Some Video Games Fail
I was somewhat surprised to learn this week that the action role-playing video game Magic: Legends was to be closed. Not so much by the actual decision itself but at the speed at which it has been made. Technically the game has not left beta testing and will now never be formally launched. The servers will remain accessible until October 31st 2021 and players who have spent money on microtransactions via the Epic Store or Arc will be refunded. Developer’s Cryptic and publishers Perfect World Entertainment have naturally not given any specific details regarding the reasons behind the games closure. The accompanying press release is suitably vague. “We learned several valuable lessons along the way, and we will use them to improve Cryptic’s future development efforts”.
I was somewhat surprised to learn this week that the action role-playing video game Magic: Legends was to be closed. Not so much by the actual decision itself but at the speed at which it has been made. Technically the game has not left beta testing and will now never be formally launched. The servers will remain accessible until October 31st 2021 and players who have spent money on microtransactions via the Epic Store or Arc will be refunded. Developer’s Cryptic and publishers Perfect World Entertainment have naturally not given any specific details regarding the reasons behind the games closure. The accompanying press release is suitably vague. “We learned several valuable lessons along the way, and we will use them to improve Cryptic’s future development efforts”.
Magic: Legends went through several design changes during its development. It was originally conceived as a free-to-play, next generation, action MMORPG. However this was later downgraded to multiplayer action RPG. The version released for beta testing in March was unpolished and uninspired (according to player feedback) and then courted further controversy by having a somewhat egregious business model with an excess of store benefits. Despite being part of a much beloved franchise, the game just seemed to miss the mark and was seen as just another indifferent ARPG in an already saturated market. The entire situation put me in mind of Turbine’s Infinite Crisis. This was a game based upon an established intellectual property (DC universe) that was similarly closed after a lacklustre reception back in 2015, despite the resources that had been spent upon it.
Naturally, it is the human cost of this situation that is the saddest part of the story. The demise of Magic: Legends has consequently resulted in staff layoffs. In wider terms, this is a timely reminder that video games are consumer products, designed to make money. Obviously the powers that be (in this case PWE) looked at the development costs of Magic: Legends (including what it would take to improve the game) and then offset that against any projected revenue they thought they could make. They subsequently decided to cut their losses and move on to the next project. It’s not as if every aspect of the game’s development is a write off. Assets and code can be reused elsewhere. This was a business decision, pure and simple. Magic: Legends will now join Crucible and Anthem on the list of major video games that have failed. Because failure is an intrinsic part of business.
A Month in Gaming
The last installment of A Month in Gaming was at the end of April. I have decided to update this recurring post less often to ensure that I have more to write about than just cataloguing my generic activities in The Lord of the Rings Online and Star Trek Online. The only downside of such an approach is that it invalidates the title but that can’t be helped. Fortunately, I have done more than usual over the last two months. My daily schedule has changed temporarily and I now have a little more leisure time available. Hence I’ve dabbled with several new games as well as using my Nintendo Switch more often. I also took part in a “tag team” playthrough of XCOM 2, which was a very interesting experience. And I finally took the time to go through all my games libraries on the various different platforms to catalogue exactly what I have. I found a few hidden gems but the majority is just “filler” that you find in most video game bundles.
The last installment of A Month in Gaming was at the end of April. I have decided to update this recurring post less often to ensure that I have more to write about than just cataloguing my generic activities in The Lord of the Rings Online and Star Trek Online. The only downside of such an approach is that it invalidates the title but that can’t be helped. Fortunately, I have done more than usual over the last two months. My daily schedule has changed temporarily and I now have a little more leisure time available. Hence I’ve dabbled with several new games as well as using my Nintendo Switch more often. I also took part in a “tag team” playthrough of XCOM 2, which was a very interesting experience. And I finally took the time to go through all my games libraries on the various different platforms to catalogue exactly what I have. I found a few hidden gems but the majority is just “filler” that you find in most video game bundles.
Let’s start with MMOs. The new Blackwood expansion for The Elder Scrolls Online has provided me with a reason to return to the game. I have written at length about the companion system in another post but I would like to reiterate how it does provide a major shot in the arm for the solo player. I have ventured into several dungeons with Mirri providing ranged DPS in support of my melee combat and it has proven a most effective combination. Especially if you configure your companion with at least one healing skill. Alternatively you could equip either of them with a Restoration Staff and make them a dedicated healer. The companion system seems very flexible and I do hope that developer’s ZeniMax continues to improve it further.
In STO, I have levelled one of my new Delta Recruits and have now optimised their build and gear. The toughest aspect of fine tuning an alt in STO is reaching Tier 6 with all reputation factions. If you have completed this on one character, there is a 50% reduction in the time it takes on all subsequent alts. However, even with this benefit, it still takes 50 days and requires you to grind out a prodigious amount of reputation marks. The Summer Festival started today on the resort planet of Risa, so I currently have an alt permanently stationed there to undertake the repeatable daily quest and hence earn the new free Tier 6 ship. I have deferred returning to LOTRO for the present, preferring to keep Update 30 for the Autumn. At present I’m more interested to see what developer’s Standing Stone Games are up to and whether EG7 has any announcements pending for both DDO and LOTRO.
I have continued with the RPG GreedFall and try to have one major play session a week. The game supports mods, so I have one currently installed that removes the brown filter that blights the visuals. I appreciate that game designers like to use the colour palette to create an aesthetic that reflects the narrative themes. But this grimy veneer that has been applied does become tiresome after a while. Once removed the colours of the environment become far more vibrant. I prefer it when games make such visual affectations optional and allow players to toggle such features off if they so please. Adding faux film grain to cinematic cutscenes is another common technique and one that can be quite distracting. GreedFall is a very satisfying RPG, combining many of the elements found in BioWare games. It is the sort of game that provides “comfort entertainment”, as it feels very familiar and traditional.
Perhaps the most challenging game I’ve played of late is Assassin’s Creed IV: Black Flag. This is mainly down to the fact that I’m playing the Switch version and using a pro controller. I’ve tackled other instalments in the franchise on the PC. The combination of the unfamiliarity with using a controller plus the absolute plethora of buttons, menus and actions has meant that my progress has been very slow. Plus when playing on a PC, I am sitting directly in front of the monitor. Using a large screen TV and sitting further away also takes some getting used to. Although I can see quite well, the incongruity of this manner of gaming seems to add to my sense of discombobulation. However, I shall persevere as I like this game and the naval combat is proving especially enjoyable.
In early May, I took part in an XCOM 2 succession game, in which each player undertook a mission and then saved the game and shared the file with the next participant. It was a very interesting experience as playing a turn based strategy game is somewhat out of my comfort zone. Broadly I enjoyed this experience but as ever there were a few caveats. Some of the missions in XCOM 2 have time sensitive objectives. Mercifully, I did not have to endure one of these. I don’t care for time based game mechanics and find them annoying rather than tense or motivating. And then there was the issue of incurring a fatality among your squad when undertaking a mission. Usually, I wouldn’t worry so much about such a thing but as this was a team undertaking, I felt a greater sense of responsibility to prevent this. Ironically, I failed but it is interesting how participating in a team activity changes your outlook and how you play a game due to a perceived sense of obligation to others. Perhaps I’m just not a good team player.
As I mentioned initially, I finally catalogued all games that I currently own and have been trying to draft a short list of the titles I would like to try this year. Horizon Zero Dawn, Days Gone and Elite Dangerous are the current favourites. Possibly 70% of what I own will more than likely never be played. In many ways this highlights the ephemeral nature of video games. Like popular music from time to time someone will create a timeless classic but there is also a lot of disposable content produced on a seemingly endless conveyor belt. And much of that seems to end up in my video game collection. I must admit, when I finally move over to Windows 11 as an operating system, I’m curious to see how well support for Android apps goes. I tend not to play mobile games on my phone or tablet and the biggest stumbling block of running them on my PC is the use of an emulator. Finally being able to try some titles from the comfort of my PC could prove convenient. Or it may validate my existing prejudice towards mobile games.
Fear of Missing Out (Again)
On May 20th, John McClane and Rambo were unceremoniously crowbarred into Call of Duty: Warzone as cosmetic skins available from the in-game store. If you felt that your life would be spiritually enriched by such a purchase then it cost about £34 for both, resulting in the community accusing Activision (and not Hans Gruber) of being an exceptional thief. Two weeks later the offer ended and the skins were withdrawn. Those who had missed the proverbial boat were left to cry into their beer and shake their fists at the capricious nature of the gods. Because “fear of missing out” is very real and all leisure industries know this and are happy to capitalise upon it. Never mind children and those adults who have learned to control their sense of compulsion. Capitalism’s reply is simply “am I my brother’s keeper”? Because loot boxes, limited time events and cosmetic products are just surprise mechanics”.
On May 20th, John McClane and Rambo were unceremoniously crowbarred into Call of Duty: Warzone as cosmetic skins available from the in-game store. If you felt that your life would be spiritually enriched by such a purchase then it cost about £34 for both, resulting in the community accusing Activision (and not Hans Gruber) of being an exceptional thief. Two weeks later the offer ended and the skins were withdrawn. Those who had missed the proverbial boat were left to cry into their beer and shake their fists at the capricious nature of the gods. Because “fear of missing out” is very real and all leisure industries know this and are happy to capitalise upon it. Never mind children and those adults who have learned to control their sense of compulsion. Capitalism’s reply is simply “am I my brother’s keeper”? Because loot boxes, limited time events and cosmetic products are just surprise mechanics”.
