Defining Immersion in Video Games
Like any leisure activity, video games have their own unique lexicon. Some of these terms have become so ubiquitous that they have bled through from pop culture into everyday parlance. Hence we have the UK Prime Minister talking about “levelling up”; a suitably nebulous and vacuous soundbite. Gaming terms are elastic and often their meaning shifts, just like many other words in daily use. Hence the acronym MMO doesn’t really mean what it did two decades ago. Fellow blogger Wilhelm Arcturus wrote about a very specific gaming phrase yesterday. One that he feels very passionately about. Namely the term “immersion”. Gamers often refer to it in heated debates but due to its ill defined nature, it is inherently ambiguous. Wilhelm explored this in both his post and its subsequent comments. I’d like to continue with that train of thought here.
Like any leisure activity, video games have their own unique lexicon. Some of these terms have become so ubiquitous that they have bled through from pop culture into everyday parlance. Hence we have the UK Prime Minister talking about “levelling up”; a suitably nebulous and vacuous soundbite. Gaming terms are elastic and often their meaning shifts, just like many other words in daily use. Hence the acronym MMO doesn’t really mean what it did two decades ago. Fellow blogger Wilhelm Arcturus wrote about a very specific gaming phrase yesterday. One that he feels very passionately about. Namely the term “immersion”. Gamers often refer to it in heated debates but due to its ill defined nature, it is inherently ambiguous. Wilhelm explored this in both his post and its subsequent comments. I’d like to continue with that train of thought here.
The obvious question to start with is “what is immersion?”, so I did a quick Google search to see if I could determine the most commonly used definition. This proved to be “deep mental involvement in something” according to Oxford Languages. The next step is to dip our toe tentatively into the sea of semantics, because there are many words that technically have a comparable or similar definition as immersion but their associated usage and linguistic baggage make them subtly different. For example, is immersion the same as concentration? I think not. I would associate competitive gaming more with that term. Esports is more about focus, IE concentrating on your technical skills, rather than getting lost in the moment which to me has more philosophical connotations. However, the phrase “in the zone” at first comes across as more of a sports orientated term. Yet it is equally applicable to creative and artistic endeavours. A role player could find themselves “in the zone” as they spontaneously weave an engaging narrative.
Such is the nature of semantics. As you can see, we’re no nearer to a more precise definition of immersion. So perhaps it would be better to approach it from a more philosophical angle. Do all gamers place significance upon immersion? I’d argue not. Competitive gaming is more akin to sports hence I wouldn’t expect immersion to be high on such gamers agenda. So called “core gamers” are more disposed toward technical mastery and exercising their skills precisely, rather than musing on the motivations of their avatars or the beauty of the virtual world in which they are playing. In fact when one considers the cultural divide between different gaming groups, I would hazard a guess that “core” gamers eschew immersion, as it represents a major aspect of social gaming, which they despise. Hence it is fair to say that immersion is more the province of the casual gamer, the role player and virtual explorer. Furthermore its importance is possibly genre dependent.
So what have we discovered so far? That immersion is a broad church that loosely means getting lost in the game that you’re playing. I would also suggest that immersion has a scale associated with it and what sort of player you are and the kind of game that you are playing dictates where you are on that scale. Using the MMORPG genre as an example, I would suggest that role players would be at one end and casual players like myself somewhere in the middle and PVP players at the other. One’s relative immersion is dependent upon variations of the following. Concentrating upon exactly what you’re doing within the game, to the exclusion of all other thoughts. Being engaged with the written narrative (or your own headcanon), your avatar’s actions and caring about what is happening and the potential outcome. For me, it is similar to being lost in watching a film, with the added bonus of having direct involvement upon events.
Naturally, there are many different things that can impact upon our personal sense of immersion. For example, first person versus third person perspective may make a difference. When playing from a first person view, you are the character. However, with a third person view you are observing the character. It is a small and subtle distinction but people may well react differently because of it. Animations, on screen prompts player chat can also be a source of distraction and objection that spoils one’s sense of immersion. And then there is the thorny issue of in-game stores and business imperative that comes with video games. This is often an anathema to those who see video games as a refuge from the iniquities of modern corporate life, despite the fact that video games are in many ways a microcosm of the fruits of capitalism.
For me, immersion in video games is something I find when I am on my own and free from interruptions. I can spend as much time as I like following the narrative, or reading the various lore books I find. It’s about stopping to take in a view and reflecting upon its beauty. It’s about watching the hustle and bustle of both NPCs and players in major cities. Immersion is the sense of satisfaction, achievement and joy I feel after beating a boss, completing a major quest arc or simply travelling round a virtual world. Anything that comes between these things breaks that immersion. I dislike skipping through quest bestowal text or dialogue as it somewhat mitigates my “motivation”. At times I do feel like a method actor seeking for “reasons” for my in-game actions beyond the obvious.
Immersion is a subjective and enigmatic thing. As there is no comprehensive and universally accepted definition that we all buy into, debates upon the subject will always be contested as not everyone’s experience is identical. Overall I believe that in light of this conclusion, the best we can hopefully agree upon is that immersion exists as a spectrum or scale. Exactly where we fit on it is unique to each of us. As to arguments that there is no such thing as immersion that are proposed from certain gaming quarters, I believe them to be flawed. Immersion is about feelings and one’s personal perceptions. It is not solely defined within logical parameters and in legally binding terms. Immersion in games is akin to what we feel when we are enthralled by a good book or that emotive response you have to a great song or piece of music. We do these uniquely, however it is entirely possible to find ourselves in part of the Venn diagram shared with others.
I recently completed the main story in Tainted Grail: The Fall of Avalon. In total I spent about sixty hours playing the game. I began at the start of the year, then took a break for a while but returned to it recently because I wanted to see if I could unlock a specific ending. I did manage to do this. Like so many other RPGs, Tainted Grail: the Fall of Avalon has a central storyline, along with a wealth of side quests, based around factions in specific zones. I think I possibly completed about a two thirds of these. However, once I finished the main story, my interest in the game began to wane. I finally left my character in the last major quest hub in case I wish to return at a future date. I then logged out of the game and uninstalled it from my PC to free up space for whatever I was to play next. In this case its The Sinking City 2. None of this is a negative reflection on Tainted Grail: the Fall of Avalon. I enjoyed the time I spent playing this quirky RPG. I simply had my fill and left to play something else.
On Tuesday 11th April, Aspyr Media rather surprisingly re-released The Lord of the Rings: War in the North, a co-op action-RPG from 2011. This game was delisted in late 2019, possibly due to changing rights ownership or a license expiring. Hence, I was somewhat discombobulated by the return of this title to all major gaming platforms. Mind you, the Embracer Group (through its subsidiary Middle-earth Enterprises) still controls the worldwide commercial and video game licensing rights for The Lord of the Rings and The Hobbit. Furthermore they have explicitly stated that they have plans for more games. It would appear this also means re-releasing and updating old favourites. It is also worth noting that they own Aspyr Media, which is also a bit of a giveaway. Let it suffice to say that this re-release and sparked enthusiastic online debate as to whether any other he Lord of the Rings themed games from the same era will receive a similar makeover. Judging by the internet chatter, there’s potentially a market for them.
The next expansion for the MMORG, The Lord of the Rings Online, was announced on the 1st August, via the gaming website MMORPG.The Wolves of Mordor, which will launch later in the year, appears ambitious in scope as it will include two new game systems as well as the obligatory story update. This expansion takes place in Draugardh located in the North East of Mordor, beyond the Plateau of Gorgoroth. It includes the new zones of Heledhris, Parth Rhavas and Nan Ogol. These vary environmentally ranging from the arid, volcanic and semi-tropical. Players will encounter the Daugrim in these regions, Werewolves but not in the modern sense. This is not the lycanthropy of Eastern European legends but in the established Tolkien idiom of fell spirits inhabiting the bodies of Wolves. The region also sees the return of the Woses and players can expect to encounter Elves and scouts from Gondor. As ever with LOTRO expansions, there will be new instances as well as a raid.
This is a post about the power of nostalgia and how sometimes, interacting with something from your past, be it physically or mentally, can produce a very strong and tangible emotional reaction. In some instances, this can be the result of something that you have specifically set out to do. On other occasions you can wander into a sense of nostalgia purely by chance. Today I experienced a very strong sense of nostalgia while watching a YouTube video and then again when I sought to replicate what I had seen. The video showed someone installing Windows 95 on to an old 486 PC from that era. The Window’s start up sound really touched a nerve (but in a good way) and then when the guy in the video launched Space Cadet 3D Pinball, a game that shipped with the operating system, I felt a strong compulsion to track down a copy and install the game myself, thus revisiting something that was an integral part of my life in 1995.
RV There Yet? is possibly the most entertaining game I’ve never played. My vicarious pleasure regarding this title has come exclusively from watching two popular YouTubers, JackFrags and WillFromWork, play through the game over a series of videos. It has been immensely amusing to watch and I have empathised a great deal as the group of four players has struggled with the game’s unpredictable mechanics and their own team’s dynamic. I could go and buy RV There Yet? myself but I doubt if I would ever have a gaming experience anywhere close to what I’ve watched online recently. So in some respects watching these videos has been an interesting alternative as I’ve been entertained, which ultimately is the point of video games. Perhaps there is a deeper philosophical point here that the game developers should reflect upon, as they’ve lost a potential sale. However, that is separate discussion for another day.
I don’t keep up with gaming news as much as I use to but several noteworthy announcement have come to my attention of late. Firstly, there’s an expansion, Songs of the Past, coming for the Witcher III: Wild Hunt in 2027. No doubt this is to pave the way for the Witcher IV. Next, I also found out about Hand of Fate: Horde. I liked this franchise and was saddened to learn that the original studio, Defiant Development, closed. Hence is was a pleasant surprise to see this new game being developed by members of the original studio. The third announcement was regarding Guild Wars 3. A new MMORPG in active development by a major studio is no small feat and is certainly good news for fans of this franchise and the genre per se. However, once you look beyond this news this announcement raises several questions and has certainly given me pause for thought. Let us take a few moments to consider them.
Star Trek Online has many in-game systems that are common to the MMORPG genre. The reputation system is one such example. In STO there are 13 reputation factions. Once a player has reached level 50 they may start progressing through the 6 reputation tiers of each one. Players gain progression through daily projects (20 hours in duration). Hourly projects are also available though they yield less reputation advancement and are limited to three times a day. Hence 20 hour projects are consider by default the most efficient way to gain rep. Projects require 30 Faction Specific Marks (earned via various activities in-game), 15,000 Energy Credits (standard in-game currency) and 2000 Expertise points. The most efficient way to tackle the reputation grind is to build up the necessary resources in advance and then at a designated time each day, start all 13 respective projects. Upon completion projects yield a player bound lockbox containing a random space or ground weapon, a console or Elite Marks which can be used to acquire faction gear.
I was recently perusing my archive of old blog posts, when it struck me how much I’ve written about the MMORPG genre over the years. Naturally, there was far more material from between 2008 and 2012 as that was period when I immersed myself in the genre and was very enthusiastic about it. I was at a point in my life when I had the time to dedicate to such games and I was happy to participate in the social aspect of they offered. I would regularly play through group content and spend time socialising online with fellow guild members. My experience remains a textbook example of how online games can be more than the sum of their parts and that where you are at in your life has a major impact upon your overall enjoyment. As I read though various old posts it became clear that my experiences where specific to this particular part of my life and that they cannot be repeated. My relationship with the genre is very different now and that’s fine.
Creating alts is an integral aspect of the MMORPG genre. Many players will create a character of a specific class or faction, play it for a while, lose interest in it or they may decide that it is just not for them. Fortunately it is no effort at all to simply re-roll a new alt and set off once again. Furthermore, lots of players never reach level cap of the MMORPG that there playing. When the going get’s tough, so to speak, you can either soldier on for another 50 levels or simply create a new alt and return to the comfort of tried and tested content. Alts also give you the chance to secure an accolade or achievement that you previously missed. They are also of great benefit to the genres social aspects. Creating a new alt so you can play along with a friend who is just starting is great fun. Developer’s love them too as it means you’re still playing the game.
I recently took a break from Crimson Desert choosing instead to to play something familiar and easy going. As I’ve been logging into Star Trek Online daily to participate in the anniversary event, I decided to look through my various alts and see how far they had progressed through the game and what resources they had. At present I have twelve alts. My primary Captain was created in 2015 during the original Delta Recruit Event. I had previously played STO intermittently since its release in January 2010 but I never kept any of those characters. Hence this decade old Tactical Federation Captain has been my main focus when playing. The other eleven alts are the result of other recruitment events or whenever I wanted to try something different, such as playing a specific class or faction. I obviously played a lot of STO during the lockdown as several alts date from that period. Several had maximum reputation across all factions.
The action, open world RPG Crimson Desert has been patched five times since it launched on March 19th and there have also been multiple hotfixes. At first glance this isn’t anything unusual. New games have bugs and issues arise once a game is released and played across a much wider variety of hardware than in QA testing. However, if you read the patch notes that accompany these sizeable downloads it quickly becomes apparent that developer’s Pearl Abyss are not just addressing bugs and software glitches. They are actively engaging with their player base and responding to suggestions and requests from that community. Although this is not a unique approach, what is surprising is the speed and quantity in which these player driven changes are happening. There seems to be an active ongoing process to refine the game and eliminate some of its “rough edges” and the players are contributing to this process with their feedback.
According to my Steam statistics, I last played Starfield on 19th December 2023. I bought the game upon its release in September of that year and played in total for 136 hours. Starfield held my interest for three and a half month and I wrote seven blog posts about various aspects of the game. Although there were some engaging aspects to Starfield, I did feel that that the game was somewhat lacking in systems and content, at that point in its lifecycle. I also think that the marketing and player expectations associated with Starfield were overblown and unrealistic. The shadow of Skyrim looms large over all new Bethesda releases and they don’t seem able to quite recapture that magic. Hence, I inevitably drifted away from Starfield and to another game and was effectively “done” with it. I have not played the game since which seems to validate the theory that game are becoming increasingly more ephemeral.
13 days after its release, market analysts estimate that Crimson Desert has already earned $200 million across the four main platforms (PC, PlayStation 5, and Xbox Series X and S). The game is certainly proving popular among gamers with the internet awash with live streams and “let’s play” videos. However, reviews are mixed both among gaming journalists and YouTube influencers. Common complaints about the game include that it is slow to start, the controls are poorly laid out on all platforms and that developer’s Pearl Abyss have done a poor job of explaining most aspects of the game to new players. Although such criticisms are true to a degree, I think these complaints highlight how many gamers are conditioned to expect new titles to follow a specific pattern with regard to pacing, narrative exposition and learning in-game systems. A pattern that Pearl Abyss has chosen to ignore, instead favouring an old school approach.
Early on Crimson Desert, the main quest requires the player to enter a tavern and arm wrestle a particularly strong guard. The arm wrestling match consists of a quick time event. If playing on PC you have to rapidly press the “E” key which turns a power meter from white to red. Then a white dial appears above the meter with a rotating hand. When the hand passes over a segment of the dial that is marked by hatching, the player must press the “R” key. The idea being the meter filling with red is you strength building (or waning) and the “R” key prompt indicates when to try and force your opponent’s arm. You will need to to continuously press the “E” key throughout the arm wrestling match and the “R” key about 4 times to win.
Earlier this week, Nvidia posted a video featuring their latest iteration of DLSS technology (Deep learning super sampling). DLSS 5 is an AI-powered “real-time neural rendering” process and unlike previous versions that focused on improving frame rates through upscaling or frame generation, DLSS 5 uses generative AI to “infuse” frames with photorealistic lighting and material details that the game engine never actually calculated. Let us pause for a moment and consider these words. Material detail that the game engine never actually calculated. Therein lies the rub. If you watch the aforementioned video or peruse the images posted here, it is abundantly clear what the technology does.
Last night, I spent the first 45 minutes after the launch of Crimson Desert, watching the 92GB pre-downloaded game files slowly decompressing and installing. I finally launched the game at about 10:50 PM GMT. I then waited a further 5 minutes while shaders were downloaded. It took me about 15 minutes or so to read through the various game settings and choose those that are optimal for my PC. I suspect even if you have a beast of a computer, you’re still going to have to spend some time tweaking settings. As for those players like myself with a gaming rig that is somewhere in the middle of the game’s specifications, be prepared to do a lot of fine tuning both within Crimson Desert itself and your Windows settings.
I have been aware of the online interest around the open world action game Crimson Desert for a while now. One of the things that has intrigued me about it is the scope of the game. The word “hype” has been bandied about by a few gaming websites. However, from what I have observed, developers Pearl Abyss have not been excessively hyperbolic themselves, with regard to the manner in which the game’s systems and mechanics have been marketed. Now that the press embargo has been lifted, the pre-release reviews seem to confirm that everything we’ve seen in promotional videos in the run up to the launch, is in fact present in the game. So far the initial critical response has been very positive and it has been hinted that the game may well be a genre milestone. Perhaps Crimson Desert is just a rare example of a game that has not had a rushed development and isn’t launching prematurely for business reasons.
Video games as a genre are extremely poor at explaining themselves. When you buy a new game you’ll often find little or no information regarding the basic systems and mechanics. The industry assumes that their customers are by default familiar with the fundamentals of playing a modern video game. Hence if a game has a tutorial, it is often based around videos rather than detailed verbal instructions. You are are briefly shown a clip of a specific move being successfully undertaken but it is seldom shown in a wider context. The industry also expects the fan community to take on the role of curating and disseminating information about its games. The move away from forums and bespoke websites to Discord highlights this. Discord is a primarily a real time communication tool and not good at maintaining a historical data archive. If you want an answer to a specific gaming question, you’ll more than likely find it on YouTube in a video made by a fellow gamer.
I have written in the past about the video games we cannot play. The ones that require a keen understanding of a game’s mechanics, along with a strong degree of manual dexterity and situational awareness. Being 58 years old, I tend to have neither the co-ordination necessary to succeed or the patience to master such complex skill requirements. With this in mind, I recently watched a YouTube video for Chivalry 2 and thought, that looks like fun. The fact that it showed someone picking up a chicken and throwing it at an opponent is neither here nor there. However, after watching a few more videos I realised that combat in the game was complex and that, as usual, the reality of playing such a game would be different from my expectations. Hence, I came very close to not buying Chivalry 2. However, I eventually decided that I would, so I bought it for just under £10 from an online vendor.
I decided to pursue a magic and spellcasting build in the RPG Tainted Grail: The Fall of Avalon after the story prologue. During the opening section of the game, the player is presented with a sufficient range of weapons to determine which type suits them best, although you can change at any time during the game. For me, casting spells feels right and is fun. Plus I have fond memories of the magic system in Two Worlds II and Skyrim. So once I started playing through the first zone, I started putting attribute and skill points into the appropriate trees to bolster my spells strengths and frequency. I also chose gear that would bolster those statistics further. The results have been surprising, as magic and spellcasting is not presented in the usual “glass cannon” style you find in some other RPGs. Here it offers robust DPS output and with the right gear and spell combination, a strong degree of survivability.
I originally bought Warhammer: Dark Omen in the summer of 1998. I played a demo copy via a magazine cover disc, which was a common means of promotion and marketing back then. Although I was at that point, unfamiliar with the Warhammer Universe, I found this game to be an excellent point of entry. The story did an excellent job of introducing players to “The Old World”, the political and power structure and major characters. I instantly liked both the aesthetic and the lore. Warhammer: Dark Omen was also the first real-time tactical wargame that I played and I spent numerous hours playing through the campaign. Overall, the game was a critical success, particularly on PC, but it struggled commercially upon its initial release and didn’t quite find the audience that it deserved. However, it has achieved status as a “cult classic” among gamers, leading to a recent re-release on GOG in late 2025.
According to the recent “letter to the players”, Standing Stone Games will be adding a new zone to the MMORPG The Lord of the Rings Online in the second quarter of this year. Possibly around May or June. Having spent the last three expansions in the South of Middle-earth exploring the tropical Umbar and the deserts of Harad, I would certainly welcome a change of location. I have gradually warmed to these zones over the last eighteen months but I do find them so incongruous. They are so radically different to the European style content that has been the mainstay of the game for so long. Tolkien’s source text has plenty of detail regarding Eriador and Rhovanion. Information regarding Harad is scarce, hence it has afforded the developers a great deal of artistic freedom. Although exceedingly well realised these tropical zones have taken a while for me to get used to.
I’m not sure exactly when it started but I’ve recently noticed a graphical bug within the MMORPG The Lord of the Rings Online. This problem often occurs within caves or in areas where there are a lot of rocky surfaces. Hence it has become very apparent in the latest two expansions, set in Umbar and Harad. This graphical glitch causes some surface textures to appear to flash from light to dark intermittently. The resulting strobe effect is hard to ignore and very distracting. Fortunately, a quick online search showed that this is not a problem unique to my installation of LOTRO and is a known problem. Furthermore, there is a very simple workaround, which is to go into the Advanced Graphics setting and uncheck “Per Pixel Lighting”, which immediately remedies the problem. I have no idea why this has recently started to happen but at least it can be resolved.
This year is the 60th anniversary of Star Trek. The original TV show was first broadcast in the US on September 8th 1966. If you search online you’ll find details of lots of related events. There are documentaries, conventions, new TV shows and even some video games in development. However, what you won’t find are any details regarding what will be happening with the MMORPG Star Trek Online. So far no road map for 2026 has been posted online by the developers but it is still quite early in the New Year. That being the case, I am not especially optimistic about there being any major plans waiting to be revealed. It is not as if DECA Games have demonstrated or stated any major ambitions for STO beyond keeping the endless events treadmill going and regularly adding content to the in-game store, during their development tenure. The ongoing story arc drags on inexorably and is as dull as ditchwater.
I first played The Elder Scrolls V: Skyrim in June 2013. This was over 18 months after the game’s initial release and the base game and DLC were bundled together in a “Legendary” edition. Although a seasoned gamer at the time, familiar with the RPG genre with such titles as Mass Effect and Grand Theft Auto IV, I had not played a game from this franchise before. It only took a few hours of gameplay to realise that this was a special title. The scope of the story, the art design and the size of the world were immediately notable. Tamriel was immersive in a way I had not experienced with other titles. Often simply traversing the terrain and watching the dawn break while the game soundtrack swelled, was sufficient to hold my attention. I instantly picked up on the voice acting of Christopher Plummer and Max Von Sydow. All of which indicated that this was a gaming landmark.
The latest expansion for the MMORPG The Lord of the Rings Online, Kingdoms of Harad, launched on December 3rd. With this release the level cap was raised from 150 to 160. It should also be noted that the cap for virtue traits was also raised from 96 to 100. Naturally these changes meant that there is a requirement to replace all armour and jewellery once the new cap is reached. Similarly Legendary Items have to be reforged and any traceries upgraded or replaced. If you follow the Epic Story it will lead you from quest hub to quest hub. The main quest rewards, along with those from side quests will provide adequate gear as you slowly progress towards the new level cap. The new raids, instances and missions/delvings then provide a means to acquire higher quality level 160 gear. LOTRO and indeed, many other MMOs are consistent in this methodology.
It is customary in a post such as this to list the various games that I’ve played over the last twelve months and share my thoughts on them. Wider analysis of the video game industry is also de rigeur. Unfortunately, I don’t really feel disposed to do either of those two things. My thoughts on the games I’ve played have already been published and can easily be accessed via the links at the bottom of this post. As for the video game industry, it suffers the same flaws as music, TV and cinema. There is creativity and innovation out there but it is often drowned out by mainstream products which are demonstrably inferior due to their inherent mediocrity. As for the business side of things, we once again clearly see the failings of the corporate management class. Sadly, they do not face the consequences of the mistakes that they make.
Damn Microphones
Back in 2010 there was a video game podcast boom, especially with shows driven by MMORPG fandom. Hence, in a fit of hubris, I decided to add my voice to the growing conversation. Or alternatively jumped on the bandwagon, depending upon your point of view. The accessibility of the tools to create and distribute a podcast eliminated the traditional barriers to producing such material. Technically, the entire process of making a podcast remains quite simple. You record, edit, upload and promote. The quality of the podcast comes down to two factors. Your content and technical presentation. In this post I’d like to focus upon the latter. Podcasts are by their very nature, an audio medium, so it is important that those speaking are recorded clearly. Yes, this post is about microphones. How they can make or break a podcast (or live stream) and that they’re my new fixation.
Back in 2010 there was a video game podcast boom, especially with shows driven by MMORPG fandom. Hence, in a fit of hubris, I decided to add my voice to the growing conversation. Or alternatively jumped on the bandwagon, depending upon your point of view. The accessibility of the tools to create and distribute a podcast eliminated the traditional barriers to producing such material. Technically, the entire process of making a podcast remains quite simple. You record, edit, upload and promote. The quality of the podcast comes down to two factors. Your content and technical presentation. In this post I’d like to focus upon the latter. Podcasts are by their very nature, an audio medium, so it is important that those speaking are recorded clearly. Yes, this post is about microphones. How they can make or break a podcast (or live stream) and that they’re my new fixation.
So let’s begin with some technobabble. Recording audio is a chain of events. You speak into a microphone that picks up the sound. The sound is pre-amplified and is then captured and converted to a digital format. The digital data is then saved, cleaned, edited and mixed into a final recording. This recording is then digitally distributed and consumed by listeners using their respective audio equipment. Like any chain, if there is a weak link then there’s a potential point of failure. Conversely, each step offers an opportunity for improvement. Good audio enhances the overall listening experience for your audience. Ultimately, if those listening are doing so with inferior audio equipment, that is a matter beyond your control. But you can ensure that your audio is the best it can be, prior to its distribution.
Mics on their own cannot produce a signal that is strong enough to just be recorded without going through a "pre-amplifier". This boosts the signal level to get the best quality audio saturation from the mic. However, this boosting affects the sound quality. As you can see, we’re only four paragraphs into this post and there are now both hardware and technical literacy requirements. However, for podcasting the practical solution is to use a USB microphone. These handle the pre-amp requirement and also convert the source audio to a digital format. But like any technology that does multiple tasks, there is a trade off. Like so many things in life you get what you pay for. A decent quality, brand name USB mic will cost between £100 and £200 or thereabouts. But you can also find some interesting “clone” products available which have similar specifications but are not manufactured by known brands.
It should be noted that simply buying the most expensive mic available is not by default going to solve your audio woes. No sir. The acoustics of the room in which you’re recording, the placement of the mic and how far you sit in front of it all have an impact. I was quite surprised how I improved the audio quality of a test recording simply by moving my chair a few inches closer to the desk on which the mic was placed. Pop filters of some kind are also essential. The simple reality is that if you’re using a USB mic on a desk stand or a boom you have to stay close to the mic and remain relatively still. This is a nuisance, if like me, you geticulate and are animated while extemporising. In the past I got away with this because I used a gaming headset to record my podcasts but this was at the expense of audio quality. The mic used to pick up the sound of the plastic creaking as my jaw moved the earphones.
Obviously there’s a lot more technical depth to microphones than I’ve covered. I’m just trying to summarise what I’ve learned of late and I’ve only scratched the surface. Furthermore, when I undertake a project I like it to be done in a professional fashion. Hence I am a hard taskmaster and will spend hours fine tuning software or hardware if I feel it will yield beneficial results. Yet no matter how much you tinker with either software or hardware, there are some things that you cannot change easily, such as how your voice sounds and your diction. I’m constantly horrified by the gulf between how I think I sound and the cold, stark reality of how I actually do. Like mirrors, microphones and not always flattering, damn them. But on the plus side, it is nice to have a requirement to use one again.
The initial podcast boom, which began circa 2005, started as an audio only medium. One of the reasons podcasting became so popular, especially among the fan community, was that you could get away with relatively low production standards. Anyone who had access to a basic microphone and a PC, could produce a show and upload it to iTunes, which was the primary platform at the time. Listeners were forgiving back then. Twenty years later and podcasting has been on a tempestuous journey. It started with the medium being accessible and democratised, sustaining a rich and diverse fan community via non-professional productions. However, slowly and inevitably it has been assimilated by corporate interests. Fan podcasts have given way to podcast production companies. The small, micro-budget, indie show has effectively been thrown out of their own party. Such shows still exist but they struggle to be heard.
I regularly receive random emails addressed to such august bodies as “the Contains Moderate Peril team”. They always raise a wry smile. Like there’s a team. That implies an organisation, structure and even a budget. As opposed to just me, screaming into the void and pouring money into a financial black hole. I don’t resent such emails. People are just trying to earn a crust, I guess. The only thing about them that frustrates me, is they never address me by name. A cursory glance at the “about” page of the website would provide them with my personal details. So I just delete them and think no more about them. Today I received one that did more than make me smile. In fact I laughed out loud and heartily. The email started with “Dear Burton”. Someone had found a few old episodes of the Burton and Scrooge podcast and had assumed this was indeed my real identity.
Earlier tonight, I had the pleasure of participating in the Evolution of Horror: Podcasting Masterclass. An online seminar conducted via Zoom. For those who are not familiar with the Evolution of Horror, it is a podcast written and hosted by Mike Muncer along with regular guests. It explores horror cinema in depth, considering the technical, thematic and sociological elements of the genre. Launched in 2017 this independent production has gone from strength to strength, with Mike now producing content for Paramount + and Studio Canal. The masterclass was designed to provide podcasters both old and new with some practical advice and answer some commonly asked questions. Being a fan of Evolution of Horror as well as a former podcaster, I signed up and enjoyed a most informative and enjoyable 90 minute seminar.
I recently decided I’d had enough of the endless deliberation and procrastination and so I started producing a weekly podcast again. As of today the second episode of Season 10 of the Contains Moderate Peril podcast is available on all major platforms. I must admit, although I was confident that a few people would listen to the show, I was completely taken aback by the overall reaction. The Contains Moderate Peril podcast was warmly welcomed back by previous listeners on social media and the statistics for the first show have been most positive. For myself and Brian, recording the show is like putting on a comfortable pair of shoes. Last night’s recording went okay and I think after a few more episodes, the recording and editing process will be an efficient process. Keeping each episode to an hour or under means that the conversation stays on point.
Sometimes in life, you have to stop banging on about what you want to do and just go out and do it. I was thinking, yet again, over the Christmas holidays about how I wanted to get back into podcasting and to create a regular show. Although it is always a pleasure to be a guest on Beyond Bossfights, it is not quite the same as writing and producing your own project. So I decided not to sit around and overthink things but instead to pick a subject as a talking point, start recording and see what happened. As ever, my longstanding co-host Brian was happy to participate and so joined the session. Several hours later, I had a fully edited recording that was good to go. Hence, I am pleased to announce that after a three year hiatus, the Contains Moderate Peril podcast is back. A new episode is now available for download, either via the podcast page of this site or through iTunes and Stitcher.
My personal podcast journey started back in 2010 when I effectively invited myself onto the Mordor or Bust podcast. The three of us who were involved in the production of that show were learning as we went along. I recently listened to an old episode and despite our enthusiasm, it is quite rough around the edges from a technical perspective. I think that the biggest mistake that I made at the time was not investing in a better quality microphone. I sound like I’m at the bottom of a well. It’s hardly surprising as I was using a very cheap analog desk microphone which I think only cost a few pounds from PC World. Roll on eleven years and I’ve been invited to be a guest on the Beyond Bossfights podcast. It’s nice to be back in the saddle again, so to speak. Up until now, I’ve been using my Razer gaming headset for any previous podcast recordings but I’ve decided to take the opportunity to overhaul my technical setup.
Back in 2010 there was a video game podcast boom, especially with shows driven by MMORPG fandom. Hence, in a fit of hubris, I decided to add my voice to the growing conversation. Or alternatively jumped on the bandwagon, depending upon your point of view. The accessibility of the tools to create and distribute a podcast eliminated the traditional barriers to producing such material. Technically, the entire process of making a podcast remains quite simple. You record, edit, upload and promote. The quality of the podcast comes down to two factors. Your content and technical presentation. In this post I’d like to focus upon the latter. Podcasts are by their very nature, an audio medium, so it is important that those speaking are recorded clearly. Yes, this post is about microphones. How they can make or break a podcast (or live stream) and that they’re my new fixation.
I joined Twitter back in 2010. Perhaps the most surprising thing I quickly discovered about the platform is the immediacy of communication that it offers. You can follow someone, reply to something they say or initiate a conversation with them in real time. Hence interacting with those who share a common interest becomes very accessible and enjoyable. It’s a far cry from going to a convention, wandering around and then plucking up the courage to speak to someone or join in a conversation that others are having. Social media removes those awkward “ice breaking” moments. Of course not every Twitter exchange is a pleasant experience but overall I’ve not encountered many problems using social media over the past decade. Twitter has broadly been a positive experience and introduced me to a wider community. It has provided me with an opportunity to meet new people and become part of something that is both social and positive.
Life is often about the things we’d like to do or wished we had done, rather than the things we’ve actually achieved. My last post in this blog series was back in 2nd October 2018 and the last podcast that I published was in January 2019. Since then most attempts to produce more content of this kind have come to nought, as spare time for both recording and editing have been in short supply. However, I did manage to record some material on the 22nd of December with my long-time co-host Brian. The idea was to release the finished podcast as a surprise show at the end of the year. However, due to real world commitments, that deadline has not been met. Now there’s a surprise. I do intend to finish editing the show and may add some extra material to make it a little more topical. But overall, I am not too upset by this delay, because in the process of organising this podcast, I discovered a quick and convenient means of recording via Discord. Something that has been seen as Holy Grail of podcasting over the years.
I’ve been pondering a new podcast project for a while, since Contains Moderate Peril ended a year ago. As I’ve discussed in previous posts, I want to create a movie-based show and have been considering of late exactly what sort of format to adopt. I don’t go to the cinema often enough these days to produce a contemporary review orientated podcast, plus I don’t find a lot of mainstream releases to be sufficiently engaging. Despite looking and pursuing discrete enquiries, I haven’t been able to find a co-host who is sufficiently knowledgeable, motivated or available to do a regular show producing the audio equivalent of long form criticism of films and the movie industry. So, it’s been a bit of a chore to try and work out which niche to explore. However, I have now a clear idea of what I want to do.
Today I did a little blog housekeeping. I’ve reposted the last five episodes of the Contains Moderate Peril on the podcast page, now that previous hosting account has been closed and the RSS feed is defunct. The files are held locally and can either be played via the embedded player or downloaded manually. There are also two episodes of the Burton & Scrooge Podcast still available on SoundCloud for posterity. The podcast page and selection of episodes available are for reference and as an example of my podcasting back catalogue, so to speak. I may not be actively creating content of this kind at present, but I see no reason not to promote my experience in the field. If circumstances change in the future, there may be resumption of service.
I made a hard decision today. I cancelled my Podbean subscription and have effectively closed the Contains Moderate Peril podcast. Despite relaunching the show last September, I simply haven’t had the time to collate content for discussion or organise recording sessions with co-hosts. Hence, we are now two months into 2018 and a new show has not yet been produced. Furthermore, the listener numbers for the episode posted between September and December last year were disappointing. Upon mature reflection, I have reached the conclusion that the podcast peaked in 2014 when we had a strong and established audience. Rather than chase my own tail trying to recapture something that may well have been a product of circumstance, it seems prudent to finally draw a line under this show. I’m a little sad about this situation, as it does feel like the end of a personal era, but it is time to move on.
2017 didn’t quite go to plan with regard to my personal podcast output. Brian and I decided to stop producing the Burton & Scrooge Podcast and return to creating material under the Contains Moderate Peril brand. This was a good idea in so far as consolidation, but it was ill timed as both of us were somewhat fatigued with podcasting per se. Ultimately Brian decided to take a break and pursue some projects of his own. I decided to push on with podcasting in my usual idiom and I was pleased with the three new shows that were produced. Sean, Brax, Jaedia and Wolfy were extremely obliging and great guests, but ultimately my schedule just couldn’t sustain a regular show. Hence, I re-released some “classic” shows to fill the gaps in the run up to Christmas. As a result of all these changes and the delays, the overall numbers for the show have been disappointing. Although statistics are not the only reason why I podcast, they are important as I was hoping to grow the audience this year. That has patently not happened although it is nice to know there’s a loyal core group of listeners. Therefore, I now have to think long and hard about my podcasting plans for 2018.
Ever had what you thought was a great idea for a podcast that looked good on paper but turned into something quite different, once you started recording? Well I had that experience on Sunday evening and today I am dealing with the results. It all started with an innocuous Twitter conversation (don’t many things I hear you say) which highlighted a minor cultural difference between the US and the UK. Having recorded with an American co-host for many years this is a common occurrence, so I decided to make it the theme of the next Contains Moderate Peril podcast. I initially thought of several fun examples that could be discussed; the British obsession with the weather, cheese-rolling and Morris dancing. However, rather than take a scattergun approach, I decided to list specific categories in the show notes. Subjects such as school, work, food, social customs and public holidays were added for discussion and I believe that is where thing started to go wrong.
Podcasts are becoming an invaluable medium for the analysis and discussion of niche interests and bespoke subjects. Many of the shows that I regularly listen to bring professional quality documentary skills to bear on unique and varied areas of fandom. More and more podcasts are being made by informed and intelligent fans, offering in-depth material rather than just light weight banter. Simply put, I am spoilt for choice. Therefore, it is essential to have a suitable podcast management app to stay on top of such quality entertainment. Something that allows me to curate and organise those shows that I currently enjoy, as well as providing recommendations for comparable material that I may wish to subscribe to. For several years I’ve been using Podcast Addict on my Android devices, although I’ve struggled to find something comparable for my PC.
Last night, myself, Hannah and Chris (AKA Jaedia and Wolfyseyes) had an especially productive recording session. We managed to produce two hours of material in total and I’m confident that it can be whittled down into a coherent and enjoyable ninety-minute episode. What I especially enjoyed about this podcast recording was buoyant atmosphere and the flow of the conversation. I felt that we explored the various topics well and that the discussion felt natural. Ultimately, it will be the listeners who’ll determine whether this is the case or not but from my perspective the recording went well because the guests were a good choice. If you are pursuing a podcast format that has multiple hosts or regularly features guests, then it is important for there to be a rapport between all involved.
As I surmised, in its current state Squarespace has proven an inadequate host for my current podcast. After exchanging several emails with Apple support, I was informed that “the server for your episodes does not support HTTP HEAD requests. To enable streaming playback of episodes, ensure the hosting server allows HTTP HEAD requests and has byte-range requests enabled”. To cut a long story short, there is no scope for me to alter any of these things at present within the Squarespace dashboard. Nor did I want the work involved in using a third-party feed managing service such as FeedBurner. So, I decided to open up an account with a commercial hosting service. After some research, I determined that PodBean could cater for all my needs and at a competitive price. Submitting the new RSS feed was easy and Apple approved the podcast within 36 hours. As of today, the Contains Moderate Peril podcast is back on iTunes.
Whenever I encounter a word or term that I’m not familiar with, I will usually Google it. That’s the way I’m wired. I prefer to “know” rather than “not know”. However, it is not the concept of continuous self-improvement that I wish to discuss in this post but something else. Namely sociolinguistics. Earlier today I saw someone mention vocal fry on Twitter. I had no idea what that was so I checked on Wikipedia, watched some You Tube videos and finally read some newspaper articles. An hour later I was aware of not only vocal fry, but run-ons, uptalk, glottal Ts and the fact that the way we speak has a major impact upon our lives, just like education and class. According to sociolinguistics, the manner in which you speak has a major impact on the way you are perceived by others. Sadly, like so many other social markers, it can be used in a discriminatory fashion.
Back in April I decided to relaunch the Contains Moderate Peril podcast for reasons of brand continuity. At the time, I was hoping to get back in to the podcasting saddle and return to producing weekly shows. However, the recording session was fraught with technical problems with Zencastr crashing regularly. I was left with nine separate audio tracks that weren’t in sync which made editing a major problem. There then followed a wealth or real-world issues that I had to address that meant for the next three months the podcast was put on hold. Finally, at the beginning of August I managed to complete the post production work on the show and publish it via Squarespace. I was hoping that using this existing website as a host for the show would save some money and reduce the work load. However, like most plans, it didn’t exactly work out that way
Professor Beej recently tweeted about consolidating all his various blogs and online activities into a single entity. I naturally agreed with him and encouraged him to do so because I did something similar back in 2010. I had a gaming blog and a site for movies reviews plus a podcast to manage. It ultimately made sense to put all these thing in one place, despite their respective differences because the common factor in all of them was me. To coin a rather nauseating phrase “you are your own brand”. This is how Contains Moderate Peril came to be. In recent years, I’ve embraced this concept further and will now write or podcast about any subject that really takes my fancy. I try to stick to the things that I like but from time to time, I do stray in to wider real world subjects.
Although we at the Burton & Scrooge podcast are not driven by numbers, it would be nice to see the audience grow. We seem at present to have plateaued somewhat and maintain a robust but fixed listenership. Currently our back catalogue of shows is available via SoundCloud, iTunes and Stitcher. However it would appear that other directories and aggregation services are available, so it would seem prudent to ensure that we are listed with them. My colleagues tell me that the Google Play Store and iHeartRadio are beneficial to register with. I believe that there may well also be comparable services aimed specifically at the console market. However, as our show is more geared towards PC gaming, I don’t see the need to pursue these.
A week on from my last post on this subject, I have decided to script the entire of my solo podcast. It won’t be one hundred percent verbatim but I need to get the lion share of my thoughts down prior to recording. I discovered over several recording sessions that I continuously think of additional points to add as I’m speaking. The net result is having to constantly stop and start Audacity, the program I use for recording, as well as having to research extra points on the fly. Again, I was not happy with the finished product as you could frequently hear the hesitation or more to the point, the frustration in my voice. So, I’ve returned to the idea of having well fleshed out notes with some sections such as the introduction, written out in their entirety.
I recently wrote in a blog post that I would be producing a new podcast this year and that Burton & Scrooge Uncut would be taking a break for the immediate future. Well in fact I’ve decided to record two new shows. In the meantime, Brian has already embarked upon his solo project and seems to have found his niche already. I however am currently bogged down in the pre-production process and because the format of the new podcast is different from those I’ve done before, it is proving to be a little more challenging than I initially thought. Since I find writing to be a practical way of ordering my thoughts, I thought I’d keep a podcast diary. I can therefore work through some of the issues that arise as well as produce a blog post, now that I’m back to writing daily.
