standing Stone Games isn’t the only MMORPG developer making controversial business decisions at present. Cryptic announced yesterday that they were introducing a means to purchase reputation tiers in Star Trek Online. A move that was met with much virtual eye rolling over on the games unofficial subreddit and more angry comments on the Massively Overpowered website about “pay to win”. The main issue isn’t the adding of this particular mechanic to the game. STO is no stranger to adding services that allow you to bypass “the grind” by spending money. Monetisation has been built into the game since it went F2P in spring 2012. The primary objection to this rep buyout system is the price which is about £20. Furthermore this only buys reputation up to Tier 5. Tier 6 still has to be earned and it’s a particularly arduous chore. There are also 13 reputation factions to complete.
The reputation system in STO becomes available at level 50 (there are currently a level cap of 65 in the game). Players can undertake various repeatable PVE group content and earn reputation marks. These are then used on reputation projects which unlock the various tiers. As each tier is completed the player can then access specific reputation based traits, armour weapons and ship consoles. These sets offer significant statistical improvements over standard gear and some have become part of the current game build meta. Hence unlocking all 13 factional reputations is desirable. If you log into the game daily and earn marks for all factions, it will take about two month or so to complete all. However, such an undertaking requires a lot of dedication and would monopolise a players activity in-game significantly. So it is hardly surprising that Cryptic have decided to “ease” this process for players.
The problem lies in the cost and the fact that STO is becoming more focused upon catering to “whales”. I am a member of the Reddit Alert fleet and it has a large amount of players that invest heavily in the game. The net result is a very clear financial divide in the games community. There are still plenty of free options available to players as long as they’re prepared to grind for them. But all too often you’ll find players from opposite ends of the spectrum when playing PVE group Task Force Operations. Those who have a standard ship with gear dropped from missions or bought from the Exchange. And those with lock box vessels and maxed out gear from the reputation system and colony suppliers. Naturally this causes a disparity in combat performance, which then leads to players not wanting to auto group. And if you can’t group then you can’t easily earn the rep tokens. And so the divide in the community increases further.
The Allure of Console Gaming
The last console that I got genuinely excited about and subsequently purchased was the Sega Dreamcast. That was back in 1999 when it became available for European customers. Prior to this I had owned the NES, SNES and Sega Mega Drive (as the Genesis was known outside of the NA). I upgraded the latter with the SEGA CD and 32X addons. But I never got round to buying a Sony Playstation. However, a good friend of mine had one, so between us we had access to all the latest games across multiple systems. Therefore I can say wholeheartedly that console gaming was my platform of choice throughout the mid eighties up to the late nineties. Furthermore, due to my age (I was born in 1967), I wasn’t a child during my 15 year period of console gaming. I was employed and had an income, so could keep up with the latest releases and indulge in “novelty” peripherals such as the light gun for the SNES or the “maracas” for the Dreamcast.
The last console that I got genuinely excited about and subsequently purchased was the Sega Dreamcast. That was back in 1999 when it became available for European customers. Prior to this I had owned the NES, SNES and Sega Mega Drive (as the Genesis was known outside of the NA). I upgraded the latter with the SEGA CD and 32X addons. But I never got round to buying a Sony Playstation. However, a good friend of mine had one, so between us we had access to all the latest games across multiple systems. Therefore I can say wholeheartedly that console gaming was my platform of choice throughout the mid eighties up to the late nineties. Furthermore, due to my age (I was born in 1967), I wasn’t a child during my 15 year period of console gaming. I was employed and had an income, so could keep up with the latest releases and indulge in “novelty” peripherals such as the light gun for the SNES or the “maracas” for the Dreamcast.
However, in 1994 I got my first PC. A Compaq ProLinea 4/33. The processor was an Intel 486DX running at 33mhz. It was primarily used for producing a fanzine and similar DTP work but it could run Doom after adding a sound card and a CD-ROM drive. A year later, after increasing the memory to 16MB RAM, the PC was running Windows 95 and Quake. By the time 1999 rolled around, I was on my third PC and beginning to move away from console gaming. The two major games that shifted my focus to the PC were Star Trek Academy and the original Unreal Tournament. Although I loved the Dreamcast, especially games such as Sonic Adventure, Crazy Taxi and Virtua Fighter 3tb, there was a decline in available content. Also the internet was now a major factor and had an impact upon my gaming choices. Unreal Tournament could be played online against multiple players. Quake III on the Dreamcast could be played via the integral modem with only 4 other players.