There is an inherent appeal to being part of something that is currently happening. To be at the cutting edge of something new or at the heart of a major event or talking point. It’s nice to belong, be part of a community and be able to say at a later date “I was there”. If you want to be less generous, it all can at times feel like a throwback to one’s adolescent years and not being excluded from the “in crowd”. One could even stray into the realm of armchair expertise and conjecture about the psychology of FOMO. Is it all part of the ongoing decline of society and the rise of the individual and consumer? Do we long to connect with others or are we just infantilised, emotionally stunted, perpetual teenagers who are incapable of countenancing going without? FOMO is indeed a complex social issue but as a business tool it is as plain as the nose on your face. People don’t like to miss out, so regularly offer them short term deals and watch the money come rolling in.
Is this man missing out or has he been deliberately excluded due to his choice of knitwear?
In my youth, I was often an early adopter. I was enamoured with new technology and would jump in feet first when a new product launched. I did this for a while with video games, often participating in alpha and beta testing and then enduring the iniquities of a bad launch. But I am older and wiser now, having learned the hard way. I’ll wait for an operating system, hand held device or game to be out some time nowadays before contemplating buying it. Let others ensure the bugs, flaws and lack of functionality. Most importantly, I am not fundamentally tormented by the notion that other people are having more fun than me at any time of the day. Doing things I can’t do or can’t afford to do. Because it’s a futile concept that if taken to extremes, will leave you constantly dissatisfied and envious.
A pop culture reference to contracts
Sure there are plenty of people who are currently indulging their personal vices or having a bacon sandwich, while I am not. But there are also people going to bed hungry or being tortured by the secret police, while I am not (although Mrs P does make me take out the recycling). FOMO is very much a first world problem and is very much underpinned by a sense of entitlement. I believe this may be a generational thing as I don’t remember anyone handing me a legally binding contract during my first day of school that stated that I’d always have “everything” and always “get my own way”. Joking aside, for me it is just a practical reality that you can’t do all the things you’d like. Occasionally I will have a pang of envy that I’ve not got that experience of playing World of Warcraft or that I have no association with sports. But these feelings are short-lived. Rather than worry about what I can’t do, I prefer to focus on what I can and therefore enjoy it all the more.
NB: I previously wrote a post about FOMO on 24th of September 2019. When you’ve been blogging for as long as I have some subjects are bound to come around more than once.
The Ice Road (2021)
Back in September 2017, Liam Neeson stated in an interview with Sky News that he was retiring from the action genre, due to his age. He felt that audiences would question his credibility in such roles. After the release of The Commuter (2018) and Cold Pursuit (2019) Mr Neeson appeared to return to human dramas and films that focus on performance rather than punching man and beast. Ordinary Love and Made in Italy, both released in 2019, demonstrate the actor’s versatility and skill. People seem to forget that he is a thespian who was initially known for his character driven roles in films such as The Mission (1986), Rob Roy (1995 and Michael Collins (1996). It was only in 2008 that he reinvented himself as an action hero. It’s all a far cry from Schindler’s List and his performance that earned him an academy award nomination. The reason I mention all of this is because The Ice Road is the third action movie I’ve seen in 2021 that stars Liam Neeson.
Back in September 2017, Liam Neeson stated in an interview with Sky News that he was retiring from the action genre, due to his age. He felt that audiences would question his credibility in such roles. After the release of The Commuter (2018) and Cold Pursuit (2019) Mr Neeson appeared to return to human dramas and films that focus on performance rather than punching man and beast. Ordinary Love and Made in Italy, both released in 2019, demonstrate the actor’s versatility and skill. People seem to forget that he is a thespian who was initially known for his character driven roles in films such as The Mission (1986), Rob Roy (1995 and Michael Collins (1996). It was only in 2008 that he reinvented himself as an action hero. It’s all a far cry from Schindler’s List and his performance that earned him an academy award nomination. The reason I mention all of this is because The Ice Road is the third action movie I’ve seen in 2021 that stars Liam Neeson.
After a methane explosion, a remote mine caves in northern Canada trapping 26 men. The mine owners desperately mount a rescue mission that requires a wellhead and piping to be urgently delivered to the site of the disaster. As there is no airstrip in the area that can accommodate military transport planes, the equipment has to be driven by truck across the ice roads which are beginning to thaw in the spring weather. A team is hastily put together consisting of three trucks. These are driven by Jim Goldenrod (Lawrence Fishburne) an ice road veteran, the hot headed Tantoo (Amber Midthunder) whose brother is trapped in the mine and brothers Mike (Liam Neeson) and Gurty McCann (Marcus Thomas). Gurty is a Iraq War veteran suffering from PTSD and aphasia as well as an exceptional mechanic. They are joined by Tom Varnay (Benjamin Walker), an actuary from the mine’s insurance company. Racing against the clock, the team soon discover that there’s more than just the weather working against them.
The Ice Road is written and directed by Jonathan Hensleigh and is his first movie for a decade. Hensleigh wrote several high profile films in the nineties (including Die hard with a Vengeance and Armageddon)and has often employed an uncredited “script doctor”. His directorial debut, The Punisher in 2004, was well received due to its intelligent exploration of vigilante genre and use of physical stunt work rather than CGI. His subsequent films have not fared so well. Both Welcome to the Jungle (2007) and Kill the Irishman (2011) were criticised for being derivative. Sadly that still seems to be the case. The Ice Road feels like a simplified version of Henri-Georges Clouzot's iconic thriller The Wages of Fear (1953) and (or) William Friedkin’s Sorcerer (1977). One scene even feels like it’s been cribbed from the classic Thunderbirds episode Day of Disaster.
However, that being said, the budget for this film is modest and so the set pieces are not excessive in that “Fast and the Furious” idiom. The scope of the action is quite contained, although somewhat implausible. The laws of physics are bent but not broken and the ice and weather do feel like a legitimate threat. The characters are leaning towards the generic, however the interaction between Neeson and his troubled brother played by Marcus Thomas, does make the story a little more interesting. The Ice Road fits comfortably within its PG-13 rating and doesn’t overstay its welcome like so many modern action movies do. Overall, this movie provides some mid tier thrills and can be entertaining if you accept the premise. It is better than equally stupid The Hurricane Heist (2018). Neeson does much of the heavy lifting, as per usual. Sadly Lawrence Fishburne, another watchable actor, doesn’t have as much screen time as he deserves.
ESO: “Where am I and What am I Doing?”
The other day, I was undertaking a daily mission for the Undaunted in The Elder Scrolls Online. I do these to level my companion’s associated skills line. The mission required me to go to a particular delve, set some soul traps and defeat the boss. Nothing unusual there, so off I went. Whenever I go into a delve in ESO, I usually do the quest associated with it. It provides a story and some additional experience points. Thus I arrived in the vicinity of the delve in question and found a note not far away. I read it and accepted the quest assuming it to be the one associated with the delve. To cut a long and confusing story short, it turns out it wasn’t. I discovered this about 20 minutes later when I found myself running around, confused with three separate lots of quest markers on my in-game map. Not for the first time I found myself pondering “where am I and what am I doing”.
The other day, I was undertaking a daily mission for the Undaunted in The Elder Scrolls Online. I do these to level my companion’s associated skills line. The mission required me to go to a particular delve, set some soul traps and defeat the boss. Nothing unusual there, so off I went. Whenever I go into a delve in ESO, I usually do the quest associated with it. It provides a story and some additional experience points. Thus I arrived in the vicinity of the delve in question and found a note not far away. I read it and accepted the quest assuming it to be the one associated with the delve. To cut a long and confusing story short, it turns out it wasn’t. I discovered this about 20 minutes later when I found myself running around, confused with three separate lots of quest markers on my in-game map. Not for the first time I found myself pondering “where am I and what am I doing”.
I have subsequently discovered after conducting some research that the quest I picked up outside the delve was in fact the prologue for the Blackwood expansion. A quest that I would have undertaken at some point but one that I wasn’t specifically intending to do at the time. I’m a bit picky regarding questing in ESO and I’m trying to do the content in narrative order on this particular alt. However, I believe this situation highlights a flaw in the way quests are presented to players in the game. The most obvious problem from my perspective is that there was nothing to indicate on the initial quest bestowal text (which in this case was a handwritten note) that it was for this specific quest chain. Because content scales in the game now, you can travel Tamriel and pick up missions from the original story, regional quests and faction specific missions. Unless you check every quest offered against one of the various ESO Wikis, you’ll find yourself involved in multiple stories and it all gets confusing.
ZeniMax have given quest bestowal a great deal of thought in ESO, as you can pick up the major ones in several different ways. If you miss one NPC you may subsequently receive a letter to prompt you. It’s all rather clever. When you start playing the MMO for the first time, the way some NPC will run up to you to ask for your help is quite exciting. But it gets old very quickly and Stuga, Bera Moorsmith and others soon become very irritating. Another issue I have with ESO is managing quests via the in-game journal. Even when using an addon, it is still difficult to filter and order them in a way that I feel is logical. The easiest way to avoid confusion is to undertake just one quest at a time but that is hardly practical. And don’t get me started on the game’s inability to abandon the redundant Cadwell’s Silver and Gold quests. For a game that excels in many other ways it’s odd that they have fumbled the ball on this basic aspect of MMO gameplay.
I do not have this problem in other MMOs. In The Lord of the Rings Online quests are level specific and there is no scaling of content. Hence you cannot accidently stray into a new zone and pick up a major quest in error, if you’re below the level of content in that area. Star Trek Online has an interesting quest bestowal system where most content is offered by senior leaders of your faction. The player is hailed via subspace communication and the bestowal dialogue is clear regarding which storyline the mission is associated with. The ingame mission journal also has a tab showing what story arcs are available and all of their subsequent missions. It is a far less confusing system and much easier to stay on top of. However, what cannot be cured must be endured, so in the meantime I shall have to be more cautious about what quests I do or do not accept in ESO. I shall also see if there’s a more comprehensive addon for the quest journal.