While the Burton & Scrooge Podcast is on hiatus, Brian has decided to forge ahead with a solo show; the first episode of which is now available. Scrooge Uncut is a showcase for all the various subjects that cross Brian’s mind, so expect a very dynamic and eclectic range of material. The podcast is very much a stream of consciousness, neatly edited into bitesize segments, presented in Brian’s inimitable style. The debut episode touches upon technology and gaming and also updates several talking points previously raised on the Burton & Scrooge Podcast.
In the past, I’ve often written a summary of my experiences with gaming, movies and TV at the end of each year. Similarly, I usually reflect upon my activities in podcasting and blogging as well. However, 2016 has been unique in many respects. Political and social tides have changed in the West and there is much to reflect upon in the real world. Certainly, my appetite for creating content has taken a knock and I have at times stopped and wondered if it really is all worth the bother. But after such moments of introspection I still see the benefits of the written word or bellowing in to a microphone, so here we are once again. The only difference this time is rather than multiple posts, I can pretty much distil my thought on 2016 in one simple account.
I’m of the opinion that there’s a little too much consensus within the blogging and podcasting community that I'm part of. Don't get me wrong, it's nice to have something in common with my fellow writers and it helps when advancing ideas to have grass root support. However if everyone pretty much agrees with each other it doesn't always make for an entertaining or rigorous debate. Braxwolf recently wrote a very personal post about his faith and strayed in to territory that most bloggers consciously avoid. As a result it attracted a great deal of comments because religion is a divisive subject and candid articles of this nature are rare.
I’ve been blogging and podcasting for quite a few years now and although I enjoy both mediums, they do come with a degree of work. Also both undertakings require financing and at times can be quite costly. Yet despite these aspects of content creation, I still enjoy both mediums as a participant and as a consumer. There are still plenty of great blogs out there as well as informative and engaging podcasts. If anything 2015 was very much the year of the podcast as Serial proved. I consider reading blogs, listening to podcasts and watching quality You Tube channels to be the equal of commercial television and believe that these mediums will increasingly compete against more traditional platforms in the coming years. Here are some of the shows that I view and listen to:
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.
Some video games lend themselves to being set aside and resumed at a later date with zero consequences. These are often casual games with no major goals other than having fun while playing them. Fall Guys is a great example of this. You have a cartoony avatar that participates in zany group races, filled with obstacles. You run, jump, climb but the controls are far from difficult. You may well become skilled but such things are mitigated by the other players as they stumble around. You’re not at the mercy of apex players or “try hards”. It is not a game about winning and mastering techniques. The fun comes from playing it and the unique experience you have each time. I’ve been playing this game, on and off, since it’s launch in 2020 and in that time I have only ever won once (winning requires you to win a series of 4 to six individual races). However, whenever I pick up my controller and play Fall Guys, I have fun and the game lifts my spirits.
I recently completed the main story in Tainted Grail: The Fall of Avalon. In total I spent about sixty hours playing the game. I began at the start of the year, then took a break for a while but returned to it recently because I wanted to see if I could unlock a specific ending. I did manage to do this. Like so many other RPGs, Tainted Grail: the Fall of Avalon has a central storyline, along with a wealth of side quests, based around factions in specific zones. I think I possibly completed about a two thirds of these. However, once I finished the main story, my interest in the game began to wane. I finally left my character in the last major quest hub in case I wish to return at a future date. I then logged out of the game and uninstalled it from my PC to free up space for whatever I was to play next. In this case its The Sinking City 2. None of this is a negative reflection on Tainted Grail: the Fall of Avalon. I enjoyed the time I spent playing this quirky RPG. I simply had my fill and left to play something else.
On Tuesday 11th April, Aspyr Media rather surprisingly re-released The Lord of the Rings: War in the North, a co-op action-RPG from 2011. This game was delisted in late 2019, possibly due to changing rights ownership or a license expiring. Hence, I was somewhat discombobulated by the return of this title to all major gaming platforms. Mind you, the Embracer Group (through its subsidiary Middle-earth Enterprises) still controls the worldwide commercial and video game licensing rights for The Lord of the Rings and The Hobbit. Furthermore they have explicitly stated that they have plans for more games. It would appear this also means re-releasing and updating old favourites. It is also worth noting that they own Aspyr Media, which is also a bit of a giveaway. Let it suffice to say that this re-release and sparked enthusiastic online debate as to whether any other he Lord of the Rings themed games from the same era will receive a similar makeover. Judging by the internet chatter, there’s potentially a market for them.
The next expansion for the MMORG, The Lord of the Rings Online, was announced on the 1st August, via the gaming website MMORPG.The Wolves of Mordor, which will launch later in the year, appears ambitious in scope as it will include two new game systems as well as the obligatory story update. This expansion takes place in Draugardh located in the North East of Mordor, beyond the Plateau of Gorgoroth. It includes the new zones of Heledhris, Parth Rhavas and Nan Ogol. These vary environmentally ranging from the arid, volcanic and semi-tropical. Players will encounter the Daugrim in these regions, Werewolves but not in the modern sense. This is not the lycanthropy of Eastern European legends but in the established Tolkien idiom of fell spirits inhabiting the bodies of Wolves. The region also sees the return of the Woses and players can expect to encounter Elves and scouts from Gondor. As ever with LOTRO expansions, there will be new instances as well as a raid.
This is a post about the power of nostalgia and how sometimes, interacting with something from your past, be it physically or mentally, can produce a very strong and tangible emotional reaction. In some instances, this can be the result of something that you have specifically set out to do. On other occasions you can wander into a sense of nostalgia purely by chance. Today I experienced a very strong sense of nostalgia while watching a YouTube video and then again when I sought to replicate what I had seen. The video showed someone installing Windows 95 on to an old 486 PC from that era. The Window’s start up sound really touched a nerve (but in a good way) and then when the guy in the video launched Space Cadet 3D Pinball, a game that shipped with the operating system, I felt a strong compulsion to track down a copy and install the game myself, thus revisiting something that was an integral part of my life in 1995.
RV There Yet? is possibly the most entertaining game I’ve never played. My vicarious pleasure regarding this title has come exclusively from watching two popular YouTubers, JackFrags and WillFromWork, play through the game over a series of videos. It has been immensely amusing to watch and I have empathised a great deal as the group of four players has struggled with the game’s unpredictable mechanics and their own team’s dynamic. I could go and buy RV There Yet? myself but I doubt if I would ever have a gaming experience anywhere close to what I’ve watched online recently. So in some respects watching these videos has been an interesting alternative as I’ve been entertained, which ultimately is the point of video games. Perhaps there is a deeper philosophical point here that the game developers should reflect upon, as they’ve lost a potential sale. However, that is separate discussion for another day.
I don’t keep up with gaming news as much as I use to but several noteworthy announcement have come to my attention of late. Firstly, there’s an expansion, Songs of the Past, coming for the Witcher III: Wild Hunt in 2027. No doubt this is to pave the way for the Witcher IV. Next, I also found out about Hand of Fate: Horde. I liked this franchise and was saddened to learn that the original studio, Defiant Development, closed. Hence is was a pleasant surprise to see this new game being developed by members of the original studio. The third announcement was regarding Guild Wars 3. A new MMORPG in active development by a major studio is no small feat and is certainly good news for fans of this franchise and the genre per se. However, once you look beyond this news this announcement raises several questions and has certainly given me pause for thought. Let us take a few moments to consider them.
Star Trek Online has many in-game systems that are common to the MMORPG genre. The reputation system is one such example. In STO there are 13 reputation factions. Once a player has reached level 50 they may start progressing through the 6 reputation tiers of each one. Players gain progression through daily projects (20 hours in duration). Hourly projects are also available though they yield less reputation advancement and are limited to three times a day. Hence 20 hour projects are consider by default the most efficient way to gain rep. Projects require 30 Faction Specific Marks (earned via various activities in-game), 15,000 Energy Credits (standard in-game currency) and 2000 Expertise points. The most efficient way to tackle the reputation grind is to build up the necessary resources in advance and then at a designated time each day, start all 13 respective projects. Upon completion projects yield a player bound lockbox containing a random space or ground weapon, a console or Elite Marks which can be used to acquire faction gear.
I was recently perusing my archive of old blog posts, when it struck me how much I’ve written about the MMORPG genre over the years. Naturally, there was far more material from between 2008 and 2012 as that was period when I immersed myself in the genre and was very enthusiastic about it. I was at a point in my life when I had the time to dedicate to such games and I was happy to participate in the social aspect of they offered. I would regularly play through group content and spend time socialising online with fellow guild members. My experience remains a textbook example of how online games can be more than the sum of their parts and that where you are at in your life has a major impact upon your overall enjoyment. As I read though various old posts it became clear that my experiences where specific to this particular part of my life and that they cannot be repeated. My relationship with the genre is very different now and that’s fine.
Creating alts is an integral aspect of the MMORPG genre. Many players will create a character of a specific class or faction, play it for a while, lose interest in it or they may decide that it is just not for them. Fortunately it is no effort at all to simply re-roll a new alt and set off once again. Furthermore, lots of players never reach level cap of the MMORPG that there playing. When the going get’s tough, so to speak, you can either soldier on for another 50 levels or simply create a new alt and return to the comfort of tried and tested content. Alts also give you the chance to secure an accolade or achievement that you previously missed. They are also of great benefit to the genres social aspects. Creating a new alt so you can play along with a friend who is just starting is great fun. Developer’s love them too as it means you’re still playing the game.
I recently took a break from Crimson Desert choosing instead to to play something familiar and easy going. As I’ve been logging into Star Trek Online daily to participate in the anniversary event, I decided to look through my various alts and see how far they had progressed through the game and what resources they had. At present I have twelve alts. My primary Captain was created in 2015 during the original Delta Recruit Event. I had previously played STO intermittently since its release in January 2010 but I never kept any of those characters. Hence this decade old Tactical Federation Captain has been my main focus when playing. The other eleven alts are the result of other recruitment events or whenever I wanted to try something different, such as playing a specific class or faction. I obviously played a lot of STO during the lockdown as several alts date from that period. Several had maximum reputation across all factions.
The action, open world RPG Crimson Desert has been patched five times since it launched on March 19th and there have also been multiple hotfixes. At first glance this isn’t anything unusual. New games have bugs and issues arise once a game is released and played across a much wider variety of hardware than in QA testing. However, if you read the patch notes that accompany these sizeable downloads it quickly becomes apparent that developer’s Pearl Abyss are not just addressing bugs and software glitches. They are actively engaging with their player base and responding to suggestions and requests from that community. Although this is not a unique approach, what is surprising is the speed and quantity in which these player driven changes are happening. There seems to be an active ongoing process to refine the game and eliminate some of its “rough edges” and the players are contributing to this process with their feedback.
According to my Steam statistics, I last played Starfield on 19th December 2023. I bought the game upon its release in September of that year and played in total for 136 hours. Starfield held my interest for three and a half month and I wrote seven blog posts about various aspects of the game. Although there were some engaging aspects to Starfield, I did feel that that the game was somewhat lacking in systems and content, at that point in its lifecycle. I also think that the marketing and player expectations associated with Starfield were overblown and unrealistic. The shadow of Skyrim looms large over all new Bethesda releases and they don’t seem able to quite recapture that magic. Hence, I inevitably drifted away from Starfield and to another game and was effectively “done” with it. I have not played the game since which seems to validate the theory that game are becoming increasingly more ephemeral.
13 days after its release, market analysts estimate that Crimson Desert has already earned $200 million across the four main platforms (PC, PlayStation 5, and Xbox Series X and S). The game is certainly proving popular among gamers with the internet awash with live streams and “let’s play” videos. However, reviews are mixed both among gaming journalists and YouTube influencers. Common complaints about the game include that it is slow to start, the controls are poorly laid out on all platforms and that developer’s Pearl Abyss have done a poor job of explaining most aspects of the game to new players. Although such criticisms are true to a degree, I think these complaints highlight how many gamers are conditioned to expect new titles to follow a specific pattern with regard to pacing, narrative exposition and learning in-game systems. A pattern that Pearl Abyss has chosen to ignore, instead favouring an old school approach.
Early on Crimson Desert, the main quest requires the player to enter a tavern and arm wrestle a particularly strong guard. The arm wrestling match consists of a quick time event. If playing on PC you have to rapidly press the “E” key which turns a power meter from white to red. Then a white dial appears above the meter with a rotating hand. When the hand passes over a segment of the dial that is marked by hatching, the player must press the “R” key. The idea being the meter filling with red is you strength building (or waning) and the “R” key prompt indicates when to try and force your opponent’s arm. You will need to to continuously press the “E” key throughout the arm wrestling match and the “R” key about 4 times to win.
Earlier this week, Nvidia posted a video featuring their latest iteration of DLSS technology (Deep learning super sampling). DLSS 5 is an AI-powered “real-time neural rendering” process and unlike previous versions that focused on improving frame rates through upscaling or frame generation, DLSS 5 uses generative AI to “infuse” frames with photorealistic lighting and material details that the game engine never actually calculated. Let us pause for a moment and consider these words. Material detail that the game engine never actually calculated. Therein lies the rub. If you watch the aforementioned video or peruse the images posted here, it is abundantly clear what the technology does.
Last night, I spent the first 45 minutes after the launch of Crimson Desert, watching the 92GB pre-downloaded game files slowly decompressing and installing. I finally launched the game at about 10:50 PM GMT. I then waited a further 5 minutes while shaders were downloaded. It took me about 15 minutes or so to read through the various game settings and choose those that are optimal for my PC. I suspect even if you have a beast of a computer, you’re still going to have to spend some time tweaking settings. As for those players like myself with a gaming rig that is somewhere in the middle of the game’s specifications, be prepared to do a lot of fine tuning both within Crimson Desert itself and your Windows settings.
I have been aware of the online interest around the open world action game Crimson Desert for a while now. One of the things that has intrigued me about it is the scope of the game. The word “hype” has been bandied about by a few gaming websites. However, from what I have observed, developers Pearl Abyss have not been excessively hyperbolic themselves, with regard to the manner in which the game’s systems and mechanics have been marketed. Now that the press embargo has been lifted, the pre-release reviews seem to confirm that everything we’ve seen in promotional videos in the run up to the launch, is in fact present in the game. So far the initial critical response has been very positive and it has been hinted that the game may well be a genre milestone. Perhaps Crimson Desert is just a rare example of a game that has not had a rushed development and isn’t launching prematurely for business reasons.
Video games as a genre are extremely poor at explaining themselves. When you buy a new game you’ll often find little or no information regarding the basic systems and mechanics. The industry assumes that their customers are by default familiar with the fundamentals of playing a modern video game. Hence if a game has a tutorial, it is often based around videos rather than detailed verbal instructions. You are are briefly shown a clip of a specific move being successfully undertaken but it is seldom shown in a wider context. The industry also expects the fan community to take on the role of curating and disseminating information about its games. The move away from forums and bespoke websites to Discord highlights this. Discord is a primarily a real time communication tool and not good at maintaining a historical data archive. If you want an answer to a specific gaming question, you’ll more than likely find it on YouTube in a video made by a fellow gamer.
I have written in the past about the video games we cannot play. The ones that require a keen understanding of a game’s mechanics, along with a strong degree of manual dexterity and situational awareness. Being 58 years old, I tend to have neither the co-ordination necessary to succeed or the patience to master such complex skill requirements. With this in mind, I recently watched a YouTube video for Chivalry 2 and thought, that looks like fun. The fact that it showed someone picking up a chicken and throwing it at an opponent is neither here nor there. However, after watching a few more videos I realised that combat in the game was complex and that, as usual, the reality of playing such a game would be different from my expectations. Hence, I came very close to not buying Chivalry 2. However, I eventually decided that I would, so I bought it for just under £10 from an online vendor.
I decided to pursue a magic and spellcasting build in the RPG Tainted Grail: The Fall of Avalon after the story prologue. During the opening section of the game, the player is presented with a sufficient range of weapons to determine which type suits them best, although you can change at any time during the game. For me, casting spells feels right and is fun. Plus I have fond memories of the magic system in Two Worlds II and Skyrim. So once I started playing through the first zone, I started putting attribute and skill points into the appropriate trees to bolster my spells strengths and frequency. I also chose gear that would bolster those statistics further. The results have been surprising, as magic and spellcasting is not presented in the usual “glass cannon” style you find in some other RPGs. Here it offers robust DPS output and with the right gear and spell combination, a strong degree of survivability.
I originally bought Warhammer: Dark Omen in the summer of 1998. I played a demo copy via a magazine cover disc, which was a common means of promotion and marketing back then. Although I was at that point, unfamiliar with the Warhammer Universe, I found this game to be an excellent point of entry. The story did an excellent job of introducing players to “The Old World”, the political and power structure and major characters. I instantly liked both the aesthetic and the lore. Warhammer: Dark Omen was also the first real-time tactical wargame that I played and I spent numerous hours playing through the campaign. Overall, the game was a critical success, particularly on PC, but it struggled commercially upon its initial release and didn’t quite find the audience that it deserved. However, it has achieved status as a “cult classic” among gamers, leading to a recent re-release on GOG in late 2025.
According to the recent “letter to the players”, Standing Stone Games will be adding a new zone to the MMORPG The Lord of the Rings Online in the second quarter of this year. Possibly around May or June. Having spent the last three expansions in the South of Middle-earth exploring the tropical Umbar and the deserts of Harad, I would certainly welcome a change of location. I have gradually warmed to these zones over the last eighteen months but I do find them so incongruous. They are so radically different to the European style content that has been the mainstay of the game for so long. Tolkien’s source text has plenty of detail regarding Eriador and Rhovanion. Information regarding Harad is scarce, hence it has afforded the developers a great deal of artistic freedom. Although exceedingly well realised these tropical zones have taken a while for me to get used to.
I’m not sure exactly when it started but I’ve recently noticed a graphical bug within the MMORPG The Lord of the Rings Online. This problem often occurs within caves or in areas where there are a lot of rocky surfaces. Hence it has become very apparent in the latest two expansions, set in Umbar and Harad. This graphical glitch causes some surface textures to appear to flash from light to dark intermittently. The resulting strobe effect is hard to ignore and very distracting. Fortunately, a quick online search showed that this is not a problem unique to my installation of LOTRO and is a known problem. Furthermore, there is a very simple workaround, which is to go into the Advanced Graphics setting and uncheck “Per Pixel Lighting”, which immediately remedies the problem. I have no idea why this has recently started to happen but at least it can be resolved.
This year is the 60th anniversary of Star Trek. The original TV show was first broadcast in the US on September 8th 1966. If you search online you’ll find details of lots of related events. There are documentaries, conventions, new TV shows and even some video games in development. However, what you won’t find are any details regarding what will be happening with the MMORPG Star Trek Online. So far no road map for 2026 has been posted online by the developers but it is still quite early in the New Year. That being the case, I am not especially optimistic about there being any major plans waiting to be revealed. It is not as if DECA Games have demonstrated or stated any major ambitions for STO beyond keeping the endless events treadmill going and regularly adding content to the in-game store, during their development tenure. The ongoing story arc drags on inexorably and is as dull as ditchwater.
I first played The Elder Scrolls V: Skyrim in June 2013. This was over 18 months after the game’s initial release and the base game and DLC were bundled together in a “Legendary” edition. Although a seasoned gamer at the time, familiar with the RPG genre with such titles as Mass Effect and Grand Theft Auto IV, I had not played a game from this franchise before. It only took a few hours of gameplay to realise that this was a special title. The scope of the story, the art design and the size of the world were immediately notable. Tamriel was immersive in a way I had not experienced with other titles. Often simply traversing the terrain and watching the dawn break while the game soundtrack swelled, was sufficient to hold my attention. I instantly picked up on the voice acting of Christopher Plummer and Max Von Sydow. All of which indicated that this was a gaming landmark.
The latest expansion for the MMORPG The Lord of the Rings Online, Kingdoms of Harad, launched on December 3rd. With this release the level cap was raised from 150 to 160. It should also be noted that the cap for virtue traits was also raised from 96 to 100. Naturally these changes meant that there is a requirement to replace all armour and jewellery once the new cap is reached. Similarly Legendary Items have to be reforged and any traceries upgraded or replaced. If you follow the Epic Story it will lead you from quest hub to quest hub. The main quest rewards, along with those from side quests will provide adequate gear as you slowly progress towards the new level cap. The new raids, instances and missions/delvings then provide a means to acquire higher quality level 160 gear. LOTRO and indeed, many other MMOs are consistent in this methodology.
It is customary in a post such as this to list the various games that I’ve played over the last twelve months and share my thoughts on them. Wider analysis of the video game industry is also de rigeur. Unfortunately, I don’t really feel disposed to do either of those two things. My thoughts on the games I’ve played have already been published and can easily be accessed via the links at the bottom of this post. As for the video game industry, it suffers the same flaws as music, TV and cinema. There is creativity and innovation out there but it is often drowned out by mainstream products which are demonstrably inferior due to their inherent mediocrity. As for the business side of things, we once again clearly see the failings of the corporate management class. Sadly, they do not face the consequences of the mistakes that they make.
Today Standing Stone Games began beta testing Update 46.1 for the MMORPG The Lord of the Rings Online. The current preview on the Bullroarer test server is mainly for the new instance cluster that comes with the Kingdoms of Harad expansion which launched a few weeks ago. However, it would appear that this latest preview has another feature or note. One that should please LOTRO players. Contrary to what a lot of people thought, myself included, SSG have been working on a scaling UI for 2K and 4K monitors and the results are now available for testing from today Monday 15th through to Friday 19th December. Until now the main workaround to the lack of UI scaling has been to use either Nvidia or AMD graphics software to upscale the game from 1920 x 1080, or a third party app such as LosslessScaling. Having an official solution is a far better option.
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.
Here we are again with another summary of my gaming activities in recent months. Or in this case since last September. It’s been a while but I’ve been on a blogging hiatus until recently. However, I’ve kept myself busy gaming wise and often I find the hunt for news video games, just as entertaining as I do playing them. Perhaps that could be a future blog post. Back to the matter in hand. Gaming wise, pretty much all things related to the MMORPG genre are currently on the back burner. I’ll give specifics later but I am taking a break from these for the present. I am currently looking at trying games outside my usual comfort zone and also trying to test whether you can or cannot teach an old dog new tricks. Fortunately, the answer appears to be yes you can. Enough summation, on to the specifics.
I last wrote a post in this series in June. Back then I wanted a break from MMOs as I had invested heavily in Star wars: the Old Republic and The Lord of the Rings Online. Because I was still enjoying the Star Wars vibe, I decided to try Jedi: Fallen Order. Sadly, despite the story showing a lot of promise, the PC version of the game handles poorly and the controls are sluggish. Often it felt like my character was wading through mud and there was a tangible amount of skills lag. So I uninstalled it and moved on to something else. One of the odd things about gaming is that despite amassing a library of free and discounted titles, we often end up buying something new, instead of playing that which we already own. And that is exactly what I did. I purchased Stray amid all the excitement surrounding the game, but to date I still haven’t played it. Make of that what you will.
Usually I keep subscribing to an MMORPG, even if I’m not playing it that much. I like to have options in case I decide to log in on a whim. Especially if an absent friend returns to a particular game presenting an opportunity to catch up. However, the current economic climate is no longer something that I can ignore. Although far from having a low income, the current ongoing increase in the cost of living is becoming apparent, so I have been fiscally prudent and cancelled my monthly subscriptions to Star Wars: The Old Republic and The Lord of the Rings Online. Both have provided me with a lot of entertainment over the last three to four months but until new content becomes available, I can happily dispense with them for the meantime. Not only have I saved £17.98 on subscriptions, I shall no longer be making ad hoc purchases of in-game currencies. Something I have been doing a lot more than usual of late.
I have confined my gaming to three MMORPGs in recent months and have not strayed into anything new. Time has been an issue due to a great deal of change in my domestic life. Hence The Lord of the Rings Online, Star Wars: The Old Republic and Star Trek Online have proven suitable for my needs. Being able to log into a game and commence an activity without any complicated preamble is convenient and currently suits my schedule down to the ground. I will be buying Sniper Elite 5 at the end of the month as this is a franchise that has always proven entertaining and engaging. While recently perusing the various game launchers I have installed, I took the opportunity to remove several games that I’m no longer playing or that have proven to be a “five minute wonder”. Hence I said goodbye to GreedFall, Tom Clancy’s Ghost Recon: Breakpoint and Days Gone. Their removal is no reflection upon their quality.
It’s been a while since I’ve written an instalment of A Month in Gaming. Over Christmas and New Year I was busy with family issues and it’s only in January that I’ve started anything approaching a regular gaming schedule. The novelty of Forza Horizon 5 has run its course and I’ve grown tired of the game’s upbeat tone and neverending activities that litter the in-game map. It’s nice that the game tries hard to engage with you but it reaches a point where you never get a time to stop, think and take stock. I couldn’t find anything else included in the Xbox Game Pass which especially excited me. There were a few titles that did take my fancy but I then discovered that I already own them elsewhere via Steam or Epic Games. So I decided to cancel my subscription. I still think that the Xbox Game Pass for PC is very good value and my failure to find anything that I like is my problem and not Microsoft’s fault.
September has been and gone and the nights are now drawing in. Usually this time of year is ideal for gaming but sadly I’ve had a lot on over the last 30 days and as a result there’s been precious little time for gaming or indeed writing. Such is life. When I did have some leisure time, MMOs were the easiest way to get a quick gaming fix, as per usual. Standing Stone Games announced that the next expansion for The Lord of the Rings Online would be released in November and that a revision of the Legendary Item system would be coming prior to that. Hence I took a look at the beta builds on the Bullroarer test server and then started prepping my various alts on the live servers, to get ready for this major change. I also managed to complete the latest event in Star Trek Online. However, beyond these straightforward tasks I didn’t really get to do much more.
Again this is more a case of two months in gaming. Furthermore although I was quite active in July, I was less so in August as the Blaugust 2021 Festival of Blogging event consumed the lion share of my leisure time. The majority of my gaming time is usually mid to late evening. Although Mrs P and I do many activities together, there are times when she will want to watch something I don’t, be engrossed in a book or out with friends. These occasions present sizable windows of time to focus upon a video game, which is especially useful for the MMORPG and RPG genres. However, I often have to choose whether to use this time exclusively for gaming or some other recreational activities such as writing. Another foible of my video game time management is trying to arrange things so I can undertake recurring, daily quests in a game early in the morning. I will often tackle such content in Star Trek Online, as soon as I get up.
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.
I usually write this recurring post at the beginning of each month, reflecting upon my gaming activities over the previous thirty odd days. I refrained from writing an instalment at the beginning of April as I really didn’t feel I had much to say. However, now that a further month has elapsed, I believe sufficient has happened for me to continue. I do worry that these posts get repetitive and simply writing “ I played MMO A or B” is not sufficiently engaging. Luckily, I do feel that I have more to say this time round as I’ve broadened my gaming horizons recently and feel that I’ve done more, compared to other months. So let me begin with my return to console gaming. Something I haven’t done since 1999 when I purchased a Sega Dreamcast. After some procrastination, I’ve finally bought a Nintendo Switch and it has proven quite a hit not only with me but my grandchildren.
Here we are again. Yet another month has gone by and I find myself writing another instalment of “a month in gaming”. And to be honest, I have very little to say in this particular roundup of my gaming activities. I played Star Trek Online throughout February and created a new Klingon character to take advantage of the ongoing Klingon recruitment event. I have managed to upgrade a Tier 5 D7 and kit it out in such a way that it is fairly robust. And I also created a new Jem’Hadar alt, as they start at level 60 and you are provided with a fully equipped vessel and crew. Nothing fancy but it allows you to get into the endgame content a lot quicker. I may write a more detailed blog post about this at some point. I also played a lot more Fall Guys: Ultimate Knockout as my granddaughters came to stay for a week. I have already expressed my thoughts about the mechanics of that game in a prior post.
I last wrote A Month in Gaming post in December. Quite a lot has changed over the last two months. I have abandoned Cyberpunk 2077 as it has totally failed to hold my interest. I just couldn’t get on with the first person perspective. I also stopped playing Neverwinter, despite the game having many appealing elements. Sometimes, when you start an MMORPG that has been running for years, you feel so “behind the curve” that the prospect of catching up with everyone at the endgame is too daunting. And because the Call of Duty franchise has a yearly lifecycle, a new iteration of the game was released in November. Black Ops Cold War subsequently replaced the reboot of Modern Warfare and a lot of the new games content subsequently bled through in the free Battle Royale version. I’d been playing Warzone since last April and it was beginning to get a little stale. So I didn’t buy the latest Battle Pass and decided to move on. And then there’s The Lord of the Rings Online. Let it suffice to say I have completed as much of the latest “mini expansion” as I require and the game is now “on hold”.
November proved to be a very productive month, gaming wise. I had to self isolate for 14 days, due to coming into contact with someone who had tested positive for COVID-19. Hence I had far more leisure time than usual. For a second month I applied myself to progressing through the new “mini expansion” in The Lord of the Rings Online. The new zone is a two phase map. The first is Elderslade, a mountainous region to the North of the Wells of Langflood. This area contains mainly story quests. The second phase, called War of Three Peaks, is the same zone but during a period of open war between the Dwarves and the Orcs. Quests here are mainly repeatable slayer and achievement quests. I did not discover this until I had completed the first round, so to speak, only to be offered exactly the same quests again by an NPC. As I had reached maximum rank in reputation for this new faction and there were no rewards of any note for me to spend my barter currency upon, I simply stopped playing through this content.
The last 31 days have gone by really fast, or at least that’s the way it feels. Despite having bought several new games recently and acquired yet more for free from the Epic Store, I did not embark on anything new throughout October. Due to the unexpectedly prompt release of the new “mini expansion” for The Lord of the Rings Online and the launch of a new event in Star Trek Online, I found myself focused upon the MMORPG genre, yet again. And after playing continuously for six months, Call of Duty Modern Warfare/Warzone has finally begun to lose its lustre. I didn’t especially enjoy the Halloween event, not that there was anything inherently wrong with it. It just wasn’t for me. I played a little Fall Guy: Ultimate Knockout but quickly discovered that the “season” system is just another gear treadmill, although the gear in this instance are novelty cosmetic outfits. I don’t want to be tied to too many games in this fashion (it’s bad enough with MMOs), so this is another title that has been relegated to occasional play when the fancy takes me.
September has been a difficult month. A family crisis and subsequent bereavement meant that gaming got pushed down the daily agenda. However, after the various chores and duties were done I did need some downtime and means to relax. Hence I did play some games in a limited fashion. Nothing fancy, just stuff like Fall Guys: Ultimate Knockout and Gang Beasts, which are light-hearted and undemanding. I also took the time to log on to The Lord of the Rings Online test server and check out the preview of the forthcoming “mini-expansion”. Not only was this informative but it provided material for a blog post. But overall I didn’t really achieve anything substantial with my gaming throughout September. Gaming was relegated to being just a convenient diversion from the immediate problems I’ve been facing but as such, it did fulfil that role well.
I’m still somewhat shocked that August has been and gone. Even by 2020 standards it’s been an odd month. Due to illness in the family, my schedule has been turned on its head and subsequently there has not been as much time for gaming as I’ve previously enjoyed. However, I tried to put what time I had to good use. I attempted to return to the MMORPG The Lord of the Rings Online once again, to see if I could continue through the epic story. Sadly, the game has run into further server related issues, just as it did last month. Standing Stone Games community manager Jerry Snook was a little “snippy” in responding to players' concerns and at present there are no details regarding what the problem is and when it will be resolved. If this issue persists I suspect that it is going to do some genuine harm to both the player base and community relations. I hope matters improve for SSG and LOTRO over September.
As I mentioned in the last instalment of “A Month in Gaming”, I was toying with the idea of buying Ghost Recon Breakpoint. However, I have decided against that. Yes the game may well be a third person, co-operative shooter but ultimately it’s yet more explosions and military hardware fetishism, which isn’t anything new. I have more than enough of that at present with Call of Duty Modern Warfare/Warzone. I also don’t feel disposed towards giving Ubisoft any of my money at the moment, until they get their house in order. I am so tired of continuously reading about how shitty the video game industry is to work in. It’s difficult to protest in a meaningful way but I guess for the present not buying a product is as good a way as any. So rather than purchasing any further games, I decided in July to play at least one of the many titles I’ve got in my existing library.
I stopped subscribing to The Lord of the Rings Online in June. I’ve always had a very cyclical relationship with this MMO and at present I feel I need a break from the games somewhat linear formula. Plus the new content scheduled for release centred around the wedding of Aragorn and Arwen doesn’t exactly sound enthralling. So I’ve left my primary character in Langflood and will return to the game later in the year when I feel the need to catch up with content. I have also abandoned the ongoing events in Star Trek Online as they’re getting too repetitive. I would like to see a new longterm story arc rather than just a continuous cycle of short term events and repeatable content. I don’t mind working towards a goal but it has to be something I want and the rewards offered in this MMO are getting a little too generic for my liking. I shall return to the game at some point as I’m a lifetime account holder and I’m curious to see how developer’s Cryptic overhauls the Klingon story arc.
I see by the financial data that is currently available and being pawed over by industry pundits, that April was a very good month for the video games publishers. Quelle surprise. Who would have thought it? The increase in leisure time has certainly meant that even I have had a greater opportunity than usual to invest in playing video games. And as I predominantly play the MMORPG genre that has proven to be a boon. Or at least it was initially. After two month plus that is fast becoming a bane. MMOs are great when you have new content to play through, stories to discover, goals to achieve and systems and items to advance. But once you’ve done all these things and find yourself doing dailies just out of obligation and a way to kill time, then it may well be time to move on to something else.
April has been an usual month. The ongoing lockdown here in the UK (and elsewhere in the world) has afforded me more gaming time than usual. The policy of social distancing has reduced my caring duties to just three hours a day. Hence I and many others like me have much more leisure time available. I initially thought that this situation would be the perfect time to try some of the many of the games that I have stockpiled over the years. However, despite trawling through many titles, I still failed to find anything that immediately took my fancy. So I decided to take stock of my overall gaming activities and whether it was time to revise them and try something new. And by new I don’t just mean just buying a new game but taking a step out of my current comfort zone into a genre I don’t usually play. So that’s exactly what I did and the results have been very interesting.
The problem I find with monthly gaming articles is that they tend to cover ground that I’ve already written about over the last 4 weeks in other blog posts, only in less detail. So here is the brief version of my gaming activities throughout February. I played through the entirety of the Star Trek Online 10th Anniversary event and received the new hybrid Tier 6 ship. I enjoyed the new 2 part feature episode and have managed to maintain a schedule of doing “odds and sods” to keep myself busy. STO is currently my primary game. I’ve ground to a halt in The Lord of the Rings Online, as soon as I start questing in Minas Morgul itself. It is simply too uninspiring and grindy an area. So I’ve focused on completing deeds for virtue experience and daily repeatable quests for Anfalas Scrolls of Empowerment. Due to constraints upon my schedule, I decided to temporarily stop my subscription to ESO Plus, as I simply do not have the time to invest in The Elder Scrolls Online at present. ESO is a good game and deserves attention when played. Committing to multiple MMOs at once is always a mistake.
So much for the New Year. January has now been and gone and 2020 just seems to be barrelling along. As ever, due to my real world commitments, I’ve been pushed for time over the last thirty one days. Therefore, most of my gaming has been targeted “binge” sessions conducted late at night. However, I do find playing through episodic content over several hours to be a very productive means of making progress in MMOs. So overall January has been an enjoyable experience, game wise. Due to my circumstances, I have deferred starting any new single player games and have focused primarily on two titles; The Lord of the Rings Online and Star Trek Online. Sadly, The Elder Scrolls Online has been relegated to being played just once a week, usually on a Wednesday night when I meet up online with friends. My exploration of Vvardenfell will have to wait until later in the year, as I cannot sustain three MMOs to any great degree.
October has been and gone. And as ever the MMORPG genre has been the mainstay of my gaming activities over the last thirty days. Furthermore, it has been a productive month. I managed to complete the Daggerfall Covenant narrative arc, along with the main story on my Dragonknight in The Elder Scrolls Online. I find that completing Coldharbour is the biggest obstacle in progressing. It’s an atmospheric zone but once you’ve experienced it, it doesn’t really lend itself to repeat playing. But having done all this my Dragonknight hit level cap. I had taken the precaution of buying appropriate gear ahead of this achievement, so I managed to acquire some decent armour and jewellery that provide robust set bonuses. Despite focusing mainly on ESO, I did manage to progress further in The Lord of the Rings Online. I got as far as the Wolf Denes in the Vales of Anduin update. I also took the time to visit the LOTRO test server and checked out the Minas Morgul expansion preview. As for Star Trek Online my daily visits have been focused upon completing Task Force Operations and grinding for a free ship (again).
September saw The Elder Scrolls Online becoming my primary gaming focus. No real surprises there as I’ve been having so much fun of late with this MMORPG. I managed to get my Argonian Necromancer to level cap and then had the fun task of trying to equip them suitably. I don’t quite know why this aspect of gaming appeals to me so much but I just get a real kick out of trawling around looking for appropriate gear. I tend to enjoy it in all the MMOs I play. There’s just something inherently satisfying about equipping a new piece of armour or jewellery and seeing your stats noticeably increase. This process is even more enjoyable in ESO as there isn’t any server wide auction house, so you have to travel around from region to region, individually checking each guild trader you find. It really is virtual shopping. Once I managed to find the right gear for this character, I promptly created a new Imperial Dragon Knight and started playing through the Daggerfall Covenant storyline as it the one faction I haven’t yet completed. Oh and in ESO cosmetic pet news, the ghost chicken (official name Spectral Chicken) is outstanding.
Last month panned out pretty much as I expected. Blaugust and writing daily blog posts took up a fair amount of my leisure time. And then I lost a few days due real-life social activities. What gaming time I had was focused mainly on The Elder Scrolls Online. I’m sorry to say that I’ve ground to a halt in The Lord of the Rings Online. My level 113 Guardian remains at the Black Gates and for the present I simply do not feel disposed towards working my way through Mordor again, which I did just a year ago on my primary character. I have undertaken a few quests with my level cap Lore-master and will endeavour in the weeks ahead to at least complete the Vales of Anduin region. LOTRO at present doesn’t have much of a hold on me, although I may well become more enthusiastic once the next expansion is formerly announced.
Contrary to my last A Month in Gaming post, I did actually end up buying a discount copy of Elsweyr and returning to The Elder Scrolls Online. And I’m rather glad that I did, because it has provided a welcome change of scene and an opportunity to do something different. However, you can’t just fire up ESO and dive right in. No sir. The first thing you have to do is update all your addons and if your starting a new alt (which I decided to do), ensure that your key mappings and custom settings are ported over. This process was a pain in the butt; however it did inspire a couple of blog posts. Creating a new alt is the perfect way to reacquaint yourself with ESO after a lengthy absence. In my case it has been 12 months. I decided to try the new Necromancer class and so far, it has proven to be both fun and rewarding. Rather than try to do a thousand things at once, I just started the Elsweyr main story and doggedly pursued it. The narrative is enjoyable and it was fun to see Cadwell as part of the plot focus. For practical reasons I’ve re-subscribed to ESO plus to unlock various DLC and I intend to continue playing for the next month or so.
This post should have been published two weeks ago but as ever, real life just keeps getting in the way. As expected, June proved to be a busy month, however, I managed to organise my leisure time pretty well, affording me an opportunity to not only play my two current MMOs but also experiment with some other games. At present my caring commitment keep me busy from about 10:30 AM to about 5:00 PM. I tend to get up round about 7:00 AM so if I promptly have a shower, dress and eat, I can usually create a two-hour window in the morning to either tackle admin and paperwork or undertake dailies in games such as The Lord of the Rings Online or Star Trek Online. I can also find several hours in the evening as Mrs Peril tends to go to bed earlier than I. Therefore practical time management has proven beneficial over the last four weeks.
As I suspected in my last post, my gaming activities were somewhat curtailed throughout May due to both my parents being ill. However, the time I did manage to spend in-game was both therapeutic and relaxing. For me, I’ve never really seen gaming as escapism, although I appreciate it certainly is for others. One of the aspects it offers, along with a degree of challenge and entertainment, is a release from stress and the pressures of one’s daily life. Perhaps that is why I enjoyed Sniper Elite V2 Remastered so much, because not only is it a thoroughly absorbing game, it also provides a sense of catharsis. I’ve already written about the game in some detail, along with my thoughts about the ongoing “remaster versus remake” debate. However, I would add that I enjoyed it so much I re-installed the sequel, Sniper Elite III, which I haven’t played since it’s release in 2014. This also proved to be an enjoyable undertaking, again for the self-same reasons.
So what have I been up to in April gaming wise? Oh, yes there was this. Mounted combat for the Guardian class is awful. There. I said it. As I’m not a LOTRO “altoholic” my only previous experience with mounted combat was with my Lore-master. Most of their skills are ranged which makes the fights less tedious and time consuming. And you get a combat pet which helps the proceeding slightly, but overall, it’s not that much fun. However fighting via your war steed with a Guardian is a ponderous grind. You have to be in close proximity to your foe to hit them and half the time they are running around you, conspicuously out of range. Sure there’s a skill that brings them next to you for a short period of time but as a level 85 Guardian’s DPS output is distinctly average at this point in the levelling curve, it’s a long, arduous slog to kill anything. My solution has been to summon my skirmish soldier who is an Archer and to use them in conjunction with my own bow to shoot down mounted foes while on foot. This still takes time but is quicker than doing it from horse back.
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.
When I was a child, I quickly learned never to say within earshot of my parents that I was bored. It was quickly met with a response along the lines of “an intelligent mind is never bored” or more worryingly “if you’ve got nothing to do, I’ll find you something” which meant a chore or Herculean task. Being a child of the seventies and due to my parents fundamentalist approach to declarations of boredom, I quickly discovered numerous ways to occupy myself. The default solution was a book or comic. I always liked reading as a child and had plenty of books to choose from. I also had numerous of comics as an alternative to a hefty tome. I would also draw and paint. My father use to work during the summer holidays as a design draftsman and as a result, we always had plenty of paper in our house. Then of course there were toys and such like. Hence I learned the art of keeping myself busy.