Hence by the start of the new millennium, I moved exclusively to PC gaming. As a result I’ve never owned any iteration of either the Xbox or Playstation. Yet since 2000 there have been several occasions where I have seriously considered buying one of these. Often that decision has been driven by an exclusive title that wasn’t available for the PC. Later the idea of being able to play games and DVDs on one device based in the lounge, rather than on a PC in another room was enticing. However, the later change in media formats, IE HD-DVD and Blu-ray, curtailed such ideas. But the biggest hurdle to returning to console gaming has always been having to use a game controller. It’s an odd situation because in the past I’ve always successfully managed to use gamepads. I think the introduction of thumbsticks has been the main obstacle. When playing a game, I can move in one direction while aiming in another perfectly well when using a keyboard and mouse. However, I find doing the same with two thumbsticks counterintuitive.
As the launch of the next generations of consoles comes ever closer, once again I have perused the press releases, watched the various promotional videos and tried to read between the lines of the various reports from the gaming press. As ever, some of the exclusive game titles are intriguing and have piqued my interest. But my enthusiasm is immediately tempered when I reflect upon the versatility of my current PC along with it’s upgradability, compared to a console. A Playstation or Xbox, however well specified, is still a platform dedicated to one task. Therefore, I cannot really justify purchasing either next generation devices. There may be some “wiggle room” regarding the Nintendo Switch though. It’s portable and offers a somewhat different catalogue of games. Plus I have fond memories of playing Super Mario Kart on the SNES back in the nineties. So I guess I’m in the same boat as fellow blogger Syp over at Bio Break. I have “no dogs in this console contest” as well. For the present, I’ll stick with PC gaming while regarding the latest next generation consoles with a degree of envy, regardless of whether it’s misplaced.
Caring for the Elderly Part 12
Long-term care can often end with a bereavement; which is a complex subject in itself. I will not be discussing grief in this post, as that is an immensely personal and subjective experience that we deal with in our own way. Instead, I would like to talk about the administrative and logistical problems that arise after someone has died and use my own recent experiences as an example. My Father died on Wednesday 16th September. He had a series of strokes in 2016 which left him disabled. Over the last four years his level of health has slowly deteriorated and his quality of life has subsequently diminished. This year saw a noticeable change not only in his well being but overall attitude. His stoical outlook finally faded and he lost all interest in life. He fell ill in mid August with Sepsis and then developed a lung infection. When I saw him last on Friday 4th September he told me he was tired and wanted “an end to it all”. Six days later he asked the Senior Doctor on the ward to stop treatment, which wasn’t working anyway. He died a week later on Wednesday 16th September. He was 91.
Greenwich Town Hall
Long-term care can often end with a bereavement; which is a complex subject in itself. I will not be discussing grief in this post, as that is an immensely personal and subjective experience that we deal with in our own way. Instead, I would like to talk about the administrative and logistical problems that arise after someone has died and use my own recent experiences as an example. My Father died on Wednesday 16th September. He had a series of strokes in 2016 which left him disabled. Over the last four years his level of health has slowly deteriorated and his quality of life has subsequently diminished. This year saw a noticeable change not only in his well being but overall attitude. His stoical outlook finally faded and he lost all interest in life. He fell ill in mid August with Sepsis and then developed a lung infection. When I saw him last on Friday 4th September he told me he was tired and wanted “an end to it all”. Six days later he asked the Senior Doctor on the ward to stop treatment, which wasn’t working anyway. He died a week later on Wednesday 16th September. He was 91.