Thoughts on “Classic LOTRO”
Cordovan (AKA Jerry Snook), Community Manager for the MMORPG The Lord of the Rings Online, stated in the last Developers Live Stream that “the idea of a formal classic (server) is never off the table”. Naturally, this comment has led to a lot of speculation on the official LOTRO forums. Many players by inference have concluded that the original code does exist for the game as it was at launch or immediately thereafter. As you can imagine this has resulted in much debate as to whether a classic LOTRO server based upon the original Shadows of Angmar release could be created. Assuming that this is the case and technically developer’s Standing Stone Games can do this, it raises the question of whether they should or not. Because a classic server is a different beast to the previous legendary progression servers. 14 years has seen a great deal of change within the MMO industry and with LOTRO as well. Let us take a moment to reflect.
Cordovan (AKA Jerry Snook), Community Manager for the MMORPG The Lord of the Rings Online, stated in the last Developers Live Stream that “the idea of a formal classic (server) is never off the table”. Naturally, this comment has led to a lot of speculation on the official LOTRO forums. Many players by inference have concluded that the original code does exist for the game as it was at launch or immediately thereafter. As you can imagine this has resulted in much debate as to whether a classic LOTRO server based upon the original Shadows of Angmar release could be created. Assuming that this is the case and technically developer’s Standing Stone Games can do this, it raises the question of whether they should or not. Because a classic server is a different beast to the previous legendary progression servers. 14 years has seen a great deal of change within the MMO industry and with LOTRO as well. Let us take a moment to reflect.
A classic LOTRO server would differ greatly from the game as it stands today. In the original version of the game the world map was subject to the “fog of war” meaning you had to explore each region of Middle-earth for the map to show what was there. Players did not get a mount until level 35. It cost a lot of gold and was tied to the successful completion of a specific series of quests. Talking of which, there was no quest tracker with quest locations marked on the in-game map. Players were given a broad location such as “visit southern Chetwood” and had to find things for themselves. The trait system was radically different, skills had to be bought from trainers as you levelled and gear came from quests, crafting or players trading via the auction house. There was no barter wallet so storage frequently became an issue. The current cosmetic system also didn’t exist back in 2007, so the level of sartorial elegance was much lower. And perhaps the biggest difference was that the game was still heavily focused on group play and not all PVE content was soloable.
LOTRO in 2007 was very much a product of its time. Clearly, as the forums show us, there is a percentage of the existing LOTRO community that would be happy to play such an iteration of the game. However, it would take a lot of developer resources to bring Shadows of Angmar back in a form that is playable on contemporary PC architecture and hardware. Modern screen resolutions and the need for a fully scalable UI are just a few examples of technical problems that would need to be addressed. Gamers often use World of Warcraft Classic as an example of how an older version of an MMORPG can be brought back. However, a completely different development team was established to achieve this and the project had the financing of Activision Blizzard underpinning it. SSG do not currently have such resources at their disposal. Are their current owners EG7 going to fund such an undertaking such as classic LOTRO server, with its limited appeal, or spend their money modernising the existing game, upgrading the current engine and porting it to console? The latter seems like the more fiscally prudent business decision.
I personally would not be interested in a classic server. I enjoyed the game, as it was back in 2008 when I started playing, by default. It’s systems and mechanics were what they were back then but I cannot in all honesty say that I want to give up all the quality of life improvements that have come to LOTRO since then. Furthermore, I was at a point in my life where I could sink time into an MMO as was required by the genre back then. Those days have gone. I think the most I would ever do in classic LOTRO would be to log in to the game, recreate my existing Lore-master and potter around Bree. I do not think my interest would endure beyond a few hours of nostalgia. If a classic server follows the business model of the existing legendary servers it will require an active subscription for access. I don’t consider that to be worth my while. And then there’s the entire issue of the presence of the LOTRO store in a classic version of the game.
If LOTRO is to survive, it needs to modernise and requires a major overhaul. There are systems and mechanics to fix and some that need to be removed. If EG7 can afford to do this as well as provide a version of classic LOTRO, then so be it. But I don’t think that is the case and therefore I believe the first option is the most likely option. However, this entire debate is yet another example of what I call “gaming myopia”. Some gamers habitually forget that video games are consumer products and not public services. There are dozens of products that have been discontinued during my lifetime that I’d like to see return but the realities of business mean that none of them ever will. Producing classic LOTRO at the expense of the existing game would be a mistake. Churn and new customers are a reality that drive business. Do potential new players really want a game from 2007? I think not.
NB: This subject last became a talking point within the LOTRO community last November. The matter was addressed by SSG developer Jeff Libby (AKA MadeOfLions). Whether Cordovan’s recent comments indicate a policy change or whether he was just talking theoretically, I will leave to readers to decide.
ESO: Choosing a House
This post is not intended as a player housing guide. There are plenty of those available already. Instead, it is my personal musings on the various factors that have determined my choice of player house in The Elder Scrolls Online. In fact, at the time of writing, I have not yet purchased the house in question. It is dependent not only on a large sum of in-game gold but also a substantial achievement. The house in question is Gardner House in Wayrest. As it is a large player house it costs 1,015,000 gold. Alternatively, it can be bought for 5,700 Crowns, unfurnished. If you want it furnished it will cost 7,100 Crowns. I shall not be buying this property with Crowns as it works out at about £36 or so. I think that price is a little exorbitant especially in light of what I want the house for.
This post is not intended as a player housing guide. There are plenty of those available already. Instead, it is my personal musings on the various factors that have determined my choice of player house in The Elder Scrolls Online. In fact, at the time of writing, I have not yet purchased the house in question. It is dependent not only on a large sum of in-game gold but also a substantial achievement. The house in question is Gardner House in Wayrest. As it is a large player house it costs 1,015,000 gold. Alternatively, it can be bought for 5,700 Crowns, unfurnished. If you want it furnished it will cost 7,100 Crowns. I shall not be buying this property with Crowns as it works out at about £36 or so. I think that price is a little exorbitant especially in light of what I want the house for.
According to The Unofficial Elder Scrolls Pages “Gardner House is a large player house in Wayrest. The home has three entrances on the east, south, and west. The eastern entrance brings you into a small courtyard on the north side of the house which possesses a stable at the western end. The house has three spacious floors, a fireplace on the middle floor where all three entrances are and a large open basement. The house is conveniently located near the Wayrest Treasury to the south and the city's writ drop-off location, which includes Rolis Hlaalu, for dropping off Master Writs”. This is all fine and dandy but I’m not after a house in ESO for furniture collections, achievements or role play. I primarily want a house for optimal access to a major in-game hub and for quick and convenient storage. Sadly, the free houses you can claim do not provide this.
Despite having two alts, my main character in ESO is a Dragonknight affiliated to the Daggerfall Covenant. As I now have companions to level, the capital city of Waywrest affords quick and convenient access to the Fighters and Mages guilds as well as the Undaunted enclave. This makes undertaking these three groups' daily quests a lot more efficient. There are also seven guild traders in the city. Therefore it seems practical to have a permanent residence in Waywrest. Housing also offers a convenient location to port to without incurring any cost. Because I am not au fait with the lore in ESO I still often have to pause and check a location when travelling, as I don’t readily know which region towns and villages are. Having a means to leave a dungeon and return to a safe location with storage available is very desirable. I recently bought Fezez the Merchant so I can sell loot on the fly.
So all things considered, the Gardner House is the most appropriate residence for me. The in-game gold requirement is not a problem. I have about 500,000 on each of my three alts. As I’m not buying with Crowns, I do have to complete the Stormhaven Adventurer achievement which requires completing 60 quests in the region. At present I am about halfway through this. Thankfully, I have an addon that marks all available quests on the map so I can see where I need to go to complete the remainder. Furthermore, acquiring this house has provided me with a useful goal to focus upon. I’m one of those MMO players that likes to play through content in a structured manner and work towards a reward or specific target. I chose my house in The Lord of the Rings Online in a similar fashion, based upon its location.
ESO: Companions
The Blackwood expansion for The Elder Scrolls Online launched a little over a fortnight ago. During that time I have become accustomed to having an AI companion. Not only are they an enjoyable new addition to the MMO, they also have quite a significant impact upon PVE gameplay. Both Mirri Elendis and Bastian Hallix can provide robust support and cover a variety of roles. This is down to the flexibility of the skills system associated with companions. Gear requirements are simpler and a lot easier to manage compared to that of your main character. Levelling is driven by XP gained from combat. Thus, if you go questing with either one of your companions they will level accordingly. They also have personal quests associated with them, ensuring that both companions have an appropriate backstory. The rapport system means that it is prudent to be nice to your AI chum or they’ll leave you for a time.
The Blackwood expansion for The Elder Scrolls Online launched a little over a fortnight ago. During that time I have become accustomed to having an AI companion. Not only are they an enjoyable new addition to the MMO, they also have quite a significant impact upon PVE gameplay. Both Mirri Elendis and Bastian Hallix can provide robust support and cover a variety of roles. This is down to the flexibility of the skills system associated with companions. Gear requirements are simpler and a lot easier to manage compared to that of your main character. Levelling is driven by XP gained from combat. Thus, if you go questing with either one of your companions they will level accordingly. They also have personal quests associated with them, ensuring that both companions have an appropriate backstory. The rapport system means that it is prudent to be nice to your AI chum or they’ll leave you for a time.
One of the great ironies of the MMO genre has been the sea change in social gameplay. Over two decades the focus has shifted from group content to solo. Apart from The Lord of the Rings Online, I play most other MMOs conspicuously on my own. However, in recent years there have been occasions when I miss playing with others. The companion system in ESO offers the best of both worlds. There are the practical benefits of having a support character available as well as the advantages of being able to play at a single player’s pace. Whenever I group with other players in any MMO, I always feel obliged to hurry things along and progress from A to B as efficiently as possible. When playing ESO with either Mirri or Bastian, I still get to read the quest bestowal dialogue, pay attention to what is going on around me and potter about in a manner I like. Companions also don’t have to go and “empty their bags” or get their armour repaired.