When I first started this series of posts back in 2023, they were originally intended to provide a useful overview into UK (mainly British) slang. US slang is ubiquitous globally due to the pervasive nature of American culture. Hence most people have a good grasp of its nuances. However, the proverbial door does not swing both ways. Hence most people will watch British TV dramas or read popular novels and can be quite bamboozled by some of the phrases that are used. That is what I was trying to address. However, over time this entire enterprise now reads like a some sort of Guy Ritchie film with Colin as the anti-hero. That notwithstanding, hopefully the list of slang phrases below will prove useful to know, if you ever visit the UK or tour around London. As ever I have given an example of their respective use. Feel free to ask questions if anything needs clarifying, or you wish to leave a comment with examples of you’re own national and regional slang.
As I write this post, the temperature in Greater London is 33°C (91.4°F). This has become a regular occurrence since the middle of May onwards. High temperatures are fine when you’re on holiday mainly because you’re off work and at your leisure. You don’t have to perform the usual daily task that life requires of you such as work, shop, cook, clean etc. Furthermore, if you’re on vacation you’ll probably be staying at a resort or hotel that is fully air conditioned and you’re dressed accordingly. However, if you’re still performing you’re daily routine such as commuting to work and spending time in an office that wasn’t built with such external temperatures in mind, then 33°C is frankly a pain in the ass. Oh and if you’re one of those people who always respond to discussions such as this with “well I live in Riyadh and it’s 40°C here”, please sod off. You live in a desert which is dumb to begin with. Plus this is not a commensurate comparison. Temperatures are rising in the UK. It’s always hot in Saudi Arabia.
If you visit the websites for such UK tabloid newspapers as the Daily Express or the Daily Mail you will no doubt encounter prominent stories about Megan Markle, Nigel Farage and “immigrants”. If these two august institutions are short of column inches, they’ll run a piece about how some former celebrity has had the unmitigated gall and temerity to get old. I mean WTF? How dare they do what human beings are genetically disposed to do. It’s outrageous. Similarly, head over to the Unherd website and you’ll find foam flecked tirades regarding spurious points of contention over dubious subjects. Often the topic being harangued is incredibly niche and I’ve never heard of it before or even considered it being a thing. These sort of talking points are not about informing, debating and most certainly aren’t about thinking. They exist to provoke reactions.
Before we start, let me explain to those readers outside of the UK, the significance of a Dairy Milk Freddo chocolate bar and its relevance to this post. The “Freddo” is an 18g (0.63 oz) chocolate bar, in the shape of an anthropomorphic frog. When it was re-launched by Cadbury in 1990 (it had previously been manufactured by an Australian confectionery company in the seventies), it was priced at 10p (£0.10). It remained at that price until 2005 when a 1p to 2p increase began to occur each year. By 2016 Freddos were retailing at 25p. However, the following year the price “lept” to 30p with an increase that was double its usual yearly rise. This led to public outrage across social media. Since then the price of a Freddo has waxed and waned. Tesco supermarket reduced the price back to 10p as part of their centenary celebrations. The post COVID price in 2022 hit 49p. At present, the average price of a Freddo in the UK is somewhere around 35p.
Over the last 10 years, I’ve written several blog posts about my personal working experiences and my career, such as it was. I touched upon working specifically in IT and how that industry changed over time, both technically and in the way that other people perceived it. I have also given my thoughts on the social dynamics of the modern work environment and the way we interact with our colleagues and employers. That is another area that has changed dramatically. Naturally my retirement from full time work has been written about, as it is such a radical change in one’s life. Especially if you’re the sort of person who is clearly defined by their job, which I personally was not. This time, I want to share a few thoughts I have about what I miss about “going to work” and “having a job”. I’m not sure if “miss” is the right word. Perhaps it is more a question of things being absent. Either way, there are some aspects of being employed that I use to enjoy or at least found beneficial that I now no longer experience.
UK Prime Minister, Sir Keir Starmer has resigned and intends to leave office before the parliamentary summer recess. By then Andy Burnham will more than likely be voted leader of the Labour Party and by default will become the new Prime Minister. Due to the current size of the incumbent Government’s majority, there is no pressing reason for a General Election that the UK’s right wing tabloid press is currently calling for. Whether this provides the Government with the reset they’re hoping for when Parliament reconvenes in autumn remains to be seen. With seven Prime Ministers coming and going in a decade, there are some serious questions to be asked about the current state of UK politics. However, the mechanics of contemporary politics, the decline of clearly defined ideologies and the people that seek elected office to be our leaders are only half of the problem. The other major impediment to the UK’s democracy functioning properly is the electorate.
The UK Government has formerly announced its intention to ban under-16s from using social media. This is due to increasing public pressure that “something must be done” about the perceived iniquities of many online platforms. However, as with most complex social problems of this nature, no one has any clear or practical ideas as to what that “something” is. It remains a nebulous, non-specific panacea and clearly someone else’s job to identify and implement. As ever, why choose a nuanced and multifaceted solution to a complex problem, when it is far easier and politically expedient to just “ban” something. The former requires effort and a degree of thinking. If such an approach fails it also means that those who came up with it now carry the can. The latter dumps the problem in the lap of various third parties, who can then be conveniently blamed when the ill conceived policy fails.
Every Thursday, Mrs P volunteers at a food bank that is run from a local church; Avery Hill Christian Fellowship. Today there was a shortage of staff so I agreed to help out. It proved to be an equitable arrangement as she collated the various orders and I packed the bags and took them to the respective clients. The food bank itself is organised and administered by the Trussell Trust, a UK based NGO and charity providing emergency food and support to people locked in poverty. It is open for 2 to 3 hours a week depending upon demand. During today’s session we served just six people. Some weeks its can be triple that amount. Upon closure, a member of staff from the Trussel Trust did a stock take and collated a list of what was needed. This is provided by various local church communities via parishioners donations, as well as local supermarkets who have an arrangement with the trust to provide surplus stock or good approaching the end of their sales window.
There are approximately 4000 parks and green spaces in Greater London. Bexley Borough alone has over 100. Public parks and green spaces are vital to modern cities, providing essential health, environmental and social benefits. They boost physical and mental wellbeing by reducing stress and providing a place for exercise. Furthermore they enhance urban sustainability, mitigate heat, and provide a sustainable environment for a wildlife. Parks are often a venue for social activities and events and as such are an important part of the local community. Going to the park has always been a part of my life. I live next to Old Farm Park in Sidcup and have made use of this recreational space throughout my life. I used visit with my parents in the seventies, when I was a child. Thirty years later my son, father in-law and I would fly kites there. Now I take my grandchildren to Old Farm Park as it now has a playground.
Being a 58 year old man, I welcome any undertaking which can potentially improve my health. One such thing is proactive screening and testing. The UK National Health Service has started doing a lot more of this in recent years, mainly because diagnosing a problem and treating it early is far more efficient and cost effective than retroactive action. Hence this policy and my age is why I was recently sent a NHS Bowel Cancer Test Kit via the post. This screening service takes place every two years for people aged 50 to 74 in the UK. The kit is very quick and simple to use. A sample of your stool is sent via a prepaid return envelope for testing and the entire process is free of charge. Upon receipt, the laboratory test determines whether there is any blood present in your stool, which is a potential indicator of bowel cancer. If detected, an early diagnosis greatly improves any subsequent treatment outcomes.
I like learning things. I always have. During my middle school years I thought I was a mediocre student and often I wouldn’t apply myself. According to an old school report this was because I was “too busy indulging in Tomfoolery”. Then I had the positive experience of meeting an exceptional teacher. Their lessons were the highlight of the week as they had an ability to make the subject matter, Classical History, utterly compelling and relevant. The teacher in question also treated us like adults and the class benefitted from only having five pupils. This really brought home to me that a lot of disinterest and underachievement in education is linked to the paucity of some teachers. One bad teacher can undermine the good work that all the others can do. Perhaps it has improved nowadays?
I’ve had an interest in the paranormal since I was a child. My mother always got books out of the library about ghosts and UFO phenomenon, so in some respects I was influenced by her reading habits. As a child such tales were by default interesting and any potentially scary element naturally made them more enjoyable. However, my father being an academic had taught me to question everything, so I felt fairly evenly equipped when exploring these subjects. Further to this point, over the years I have learned that humans have a very unique perspective on the world. We are hard wired to see patterns, regardless of whether they’re there or not. Our senses can also be fooled and often are. Perhaps the most important aspect of our nature that impacts upon any analysis we make into the paranormal is our penchant for creating stories. Hence unusual experiences can be subconsciously misremembered and “retconned” to form more precise narratives.
I have lived in Sidcup, in South East London, for most of my life. The first two schools that I went to were local and within 15 minutes walking distance. My Doctor’s Surgery and Dentist are only a few streets away, as is the barbershop that I’ve frequented since 1970. I now have my haircut by the son of the original barber. My point being that Sidcup has everything that residents immediately need. There’s a local hospital, good public transport networks and a broad range of shopping and restaurant facilities. It also has several parks with lakes, sport facilities and children’s play areas. It is a microcosm of the concept of suburbia with its residents commuting into Central London or out into Kent for work. People move here to raise families and end up staying. My parents lived here for 62 years.
Our household is currently trying to reduce our monthly overheads in response to the ever increasing cost of living. April is not that far away and a great many service providers will increase their rates and tariff as the new financial year begins. Then there is the ongoing effects, both direct and indirect, of inflation to consider. Although the UK inflation rate is dropping, currently sitting at 3.4% in December 2025, food inflation remains higher at 4.5%. Being based in the UK, salaries and billed services tend to be administered monthly. You get paid usually at the end of the months and bills can turn up at any point, depending upon when you started a service. Any payments coming from central government, such as state pension or other benefits, are paid every 4 weeks. This means that there are 13 payments in a year. I thought it pertinent to clarify this point as other countries, such as the USA, favour a fortnightly financial cycle. Hence as a household we work around a monthly budget.
I try not to let the failings of contemporary capitalism get to me but such a mindset is very hard to maintain. From time to time it does just piss you off and you know damn well that there’s nothing you can do about it. So to begin this tale, at the end of November, our Indesit washer/dryer gave up the ghost after a valiant twelve year lifespan. As a result of this household appliance’s stirling work, it was decided to buy another from the same manufacturer. Their website informed me that the model that had just broken was no longer being produced. However, it recommended two newer appliances that had comparable specifications and more importantly the same size. This washer/dryer had to fit into a fitted kitchen unit. To cut a long story short, a model was chosen, purchased, delivered within 48 hours and installed. The broken predecessor was subsequently taken away. The wonders of modern consumer culture!
I was in a pub last night, catching up with friends before Christmas, when I noticed on the wall something I haven’t seen in a pub for a very long time. A jukebox. In my experiences most of the pubs I go to take one of the following two approaches to background music. They either have a sound system and exclusively manage any music via personally curated playlists from behind the bar. Or they have no music at all. The Wetherspoons chain of pubs broadly follow the latter policy and actively use it as a marketing point. Quiet pubs for clientele that just want to talk can be popular. Hence finding an accessible jukebox was a blast from the past. During the late eighties and early nineties, I regularly visited my local pub and often used the jukebox there, which at the time, was operated by an ever changing store of CDs. The jukebox I encountered last night was digital.
Today is my 58th birthday. It would appear that I have existed for nearly six decades. Put another way, I am over half a century old. All of which has given me pause for thought with regard to the passage of time. A phrase that is often bandied about, but what exactly does it mean? As I understand it, the “passage of time” refers to our perception of the flow of time and how we experience its movement. This is something distinct and different from objective time as measured by clocks. Our subjective experience of time can vary due to multiple factors. Two common examples are how time can feel like it's flying by when we're having fun and enjoying something or dragging its feet when you’re enduring something dull. Other factors are whether we are applying ourselves to a task, concentrating and general activity. Such focus can make time pass quickly.
When Mrs P and I moved into our current home, over twenty years ago, we were both working full time. As the garden was poorly maintained and neither of us had any horticultural skills, we decided to employ a gardener. At the time it was a practical solution to the issue of garden maintenance and remains so today. Hence it is a service we continue to use, although our personal health is now the main reason we pay a gardener.
In July the UK Government introduced the Online Safety Act which requires age checks for accessing sexually explicit content online. As a result of this, Pornhub, the 19th most visited site on the internet, has reported a 77% decline in UK traffic. Furthermore, according to the UK regulatory body, OFCOM (The Office of Communications), overall visits to pornographic websites from the UK have fallen by 33%. Naturally, those who championed this legislation are claiming a moral and political victory. However, once you consider what these facts actually mean, they paint a somewhat different and potentially more worrying picture. It would be staggeringly naïve to think that UK visitors to Pornhub have ceased visiting such sites due to the age verification requirements. The more likely explanation is that UK porn consumers are now using VPNs to circumnavigate these restrictions and that this traffic to Pornhub is now recorded as coming from elsewhere.
Formal education in the UK is a structured process, starting at early years learning and continuing through to higher education at university. Some aspects of the educational system are mandatory, whereas others are optional. At present, children in the UK must start full-time education from the age of 5 and remain until the age of 16. After this age, they are no longer required to attend school per se but must remain in some other form of education or training, such as a vocational college or an apprenticeship. Many students remain at school until 18, as there are specific exams to be obtained that are required for a subsequent university placement. Here is a breakdown of the current process as it exists in the UK.
I don’t know if you have noticed that there are quite a lot of companies that have names taken from Tolkien’s Legendarium. At first glance, this seems innocuous enough. Tolkien’s writings grew in popularity over the seventies and eighties but since the release of the film trilogy at the start of the twenty-first century, his work has become more well known and been assimilated into our wider pop culture. Hence, it seems quite logical that a startup tech company, for example, would choose a name from his writings. No doubt the founders grew up reading The Lord of the Rings and are fans. That all seems plausible. However if you take a further look, it gets somewhat more complex. Here are four companies that have Tolkien based names.
Last Wednesday, I woke up with what I thought to be a crick in my neck on the left hand side. I assumed this was simply due to sleeping awkwardly and so I self medicated with some non-prescription pain relief and judicious use of a heat pad. Unfortunately, the problem has persisted and in the last 24 hours it has become much worse. I awoke this morning at about 5:00 AM and as I sat up in bed, an intense pain ran up the left side of my neck and behind my ear. It took several attempts for me to get out of bed because if I turned my head in either direction or inclined my chin, the pain would again run up the side of my neck. Sitting down, getting up and raising my arms caused similar results. While dressing, I attempted to pull a t-shirt over my head. The pain in my neck on this occasion was so severe that I yelled out loud and nearly blacked out.
I am a non-driver. If you wish to know the specifics of how this situation came about, feel free to read the post I wrote about it back in early 2018. To be succinct, I don’t drive, I’ve never learned how and have never owned a car. I don’t feel that I’ve missed out. In fact I feel quite the opposite. I think I’ve dodged a major hassle and expense in life. Mrs P, my significant other, is the designated driver of our household. She owns a car, insures it and maintains it. She also mainly pays for the petrol, whereas I pick up the tab for other things such as lunch or hotels when we travel. All I have to do is make like Iggy Pop if we go anywhere. The most I am ever called upon to do is navigate using Google maps and Android Auto. Fortunately, Mrs P enjoys driving. Always has done. Hence I look upon this situation as an extremely fortunate and equitable arrangement.
I am getting old. I shall be 58 in December. Now, as soon as you say something like that these days, some folk will get uncomfortable and say things like “age is relative” or “you’re as old as you feel”. Well I don’t measure my age in geological terms, so it’s not relative and I’m not feeling anyone especially young at the moment, so both schools or thoughts can sod off. I am getting old by the yardstick we measure human life by, namely years. I have specific, age related health issues and I just don’t feel as energised as I did a decade ago. There are minor signs, such as deciding to go to bed earlier and taking longer to get dressed after taking a shower. I’m not at death’s door but I am slowing up physically. It would also appear that my reactions are also slowing down as I tend to get massacred in any FPS I play these days. So far, my mental faculties seem to be holding up. However, that is the one thing I worry about the most. The potential loss of cognitive abilities scares the shit out of me.
Foots Cray Reuse and Recycling Centre is the fancy name of our local dump. A few decades ago, this was no more than a scrap yard. The rubbish and bric-a-brac left by the public was sorted and scavenged for resaleable scrap. Everything that was left was subsequently sent to landfill or incineration. Much has changed. Today it is the embodiment of the modern recycling ethos. The recycling centre is a well managed, carefully segregated site providing safe disposal of a wide variety of household and garden waste. Wood, metal and hardcore are recycled and there is similar provision for a multitude of electrical goods. Plastics, oils, paint, batteries can be safely disposed of. I have yet to find a home item that they do not have provision to dispose of. The Foots Cray Reuse and Recycling Centre has won awards for the service it provides and is considered one of the best facilities of its kind in the South East of the country.
One of the things I enjoy most about having my own blog is the fact I can write about the mundane and the trivial. Mainly because so much of life falls into this category. Life defining events are all fine and dandy and certainly lend themselves to philosophical musings that make fine blog posts. However, you can get just as much mileage out of those everyday things in life with less gravitas, that we all do. Such as buying new clothes, taking out the recycling and going to buy groceries. I have written about all of these in the past. However, today I wish to broach a subject that both fascinates me but also raises my blood pressure. I believe it to be a social marker and a clear indication of an individual’s personal psychology. Yes, I’m talking about packing your groceries at the supermarket and the various rituals and social etiquette associated with it.
“Managed decline” is a phrase that refers to the processes associated with the end of a specific lifecycle, with the goal of minimizing costs or other forms of loss. The concept originated in business where it referred to the management of companies and industries. More recently it is used in wider contexts. The concept gained prominence with regard to urban policy, particularly in the UK during the eighties when several major cities suffered economic and political collapse. Of late, the term has been applied to the UK, encompassing a systematic weakening of the economy, social structures, and cultural values, as well as its global political and diplomatic force. In each case, managed decline involves making strategic choices about resource allocation and accepting the consequences of those decisions. It is a complex issue with ethical and practical considerations, often sparking debate about the best way to address decline and reverse the process.
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.
David Koepp is no stranger to genre cinema, having written the screenplay for such films as Jurassic Park, Spider-man and War of the Worlds. Where these titles are big budget, major studio productions, Cold Storage is a far more modest production with a smaller scope. Adapted from his own novel, the screenplay is by David Koepp and the film is directed by British film-maker Jonny Campbell. At first glance, Cold Storage seems a somewhat derivative science fiction horror film with a relatively modest budget, financed through a convoluted US and French co-production. Lurid green and red colours feature heavily in the marketing artwork and it is easy, after a cursory look, to write the film off as cheap, generic, direct-to-streaming filler. However, Cold Storage is prime example of why you should not judge a book by it’s cover, or in this case, a film by its posters and online advertising. It is in fact an amusing and fun endeavour that can fill an evening.
Former United States Marine Corps Scout Sniper and Vietnam War veteran Jim Hanson (Liam Neeson) lives on a ranch on the Arizona-Mexico border. The mortgage on the property is in arrears after the death of his wife has left him medically bankrupt. One day while patrolling his property he encounters Mother Rosa (Teresa Ruiz) with her son Miguel (Jacob Perez) illegally crossing the border fence. He calls his step daughter Sarah (Katheryn Winnick) in the border patrol and reports them as they’re miles from any habitation. However, Rosa and Miguel are fleeing a drug cartel and Mauricio (Juan Pablo Raba), one of their enforcers. When Mauricio and his men try to forcibly take Rosa, Jim intervenes and a car chase and firefight ensue. Mauricio’s brother is killed and Rosa is fatally wounded. She gives Jim a note with her family's address in Chicago and he reluctantly agrees to take Miguel there.
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.
I try and keep abreast of what's happening and going on, especially in those areas of interest to me such as movies, TV and gaming etc. Occasionally stuff passes me by that I subsequently discover at a later date, often to the refrain of WTF? A few years ago I was idly channel surfing only to discover that a seminal UK children's TV show from my youth, the Mr. Men, had been remade in a more contemporary idiom. Luckily, the source characters were still relatively unscathed, and the revamped show did a competent job in bringing Roger Hargreaves work to a new generation. Still, no one had told me and discovering this, in such a fashion was a bit of a surprise.
Life in the Mills family is never easy. After surviving two previous kidnappings, Brian (Liam Neeson) now finds that his ex-wife Lenore (Famke Janssen) has been brutally murdered. Framed for the crime, goes on the run from the Police, in an attempt to discover the true perpetrator and clear his name. Is Lenore's current partner, Stuart St. John (Dougray Scott) involved in some way? Can Brian protect his pregnant daughter Kim (Maggie Grace)? Has he ever stopped to consider why so many bad things happen to him? Why wasn’t this movie set in Europe like the others? What happens to the huge cuddly Panda seen at the start of the movie? Who in the name of all that is holy edited this movie?
If it worked once already, why not just do it all again irrespective of logic and statistical likelihood? Thus, in Taken 2 Ex-CIA operative (and mail order catalogue) Bryan Mills (Liam Neeson) is struggling to come to terms with his daughter Kim (Maggie Grace) growing up and his relationship with his ex-wife Lenore (Famke Janssen). If life wasn't complicated enough with being a Dad, Bryan finds himself up against a vengeful Albanian gang. It would appear that they're somewhat annoyed that he slaughtered their brethren in the previous instalment. Hence Bryan and Lenore are kidnapped whilst on vacation in Istanbul and face a grim death at the hands of the gang's patriarch, Murad Hoxha (Rade Šerbedžija). Once again, the criminal fraternity underestimates the resourcefulness of Mr. Mills and it is not long before the tables are turned.
Sometimes when a movie chimes with the public is goes from being a box office success to becoming part of popular culture. The Taken franchise has done exactly that and a piece of iconic dialogue has now become a perennial internet meme. But if you look beyond this “baggage” and subsequently judge the film by the standards of the genre, you’ll find there’s more than meets the eye. On paper Taken is a fairly formulaic thriller. But it boasts a more interesting pedigree than other movies of this kind. Written by Luc Besson and directed by Pierre Morel (of District 13 fame), the action driven story set in Paris, has all the benefits that come from a European production. But the most intriguing aspect of Taken is the casting of the lead character Bryan Mills. Instead of relying on a known action star, the part ended up with Oscar nominated actor Liam Nesson. As you can imagine, the results are not as you would expect and as a result a serious actor re-invented himself as an action star.
There are action movies. There are subsets of action movies such as the martial arts, heroic bloodshed and the “Die Hard on a [insert mode of transport here]”sub-genre. And then there are Liam Neeson action movies which are a unique a form of films in their own right. Because few actors have achieved what Liam Neeson has done. Some actors start their careers stuck in low budget, exploitation films, only to claw their way up the greasy pole until the wow us with a serious performance and effectively re-invent themselves as a quality character actor. Liam Neeson has done the reverse. After making his mark as a serious actor, with an Oscar nomination under his belt, he then took a serious change in direction to become an action movie star in his mid-fifties. In doing so he found himself a completely new audience and proved a star at the box office. It’s a curious yet strangely laudable achievement. This leads us neatly onto The Commuter. It’s Neeson’s swansong to the action genre, as he has subsequently announced that he’s retiring from this type of movie.
Run All Night is a neo-noir with an above average cast (Neeson, Ed Harris, Vincent D'Onofrio and even Nick Nolte). The screenplay by Brad Ingelsby (who co-wrote the similarly hyperbolic Out of the Furnace) is based around the perennial theme of family feuds in the New York's gangster community. It's a plot device that’s been the mainstay of many a movie over the years but few of any outstanding quality. However, Run All Night has the benefits of two strong leads and an exceptional visual aesthetic, that elevate it above the mundane. Narrative weakness is countered with strong performances and the inherent charisma of Neeson and Harris.
I don't know what it is about the planes but they do seem to lend a certain "je ne sais quoi" to movies. Whether it's the claustrophobic environment with its shared intimacy or our general familiarity with air travel, staging a film on a commercial flight can often improve its chances to entertain. Zombies, snakes and terrorists have all benefited from this plot device, with varying degrees of success. So bearing this in mind, if you put Liam Neeson on a plane, you know that there's going to be more than just some in-flight turbulence. That is exactly what director Jaume Collet-Serra and writers Chris Roach and John Richardson have done with Non-Stop; a surprisingly entertaining action movie.
Contrary to its rather obvious marketing, The Grey is not just a black and white, testosterone fuelled, action movie. It has far greater philosophical aspirations. Beneath the survivalist storyline is a narrative that explores the nature of hope, human determination and the inevitability of death as well as its place in the natural order of things. This is surprisingly cerebral for a film of this genre. It is sombre and dour but totally justified in adopting such tones. Director Joe Carnahan initially sets out a traditional scenario of a rag tag group of oil workers, desperately trying to survive the Alaskan wilderness, after a plane crash. They look to Liam Neeson to assume the alpha-male role for their group. However, we soon discover that he is wrestling with his own personal demons.
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.
I was recently perusing my archive of old blog posts, when it struck me how much I’ve written about the MMORPG genre over the years. Naturally, there was far more material from between 2008 and 2012 as that was period when I immersed myself in the genre and was very enthusiastic about it. I was at a point in my life when I had the time to dedicate to such games and I was happy to participate in the social aspect of they offered. I would regularly play through group content and spend time socialising online with fellow guild members. My experience remains a textbook example of how online games can be more than the sum of their parts and that where you are at in your life has a major impact upon your overall enjoyment. As I read though various old posts it became clear that my experiences where specific to this particular part of my life and that they cannot be repeated. My relationship with the genre is very different now and that’s fine.
I have two monitors on my desk. The first (which is the primary monitor as far as my PC is concerned), is on the left and the second is on the right. The primary monitor is a 24 Dell U2412M, which has a resolution of 1920 x 1200. It therefore has an aspect ratio of 16:10 which adds a little extra desktop real estate, which I prefer when writing. The second monitor is a 24 inch Dell S2421H with a screen resolution of 1920 x 1080. It has an aspect ratio of 16:9 which is standard FHD. My chair is adjacent to the middle of my desk and I can turn according to each monitor I’m using. I tend to use the primary, larger monitor on the left for tasks such as writing via Google Docs and emails. The second monitor on the right is used for YouTube and gaming. This is because of its FHD format. I also have a Nintendo Switch connected to the second monitor for the same reason.
Bree Royce, editor-in chief at Massively Overpowered, recently asked the question “what is the most expensive MMORPG right now”. My first thought was to search through my old draft blog posts and track down an MMO cost analysis I wrote circa 2019. It includes data such as subscription rates and the price of current expansions. There was also information on what were the most popular cash shop items at the time. However, I then read some of the comments that had been left on Bree’s post and I quickly realised that this wasn’t just a matter of financial expenditure. Whether or not an MMO is expensive is also determined by one’s disposable income, respective wealth and personal relationship with money. The latter is perhaps the most important, irrespective whether you consider yourself rich or poor.
“The MMO genre is rife with its own set of tropes; recurring themes and motifs that have become established and ubiquitous. All of which are ideal material for a hastily produced, lazily conceived, recurring blog post”. Dying in an Massively Multiplayer Online Role-Playing Game is a clear and unambiguous fail state. A means by which to teach the player that they’re doing something wrong and that they need to rethink their strategy. IE Don’t mess with the foul Marmydons unless you have back up and are wielding the Sword of Kagnazax. Dying is a reminder to not get overconfident and maintain situational awareness. It teaches us to ensure you have the right gear and consumables, to be au fait with the mechanics of any fight you’re about to get into and that winning is not a given. Any enterprise that offers a tangible reward will come with potential risks and consequences. If you’re playing in a group then death provides a timely reminder not to rely on Colin.
The Lord of the Rings Online was my first major MMORPG. I started playing in late 2008 and quickly discovered that there was a necessity to become familiar with the game world. Although the game provides quick travel options they were not ubiquitous at that point and often a player would simply travel on foot to travel costs down and to take the most direct route. Back in 2008 you could not own a mount until level 30. Hence I began “learning the maps” in the game and to this day still remember how to travel from one side of Moria, to another. The maps in the base game remain clear in my mind as they were so well trodden. Not so those in the regions. There are far more stables with fast mounts present in the game now and so convenience trumps any requirement to become so familiar with newly added zones. Nowadays Standing Stone Games designs new zones that tend to funnel players through them from quest hub to quest hub.
There was a perennial question being discussed over at Massively Overpowered recently. Justin Olivetti asked “why do you play MMOs solo” and as you would expect, there was a wide variety of answers. I have written about this myself in the past, as when I first started playing MMOs, I was very enamoured by the social element and therefore very disposed towards group content. However, that experience between 2008 and 2011, when I played The Lord of the Rings Online most days and dedicated Friday and Saturday nights to raiding, was very much down to circumstances. I had the time and inclination to spend hours online. That is something that I don’t have now. Plus the novelty of the social element has worn a little thin over the years. Nowadays, I do not have the luxury of waiting for a raid group to assemble, nor do I have the tolerance for the inevitable delays that always stem from any kind of human interaction.
I’m sure I’ve mentioned this issue before in previous video game related posts. But I don’t think I’ve devoted an entire article to the matter, which is what I’m going to do today. So to provide some context, I logged into The Elder Scrolls Online today as I’m fast approaching that point in the year where I spend a few months subscribing to the game. Due to some recent patch, once again all my Champion Points have been refunded. Judging by the change in graphics, it may be that the entire Champion Point system has been updated. Whatever the reason, I have to re-allocate 501points into three skill trees. I wasn’t au fait with the last system, so I followed a build I found online. Now that it has changed, I’ll have to find a new one and copy it. Until I do, my character will be gimped. Shame the game doesn’t offer a selection of generic builds that can be easily implemented at the press of a button.
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 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”.
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.
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.
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.
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.
There are many factors that can add to an MMORPGs replayability. Multiple races, classes and factions can all potentially offer a new experience to the player. Some games even have unique stories associated with different types of characters, ensuring that rolling a new alt means that the player doesn’t repeat material they’ve already completed. Many gamers enjoy this aspect of the genre and will experiment with different builds, resulting in a character selection screen filled with numerous alts in various states of progress. However, irrespective of whether you get to experience a new story or if you indeed like the new character you’ve created, there comes a point when you look at your new alts progression and reflect upon the long, long journey to level cap. It is at this point that many alts fall by the wayside. The aforementioned character selection screen is often populated with unfulfilled potential.
If I may quote myself “The MMO genre is rife with its own set of tropes; recurring themes and motifs that have become established and ubiquitous. All of which are ideal material for a hastily produced, lazily conceived, recurring blog post”. This time round, I would like to discuss the following. The Hero, the Chosen One, the Übermensch. As that is the role that we so often are assigned in this genre. Developers broadly assume that most players want a power fantasy and precious little else is on offer. Hence we find ourselves in a story in which we are destined to do great deeds in a virtual world, whether we wish to or not. I can see the superficial appeal of such a conceit. Most of us are not such overachievers in real life. So a game in which we get to do stuff to the world, instead of the world doing stuff to us has an inherent allure. But like most MMO tropes, unless it is implemented with some panache and creativity, it quickly becomes a tiresome cliche.
Last year I wrote a post about several “quality-of-life mechanics” found in MMOs. Systems and functionality that just make a game more manageable or convenient. Despite having many features in common, MMOs are far from identical in their interface and controls. If you’re a genre aficionado, then you can usually bluff your way through a new game and decipher how to play it. But for new players, often just trying to figure out how to do a simple thing, like find your skill points, can be an uphill struggle. However, every now and then, you’ll come across some simple functionality in a game that is useful and makes a task much easier. So I have collated another five “quality-of-life mechanics” that I feel are significant and beneficial to the player. Some are very minor but that does not diminish their value. Sometimes, less can indeed be more.
As I mentioned recently in my monthly gaming roundup, I’ve currently stopped playing the three MMORPGs that are my usual gaming mainstay. Namely The Lord of the Rings Online, The Elder Scrolls Online and Star Trek Online. It’s something that I do from time to time when I’m tired of the repetition this genre offers. At present none of these titles has anything on offer that motivates me to play them enthusiastically. Especially LOTRO. I find weddings tedious and self indulgent in real life, so I’m hardly going to get “excited” about a virtual one set in Middle-earth. However, that’s not to say that I’ve lost interest in the MMO genre. I’m merely temporarily burned out at present. I find that after a few months or so, either new content is released that lures me back to these games or I tire of what I’ve been playing in their stead. It’s a cyclical process that I go through from time to time and nothing to worry about.
I stopped subscribing to The Lord of the Rings Online in June. I’ve always had a very cyclical relationship with this MMO and at present I feel I need a break from the games somewhat linear formula. Plus the new content scheduled for release centred around the wedding of Aragorn and Arwen doesn’t exactly sound enthralling. So I’ve left my primary character in Langflood and will return to the game later in the year when I feel the need to catch up with content. I have also abandoned the ongoing events in Star Trek Online as they’re getting too repetitive. I would like to see a new longterm story arc rather than just a continuous cycle of short term events and repeatable content. I don’t mind working towards a goal but it has to be something I want and the rewards offered in this MMO are getting a little too generic for my liking. I shall return to the game at some point as I’m a lifetime account holder and I’m curious to see how developer’s Cryptic overhauls the Klingon story arc.
Whenever you use a skill on your hotbar in The Elder Scrolls Online, there is an associated animation as it is inducted and utilised. These animations may vary in length from one to several seconds depending upon their nature. Although these animations add to the ambience of the game, they do come with a direct consequence. The player has to wait for the animation of one skill to complete before they can use another. For those seeking to optimise their performance or DPS output, these delays are an impediment. However, they can be negated through animation cancelling and weaving. Animation cancelling is as it states the stopping of a skill related animated sequence by the use of a follow up action such as bash/tap block/dodgeroll. Weaving is slightly different, in so far as instead of stopping the inducted animation immediately, it allows for the process to be cut short as another animation is started. Typically this is done by using a light attack and then immediately using a skill.
I managed to find a very good deal on the Digital Upgrade version of Greymoor for The Elder Scrolls Online, so I bought it. The key included a pre-order bonus as well as a few other “trinkets and baubles” which clinched the deal. I wasn’t planning on returning to ESO this month plus I still have a bee in my bonnet about playing through the game in narrative order. However, after speaking to friends about the new expansion, I was curious about the new Harrowstorm events that occur in the new zone of Western Skyrim. So I logged into the game and after the obligatory “let’s spend 30 minutes fixing broken addons”, headed over to Solitude and waited for the next Harrowstorm to appear. As ever, Zone Chat is invaluable for determining what is happening and where, so it wasn’t long before I was riding headlong towards the Black Morass Ritual Site ready for my first Harrowstorm.
ZeniMax are allegedly addressing some major performance issues with the forthcoming Update 25 for The Elder Scrolls Online. If this latest patch improves loading times, the game’s overall performance and makes updating the client faster, then it will be well received by players. However, Update 25 requires players to reinstall the entire game client due to technical reasons. Furthermore, the patch is not going to be available prior to release on Monday February 24th, so player’s cannot download the necessary files in advance. Unfortunately, as soon as the patch server comes online, all players will have to reinstall the full ESO client and wait accordingly. Considering the disparity between internet connections in the US and Europe, player experience will vary greatly. Some will download the client in hours where others will have to simply leave their PC running and wait all day. Considering the popularity of ESO and the estimated size of its player base, I wouldn’t be surprised if there are queues or connectivity issues.
Over the years I’ve played numerous MMOs (to varying degrees of success). As a genre there are certain game mechanics that are standard and common to most games. Initially during the “golden age” of the MMORPG, there was a focus on collaborative team player. This meant that successfully undertaking group content required a spectrum of players in specific roles. This particular mechanic has diminished over the years but the genre still has numerous common tropes. Quest hubs, reputation factions, gear grinds and vertical levelling are just some that spring to mind. However, many developers in this field attempt to polish and refine these “default” systems, often with interesting results. So I thought I’d cite some specific examples of what I call “quality-of-life mechanics”. Frequently these are bog standard facets common to the MMO genre, that have been polished and refined in a particular game. Small things that just make a game more manageable and provoke a positive reaction as well.
Life is often cyclical, if you don’t believe me go watch The Lion King. I started 2018 playing The Lord of the Rings Online and by writing a post about how gamers collectively seem to repeat the same mistakes. And as the year and indeed the decade ends, I find myself once again playing the Yule Festival in LOTRO and reflecting upon how some games that garnered criticism over their egregious business models, have ended up as huge hits. It would appear that gamers are their own worst enemy. I shall leave the psychological analysis of paradox to others. From my perspective, irrespective of the iniquities of the video game industry and certain quarters of the gaming community, it has been a good year, gaming wise. I have enjoyed my time playing MMOs such as Star Trek Online, The Elder Scrolls Online and the aforementioned LOTRO. These and other titles have entertained me, provided me with an opportunity to unwind as well as affording me some much-needed social interaction. I particularly enjoy Wednesday evenings when I log into my Discord server and then chat and play collaboratively with longstanding gaming friends.
A major challenge for any MMO is to keep players logging in to the game. Obviously, regularly adding content and ensuring that there are sufficient quests, activities and tasks for players to undertake is essential. However, experience has shown that no matter how much content developers add to an MMORPG, players will always veraciously consume it and want more. Hence you need an additional “carrot on a stick”. Something that get’s player sufficiently interested to log into a game, even when they don’t have anything especially compelling to do. Login incentives are designed to do exactly that. They offer of some bauble or trinket that motivates you to log into a game once a day. Hopefully once you login, you may then find something to occupy yourself, either on your own or with fellow guild members. And of course the player who is actively playing may well even purchase something from the in-game store. At the very least, a successful login incentive contributes towards active player statistics. If those figures are presented in the right fashion on paper, they can bolster a declining population.
I was initially going to call this post “crafting can fuck right off” but I felt that was a somewhat bellicose opening gambit and a little hyperbolic. So I’ve toned it down to “the esoteric nature of crafting in MMORPGS”. Now to begin with, I tend not to craft when playing MMORPGs. The effort to reward ratio is often insufficient and I have yet to find a crafting system that is engaging and fun. However, for me the biggest sin that crafting can commit is being deliberately arcane and obtuse “with malice of forethought”, if I may invoke legal analogy. Don’t get me wrong, I have no problem with game systems and mechanics being complicated. Intricacy can be both intriguing and rewarding if presented correctly. However, all too often game developers cross over the line, stepping from “complexity” to “fucking annoying”. For example some card games such as Poker can have complex rules but mastering them transforms the proceedings from random chance into a game of skill. But at the other end of the spectrum there’s Fizzbin, which was invented purely to be frustrating due to its arcane nature. I frequently find that crafting in MMOs is just like Fizzbin. Except they’re not amusing or ironic, just tedious and irritating.
As my first post for International Picture Posting Month, I have decided to share some pictures and thoughts on the MMORPG, The Elder Scrolls Online. Out of the three games from this genre that I currently play, it’s the one that I’m currently enjoying the most. It has plenty of content to play through, the virtual world is immersive and the stories, characters and lore are very detailed and satisfying. As a more recent MMO, the game engine is robust and the visuals are far from dated. The game mechanics are multi-layered but combat is straightforward. There is no obvious skills bloat as you choose what you want on your hotbar. I also greatly enjoy the ambient music and recurring themes that play throughout the game. ESO is both solo and group friendly. You can also greatly augment your UI and the way you interact with the various systems, through the use of addons if you like. Alternatively, if you feel bold enough, then you can go with the default layout. From my perspective, ESO offers a great deal and ticks many of the boxes I favour. Yes it can have its foibles but name me an MMO that doesn’t?
I raised the question in a previous post as to what’s the best way to follow the various stories in The Elder Scrolls Online in an orderly, coherent fashion. After some further research, it would appear that the most practical solution is to play through all the games DLC and chapters in release order. Hence, after finishing the main and faction storylines (in my case the Daggerfall Covenant), the next place to go is The Imperial City. Now I was under the impression that Cyrodiil was just a pure PVP zone but it would appear that there are 8 PVE quests that have a narrative arc. I was most pleased to learn this as I don’t like to miss out on content, especially if it sheds light on the lore and advances existing plot and themes. However, the problem with this series of quests is that despite being PVE content that requires you to kill Daedra mobs, you are still operating within an PVP zone. So you’re at risk of getting picked off by other players of differing factions while undertaking these quests.
Whenever I start a new MMO I tend to research the various classes and make an informed decision about which one to choose as my primary character. This policy has worked out well over the years and therefore compared to other players, I don’t have multiple alts across numerous games. That’s not to say that I’m averse to creating a new character, I simply need a good reason to do so. When I do, its usually because there’s an option to experience a different story. Hence, I currently have three alts in The Elder Scrolls Online. Last night I reached the current level cap of 50 with my Imperial Dragonknight, having recently completed the Daggerfall Covenant storyline. I have now experienced all three faction stories (which I have enjoyed) and more importantly, have learned what is the best way for me to progress through the game. ESO offers players the chance to play the MMO in a manner that suits them. If you want to simply travel Tamriel and do things as you go along, then you may. It’s a very flexible in this respect. But if you want to play in a more structured way, it can be a little confusing navigating a linear path. So here are a few tips I’ve learned the hard way.
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.
The next expansion for the MMORG, The Lord of the Rings Online, was announced on the 1st August, via the gaming website MMORPG.The Wolves of Mordor, which will launch later in the year, appears ambitious in scope as it will include two new game systems as well as the obligatory story update. This expansion takes place in Draugardh located in the North East of Mordor, beyond the Plateau of Gorgoroth. It includes the new zones of Heledhris, Parth Rhavas and Nan Ogol. These vary environmentally ranging from the arid, volcanic and semi-tropical. Players will encounter the Daugrim in these regions, Werewolves but not in the modern sense. This is not the lycanthropy of Eastern European legends but in the established Tolkien idiom of fell spirits inhabiting the bodies of Wolves. The region also sees the return of the Woses and players can expect to encounter Elves and scouts from Gondor. As ever with LOTRO expansions, there will be new instances as well as a raid.
I was recently perusing my archive of old blog posts, when it struck me how much I’ve written about the MMORPG genre over the years. Naturally, there was far more material from between 2008 and 2012 as that was period when I immersed myself in the genre and was very enthusiastic about it. I was at a point in my life when I had the time to dedicate to such games and I was happy to participate in the social aspect of they offered. I would regularly play through group content and spend time socialising online with fellow guild members. My experience remains a textbook example of how online games can be more than the sum of their parts and that where you are at in your life has a major impact upon your overall enjoyment. As I read though various old posts it became clear that my experiences where specific to this particular part of my life and that they cannot be repeated. My relationship with the genre is very different now and that’s fine.