In the UK the first and most important administrative task that needs to be done after a bereavement is to register the death of the deceased. Because my father died in Queen Elizabeth Hospital and not at home, his death had to be registered with Royal Borough of Greenwich and not Bexley where he lived. The Medical Examiner discussed my Father’s care with the Doctor who was responsible for his medical treatment and then called me to explain what cause of death they would be putting on the death certificate was Aspiration Pneumonia. They then notified the Registrar who set up a telephone interview with me. Traditional face to face meetings are suspended due to COVID-19. This phone call took place two day later. I went through some personal details that are required when registering a death. These are similar to those that are entered on a Marriage Certificate. I ordered 5 copies of my Father’s Death Certificate for administrative purposes. There was a fee for these. The registrar then gave me a code for the “Tell Us Once” website. This is a government online portal that confirms the details shown on the Death Certificate and notifies all relevant departments, such as tax, state pension etc.
What has become apparent during the course of my administrative endeavours is that it’s somewhat easier dealing with a bereavement if there’s a surviving spouse or partner. There is not always an immediate requirement for Probate in certain circumstances and fortunately my Mother meets these criteria. Therefore, the two most important administrative tasks currently outstanding are transferring my Father’s Teacher Pension to my Mother, along with having the deeds to the house put in her name. Both of these are common changes of circumstances and are well documented on their respective websites. The transfer of the pension requires the completion of a form and copies of my parents Marriage Certificate and my Father’s Death certificate. The house deeds are all managed via the Land Registry. This task is a little more complex but again due to the pandemic is now handled via the post, which means I don’t have to travel to the regional office in Croydon. I recently found a lot of paperwork pertaining to my parents paying off their mortgage in 1986, so I should have everything necessary. If I don’t the Land Registry can provide duplicates. Again there will be fees involved but nothing too expensive (although that is a relative term).
After the aforementioned tasks are completed, there are a few more outstanding changes of circumstance to be made but these are less complex. The UK has an ageing population and therefore bereavements are a common occurrence. Hence a lot of companies have a dedicated phone line and protocols in place to deal with such circumstances. So transferring account ownership of utility services such as gas, electricity, water, internet access along with Council Tax is relatively simple. Claiming the life insurance policy that my Mother had for my Father also appears to be straightforward and only requires the completion of a form along with a copy of the Death Certificate. My parents shared a joint bank account from which all major household bills are paid. The only change required here is to take my Father’s name off the account. His personal account is now “frozen” and will be closed. The assets will be paid to my Mother. All of which are within the tax threshold so there’s no dealings with HMRC.
Eltham Chapel
The only other administrative and logistical matter arising from my Father’s death is his funeral. Like most of the UK population, my Father will be cremated. At present Government Guidelines allow up to 30 people to attend the service, however, there is a major caveat regarding this depending upon the capacity of the Crematorium. Social distancing has to be observed. As of writing this post I haven’t yet been to the Funeral Directors, although I have an appointment for Monday. It will be interesting to see what size restrictions there will be if any. There will only be about 10 people well enough to come to my Father’s funeral anyway. Both my Mother and Sister will not be able to attend due to ill health. I’m also curious to see if Co-op Funeralcare (who I have contracted to deal with proceedings) offer more contemporary services. My Father stipulated that he didn’t want any floral tributes so I wonder if the funeral directors will set up a “JustGiving” page for charitable donations or whether that falls to me?
Once all the above has been carried out then all the major administrative tasks arising from My father’s death will have been done. Then there’s the more difficult task of going through his personal effects and deciding what to do with them all. This is another one of those situations where there isn’t a standard solution. For some people, this part of a bereavement is the most difficult to deal with, as it brings to mind so many personal memories. However, I am not overly sentimental about such things and my parents' house is cluttered and needs to be clear out. This will create space so I can make some home improvements. Hopefully this will help me make my Mother’s daily life better. Dealing with all these administrative issues is a very curious experience. I have experienced it once before when my Father-in-law died, so I was somewhat prepared this time. As bank accounts are closed and my Father’s details are erased from various companies and public bodies, it does bring home the fact that life goes on, regardless of an individual or a family's grief. But these tasks, painful as they may appear, have to be done. Ignoring them only makes a difficult situation worse.