I also enjoy the various quips that these companions make when you’re out in Tamriel questing. Both have a selection of ambient dialogue, which although somewhat limited at present, break the monotony of combat. I was a little nonplussed when I initially misheard something that Mirri says from time to time. After a fight, she’ll occasionally remark “whew, that was a bit of a warm up”, which I heard as “whew, that was a bit of a wombat”. It took me a while to realise that I had made a mistake and that there weren't any marsupials in the vicinity. But beyond this minor confusion, I don’t have too many complaints about companions per se. They do that thing that all pets do in the MMO genre and every now and then will stand right on top of the thing you’re trying to interact with. But this may well get addressed in a future patch.
It would appear that the current iteration of companions in ESO is not the finished version. Developer’s ZeniMax intend to add further functionality in the future. Many players hope that the companion systems will eventually be as comprehensive and in depth as those found in single player RPGs. Some certainly want the romance options common to BioWare games. I would certainly like more interaction and story content associated with them. For the present, I am content to have the company of both Mirri and Bastian as well as their practical assistance. Bastian I am using mainly as a tank with sword and shield. Mirri is currently using her default bow, although I may use her as a healer for when I go into full melee mode. Finally, I have one small but invaluable pro-tip regarding companions. Change their outfit to something noticeable, as you’ll find dozens of Mirris and Bastians at Dolmens and world bosses. This way you can easily spot yours.
Carpetbaggers, Snake Oil and Video Game Marketing
I am not a great fan of trade shows and expositions such as E3. Nor do I care for the accompanying hype culture that inevitably follows in the wake of all the announcements that are made. Too many gamers are easily seduced by cinematic trailers and promotional videos that contain precious little or no in-game footage. The lack of tangible data and quantifiable facts means that they fill the marketing void with their own expectations and hopes. Sadly, these are then dashed upon the game’s final release, resulting in a backlash of acrimony and perceived betrayal. It is a tediously predictable cycle, yet one that so many paying customers never seems to learn from. The Snake oil salesmen become bolder each year and the consumers more credulous. It’s a depressing, symbiotic, abusive relationship.
I am not a great fan of trade shows and expositions such as E3. Nor do I care for the accompanying hype culture that inevitably follows in the wake of all the announcements that are made. Too many gamers are easily seduced by cinematic trailers and promotional videos that contain precious little or no in-game footage. The lack of tangible data and quantifiable facts means that they fill the marketing void with their own expectations and hopes. Sadly, these are then dashed upon the game’s final release, resulting in a backlash of acrimony and perceived betrayal. It is a tediously predictable cycle, yet one that so many paying customers never seems to learn from. The Snake oil salesmen become bolder each year and the consumers more credulous. It’s a depressing, symbiotic, abusive relationship.
Perhaps the crowning glory of the dark art of marketing is the reveal trailer. These are often utter contrivances that we retrospectively discover have little resemblance to the game they’re promoting (remember Aliens: Colonial Marines?). Alternatively, they are small self contained narratives that trot out all the familiar tropes associated with their respective genre. They may well use footage created by the game engine but there is seldom any tangible game play footage, showing any of the systems and mechanics. The latest video from this year’s E3 that encapsulates this process, is the “official gameplay reveal for the RPG Elden Ring. It shows much but imparts very little information. Not a single genre cliche is left unturned. If you want to decide for yourself, I’ve posted the video below. If you draw up a list of fantasy tropes, you can quickly score a full house if you choose to play stereotype bingo.
Elden Ring has some big names associated with it, being a collaborative effort between game director Hidetaka Miyazaki and fantasy novelist George R. R. Martin. Perhaps that is why the E3 video is so indifferent. Perhaps those tasked with selling the game feel they don’t need to try that hard, because the formula they’ve used in the video has proven to work, time and time again. The media love to establish a standard format. Look at TED talks. Perhaps the biggest validation of this style of marketing is a satirical video put out by Obsidian Entertainment for Outer Worlds 2. It mercilessly mocks the way modern game marketing videos are constructed. Sadly, despite being very knowing, this kind of humour can be a double edged sword. I’m reminded of British comedian Harry Enfield and his character Loadsofmoney. He satirised the “greed is good” mentality of the 80s but ended up being embraced by that very demographic. Similarly, I suspect that gamers know they’re being played by E3 every year. Yet, like some bizarre form of Stockholm syndrome, they actively participate in the process.
“Do Try and Keep Up”
Justin Olivetti posed an honest question on Massively Overpowered yesterday. “Do you have any clue what’s going on in your MMO’s storyline?” he asked and I must admit that my answer varies greatly according to what I’m playing. Yet before I give a more comprehensive response, let me make clear that one of the aspects of the MMO genre that I enjoy the most is its penchant for complex and sprawling narratives. Both The Lord of the Rings Online and Star Trek Online are based upon intellectual properties with in-depth lore and an established canon. I was also drawn to the RPG Skyrim due to its enigmatic story which linked into a much wider history. It was one of the reasons I started playing The Elder Scrolls Online, as every quest seems to have a story that is connected to another. My enjoyment of these dense plots found in the MMO genre stems from my love of reading as a child.
Justin Olivetti posed an honest question on Massively Overpowered yesterday. “Do you have any clue what’s going on in your MMO’s storyline?” he asked and I must admit that my answer varies greatly according to what I’m playing. Yet before I give a more comprehensive response, let me make clear that one of the aspects of the MMO genre that I enjoy the most is its penchant for complex and sprawling narratives. Both The Lord of the Rings Online and Star Trek Online are based upon intellectual properties with in-depth lore and an established canon. I was also drawn to the RPG Skyrim due to its enigmatic story which linked into a much wider history. It was one of the reasons I started playing The Elder Scrolls Online, as every quest seems to have a story that is connected to another. My enjoyment of these dense plots found in the MMO genre stems from my love of reading as a child.
So with this in mind, I believe I am currently on top of the ongoing plot and story elements found both in LOTRO and STO. I tend to have a primary alt in most MMOs that I play and work my way through a game’s content in narrative order. I must admit, at times it has been hard to keep up with LOTRO and I have refreshed my memory regarding the plot and especially characters by referring to the games well maintained Wiki. The game has a habit of bringing back protagonists from early stories. STO is far more episodic in its approach to stories and arcs frequently end in a definitive manner. Furthermore, expansions tend to be themed and frequently dovetail into lore from specific shows. So for example, if you’re familiar with Star Trek: Voyager then it’s far easier to keep up with the storyline featured in the Delta Rising expansion. It also helps with both LOTRO and STO that I play these games regularly throughout the year. Keeping your hand in, so to speak, helps immensely in this respect.
Keeping abreast of the major plotlines in ESO is a more difficult undertaking. Firstly, I don’t tend to play the game with the same regularity as both LOTRO and STO. I return mainly when the yearly expansion launches and then I stick around for a month or two. I came back to the game two weeks ago when Blackwood launched and immediately struggled to recall the various reasons for my quest in Vvardenfell. Fortunately some characters, such as the put upon manservant Stibbons, stick in the mind. However, in my defence it is fair to say that many of the sidequest plotlines featured in ESO centre around the shenanigans of various Daedric Princes. At times it does come across as somewhat repetitive to the casual player. The main stories tend to be far more accessible and have plenty of exposition. Indeed there is even a mechanism in the game where NPCs will give you a plot summary if you need to know exactly what your motivation is.
But let us not forget that my approach to the MMO genre is far from universal. For every player that loves the intricacies and nuances of the story there are those who are totally disinterested by it. They will dismiss cutscenes (where possible) and dialogue windows as soon as they appear. It is also fair to say that not every MMORPG has a good story to begin with. I quickly lost track of what was going on in Rift as the plot seemed very formulaic. I also struggled to “keep up” in Neverwinter for similar reasons. Plus I had no prior knowledge of the franchise associated with that game and I believe having some advance personal investment certainly helps. Overall, I find that persistence is perhaps the best way of following a plot in a game. But as I vary what I play regularly, it can be an issue at times. Judging by the comments left on Justin’s original post, I suspect this is a common issue among gamers.
Army of the Dead (2021)
One of the biggest issues associated with modern film production is creative interference by the studios financing them. Despite employing known writers and directors who have an established track record and creative style, all too often control is taken from these individuals and changes are imposed upon the production, usually to the detriment of the overall film. Hence, you can understand why more and more filmmakers are taking their work to Netflix and similar platforms. Streaming services are apparently far more accommodating and understanding. Martin Scorsese himself made his last film The Irishman, for Netflix. However, such creative freedom can be a double edged sword. Some directors need to be tempered, the same way that some writers need a good editor. There is often a fine line between creative freedom and self indulgence.
One of the biggest issues associated with modern film production is creative interference by the studios financing them. Despite employing known writers and directors who have an established track record and creative style, all too often control is taken from these individuals and changes are imposed upon the production, usually to the detriment of the overall film. Hence, you can understand why more and more filmmakers are taking their work to Netflix and similar platforms. Streaming services are apparently far more accommodating and understanding. Martin Scorsese himself made his last film The Irishman, for Netflix. However, such creative freedom can be a double edged sword. Some directors need to be tempered, the same way that some writers need a good editor. There is often a fine line between creative freedom and self indulgence.