Video games as a genre are extremely poor at explaining themselves. When you buy a new game you’ll often find little or no information regarding the basic systems and mechanics. The industry assumes that their customers are by default familiar with the fundamentals of playing a modern video game. Hence if a game has a tutorial, it is often based around videos rather than detailed verbal instructions. You are are briefly shown a clip of a specific move being successfully undertaken but it is seldom shown in a wider context. The industry also expects the fan community to take on the role of curating and disseminating information about its games. The move away from forums and bespoke websites to Discord highlights this. Discord is a primarily a real time communication tool and not good at maintaining a historical data archive. If you want an answer to a specific gaming question, you’ll more than likely find it on YouTube in a video made by a fellow gamer.
According to the recent “letter to the players”, Standing Stone Games will be adding a new zone to the MMORPG The Lord of the Rings Online in the second quarter of this year. Possibly around May or June. Having spent the last three expansions in the South of Middle-earth exploring the tropical Umbar and the deserts of Harad, I would certainly welcome a change of location. I have gradually warmed to these zones over the last eighteen months but I do find them so incongruous. They are so radically different to the European style content that has been the mainstay of the game for so long. Tolkien’s source text has plenty of detail regarding Eriador and Rhovanion. Information regarding Harad is scarce, hence it has afforded the developers a great deal of artistic freedom. Although exceedingly well realised these tropical zones have taken a while for me to get used to.
I’m not sure exactly when it started but I’ve recently noticed a graphical bug within the MMORPG The Lord of the Rings Online. This problem often occurs within caves or in areas where there are a lot of rocky surfaces. Hence it has become very apparent in the latest two expansions, set in Umbar and Harad. This graphical glitch causes some surface textures to appear to flash from light to dark intermittently. The resulting strobe effect is hard to ignore and very distracting. Fortunately, a quick online search showed that this is not a problem unique to my installation of LOTRO and is a known problem. Furthermore, there is a very simple workaround, which is to go into the Advanced Graphics setting and uncheck “Per Pixel Lighting”, which immediately remedies the problem. I have no idea why this has recently started to happen but at least it can be resolved.
The latest expansion for the MMORPG The Lord of the Rings Online, Kingdoms of Harad, launched on December 3rd. With this release the level cap was raised from 150 to 160. It should also be noted that the cap for virtue traits was also raised from 96 to 100. Naturally these changes meant that there is a requirement to replace all armour and jewellery once the new cap is reached. Similarly Legendary Items have to be reforged and any traceries upgraded or replaced. If you follow the Epic Story it will lead you from quest hub to quest hub. The main quest rewards, along with those from side quests will provide adequate gear as you slowly progress towards the new level cap. The new raids, instances and missions/delvings then provide a means to acquire higher quality level 160 gear. LOTRO and indeed, many other MMOs are consistent in this methodology.
It is customary in a post such as this to list the various games that I’ve played over the last twelve months and share my thoughts on them. Wider analysis of the video game industry is also de rigeur. Unfortunately, I don’t really feel disposed to do either of those two things. My thoughts on the games I’ve played have already been published and can easily be accessed via the links at the bottom of this post. As for the video game industry, it suffers the same flaws as music, TV and cinema. There is creativity and innovation out there but it is often drowned out by mainstream products which are demonstrably inferior due to their inherent mediocrity. As for the business side of things, we once again clearly see the failings of the corporate management class. Sadly, they do not face the consequences of the mistakes that they make.
Today Standing Stone Games began beta testing Update 46.1 for the MMORPG The Lord of the Rings Online. The current preview on the Bullroarer test server is mainly for the new instance cluster that comes with the Kingdoms of Harad expansion which launched a few weeks ago. However, it would appear that this latest preview has another feature or note. One that should please LOTRO players. Contrary to what a lot of people thought, myself included, SSG have been working on a scaling UI for 2K and 4K monitors and the results are now available for testing from today Monday 15th through to Friday 19th December. Until now the main workaround to the lack of UI scaling has been to use either Nvidia or AMD graphics software to upscale the game from 1920 x 1080, or a third party app such as LosslessScaling. Having an official solution is a far better option.
Kingdoms of Harad, the 13th expansion for the MMORPG The Lord of the Rings Online, was released today. Highlighting developer’s Standing Stone Games continuing commitment to this eighteen year old game. As 2025 draws to a close, I thought it would be prudent to reflect upon the current state of LOTRO and to consider what may come next year. Two words that I associated with this MMO are stable and consistent. The playerbase is loyal and dependable. Player numbers never greatly decline nor do they notably expand. LOTRO fills a very specific gaming niche and one of the reasons it retains its players is that there is no suitable alternative game. Although there is not a great deal of data in the public domain, it is generally accepted that LOTRO has an older player demographic and that many are consummate Tolkien fans.
The MMORPG The Lord of the Rings Online runs on a broad spectrum of PCs. From archaic laptops to high end gaming rigs, although it may require a bit of tweaking. At present, the optimal way to play the MMO is at a resolution of 1920x1080 (FHD) with the graphics setting maxed out. The graphics are sharp and the UI is readable. However, a growing number of gamers are now using 2K and 4K monitors. You can play LOTRO at higher resolutions such as 2560×1440 (QHD) and 3840x2160 (UHD) and the game looks great. However, the UI does not scale and so is very small on 2K and 4K monitors. The skill icons on the quickslots (shortcut bars) and the in-game text become difficult to see at these resolutions, which deters some players from using them. It is a known issue that Standing Stone Games are attempting to address but it is unlikely to be resolved any time soon.
I recently read a post on Massively Overpowered about skills rotation in the MMORPG genre. I found the subsequent discussion in the comments fascinating. Mainly because I have never used a fixed rotation of skills in any of the MMORPGs that I play. I understand the reasoning behind such things and why some players want to optimise their combat performance. Using one’s skills in a specific order to maximise damage and manage their subsequent cooldown has a logical appeal. In Star Trek Online, some players go so far as to create keybinds for their rotations and assign it to a specific hotkey, which is then continuously pressed throughout combat. However, rotations are a blunt tool that lack flexibility, often being geared towards dealing with a single target or using an area of effect skill against a larger group. They may not be the optimal approach to combat when things do not go to plan.
Tolkien enthusiasts may recollect Athlon Games, a subsidiary of Leyou Technologies, announcing that it was developing a new MMORPG, based upon The Lord of the Rings, back in September 2018. The following summer, it was revealed that Amazon Game Studios was the partner developer for the project. In late 2020, Leyou Technologies (a Hong Kong-based company), was acquired by the Chinese conglomerate Tencent. This triggered a contract clause with the license holder, Middle-earth Enterprises, allowing them to terminate the existing arrangement if a new deal could not be met. Amazon and Tencent were unable to agree upon how to proceed with the project, leading Amazon to withdraw from negotiations. The project was subsequently scrapped. No details or images of the MMO have been released.
After a six month migration period, Standing Stone Games formally closed all their legacy 32-bit game servers for the MMORPG, The Lord of the Rings Online, on the 31st August 2025. Despite this planned closure being widely discussed via the game’s official forums, professional video game websites and fan blogs, many LOTRO players were unaware of this deadline. Hence many were unable to migrate their respective alts to the new 64-bit servers. Naturally those affected by these closures were upset, especially those with longstanding characters who didn’t relish the prospect of starting from scratch with a new alt. Thankfully, SSG have been true to their word and as of today, have re-opened these “dark worlds” to character transfers. If you have an alt trapped on one of the older game worlds, then now is the time to use the transfer wizard and move them to a new active game world.
MMORPG announced earlier today and it was subsequently confirmed by Standing Stone games, that the new expansion for The Lord of the Rings Online will be Kingdoms of Harad and that it will launch later in the year. The expansion will see the conclusion of the epic Song of Waves and Wind storyline and the level cap raised from 150 to 160. There will be a new region to explore, Mûr Ghala, comprising four zones. Adagîm, Idagâl, An Shêru and Kighân. The latter contains the main trading hub of Zajâna. Players will travel into the region with Gandalf the White, along with allies of the Kindred of Coins and Mizadi as they seek to counter the regional power struggle brought about by the fall of Sauron. Canonically, this takes place three months after the destruction of the ring, hence King Elessar and Eomer are busy with domestic affairs in their respective kingdoms.
Skirmishes were added to the MMORPG The Lord of the Rings Online, in 2009 with the release of the Siege of Mirkwood expansion. Skirmishes are a repeatable and scalable combat system that allows players to access various instances for solo or group play from anywhere in the in-game world. Players can choose a Skirmish Soldier from a variety of classes to accompany them and provide healing, tank or additional DPS. On paper it’s a great system which is why many other MMOs offer something similar. I recently decided to tinker with my Skirmish Soldier build on my main character to see if I could optimise their performance. As my primary alt is a Lore-master, for the last few years I have had a Warrior as their Skirmish Soldier, to take some of the aggro from attacking mobs. I used the excellent guide by FibroJedi and swapped over a few Training and Personal Traits.
On 2nd August 2025, I was playing the MMORPG The Lord of the Rings Online, on my primary character, a level cap Lore-master. I decided to continue with one of the Allegiance Quest lines, specifically Durin’s Folk. I played through several quests and earned the appropriate tokens that advance the Allegiance system. I then handed these in to the NPC in the Hall Under the Mountain, expecting the next quest in the series “Chapter 3: Gimli’s Request” to be unlocked. An item appeared in my inventory that I then clicked on, which should have bestowed the quest. Unfortunately, nothing happened. Furthermore, the item vanished from my bag and therefore I could not attempt to click it again. I checked the LOTRO Wiki and then looked around the Hall Under the Mountain to see if any NPC had a ring icon above their head. As they did not, I surmised that this was a software glitch and logged a support ticket with Standing Stone Games.
Let’s start with a quote from a classic Walter Hill film, The Warriors. “Can you count, suckers?” says Sirus. The gang leader was referring to the number of Police in New York City at the time. Whereas, for the purpose of this post, I am referencing how many Delving Writs a player needs to acquire 6 pieces of level cap armour in LOTRO. Because, next to the gear you get from endgame instances and raids, Delving gear is a good alternative.. It is marginally better than the items you can get from lootboxes. Hence, Delving armour is a good source of high end gear for the solo player. Through the miracle of mathematics, the number of Delving writs required to acquire a full set of this armour is 9,000. At first glance, that seems like a lot. If you then do some further research to put the number in context, you realise it is indeed a lot and a substantial undertaking.
I am currently enjoying a renewed interest in the MMORPG The Lord of the Rings Online since I migrated all my characters from the old 32-bit servers to the new 64-bit replacements. I’ve created a new High Elf Lore-master on Peregrin server and am currently levelling them in a targeted play through of the Epic Story, supplemented by curated side quests. While playing recently, I realised the game UI on this alt wasn’t as I usually have it laid out. So I checked through the various documents on my PC and found a text file I had created many years ago that had a few hints and tips written down. I’ve added a few more and decided to share them as a blog post. I’m sure veteran players will be familiar with many of them but a lot of them are worth repeating. They may prove useful to those new to LOTRO or returning to the game after a long hiatus.
In mid-March, while the server migration debacle raged, I created a new alt for the MMORPG, The Lord of the Rings Online, on Peregrin server. The idea was to play casually through content focusing on enjoyment, rather than worrying about progression. I was to level at a pace that suited me and had no specific plans to develop my alt in any particular way. I have been playing LOTRO since 2008 and have a primary level-cap character that has been my main focus over the years. Hence I have previously experienced all story content from all the expansions and am therefore very familiar with what the game has to offer. Which is why I thought I’d do things differently this time. So I started my new Lore-master in Mossward in Swanfleet, the new starting area added to the game in 2022.
In massively multiplayer online games (MMOs), alts (short for alternate characters), are new characters created by a player in addition to their primary character (often called the “main”). Alts are often encouraged by developers as a means to keep players engaged with their game(s). Sometimes an MMO will actively reward the creation of alts either with access to exclusive content, or with additional skills or items previously unlocked by primary characters. As the myth that an MMO really begins at endgame still persists in gaming culture, some games sell boosts that will instantly raise the level of an alt to that of the current level cap. Creating alts is such a key aspect of the MMO genre, that some games will sell additional character slots, so that players can create further alts beyond the default amount allowed. There are many reasons why players create alts. Let us consider some.
I wrote a while ago that a lot of kinships from the MMORPG, The Lord of the Rings Online, would probably not survive the recent server migration. MMOs are social endeavours by nature, often with strong emotional ties but a lot of kinships (or guilds) have already fallen into decline, simply due to gaming entropy. Hence the migration has seen players leave existing kinships to move to the superior 64-bit servers, resulting in a lot of people who may be potentially looking for a new home. This is exactly what happened to me. I opted to move to Meriadoc server promptly, at the cost of leaving a kinship I have been a member of since 2009. However, the move presented me with an opportunity to remedy this problem myself. I subsequently set up my own kinship and decided to make it available to others.
The dust appears to have settled for the MMORPG The Lord of the Rings Online, after last month’s server transfer debacle. Despite the technical issues arising and subsequent delays to the migration timetable as well as the procurement of in-game housing, LOTRO seems to be enjoying a minor resurgence. Many former players are returning to the game and moving retired alts to new servers, due to the superior performance. The migration issues have also brought a lot of attention to this 18 year old game and it would appear there are many new players trying this Tolkien themed MMO. I was pleasantly surprised to see that a further two 64-bit servers, Grond (EU) and Sting (US), are to be added to the game to meet demand. As I predicted in my previous posts, LOTRO has a habit of bouncing back due to its unique niche in the gaming ecosystem.
It has not been a good week for the MMORPG, The Lord of the Rings Online and its developer Standing Stone Games. The migration from legacy 32-bit servers to 64-bit servers has not gone smoothly. The transfer queue was overwhelmed by the sheer number of accounts and it has taken far longer than expected to process the backlog of requests. Today has been the fifth day of waiting to see if my 3 main characters from Laurelin server have successfully migrated to their new home on Meriadoc. When I checked this morning, the transfer wizard indicated that my characters were back where they originally came from. I therefore considered repeating the entire process. However, around midday, Community Manager Cordovan indicated that SSG had caught up with transfer requests made around 8:00 AM EST on Sunday 9th March. So I decided to be patient and wait a little longer.
I’ve been busy this weekend, so it wasn’t until late afternoon today that I found time to sit down and attempt to migrate my characters from the old 32-bit server Laurelin, to the new 64-bit server Meriadoc. The “Great Server Migration” has not gone smoothly and the week has been a litany of changing deadlines and unfulfilled expectations. However, developer’s Standing Stone Games, have been “firefighting” issues on a daily basis and communicating regularly with the player base of the MMORPG, The Lord of the Rings Online. Sadly, a lot of players have not responded well to the ongoing technical difficulties and there is subsequently a lot of ill feeling on the official forums. I have chosen to adopt a more pragmatic outlook and to let events run their course.
Standing Stone Games were scheduled to open their new 64-bit servers for the MMORPG, The Lord of the Rings Online, today. However, when the free transfer service went live yesterday, it was quickly overwhelmed by the sheer number of players trying to migrate their alts from the older 32-bit servers to the new ones. Eventually SSG had to disable the transfer facility so that they could process the backlog. Hence today’s launch of the new servers has been postponed till tomorrow. In the meantime, the official LOTRO forum’s have gone into meltdown with irate players berating the developers for handling the migration poorly. True to form, SSG have been somewhat defensive and prickly in response to what they see as unjust criticism. Let it suffice to say that neither party has covered themselves in glory and there is a good chance that the technical problems will persist a while longer.
What Massively Overpowered calls LOTRO’s “Great Server Migration” began today. The MMORPG The Lord of the Rings Online has opened 4 new 64-bit servers in conjunction with the 2 existing 64-bit legendary servers and the long term plan is to migrate all current players over to them. Eventually, the 32-bit legacy servers will be shut down, however that is a long way off at present. As of today, VIP players can select a new server, log into it and create new characters with their desired names. These placeholder characters cannot be played at present but can be used to reserve names. Tomorrow, if all goes well, the new servers formally open and free transfers begin. Players can then delete placeholder characters and rename alts that they have migrated, thus restoring desired names. It should be noted that none of this is mandatory and players can remain on the old servers for the present.
I have many pleasant memories associated with playing the MMORPG The Lord of the Rings Online during its first decade. A lot of them are due to the kinship (guild) that I have been a member of since 2009. I started playing LOTRO in December 2008 and it took me a while to find a suitable kinship but once I did, it made logging into the game a real pleasure. I was at a point in my life where I had sufficient time to play the game regularly and take part in kinship organised raids. It was also an added bonus to be able to spend some time and chat with some like minded people. I’m sure such an experience is not unique to me and that many LOTRO players have enjoyed similar periods of time. The lucky ones may still be enjoying a comparable kinship experience today.
I have two monitors on my desk. The first (which is the primary monitor as far as my PC is concerned), is on the left and the second is on the right. The primary monitor is a 24 Dell U2412M, which has a resolution of 1920 x 1200. It therefore has an aspect ratio of 16:10 which adds a little extra desktop real estate, which I prefer when writing. The second monitor is a 24 inch Dell S2421H with a screen resolution of 1920 x 1080. It has an aspect ratio of 16:9 which is standard FHD. My chair is adjacent to the middle of my desk and I can turn according to each monitor I’m using. I tend to use the primary, larger monitor on the left for tasks such as writing via Google Docs and emails. The second monitor on the right is used for YouTube and gaming. This is because of its FHD format. I also have a Nintendo Switch connected to the second monitor for the same reason.
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.
I was recently perusing my archive of old blog posts, when it struck me how much I’ve written about the MMORPG genre over the years. Naturally, there was far more material from between 2008 and 2012 as that was period when I immersed myself in the genre and was very enthusiastic about it. I was at a point in my life when I had the time to dedicate to such games and I was happy to participate in the social aspect of they offered. I would regularly play through group content and spend time socialising online with fellow guild members. My experience remains a textbook example of how online games can be more than the sum of their parts and that where you are at in your life has a major impact upon your overall enjoyment. As I read though various old posts it became clear that my experiences where specific to this particular part of my life and that they cannot be repeated. My relationship with the genre is very different now and that’s fine.
I have two monitors on my desk. The first (which is the primary monitor as far as my PC is concerned), is on the left and the second is on the right. The primary monitor is a 24 Dell U2412M, which has a resolution of 1920 x 1200. It therefore has an aspect ratio of 16:10 which adds a little extra desktop real estate, which I prefer when writing. The second monitor is a 24 inch Dell S2421H with a screen resolution of 1920 x 1080. It has an aspect ratio of 16:9 which is standard FHD. My chair is adjacent to the middle of my desk and I can turn according to each monitor I’m using. I tend to use the primary, larger monitor on the left for tasks such as writing via Google Docs and emails. The second monitor on the right is used for YouTube and gaming. This is because of its FHD format. I also have a Nintendo Switch connected to the second monitor for the same reason.
Bree Royce, editor-in chief at Massively Overpowered, recently asked the question “what is the most expensive MMORPG right now”. My first thought was to search through my old draft blog posts and track down an MMO cost analysis I wrote circa 2019. It includes data such as subscription rates and the price of current expansions. There was also information on what were the most popular cash shop items at the time. However, I then read some of the comments that had been left on Bree’s post and I quickly realised that this wasn’t just a matter of financial expenditure. Whether or not an MMO is expensive is also determined by one’s disposable income, respective wealth and personal relationship with money. The latter is perhaps the most important, irrespective whether you consider yourself rich or poor.
“The MMO genre is rife with its own set of tropes; recurring themes and motifs that have become established and ubiquitous. All of which are ideal material for a hastily produced, lazily conceived, recurring blog post”. Dying in an Massively Multiplayer Online Role-Playing Game is a clear and unambiguous fail state. A means by which to teach the player that they’re doing something wrong and that they need to rethink their strategy. IE Don’t mess with the foul Marmydons unless you have back up and are wielding the Sword of Kagnazax. Dying is a reminder to not get overconfident and maintain situational awareness. It teaches us to ensure you have the right gear and consumables, to be au fait with the mechanics of any fight you’re about to get into and that winning is not a given. Any enterprise that offers a tangible reward will come with potential risks and consequences. If you’re playing in a group then death provides a timely reminder not to rely on Colin.
The Lord of the Rings Online was my first major MMORPG. I started playing in late 2008 and quickly discovered that there was a necessity to become familiar with the game world. Although the game provides quick travel options they were not ubiquitous at that point and often a player would simply travel on foot to travel costs down and to take the most direct route. Back in 2008 you could not own a mount until level 30. Hence I began “learning the maps” in the game and to this day still remember how to travel from one side of Moria, to another. The maps in the base game remain clear in my mind as they were so well trodden. Not so those in the regions. There are far more stables with fast mounts present in the game now and so convenience trumps any requirement to become so familiar with newly added zones. Nowadays Standing Stone Games designs new zones that tend to funnel players through them from quest hub to quest hub.
There was a perennial question being discussed over at Massively Overpowered recently. Justin Olivetti asked “why do you play MMOs solo” and as you would expect, there was a wide variety of answers. I have written about this myself in the past, as when I first started playing MMOs, I was very enamoured by the social element and therefore very disposed towards group content. However, that experience between 2008 and 2011, when I played The Lord of the Rings Online most days and dedicated Friday and Saturday nights to raiding, was very much down to circumstances. I had the time and inclination to spend hours online. That is something that I don’t have now. Plus the novelty of the social element has worn a little thin over the years. Nowadays, I do not have the luxury of waiting for a raid group to assemble, nor do I have the tolerance for the inevitable delays that always stem from any kind of human interaction.
I’m sure I’ve mentioned this issue before in previous video game related posts. But I don’t think I’ve devoted an entire article to the matter, which is what I’m going to do today. So to provide some context, I logged into The Elder Scrolls Online today as I’m fast approaching that point in the year where I spend a few months subscribing to the game. Due to some recent patch, once again all my Champion Points have been refunded. Judging by the change in graphics, it may be that the entire Champion Point system has been updated. Whatever the reason, I have to re-allocate 501points into three skill trees. I wasn’t au fait with the last system, so I followed a build I found online. Now that it has changed, I’ll have to find a new one and copy it. Until I do, my character will be gimped. Shame the game doesn’t offer a selection of generic builds that can be easily implemented at the press of a button.
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 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”.
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.
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.
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.
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.
There are many factors that can add to an MMORPGs replayability. Multiple races, classes and factions can all potentially offer a new experience to the player. Some games even have unique stories associated with different types of characters, ensuring that rolling a new alt means that the player doesn’t repeat material they’ve already completed. Many gamers enjoy this aspect of the genre and will experiment with different builds, resulting in a character selection screen filled with numerous alts in various states of progress. However, irrespective of whether you get to experience a new story or if you indeed like the new character you’ve created, there comes a point when you look at your new alts progression and reflect upon the long, long journey to level cap. It is at this point that many alts fall by the wayside. The aforementioned character selection screen is often populated with unfulfilled potential.
If I may quote myself “The MMO genre is rife with its own set of tropes; recurring themes and motifs that have become established and ubiquitous. All of which are ideal material for a hastily produced, lazily conceived, recurring blog post”. This time round, I would like to discuss the following. The Hero, the Chosen One, the Übermensch. As that is the role that we so often are assigned in this genre. Developers broadly assume that most players want a power fantasy and precious little else is on offer. Hence we find ourselves in a story in which we are destined to do great deeds in a virtual world, whether we wish to or not. I can see the superficial appeal of such a conceit. Most of us are not such overachievers in real life. So a game in which we get to do stuff to the world, instead of the world doing stuff to us has an inherent allure. But like most MMO tropes, unless it is implemented with some panache and creativity, it quickly becomes a tiresome cliche.
Last year I wrote a post about several “quality-of-life mechanics” found in MMOs. Systems and functionality that just make a game more manageable or convenient. Despite having many features in common, MMOs are far from identical in their interface and controls. If you’re a genre aficionado, then you can usually bluff your way through a new game and decipher how to play it. But for new players, often just trying to figure out how to do a simple thing, like find your skill points, can be an uphill struggle. However, every now and then, you’ll come across some simple functionality in a game that is useful and makes a task much easier. So I have collated another five “quality-of-life mechanics” that I feel are significant and beneficial to the player. Some are very minor but that does not diminish their value. Sometimes, less can indeed be more.
As I mentioned recently in my monthly gaming roundup, I’ve currently stopped playing the three MMORPGs that are my usual gaming mainstay. Namely The Lord of the Rings Online, The Elder Scrolls Online and Star Trek Online. It’s something that I do from time to time when I’m tired of the repetition this genre offers. At present none of these titles has anything on offer that motivates me to play them enthusiastically. Especially LOTRO. I find weddings tedious and self indulgent in real life, so I’m hardly going to get “excited” about a virtual one set in Middle-earth. However, that’s not to say that I’ve lost interest in the MMO genre. I’m merely temporarily burned out at present. I find that after a few months or so, either new content is released that lures me back to these games or I tire of what I’ve been playing in their stead. It’s a cyclical process that I go through from time to time and nothing to worry about.
I stopped subscribing to The Lord of the Rings Online in June. I’ve always had a very cyclical relationship with this MMO and at present I feel I need a break from the games somewhat linear formula. Plus the new content scheduled for release centred around the wedding of Aragorn and Arwen doesn’t exactly sound enthralling. So I’ve left my primary character in Langflood and will return to the game later in the year when I feel the need to catch up with content. I have also abandoned the ongoing events in Star Trek Online as they’re getting too repetitive. I would like to see a new longterm story arc rather than just a continuous cycle of short term events and repeatable content. I don’t mind working towards a goal but it has to be something I want and the rewards offered in this MMO are getting a little too generic for my liking. I shall return to the game at some point as I’m a lifetime account holder and I’m curious to see how developer’s Cryptic overhauls the Klingon story arc.
Whenever you use a skill on your hotbar in The Elder Scrolls Online, there is an associated animation as it is inducted and utilised. These animations may vary in length from one to several seconds depending upon their nature. Although these animations add to the ambience of the game, they do come with a direct consequence. The player has to wait for the animation of one skill to complete before they can use another. For those seeking to optimise their performance or DPS output, these delays are an impediment. However, they can be negated through animation cancelling and weaving. Animation cancelling is as it states the stopping of a skill related animated sequence by the use of a follow up action such as bash/tap block/dodgeroll. Weaving is slightly different, in so far as instead of stopping the inducted animation immediately, it allows for the process to be cut short as another animation is started. Typically this is done by using a light attack and then immediately using a skill.
I managed to find a very good deal on the Digital Upgrade version of Greymoor for The Elder Scrolls Online, so I bought it. The key included a pre-order bonus as well as a few other “trinkets and baubles” which clinched the deal. I wasn’t planning on returning to ESO this month plus I still have a bee in my bonnet about playing through the game in narrative order. However, after speaking to friends about the new expansion, I was curious about the new Harrowstorm events that occur in the new zone of Western Skyrim. So I logged into the game and after the obligatory “let’s spend 30 minutes fixing broken addons”, headed over to Solitude and waited for the next Harrowstorm to appear. As ever, Zone Chat is invaluable for determining what is happening and where, so it wasn’t long before I was riding headlong towards the Black Morass Ritual Site ready for my first Harrowstorm.
ZeniMax are allegedly addressing some major performance issues with the forthcoming Update 25 for The Elder Scrolls Online. If this latest patch improves loading times, the game’s overall performance and makes updating the client faster, then it will be well received by players. However, Update 25 requires players to reinstall the entire game client due to technical reasons. Furthermore, the patch is not going to be available prior to release on Monday February 24th, so player’s cannot download the necessary files in advance. Unfortunately, as soon as the patch server comes online, all players will have to reinstall the full ESO client and wait accordingly. Considering the disparity between internet connections in the US and Europe, player experience will vary greatly. Some will download the client in hours where others will have to simply leave their PC running and wait all day. Considering the popularity of ESO and the estimated size of its player base, I wouldn’t be surprised if there are queues or connectivity issues.
Over the years I’ve played numerous MMOs (to varying degrees of success). As a genre there are certain game mechanics that are standard and common to most games. Initially during the “golden age” of the MMORPG, there was a focus on collaborative team player. This meant that successfully undertaking group content required a spectrum of players in specific roles. This particular mechanic has diminished over the years but the genre still has numerous common tropes. Quest hubs, reputation factions, gear grinds and vertical levelling are just some that spring to mind. However, many developers in this field attempt to polish and refine these “default” systems, often with interesting results. So I thought I’d cite some specific examples of what I call “quality-of-life mechanics”. Frequently these are bog standard facets common to the MMO genre, that have been polished and refined in a particular game. Small things that just make a game more manageable and provoke a positive reaction as well.
Life is often cyclical, if you don’t believe me go watch The Lion King. I started 2018 playing The Lord of the Rings Online and by writing a post about how gamers collectively seem to repeat the same mistakes. And as the year and indeed the decade ends, I find myself once again playing the Yule Festival in LOTRO and reflecting upon how some games that garnered criticism over their egregious business models, have ended up as huge hits. It would appear that gamers are their own worst enemy. I shall leave the psychological analysis of paradox to others. From my perspective, irrespective of the iniquities of the video game industry and certain quarters of the gaming community, it has been a good year, gaming wise. I have enjoyed my time playing MMOs such as Star Trek Online, The Elder Scrolls Online and the aforementioned LOTRO. These and other titles have entertained me, provided me with an opportunity to unwind as well as affording me some much-needed social interaction. I particularly enjoy Wednesday evenings when I log into my Discord server and then chat and play collaboratively with longstanding gaming friends.
A major challenge for any MMO is to keep players logging in to the game. Obviously, regularly adding content and ensuring that there are sufficient quests, activities and tasks for players to undertake is essential. However, experience has shown that no matter how much content developers add to an MMORPG, players will always veraciously consume it and want more. Hence you need an additional “carrot on a stick”. Something that get’s player sufficiently interested to log into a game, even when they don’t have anything especially compelling to do. Login incentives are designed to do exactly that. They offer of some bauble or trinket that motivates you to log into a game once a day. Hopefully once you login, you may then find something to occupy yourself, either on your own or with fellow guild members. And of course the player who is actively playing may well even purchase something from the in-game store. At the very least, a successful login incentive contributes towards active player statistics. If those figures are presented in the right fashion on paper, they can bolster a declining population.
I was initially going to call this post “crafting can fuck right off” but I felt that was a somewhat bellicose opening gambit and a little hyperbolic. So I’ve toned it down to “the esoteric nature of crafting in MMORPGS”. Now to begin with, I tend not to craft when playing MMORPGs. The effort to reward ratio is often insufficient and I have yet to find a crafting system that is engaging and fun. However, for me the biggest sin that crafting can commit is being deliberately arcane and obtuse “with malice of forethought”, if I may invoke legal analogy. Don’t get me wrong, I have no problem with game systems and mechanics being complicated. Intricacy can be both intriguing and rewarding if presented correctly. However, all too often game developers cross over the line, stepping from “complexity” to “fucking annoying”. For example some card games such as Poker can have complex rules but mastering them transforms the proceedings from random chance into a game of skill. But at the other end of the spectrum there’s Fizzbin, which was invented purely to be frustrating due to its arcane nature. I frequently find that crafting in MMOs is just like Fizzbin. Except they’re not amusing or ironic, just tedious and irritating.
As my first post for International Picture Posting Month, I have decided to share some pictures and thoughts on the MMORPG, The Elder Scrolls Online. Out of the three games from this genre that I currently play, it’s the one that I’m currently enjoying the most. It has plenty of content to play through, the virtual world is immersive and the stories, characters and lore are very detailed and satisfying. As a more recent MMO, the game engine is robust and the visuals are far from dated. The game mechanics are multi-layered but combat is straightforward. There is no obvious skills bloat as you choose what you want on your hotbar. I also greatly enjoy the ambient music and recurring themes that play throughout the game. ESO is both solo and group friendly. You can also greatly augment your UI and the way you interact with the various systems, through the use of addons if you like. Alternatively, if you feel bold enough, then you can go with the default layout. From my perspective, ESO offers a great deal and ticks many of the boxes I favour. Yes it can have its foibles but name me an MMO that doesn’t?
I raised the question in a previous post as to what’s the best way to follow the various stories in The Elder Scrolls Online in an orderly, coherent fashion. After some further research, it would appear that the most practical solution is to play through all the games DLC and chapters in release order. Hence, after finishing the main and faction storylines (in my case the Daggerfall Covenant), the next place to go is The Imperial City. Now I was under the impression that Cyrodiil was just a pure PVP zone but it would appear that there are 8 PVE quests that have a narrative arc. I was most pleased to learn this as I don’t like to miss out on content, especially if it sheds light on the lore and advances existing plot and themes. However, the problem with this series of quests is that despite being PVE content that requires you to kill Daedra mobs, you are still operating within an PVP zone. So you’re at risk of getting picked off by other players of differing factions while undertaking these quests.
Whenever I start a new MMO I tend to research the various classes and make an informed decision about which one to choose as my primary character. This policy has worked out well over the years and therefore compared to other players, I don’t have multiple alts across numerous games. That’s not to say that I’m averse to creating a new character, I simply need a good reason to do so. When I do, its usually because there’s an option to experience a different story. Hence, I currently have three alts in The Elder Scrolls Online. Last night I reached the current level cap of 50 with my Imperial Dragonknight, having recently completed the Daggerfall Covenant storyline. I have now experienced all three faction stories (which I have enjoyed) and more importantly, have learned what is the best way for me to progress through the game. ESO offers players the chance to play the MMO in a manner that suits them. If you want to simply travel Tamriel and do things as you go along, then you may. It’s a very flexible in this respect. But if you want to play in a more structured way, it can be a little confusing navigating a linear path. So here are a few tips I’ve learned the hard way.
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.
I was recently perusing my archive of old blog posts, when it struck me how much I’ve written about the MMORPG genre over the years. Naturally, there was far more material from between 2008 and 2012 as that was period when I immersed myself in the genre and was very enthusiastic about it. I was at a point in my life when I had the time to dedicate to such games and I was happy to participate in the social aspect of they offered. I would regularly play through group content and spend time socialising online with fellow guild members. My experience remains a textbook example of how online games can be more than the sum of their parts and that where you are at in your life has a major impact upon your overall enjoyment. As I read though various old posts it became clear that my experiences where specific to this particular part of my life and that they cannot be repeated. My relationship with the genre is very different now and that’s fine.
I have two monitors on my desk. The first (which is the primary monitor as far as my PC is concerned), is on the left and the second is on the right. The primary monitor is a 24 Dell U2412M, which has a resolution of 1920 x 1200. It therefore has an aspect ratio of 16:10 which adds a little extra desktop real estate, which I prefer when writing. The second monitor is a 24 inch Dell S2421H with a screen resolution of 1920 x 1080. It has an aspect ratio of 16:9 which is standard FHD. My chair is adjacent to the middle of my desk and I can turn according to each monitor I’m using. I tend to use the primary, larger monitor on the left for tasks such as writing via Google Docs and emails. The second monitor on the right is used for YouTube and gaming. This is because of its FHD format. I also have a Nintendo Switch connected to the second monitor for the same reason.
Bree Royce, editor-in chief at Massively Overpowered, recently asked the question “what is the most expensive MMORPG right now”. My first thought was to search through my old draft blog posts and track down an MMO cost analysis I wrote circa 2019. It includes data such as subscription rates and the price of current expansions. There was also information on what were the most popular cash shop items at the time. However, I then read some of the comments that had been left on Bree’s post and I quickly realised that this wasn’t just a matter of financial expenditure. Whether or not an MMO is expensive is also determined by one’s disposable income, respective wealth and personal relationship with money. The latter is perhaps the most important, irrespective whether you consider yourself rich or poor.
“The MMO genre is rife with its own set of tropes; recurring themes and motifs that have become established and ubiquitous. All of which are ideal material for a hastily produced, lazily conceived, recurring blog post”. Dying in an Massively Multiplayer Online Role-Playing Game is a clear and unambiguous fail state. A means by which to teach the player that they’re doing something wrong and that they need to rethink their strategy. IE Don’t mess with the foul Marmydons unless you have back up and are wielding the Sword of Kagnazax. Dying is a reminder to not get overconfident and maintain situational awareness. It teaches us to ensure you have the right gear and consumables, to be au fait with the mechanics of any fight you’re about to get into and that winning is not a given. Any enterprise that offers a tangible reward will come with potential risks and consequences. If you’re playing in a group then death provides a timely reminder not to rely on Colin.
The Lord of the Rings Online was my first major MMORPG. I started playing in late 2008 and quickly discovered that there was a necessity to become familiar with the game world. Although the game provides quick travel options they were not ubiquitous at that point and often a player would simply travel on foot to travel costs down and to take the most direct route. Back in 2008 you could not own a mount until level 30. Hence I began “learning the maps” in the game and to this day still remember how to travel from one side of Moria, to another. The maps in the base game remain clear in my mind as they were so well trodden. Not so those in the regions. There are far more stables with fast mounts present in the game now and so convenience trumps any requirement to become so familiar with newly added zones. Nowadays Standing Stone Games designs new zones that tend to funnel players through them from quest hub to quest hub.
There was a perennial question being discussed over at Massively Overpowered recently. Justin Olivetti asked “why do you play MMOs solo” and as you would expect, there was a wide variety of answers. I have written about this myself in the past, as when I first started playing MMOs, I was very enamoured by the social element and therefore very disposed towards group content. However, that experience between 2008 and 2011, when I played The Lord of the Rings Online most days and dedicated Friday and Saturday nights to raiding, was very much down to circumstances. I had the time and inclination to spend hours online. That is something that I don’t have now. Plus the novelty of the social element has worn a little thin over the years. Nowadays, I do not have the luxury of waiting for a raid group to assemble, nor do I have the tolerance for the inevitable delays that always stem from any kind of human interaction.
I’m sure I’ve mentioned this issue before in previous video game related posts. But I don’t think I’ve devoted an entire article to the matter, which is what I’m going to do today. So to provide some context, I logged into The Elder Scrolls Online today as I’m fast approaching that point in the year where I spend a few months subscribing to the game. Due to some recent patch, once again all my Champion Points have been refunded. Judging by the change in graphics, it may be that the entire Champion Point system has been updated. Whatever the reason, I have to re-allocate 501points into three skill trees. I wasn’t au fait with the last system, so I followed a build I found online. Now that it has changed, I’ll have to find a new one and copy it. Until I do, my character will be gimped. Shame the game doesn’t offer a selection of generic builds that can be easily implemented at the press of a button.
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 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”.
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.
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.
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.
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.
There are many factors that can add to an MMORPGs replayability. Multiple races, classes and factions can all potentially offer a new experience to the player. Some games even have unique stories associated with different types of characters, ensuring that rolling a new alt means that the player doesn’t repeat material they’ve already completed. Many gamers enjoy this aspect of the genre and will experiment with different builds, resulting in a character selection screen filled with numerous alts in various states of progress. However, irrespective of whether you get to experience a new story or if you indeed like the new character you’ve created, there comes a point when you look at your new alts progression and reflect upon the long, long journey to level cap. It is at this point that many alts fall by the wayside. The aforementioned character selection screen is often populated with unfulfilled potential.
If I may quote myself “The MMO genre is rife with its own set of tropes; recurring themes and motifs that have become established and ubiquitous. All of which are ideal material for a hastily produced, lazily conceived, recurring blog post”. This time round, I would like to discuss the following. The Hero, the Chosen One, the Übermensch. As that is the role that we so often are assigned in this genre. Developers broadly assume that most players want a power fantasy and precious little else is on offer. Hence we find ourselves in a story in which we are destined to do great deeds in a virtual world, whether we wish to or not. I can see the superficial appeal of such a conceit. Most of us are not such overachievers in real life. So a game in which we get to do stuff to the world, instead of the world doing stuff to us has an inherent allure. But like most MMO tropes, unless it is implemented with some panache and creativity, it quickly becomes a tiresome cliche.
Last year I wrote a post about several “quality-of-life mechanics” found in MMOs. Systems and functionality that just make a game more manageable or convenient. Despite having many features in common, MMOs are far from identical in their interface and controls. If you’re a genre aficionado, then you can usually bluff your way through a new game and decipher how to play it. But for new players, often just trying to figure out how to do a simple thing, like find your skill points, can be an uphill struggle. However, every now and then, you’ll come across some simple functionality in a game that is useful and makes a task much easier. So I have collated another five “quality-of-life mechanics” that I feel are significant and beneficial to the player. Some are very minor but that does not diminish their value. Sometimes, less can indeed be more.
As I mentioned recently in my monthly gaming roundup, I’ve currently stopped playing the three MMORPGs that are my usual gaming mainstay. Namely The Lord of the Rings Online, The Elder Scrolls Online and Star Trek Online. It’s something that I do from time to time when I’m tired of the repetition this genre offers. At present none of these titles has anything on offer that motivates me to play them enthusiastically. Especially LOTRO. I find weddings tedious and self indulgent in real life, so I’m hardly going to get “excited” about a virtual one set in Middle-earth. However, that’s not to say that I’ve lost interest in the MMO genre. I’m merely temporarily burned out at present. I find that after a few months or so, either new content is released that lures me back to these games or I tire of what I’ve been playing in their stead. It’s a cyclical process that I go through from time to time and nothing to worry about.
I stopped subscribing to The Lord of the Rings Online in June. I’ve always had a very cyclical relationship with this MMO and at present I feel I need a break from the games somewhat linear formula. Plus the new content scheduled for release centred around the wedding of Aragorn and Arwen doesn’t exactly sound enthralling. So I’ve left my primary character in Langflood and will return to the game later in the year when I feel the need to catch up with content. I have also abandoned the ongoing events in Star Trek Online as they’re getting too repetitive. I would like to see a new longterm story arc rather than just a continuous cycle of short term events and repeatable content. I don’t mind working towards a goal but it has to be something I want and the rewards offered in this MMO are getting a little too generic for my liking. I shall return to the game at some point as I’m a lifetime account holder and I’m curious to see how developer’s Cryptic overhauls the Klingon story arc.
Whenever you use a skill on your hotbar in The Elder Scrolls Online, there is an associated animation as it is inducted and utilised. These animations may vary in length from one to several seconds depending upon their nature. Although these animations add to the ambience of the game, they do come with a direct consequence. The player has to wait for the animation of one skill to complete before they can use another. For those seeking to optimise their performance or DPS output, these delays are an impediment. However, they can be negated through animation cancelling and weaving. Animation cancelling is as it states the stopping of a skill related animated sequence by the use of a follow up action such as bash/tap block/dodgeroll. Weaving is slightly different, in so far as instead of stopping the inducted animation immediately, it allows for the process to be cut short as another animation is started. Typically this is done by using a light attack and then immediately using a skill.