Everything is a Moral Minefield
Chris AKA Wolfyeyes wrote a very succinct and honest post yesterday about an issue that many gamers may have encountered of late. How you can feel morally conflicted about indirectly supporting awful people and ethically bankrupt institutions, such as Ubisoft or Take two Interactive, when you buy specific video games. Chris says he faces “a standoff between my social beliefs and my desire to support the rank-and-file devs caught in the eye of the storm”. He goes on to explore the notion of “hate the artist, not the art” and concludes that the debate is not as binary as that. He concludes his post in the hope that the weight of negative exposure that has come about may force problematic game developers and publishers to change their corporate culture. However it is impossible to completely divorces one’s conscience from reality so the price of playing certain games is a sense of ongoing discomfort.
Sound advice
Chris AKA Wolfyeyes wrote a very succinct and honest post yesterday about an issue that many gamers may have encountered of late. How you can feel morally conflicted about indirectly supporting awful people and ethically bankrupt institutions, such as Ubisoft or Take two Interactive, when you buy specific video games. Chris says he faces “a standoff between my social beliefs and my desire to support the rank-and-file devs caught in the eye of the storm”. He goes on to explore the notion of “hate the artist, not the art” and concludes that the debate is not as binary as that. He concludes his post in the hope that the weight of negative exposure that has come about may force problematic game developers and publishers to change their corporate culture. However it is impossible to completely divorces one’s conscience from reality so the price of playing certain games is a sense of ongoing discomfort.
I greatly sympathise with Chris’ stance. I have found myself in a similar position recently. I chose not to buy Tom Clancy's Ghost Recon Breakpoint due to the unpleasant revelations about Ubisoft. However, although I understand the inherent moral conflict, I refute the glib resolution that some people extol. There is a certain type of socio-political idealist that erroneously thinks that you maintain emotional, ethical and philosophical purity by rendering all problems down to a simple binary choice. Unfortunately, that is unsustainable in reality. Because the moment you take a principled stand against one moral outrage, logically you would have to take a similar position on all others. Eventually you’d end up living in a cave, wearing a hessian loincloth, surviving on berries although you could feel morally superior as you died from a simple cut due to a lack of antibiotics.
“Hate the artist, not the art”
Virtually every aspect of western civilisation is tainted with some sort of moral conundrum or ethical blindspot due to the predatory nature of capitalism and modern political systems. The food we eat, the clothes we wear and the energy we consume are seldom produced and sustained in an ethical fashion. It is impossible to take a meaningful principled stance against all these things simultaneously. However, this dilemma is not necessarily a “gotcha” moment that undermines and mitigates all forms of protest, as some people would have you believe. It simply means we have the difficult task of trying to deal with complex problems while still being a contributory factor to those said problems. Or to put it another way, trying to wipe shit off your shoes while walking through a septic tank.
With regard to video games and the fact that many are made by unpleasant, morally repugnant businesses, consider the following. Although Ubisoft, 2K, Bobby Kotick, Randy Pitchford et al may well be an ethical minefield or absolutely awful human beings, those who work for them in the various studios around the world are not necessarily cut from the same cloth. Many are just regular folk trying to earn an honest buck in an industry that they love. Despite the so-called “glamour” of video game production, many of those who work in it are stuck on the same corporate treadmill like the rest of us are. Why punish them by not buying a game? Protesting can be far more targeted and nuanced. I’m sure shows like The Jimquisition really gets under the skin of those that Jim Sterling targets. Abusers are often ego maniacs and narcissists.
“Would you like to see a trick?” Does it involve you sodding off Randy?
It is not hypocritical to have principles and yet struggle to effectively implement them. We all live within a failed system that is certainly not a meritocracy. It has an entrenched hierarchy that hoards wealth and power, that fights tooth and nail to maintain the unjust status quo. Therefore moral purity and ethical fundamentalism are untenable and ineffective. Also anyone peddling the alleged “gotcha” that being part of the problem means it’s impossible to fix it, is being disingenuous and simply trying to shut down the date. It’s just another form of “whataboutery” which is bullshit and the province of people called Colin. You know the guy. Every office has one. He’ll argue against any point just to wind people up. In the meantime, just make targeted and meaningful protests that can deliver results. Fight battles that can be won. Social change is an ongoing war and not a blitzkrieg. And recognise that modern life means often being in a perpetual state of cognitive dissonance.