Following an zombie outbreak due to a military “accident”, Las Vegas has been wall off to contain the walking dead. Former decorated soldier Scott Ward (Dave Bautista), who led the initial evacuation, is employed by casino owner Bly Tanaka (Hiroyuki Sanada) to break into the quarantine zone and recover $200 million from his casino vault, before the US military obliterates the city with a tactical nuclear warhead. Ward has mixed feelings about returning to Vegas as he had to kill his wife during the evacuation when she was bitten by a zombie. He recruits his former teammates Maria Cruz and Vanderohe, along with helicopter pilot Marianne Peters, German safecracker Ludwig Dieter, and Chicano sharpshooter Mikey Guzman, who brings along his associate Chambers. Tanaka sends his right hand man Martin to provide access to the casino vault. Enroute Ward encounters his estranged daughter Kate (Ella Purnell); a volunteer in the Vegas refugee camp.
Zack Snyder’s latest film, Army of the Dead, is a textbook example of “indulging” a filmmaker and not legitimately questioning any of their creative decisions. As a result the handful of innovative ideas get lost among the bloated set pieces and mitigated by the crass screenplay with its puerile dialogue. I was raised on classic zombie movies and therefore am more disposed by default to favour the “Romero rules” governing zombie behaviour. However, I am open to alternative ideas and was not averse to the rather threatening fast moving zombies in Snyder’s previous remake of Dawn of the Dead. Sadly, the inclusion of the so-called “Alpha” zombies in Army of the Dead does more harm than good. By making zombies less mysterious and giving them more specific human cognitive abilities, it essentially robs them of their mystique. They become a far more rationalised threat and hence less of the enigmatic metaphor for wider social issues as in other films.
Army of the Dead is overlong, too dependent on CGI rather than physical effects and is filled with characters who are woefully undeveloped or even interesting. It lacks the narrative subtly of Romero’s work and the cast carry out their duties in a perfunctory manner. Zack Snyder has an eye for visuals and certainly can produce better work (as his extended version of Justice League proves). However, I feel that he needs a creative partner who can curb his excesses and nurture his valid ideas. As it stands Army of the Dead is a ponderous viewing experience, with no hardboiled action movie cliché left unturned. It wastes the presence of Dave Bautista, who has proven he can be a personable lead and saddles us with a dull, obvious narrative. Rather than advance or reinvigorate the zombie horror movie subgenre, it succinctly demonstrates why it has fallen by the wayside by doing absolutely nothing new of note during it’s 148 minute running time.
Enjoying LOTRO Through Others
When you’ve been doing any leisure activity for a long time, there comes a point where over familiarity does become an issue. It tempers one’s enjoyment and impacts upon the way you experience that particular pastime. I’ve written about this situation before with regard to my relationship with cinema and films. More recently it has started to occur with my gaming activities, especially with the MMORPG The Lord of the Rings Online. I have been playing this game since December 2008 and I’ve had a long and complicated relationship with it over the course of twelve years. The game was a mainstay of my life at a time when I was living alone and doing contract work. Hence I had a lot of leisure time to sink into LOTRO and few other obligations whenever I wasn’t working. It was in many ways the perfect time to enjoy an MMO as I could “commit” to it. And so I embarked upon the same gaming journey that many others have taken.
When you’ve been doing any leisure activity for a long time, there comes a point where over familiarity does become an issue. It tempers one’s enjoyment and impacts upon the way you experience that particular pastime. I’ve written about this situation before with regard to my relationship with cinema and films. More recently it has started to occur with my gaming activities, especially with the MMORPG The Lord of the Rings Online. I have been playing this game since December 2008 and I’ve had a long and complicated relationship with it over the course of twelve years. The game was a mainstay of my life at a time when I was living alone and doing contract work. Hence I had a lot of leisure time to sink into LOTRO and few other obligations whenever I wasn’t working. It was in many ways the perfect time to enjoy an MMO as I could “commit” to it. And so I embarked upon the same gaming journey that many others have taken.
Nowadays, LOTRO is very much a game that I have placed on the back burner, so to speak. Having experimented with various alts over the years, I now play a single, primary character (a level cap Lore-master) and only return to the game when there is new content to experience. I enjoy my time in-game but LOTRO is no longer my gaming obsession. Many of my fellow gaming bloggers have invoked an analogy about video games being like relationships, as they do often share a similar course. Nowadays, LOTRO is a trusted friend whom I meet up with several times a year and spend some time together. We tend to cover the same old ground but it is still fun to do. As for recapturing that sense of excitement I felt in 2008, well we all know the expression about how “you can never go home again”. It is certainly relevant here.
However, sometimes what is needed to revitalise a situation such as this, is a fresh set of eyes or a new perspective. And that is exactly what I inadvertently discovered yesterday. During the afternoon, I had my Twitter client open and I noticed that someone was just about to go-live on Twitch TV and that they were playing LOTRO for the first time. This piqued my interest so I joined their stream and then spent the next three or so hours watching them discover the game for themselves. The streamer in question Omar, is obviously a fan of Tolkien and it was therefore doubly enjoyable as he picked a class and race, logged into the game and undertook the initial stages of LOTRO. It was nice to be able to experience this MMO from a new player perspective, especially when he recognised lore references or realised that it was Strider himself who was leading him through the initial quest stages.
I was one of several existing LOTRO players present in the chat channel and hopefully we made ourselves useful with our advice, as opposed to being a nuisance. Sometimes you have to curb your enthusiasm and let people find their own feet. In fact that adds to the vicarious enjoyment that I felt, as I watched someone navigating a new game and the complexities of LOTRO’s systems and mechanics. Omar also comes from a console background and has only recently come to PC gaming. So in many respects he really has jumped into the proverbial deep end. However, he did well and clearly had a good time, which in itself was a timely reminder of how I used to feel when playing LOTRO. And that was a major shot in the arm for my own gaming enthusiasm. It was like when you watch a classic film with someone who hasn’t seen it before and they really enjoy it. Perhaps I should watch more streams like this.
Walking for Pleasure: Eltham and Well Hall
Today’s weather was perfect for walking with light clouds, a gentle breeze and temperatures around 23 Celsius (73 Fahrenheit). So Mrs P and I decided that we’d like to take a leisurely stroll somewhere local. Fortunately, we live in south east London and not far from the Green Chain Walk. This is a network of managed trails and pathways through various woodlands and parks that span four Boroughs. We decided to walk to Avery Hill Park and then follow the Green Chain Walk to Eltham. From there we then walked through the high street to Well Hall and visited the Pleasaunce. Our journey covered a distance of about 4.5 miles or so. We took our time and frequently stopped to enjoy the surroundings. Overall we walked for about 2 hours. We then decided to return home by bus, as the weather had become somewhat overcast.
Today’s weather was perfect for walking with light clouds, a gentle breeze and temperatures around 23 Celsius (73 Fahrenheit). So Mrs P and I decided that we’d like to take a leisurely stroll somewhere local. Fortunately, we live in south east London and not far from the Green Chain Walk. This is a network of managed trails and pathways through various woodlands and parks that span four Boroughs. We decided to walk to Avery Hill Park and then follow the Green Chain Walk to Eltham. From there we then walked through the high street to Well Hall and visited the Pleasaunce. Our journey covered a distance of about 4.5 miles or so. We took our time and frequently stopped to enjoy the surroundings. Overall we walked for about 2 hours. We then decided to return home by bus, as the weather had become somewhat overcast.
Eltham lies on a high plateau which gave it a strategic significance in Medieval times. Although it is difficult to see this topographical feature nowadays, as the area has been totally developed by the Greater London sprawl. Its importance throughout early English history is mainly due to it being close to the main route to the English Channel ports in Kent. Several Tudor monarchs intermittently resided at Eltham Palace and hence the area has a lot of associated history. The Well Hall Pleasaunce features several ornamental gardens, a bowling green and various water features. There is a Tudor Barn which dates back to the 16th century that is located towards the north part of the park. It is now a restaurant that caters for park users and is available to hire for private functions. The well maintained grounds are very peaceful despite being next to a main road.
I enjoy walking for pleasure as it often affords an opportunity to escape from the hustle and bustle of urban living. Avery Hill Park was busy today, as the weather was fine and it offers a lot of facilities for family entertainment. However, once you leave the open spaces and follow the various paths, you find things a lot more tranquil. The surrounding trees do much to insulate you from the noise and the trails are mainly used by dog walkers and rambling enthusiasts. The environment is perfect for personal introspection and reflection. There is also plenty of wildlife to observe on the Green Chain walk, as the paths are maintained to have minimal impact upon the surrounding environment. If the current weather persists, we may well take a waterside walk in the next few days along the Thames at Erith. London is fortunate to have so many preserved “green spaces” such as these.
It's Nice to be Playing an RPG Again
I managed to purchase the Role Playing Game Greedfall recently at the bargain price of £15. I’ve had my eye on this particular title for a while. It is not a so-called triple A game but has garnered a lot of critical praise since its release in September 2019. Developed by Spiders, a French game company and published by Focus Home Interactive, Greedfall is set in an ersatz 17th century-style setting and has liberal doses of fantasy. It has a complex narrative which takes a lot of tropes from European history from that era and blends them with classic fantasy elements such as magic and mythical beasts. It seems to have filled the space previously occupied by BioWare games of this genre, having a similar focus on characters and story. To date it has sold over a million copies. I’ve only played 5 hours or so at present but I like what I see so far.
I managed to purchase the Role Playing Game Greedfall recently at the bargain price of £15. I’ve had my eye on this particular title for a while. It is not a so-called triple A game but has garnered a lot of critical praise since its release in September 2019. Developed by Spiders, a French game company and published by Focus Home Interactive, Greedfall is set in an ersatz 17th century-style setting and has liberal doses of fantasy. It has a complex narrative which takes a lot of tropes from European history from that era and blends them with classic fantasy elements such as magic and mythical beasts. It seems to have filled the space previously occupied by BioWare games of this genre, having a similar focus on characters and story. To date it has sold over a million copies. I’ve only played 5 hours or so at present but I like what I see so far.