I managed to find a very good deal on the Digital Upgrade version of Greymoor for The Elder Scrolls Online, so I bought it. The key included a pre-order bonus as well as a few other “trinkets and baubles” which clinched the deal. I wasn’t planning on returning to ESO this month plus I still have a bee in my bonnet about playing through the game in narrative order. However, after speaking to friends about the new expansion, I was curious about the new Harrowstorm events that occur in the new zone of Western Skyrim. So I logged into the game and after the obligatory “let’s spend 30 minutes fixing broken addons”, headed over to Solitude and waited for the next Harrowstorm to appear. As ever, Zone Chat is invaluable for determining what is happening and where, so it wasn’t long before I was riding headlong towards the Black Morass Ritual Site ready for my first Harrowstorm.
ZeniMax are allegedly addressing some major performance issues with the forthcoming Update 25 for The Elder Scrolls Online. If this latest patch improves loading times, the game’s overall performance and makes updating the client faster, then it will be well received by players. However, Update 25 requires players to reinstall the entire game client due to technical reasons. Furthermore, the patch is not going to be available prior to release on Monday February 24th, so player’s cannot download the necessary files in advance. Unfortunately, as soon as the patch server comes online, all players will have to reinstall the full ESO client and wait accordingly. Considering the disparity between internet connections in the US and Europe, player experience will vary greatly. Some will download the client in hours where others will have to simply leave their PC running and wait all day. Considering the popularity of ESO and the estimated size of its player base, I wouldn’t be surprised if there are queues or connectivity issues.
Over the years I’ve played numerous MMOs (to varying degrees of success). As a genre there are certain game mechanics that are standard and common to most games. Initially during the “golden age” of the MMORPG, there was a focus on collaborative team player. This meant that successfully undertaking group content required a spectrum of players in specific roles. This particular mechanic has diminished over the years but the genre still has numerous common tropes. Quest hubs, reputation factions, gear grinds and vertical levelling are just some that spring to mind. However, many developers in this field attempt to polish and refine these “default” systems, often with interesting results. So I thought I’d cite some specific examples of what I call “quality-of-life mechanics”. Frequently these are bog standard facets common to the MMO genre, that have been polished and refined in a particular game. Small things that just make a game more manageable and provoke a positive reaction as well.
Life is often cyclical, if you don’t believe me go watch The Lion King. I started 2018 playing The Lord of the Rings Online and by writing a post about how gamers collectively seem to repeat the same mistakes. And as the year and indeed the decade ends, I find myself once again playing the Yule Festival in LOTRO and reflecting upon how some games that garnered criticism over their egregious business models, have ended up as huge hits. It would appear that gamers are their own worst enemy. I shall leave the psychological analysis of paradox to others. From my perspective, irrespective of the iniquities of the video game industry and certain quarters of the gaming community, it has been a good year, gaming wise. I have enjoyed my time playing MMOs such as Star Trek Online, The Elder Scrolls Online and the aforementioned LOTRO. These and other titles have entertained me, provided me with an opportunity to unwind as well as affording me some much-needed social interaction. I particularly enjoy Wednesday evenings when I log into my Discord server and then chat and play collaboratively with longstanding gaming friends.
A major challenge for any MMO is to keep players logging in to the game. Obviously, regularly adding content and ensuring that there are sufficient quests, activities and tasks for players to undertake is essential. However, experience has shown that no matter how much content developers add to an MMORPG, players will always veraciously consume it and want more. Hence you need an additional “carrot on a stick”. Something that get’s player sufficiently interested to log into a game, even when they don’t have anything especially compelling to do. Login incentives are designed to do exactly that. They offer of some bauble or trinket that motivates you to log into a game once a day. Hopefully once you login, you may then find something to occupy yourself, either on your own or with fellow guild members. And of course the player who is actively playing may well even purchase something from the in-game store. At the very least, a successful login incentive contributes towards active player statistics. If those figures are presented in the right fashion on paper, they can bolster a declining population.
I was initially going to call this post “crafting can fuck right off” but I felt that was a somewhat bellicose opening gambit and a little hyperbolic. So I’ve toned it down to “the esoteric nature of crafting in MMORPGS”. Now to begin with, I tend not to craft when playing MMORPGs. The effort to reward ratio is often insufficient and I have yet to find a crafting system that is engaging and fun. However, for me the biggest sin that crafting can commit is being deliberately arcane and obtuse “with malice of forethought”, if I may invoke legal analogy. Don’t get me wrong, I have no problem with game systems and mechanics being complicated. Intricacy can be both intriguing and rewarding if presented correctly. However, all too often game developers cross over the line, stepping from “complexity” to “fucking annoying”. For example some card games such as Poker can have complex rules but mastering them transforms the proceedings from random chance into a game of skill. But at the other end of the spectrum there’s Fizzbin, which was invented purely to be frustrating due to its arcane nature. I frequently find that crafting in MMOs is just like Fizzbin. Except they’re not amusing or ironic, just tedious and irritating.
As my first post for International Picture Posting Month, I have decided to share some pictures and thoughts on the MMORPG, The Elder Scrolls Online. Out of the three games from this genre that I currently play, it’s the one that I’m currently enjoying the most. It has plenty of content to play through, the virtual world is immersive and the stories, characters and lore are very detailed and satisfying. As a more recent MMO, the game engine is robust and the visuals are far from dated. The game mechanics are multi-layered but combat is straightforward. There is no obvious skills bloat as you choose what you want on your hotbar. I also greatly enjoy the ambient music and recurring themes that play throughout the game. ESO is both solo and group friendly. You can also greatly augment your UI and the way you interact with the various systems, through the use of addons if you like. Alternatively, if you feel bold enough, then you can go with the default layout. From my perspective, ESO offers a great deal and ticks many of the boxes I favour. Yes it can have its foibles but name me an MMO that doesn’t?
I raised the question in a previous post as to what’s the best way to follow the various stories in The Elder Scrolls Online in an orderly, coherent fashion. After some further research, it would appear that the most practical solution is to play through all the games DLC and chapters in release order. Hence, after finishing the main and faction storylines (in my case the Daggerfall Covenant), the next place to go is The Imperial City. Now I was under the impression that Cyrodiil was just a pure PVP zone but it would appear that there are 8 PVE quests that have a narrative arc. I was most pleased to learn this as I don’t like to miss out on content, especially if it sheds light on the lore and advances existing plot and themes. However, the problem with this series of quests is that despite being PVE content that requires you to kill Daedra mobs, you are still operating within an PVP zone. So you’re at risk of getting picked off by other players of differing factions while undertaking these quests.
Whenever I start a new MMO I tend to research the various classes and make an informed decision about which one to choose as my primary character. This policy has worked out well over the years and therefore compared to other players, I don’t have multiple alts across numerous games. That’s not to say that I’m averse to creating a new character, I simply need a good reason to do so. When I do, its usually because there’s an option to experience a different story. Hence, I currently have three alts in The Elder Scrolls Online. Last night I reached the current level cap of 50 with my Imperial Dragonknight, having recently completed the Daggerfall Covenant storyline. I have now experienced all three faction stories (which I have enjoyed) and more importantly, have learned what is the best way for me to progress through the game. ESO offers players the chance to play the MMO in a manner that suits them. If you want to simply travel Tamriel and do things as you go along, then you may. It’s a very flexible in this respect. But if you want to play in a more structured way, it can be a little confusing navigating a linear path. So here are a few tips I’ve learned the hard way.
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.
Some video games lend themselves to being set aside and resumed at a later date with zero consequences. These are often casual games with no major goals other than having fun while playing them. Fall Guys is a great example of this. You have a cartoony avatar that participates in zany group races, filled with obstacles. You run, jump, climb but the controls are far from difficult. You may well become skilled but such things are mitigated by the other players as they stumble around. You’re not at the mercy of apex players or “try hards”. It is not a game about winning and mastering techniques. The fun comes from playing it and the unique experience you have each time. I’ve been playing this game, on and off, since it’s launch in 2020 and in that time I have only ever won once (winning requires you to win a series of 4 to six individual races). However, whenever I pick up my controller and play Fall Guys, I have fun and the game lifts my spirits.
I recently completed the main story in Tainted Grail: The Fall of Avalon. In total I spent about sixty hours playing the game. I began at the start of the year, then took a break for a while but returned to it recently because I wanted to see if I could unlock a specific ending. I did manage to do this. Like so many other RPGs, Tainted Grail: the Fall of Avalon has a central storyline, along with a wealth of side quests, based around factions in specific zones. I think I possibly completed about a two thirds of these. However, once I finished the main story, my interest in the game began to wane. I finally left my character in the last major quest hub in case I wish to return at a future date. I then logged out of the game and uninstalled it from my PC to free up space for whatever I was to play next. In this case its The Sinking City 2. None of this is a negative reflection on Tainted Grail: the Fall of Avalon. I enjoyed the time I spent playing this quirky RPG. I simply had my fill and left to play something else.
On Tuesday 11th April, Aspyr Media rather surprisingly re-released The Lord of the Rings: War in the North, a co-op action-RPG from 2011. This game was delisted in late 2019, possibly due to changing rights ownership or a license expiring. Hence, I was somewhat discombobulated by the return of this title to all major gaming platforms. Mind you, the Embracer Group (through its subsidiary Middle-earth Enterprises) still controls the worldwide commercial and video game licensing rights for The Lord of the Rings and The Hobbit. Furthermore they have explicitly stated that they have plans for more games. It would appear this also means re-releasing and updating old favourites. It is also worth noting that they own Aspyr Media, which is also a bit of a giveaway. Let it suffice to say that this re-release and sparked enthusiastic online debate as to whether any other he Lord of the Rings themed games from the same era will receive a similar makeover. Judging by the internet chatter, there’s potentially a market for them.
The next expansion for the MMORG, The Lord of the Rings Online, was announced on the 1st August, via the gaming website MMORPG.The Wolves of Mordor, which will launch later in the year, appears ambitious in scope as it will include two new game systems as well as the obligatory story update. This expansion takes place in Draugardh located in the North East of Mordor, beyond the Plateau of Gorgoroth. It includes the new zones of Heledhris, Parth Rhavas and Nan Ogol. These vary environmentally ranging from the arid, volcanic and semi-tropical. Players will encounter the Daugrim in these regions, Werewolves but not in the modern sense. This is not the lycanthropy of Eastern European legends but in the established Tolkien idiom of fell spirits inhabiting the bodies of Wolves. The region also sees the return of the Woses and players can expect to encounter Elves and scouts from Gondor. As ever with LOTRO expansions, there will be new instances as well as a raid.
This is a post about the power of nostalgia and how sometimes, interacting with something from your past, be it physically or mentally, can produce a very strong and tangible emotional reaction. In some instances, this can be the result of something that you have specifically set out to do. On other occasions you can wander into a sense of nostalgia purely by chance. Today I experienced a very strong sense of nostalgia while watching a YouTube video and then again when I sought to replicate what I had seen. The video showed someone installing Windows 95 on to an old 486 PC from that era. The Window’s start up sound really touched a nerve (but in a good way) and then when the guy in the video launched Space Cadet 3D Pinball, a game that shipped with the operating system, I felt a strong compulsion to track down a copy and install the game myself, thus revisiting something that was an integral part of my life in 1995.
RV There Yet? is possibly the most entertaining game I’ve never played. My vicarious pleasure regarding this title has come exclusively from watching two popular YouTubers, JackFrags and WillFromWork, play through the game over a series of videos. It has been immensely amusing to watch and I have empathised a great deal as the group of four players has struggled with the game’s unpredictable mechanics and their own team’s dynamic. I could go and buy RV There Yet? myself but I doubt if I would ever have a gaming experience anywhere close to what I’ve watched online recently. So in some respects watching these videos has been an interesting alternative as I’ve been entertained, which ultimately is the point of video games. Perhaps there is a deeper philosophical point here that the game developers should reflect upon, as they’ve lost a potential sale. However, that is separate discussion for another day.
I don’t keep up with gaming news as much as I use to but several noteworthy announcement have come to my attention of late. Firstly, there’s an expansion, Songs of the Past, coming for the Witcher III: Wild Hunt in 2027. No doubt this is to pave the way for the Witcher IV. Next, I also found out about Hand of Fate: Horde. I liked this franchise and was saddened to learn that the original studio, Defiant Development, closed. Hence is was a pleasant surprise to see this new game being developed by members of the original studio. The third announcement was regarding Guild Wars 3. A new MMORPG in active development by a major studio is no small feat and is certainly good news for fans of this franchise and the genre per se. However, once you look beyond this news this announcement raises several questions and has certainly given me pause for thought. Let us take a few moments to consider them.
Star Trek Online has many in-game systems that are common to the MMORPG genre. The reputation system is one such example. In STO there are 13 reputation factions. Once a player has reached level 50 they may start progressing through the 6 reputation tiers of each one. Players gain progression through daily projects (20 hours in duration). Hourly projects are also available though they yield less reputation advancement and are limited to three times a day. Hence 20 hour projects are consider by default the most efficient way to gain rep. Projects require 30 Faction Specific Marks (earned via various activities in-game), 15,000 Energy Credits (standard in-game currency) and 2000 Expertise points. The most efficient way to tackle the reputation grind is to build up the necessary resources in advance and then at a designated time each day, start all 13 respective projects. Upon completion projects yield a player bound lockbox containing a random space or ground weapon, a console or Elite Marks which can be used to acquire faction gear.
I was recently perusing my archive of old blog posts, when it struck me how much I’ve written about the MMORPG genre over the years. Naturally, there was far more material from between 2008 and 2012 as that was period when I immersed myself in the genre and was very enthusiastic about it. I was at a point in my life when I had the time to dedicate to such games and I was happy to participate in the social aspect of they offered. I would regularly play through group content and spend time socialising online with fellow guild members. My experience remains a textbook example of how online games can be more than the sum of their parts and that where you are at in your life has a major impact upon your overall enjoyment. As I read though various old posts it became clear that my experiences where specific to this particular part of my life and that they cannot be repeated. My relationship with the genre is very different now and that’s fine.
Creating alts is an integral aspect of the MMORPG genre. Many players will create a character of a specific class or faction, play it for a while, lose interest in it or they may decide that it is just not for them. Fortunately it is no effort at all to simply re-roll a new alt and set off once again. Furthermore, lots of players never reach level cap of the MMORPG that there playing. When the going get’s tough, so to speak, you can either soldier on for another 50 levels or simply create a new alt and return to the comfort of tried and tested content. Alts also give you the chance to secure an accolade or achievement that you previously missed. They are also of great benefit to the genres social aspects. Creating a new alt so you can play along with a friend who is just starting is great fun. Developer’s love them too as it means you’re still playing the game.
I recently took a break from Crimson Desert choosing instead to to play something familiar and easy going. As I’ve been logging into Star Trek Online daily to participate in the anniversary event, I decided to look through my various alts and see how far they had progressed through the game and what resources they had. At present I have twelve alts. My primary Captain was created in 2015 during the original Delta Recruit Event. I had previously played STO intermittently since its release in January 2010 but I never kept any of those characters. Hence this decade old Tactical Federation Captain has been my main focus when playing. The other eleven alts are the result of other recruitment events or whenever I wanted to try something different, such as playing a specific class or faction. I obviously played a lot of STO during the lockdown as several alts date from that period. Several had maximum reputation across all factions.
The action, open world RPG Crimson Desert has been patched five times since it launched on March 19th and there have also been multiple hotfixes. At first glance this isn’t anything unusual. New games have bugs and issues arise once a game is released and played across a much wider variety of hardware than in QA testing. However, if you read the patch notes that accompany these sizeable downloads it quickly becomes apparent that developer’s Pearl Abyss are not just addressing bugs and software glitches. They are actively engaging with their player base and responding to suggestions and requests from that community. Although this is not a unique approach, what is surprising is the speed and quantity in which these player driven changes are happening. There seems to be an active ongoing process to refine the game and eliminate some of its “rough edges” and the players are contributing to this process with their feedback.
According to my Steam statistics, I last played Starfield on 19th December 2023. I bought the game upon its release in September of that year and played in total for 136 hours. Starfield held my interest for three and a half month and I wrote seven blog posts about various aspects of the game. Although there were some engaging aspects to Starfield, I did feel that that the game was somewhat lacking in systems and content, at that point in its lifecycle. I also think that the marketing and player expectations associated with Starfield were overblown and unrealistic. The shadow of Skyrim looms large over all new Bethesda releases and they don’t seem able to quite recapture that magic. Hence, I inevitably drifted away from Starfield and to another game and was effectively “done” with it. I have not played the game since which seems to validate the theory that game are becoming increasingly more ephemeral.
13 days after its release, market analysts estimate that Crimson Desert has already earned $200 million across the four main platforms (PC, PlayStation 5, and Xbox Series X and S). The game is certainly proving popular among gamers with the internet awash with live streams and “let’s play” videos. However, reviews are mixed both among gaming journalists and YouTube influencers. Common complaints about the game include that it is slow to start, the controls are poorly laid out on all platforms and that developer’s Pearl Abyss have done a poor job of explaining most aspects of the game to new players. Although such criticisms are true to a degree, I think these complaints highlight how many gamers are conditioned to expect new titles to follow a specific pattern with regard to pacing, narrative exposition and learning in-game systems. A pattern that Pearl Abyss has chosen to ignore, instead favouring an old school approach.
Early on Crimson Desert, the main quest requires the player to enter a tavern and arm wrestle a particularly strong guard. The arm wrestling match consists of a quick time event. If playing on PC you have to rapidly press the “E” key which turns a power meter from white to red. Then a white dial appears above the meter with a rotating hand. When the hand passes over a segment of the dial that is marked by hatching, the player must press the “R” key. The idea being the meter filling with red is you strength building (or waning) and the “R” key prompt indicates when to try and force your opponent’s arm. You will need to to continuously press the “E” key throughout the arm wrestling match and the “R” key about 4 times to win.
Earlier this week, Nvidia posted a video featuring their latest iteration of DLSS technology (Deep learning super sampling). DLSS 5 is an AI-powered “real-time neural rendering” process and unlike previous versions that focused on improving frame rates through upscaling or frame generation, DLSS 5 uses generative AI to “infuse” frames with photorealistic lighting and material details that the game engine never actually calculated. Let us pause for a moment and consider these words. Material detail that the game engine never actually calculated. Therein lies the rub. If you watch the aforementioned video or peruse the images posted here, it is abundantly clear what the technology does.
Last night, I spent the first 45 minutes after the launch of Crimson Desert, watching the 92GB pre-downloaded game files slowly decompressing and installing. I finally launched the game at about 10:50 PM GMT. I then waited a further 5 minutes while shaders were downloaded. It took me about 15 minutes or so to read through the various game settings and choose those that are optimal for my PC. I suspect even if you have a beast of a computer, you’re still going to have to spend some time tweaking settings. As for those players like myself with a gaming rig that is somewhere in the middle of the game’s specifications, be prepared to do a lot of fine tuning both within Crimson Desert itself and your Windows settings.
I have been aware of the online interest around the open world action game Crimson Desert for a while now. One of the things that has intrigued me about it is the scope of the game. The word “hype” has been bandied about by a few gaming websites. However, from what I have observed, developers Pearl Abyss have not been excessively hyperbolic themselves, with regard to the manner in which the game’s systems and mechanics have been marketed. Now that the press embargo has been lifted, the pre-release reviews seem to confirm that everything we’ve seen in promotional videos in the run up to the launch, is in fact present in the game. So far the initial critical response has been very positive and it has been hinted that the game may well be a genre milestone. Perhaps Crimson Desert is just a rare example of a game that has not had a rushed development and isn’t launching prematurely for business reasons.
Video games as a genre are extremely poor at explaining themselves. When you buy a new game you’ll often find little or no information regarding the basic systems and mechanics. The industry assumes that their customers are by default familiar with the fundamentals of playing a modern video game. Hence if a game has a tutorial, it is often based around videos rather than detailed verbal instructions. You are are briefly shown a clip of a specific move being successfully undertaken but it is seldom shown in a wider context. The industry also expects the fan community to take on the role of curating and disseminating information about its games. The move away from forums and bespoke websites to Discord highlights this. Discord is a primarily a real time communication tool and not good at maintaining a historical data archive. If you want an answer to a specific gaming question, you’ll more than likely find it on YouTube in a video made by a fellow gamer.
I have written in the past about the video games we cannot play. The ones that require a keen understanding of a game’s mechanics, along with a strong degree of manual dexterity and situational awareness. Being 58 years old, I tend to have neither the co-ordination necessary to succeed or the patience to master such complex skill requirements. With this in mind, I recently watched a YouTube video for Chivalry 2 and thought, that looks like fun. The fact that it showed someone picking up a chicken and throwing it at an opponent is neither here nor there. However, after watching a few more videos I realised that combat in the game was complex and that, as usual, the reality of playing such a game would be different from my expectations. Hence, I came very close to not buying Chivalry 2. However, I eventually decided that I would, so I bought it for just under £10 from an online vendor.
I decided to pursue a magic and spellcasting build in the RPG Tainted Grail: The Fall of Avalon after the story prologue. During the opening section of the game, the player is presented with a sufficient range of weapons to determine which type suits them best, although you can change at any time during the game. For me, casting spells feels right and is fun. Plus I have fond memories of the magic system in Two Worlds II and Skyrim. So once I started playing through the first zone, I started putting attribute and skill points into the appropriate trees to bolster my spells strengths and frequency. I also chose gear that would bolster those statistics further. The results have been surprising, as magic and spellcasting is not presented in the usual “glass cannon” style you find in some other RPGs. Here it offers robust DPS output and with the right gear and spell combination, a strong degree of survivability.
I originally bought Warhammer: Dark Omen in the summer of 1998. I played a demo copy via a magazine cover disc, which was a common means of promotion and marketing back then. Although I was at that point, unfamiliar with the Warhammer Universe, I found this game to be an excellent point of entry. The story did an excellent job of introducing players to “The Old World”, the political and power structure and major characters. I instantly liked both the aesthetic and the lore. Warhammer: Dark Omen was also the first real-time tactical wargame that I played and I spent numerous hours playing through the campaign. Overall, the game was a critical success, particularly on PC, but it struggled commercially upon its initial release and didn’t quite find the audience that it deserved. However, it has achieved status as a “cult classic” among gamers, leading to a recent re-release on GOG in late 2025.
According to the recent “letter to the players”, Standing Stone Games will be adding a new zone to the MMORPG The Lord of the Rings Online in the second quarter of this year. Possibly around May or June. Having spent the last three expansions in the South of Middle-earth exploring the tropical Umbar and the deserts of Harad, I would certainly welcome a change of location. I have gradually warmed to these zones over the last eighteen months but I do find them so incongruous. They are so radically different to the European style content that has been the mainstay of the game for so long. Tolkien’s source text has plenty of detail regarding Eriador and Rhovanion. Information regarding Harad is scarce, hence it has afforded the developers a great deal of artistic freedom. Although exceedingly well realised these tropical zones have taken a while for me to get used to.
I’m not sure exactly when it started but I’ve recently noticed a graphical bug within the MMORPG The Lord of the Rings Online. This problem often occurs within caves or in areas where there are a lot of rocky surfaces. Hence it has become very apparent in the latest two expansions, set in Umbar and Harad. This graphical glitch causes some surface textures to appear to flash from light to dark intermittently. The resulting strobe effect is hard to ignore and very distracting. Fortunately, a quick online search showed that this is not a problem unique to my installation of LOTRO and is a known problem. Furthermore, there is a very simple workaround, which is to go into the Advanced Graphics setting and uncheck “Per Pixel Lighting”, which immediately remedies the problem. I have no idea why this has recently started to happen but at least it can be resolved.
This year is the 60th anniversary of Star Trek. The original TV show was first broadcast in the US on September 8th 1966. If you search online you’ll find details of lots of related events. There are documentaries, conventions, new TV shows and even some video games in development. However, what you won’t find are any details regarding what will be happening with the MMORPG Star Trek Online. So far no road map for 2026 has been posted online by the developers but it is still quite early in the New Year. That being the case, I am not especially optimistic about there being any major plans waiting to be revealed. It is not as if DECA Games have demonstrated or stated any major ambitions for STO beyond keeping the endless events treadmill going and regularly adding content to the in-game store, during their development tenure. The ongoing story arc drags on inexorably and is as dull as ditchwater.
I first played The Elder Scrolls V: Skyrim in June 2013. This was over 18 months after the game’s initial release and the base game and DLC were bundled together in a “Legendary” edition. Although a seasoned gamer at the time, familiar with the RPG genre with such titles as Mass Effect and Grand Theft Auto IV, I had not played a game from this franchise before. It only took a few hours of gameplay to realise that this was a special title. The scope of the story, the art design and the size of the world were immediately notable. Tamriel was immersive in a way I had not experienced with other titles. Often simply traversing the terrain and watching the dawn break while the game soundtrack swelled, was sufficient to hold my attention. I instantly picked up on the voice acting of Christopher Plummer and Max Von Sydow. All of which indicated that this was a gaming landmark.
The latest expansion for the MMORPG The Lord of the Rings Online, Kingdoms of Harad, launched on December 3rd. With this release the level cap was raised from 150 to 160. It should also be noted that the cap for virtue traits was also raised from 96 to 100. Naturally these changes meant that there is a requirement to replace all armour and jewellery once the new cap is reached. Similarly Legendary Items have to be reforged and any traceries upgraded or replaced. If you follow the Epic Story it will lead you from quest hub to quest hub. The main quest rewards, along with those from side quests will provide adequate gear as you slowly progress towards the new level cap. The new raids, instances and missions/delvings then provide a means to acquire higher quality level 160 gear. LOTRO and indeed, many other MMOs are consistent in this methodology.
It is customary in a post such as this to list the various games that I’ve played over the last twelve months and share my thoughts on them. Wider analysis of the video game industry is also de rigeur. Unfortunately, I don’t really feel disposed to do either of those two things. My thoughts on the games I’ve played have already been published and can easily be accessed via the links at the bottom of this post. As for the video game industry, it suffers the same flaws as music, TV and cinema. There is creativity and innovation out there but it is often drowned out by mainstream products which are demonstrably inferior due to their inherent mediocrity. As for the business side of things, we once again clearly see the failings of the corporate management class. Sadly, they do not face the consequences of the mistakes that they make.
“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.
Some video games lend themselves to being set aside and resumed at a later date with zero consequences. These are often casual games with no major goals other than having fun while playing them. Fall Guys is a great example of this. You have a cartoony avatar that participates in zany group races, filled with obstacles. You run, jump, climb but the controls are far from difficult. You may well become skilled but such things are mitigated by the other players as they stumble around. You’re not at the mercy of apex players or “try hards”. It is not a game about winning and mastering techniques. The fun comes from playing it and the unique experience you have each time. I’ve been playing this game, on and off, since it’s launch in 2020 and in that time I have only ever won once (winning requires you to win a series of 4 to six individual races). However, whenever I pick up my controller and play Fall Guys, I have fun and the game lifts my spirits.
I recently completed the main story in Tainted Grail: The Fall of Avalon. In total I spent about sixty hours playing the game. I began at the start of the year, then took a break for a while but returned to it recently because I wanted to see if I could unlock a specific ending. I did manage to do this. Like so many other RPGs, Tainted Grail: the Fall of Avalon has a central storyline, along with a wealth of side quests, based around factions in specific zones. I think I possibly completed about a two thirds of these. However, once I finished the main story, my interest in the game began to wane. I finally left my character in the last major quest hub in case I wish to return at a future date. I then logged out of the game and uninstalled it from my PC to free up space for whatever I was to play next. In this case its The Sinking City 2. None of this is a negative reflection on Tainted Grail: the Fall of Avalon. I enjoyed the time I spent playing this quirky RPG. I simply had my fill and left to play something else.
On Tuesday 11th April, Aspyr Media rather surprisingly re-released The Lord of the Rings: War in the North, a co-op action-RPG from 2011. This game was delisted in late 2019, possibly due to changing rights ownership or a license expiring. Hence, I was somewhat discombobulated by the return of this title to all major gaming platforms. Mind you, the Embracer Group (through its subsidiary Middle-earth Enterprises) still controls the worldwide commercial and video game licensing rights for The Lord of the Rings and The Hobbit. Furthermore they have explicitly stated that they have plans for more games. It would appear this also means re-releasing and updating old favourites. It is also worth noting that they own Aspyr Media, which is also a bit of a giveaway. Let it suffice to say that this re-release and sparked enthusiastic online debate as to whether any other he Lord of the Rings themed games from the same era will receive a similar makeover. Judging by the internet chatter, there’s potentially a market for them.
The next expansion for the MMORG, The Lord of the Rings Online, was announced on the 1st August, via the gaming website MMORPG.The Wolves of Mordor, which will launch later in the year, appears ambitious in scope as it will include two new game systems as well as the obligatory story update. This expansion takes place in Draugardh located in the North East of Mordor, beyond the Plateau of Gorgoroth. It includes the new zones of Heledhris, Parth Rhavas and Nan Ogol. These vary environmentally ranging from the arid, volcanic and semi-tropical. Players will encounter the Daugrim in these regions, Werewolves but not in the modern sense. This is not the lycanthropy of Eastern European legends but in the established Tolkien idiom of fell spirits inhabiting the bodies of Wolves. The region also sees the return of the Woses and players can expect to encounter Elves and scouts from Gondor. As ever with LOTRO expansions, there will be new instances as well as a raid.
This is a post about the power of nostalgia and how sometimes, interacting with something from your past, be it physically or mentally, can produce a very strong and tangible emotional reaction. In some instances, this can be the result of something that you have specifically set out to do. On other occasions you can wander into a sense of nostalgia purely by chance. Today I experienced a very strong sense of nostalgia while watching a YouTube video and then again when I sought to replicate what I had seen. The video showed someone installing Windows 95 on to an old 486 PC from that era. The Window’s start up sound really touched a nerve (but in a good way) and then when the guy in the video launched Space Cadet 3D Pinball, a game that shipped with the operating system, I felt a strong compulsion to track down a copy and install the game myself, thus revisiting something that was an integral part of my life in 1995.
RV There Yet? is possibly the most entertaining game I’ve never played. My vicarious pleasure regarding this title has come exclusively from watching two popular YouTubers, JackFrags and WillFromWork, play through the game over a series of videos. It has been immensely amusing to watch and I have empathised a great deal as the group of four players has struggled with the game’s unpredictable mechanics and their own team’s dynamic. I could go and buy RV There Yet? myself but I doubt if I would ever have a gaming experience anywhere close to what I’ve watched online recently. So in some respects watching these videos has been an interesting alternative as I’ve been entertained, which ultimately is the point of video games. Perhaps there is a deeper philosophical point here that the game developers should reflect upon, as they’ve lost a potential sale. However, that is separate discussion for another day.
I don’t keep up with gaming news as much as I use to but several noteworthy announcement have come to my attention of late. Firstly, there’s an expansion, Songs of the Past, coming for the Witcher III: Wild Hunt in 2027. No doubt this is to pave the way for the Witcher IV. Next, I also found out about Hand of Fate: Horde. I liked this franchise and was saddened to learn that the original studio, Defiant Development, closed. Hence is was a pleasant surprise to see this new game being developed by members of the original studio. The third announcement was regarding Guild Wars 3. A new MMORPG in active development by a major studio is no small feat and is certainly good news for fans of this franchise and the genre per se. However, once you look beyond this news this announcement raises several questions and has certainly given me pause for thought. Let us take a few moments to consider them.
Star Trek Online has many in-game systems that are common to the MMORPG genre. The reputation system is one such example. In STO there are 13 reputation factions. Once a player has reached level 50 they may start progressing through the 6 reputation tiers of each one. Players gain progression through daily projects (20 hours in duration). Hourly projects are also available though they yield less reputation advancement and are limited to three times a day. Hence 20 hour projects are consider by default the most efficient way to gain rep. Projects require 30 Faction Specific Marks (earned via various activities in-game), 15,000 Energy Credits (standard in-game currency) and 2000 Expertise points. The most efficient way to tackle the reputation grind is to build up the necessary resources in advance and then at a designated time each day, start all 13 respective projects. Upon completion projects yield a player bound lockbox containing a random space or ground weapon, a console or Elite Marks which can be used to acquire faction gear.
I was recently perusing my archive of old blog posts, when it struck me how much I’ve written about the MMORPG genre over the years. Naturally, there was far more material from between 2008 and 2012 as that was period when I immersed myself in the genre and was very enthusiastic about it. I was at a point in my life when I had the time to dedicate to such games and I was happy to participate in the social aspect of they offered. I would regularly play through group content and spend time socialising online with fellow guild members. My experience remains a textbook example of how online games can be more than the sum of their parts and that where you are at in your life has a major impact upon your overall enjoyment. As I read though various old posts it became clear that my experiences where specific to this particular part of my life and that they cannot be repeated. My relationship with the genre is very different now and that’s fine.
Creating alts is an integral aspect of the MMORPG genre. Many players will create a character of a specific class or faction, play it for a while, lose interest in it or they may decide that it is just not for them. Fortunately it is no effort at all to simply re-roll a new alt and set off once again. Furthermore, lots of players never reach level cap of the MMORPG that there playing. When the going get’s tough, so to speak, you can either soldier on for another 50 levels or simply create a new alt and return to the comfort of tried and tested content. Alts also give you the chance to secure an accolade or achievement that you previously missed. They are also of great benefit to the genres social aspects. Creating a new alt so you can play along with a friend who is just starting is great fun. Developer’s love them too as it means you’re still playing the game.
I recently took a break from Crimson Desert choosing instead to to play something familiar and easy going. As I’ve been logging into Star Trek Online daily to participate in the anniversary event, I decided to look through my various alts and see how far they had progressed through the game and what resources they had. At present I have twelve alts. My primary Captain was created in 2015 during the original Delta Recruit Event. I had previously played STO intermittently since its release in January 2010 but I never kept any of those characters. Hence this decade old Tactical Federation Captain has been my main focus when playing. The other eleven alts are the result of other recruitment events or whenever I wanted to try something different, such as playing a specific class or faction. I obviously played a lot of STO during the lockdown as several alts date from that period. Several had maximum reputation across all factions.
The action, open world RPG Crimson Desert has been patched five times since it launched on March 19th and there have also been multiple hotfixes. At first glance this isn’t anything unusual. New games have bugs and issues arise once a game is released and played across a much wider variety of hardware than in QA testing. However, if you read the patch notes that accompany these sizeable downloads it quickly becomes apparent that developer’s Pearl Abyss are not just addressing bugs and software glitches. They are actively engaging with their player base and responding to suggestions and requests from that community. Although this is not a unique approach, what is surprising is the speed and quantity in which these player driven changes are happening. There seems to be an active ongoing process to refine the game and eliminate some of its “rough edges” and the players are contributing to this process with their feedback.
According to my Steam statistics, I last played Starfield on 19th December 2023. I bought the game upon its release in September of that year and played in total for 136 hours. Starfield held my interest for three and a half month and I wrote seven blog posts about various aspects of the game. Although there were some engaging aspects to Starfield, I did feel that that the game was somewhat lacking in systems and content, at that point in its lifecycle. I also think that the marketing and player expectations associated with Starfield were overblown and unrealistic. The shadow of Skyrim looms large over all new Bethesda releases and they don’t seem able to quite recapture that magic. Hence, I inevitably drifted away from Starfield and to another game and was effectively “done” with it. I have not played the game since which seems to validate the theory that game are becoming increasingly more ephemeral.
13 days after its release, market analysts estimate that Crimson Desert has already earned $200 million across the four main platforms (PC, PlayStation 5, and Xbox Series X and S). The game is certainly proving popular among gamers with the internet awash with live streams and “let’s play” videos. However, reviews are mixed both among gaming journalists and YouTube influencers. Common complaints about the game include that it is slow to start, the controls are poorly laid out on all platforms and that developer’s Pearl Abyss have done a poor job of explaining most aspects of the game to new players. Although such criticisms are true to a degree, I think these complaints highlight how many gamers are conditioned to expect new titles to follow a specific pattern with regard to pacing, narrative exposition and learning in-game systems. A pattern that Pearl Abyss has chosen to ignore, instead favouring an old school approach.
Early on Crimson Desert, the main quest requires the player to enter a tavern and arm wrestle a particularly strong guard. The arm wrestling match consists of a quick time event. If playing on PC you have to rapidly press the “E” key which turns a power meter from white to red. Then a white dial appears above the meter with a rotating hand. When the hand passes over a segment of the dial that is marked by hatching, the player must press the “R” key. The idea being the meter filling with red is you strength building (or waning) and the “R” key prompt indicates when to try and force your opponent’s arm. You will need to to continuously press the “E” key throughout the arm wrestling match and the “R” key about 4 times to win.
Earlier this week, Nvidia posted a video featuring their latest iteration of DLSS technology (Deep learning super sampling). DLSS 5 is an AI-powered “real-time neural rendering” process and unlike previous versions that focused on improving frame rates through upscaling or frame generation, DLSS 5 uses generative AI to “infuse” frames with photorealistic lighting and material details that the game engine never actually calculated. Let us pause for a moment and consider these words. Material detail that the game engine never actually calculated. Therein lies the rub. If you watch the aforementioned video or peruse the images posted here, it is abundantly clear what the technology does.
Last night, I spent the first 45 minutes after the launch of Crimson Desert, watching the 92GB pre-downloaded game files slowly decompressing and installing. I finally launched the game at about 10:50 PM GMT. I then waited a further 5 minutes while shaders were downloaded. It took me about 15 minutes or so to read through the various game settings and choose those that are optimal for my PC. I suspect even if you have a beast of a computer, you’re still going to have to spend some time tweaking settings. As for those players like myself with a gaming rig that is somewhere in the middle of the game’s specifications, be prepared to do a lot of fine tuning both within Crimson Desert itself and your Windows settings.
I have been aware of the online interest around the open world action game Crimson Desert for a while now. One of the things that has intrigued me about it is the scope of the game. The word “hype” has been bandied about by a few gaming websites. However, from what I have observed, developers Pearl Abyss have not been excessively hyperbolic themselves, with regard to the manner in which the game’s systems and mechanics have been marketed. Now that the press embargo has been lifted, the pre-release reviews seem to confirm that everything we’ve seen in promotional videos in the run up to the launch, is in fact present in the game. So far the initial critical response has been very positive and it has been hinted that the game may well be a genre milestone. Perhaps Crimson Desert is just a rare example of a game that has not had a rushed development and isn’t launching prematurely for business reasons.
Video games as a genre are extremely poor at explaining themselves. When you buy a new game you’ll often find little or no information regarding the basic systems and mechanics. The industry assumes that their customers are by default familiar with the fundamentals of playing a modern video game. Hence if a game has a tutorial, it is often based around videos rather than detailed verbal instructions. You are are briefly shown a clip of a specific move being successfully undertaken but it is seldom shown in a wider context. The industry also expects the fan community to take on the role of curating and disseminating information about its games. The move away from forums and bespoke websites to Discord highlights this. Discord is a primarily a real time communication tool and not good at maintaining a historical data archive. If you want an answer to a specific gaming question, you’ll more than likely find it on YouTube in a video made by a fellow gamer.
I have written in the past about the video games we cannot play. The ones that require a keen understanding of a game’s mechanics, along with a strong degree of manual dexterity and situational awareness. Being 58 years old, I tend to have neither the co-ordination necessary to succeed or the patience to master such complex skill requirements. With this in mind, I recently watched a YouTube video for Chivalry 2 and thought, that looks like fun. The fact that it showed someone picking up a chicken and throwing it at an opponent is neither here nor there. However, after watching a few more videos I realised that combat in the game was complex and that, as usual, the reality of playing such a game would be different from my expectations. Hence, I came very close to not buying Chivalry 2. However, I eventually decided that I would, so I bought it for just under £10 from an online vendor.
I decided to pursue a magic and spellcasting build in the RPG Tainted Grail: The Fall of Avalon after the story prologue. During the opening section of the game, the player is presented with a sufficient range of weapons to determine which type suits them best, although you can change at any time during the game. For me, casting spells feels right and is fun. Plus I have fond memories of the magic system in Two Worlds II and Skyrim. So once I started playing through the first zone, I started putting attribute and skill points into the appropriate trees to bolster my spells strengths and frequency. I also chose gear that would bolster those statistics further. The results have been surprising, as magic and spellcasting is not presented in the usual “glass cannon” style you find in some other RPGs. Here it offers robust DPS output and with the right gear and spell combination, a strong degree of survivability.
I originally bought Warhammer: Dark Omen in the summer of 1998. I played a demo copy via a magazine cover disc, which was a common means of promotion and marketing back then. Although I was at that point, unfamiliar with the Warhammer Universe, I found this game to be an excellent point of entry. The story did an excellent job of introducing players to “The Old World”, the political and power structure and major characters. I instantly liked both the aesthetic and the lore. Warhammer: Dark Omen was also the first real-time tactical wargame that I played and I spent numerous hours playing through the campaign. Overall, the game was a critical success, particularly on PC, but it struggled commercially upon its initial release and didn’t quite find the audience that it deserved. However, it has achieved status as a “cult classic” among gamers, leading to a recent re-release on GOG in late 2025.
According to the recent “letter to the players”, Standing Stone Games will be adding a new zone to the MMORPG The Lord of the Rings Online in the second quarter of this year. Possibly around May or June. Having spent the last three expansions in the South of Middle-earth exploring the tropical Umbar and the deserts of Harad, I would certainly welcome a change of location. I have gradually warmed to these zones over the last eighteen months but I do find them so incongruous. They are so radically different to the European style content that has been the mainstay of the game for so long. Tolkien’s source text has plenty of detail regarding Eriador and Rhovanion. Information regarding Harad is scarce, hence it has afforded the developers a great deal of artistic freedom. Although exceedingly well realised these tropical zones have taken a while for me to get used to.
I’m not sure exactly when it started but I’ve recently noticed a graphical bug within the MMORPG The Lord of the Rings Online. This problem often occurs within caves or in areas where there are a lot of rocky surfaces. Hence it has become very apparent in the latest two expansions, set in Umbar and Harad. This graphical glitch causes some surface textures to appear to flash from light to dark intermittently. The resulting strobe effect is hard to ignore and very distracting. Fortunately, a quick online search showed that this is not a problem unique to my installation of LOTRO and is a known problem. Furthermore, there is a very simple workaround, which is to go into the Advanced Graphics setting and uncheck “Per Pixel Lighting”, which immediately remedies the problem. I have no idea why this has recently started to happen but at least it can be resolved.
This year is the 60th anniversary of Star Trek. The original TV show was first broadcast in the US on September 8th 1966. If you search online you’ll find details of lots of related events. There are documentaries, conventions, new TV shows and even some video games in development. However, what you won’t find are any details regarding what will be happening with the MMORPG Star Trek Online. So far no road map for 2026 has been posted online by the developers but it is still quite early in the New Year. That being the case, I am not especially optimistic about there being any major plans waiting to be revealed. It is not as if DECA Games have demonstrated or stated any major ambitions for STO beyond keeping the endless events treadmill going and regularly adding content to the in-game store, during their development tenure. The ongoing story arc drags on inexorably and is as dull as ditchwater.
I first played The Elder Scrolls V: Skyrim in June 2013. This was over 18 months after the game’s initial release and the base game and DLC were bundled together in a “Legendary” edition. Although a seasoned gamer at the time, familiar with the RPG genre with such titles as Mass Effect and Grand Theft Auto IV, I had not played a game from this franchise before. It only took a few hours of gameplay to realise that this was a special title. The scope of the story, the art design and the size of the world were immediately notable. Tamriel was immersive in a way I had not experienced with other titles. Often simply traversing the terrain and watching the dawn break while the game soundtrack swelled, was sufficient to hold my attention. I instantly picked up on the voice acting of Christopher Plummer and Max Von Sydow. All of which indicated that this was a gaming landmark.
The latest expansion for the MMORPG The Lord of the Rings Online, Kingdoms of Harad, launched on December 3rd. With this release the level cap was raised from 150 to 160. It should also be noted that the cap for virtue traits was also raised from 96 to 100. Naturally these changes meant that there is a requirement to replace all armour and jewellery once the new cap is reached. Similarly Legendary Items have to be reforged and any traceries upgraded or replaced. If you follow the Epic Story it will lead you from quest hub to quest hub. The main quest rewards, along with those from side quests will provide adequate gear as you slowly progress towards the new level cap. The new raids, instances and missions/delvings then provide a means to acquire higher quality level 160 gear. LOTRO and indeed, many other MMOs are consistent in this methodology.
It is customary in a post such as this to list the various games that I’ve played over the last twelve months and share my thoughts on them. Wider analysis of the video game industry is also de rigeur. Unfortunately, I don’t really feel disposed to do either of those two things. My thoughts on the games I’ve played have already been published and can easily be accessed via the links at the bottom of this post. As for the video game industry, it suffers the same flaws as music, TV and cinema. There is creativity and innovation out there but it is often drowned out by mainstream products which are demonstrably inferior due to their inherent mediocrity. As for the business side of things, we once again clearly see the failings of the corporate management class. Sadly, they do not face the consequences of the mistakes that they make.
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.
George A. Romero's Day Of The Dead (1985) is a bleak and remorseless masterpiece. The final entry in his “Dead Trilogy”, its central theme is that in a world on the brink of destruction, man is still the biggest threat to his own existence. It is well scripted, clinically accurate in its observations on human nature and thought provoking, despite having its budget cut just weeks before production commenced. 40 years later it is revered as a genre milestone and is considered one of Romero’s finest works. Sadly, the 2008 “remake” directed by Steve Miner, who has a background in slasher and exploitation movies, takes a contrasting approach, to say the least. It certainly has very little to do with Romero’s film and one can’t help but assume that it is nothing more than a cynical cash in. Setting aside comparisons with the original, this is not in any way a standout zombie film in its own right.
George A. Romero’s Night of the Living Dead is a true genre milestone that is praised not only by horror film fans but mainstream critics alike. If you are interested in watching an intelligent, well researched and entertaining documentary about the film’s provenance and cultural impact then I thoroughly recommend Birth of the Living Dead (2013) by Rob Kuhn. It tells you pretty much all you need to know about why this classic film is so important. As for Night of the Living Dead itself, it still holds up well after 53 years. It is the immediacy and relatability of the premise and overall story that still makes the film relevant. The zombies are purely a “MacGuffin” and the real focus of the plot is how people behave under pressure in life threatening situations. It’s a film about how we can react to the same situation differently and how cultural baggage and the need for people to be “right”, hinders co-operation and thwarts progress.
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.
Sometimes just the name of a film is sufficient to sell it to you. I originally discovered this zombie crossover movie thanks to film critic Mark Kermode's video blog from the 2008 Cannes Film Festival. He reported on how the film festival was also a major marketplace for independent movie makers trying to find international distribution for their products. Flight of the Living Dead was one of the lurid flyers he was given. Writer and director Scott Thomas claimed at the time that despite the obvious plot similarities with Snakes on a Plane, his film was not intended to be a quick cash-in on Samuel L. Jackson’s sleeper hit from 2006. The basic concept and the pre-production phase of Flight of the Living Dead supposedly pre-dates the aforementioned exploitation movie. Considering how long it can take for a small independently funded movie to find a distributor this may well be true.
Five years ago, I wrote about a fan edit of George Romero’s horror classic Dawn of the Dead that attempted to recreate the original rough cut of the movie. The so-called “Extended Mall Hours” cut was composed of the 139 minute Cannes edit of the film and the 117 minute Dario Argento version. It was a very interesting project but as it consisted of DVD quality material (including deleted scenes) it was not an optimal presentation. Being a fan edit, there were obvious issues regarding legality, so I never really expected to see anything comparable to this version being officially sanctioned or released. So I was therefore most surprised to learn that a recent Blu-ray boxset release by Austrian distributors XT Video included a “Complete Cut” which similarly combines all available material. This is presented in 1080p, at a ratio of 1:85:1 and runs 155 minutes. It is superior in quality to the “Extended Mall Hours” cut and is most likely the nearest any fan is ever going to get to seeing Romero’s initial edit of the film.
Contrary to a lot of the pre-release doom and gloom regarding re-edits and extensive new footage being shot, World War Z turned out to be far from the disaster that some critics implied. Ultimately there were some good ideas and snatches of interesting dialogue. Some of the characters were unusual and there seems to have been an attempt do something different with the genre. All of these things are laudable. Unfortunately, despite these positive attributes the movie clearly shows the signs of post-production interference and material from the extensive re-shoot is all too apparent. That’s not to say that is bad because that is not the case. It’s because it is noticeably different in style and tone from the rest of the film.
Back in the summer of 2012, the red band trailer for Cockneys vs Zombies set a very high benchmark and certainly raised expectations for the final movie. The title itself was also somewhat of a gamble, either raising a wry smile among horror fans or eliciting a roll of the eyes and a deep sigh for a genre in decline. I was unable to attend the premier at Frighfest 2012, but the general feedback at the time was that that that the movie was extremely well received by horror fans. Finally, six years later, I finally caught up with the film on Amazon Prime and I’m happy to report that Cockneys vs Zombies does live up expectations and is a thoroughly entertaining, quirky and very British horror movie. It manages to balance both visceral horror with a healthy dose of black humour, which is no mean feat.
The horror genre has more than its fair share of bad movies. It’s the nature of the beast (no pun intended). Films of this type can be made quickly and cheaply but have the potential to make a tidy profit. Therefore, they attract not only burgeoning talent but those bereft of any as well. Furthermore, traditional formulas work, so any new innovative production is often followed by a wealth of copycats and knockoff films. To say that the genre is self-plagiarising is an understatement. Yet, from time to time, horror movies can surpass mainstream cinema with regard to social commentary, satire and intelligent adult narratives. Look no further than Dawn of the Dead, The Thing and The Descent if you want three solid examples. Horror is a versatile and malleable genre that can facilitate great stories and reflections upon the human condition.
World War Z Unrated Cut runs seven minutes longer than the theatrical version of the movie and contains "intense footage not shown in theaters". The material consists of more violent alternative takes of existing action scenes and features mainly CGI effects work. There is no additional plot, although there may be some nominal changes to dialogue. Overall the unrated cut is an improvement over the theatrical print in so far it offers a more traditional zombie movie experience. However, compared to other examples of the genre, the unrated version of World War Z still remains relatively sedate in terms of violence. The movie focuses on the scale of the zombie outbreak, rather than the visceral mayhem of a George Romero film.
These day’s zombies are a somewhat ubiquitous plot device and enjoy an entire literary, artistic and cinematic sub-genre. The Walking Dead is one of the most popular TV shows internationally and hundreds of thousands of gamers fight the undead, online every day. Yet there was a time when zombies were just a minor subset of the horror genre and far from a popular one. That all changed in 1968, when a low-budget, independent film called Night of the Living Dead was released upon an unsuspecting public. The movie’s impact upon the film industry and popular culture was extraordinary. Rob Kuhns’ appropriately titled documentary Birth of the Living Dead analyses the creation of George A. Romero’s seminal classic and strives to determine how a single movie could have such impact.
In the last few years I’ve become acquainted with the concept of fan edits. Fan edit are versions of a film that has been modified by a viewer. This involves the removal, reordering, or the addition of new material to create a new interpretation of the film. Fan edits include the removal of scenes or dialogue, replacement of audio and visual elements, as well as adding material from sources such as deleted scenes or even other films. Due to the easy access to pro-quality software and high definition source material, such editions are often very professionally realised. Naturally fan edits often fall foul of copyright law.
If you are a fan of horror movies then sooner or later Lucio Fulci’s Zombi 2 (also known as Zombie, Island of the Living Dead, Zombie Island, Zombie Flesh-Eaters and Woodoo) will appear on your radar. For good or ill, this movie looms large within the genre and has a mixed reputation. Even by current cinematic standards, this movie is a gore-fest and it still has the ability to make viewers squirm. It is a curious phenomenon that a relatively low budget and obscure Italian cash-in on George Romero’s Dawn of the Dead, has managed to achieve such an infamous, iconic and cult status.
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.
The next expansion for the MMORG, The Lord of the Rings Online, was announced on the 1st August, via the gaming website MMORPG.The Wolves of Mordor, which will launch later in the year, appears ambitious in scope as it will include two new game systems as well as the obligatory story update. This expansion takes place in Draugardh located in the North East of Mordor, beyond the Plateau of Gorgoroth. It includes the new zones of Heledhris, Parth Rhavas and Nan Ogol. These vary environmentally ranging from the arid, volcanic and semi-tropical. Players will encounter the Daugrim in these regions, Werewolves but not in the modern sense. This is not the lycanthropy of Eastern European legends but in the established Tolkien idiom of fell spirits inhabiting the bodies of Wolves. The region also sees the return of the Woses and players can expect to encounter Elves and scouts from Gondor. As ever with LOTRO expansions, there will be new instances as well as a raid.
I was recently perusing my archive of old blog posts, when it struck me how much I’ve written about the MMORPG genre over the years. Naturally, there was far more material from between 2008 and 2012 as that was period when I immersed myself in the genre and was very enthusiastic about it. I was at a point in my life when I had the time to dedicate to such games and I was happy to participate in the social aspect of they offered. I would regularly play through group content and spend time socialising online with fellow guild members. My experience remains a textbook example of how online games can be more than the sum of their parts and that where you are at in your life has a major impact upon your overall enjoyment. As I read though various old posts it became clear that my experiences where specific to this particular part of my life and that they cannot be repeated. My relationship with the genre is very different now and that’s fine.
Video games as a genre are extremely poor at explaining themselves. When you buy a new game you’ll often find little or no information regarding the basic systems and mechanics. The industry assumes that their customers are by default familiar with the fundamentals of playing a modern video game. Hence if a game has a tutorial, it is often based around videos rather than detailed verbal instructions. You are are briefly shown a clip of a specific move being successfully undertaken but it is seldom shown in a wider context. The industry also expects the fan community to take on the role of curating and disseminating information about its games. The move away from forums and bespoke websites to Discord highlights this. Discord is a primarily a real time communication tool and not good at maintaining a historical data archive. If you want an answer to a specific gaming question, you’ll more than likely find it on YouTube in a video made by a fellow gamer.
According to the recent “letter to the players”, Standing Stone Games will be adding a new zone to the MMORPG The Lord of the Rings Online in the second quarter of this year. Possibly around May or June. Having spent the last three expansions in the South of Middle-earth exploring the tropical Umbar and the deserts of Harad, I would certainly welcome a change of location. I have gradually warmed to these zones over the last eighteen months but I do find them so incongruous. They are so radically different to the European style content that has been the mainstay of the game for so long. Tolkien’s source text has plenty of detail regarding Eriador and Rhovanion. Information regarding Harad is scarce, hence it has afforded the developers a great deal of artistic freedom. Although exceedingly well realised these tropical zones have taken a while for me to get used to.
I’m not sure exactly when it started but I’ve recently noticed a graphical bug within the MMORPG The Lord of the Rings Online. This problem often occurs within caves or in areas where there are a lot of rocky surfaces. Hence it has become very apparent in the latest two expansions, set in Umbar and Harad. This graphical glitch causes some surface textures to appear to flash from light to dark intermittently. The resulting strobe effect is hard to ignore and very distracting. Fortunately, a quick online search showed that this is not a problem unique to my installation of LOTRO and is a known problem. Furthermore, there is a very simple workaround, which is to go into the Advanced Graphics setting and uncheck “Per Pixel Lighting”, which immediately remedies the problem. I have no idea why this has recently started to happen but at least it can be resolved.
The latest expansion for the MMORPG The Lord of the Rings Online, Kingdoms of Harad, launched on December 3rd. With this release the level cap was raised from 150 to 160. It should also be noted that the cap for virtue traits was also raised from 96 to 100. Naturally these changes meant that there is a requirement to replace all armour and jewellery once the new cap is reached. Similarly Legendary Items have to be reforged and any traceries upgraded or replaced. If you follow the Epic Story it will lead you from quest hub to quest hub. The main quest rewards, along with those from side quests will provide adequate gear as you slowly progress towards the new level cap. The new raids, instances and missions/delvings then provide a means to acquire higher quality level 160 gear. LOTRO and indeed, many other MMOs are consistent in this methodology.
It is customary in a post such as this to list the various games that I’ve played over the last twelve months and share my thoughts on them. Wider analysis of the video game industry is also de rigeur. Unfortunately, I don’t really feel disposed to do either of those two things. My thoughts on the games I’ve played have already been published and can easily be accessed via the links at the bottom of this post. As for the video game industry, it suffers the same flaws as music, TV and cinema. There is creativity and innovation out there but it is often drowned out by mainstream products which are demonstrably inferior due to their inherent mediocrity. As for the business side of things, we once again clearly see the failings of the corporate management class. Sadly, they do not face the consequences of the mistakes that they make.
Today Standing Stone Games began beta testing Update 46.1 for the MMORPG The Lord of the Rings Online. The current preview on the Bullroarer test server is mainly for the new instance cluster that comes with the Kingdoms of Harad expansion which launched a few weeks ago. However, it would appear that this latest preview has another feature or note. One that should please LOTRO players. Contrary to what a lot of people thought, myself included, SSG have been working on a scaling UI for 2K and 4K monitors and the results are now available for testing from today Monday 15th through to Friday 19th December. Until now the main workaround to the lack of UI scaling has been to use either Nvidia or AMD graphics software to upscale the game from 1920 x 1080, or a third party app such as LosslessScaling. Having an official solution is a far better option.
Kingdoms of Harad, the 13th expansion for the MMORPG The Lord of the Rings Online, was released today. Highlighting developer’s Standing Stone Games continuing commitment to this eighteen year old game. As 2025 draws to a close, I thought it would be prudent to reflect upon the current state of LOTRO and to consider what may come next year. Two words that I associated with this MMO are stable and consistent. The playerbase is loyal and dependable. Player numbers never greatly decline nor do they notably expand. LOTRO fills a very specific gaming niche and one of the reasons it retains its players is that there is no suitable alternative game. Although there is not a great deal of data in the public domain, it is generally accepted that LOTRO has an older player demographic and that many are consummate Tolkien fans.
The MMORPG The Lord of the Rings Online runs on a broad spectrum of PCs. From archaic laptops to high end gaming rigs, although it may require a bit of tweaking. At present, the optimal way to play the MMO is at a resolution of 1920x1080 (FHD) with the graphics setting maxed out. The graphics are sharp and the UI is readable. However, a growing number of gamers are now using 2K and 4K monitors. You can play LOTRO at higher resolutions such as 2560×1440 (QHD) and 3840x2160 (UHD) and the game looks great. However, the UI does not scale and so is very small on 2K and 4K monitors. The skill icons on the quickslots (shortcut bars) and the in-game text become difficult to see at these resolutions, which deters some players from using them. It is a known issue that Standing Stone Games are attempting to address but it is unlikely to be resolved any time soon.
I recently read a post on Massively Overpowered about skills rotation in the MMORPG genre. I found the subsequent discussion in the comments fascinating. Mainly because I have never used a fixed rotation of skills in any of the MMORPGs that I play. I understand the reasoning behind such things and why some players want to optimise their combat performance. Using one’s skills in a specific order to maximise damage and manage their subsequent cooldown has a logical appeal. In Star Trek Online, some players go so far as to create keybinds for their rotations and assign it to a specific hotkey, which is then continuously pressed throughout combat. However, rotations are a blunt tool that lack flexibility, often being geared towards dealing with a single target or using an area of effect skill against a larger group. They may not be the optimal approach to combat when things do not go to plan.
Tolkien enthusiasts may recollect Athlon Games, a subsidiary of Leyou Technologies, announcing that it was developing a new MMORPG, based upon The Lord of the Rings, back in September 2018. The following summer, it was revealed that Amazon Game Studios was the partner developer for the project. In late 2020, Leyou Technologies (a Hong Kong-based company), was acquired by the Chinese conglomerate Tencent. This triggered a contract clause with the license holder, Middle-earth Enterprises, allowing them to terminate the existing arrangement if a new deal could not be met. Amazon and Tencent were unable to agree upon how to proceed with the project, leading Amazon to withdraw from negotiations. The project was subsequently scrapped. No details or images of the MMO have been released.
After a six month migration period, Standing Stone Games formally closed all their legacy 32-bit game servers for the MMORPG, The Lord of the Rings Online, on the 31st August 2025. Despite this planned closure being widely discussed via the game’s official forums, professional video game websites and fan blogs, many LOTRO players were unaware of this deadline. Hence many were unable to migrate their respective alts to the new 64-bit servers. Naturally those affected by these closures were upset, especially those with longstanding characters who didn’t relish the prospect of starting from scratch with a new alt. Thankfully, SSG have been true to their word and as of today, have re-opened these “dark worlds” to character transfers. If you have an alt trapped on one of the older game worlds, then now is the time to use the transfer wizard and move them to a new active game world.
MMORPG announced earlier today and it was subsequently confirmed by Standing Stone games, that the new expansion for The Lord of the Rings Online will be Kingdoms of Harad and that it will launch later in the year. The expansion will see the conclusion of the epic Song of Waves and Wind storyline and the level cap raised from 150 to 160. There will be a new region to explore, Mûr Ghala, comprising four zones. Adagîm, Idagâl, An Shêru and Kighân. The latter contains the main trading hub of Zajâna. Players will travel into the region with Gandalf the White, along with allies of the Kindred of Coins and Mizadi as they seek to counter the regional power struggle brought about by the fall of Sauron. Canonically, this takes place three months after the destruction of the ring, hence King Elessar and Eomer are busy with domestic affairs in their respective kingdoms.
Skirmishes were added to the MMORPG The Lord of the Rings Online, in 2009 with the release of the Siege of Mirkwood expansion. Skirmishes are a repeatable and scalable combat system that allows players to access various instances for solo or group play from anywhere in the in-game world. Players can choose a Skirmish Soldier from a variety of classes to accompany them and provide healing, tank or additional DPS. On paper it’s a great system which is why many other MMOs offer something similar. I recently decided to tinker with my Skirmish Soldier build on my main character to see if I could optimise their performance. As my primary alt is a Lore-master, for the last few years I have had a Warrior as their Skirmish Soldier, to take some of the aggro from attacking mobs. I used the excellent guide by FibroJedi and swapped over a few Training and Personal Traits.
On 2nd August 2025, I was playing the MMORPG The Lord of the Rings Online, on my primary character, a level cap Lore-master. I decided to continue with one of the Allegiance Quest lines, specifically Durin’s Folk. I played through several quests and earned the appropriate tokens that advance the Allegiance system. I then handed these in to the NPC in the Hall Under the Mountain, expecting the next quest in the series “Chapter 3: Gimli’s Request” to be unlocked. An item appeared in my inventory that I then clicked on, which should have bestowed the quest. Unfortunately, nothing happened. Furthermore, the item vanished from my bag and therefore I could not attempt to click it again. I checked the LOTRO Wiki and then looked around the Hall Under the Mountain to see if any NPC had a ring icon above their head. As they did not, I surmised that this was a software glitch and logged a support ticket with Standing Stone Games.
Let’s start with a quote from a classic Walter Hill film, The Warriors. “Can you count, suckers?” says Sirus. The gang leader was referring to the number of Police in New York City at the time. Whereas, for the purpose of this post, I am referencing how many Delving Writs a player needs to acquire 6 pieces of level cap armour in LOTRO. Because, next to the gear you get from endgame instances and raids, Delving gear is a good alternative.. It is marginally better than the items you can get from lootboxes. Hence, Delving armour is a good source of high end gear for the solo player. Through the miracle of mathematics, the number of Delving writs required to acquire a full set of this armour is 9,000. At first glance, that seems like a lot. If you then do some further research to put the number in context, you realise it is indeed a lot and a substantial undertaking.
I am currently enjoying a renewed interest in the MMORPG The Lord of the Rings Online since I migrated all my characters from the old 32-bit servers to the new 64-bit replacements. I’ve created a new High Elf Lore-master on Peregrin server and am currently levelling them in a targeted play through of the Epic Story, supplemented by curated side quests. While playing recently, I realised the game UI on this alt wasn’t as I usually have it laid out. So I checked through the various documents on my PC and found a text file I had created many years ago that had a few hints and tips written down. I’ve added a few more and decided to share them as a blog post. I’m sure veteran players will be familiar with many of them but a lot of them are worth repeating. They may prove useful to those new to LOTRO or returning to the game after a long hiatus.
In mid-March, while the server migration debacle raged, I created a new alt for the MMORPG, The Lord of the Rings Online, on Peregrin server. The idea was to play casually through content focusing on enjoyment, rather than worrying about progression. I was to level at a pace that suited me and had no specific plans to develop my alt in any particular way. I have been playing LOTRO since 2008 and have a primary level-cap character that has been my main focus over the years. Hence I have previously experienced all story content from all the expansions and am therefore very familiar with what the game has to offer. Which is why I thought I’d do things differently this time. So I started my new Lore-master in Mossward in Swanfleet, the new starting area added to the game in 2022.
In massively multiplayer online games (MMOs), alts (short for alternate characters), are new characters created by a player in addition to their primary character (often called the “main”). Alts are often encouraged by developers as a means to keep players engaged with their game(s). Sometimes an MMO will actively reward the creation of alts either with access to exclusive content, or with additional skills or items previously unlocked by primary characters. As the myth that an MMO really begins at endgame still persists in gaming culture, some games sell boosts that will instantly raise the level of an alt to that of the current level cap. Creating alts is such a key aspect of the MMO genre, that some games will sell additional character slots, so that players can create further alts beyond the default amount allowed. There are many reasons why players create alts. Let us consider some.
I wrote a while ago that a lot of kinships from the MMORPG, The Lord of the Rings Online, would probably not survive the recent server migration. MMOs are social endeavours by nature, often with strong emotional ties but a lot of kinships (or guilds) have already fallen into decline, simply due to gaming entropy. Hence the migration has seen players leave existing kinships to move to the superior 64-bit servers, resulting in a lot of people who may be potentially looking for a new home. This is exactly what happened to me. I opted to move to Meriadoc server promptly, at the cost of leaving a kinship I have been a member of since 2009. However, the move presented me with an opportunity to remedy this problem myself. I subsequently set up my own kinship and decided to make it available to others.
The dust appears to have settled for the MMORPG The Lord of the Rings Online, after last month’s server transfer debacle. Despite the technical issues arising and subsequent delays to the migration timetable as well as the procurement of in-game housing, LOTRO seems to be enjoying a minor resurgence. Many former players are returning to the game and moving retired alts to new servers, due to the superior performance. The migration issues have also brought a lot of attention to this 18 year old game and it would appear there are many new players trying this Tolkien themed MMO. I was pleasantly surprised to see that a further two 64-bit servers, Grond (EU) and Sting (US), are to be added to the game to meet demand. As I predicted in my previous posts, LOTRO has a habit of bouncing back due to its unique niche in the gaming ecosystem.
It has not been a good week for the MMORPG, The Lord of the Rings Online and its developer Standing Stone Games. The migration from legacy 32-bit servers to 64-bit servers has not gone smoothly. The transfer queue was overwhelmed by the sheer number of accounts and it has taken far longer than expected to process the backlog of requests. Today has been the fifth day of waiting to see if my 3 main characters from Laurelin server have successfully migrated to their new home on Meriadoc. When I checked this morning, the transfer wizard indicated that my characters were back where they originally came from. I therefore considered repeating the entire process. However, around midday, Community Manager Cordovan indicated that SSG had caught up with transfer requests made around 8:00 AM EST on Sunday 9th March. So I decided to be patient and wait a little longer.
I’ve been busy this weekend, so it wasn’t until late afternoon today that I found time to sit down and attempt to migrate my characters from the old 32-bit server Laurelin, to the new 64-bit server Meriadoc. The “Great Server Migration” has not gone smoothly and the week has been a litany of changing deadlines and unfulfilled expectations. However, developer’s Standing Stone Games, have been “firefighting” issues on a daily basis and communicating regularly with the player base of the MMORPG, The Lord of the Rings Online. Sadly, a lot of players have not responded well to the ongoing technical difficulties and there is subsequently a lot of ill feeling on the official forums. I have chosen to adopt a more pragmatic outlook and to let events run their course.
Standing Stone Games were scheduled to open their new 64-bit servers for the MMORPG, The Lord of the Rings Online, today. However, when the free transfer service went live yesterday, it was quickly overwhelmed by the sheer number of players trying to migrate their alts from the older 32-bit servers to the new ones. Eventually SSG had to disable the transfer facility so that they could process the backlog. Hence today’s launch of the new servers has been postponed till tomorrow. In the meantime, the official LOTRO forum’s have gone into meltdown with irate players berating the developers for handling the migration poorly. True to form, SSG have been somewhat defensive and prickly in response to what they see as unjust criticism. Let it suffice to say that neither party has covered themselves in glory and there is a good chance that the technical problems will persist a while longer.
What Massively Overpowered calls LOTRO’s “Great Server Migration” began today. The MMORPG The Lord of the Rings Online has opened 4 new 64-bit servers in conjunction with the 2 existing 64-bit legendary servers and the long term plan is to migrate all current players over to them. Eventually, the 32-bit legacy servers will be shut down, however that is a long way off at present. As of today, VIP players can select a new server, log into it and create new characters with their desired names. These placeholder characters cannot be played at present but can be used to reserve names. Tomorrow, if all goes well, the new servers formally open and free transfers begin. Players can then delete placeholder characters and rename alts that they have migrated, thus restoring desired names. It should be noted that none of this is mandatory and players can remain on the old servers for the present.
I have many pleasant memories associated with playing the MMORPG The Lord of the Rings Online during its first decade. A lot of them are due to the kinship (guild) that I have been a member of since 2009. I started playing LOTRO in December 2008 and it took me a while to find a suitable kinship but once I did, it made logging into the game a real pleasure. I was at a point in my life where I had sufficient time to play the game regularly and take part in kinship organised raids. It was also an added bonus to be able to spend some time and chat with some like minded people. I’m sure such an experience is not unique to me and that many LOTRO players have enjoyed similar periods of time. The lucky ones may still be enjoying a comparable kinship experience today.
I have two monitors on my desk. The first (which is the primary monitor as far as my PC is concerned), is on the left and the second is on the right. The primary monitor is a 24 Dell U2412M, which has a resolution of 1920 x 1200. It therefore has an aspect ratio of 16:10 which adds a little extra desktop real estate, which I prefer when writing. The second monitor is a 24 inch Dell S2421H with a screen resolution of 1920 x 1080. It has an aspect ratio of 16:9 which is standard FHD. My chair is adjacent to the middle of my desk and I can turn according to each monitor I’m using. I tend to use the primary, larger monitor on the left for tasks such as writing via Google Docs and emails. The second monitor on the right is used for YouTube and gaming. This is because of its FHD format. I also have a Nintendo Switch connected to the second monitor for the same reason.
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.
Today I visited the Inside Aardman: Wallace & Gromit and Friends exhibition at the Young V&A Museum at Bethnal Green. The exhibition which celebrates 50 years of Aardman Animations, provides visitors with a unique, behind the scenes view of the art of stop-motion animation. It also explores how Aardman’s iconic characters and worlds are designed, crafted and brought to life. From the initial concept artwork to the final visual effects, this event demonstrates the methods and techniques employed by Aardman. The exhibition features early scripts, sketch artists initial concept art, models, sets and numerous famous puppets. Furthermore this event is firmly pitched at children and families, with a wealth of interactive activities demonstrating the various techniques on display. The curators of the exhibition have also made it clear that they wish to encourage future generation to consider a career in the creative arts.
The Imperial War Museum serves as a national museum for Britain. Its main location is in London, complemented by five additional branches across England. Established in 1917 as the Imperial War Museum, its original purpose was to document the civil and military efforts and sacrifices made by the United Kingdom and its Empire during the First World War. Over time, the museum’s scope has broadened to encompass all conflicts involving British or Commonwealth forces since 1914. As of 2012, the museum’s mission is to provide and encourage the study and understanding of the history of modern warfare as well as the “wartime experience”. The IWM as it is now known has its headquarters and primary site is located at Southwark in Central London. The museum is funded by government grants, charitable donations and revenue generated through commercial activity such as retailing, licensing and publishing. General admission is free to IWM London.
Castle Farm is a family business located near the village of Shoreham in West Kent. The Alexander Family have been farming in the Darenth Valley since 1892 when James Alexander transported 17 milking cows from Ayrshire in Scotland and took up residence in this south-eastern part of England. Castle Farm is a busy, working farm comprising of 1,100 acres. It produces such crops as wheat, barley, rapeseed, hops, apples, pumpkins and lavender. It is also home to a grass-fed herd of beef cattle. However, in recent years it has become well know internationally for its lavender crop. Castle Farm began its lavender enterprise in 1998, producing the essential oils associated with the flower. It is now the largest lavender farm in the UK, growing over 110 acres of the flower. Furthermore, it has become quite a tourist attraction with the farm staff running tours during Summer and the height of lavender season.
Riverhill Himalayan Gardens are set in the grounds of Riverhill House, a Grade II listed Queen Anne manor house located on the southern edge of Sevenoaks in Kent, England. Riverhill is well known for its stunning and historic gardens as well as its sweeping vistas over the Weald of Kent. The estate has been the residence of the Rogers family since 1840 who currently operate the gardens as a tourist attraction, along with the house and associated facilities as a wedding venue. Visitors can enjoy a walled garden, rose walk and maze as well as other attractions. There is also an excellent trail around the grounds culminating in a view from the top of the hill over the estate. Riverhill Himalayan Gardens, as a supporter of the Surrey Sculpture Society, regularly showcases a selection of sculptures and art pieces throughout its grounds. All are available for purchase if you have deep pockets.
The Hunterian Museum is a museum of anatomical specimens in London, located in the prestigious building of the Royal College of Surgeons of England. The museum is made up primarily of a collection from the 18th century Scottish surgeon John Hunter. Over the years it has since been subsequently supplemented by Odontological material curated by A. E. W. Miles and various natural history exhibits from Richard Owen. In May 2023, the Hunterian Museum reopened following a five-year redevelopment of the Royal College of Surgeons of England’s headquarters at Lincoln’s Inn Fields. The £4.6 million museum project features the exhibition of more than 2,000 anatomical specimens from Hunter’s original collection. In addition to these there are instruments, equipment, models, paintings, and archival materials that document the evolution of surgery from ancient eras to contemporary robot-assisted procedures. The Museum boasts the largest public display of human anatomy in England.
The Crystal Palace Dinosaurs are a collection of sculptures depicting dinosaurs and other extinct species located in Crystal Palace Park, in the London borough of Bromley. These sculptures were originally commissioned in 1852 for display at the Crystal Palace following its relocation from the Great Exhibition held in Hyde Park. They were revealed to the public in 1854 and are the first speculative dinosaur sculptures ever created. Although the models are now considered inaccurate by contemporary standards, they were designed and crafted by Benjamin Waterhouse Hawkins under the scientific guidance of Sir Richard Owen, reflecting the prevailing scientific understanding of the time. The sculptures were designated as Grade II listed buildings in 1973 and underwent extensive restoration in 2002. In 2007 they were elevated to Grade I listed status. As of spring 2026 the dinosaurs are again being renovated as part of a £5 million regeneration of the park.
The benefits of international travel are numerous. These include stress relief, mental health benefits and a chance to escape the drudgery of work. Then there are the cultural aspects that you can immerse yourself in. Going abroad also allows you to learn new language skills as you awkwardly ask for directions. International travel is a chance to make lasting memories and it often gives the traveller a greater appreciation of their own home. At the very least the beer is always better abroad and that is the very definition of “broadening your horizons”. Yet despite all these positive points, there is one unavoidable hassle when comes with travelling abroad. The fact that the country or countries that you’re visiting will invariably use a different electrical plug and socket standard. In an age where a lot of the stuff you bring along with you on holiday needs charging, this can be a very stressful problem to solve.
I thoroughly enjoyed our holiday in Croatia last year and it did much to restore my confidence in travelling. Previously my views on visiting other countries had been greatly influenced by the films Raid on Entebbe and Midnight Express. As January was such a bleak month here in the UK, Mrs P and I decided we couldn’t wait until summer for another holiday and so decided to book something for the end of March. So we visited our local Travel Agents and decided upon a river cruise. We’ve been interested in these since we saw a travel show with Susan Calman. River cruises are a horse of a different colour, compared to sea cruises. They’re a great way to visit cities of note, often bringing you right into the heart of them. River cruise ships are a lot smaller with less passengers than ocean faring vessels. They also attract quite different travellers. Let it suffice to say that a sea cruise doesn’t offer the cultural experience that I am looking for.
There are approximately 4000 parks and green spaces in Greater London. Bexley Borough alone has over 100. Public parks and green spaces are vital to modern cities, providing essential health, environmental and social benefits. They boost physical and mental wellbeing by reducing stress and providing a place for exercise. Furthermore they enhance urban sustainability, mitigate heat, and provide a sustainable environment for a wildlife. Parks are often a venue for social activities and events and as such are an important part of the local community. Going to the park has always been a part of my life. I live next to Old Farm Park in Sidcup and have made use of this recreational space throughout my life. I used visit with my parents in the seventies, when I was a child. Thirty years later my son, father in-law and I would fly kites there. Now I take my grandchildren to Old Farm Park as it now has a playground.
There is no shortage of interesting and good quality museums in London. In many respects tourists and visitors are spoilt for choice. More often than not, it is the most well known institutions such as the British Museum or Victoria and Albert Museum that gain the most attention. However, there are many hidden gems to discover if you take the time to look further. A prime example being The British Optical Association Museum which I had the pleasure of visiting today. The museum’s function is to promote the optometry profession and raise public awareness of its past and ongoing role within society. The museum has a well conserved collection of exhibits and provides a venue for presentations, learning and research services. There is also an excellent tour hosted by museum curator Neil Handley (PhD, AMA, FRSA) in which he gives a concise, interesting and at times a witty overview of the history of optometry in the UK and its current role.
The artillery battery at Capel-le-Ferne was built between 1941 and 1942, following the fall of France, on the orders of Winston Churchill. Located between Dover and Folkestone, the battery consisted of three 8-inch high-performance guns, provided by the Royal Navy. The battery was intended to provide anti-shipping defence in the English Channel. The site was manned by men of the 520 Coast Regiment Royal Artillery. Over the course of World War II, the battery expanded in size, eventually encompassing multiple Nissen huts, several roads and 19 military buildings. Anti aircraft defence was provided by two 40mm Bofors guns. Over the course of the war, the Capel Battery engaged enemy shipping on four separate occasions and also took part in fifteen practice shoots. In 1944, due to the decreased threat, the battery was placed in “care and maintenance”. The guns were removed in 1952 and the building demolished in the early 1980s
There are an estimated 2,500 museums in the UK. This number has grown significantly over time, more than tripling between 1960 and 2017. While it is laudable that so many of these institutions exist, they do not all receive equal interest or publicity. Some museums dominate in their respective fields and drown out others that have a similar theme. With this in mind, I was unaware of the Kent Battle of Britain Museum until a friend recently brought it to my attention. After yesterday’s visit my initial thoughts are what a treasure trove it is. According to the museum’s website it is the world’s largest Battle of Britain collection of memorabilia. This includes planes, uniforms, weapons and related artefacts from over 700 crashed aircraft. Furthermore, the museum tells the story of this battle without bias, choosing to highlight both the historical and the human aspects of the conflict. It is often very poignant.
Stonehenge is so much more than just a neolithic, historical structure of note. It is of great spiritual importance to many, representing ceremonial practices and ancient worship. It is also seen as a conduit to a wider connection to the cosmos. It is after all a celestial calendar, according to one of the theories regarding its purpose. It also has a strong significance in pop culture. Hence, due to its history, symbolism, religious connotations and overall sense of mystery it is a UNESCO World Heritage Site and a globally recognised symbol of ancient Britain. As such, it has always been somewhere that I have wished to visit. Today, as we were relatively nearby in Ringwood and the weather was pleasant, Mrs P and I decided to go to Salisbury and see this iconic structure for ourselves.
I enjoy visiting the coast. I always have. I find the sight and sounds of the sea very calming and thought provoking. There is something about seeing the ocean stretch out to the horizon and its implied enormity, that gives you a sense of perspective. The UK is a seafaring nation and therefore it is an integral part of our history and national identity. Hence a strong nautical theme and a sense of its importance has bled through into our popular culture. It is therefore quite common for people to have a positive attitude towards the sea and its associated leisure activities. I like to visit the coast at various times of the year and walk along the beach, just listening to the waves, lost in my own thoughts. This is not a hard thing to do in the UK, as no one lives further than 70 miles (113 kilometers) from the coast.
Knole is a country house in England and a former archbishop’s palace that is currently owned by the National Trust. It is located within Knole Park, a 1,000-acre (400-hectare) estate that lies to the south-east of Sevenoaks in west Kent. The existing structure of the house dates back to the mid-15th century, although there were significant expansions in the 16th and particularly in the early 17th centuries. Its Grade I listing signifies its combination of late-medieval to Stuart architectural styles. This is especially evident in its central façade and state rooms. In 2019, a comprehensive conservation initiative titled “Inspired by Knole” was completed to restore and enhance the buildings’ structures. This was beneficial to the preservation of its significant collections. The adjacent deer park has also endured since 1600.
Mrs P and I travelled to Croatia on Friday 13th June for our summer holiday. We spent one week in Makarska, which is located on the Dalmatian coast. My last international holiday was to Malta in 2004. Since then we have done a lot of travelling in the UK and Mrs P has vacationed abroad with other family members. However, she stated last September that she wanted to go “somewhere warm” for our next holiday. So this trip was booked and has been “something to look forward to”, or a source of stress slowly inching closer, depending upon your perspective. In many respects this holiday has been a big deal for me. I don’t enjoy travelling at all with all its accompanying logistical, bureaucratic and “people” issues. However, I have no problem with being elsewhere. I eagerly await teleportation technology to become commonplace. Once I arrived at our hotel, I quickly switched to holiday mode and I am happy to confirm that I thoroughly enjoyed myself.
Emmetts Garden is an Edwardian estate situated on Ide Hill, close to Sevenoaks in Kent, UK. After a long and interesting history it is currently under the stewardship of the National Trust. Originally open farmland, the existing house was constructed in1860. The term “emmett” is a local dialect for ant, referencing the large anthills that populated the area until the 1950s. In 1890, the estate was acquired by Frederic Lubbock, a banker with a keen interest in horticulture. His elder brother, John Lubbock, 1st Baron Avebury, was a renowned authority on ants, which may have influenced Frederic's decision to purchase the estate. Today Emmetts Garden is open to the public and features several “hortus conclusus” (walled gardens) and a hillside trail that is famous for its Bluebells in the spring.
Damerham is a quaint rural village and civil parish located in the New Forest district of Hampshire, England. It is close to the market town of Fordingbridge. Damerham is distinguished by significant Neolithic and Bronze Age burial mounds. Historically, it was home to an Anglo-Saxon religious community and was referenced in the will of Alfred the Great, as it was at that time part of the royal estate. At the time of the Domesday Book in 1086, Damerham was recognized as a prominent settlement under the ownership of Glastonbury Abbey. It was mainly farms and agrarian small holdings. Today, the village still features a riverside mill and the church of Saint George date’s back to the Norman period. There is a church hall that hosts numerous local, seasonal events.
Bodiam Castle is a 14th-century moated castle located near Robertsbridge in East Sussex, England. It was built in 1385 by Sir Edward Dalyngrigge, a former knight of King Edward III. The castle’s primary purpose was to defend the local area against possible French invasion during the Hundred Years' War. Bodiam Castle has a quadrangular design and does not have a keep. All the various chambers and rooms were built adjacent to the outer defensive walls. The four corners and main entrance have towers, all of which feature crenellations. A substantial moat surrounds the castle, which served as a home for the Dalyngrigge family, as well as a seat of power to the manor of Bodiam. The castle remained within the Dalyngrigge family until the line became extinct. It remained a place of strategic importance during the War of the Roses and the English Civil War. It is currently owned and maintained by The National Trust.
Today I went on an impromptu visit to Brompton Cemetery in West London. Established in 1837, the West of London and Westminster Cemetery (as it was originally known) is a private cemetery initially created as a business venture to capitalise upon the shortage of cemeteries within London. It also sought to cater to the prevailing culture of opulent Victorian funeral rites. However, after proving non profitable, the cemetery was bought by the UK government. It was subsequently incorporated into Crown Property and managed by The Royal Parks. It is one of Britain’s oldest and most distinguished garden cemeteries. There are currently 35,000 monuments, ranging from simple headstones to impressive mausolea. It is home to more than 205,000 resting places. The cemetery is also a haven for flora and fauna, providing a substantial semi rural environment amid urban central London.