I can wax lyrical at great length about all the things common to the RPG genre that I like. Such as intricate character creation, involving storylines and complex narrative choices. An open world to explore, builds to experiment with gear to collect and augment. I am also aware that these things are also present in the MMORPG. However, one of the things I enjoy about RPGs is the lack of other players. I was playing The Elder Scrolls Online recently and naturally the new expansion has attracted a lot of new and returning players. Therefore the quest hubs were heaving and it was often tricky to find the required NPC or access your bank. For most of the time, it’s nice to see other players bustling about in the MMO genre but sometimes when you want to concentrate on the game, the constant activity can be very distracting. RPGs offer a haven away from this hubbub and there’s also no world chat which is another blessing.
Greedfall has an interesting story with its feuding factions, governorship of a mysterious island and political intrigue. It immediately made me think of Frank Herbert’s Dune. The 17th century aesthetic is also a good selling point as it ties in nicely with the themes of colonialism. Beyond that I can’t say much as I’m still in the starter zone of the game but I am enjoying many aspects so far. Greedfall has also confirmed another theory that I’ve often thought. That the voice acting is often superior for the female version of the central character. I found this to be the case for all three Mass Effect games, Assassin’s Creed Odyssey and numerous other games. And one of the benefits of picking up a game such as this a year after its original release, is that there are plenty of wikis, YouTube videos and walkthroughs available, should you need any help with quests, builds or general tips.
So overall, I am very pleased that I’ve found an RPG to lose myself in for a while. However, so far I have run afoul of a minor issue found in the RPG genre. I like to explore any new virtual environment I find myself in. This is exactly what I did when I found myself in the starting area of the port of Sérène in Greedfall. So I walked around, opened up the entire map and looted anything I could along the way. Later on, after a few quests I sold all the loot I deemed irrelevant, only to discover later that one was a quest item. I could not return to the location and loot it again but mercifully could buy the item back from the vendor I sold it to. I always think that such items should be protected or flagged as important to prevent such issues. But that’s just me playing in a manner the developers either didn’t think of or assumed wouldn’t happen. But it hasn’t done any long term harm. So it’s a case of onwards and upwards with Greedfall. I hope it can continue to deliver the right sort of entertainment.
When the Game Stops You From Playing
Last night, I finally had sufficient time to log into The Elder Scrolls Online and check out the new Blackwood expansion. The plan was to go straight to the new zone and complete the relevant quests to obtain the two companions that have been added to the game. Unfortunately, life seldom goes to plan as Robert Burns alluded to in his famous quotation. As I haven’t played ESO for a while, I’ve missed several major game updates. Consequently all my champion points have been reset, along with all my skills. So, I had to spend some time trying to remember how my Dragonknight was previously set up. I checked a few screenshots to see what skills were on the hotbars but as they don’t display the name, plus the icons change after morphing a skill, it was tricky trying to reverse engineer my prior build. Eventually I just winged it and managed to blag my way through the two quests.
Last night, I finally had sufficient time to log into The Elder Scrolls Online and check out the new Blackwood expansion. The plan was to go straight to the new zone and complete the relevant quests to obtain the two companions that have been added to the game. Unfortunately, life seldom goes to plan as Robert Burns alluded to in his famous quotation. As I haven’t played ESO for a while, I’ve missed several major game updates. Consequently all my champion points have been reset, along with all my skills. So, I had to spend some time trying to remember how my Dragonknight was previously set up. I checked a few screenshots to see what skills were on the hotbars but as they don’t display the name, plus the icons change after morphing a skill, it was tricky trying to reverse engineer my prior build. Eventually I just winged it and managed to blag my way through the two quests.
Today, I spent some time researching a DPS Stamina build for solo PVE play using a Dragonknight. I further had to refine my search to ensure it was intended for two handed weapons and a bow. Eventually I found something appropriate and copied it as best as I could. Some of the skills recommended I don’t have morphed as of yet. I then made sure I had an appropriate buff from a Mundus Stone, as well as some food that gave my character a stamina boost. All in all, this process took about 90 minutes or so to sort out. I also had to tweak a few addons as these had inevitably got out of date since I last played a year ago. Finally now that these changes have been implemented, I finally feel that I’m in a position to play through the new content. I have had to print out a key map to refer to as I’m struggling to remember what skills are assigned where.
This is the great paradox that comes with the MMO genre. The games are often predicated on complex systems and arcane mechanics. For many players, this is part of their appeal. If you are the sort of gamer that relishes intricate processes and likes to master complicated rules, then good luck to you. Players such as I rely on the likes of you to produce the sort of guides that I referred to today to get my Dragonknight up and running. But not everyone enjoys this aspect of MMOs. MMO monogamy is a thing of the past these days. People come and go, flitting between games depending upon their likes and dislikes. Hence many players will return to a game such as ESO after a period of time away only to find that they’ve forgotten how to play their class or that they’ve fallen foul of a system reset like the one I encountered. In such cases the game often does nothing to help these players, which upon reflection seems counterproductive.
Elite, competent and knowledgeable players do not make up the majority of the player base in ESO or any other MMO. Over the years it has been clearly established that many players do not visit forums, read wikis, research their builds or focus on getting the best gear for their class. They just log into the game and play in a manner that suits them, often just using gear that is given as quest rewards. Skill points are assigned via guess work or random choice. Simply put these gamers are content to potter about in a laid back fashion. Hence if confronted with a major barrier to progress when returning to a game, they will often take the path of least resistance to bypass it. Which is why so many players just roll a new alt when revisiting an MMO after a lengthy absence, as the game does not make it easy to pick up where you left off. The other option is that the player just becomes frustrated that they can’t do the thing they wish to do, logs off and goes and plays something else. Which is not good for business.
If game developers and publishers want to reduce player churn, then they should try and address the needs of the returning players. Often the solutions to the problems that they face are simple. Sometimes a player just needs a brief refresher course in their class skills and such like. This could be solved by having a tutorial that can be repeated at any point in the game. Alternatively having an interactive advisory service associated with all the games systems and mechanics would be beneficial. Something that could be toggled on and off that gives a simple overview when you hover your mouse over an active window. ESO currently provides build and skills advice. Having preset builds that could be applied at the click of a mouse would be the logical next step. They don’t have to be optimal, just sufficient to allow the player to undertake PVE content in the manner they prefer.
Now there will be a small percentage of MMOs players who will balk at my suggestions but I find “git gud” culture and the self flagellating mindset of such gamers both tiresome and irrelevant. If you want to impose some self improvement ideology onto a game for your own enjoyment, that’s fine. But you have no authority to impose your competitive and self aggrandising dogma on anyone else. Video games are ultimately consumer products and as such need to be accessible and accommodating. The player who is not playing due to the games systems effectively blocking them, is a player who is not happy or more importantly not spending money. If they leave in frustration, then that’s effectively a lost sale and in today’s competitive market, that’s an error you can afford to keep making.
When Eight Bells Toll (1971)
One of the stand out tropes of the modern action film is that the stakes are always cranked right up to 11. Terrorists, biological weapons and nuclear bombs are common threats in such movies with a hero or heroes trying to save the world from death and destruction or worse. However, back in the sixties and seventies, things were a little more straight forward and in some respects more credible. Take When Eight Bells Toll, released in 1971, for example. British Treasury secret agent Phillip Calvert investigates the theft of £8,000,000 in gold bullion by a gang of international smugglers. In the context of the times this was no small beer however it’s somewhat mundane compared to fighting super villains and their space lasers. Frankly I prefer these low key plot devices as they can make a film a little more plausible within the confines of the genre. A concept that is often forgotten today.
One of the stand out tropes of the modern action film is that the stakes are always cranked right up to 11. Terrorists, biological weapons and nuclear bombs are common threats in such movies with a hero or heroes trying to save the world from death and destruction or worse. However, back in the sixties and seventies, things were a little more straight forward and in some respects more credible. Take When Eight Bells Toll, released in 1971, for example. British Treasury secret agent Phillip Calvert investigates the theft of £8,000,000 in gold bullion by a gang of international smugglers. In the context of the times this was no small beer however it’s somewhat mundane compared to fighting super villains and their space lasers. Frankly I prefer these low key plot devices as they can make a film a little more plausible within the confines of the genre. A concept that is often forgotten today.
Phillip Calvert (Anthony Hopkins) an undercover British treasury agent along with his intelligence officer partner Hunslett (Corin Redgrave) are assigned to find five cargo ships that have gone missing in the Irish Sea. They track a ship,The Nantesville, which is carrying £8 million in gold bullion, to the Scottish Highlands before it mysteriously goes missing. Posing as marine biologists, Calvert and Hunslett find the local inhabitants both suspicious and hostile. A Cypriot shipping tycoon Sir Anthony Skouras (Jack Hawkins), whose luxury yacht Shangri-La is anchored off the coast, may be involved in the theft of the gold bullion. While searching the surrounding area by helicopter, Calvert makes contact with a group of remote shark fishermen who appear more friendly than Torbay's locals. Calvert also meets Lord Kirkside (Tom Chatto) and his teenage daughter in their remote hilltop castle. Both act strangely and are uncooperative. Calvert’s helicopter is then shot down and he only just manages to escape back to his boat. However, he then finds that Hunslett is missing.
Based upon a novel by Alistair MacLean, When Eight Bells Toll is a lean and focused thriller that eschews the excess of the James Bond franchise. There are no gadgets or globe trotting to exotic locations. The story confines itself to the sea and some remote Scottish islands.The plot moves fast and is punctuated by some low key but hard hitting action scenes. Veteran stunt arranger Bob Simmons stages the fights sequences and shootouts in an efficient manner. Anthony Hopkins trained and lost weight for the role and handles these scenes well. There is a casual efficiency to the violence. After one fight, Calvert wraps a length of chain around a incapcitated enemy and throws overboard. Later while breaking into Lord Kirkside’s castle he knocks out another heavy and promptly throws him out of a nearby window into the sea below. Although unpleasant it does bring an air of authenticity to the proceedings.
When Eight Bells Toll benefits from the casting of Anthony Hopkins. He brings his acting talent to bear on the role and is suitably sarcastic and menacing as a good spy should be. Screenplay is at its best when he is being upbraided by his superior officer, “Uncle Arthur”, played with aplomb by the great Robert Morley. Morley is sceptical of Calvert, suspecting he went to an “indifferent school”. The class divide and snobbery inherent in the UK government services is wittily explored but ultimately doesn’t get in the way of Uncle Arthur and Calverts business relationship. Jack Hawkins again has his voice dubbed by Charles Gray as his treatment for throat cancer had robbed him of his distinct voice. Perhaps the weakest role is that of Charlotte (Sir Anthony’s second wife) played by Nathelie Delon. The character is supposed to be scheming and duplicitous but is sadly underwritten, thus making Calvert’s involvement with her somewhat curious. Lavorski, the leader of the smuggling ring played by Ferdy Mayne, is also a two dimensional villain who we learn little about.
Overall When Eight Bells Toll is a concise and focused action movie which benefits from good performances from Hopkins and Morely as well as some solid set pieces. Sadly director Étienne Périer does not bring much flair to the production. Despite having some wonderful Scottish scenery the cinematography by Arthur Ibbetson is somewhat stark. Perhaps that was the look they were looking for, It contrasts with the interior shots which do feel very studio bound. The editing is also somewhat pedestrian. However, the film’s score by Angela Morley (credited as Walter Stott) is sublimely brassy and bombastic, reflecting the accepted musical idiom of the spy movie genre from that time. Sadly, despite the producer’s hope to start a franchise, there were no further Phillip Calvert films, which is a shame. The minimalism and lack of glamor is reminiscent of The Ipcress Files and Calvert is an interesting anti-hero.
Grizzly (1976)
After the critical and commercial success of Jaws in 1975, a veritable tsunami of “creature feature” movies followed in its wake. A few titles, such as Alligator (1980) and Piranha (1978) managed to do something different with the rogue animal trope, both providing a quirky and satirical look at the genre along with plenty of exploitation mayhem. However, most of the rest were low budget productions of negligible quality. However, such qualities are not always an impediment at the box office. Grizzly (1976) was hastily made on a budget of $750,000 yet earned an impressive $39,000,000 at the box office. The critics hated it but the public loved it and it went on to be the second most financially successful independent feature film in the US that year (the first being Monty Python and the Holy Grail). Grizzly is in many ways a microcosm of the exploitation genre from the seventies and needs to be viewed through that prism if it is to be enjoyed.
After the critical and commercial success of Jaws in 1975, a veritable tsunami of “creature feature” movies followed in its wake. A few titles, such as Alligator (1980) and Piranha (1978) managed to do something different with the rogue animal trope, both providing a quirky and satirical look at the genre along with plenty of exploitation mayhem. However, most of the rest were low budget productions of negligible quality. However, such qualities are not always an impediment at the box office. Grizzly (1976) was hastily made on a budget of $750,000 yet earned an impressive $39,000,000 at the box office. The critics hated it but the public loved it and it went on to be the second most financially successful independent feature film in the US that year (the first being Monty Python and the Holy Grail). Grizzly is in many ways a microcosm of the exploitation genre from the seventies and needs to be viewed through that prism if it is to be enjoyed.
In an unspecified National Park in South Eastern America, Chief Ranger Michael Kelly (Christopher George) and his team search for two female hikers who are overdue after breaking camp. Kelly is joined by photographer Allison Corwin (Joan McCall) who subsequently stumbles upon human remains that have been partially buried. Tracks in the area and a subsequent autopsy confirm that there is a large predator loose in the park. Charley Kittridge (Joe Dorsey) the park supervisor, blames Kelly and naturalist Arthur Scott (Richard Jaeckel) as all bears were supposed to be tagged and removed from the tourist areas before the vacation season began. After further attacks Kittridge invites local hunters to kill the bear. Kelly and Scott decide to track the Grizzly down themselves. With the help of local helicopter pilot and Vietnam veteran Don Stober (Andrew Prine), they journey into the wilderness and attempt to set a trap. But the 15 ft, 2000 lbs bear proves more cunning than they anticipate.
One of the most often cited criticisms of Grizzly is it’s slavish adherence to the plot of Jaws. Director William Girdler attempts to duplicate many of the plot details from Spielberg’s iconic film. Hence we have a senior public official who refuses to take action when necessary, the near death of a child being a major catalyst of events and a trio of heroes who take on the task of hunting down the predator themselves. Sadly, Grizzly lacks the production polish and the quality dialogue that Jaws has in spades. The screenplay by Harvey Flaxman and David Sheldon is perfunctory to say the best and weak even by the standards of the exploitation genre. All major characters are woefully undeveloped and Christopher George, Andrew Prine and Richard Jaekel struggle to do much with their roles, often having to rely on their own personalities to get by. The location photography is good but the dense forest and striking mountains are not used to their full advantage.
Due to several plotlines and characters vanishing from the proceedings, shortly after being introduced, it seems likely that Grizzly was edited down from a longer film into the tight 89 minutes that makes up the theatrical release. Native American culture is alluded to but then plays no further part of the plot. Kelly’s romance with Allison Corwin simply ceases to be relevant halfway in and is dispensed with after a time. The levels of violence are also inconsistent. The first two onscreen deaths feature a severed arm flying across the screen. After this the kills are somewhat tamer. However, Grizzly ups the ante when a child is attacked in his garden. His Mother beats the bear with a broom, who drops the young child revealing his left leg bitten off below the knee. She herself is then mauled to death. This disparity in content again suggests last minute editing to secure a lower rating. Allegedly the first cut was R rated and featured more nudity and gore. It was then reduced for a PG rating.
Perhaps the weakest aspect of Grizzly is the bear itself. In a few of the attack sequences, the bear is a stunt performer in a suit but for the vast majority of the film, a real Kodiak bear (called Teddy) was used. Sadly, this particular bear never appears particularly menacing or threatening. Apparently the bear wrangler used marshmallows on a stick to make the animal stand and reach. Its subsequent slavering looks more comical than enraged. The bear certainly is imposing, due to its height but it never truly instills fear. Yet perhaps I am looking at this film with the perspective of a genre aficionado in his middle fifties, who has seen a lot of movies over the years. In the late seventies, this sort of fodder would have appealed greatly to the youth market (as the box office returns show). Director William Girdler went on to direct The Manitou, which I am very fond of. As for Grizzly, it remains an interesting example of how being in the right place at the right time is often essential to successful exploitation cinema.
Shalako (1968)
From the 1950s to the mid 1970s, most major film stars would appear in a western at some point in their career. The western genre was simply too popular and lucrative to avoid or dismiss. So it probably won’t come as a surprise to learn that after he walked away from James Bond in 1967, Sean Connery appeared in the western Shalako, a year later. Based on a novel by Louis L’Amour, this European financed production with an international cast is a curious beast that straddles two competing approaches to the genre. The traditional, romanticised western with its stylised tropes was giving way to a grittier, revisionist approach. Shalako still feels like an example of the former but director Edward Dmytryk does not shy away from the more contemporary use of violence. The film drags, especially during the awkward romantic interludes between Connery and Brigitte Bardot. But the action scenes are quite gritty and some of the story’s themes are quite dour.
From the 1950s to the mid 1970s, most major film stars would appear in a western at some point in their career. The western genre was simply too popular and lucrative to avoid or dismiss. So it probably won’t come as a surprise to learn that after he walked away from James Bond in 1967, Sean Connery appeared in the western Shalako, a year later. Based on a novel by Louis L’Amour, this European financed production with an international cast is a curious beast that straddles two competing approaches to the genre. The traditional, romanticised western with its stylised tropes was giving way to a grittier, revisionist approach. Shalako still feels like an example of the former but director Edward Dmytryk does not shy away from the more contemporary use of violence. The film drags, especially during the awkward romantic interludes between Connery and Brigitte Bardot. But the action scenes are quite gritty and some of the story’s themes are quite dour.
Shalako starts with an opening crawl by author Louis L’Amour, stating how many European nobles and dignitaries came to American to hunt and to experience the frontier. The story then focuses on a party of visiting aristocrats and a U.S. senator who are on a hunting expedition, while bringing all the trappings of their lifestyle with them. Servants, vintage wine and silverware as well their socioeconomic based hubris. Their questionable guide Bosky Fulton (Stephen Boyd) foolishly camps on Apache land incurring the wrath of the local chief and his warriors. When Countess Irina (Bardot) is waylaid by the Indians she is rescued by ex-army scout Shalako (Sean Connery), who had previously brokered a peace between the Indians and the US government. The pair return to the camp and inform Baron Frederick Von Hallstatt (Peter van Eyck) of the impending attack. However, neither the European dignitaries or Fulton and his men take the threat seriously. The subsequent raid the following dawn is barely repelled and leaves many dead. Fulton abandons his employer and his men take all the remaining food, water and ammunition. It is up to Shalako to lead the survivors out of Indian territory.