Christmas Tree Farm is a petting zoo, outside the village of Downe in the county of Kent. Despite its rural setting, it is actually only 15 miles from London, making it an ideal visit, as part of a day. The farm is home to a wide selection of domestic farm animals (and a few more exotic ones), all of which can be fed, stroked and lavished with attention by visitors. During the winter months, Christmas Tree Farm hosts Santa’s Grotto and as the name suggests is the place to find the perfect Christmas tree for your home. Entry prices are very reasonable, costing £6 per adult and £4 for children aged between 2 and 16 years old. Buckets of animal feed of varying size are also available for a small fee. There is a leisurely trail around the farm where the various animals are housed in pens and out buildings. There is also a Tea Garden where refreshments are available.
In 1939 legislation was passed in the UK so that all employees had one week’s annual paid holiday per year. By the 1950s this had become two weeks and by the 1980s most people had at least 4 weeks of annual holiday. On top of this paid leave allocation, the UK currently has 8 bank holidays which provides further time off for employees. This culture of increasing amounts of annual leave also broadly coincided with air travel becoming more accessible. The first UK passenger jet service began in 1952. However, its cost excluded most people. However, as larger airliners with increased range became available, cheaper foreign holidays became more and more economically viable. European holidays became a reality in the 1960s and 1970s. By the 1980s long-distance holidays to other continents became ubiquitous and the package holiday became king. It is also worth noting that the Channel Tunnel opened in 1994, making car travel from Britain to Europe easier and more popular.
Today I had the pleasure of visiting the Whitstable Museum (or to give its full name Whitstable Community Museum and Gallery). This is a fine example of a local heritage centre that curates and displays artefacts and records that reflect the history and culture of the surrounding area. The museum located in Whitstable, Kent, is home to one of the world's oldest steam engines, as well as historical diving equipment that was developed locally. The history of the local oyster trade which has been an integral part of the community for centuries is also a key feature. Established in 1985, the museum was reopened in 2015 following a major refurbishment. There is also an art gallery featuring the paintings by local artists and artworks on loan from an international network of galleries.
It's Creator Appreciation Week (August 13th – August 19th) for those participating in Blaugust: Festival of Blogging 2023. What does that mean in plain English? It means I am going to write a post specifically about someone or a group of people who create content that I enjoy. Now that is not a short list. I subscribe to dozens of YouTube channels and even more blogs via Feedly. However, it is not practical to try and write about all of these. So I have had to think long and hard about selecting one creator to highlight. It’s quite a difficult choice because I enjoy a multitude of content for different reasons. However, I have chosen one which regularly keeps me entertained, has a good community associated and also offers an element of interaction which is quite unique. It is this last factor which has tipped the balance.
Eltham Palace, located in South East London, was the childhood home of King Henry VIII in 1499. It was later used as a royal nursery for the infant Princess Elizabeth, born on 7th September 1533. It sports sumptuous grounds and ornamental gardens and was famous for its game hunting during the Tudor and Elizabethan periods. In the 1930s’ the property was owned by the Courtauld family, who built a sumptuous Art Deco style mansion and redeveloped the grounds. Today the entire property is owned and managed by English Heritage who have extensively restored much of the estate. It is therefore very fitting that this illustrious venue annually plays host to the Legendary Medieval Joust, during the summer months. Two days of historical pageantry, re-enactments and events for the entire family to enjoy. I last attended in 2015, so it was a welcome pleasure to return again yesterday.
Morph’s Epic Art Adventure in London is a step-free art trail and tourist attraction featuring the iconic animated character Morph. It is hosted by charitable organisation Whizz-Kidz, global event producers Wild in Art and Aardman. The trail features 56 super-sized sculptures of the much-loved children’s TV character, which are set among various iconic London landmarks including St Pauls, Tate Modern, Tower of London, Shakespeare’s Globe and Borough Market. It is a free public art trail and tourist attraction, designed by a variety of artists to excite and inspire people of all ages, whilst increasing public awareness about the need for young wheelchair users to be mobile, enabled and included in society. Morph’s Epic Art Adventure in London runs from June 19th until August 20th 2023.
Regardless of whether you deem the IFS Cloud Cable Car a white elephant, a political folly or just a mistake in terms of tourism, it cannot be denied that the view it provides over South East London is impressive. At a height of 90 metres (300 feet), on a bright and sunny day you can see from City Airport to Canary Wharf. Located at Greenwich Peninsula, the IFS Cloud Cable Car (as it is now called) opened in June 2012. It was initially promoted as a viable form of public transport across the Thames, linking North Greenwich and Royal Victoria stations. In October 2012, nearly 100,000 journeys were made. However, after the London Olympics, passenger rates fell and since then IFS Cloud Cable Car has become more of a tourist attraction, rather than an integral means of commuting.
To my surprise I found myself out and about today undertaking another day trip. This time we headed back to the sea and visited Whitstable, a town on the north coast of Kent adjoining the Greater Thames Estuary. It’s 5 miles (8 kilometres) north of Canterbury and 2 miles (3 kilometres) west of Herne Bay. The town was originally recorded in the Domesday Book of 1086, under the name Witenestaple, meaning "the meeting place of the white post", a reference to a local landmark. By the late middle ages Whitstable had become a centre of Thames Estuary fishing, specifically for oysters. Today, the main activities at the harbour are fishing and processing, cargo handling and boat maintenance. The town has shingle/sandy beaches adjacent to the harbour, where swimming and water sports are popular. Whitstable Castle is situated on the border of Whitstable and off the coast is Kentish Flats offshore wind farm, consisting of 30 wind turbines.
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.
I recently completed the main story in Tainted Grail: The Fall of Avalon. In total I spent about sixty hours playing the game. I began at the start of the year, then took a break for a while but returned to it recently because I wanted to see if I could unlock a specific ending. I did manage to do this. Like so many other RPGs, Tainted Grail: the Fall of Avalon has a central storyline, along with a wealth of side quests, based around factions in specific zones. I think I possibly completed about a two thirds of these. However, once I finished the main story, my interest in the game began to wane. I finally left my character in the last major quest hub in case I wish to return at a future date. I then logged out of the game and uninstalled it from my PC to free up space for whatever I was to play next. In this case its The Sinking City 2. None of this is a negative reflection on Tainted Grail: the Fall of Avalon. I enjoyed the time I spent playing this quirky RPG. I simply had my fill and left to play something else.
The action, open world RPG Crimson Desert has been patched five times since it launched on March 19th and there have also been multiple hotfixes. At first glance this isn’t anything unusual. New games have bugs and issues arise once a game is released and played across a much wider variety of hardware than in QA testing. However, if you read the patch notes that accompany these sizeable downloads it quickly becomes apparent that developer’s Pearl Abyss are not just addressing bugs and software glitches. They are actively engaging with their player base and responding to suggestions and requests from that community. Although this is not a unique approach, what is surprising is the speed and quantity in which these player driven changes are happening. There seems to be an active ongoing process to refine the game and eliminate some of its “rough edges” and the players are contributing to this process with their feedback.
According to my Steam statistics, I last played Starfield on 19th December 2023. I bought the game upon its release in September of that year and played in total for 136 hours. Starfield held my interest for three and a half month and I wrote seven blog posts about various aspects of the game. Although there were some engaging aspects to Starfield, I did feel that that the game was somewhat lacking in systems and content, at that point in its lifecycle. I also think that the marketing and player expectations associated with Starfield were overblown and unrealistic. The shadow of Skyrim looms large over all new Bethesda releases and they don’t seem able to quite recapture that magic. Hence, I inevitably drifted away from Starfield and to another game and was effectively “done” with it. I have not played the game since which seems to validate the theory that game are becoming increasingly more ephemeral.
13 days after its release, market analysts estimate that Crimson Desert has already earned $200 million across the four main platforms (PC, PlayStation 5, and Xbox Series X and S). The game is certainly proving popular among gamers with the internet awash with live streams and “let’s play” videos. However, reviews are mixed both among gaming journalists and YouTube influencers. Common complaints about the game include that it is slow to start, the controls are poorly laid out on all platforms and that developer’s Pearl Abyss have done a poor job of explaining most aspects of the game to new players. Although such criticisms are true to a degree, I think these complaints highlight how many gamers are conditioned to expect new titles to follow a specific pattern with regard to pacing, narrative exposition and learning in-game systems. A pattern that Pearl Abyss has chosen to ignore, instead favouring an old school approach.
Last night, I spent the first 45 minutes after the launch of Crimson Desert, watching the 92GB pre-downloaded game files slowly decompressing and installing. I finally launched the game at about 10:50 PM GMT. I then waited a further 5 minutes while shaders were downloaded. It took me about 15 minutes or so to read through the various game settings and choose those that are optimal for my PC. I suspect even if you have a beast of a computer, you’re still going to have to spend some time tweaking settings. As for those players like myself with a gaming rig that is somewhere in the middle of the game’s specifications, be prepared to do a lot of fine tuning both within Crimson Desert itself and your Windows settings.
Video games as a genre are extremely poor at explaining themselves. When you buy a new game you’ll often find little or no information regarding the basic systems and mechanics. The industry assumes that their customers are by default familiar with the fundamentals of playing a modern video game. Hence if a game has a tutorial, it is often based around videos rather than detailed verbal instructions. You are are briefly shown a clip of a specific move being successfully undertaken but it is seldom shown in a wider context. The industry also expects the fan community to take on the role of curating and disseminating information about its games. The move away from forums and bespoke websites to Discord highlights this. Discord is a primarily a real time communication tool and not good at maintaining a historical data archive. If you want an answer to a specific gaming question, you’ll more than likely find it on YouTube in a video made by a fellow gamer.
I decided to pursue a magic and spellcasting build in the RPG Tainted Grail: The Fall of Avalon after the story prologue. During the opening section of the game, the player is presented with a sufficient range of weapons to determine which type suits them best, although you can change at any time during the game. For me, casting spells feels right and is fun. Plus I have fond memories of the magic system in Two Worlds II and Skyrim. So once I started playing through the first zone, I started putting attribute and skill points into the appropriate trees to bolster my spells strengths and frequency. I also chose gear that would bolster those statistics further. The results have been surprising, as magic and spellcasting is not presented in the usual “glass cannon” style you find in some other RPGs. Here it offers robust DPS output and with the right gear and spell combination, a strong degree of survivability.
I first played The Elder Scrolls V: Skyrim in June 2013. This was over 18 months after the game’s initial release and the base game and DLC were bundled together in a “Legendary” edition. Although a seasoned gamer at the time, familiar with the RPG genre with such titles as Mass Effect and Grand Theft Auto IV, I had not played a game from this franchise before. It only took a few hours of gameplay to realise that this was a special title. The scope of the story, the art design and the size of the world were immediately notable. Tamriel was immersive in a way I had not experienced with other titles. Often simply traversing the terrain and watching the dawn break while the game soundtrack swelled, was sufficient to hold my attention. I instantly picked up on the voice acting of Christopher Plummer and Max Von Sydow. All of which indicated that this was a gaming landmark.
I recently started playing through the RPG Disco Elysium for a second time. I did not complete the game last time I played in February and March but go about two thirds of the way through the story. As far as solving the central crime, I had established an accurate cause of death for the murder victim and broadly understood the events leading to their death. The main reason I did not complete the game was because I was playing on the Nintendo Switch and found it increasingly difficult to read the text on the small screen. The loading times were also excruciatingly slow. Playing the game while “docked” helped the former but not the latter issue. Hence I bought the PC version of Disco Elysium: The Final Cut for just £5 and started again from the beginning.
The Red Strain is the second DLC for the RPG Atomfall. It provides another interesting side story that is adjacent to that of the main game. Set in the new region of Stafell Crag, the player finds a secret installation called Test Site Moriah, run by C.O.R.E. (Co-ordinated Orbital Research Establishment). C.O.R.E. have seniority over B.A.R.D. (British Atomic Research Department) and have taken much of their research and used it for their own experiments. This includes the Red Strain, a genetically modified version of the Blue Infection. However, this has escaped containment and spread throughout the entire site. Once again the player must explore the zone, looking for leads and collecting resources, while trying to piece together what has happened. As in the previous DLC and main game, not every NPC that you meet in The Red Strain can be trusted.
Wicked Isle DLC for the RPG Atomfall was released on 3rd June, two months after the base game launched. As with its predecessor there are no specific missions, the DLC requires the player to explore the environment to pick up leads. These ultimately provide a coherent story but the clues may not necessarily be obtained in the correct order. Hence, again there is a requirement for players to look, listen and think. Referring to the in-game notebook is beneficial for narrative clarification. As well as a new story, Wicked Isle DLC also has new weapons, items and skills. This includes a Blunderbuss shotgun which inflicts huge damage but has a limited range, as well as a cutlass and some ritualistic weapons. There is also an upgraded metal detector along with the Decomposition skill, which causes enemies to rapidly dissolve into fungal spores after a takedown. This means that dead NPCs cannot be discovered.
Spoiler Alert: The following post discusses the various endings available in Atomfall. About 15 or so hours into Atomfall, the various plot elements started to become a lot clearer to me and I realised that several key characters were all offering differing escape options. Naturally, each outcome came with a quid pro quo requirement. Hence, there was a choice to make as to which ending I wanted to pursue, assuming that some outcomes were narratively or ethically better than others. At this point I had avoided many plot spoilers, so had no clear idea as to what specific endings were available. So I made a decision based purely upon the information that each of these characters gave me and chose to implement Dr. Holder’s solution to the Oberon problem. It seemed the most honest and pragmatic outcome, plus it caused the least amount of collateral damage.
By default, I’m not always drawn to first person games. I see their merits in genres such as shooters but in an RPG, I prefer a third person perspective. So I was somewhat ambivalent towards Atomfall when I first saw promotional videos for the game. However, its uniquely British setting and period ambience piqued my interest. I also enjoy the Sniper Elite series which developers Rebellion also produce. So I recently bought the deluxe version of the game and began my play through. I made sure that I didn’t do too much research beforehand, because it was clear that the complexities of the plot are a major selling point of the game. Twenty two gaming hours later, I had completed two of six possible endings. Despite discovering a wealth of “leads” and diligently scouring the four main zones of Atomfall, I still feel there is much left to find and explore. Hence I have begun a second playthrough.
I’m a late convert to the church of Disco Elysium. Over 4 years late, although that can be a good thing in some respects. Pretty much everything that can be said about the game probably has been said already and I’ve missed it all. When purchasing the game, I knew there was a positive buzz around this RPG and it had something to do with its philosophical nature. Beyond that I wasn’t aware of the game's subtleties. I was just looking for something that I could play on my Nintendo Switch that wasn’t Mario. As Disco Elysium is a dialogue driven RPG, based upon choices rather than action, I thought buying the game on this platform was a good choice. So I started playing late on a Thursday night. 10 days later I am still utterly riveted, although this is one of the most emotionally gruelling gaming experiences of my life.
Do you know what you're doing? For clarification, this question is regarding video games and not how you run your life. The latter would make for an interesting discussion but that is not what I am asking. On this occasion the question is to establish whether you are the sort of player who strives to understand the mechanics of a video game? Do you make it your business to become au fait with all the statistics and the formulas behind them? Do you keep a spreadsheet filled with data pertaining to your gear or build? Do you fully comprehend the consequences of swapping out an item and seeing a particular statistic increase or decrease. Does all of this inherently appeal to you and contribute to overall the enjoyment you get from a game? If the answer is yes, then bravo. I kind of admire your dedication to this aspect of gaming. Because I tend to switch off when it comes to min-maxing.
One of the defining qualities of a truly great game is how long it can hold your interest and keep you engaged. For example I bought the Game of the Year version of Skyrim about 14 months after its initial release. Hence I had access to all the games content that I dutifully played through. However, I also fully explored the world map, completed all side quests, crafted, furnished several houses and continued to travel the in-game world and killing foes long after I had completed all the traditional content. I did the same with Red Dead Redemption 2 as this also offered a compelling and immersive world. Games such as these have a quality beyond just the functional. I would happily traverse the mountains in Skyrim and watch the sunset, revelling in the ambient music. Similarly, I would often just ride the train in RDR2 and watch the world go by. When I finally stopped playing both games for newer titles, I felt a sense of sadness when I bid them goodbye.
I struggle with certain types of game mechanics in RPGs and MMOs. Especially those involving crafting, building or any other form of gated, time based, resource dependent creation. Outposts in Starfield is a textbook example of this. I love the notion of having a fancy base on some remote planet, with all the necessary facilities for my starship and crew. I also like, in principle, the idea of being able to customise it so that it looks exactly how I want it. However, the reality is always very different. Building an outpost in Starfield is slow and the UI that you have to use is ponderous. You have to sink a great deal of time and effort into building one and ultimately, beyond the cosmetic, your completed outpost offers very few benefits. Which raises the question as to why I’ve spent so much time recently, watching YouTube videos about constructing outposts?
I like the concept of companions in video games. They can offer tactical support in combat, be assigned research or crafting jobs and often provide beneficial buffs and such like. There’s also the option for “romance” if you wish. More importantly, companions can sometimes offer unique quest lines. Extra content is always welcome. Starfield, being a Bethesda game, offers all of these with its companion system. However, as ever there is also a downside. Companions can get in the way during combat or wander off and cause aggro when it is not required. They will also judge your decisions which can be problematic, and they sometimes never stop talking. Sometimes, it can be useful to have a companion with you. But on other occasions it’s a pain in the ass. Hence, your style of gameplay should dictate how you use them.
These posts are all written after playing a lengthy session of Starfield. Often some of the points raised are clarified later. So, it would be remiss of me not to revise a comment I made previously about scanning when surveying a planet. It turns out that there is a surveying skill that you can invest points into that improve the efficiency of the process. Let it suffice to say that it does make things easier. Now that’s out of the way, I want to focus upon the necessity to replace your ship as soon as possible in Starfield. The Frontier, which is the first vessel you’re given access to in the game, has a lot of character but it doesn’t have much else. It is lacking in damage output and is therefore a bit of a liability in space combat, even after you’ve unlocked targeting in the skills tree. I therefore made it a priority to replace it as soon as possible.
It is quite easy to get overwhelmed by the sheer quantity of things to do in Starfield. You can be walking through the plaza in New Atlantis, pass a pair of NPCs talking about something and the next thing you know you have a new mission to complete. As with most video games, there is a hierarchy of importance when it comes to the various tasks you are asked to undertake. Players may feel obliged to focus upon the main story during their initial first six hours or so. Such a strategy usually provides players with an overview of the game’s mechanics as well as providing some essential items such as gear. But it can feel a little smothering to have content continuously added to your mission journal. Especially if you’re the sort of player that likes to impose structure upon your gaming and likes to undertake tasks in an orderly and methodical fashion.
I pre-installed Starfield, via Steam, on Wednesday 30th August. Early access started in the UK at 1:00 AM today. However, I didn’t get around to playing until about 10:00 AM this morning. It took about an hour or so to unpack the pre-installed game. It currently occupies a little over 116GB of space. As I wasn’t sure how well my PC would handle Starfield, I decided to use my second monitor to play the game at a resolution of 1920x1080 (16:9). I have an Nvidia GTX 1660 Super GPU. Initially, I turned all the graphics to “high” and set the game to render at full resolution. Initially the game seemed to run well. I got through the initial story which takes place in a mine. I also got to the character customisation, which in true Bethesda style takes place after the story has progressed for a while. However, the moment I entered space in my ship, the game started running poorly. The graphics stuttered and the audio desynced.
I have already written about the hype associated with the forthcoming RPG Starfield and my thoughts on that particular issue have not changed. However, regardless of the iniquities of the marketing industry and the unrealistic expectations of some gamers, Starfield is a significant release from an established developer with a proven track record. Hence there is a great deal of interest in this game due to the scope of its content and breadth of vision. Plus many of Bethesda’s competitors will be watching the launch on September 6th very closely, especially those with similar products in development. Whatever your perspective on the game, there’s going to be a lot of interest in it, so I’ve decided to document my experiences with Starfield.
Throughout history, there’s always some asshole who confuses their own personal opinion for some undeniable, unassailable, universal truth. This misconception often ends in tragedy. Sadly it is the doom of men (especially Colin) that they forget. Hence, life continues to be regularly assailed by the following cycle. An asshole talks bollocks and advocates an erroneous position or philosophical stance that is unsustainable in the face of reality. A shit storm ensues. The asshole’s position is utterly and unequivocally demolished by facts and data. Everyone else then has to pick up the pieces, while the asshole, due to a lack of critical thinking and emotional literacy, still thinks that they’re right and that “they’re the victim”. This scenario manifests itself in many aspects of day-to-day life. Domestic politics, your places of employment etc. It is also an integral part of gaming culture and a core tenet of Gamers (™).
I have written in the past about games that have proved popular or critically successful that pass you by. You simply weren’t aware of them or their success at the time of their release. You missed all the marketing and hype. It’s easily enough done as there’s so much white noise associated with gaming these days. You subsequently stumble across these popular games later and much to your surprise, discover their merits long after everyone else has. I have also written about what it is like to be the proverbial “odd one out” by not being part of a major gaming group. Not playing World of Warcraft is a prime example of this phenomenon. Exploring both these subjects inevitably leads to discussions about hype, gaming consensus and FOMO. This time I want to talk about a game that has recently gained a great deal of traction in the gaming community and has also caused a great deal of debate. A game that some of its more enthusiastic supporters are calling a new “industry standard”.
Hype.
Noun: Extravagant or intensive publicity or promotion.” His first album hit the stores amid a storm of hype”.
Verb: Promote or publicise (a product or idea) intensively, often exaggerating its benefits.
“An industry quick to hype its products”,
Until recently I have gone out of my way to avoid any promotional material regarding Starfield, the forthcoming RPG from Bethesda Game Studios. However, as the September 6th release date is approaching, I finally decided to watch the following YouTube video in order to make a measured judgement about exactly what the game has to offer. Let it suffice to say that if you take the video at face value, then Starfield is potentially a revolutionary video game. However, upon mature reflection and sober consideration, I have chosen not to take the claims made in the video as gospel. As far as I’m concerned this is not regular marketing, as it goes beyond the scope of briefing potential buyers about the product. Instead I would define the videos as pure and unabashed hype, as specified in the two definitions at the start of this post. And hype is a very problematic phenomenon.
I started playing Red Dead Redemption 2 on the PC upon its release in late 2019. Although I enjoyed it, I was distracted by other matters at the time and so I drifted away in early 2020. To cut a long story short, I recently picked up exactly where I left off, because I felt the need for a big, narrative driven, RPG gaming experience. Red Dead Redemption 2 certainly meets those requirements. A few days ago I finished the main story and having played through sufficient side quests and challenges, decided to call it quits. Since then I have been musing on both the game itself and the experience I had while playing through it. Simply put, I consider Red Dead Redemption 2 to be a genre milestone and one of the most significant and impressive examples of video games that I have experienced over the course of my life, along with the likes of The Elder Scrolls V: Skyrim and The Witcher III: Wild Hunt.
Before I begin, this post comes with a massive caveat. In fact let’s go so far as to say it is a massive, highly polished and lavishly tooled caveat. There are gamers out there that play video games to challenge themselves and to be the best. Some do it for bragging rights. Others just do it for their own self satisfaction. This is fine. You do you. As long as your gameplay and gaming philosophy doesn’t impact anyone else negatively, then that’s fine. Let me state for the record that I am not that kind of gamer and this post is aimed very much at the average person who plays for entertainment, fun and to unwind. You know, the majority of people who play video games. So any responses to this post that fall into the “git gud” school of thought are irrelevant and can politely “go forth and multiply. Now we have established our frame of reference, let us proceed.
I’m sure I’ve mentioned this issue before in previous video game related posts. But I don’t think I’ve devoted an entire article to the matter, which is what I’m going to do today. So to provide some context, I logged into The Elder Scrolls Online today as I’m fast approaching that point in the year where I spend a few months subscribing to the game. Due to some recent patch, once again all my Champion Points have been refunded. Judging by the change in graphics, it may be that the entire Champion Point system has been updated. Whatever the reason, I have to re-allocate 501points into three skill trees. I wasn’t au fait with the last system, so I followed a build I found online. Now that it has changed, I’ll have to find a new one and copy it. Until I do, my character will be gimped. Shame the game doesn’t offer a selection of generic builds that can be easily implemented at the press of a button.
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.
Some video games lend themselves to being set aside and resumed at a later date with zero consequences. These are often casual games with no major goals other than having fun while playing them. Fall Guys is a great example of this. You have a cartoony avatar that participates in zany group races, filled with obstacles. You run, jump, climb but the controls are far from difficult. You may well become skilled but such things are mitigated by the other players as they stumble around. You’re not at the mercy of apex players or “try hards”. It is not a game about winning and mastering techniques. The fun comes from playing it and the unique experience you have each time. I’ve been playing this game, on and off, since it’s launch in 2020 and in that time I have only ever won once (winning requires you to win a series of 4 to six individual races). However, whenever I pick up my controller and play Fall Guys, I have fun and the game lifts my spirits.
I recently completed the main story in Tainted Grail: The Fall of Avalon. In total I spent about sixty hours playing the game. I began at the start of the year, then took a break for a while but returned to it recently because I wanted to see if I could unlock a specific ending. I did manage to do this. Like so many other RPGs, Tainted Grail: the Fall of Avalon has a central storyline, along with a wealth of side quests, based around factions in specific zones. I think I possibly completed about a two thirds of these. However, once I finished the main story, my interest in the game began to wane. I finally left my character in the last major quest hub in case I wish to return at a future date. I then logged out of the game and uninstalled it from my PC to free up space for whatever I was to play next. In this case its The Sinking City 2. None of this is a negative reflection on Tainted Grail: the Fall of Avalon. I enjoyed the time I spent playing this quirky RPG. I simply had my fill and left to play something else.
On Tuesday 11th April, Aspyr Media rather surprisingly re-released The Lord of the Rings: War in the North, a co-op action-RPG from 2011. This game was delisted in late 2019, possibly due to changing rights ownership or a license expiring. Hence, I was somewhat discombobulated by the return of this title to all major gaming platforms. Mind you, the Embracer Group (through its subsidiary Middle-earth Enterprises) still controls the worldwide commercial and video game licensing rights for The Lord of the Rings and The Hobbit. Furthermore they have explicitly stated that they have plans for more games. It would appear this also means re-releasing and updating old favourites. It is also worth noting that they own Aspyr Media, which is also a bit of a giveaway. Let it suffice to say that this re-release and sparked enthusiastic online debate as to whether any other he Lord of the Rings themed games from the same era will receive a similar makeover. Judging by the internet chatter, there’s potentially a market for them.
The next expansion for the MMORG, The Lord of the Rings Online, was announced on the 1st August, via the gaming website MMORPG.The Wolves of Mordor, which will launch later in the year, appears ambitious in scope as it will include two new game systems as well as the obligatory story update. This expansion takes place in Draugardh located in the North East of Mordor, beyond the Plateau of Gorgoroth. It includes the new zones of Heledhris, Parth Rhavas and Nan Ogol. These vary environmentally ranging from the arid, volcanic and semi-tropical. Players will encounter the Daugrim in these regions, Werewolves but not in the modern sense. This is not the lycanthropy of Eastern European legends but in the established Tolkien idiom of fell spirits inhabiting the bodies of Wolves. The region also sees the return of the Woses and players can expect to encounter Elves and scouts from Gondor. As ever with LOTRO expansions, there will be new instances as well as a raid.
This is a post about the power of nostalgia and how sometimes, interacting with something from your past, be it physically or mentally, can produce a very strong and tangible emotional reaction. In some instances, this can be the result of something that you have specifically set out to do. On other occasions you can wander into a sense of nostalgia purely by chance. Today I experienced a very strong sense of nostalgia while watching a YouTube video and then again when I sought to replicate what I had seen. The video showed someone installing Windows 95 on to an old 486 PC from that era. The Window’s start up sound really touched a nerve (but in a good way) and then when the guy in the video launched Space Cadet 3D Pinball, a game that shipped with the operating system, I felt a strong compulsion to track down a copy and install the game myself, thus revisiting something that was an integral part of my life in 1995.
RV There Yet? is possibly the most entertaining game I’ve never played. My vicarious pleasure regarding this title has come exclusively from watching two popular YouTubers, JackFrags and WillFromWork, play through the game over a series of videos. It has been immensely amusing to watch and I have empathised a great deal as the group of four players has struggled with the game’s unpredictable mechanics and their own team’s dynamic. I could go and buy RV There Yet? myself but I doubt if I would ever have a gaming experience anywhere close to what I’ve watched online recently. So in some respects watching these videos has been an interesting alternative as I’ve been entertained, which ultimately is the point of video games. Perhaps there is a deeper philosophical point here that the game developers should reflect upon, as they’ve lost a potential sale. However, that is separate discussion for another day.
I don’t keep up with gaming news as much as I use to but several noteworthy announcement have come to my attention of late. Firstly, there’s an expansion, Songs of the Past, coming for the Witcher III: Wild Hunt in 2027. No doubt this is to pave the way for the Witcher IV. Next, I also found out about Hand of Fate: Horde. I liked this franchise and was saddened to learn that the original studio, Defiant Development, closed. Hence is was a pleasant surprise to see this new game being developed by members of the original studio. The third announcement was regarding Guild Wars 3. A new MMORPG in active development by a major studio is no small feat and is certainly good news for fans of this franchise and the genre per se. However, once you look beyond this news this announcement raises several questions and has certainly given me pause for thought. Let us take a few moments to consider them.
Star Trek Online has many in-game systems that are common to the MMORPG genre. The reputation system is one such example. In STO there are 13 reputation factions. Once a player has reached level 50 they may start progressing through the 6 reputation tiers of each one. Players gain progression through daily projects (20 hours in duration). Hourly projects are also available though they yield less reputation advancement and are limited to three times a day. Hence 20 hour projects are consider by default the most efficient way to gain rep. Projects require 30 Faction Specific Marks (earned via various activities in-game), 15,000 Energy Credits (standard in-game currency) and 2000 Expertise points. The most efficient way to tackle the reputation grind is to build up the necessary resources in advance and then at a designated time each day, start all 13 respective projects. Upon completion projects yield a player bound lockbox containing a random space or ground weapon, a console or Elite Marks which can be used to acquire faction gear.
I was recently perusing my archive of old blog posts, when it struck me how much I’ve written about the MMORPG genre over the years. Naturally, there was far more material from between 2008 and 2012 as that was period when I immersed myself in the genre and was very enthusiastic about it. I was at a point in my life when I had the time to dedicate to such games and I was happy to participate in the social aspect of they offered. I would regularly play through group content and spend time socialising online with fellow guild members. My experience remains a textbook example of how online games can be more than the sum of their parts and that where you are at in your life has a major impact upon your overall enjoyment. As I read though various old posts it became clear that my experiences where specific to this particular part of my life and that they cannot be repeated. My relationship with the genre is very different now and that’s fine.
Creating alts is an integral aspect of the MMORPG genre. Many players will create a character of a specific class or faction, play it for a while, lose interest in it or they may decide that it is just not for them. Fortunately it is no effort at all to simply re-roll a new alt and set off once again. Furthermore, lots of players never reach level cap of the MMORPG that there playing. When the going get’s tough, so to speak, you can either soldier on for another 50 levels or simply create a new alt and return to the comfort of tried and tested content. Alts also give you the chance to secure an accolade or achievement that you previously missed. They are also of great benefit to the genres social aspects. Creating a new alt so you can play along with a friend who is just starting is great fun. Developer’s love them too as it means you’re still playing the game.
I recently took a break from Crimson Desert choosing instead to to play something familiar and easy going. As I’ve been logging into Star Trek Online daily to participate in the anniversary event, I decided to look through my various alts and see how far they had progressed through the game and what resources they had. At present I have twelve alts. My primary Captain was created in 2015 during the original Delta Recruit Event. I had previously played STO intermittently since its release in January 2010 but I never kept any of those characters. Hence this decade old Tactical Federation Captain has been my main focus when playing. The other eleven alts are the result of other recruitment events or whenever I wanted to try something different, such as playing a specific class or faction. I obviously played a lot of STO during the lockdown as several alts date from that period. Several had maximum reputation across all factions.
The action, open world RPG Crimson Desert has been patched five times since it launched on March 19th and there have also been multiple hotfixes. At first glance this isn’t anything unusual. New games have bugs and issues arise once a game is released and played across a much wider variety of hardware than in QA testing. However, if you read the patch notes that accompany these sizeable downloads it quickly becomes apparent that developer’s Pearl Abyss are not just addressing bugs and software glitches. They are actively engaging with their player base and responding to suggestions and requests from that community. Although this is not a unique approach, what is surprising is the speed and quantity in which these player driven changes are happening. There seems to be an active ongoing process to refine the game and eliminate some of its “rough edges” and the players are contributing to this process with their feedback.
According to my Steam statistics, I last played Starfield on 19th December 2023. I bought the game upon its release in September of that year and played in total for 136 hours. Starfield held my interest for three and a half month and I wrote seven blog posts about various aspects of the game. Although there were some engaging aspects to Starfield, I did feel that that the game was somewhat lacking in systems and content, at that point in its lifecycle. I also think that the marketing and player expectations associated with Starfield were overblown and unrealistic. The shadow of Skyrim looms large over all new Bethesda releases and they don’t seem able to quite recapture that magic. Hence, I inevitably drifted away from Starfield and to another game and was effectively “done” with it. I have not played the game since which seems to validate the theory that game are becoming increasingly more ephemeral.
13 days after its release, market analysts estimate that Crimson Desert has already earned $200 million across the four main platforms (PC, PlayStation 5, and Xbox Series X and S). The game is certainly proving popular among gamers with the internet awash with live streams and “let’s play” videos. However, reviews are mixed both among gaming journalists and YouTube influencers. Common complaints about the game include that it is slow to start, the controls are poorly laid out on all platforms and that developer’s Pearl Abyss have done a poor job of explaining most aspects of the game to new players. Although such criticisms are true to a degree, I think these complaints highlight how many gamers are conditioned to expect new titles to follow a specific pattern with regard to pacing, narrative exposition and learning in-game systems. A pattern that Pearl Abyss has chosen to ignore, instead favouring an old school approach.
Early on Crimson Desert, the main quest requires the player to enter a tavern and arm wrestle a particularly strong guard. The arm wrestling match consists of a quick time event. If playing on PC you have to rapidly press the “E” key which turns a power meter from white to red. Then a white dial appears above the meter with a rotating hand. When the hand passes over a segment of the dial that is marked by hatching, the player must press the “R” key. The idea being the meter filling with red is you strength building (or waning) and the “R” key prompt indicates when to try and force your opponent’s arm. You will need to to continuously press the “E” key throughout the arm wrestling match and the “R” key about 4 times to win.
Earlier this week, Nvidia posted a video featuring their latest iteration of DLSS technology (Deep learning super sampling). DLSS 5 is an AI-powered “real-time neural rendering” process and unlike previous versions that focused on improving frame rates through upscaling or frame generation, DLSS 5 uses generative AI to “infuse” frames with photorealistic lighting and material details that the game engine never actually calculated. Let us pause for a moment and consider these words. Material detail that the game engine never actually calculated. Therein lies the rub. If you watch the aforementioned video or peruse the images posted here, it is abundantly clear what the technology does.
Last night, I spent the first 45 minutes after the launch of Crimson Desert, watching the 92GB pre-downloaded game files slowly decompressing and installing. I finally launched the game at about 10:50 PM GMT. I then waited a further 5 minutes while shaders were downloaded. It took me about 15 minutes or so to read through the various game settings and choose those that are optimal for my PC. I suspect even if you have a beast of a computer, you’re still going to have to spend some time tweaking settings. As for those players like myself with a gaming rig that is somewhere in the middle of the game’s specifications, be prepared to do a lot of fine tuning both within Crimson Desert itself and your Windows settings.
I have been aware of the online interest around the open world action game Crimson Desert for a while now. One of the things that has intrigued me about it is the scope of the game. The word “hype” has been bandied about by a few gaming websites. However, from what I have observed, developers Pearl Abyss have not been excessively hyperbolic themselves, with regard to the manner in which the game’s systems and mechanics have been marketed. Now that the press embargo has been lifted, the pre-release reviews seem to confirm that everything we’ve seen in promotional videos in the run up to the launch, is in fact present in the game. So far the initial critical response has been very positive and it has been hinted that the game may well be a genre milestone. Perhaps Crimson Desert is just a rare example of a game that has not had a rushed development and isn’t launching prematurely for business reasons.
Video games as a genre are extremely poor at explaining themselves. When you buy a new game you’ll often find little or no information regarding the basic systems and mechanics. The industry assumes that their customers are by default familiar with the fundamentals of playing a modern video game. Hence if a game has a tutorial, it is often based around videos rather than detailed verbal instructions. You are are briefly shown a clip of a specific move being successfully undertaken but it is seldom shown in a wider context. The industry also expects the fan community to take on the role of curating and disseminating information about its games. The move away from forums and bespoke websites to Discord highlights this. Discord is a primarily a real time communication tool and not good at maintaining a historical data archive. If you want an answer to a specific gaming question, you’ll more than likely find it on YouTube in a video made by a fellow gamer.
I have written in the past about the video games we cannot play. The ones that require a keen understanding of a game’s mechanics, along with a strong degree of manual dexterity and situational awareness. Being 58 years old, I tend to have neither the co-ordination necessary to succeed or the patience to master such complex skill requirements. With this in mind, I recently watched a YouTube video for Chivalry 2 and thought, that looks like fun. The fact that it showed someone picking up a chicken and throwing it at an opponent is neither here nor there. However, after watching a few more videos I realised that combat in the game was complex and that, as usual, the reality of playing such a game would be different from my expectations. Hence, I came very close to not buying Chivalry 2. However, I eventually decided that I would, so I bought it for just under £10 from an online vendor.
I decided to pursue a magic and spellcasting build in the RPG Tainted Grail: The Fall of Avalon after the story prologue. During the opening section of the game, the player is presented with a sufficient range of weapons to determine which type suits them best, although you can change at any time during the game. For me, casting spells feels right and is fun. Plus I have fond memories of the magic system in Two Worlds II and Skyrim. So once I started playing through the first zone, I started putting attribute and skill points into the appropriate trees to bolster my spells strengths and frequency. I also chose gear that would bolster those statistics further. The results have been surprising, as magic and spellcasting is not presented in the usual “glass cannon” style you find in some other RPGs. Here it offers robust DPS output and with the right gear and spell combination, a strong degree of survivability.
I originally bought Warhammer: Dark Omen in the summer of 1998. I played a demo copy via a magazine cover disc, which was a common means of promotion and marketing back then. Although I was at that point, unfamiliar with the Warhammer Universe, I found this game to be an excellent point of entry. The story did an excellent job of introducing players to “The Old World”, the political and power structure and major characters. I instantly liked both the aesthetic and the lore. Warhammer: Dark Omen was also the first real-time tactical wargame that I played and I spent numerous hours playing through the campaign. Overall, the game was a critical success, particularly on PC, but it struggled commercially upon its initial release and didn’t quite find the audience that it deserved. However, it has achieved status as a “cult classic” among gamers, leading to a recent re-release on GOG in late 2025.
According to the recent “letter to the players”, Standing Stone Games will be adding a new zone to the MMORPG The Lord of the Rings Online in the second quarter of this year. Possibly around May or June. Having spent the last three expansions in the South of Middle-earth exploring the tropical Umbar and the deserts of Harad, I would certainly welcome a change of location. I have gradually warmed to these zones over the last eighteen months but I do find them so incongruous. They are so radically different to the European style content that has been the mainstay of the game for so long. Tolkien’s source text has plenty of detail regarding Eriador and Rhovanion. Information regarding Harad is scarce, hence it has afforded the developers a great deal of artistic freedom. Although exceedingly well realised these tropical zones have taken a while for me to get used to.
I’m not sure exactly when it started but I’ve recently noticed a graphical bug within the MMORPG The Lord of the Rings Online. This problem often occurs within caves or in areas where there are a lot of rocky surfaces. Hence it has become very apparent in the latest two expansions, set in Umbar and Harad. This graphical glitch causes some surface textures to appear to flash from light to dark intermittently. The resulting strobe effect is hard to ignore and very distracting. Fortunately, a quick online search showed that this is not a problem unique to my installation of LOTRO and is a known problem. Furthermore, there is a very simple workaround, which is to go into the Advanced Graphics setting and uncheck “Per Pixel Lighting”, which immediately remedies the problem. I have no idea why this has recently started to happen but at least it can be resolved.
This year is the 60th anniversary of Star Trek. The original TV show was first broadcast in the US on September 8th 1966. If you search online you’ll find details of lots of related events. There are documentaries, conventions, new TV shows and even some video games in development. However, what you won’t find are any details regarding what will be happening with the MMORPG Star Trek Online. So far no road map for 2026 has been posted online by the developers but it is still quite early in the New Year. That being the case, I am not especially optimistic about there being any major plans waiting to be revealed. It is not as if DECA Games have demonstrated or stated any major ambitions for STO beyond keeping the endless events treadmill going and regularly adding content to the in-game store, during their development tenure. The ongoing story arc drags on inexorably and is as dull as ditchwater.
I first played The Elder Scrolls V: Skyrim in June 2013. This was over 18 months after the game’s initial release and the base game and DLC were bundled together in a “Legendary” edition. Although a seasoned gamer at the time, familiar with the RPG genre with such titles as Mass Effect and Grand Theft Auto IV, I had not played a game from this franchise before. It only took a few hours of gameplay to realise that this was a special title. The scope of the story, the art design and the size of the world were immediately notable. Tamriel was immersive in a way I had not experienced with other titles. Often simply traversing the terrain and watching the dawn break while the game soundtrack swelled, was sufficient to hold my attention. I instantly picked up on the voice acting of Christopher Plummer and Max Von Sydow. All of which indicated that this was a gaming landmark.
The latest expansion for the MMORPG The Lord of the Rings Online, Kingdoms of Harad, launched on December 3rd. With this release the level cap was raised from 150 to 160. It should also be noted that the cap for virtue traits was also raised from 96 to 100. Naturally these changes meant that there is a requirement to replace all armour and jewellery once the new cap is reached. Similarly Legendary Items have to be reforged and any traceries upgraded or replaced. If you follow the Epic Story it will lead you from quest hub to quest hub. The main quest rewards, along with those from side quests will provide adequate gear as you slowly progress towards the new level cap. The new raids, instances and missions/delvings then provide a means to acquire higher quality level 160 gear. LOTRO and indeed, many other MMOs are consistent in this methodology.