Filmed in Almeria, Spain, where so many international westerns were, Shalako boasts a strong cast, a desolate location and some well choreographed action scenes staged by former Bond stunt arranger Bob Simmons. On paper it all has the making for a solid western. Unfortunately the reality is somewhat different. The pacing is somewhat pedestrian and the screenplay struggles with the themes it attempts to explore. There’s a lot of unrequited love, marital resentment and lust simmering away among the characters. Senator Henry Clarke (Alexander Knox) blames his wife’s ethnicity for his political career stalling. Lady Daggett (Honor Blackman) despises her older husband (Jack Hawkins) and flirts with their guide Fulton. And Countess Irina is expected to marry the Baron but is conflicted by her desire for Shalako. These plot threads initially seem like they are going to be handled in a modern way, reflecting the changing morality of the sixties. Sadly all are resolved in a distinctly twee, old school fashion.
The story lurches between such dated scenes and several action sequences which although not especially graphic are tonally quite strong. One of Fulton’s team is captured by Indians and tied over a broken lance, while precariously balanced in a stress position. When he inevitably can no longer support his own body weight, he collapses and is impaled. One of the Baron’s staff is shot with a flaming arrow. He dies during a desperate attempt to remove it. Lady Daggett is captures by an Indian war party and there is a rather disturbing threat of rape as she is tormented by her captors. The casting of African American actor Woody Strode as an Apache is dated and somewhat risible. There is also an excess of the cast riding through the utterly barren terrain. Overall it feels as if the film could have lost fifteen minutes to tighten the flow of the story. The title song is another unnecessary hangover from earlier western films.
Shalako did not fare well in the US but did surprisingly well at the box office in Europe. However, due to the complexities of the film’s financing, the production just about broke even. Producer Euan Lloyd had a penchant for looking back at the golden age of Hollywood and attempting to recreate it at a time when the industry was moving on. Many of his later films would fall between similar stools. Paper Tiger, The Wild Geese and Who Dares Wins all boast strong casts and robust production values but are also saddled with politically naive storylines that are out of step with the contemporary views of the times. Shalako, as mentioned earlier, seems to want to be gritty and yet clings to a very formal western idiom at times. An odd outcome considering director Edward Dmytryk’s pedigree, with films such as The Caine Mutiny (1954) and Alvarez Kelly (1966). At most Shalako remains a cinematic curiosity. The only western that Sean Connery made and a rare British produced genre entry.
Investing Time in TV Shows
Whenever someone mentions the TV show Lost, I often feel a pang of mild irritation. As I’ve mentioned before, I watched four seasons of that show before I realised it was effectively trolling its viewers and that the writers were making it up as they went along, flying by the seat of their pants. I appreciate that the entire “what the hell is happening now” approach was very appealing to some viewers but I felt I was being manipulated. I believe that there is a loose and informal social contract between the viewer and the powers that create and run popular television shows. I recognise that it is their intellectual property so they can do what they please but one cannot totally ignore viewer expectations. It is not unreasonable to expect story arcs to be concluded or at least progress in a manner that gives them meaning. When watching Lost, I got that same feeling I get when watching a street magician. Yes, they are doing something clever but ultimately they are misdirecting you.
Lost
Whenever someone mentions the TV show Lost, I often feel a pang of mild irritation. As I’ve mentioned before, I watched four seasons of that show before I realised it was effectively trolling its viewers and that the writers were making it up as they went along, flying by the seat of their pants. I appreciate that the entire “what the hell is happening now” approach was very appealing to some viewers but I felt I was being manipulated. I believe that there is a loose and informal social contract between the viewer and the powers that create and run popular television shows. I recognise that it is their intellectual property so they can do what they please but one cannot totally ignore viewer expectations. It is not unreasonable to expect story arcs to be concluded or at least progress in a manner that gives them meaning. When watching Lost, I got that same feeling I get when watching a street magician. Yes, they are doing something clever but ultimately they are misdirecting you.
However, I learned a very important lesson from this experience and as a result, I am a lot more discerning in what I choose to watch these days. Not only do I filter shows now that I think may have plans for a long, sprawling and ponderous story arc, I also keep an eye out for those that could get cancelled. That is another factor that I find very frustrating. In the seventies, US shows would appear on UK TV between 6 months to a year after their US broadcast. As there was no internet at the time, a new television series would air in the UK and I and many others would become avid fans, not knowing that the commissioning network in the US had already cancelled it due to low audience ratings. This still happens today. The only difference this time round is that many shows are now broadcast simultaneously or within a few days of each other. So instead of retrospectively finding out if a show’s been canned, we now all play a form of viewing Russian Roulette.
Awake
Firefly, Almost Human and Awake are just a few examples of good shows that were poorly marketed and never found the audience they deserved. I won’t include Manimal in that list but I was gutted as a teenager. However, with the advent of streaming services, shows can sometimes get a second chance. I was pleased that Designated Survivor got a final season, courtesy of Netflix. But a lot of good television just doesn’t make it. I liked Timeless and felt that it needed a third season. I currently have grave concerns for Clarice as that show has virtually been hidden from the public with the intermittent scheduling it’s received. Which brings me back to the investment of time by the viewers. It feels like a slap in the face when a show is ignominiously cancelled. It can also be frustrating when the opposite happens and a show is drawn out too long and deliberately treads water, rather than seizing the nettle and writing a reasonable and satisfactory ending.
Manimal
I read an interview recently with Line of Duty writer, Jed Mercurio, in which he stated how writing for TV had become more complex in recent years, as we now watch and re-watch programs on demand. Social media allows for fans to quickly assess and dissect an episode, then share ideas. It’s a far cry from watching a TV show, once a week as it was broadcast, as we did back in the seventies. Naturally, contemporary showrunners wish to cater to this more sophisticated audience and intricate viewing pattern. Hence we find more complex shows, with evolving narratives that seek to continue across multiple seasons. However, this is a hard task to achieve which returns me to my concerns over shows like Lost. And because there is so much good quality TV these days, hard decisions have to be made regarding what gets watched. As well as all the usual factors that we consider before watching a new show, for me at least, I will reflect on whether I am willing to invest my precious leisure time into a particular show or all the reasons stated above.
Debris
Over the last three months, I’ve been watching Debris, the new science fiction show from J. H. Wyman, the creator of Fringe. It is cerebral, complex and requires the viewer to think to keep up. Over thirteen episodes, the scope of the plot has broadened from an investigation of alien technology, into a far reaching global power struggle. I like it but it has the hallmarks of a show that could, like Fringe, sprawl across several years requiring the viewer to invest a lot of their time. Conversely, its dense plot may discourage sufficient viewers leading to NBC to pull the plug. It will be interesting to see what happens next and which option comes to pass. In the meantime, there are plenty of shows that sustain self-contained story arcs within each season. These can be more satisfying, as they provide a narrative journey but do not leave viewers hanging if the production ceases. However, looking at the bigger picture, we do live in curious times when the decision to watch a TV show becomes such a complex process, fraught with such trepidation. Watching Manimal was a lot easier.
Dual Monitors
After years of trying to come up with some sort of half-assed compromise, I’ve finally bought a quality second monitor. A 24 inch 16:9 1080p Dell monitor was delivered on Tuesday and integrated into my existing desktop setup. I bought this model as it had two HDMI inputs and integral speakers. As well as serving as a second monitor for my PC, I also wanted the ability to connect my Nintendo Switch. Needless to say it all works perfectly. My primary monitor is another Dell 24 inch model but with a 16:10 ratio and a resolution of 1920 x 1200. I use this for writing and gaming. The second monitor is for web browsing, Twitter and other stuff that I tend to keep running when either blogging or playing an MMO. I bought new monitor stands and spent some time working out the optimal height for each screen so I don’t have to look up or down continuously while working. Both screens fit well within my field of vision, so do not require me to turn excessively from one to the other.
After years of trying to come up with some sort of half-assed compromise, I’ve finally bought a quality second monitor. A 24 inch 16:9 1080p Dell monitor was delivered on Tuesday and integrated into my existing desktop setup. I bought this model as it had two HDMI inputs and integral speakers. As well as serving as a second monitor for my PC, I also wanted the ability to connect my Nintendo Switch. Needless to say it all works perfectly. My primary monitor is another Dell 24 inch model but with a 16:10 ratio and a resolution of 1920 x 1200. I use this for writing and gaming. The second monitor is for web browsing, Twitter and other stuff that I tend to keep running when either blogging or playing an MMO. I bought new monitor stands and spent some time working out the optimal height for each screen so I don’t have to look up or down continuously while working. Both screens fit well within my field of vision, so do not require me to turn excessively from one to the other.
I started using my Father’s old Acer flat screen monitor a few years ago but it had a low resolution and was not particularly large, so I only used it when I was experimenting with live streaming. I also tried to use my Fire HD 10 tablet as a substitute monitor but it wasn’t a convenient or efficient workaround. My recent purchase of a Switch proved the best incentive as I can’t always use it with the lounge TV. Although I will play games such as Mario Kart in handheld mode, I prefer other titles such as Assassin’s Creed Black Flag to be played via a more substantial screen. Hence I’ve finally embraced the practicality of dual monitors. I also took the opportunity to replace my ageing twin speakers and subwoofer with a convenient soundbar. One particular model appeared in several of the reviews I read, so I ended up buying the Majority Snowden II. It provides the required level of quality without costing a fortune.
These changes have certainly improved the cable management under my desk, although it still remains somewhat complex. Although adding both these items of kit was simple in principle, the reality proved quite different. I had to disconnect every peripheral to accommodate my new desktop layout and it took a couple of hours of scrabbling around in confined spaces to sort it all out. However, I colour codes both ends of all cables in use, so if at some future date I have to unplug things, it will be a lot easier to identify which lead belongs to which device. Overall, I am pleased with my new desk layout. I’ve removed my “in tray”, the piles of notebooks and the mug filled with pens. I have just one of each item discreetly hidden behind my soundbar. Whether these changes will improve my writing productivity remains to be seen. However, they have made me feel better about my work and leisure space, which is half the battle. Perhaps I should have done this a lot sooner.