It is customary in a post such as this to list the various games that I’ve played over the last twelve months and share my thoughts on them. Wider analysis of the video game industry is also de rigeur. Unfortunately, I don’t really feel disposed to do either of those two things. My thoughts on the games I’ve played have already been published and can easily be accessed via the links at the bottom of this post. As for the video game industry, it suffers the same flaws as music, TV and cinema. There is creativity and innovation out there but it is often drowned out by mainstream products which are demonstrably inferior due to their inherent mediocrity. As for the business side of things, we once again clearly see the failings of the corporate management class. Sadly, they do not face the consequences of the mistakes that they make.
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.
Jason Statham is an exemplar of the US mantra of “staying in your lane”. He makes action movies and occasionally strays into action comedies. His formula broadly works and is sufficiently lucrative to keep Mr. Statham employed. Therefore, if you watch a film in which he stars, you have a fairly good idea of what you’ll be getting. Of late, the criteria for his action vehicles have become more succinct. Jason Statham will play an innocuous character, such as a construction foreman or a bee keeper. Something terrible will subsequently befall another character who Mr. Statham has an emotional connection with in some capacity. He will subsequently hunt down those responsible and meet out death and violence. At some point the villain of the story will enquire as to how this innocuous person is so lethal. Research will then show that our Jason is in fact an ex-police officer/special forces operative/international assassin. There’s then a showdown and the villain dies. Job done.
The Light at the Edge of the World presented itself as an action movie upon its release in 1971. Based upon a story by Jules Verne, the Spanish American co-production was driven by its star Kirk Douglas, who curiously hired British director Kevin Billington to helm the project. This tale of a lighthouse keeper fighting a war of attrition against a group of pirates that have captured his island, was market as an adventure film ostensibly in the idiom of the authors previous works and as a pirate movie. MGM bought the rights to distribute the film in the UK on the misunderstanding that it was a family friendly production. It was not and remains so. They subsequently had to cut 15 minutes of violence and torture as well as an undercurrent of sexual assault to secure a suitable rating. Conversely, the US distributors received an arbitrary PG rating, despite the fact this is one of a handful of films that honestly depicts pirates as murderers, rapists and worse.
It’s an established action film trope. The fire team comprised of ex-military personnel, move in on their target. Only to have the tables turned by someone they don’t deem a threat. What makes it different in The Last Stand of Ellen Cole is a throwaway line of dialogue. The bested operative lies bleeding on the floor and the protagonists stands over them ready to finish them off. “Don’t, I have a cat” they feebly plead. For me that was the icing on the cake. The movie had already established it was taking the “same old, same old” and doing something different. Something fun, if taken in the right spirit. This scene tipped the balance and I embraced this film because it was being honest about what it is. This is a modern B movie that decides to give a very specific sub-genre a makeover. Furthermore, its clearly done with an affectionate wink, which is very different to sly wink. This isn’t deliberate self-knowing irony. Its just a film doing something different and possibly silly but it genuinely wants to have fun with it.
Stephen King’s dystopian story, The Running Man, was previously adapted very loosely in 1987, as a vehicle for Arnold Schwarzenegger. That version focused mainly on the “Battle Royale” element of the story and leaned heavily into Arnie’s personality, rather than the politics of the book. It also wasn’t well received by the author. Edgar Wright’s remake follows the source text a lot more closely and is far more interested in its political themes and wider social commentary. Furthermore, this version re-establishes the everyman quality of the hero of Ben Richards, rather than him being the muscle bound, ex-military hero as per Mr. Schwarzenegger’s prior interpretation. This time round, The Running Man uses a lot of the visual and narrative tropes of contemporary reality TV, making this forty three year old story very relevant to today’s viewers and couching the film in a style that is recognisable and accessible.
After the success of Raiders of the Lost Ark in 1981, filmmakers scrambled to find existing intellectual properties that they could use for similar films. Hence archaic heroes such as Alan Quatermain were hastily given a modern makeover and thrust into generic movies, in a vague attempt to replicate Steven Spielberg’s successful formula. Which brings us neatly on to James Charles Bigglesworth AKA “Biggles”, a fictional pilot and adventurer from a series of books written by W. E. Johns between 1932 and 1968. Several attempts had been made in the past to bring this character to the silver screen, including one by Disney but they all failed. However, the commercial and critical success of Indiana Jones provided sufficient impetus to greenlight a new film. However, due to some curious production choices, when Biggles was finally released it was far from just a period set, action movie.
Setting aside the hubris of remaking a film such as Red Dawn, the 2012 reboot had a troubled production. Shot over the course of late 2009, on location in Michigan, MGM intended to release the film in September 2010. However, the studio’s financial problems became unsustainable over the course of that year and the film was shelved, while a financial solution was sought. Furthermore, while Red Dawn was in post production, there was a major economic shift within Hollywood due to the increasing importance of the Chinese market. This was a significant problem for MGM because the new version of Red Dawn had the Chinese invading the USA instead of Russia. Hence there were reshoots and the need for additional visual effects, so that the Chinese could be replaced with North Koreans. MGM eventually went bankrupt and the distribution rights to Red Dawn were sold off. The film was eventually released in 2012.
When I first saw the promotional trailer for Gangster Squad back in 2012, prior to its release, I wasn't especially impressed. I simply thought the film was another attempt to re-invent the gangster genre for a generation who were not especially familiar with it. I wasn't exactly overwhelmed with director Ruben Fleischer's resume either. I didn't particularly like Zombieland and haven't seen 30 Minutes Or Less. Then came the tragic mass shootings in Aurora, Colorado which led to the movie being delayed so that the original ending, which featured a shoot-out in a movie theatre, could be replaced. Hence when I finally watched this film recently, I wasn't expecting a movie up to the standards of say Once Upon A Time In America or Miller’s Crossing and it would seem that I was right do so. Gangster Squad is not especially noteworthy in any respect.
Levon Cade (Jason Staham) is a former Royal Marine Commando who has retired from military service and now works as the leader of a construction team in Chicago. He has a close relationship with Joe and Carla Garcia (Michael Peña and Noemi Gonzalez ) who run the company and considers them as family. Outside of work, Levon is involved in a bitter custody battle for his daughter, against her maternal grandfather, who blames Levon for his daughter’s suicide. When Garcia's teenage daughter Jenny (Arianna Rivas) goes missing, Levon reluctantly agrees to help her parents and get her back. Beginning his search at the nightclub where Jenny was last seen, he soon discovers that she was abducted by Russian traffickers. Furthermore, the culprit is Dimi Kolisnyk (Maximilian Osinski), the wayward son of a senior ranking gangster.
PC Nicholas Angel (Simon Pegg) is an exemplary Police Officer, with a strict adherence to the letter of the law. As a result of making the rest of the London Metropolitan Police look bad, he is transferred to the rural town of Sandford, Gloucestershire. On arrival, Angel finds that the local Inspector, Frank Butterman (Jim Broadbent), takes a far more laissez-faire approach to policing. His colleagues are incompetent and he is further hampered by the Neighbourhood Watch Alliance (NWA), who prioritise low crime statistics over law enforcement due to their desire to win the title of “Village of the Year”. Furthermore, Angel is partnered with the Inspector’s son, Constable Danny Butterman (Nick Frost), who is infatuated with “buddy cop” movies and is in awe of Angel’s London experience. “Have you ever fired two guns while jumping through the air?” However, a sudden spate of grisly accidents lead Angel to believe that there's more to the seemingly tranquil and picture-perfect community than meets the eye.
As a collection of history's worst tyrants and criminal masterminds gather to plot a war to wipe out millions, one man must race against time to stop them. Discover the origins of the very first independent intelligence agency in The King's Man. Based on the Comic Book “The Secret Service” by Mark Millar and Dave Gibbons. 20th Century Studios
Matthew Vaughn’s The King’s Man is an inconsistent film, both narratively and tonally. It veers between serious themes and stylised, hyperbolic action. At times it does quite a good job of exploring such complex subjects as global politics, mechanised warfare and colonialism. Sadly it then wrenches the viewer out of these cerebral reveries as it lapses into the sort of over the top action sequences that were notable in the two earlier films. It’s a shame because The King’s Man gets so many other aspects of the production right. The casting is very interesting, especially Ralph Fiennes as the “pacifist” Duke of Oxford. He is actually a very good fit for the action genre. Djimon Hounsou and Gemma Arterton are given little backstory beyond being respectively the faithful manservant and the family nanny but both are notable due to their own inherent acting chops and personal charisma. Rhys Ifans obviously has a great time as Grigori Rasputin, ensuring all the man’s vices are robustly depicted.
On paper, a video games franchise such as Assassin’s Creed lends itself perfectly to a cinematic adaptation. The parkour action scenes, the historical settings and the contemporary conspiracy theory themes are all elements that should play well with a modern youth audience. Hence with the backing of a major studio such as Twentieth Century Fox and a budget of $125 million, the 2016 movie should have been a guaranteed box office hit. The casting of Michael Fassbender, an actor who is comfortable with serious roles and big Hollywood franchises, should have carried this film comfortably over the finishing line. Director Justin Kurzel, who had found critical success with his adaptation of MacBeth a year previously, must have looked like a safe pair of hands to handle such a project. Sadly, that was not the case. Assassin’s Creed is not the sum of its parts, in fact many elements appear to be pulling in opposite directions. The resulting feature film is staggeringly dull, soulless and a chore to watch. A testament to how modern big budget franchise movies have become a production line, with all the art stripped from them.
300: Rise of an Empire is a curious beast, being neither a sequel nor a prequel. It is infact a tale that takes place simultaneously with those of the original movie. While Gerard Butler is busy making a last stand at the Battle of Thermopylae, fellow warrior and politician Themistokles, played by the singularly uncharismatic Sullivan Stapleton, leads a similar army of buffed Greeks against the Persian fleet. Once again we have a movie that is the epitome of style over substance, complete with a sound design that challenges what can physically be endured by human hearing. They say the first casualty of war is innocence but in this type of movie it's closely followed by historical accuracy and authentic depictions of ethnicity. 300: Rise of an Empire is a cinematic assault upon the senses but not in a good way like Mad Max: Fury Road.
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.
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.
Forensic accountant Owen Casserly (Jake Weber) flees his home with his teenage son Connor (Finn Little) when he discovers he has been targeted by a pair of assassins (Nicholas Hoult and Aidan Gillen) who have been hired to stop him giving evidence in a major corruption case. Connor witnesses the murder of his father after their car is run off the road. Entrusted with important written evidence, he escapes into the dense forests of the Montana wilderness pursued by the killers. Seeking help he runs into smokejumper Hannah Faber (Angelina Jolie) who is stationed at a remote fire lookout tower. Hannah suffers from PTSD from a previous forest fire in which she was unable to save three young boys. Hannah attempts to lead Connor through the forest to safety. Meanwhile the assassins set fire to the forest to divert the attention of the authorities and cover their tracks.
I must admit that I did not have particularly high hopes for Paul W S Anderson's remake of the 1975 Roger Corman produced cult classic. Anderson’s work varies greatly. Event Horizon and Soldier are solid genre films but I still have not fully come to terms with Alien vs. Predator. Jason Statham is also a name that divides the public, with solid material such as The Transporter and unfathomable tosh like Revolver. But despite these considerations, Death Race is in fact quite a surprise and does not follow the path that so many remakes do. It takes the basic themes and concept associated with the original and tries to do something different with them. It doesn’t reinvent the wheel nor is it a genre milestone. But it does offer a different spin on things, have some engaging action scenes and provide some dumb but enjoyable entertainment. When combined with snacks and some beer this is a passable way to kill 111 minutes.
I did not watch Zero Dark Thirty upon its initial release, due to the politics surrounding it. I wanted to be able to view it free from bipartisan debate. Eight years on I believe this now achievable and although debate still exists it is now more measured and less strident. Zero Dark Thirty is certainly a compelling movie. It plays as a docudrama, providing an in-depth study of the US intelligence services hunt for Osama Bin Laden. It cannot be faulted on a technical level and the performances are very strong. It does not adopt a celebratory or triumphalist tone in its approach to the story. Director Kathryn Bigelow endeavours to keep the proceedings focused upon the intricacies of an intelligence driven manhunt. There is little or no tubthumping, jingoism. The decision to find Bin Laden is shown as a political and military exercise of foreign policy. The film solely focuses on the story from a US perspective but that is perfectly acceptable as it is not intended to be an exploration of geo-politics.
Firestorm was originally written as a vehicle for Sylvester Stallone, however when the production company Savoy Pictures went bankrupt the screenplay was bought by Twentieth Fox and the scope of the movie reduced to suit a lower budget. It’s broadly similar to Cliffhanger in so far as the lead character is a specialist in a certain field who runs afoul of criminals in a perilous environment. Whereas Cliffhanger is set in the Rocky Mountains, Firestorm takes place in the forests of Northern Wyoming. After the script was revised four times, the finished screenplay was given a final “polish” by Graham Yost who has considerable experience with the action movie genre. As stallone was no longer associated with the project and the production had been repurposed to be less extravagant, the movie was assigned to former NFL star Howie Long. Long had already appeared in the John Woo movie Broken Arrow (1996) and the Firestorm was seen as a means to give him a star vehicle.
The original French movies District 13 and its sequel District 13: Ultimatum, conceived and produced by Luc Besson, were enjoyable variations of the Escape from New York theme. Their charm lay in their European pedigree and the skilful use of parkour. The two leads, David Belle and Cyril Raffaelli, were eminently suited to the minimalist roles and the screenplays were fun. Half of these movies appeal was the fact that they were not mainstream US products. Brick Mansions is the Hollywood remake of District 13, as well as being Paul Walkers’ final movie. Sadly, this film is far from a fitting epitaph, being devoid of any charisma or innovations. It is blandly shot , poorly edited and has been stripped of everything that made the original entertaining.
Arnold Schwarzenegger's return to the big screen after his political career has been uneven to say the least. His cameos in The Expendables and The Expendables 2 were well received, with their self referential charm and age related irony. Yet his first major movie The Last Stand, although competent, failed to find an audience. Escape Plan fared better at the box office but did not put Arnie back on the A list. Effectively there's a large percentage of the contemporary cinematic audience who were born after his heyday and are simply not overt fans of his work. His core audience is more than likely of the age group that consume most of their film entertainment at home. Which may explain why Sabotage tanked in the US upon release on March 28th 2014. It was the worst opening box office of Arnie's career. He used to break first day opening records.
Sequels and reboots are hardly a new concept and have been a part of Hollywood culture since the 1930s. The success of the Universal Horror movies from that era being a prime example of direct follow ups and retconned movies. However, there is one fundamental rule that distinguishes a good sequel from a bad one. You should never mitigate, undermine or make irrelevant the events of the previous movie, just to provide your new film with a raison d'être. For example, the events of Aliens do not contradict or trivialise those that happened in Alien. In fact with that franchise there is a very clear logical progression between the two movies. The same is true for Mad Max and Mad Max 2 or Star Wars and The Empire Strikes Back. The key is to progress a story, enhance it or explore things from an alternative angle and bring something new to the cinematic table. Sadly this philosophy is all too often lost on corporate film making. Which means that many sequels are just tedious replays of prior films. Terminator: Dark Fate falls squarely into this category.
The enduring appeal of the character John Rambo in First Blood comes from the fact that he is a traumatised ex- service man who keeps himself to himself as he drifts from job to job, trying to come to terms with his wartime experiences. His poor treatment at the hands of a small-town Sheriff is a succinct metaphor for the social and political indifference that Vietnam veterans were shown upon their return to the US. He’s a man with a code in a world that no longer has any use for him. His simple and honest patriotism is not returned and he is in fact viewed with shame by many from the nation he loves. Furthermore, the first movie does not paint him as a cold-blooded killer. Despite provocation he is not the first person to shoot to kill. Rambo is in many ways a victim. A broken man, who society has asked to do unspeakable things. Now society wants nothing to do with him and fears the “monster” they created. Although clearly an action movie, First Blood had narrative depth and a flawed but sympathetic protagonist. 37 years and four movies later, such dramatic themes have long left the franchise. The central character is indeed a caricature of its former self.
It was hardly surprising that the movie adaptation of Chris Kyle's autobiography American Sniper, would cause controversy. The Iraq war, US Foreign Policy and national pride are seldom subjects that are discussed in a calm and measured fashion. And then there are the personal politics of director Clint Eastwood to consider. Hence there were claims from some quarters upon the movie’s release, that it was Islamophobic and counter claims that criticisms of the late Chris Kyle were unpatriotic. There still remain issues regarding the authenticity of events depicted in the source text and subsequently the movies screenplay by Jason Hall. Yet none of these factors have in anyway impacted upon the film's box office returns which currently stands at $247,900,417 worldwide.
Do I really need to present you with some sort of plot synopsis for Transporter 3? No, I didn’t think so. More of the same as Frank Martin (Jason Statham) and his police chum, Inspector Tarconi (Francois Berleand) become embroiled in yet another high-octane escapade. There's fights, car stunts, exotic international locations and a strong sense of humour. This time, the disposable love interest is a Ukrainian girl named Valentina (Natalya Rudakova) who fulfils her role succinctly. The film benefits by being set back in Europe, after the mistake of basing Transporter 2 in the US. This time, the story takes us to such locations as Budapest and Odessa. The international film crew once again bring a veneer of panache to the production that is conspicuously absent in US action movies. For a modest budget fil, Transporter 3 it looks very good. Again the proceedings are given a boost by a pertinent soundtrack by Alexandre Azaria and a selection of European “tunes”.
Jason Bourne originally graced our screens for the first time seventeen years ago. The Bourne Identity was a gritty, minimalist take on the espionage genre and a welcome change from the excesses of the Pierce Brosnan Bond era. The story arc was sustained over three movies and ended efficiently and succinctly. After which Matt Damon moved on, as did the director of two of the movies, Paul Greengrass. Which leaves us with The Bourne Legacy; the tangential sequel that arrived in 2012. A film that exists because the money men and bean counters hate to pass up on a franchise until it has been squeezed utterly dry. Hence, they commissioned the writer of the series, Tony Gilroy, to come up with a screenplay and direct a spinoff movie. Jeremy Renner was cast in the lead role. Yet despite narrative and production continuity, The Bourne Legacy was not a Jason Bourne movie with the star appeal of Matt Damon. Although the film turned a profit, it had the lowest box office returns out of the entire franchise.
During the eighties there was a clear league table of action movie stars. By the mid-nineties this system fell into decline and the Hollywood lacked any clearly defined exponents of the genre. A decade later, due to the success of Luc Besson’s Transporter films, Jason Statham became a bankable box office star in this field. When you look at Statham's early work in Lock, Stock and Two Smoking Barrels it is hard to envisage the "mockney geezer" as an international action star. Yet he has successfully stepped into the role and enjoys a large following. I enjoy his work as he has a likeable on-screen persona. My 88-year-old Mum likes him to because "he wears nice suits". The action genre seldom reaches such a diverse demographic.
Before we start, I recollect that one well known UK critic described Safe House as sub-Tony Scott, upon its release. Now I’ve always been conflicted over Scott’s back catalogue, as I’ve always found his movies to be hampered by their own unique style. The subtleties of his characters and depth of his themes are all too often drowned out by his frenetic style and fast paced editing. Therefore a comment such as this really sets off alarm bells for me. Having recently watched The Equalizer 2, I wanted a further fix of Denzel Washington in a similar action vehicle. As Safe House was available on Netflix UK, I decided to kill a couple of hours and see what actually constitutes as “sub-Tony Scott”.
13 Assassins is one of Takashi Miike's most restrained and mature movies. Set in Feudal Japan and based on true events, a venerable clan suffers under the reign of the cruel young Lord Naritsugu (Goro Inagaki), who commits atrocities at will. Unable to break their oaths, the samurai are torn between duty and shame. Some of the masters in the clan even go so far as to commit Seppuku in protest. Unable to endure the status quo, a plan is formed to gather a small team of the deadliest samurai and assassinate Lord Naritsugu while he is travelling between clan territories. The responsibility falls upon Shinzaemon Shimada (Koji Yakusho) to take on this potentially fatal task. The matter is further complicated by Lord Naritsugu’s personal bodyguard (and Shimada’s former rival) master samurai Hanbei (Masachika Ichimura), who is a force to be reckoned with.
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.
In 1968 the dilapidated freighter Corita hastily leaves Freetown to avoid a customs inspection. Captain Lansen (Eric Porter) has a cargo of dangerous explosives which he is smuggling so he can finally retire. His ship’s passengers also have reasons for leaving in a hurry. Dr. Webster (Nigel Stock), together with his daughter Unity (Suzanna leigh), is relocating due to his indiscretions with patients and illegal operations. Alcoholic pianist Harry Tyler (Tony Beckley) is aimlessly drifting from port to port. Eva Peters (Hildegard Knef) is fleeing from her husband with stolen bearer bonds which she intend to use to buy back her son from his evil clutches Caracas. Ricaldi (Ben Carruthers), a questionable lawyer, is pursuing Eva to retrieve the stolen bonds. First officer Hemmings (Neil McCallum) suggests that the ship should return to Freetown after an imminent Hurricane warning. The Captain asks the passengers and they are unanimous that they do not wish to return. However a mutinous crew, the bad weather and the instability of the explosives force everyone to abandon ship. The survivors find themselves adrift in a lifeboat surrounded by a strange carnivorous seaweed.
Despite being considered by many as an original story, The Abominable Snowman (1957) is in fact a remake of a made for television play, The Creature, that was originally broadcast in the UK in 1955. Hammer Films would often purchase the rights of popular TV programs and subsequently re-work them for mainstream, international cinema. Larger production budgets and fewer censorship restrictions allowed them to make their cinematic interpretations more lurid, thus commercially viable. Hence The Quatermass Xperiment, Quatermass II and Quatermass and the Pit were all given a big screen makeover and were commercially successful. The Abominable Snowman was written by acclaimed writer Nigel Kneale, who also wrote the original television drama and the aforementioned Quatermass trilogy. Although ostensibly marketed as a horror film this production is actually an interesting blend of psychological thriller and science fiction.
In the near future, Kepler 822, a research and drilling facility located at the bottom of the Mariana Trench, suffers a sudden and catastrophic structural failure. There are only six survivors. Mechanical engineer Norah Price (Kristen Stewart), Captain Lucien (Vincent Cassel), biologist Emily Haversham (Jessica Henwick), engineer Liam Smith (John Gallagher Jr.) and crew members Rodrigo (Mamoudou Athie) and Paul (T.J. Miller). As all the functional escape pods have been used and they are unable to contact the surface, the Captain suggests using pressurized suits to walk one mile across the ocean floor to the Roebuck 641 drill installation. There they will find more escape pods. However, it soon becomes apparent that the disaster was not caused by an undersea earthquake and that they are not alone as they make their journey.
One of the most common objections raised regarding the Jurassic Park/Jurassic World franchise is that the films are specifically made to obtain a PG-13 rating from the Motion Picture Association, for purely commercial reasons. Hence, in all films, there is little on screen violence and the dinosaurs are mainly portrayed as a threat and a means of providing jump scares. When a character is killed by a dinosaur it usually happens off screen, is obscured by something else in frame, or is shown in long shot with very little detail. The realities of being eaten alive by a predator are conspicuously absent. Hence, audiences looking for films featuring more graphic dinosaur attacks, have not been well catered for apart from some minor direct-to-video titles. Primitive War finally fills this gap in the market with a frenetic genre mashup that strives to punch above is budgetary weight.
Fluke is a curious film about a man who is reincarnated as a dog and his subsequent realisation that he may have been murdered. It takes an adult novel by British author James Herbert, which is filled with philosophical musing and strives to adapt it in a far more family friendly fashion. The result is a somewhat bipolar production which thematically alternates between existential introspection and Buddhism. It then strives to deliver its message in a Disneyesque idiom. Children will potentially be confused and upset by what they see and adults will be wrongfooted by the continual shift in tone. Fluke was not a critical or commercial success upon release and the flaws that were identified by critics at the time still ring true today. That being said, Fluke is still an interesting and entertaining film, despite its faults.
When reviewing Sting, one critic stated that the small scale setting and thus, low stakes (IE only a few peoples lives are at risk), made the film not especially memorable. I consider this to be a somewhat spurious criticism. It is the very fact that Sting takes place in such a commonplace environment, with the main characters being everyday people that makes it different. There is a clear focus on well defined characters and their backstory. Unlike so many contemporary films, I actually gave a damn about the protagonists in Sting. An integral aspect of the horror genre is the ability to take a well known and familiar trope and provide a different and absorbing spin on it .It would appear that some audiences have been belaboured over the head by so many overblown and bombastic blockbusters, that the very notion of depicting small, localised and intimate events in a film, seems to bamboozle them.
When I first saw Mimic in 1997, I was impressed by the fact that it offered a different perspective on the monster movie genre and that it seemed to have moments of greater depth than you'd expect from such material. Later on when I became more aware of the works of writer, director Guillermo del Toro, I learned that this movie had had a troubled production and that Miramx had imposed specific requirements upon the final cut of the film. This explained some of the movies inconsistencies and hinted at a far more ambitious artistic endeavour by del Toro. Initially Mimic was conceived as a thirty minute short and part of a three part anthology movie. However it along with the sci-fi film Imposter were both deemed to be of sufficient merit to be developed into feature length productions.
During the seventies, Hollywood started looking to ongoing societal and political concerns as a source of material for movies. Hence, the energy crisis, terrorism and global pollution quickly found themselves being subsumed into hastily written screenplays, in attempt to be topical, commercially successful and relevant. Prophecy based upon a novel by David Seltzer tackled not only the issue of pollution but also the ongoing disenfranchisement of Native Americans. Paramount studios went so far as hiring an established director of note, John Frankenheimer. In many respects this movie should have been a bigger success with a reasonable budget, robust cast and studio support. Sadly it did not fare well, either critically or at the box office due to obvious flaws in the production. Despite his outstanding body work, (Birdman of Alcatraz, The Manchurian Candidate) Frankenheimer was not the best choice of director for a genre movie such as this and he was also going through a period of alcoholism.
In Agua Dulce, California, the Haywood family trains horses for film and TV productions. One day at the Haywood ranch, small metal objects unaccountably fall from the sky. One of which, a nickel, kills Otis Haywood Sr (Keith David). His children, Emerald “Em” Haywood (Keke Palmer) and Otis “OJ” Haywood Jr. (Daniel Kaluuya), continue to run the business. However, due to the loss of a contract, they have to sell some of the horses to Ricky “Jupe” Park (Steven Yeun), who operates a Western theme park called Jupiter's Claim. One night, the Haywood’s notice the electricity supply fluctuating and their horses violently reacting to an unknown presence. They discover that something has been taking their horses and regurgitating inorganic matter, which OJ believes caused their father's death. The Haywood’s decide to obtain proof and subsequently ask electronics store employee and UFO enthusiast, Angel Torres (Brandon Perea) to set up surveillance cameras.
Back in 2018 I wrote the following about The Meg in my review. “My interest doesn’t go so far as a sequel. This sort of movie is the equivalent of a greasy burger you buy at the funfair. It’s fine once in a while as an indulgence, despite the fact that you know it’s bad, but you would soon tire of them being a regular part of my diet”. Five years later, I foolishly thought it may be “fun” to give the sequel, Meg 2: The Trench (2023), a go. Especially in light of the fact that it’s directed by Ben Wheatley. Surely such a filmmaker would bring some creativity and a fresh perspective to this franchise? Nope. Turns out he didn’t. Meg 2: The Trench lacks everything that made its predecessor tolerable. This superfluous sequel is an uninspired, poorly written mess which confuses turning everything up to eleven with entertainment. It gets nowhere near “it’s so bad, it’s good” territory. Instead it makes the biggest mistake a film of this nature can do. It’s dull.
Not to be confused with the Shaw Brothers martial arts film of the same name from 1978, The Deadly Mantis (1957) is a creature feature in the idiom of Them! (1954). Unlike that film’s mutant ants, the monster on this occasion is not the product of the atomic age but a giant prehistoric praying mantis that has been released from the polar ice caps. Exactly how a creature associated with more tropical regions came to be at the North Pole is never explained. In fact precious little is in The Deadly Mantis. The film’s overall scope is somewhat limited with a basic story, limited action scenes and a rather dull cast of generic characters. There is an over reliance upon stock footage from period military documentaries and previous Universal Studio feature films. The film’s biggest failing is the giant praying mantis which does most of its rampaging conveniently off camera. It’s all rather disappointing.
It is no secret that the film industry relies on a handful of common tropes as the mainstay of their cinematic output. It uses timeless themes, storylines and archetypes that have featured in folk tales, plays and literature throughout history. Hence their familiarity with audiences around the world. Where the skill in filmmaking lies is to take a common, well known idea and interpret it in a new and innovative fashion. Akira Kurosawa took Shakespeare’s MacBeth and retold the tale through the prism of Japanese feudalistic culture. The result, Throne of Blood, is considered a masterpiece. Similarly, The Lion King retells the same story through the medium of animation and anthropomorphic wildlife. All of which proves that the key to successfully retelling a familiar tale is to be creative with regard to setting, presentation and perspective.
Jurassic World Dominion is a textbook example of a franchise that has run out of steam. Despite the enormous budget, the top notch production values and the presence of three members of the original cast, this is a long, tedious and curiously uneventful film. It has nothing new to say about environmental matters or unfettered science; themes that were front and centre in previous instalments. Nor does it do anything interesting with the main plot device of dinosaurs trying to integrate into our current ecosystems. But perhaps its biggest failing is the conspicuous lack of tension. The denizens of Jurassic World are simply not a threat and fail to have any emotional impact. The film doesn’t even placate viewers with superfluous cast members being eaten. The onscreen deaths by dinosaurs are rather tame.
Set in Brazil in 1901, plantation owner Christopher Leiningen (Charlton Heston) makes arrangements to get married. He has spent his entire life building his estate and reclaiming land from the jungle. He is fiercely independent but he is also alone and isolated. Joanna Selby (Eleanor Parker) from New Orleans agrees to marry him but their first meeting does not go well. Leiningen is unhappy to discover that Joanna is a widow and hence has a past, so he tells her to return to America on the next available boat. However, local commissioner (William Conrad) informs Leiningen that swarming soldier ants, or Marabunta, are moving towards his plantation destroying everything in their path. Leiningen refuses to abandon his life’s work and is surprised when Joanna decides to stay with him. Can they convince their native workers to stay too and can they defend the estate from the Marabunta, described as “forty square miles of agonising death”.
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.
The seventies saw a minor boom in creature feature films after the box office success of Jaws. Hence, we had movies such as Orca (1977), Tentacles (1977), The Pack (1977) and Piranha (1978). If an animal could eat you or potentially pose any threat to people, someone somewhere would make a movie about it. Usually a bad one. A few of these even dared to stray into other hot topics of the time such as pollution and protecting the environment. Some would even invoke mysticism and folk lore to facilitate their protagonists. Nightwing is one such curious genre hybrid which combines vampire bats, shale oil mining and Native American culture in its clumsy and unsubtle plot. It’s a somewhat odd undertaking, directed by Arthur Hiller. His previous work included Love Story (1970) and Silver Streak (1976), so he was not the first person you’d expect to see associated with such material. The film doesn’t work well as either a horror movie or an exploration of social issues, but like so many movies from this era, it is of interest mainly due to its sheer incongruity.
If you have seen any of the marketing material or trailers for The Meg, then you know exactly what you’re getting right from the get-go. All movies inherently require the viewer to suspend their sense of disbelief to various degrees. Naturally, the “creature feature” genre asks audience to go the extra mile with this concept. The Meg takes a major gamble by insisting that everyone goes further still, not by believing in a giant prehistoric shark (Megalodon) but that Jason Statham is a ex-navy, deep sea rescue diver. However, it pays off and the resulting movie is staggeringly stupid, but mercifully entertaining in an undemanding way. Recent movies such as Into the Storm and Geostorm are crass and made worse by their implicit assumption that their viewers are stupid. The Meg is far from cerebral but has an upbeat tone and a sense of playfulness that knowingly invites the audience to come aboard with the silliness. It’s a big distinction and the reason why I smiled a lot and frequently rolled my eyes while watching The Meg, but never with derision.
Critical opinion was very much split this summer when Jurassic World: Fallen Kingdom was released. However, the viewers were somewhat indifferent to the opinions of the professional critics and the movie made a healthy $1,303,476,615 globally, proving once again that the public’s’ continuing love affair with “all things dinosaur” shows no sign of abating. When you factor in the home media market into overall profits, the entire Jurassic Park franchise will have made $5 billion worldwide. So, bearing in mind the old adage that “money talks and bullshit walks”, I think it’s safe to say there’ll be more instalments in the years to come. When faced with such overwhelming box office popularity it seems somewhat pointless to dissect the latest movie, because the film seems to be bullet proof regardless of narrative flaws or ill-conceived plot devices. However, film criticism isn’t about box office popularity but about analysing the relative quality of a movie’s construction and its subsequent standing.
I first saw The Land That Time Forgot way back in 1975 at the Odeon Isle of Wight, when it was first released. We were on holiday at the time, which was cause for celebration in itself, as these were few and far between during my youth, due to the state of the UK economy at the time. But to then go to the cinema and see a fantasy film, filled with action, adventure and monsters, was the icing on the cake for an over excited eight-year-old. Adapted by Michael Moorcock and James Cawthorn from the 1924 the novel by Edgar Rice Burroughs, The Land That Time Forgot is a classic example of high adventure on a low budget. Its technical shortcomings were even apparent to me as a child, yet there was a charm and honesty to this curious British production, that had the audacity to try and compete with the likes of more expensive US productions such as The Golden Voyage of Sinbad and Island at the Top of the World.
Black Sheep is a high concept horror comedy from New Zealand. Featuring creative physical effects by Weta Workshop, this tale of genetically modified killer sheep, animal husbandry and environmentalism requires a very broad sense of humour and an abiding love for the “creature feature” sub-genre. It should be noted that the copy I watched was the unrated R1 DVD. This version is stronger in content than the R rated US theatrical release and yet was released at the UK cinemas with only a 15 rating from the BBFC. I suspect that the similarities in humour between the UK and New Zealand contributed to this somewhat low rating. That and the fact that horror comedy often gets a free pass because the humour always tends to mitigate the violence.
Frank Darabont achieved both critical acclaim and mass appeal with his adaptations of The Shawshank Redemption and The Green Mile. In 2007 he returned once again to the work of Stephen King with his film version of The Mist. It’s a sideways step away from human drama into a more genre piece, yet it still retains a very traditional story at its heart. Once you look beyond the superficial elements of "creature feature" plot, you get yet another well written character study by an ensemble cast, again focusing on how the human condition deals with extreme situations. The particular route it takes and some of the themes it explores may not be to everyone's taste. However, it still focuses on characters and performances. It is also a movie that ends with a somewhat unexpected plot development, that some viewers may find a little extreme. It is one of those film related twists that if known in advance, greatly diminishes once enjoyment of the film.
When you see the names of such cinematic luminaries as Steven Spielberg and J.J. Abrams together on the same movie poster, naturally your expectations are going to be high. Yet when watching the various trailers for Super 8, just prior to its release in 2011, I was somewhat cautious. I have discussed in the past at some length the ambiguous nature of trailers and that they can misrepresent a film. Yet even bearing this in mind at the time, I couldn’t help but feel that Super 8 seemed like a somewhat self-indulgent homage to Spielberg's earlier work. I subsequently saw the movie at the cinema in August that year and my suspicions were validated. However, over time I have spoken to several friends who are advocates of the movie, so I thought I’d watch it a second time. Sadly, I still find myself unable to label Super 8 as anything else other than adequate. Now I would hasten to add, that I use adequate within the context of both director’s body of work. An adequate film from either Mr Spielberg or Abrams is still superior to many of their competitors. But that's not the point. I simply expected better from such a project.
Having recently sat through Orcs! I decided to take a further chance and watch Orc Wars. It too is a very low budget film, although this time the finances were raised through crowdfunding. Sadly, it is not the fun, tongue in cheek, independent adventure movie the trailer and associated marketing implies. There is very little merit in this production. It's cheap, cheerful and although harmless, it clearly demonstrates that not all fan funded projects are good cinema. Some are just indulgences. The problem is in the title itself, which tries to sell an idea that the movie production is incapable of delivering. Instead of the spectacle of an army of a thousand Orcs pitted against the technological might of the US war machine, we get a few extras in ill-fitting costumes, running skirmishes against no-name actors on quad bikes and a few old Army Surplus vehicles. It's all rather lacklustre and underwhelming.
As a fan of the horror genre I’ve sat through numerous low budget films in my time. This has usually been at festivals or conventions. Sometimes watching something as part of a group, with likeminded individuals, makes a difference. You find yourself groaning in unison and the shared experience helps compensate for potential deficiencies. Watching questionable material in the comfort of your own home, purely on your own can be a lot tougher. However, due to my abiding love of the genre, I am prepared to cut a lot of cheap ass indie flicks considerably more slack than I would others. So, I'll endeavour to review Orcs! with as much impartiality as possible. Oh, and before we start, let us clarify the term Orcs. Although Middle-earth is not referenced in any way, this film is definitely about Tolkien's creations. Or at least their depiction in another well-known series of films.
10 Cloverfield Lane blends several cinematic genres producing an interesting premise. Once it has established its narrative arc, it then dives head long into an exciting and tense one hundred and four minutes. The movie is not a direct sequel to Cloverfield (2008) but does touch upon some of the same themes and ideas. Made on a modest budget of $15 million, the claustrophobic setting of a nuclear bunker accommodates strong performances from the lead actors. It is not until the third act when the story movies back to the outside world, do we see any major visual effects. Overall, this is a very compelling film due to the strong screenplay and well defined central characters.
I did my best to avoid the hype surrounding the initial release of Cloverfield. Such media saturation and public interest can often cloud the issue of whether the actual film is any good. Five years later and having watched the movie twice, once in the theatre and once at home, I am still somewhat conflicted about this movie. The use of hand held video cameras is both a boon and a bane. The constant movement of the image has proven to cause motion sickness for some viewers, although this is not so overwhelming when viewed on a smaller screen at home. Yet the medium of news footage mixed with handheld cameras does create a palpable sense of immediacy. This helps immensely when trying to sell a fantastic concept, such as the one that Cloverfield features.
The enigma of the Xenomorph in the Alien franchise is diminished once you start to rationalise its heritage. Sadly, that’s exactly what Alien: Covenant has chosen to do. It jettisons the mystery of the original 1979 movie and pulls back the curtain, so wisely put in place thirty-eight years ago, to reveal a rather lacklustre explanation to the Xenomorph’s origin. Having spent nearly $100 million and employed a production team of some of the finest talent that money can buy, the resulting movie is not bad per se, just crushingly superfluous. After watching Alien: Covenant this week, my overall reaction can be distilled down to a deep sigh of indifference and a shrug of the shoulders.
I have written many times in recent years about how big titles get announced by the gaming industry, of the ensuing hype up that leads up to launch day and then the subsequent disappointment on purchase. It is a malady that has afflicted the movie industry for decades and has become increasingly more common in the last decade. Hype has a curious link with reputation. There are a handful of directors in contemporary Hollywood who when they add their name to a production, people take notice. Ridley Scott is one of these. His body of work pretty much guarantees he can make whatever he wants, be it a commercial undertaking or a ludicrous vanity project. However, the downside to being a film maker of this stature is that you are not so easily exposed to proper scrutiny by your peers. No one stops you from making a mistake because you are supposed to know what you are doing. They let you do what you want. Which is bad.
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.
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.
Soldier Blue is an American Revisionist Western from 1970, directed by Ralph Nelson, telling a fictionalised account of the events surrounding the 1864 Sand Creek massacre in the Colorado Territory. It was written by John Gay based on the novel "Arrow in the Sun" by Theodore V. Olsen and starred Candice Bergen, Peter Strauss, and Donald Pleasence. The title song was performed by Buffy Sainte-Marie. Released during the height of the Vietnam War against the backdrop of the Mỹ Lai massacre, it provided a depiction of a notorious incident in the history of the American frontier, in which troops massacred an undefended village of Cheyenne and Arapaho Indians. The film creates a back story involving the escape of white survivors from an earlier massacre of U.S. Cavalry troops by Indians. The film was controversial at the time not only as a revisionist western but for its graphic levels of violence. Director Nelson, pushed the depiction of the violence to new levels, showing graphic rape scenes, as well as "realistic" atrocities.
I have been revisiting the western genre and reacquainting myself with some of its more cerebral examples. Ulzanna’s Raid (1972) and Tom Horn (1980) certainly helped remind me of the diversity of themes and the scope of subjects that this genre has explored over the years. Obviously due to the westerns decline in popularity, there are fewer examples to cite from recent years, although I would single out Open Range (2003) and 3:10 to Yuma (2007). However, Appaloosa (2008) is a movie that embodies all the narrative qualities that a good western can achieve and furthermore it does so without the need to re-invent the wheel. In structural terms, this is old school cinema and all the better for it.
Stephen King’s body of work has proven to be an invaluable source of material for film and television over the last forty years. The results have often been as varied as the books themselves. Because of the inherent differences between the respective mediums, sometimes the complexity and sheer scope of King’s work can be lost in translation from one to the other. It’s happened before with several high-profile adaptations and it will no doubt happen again. The Dark Tower is a classic example failing to capture the essence of King’s work. Trying to distil and convey a mythos that is spread over eight volumes, into a single movie is a tall order for any director and screen writer. It can be cogently argued that material of this sort is better suited to television where lengthy, complex story arcs can be indulged and characters can be explored at leisure. In fact, during it’s time in development hell, The Dark Tower was at one point destined to be adapted for the small screen. However, the desire to create a lucrative film franchise ultimately prevailed.
The Hunting Party is a curious Western, made at a time when the genre was struggling to maintain its popularity with the viewing public. Melissa Ruger (Candice Bergen) is a school teacher married to wealthy Cattle Baron, Brandt Ruger (Gene Hackman). When she is abducted by outlaw Frank Calder (Oliver Reed) and his gang, he husband is naturally incensed. He quickly arranges a posse of business associates and uses his personal fortune to equips them all with the latest long-range hunting rifles with telescopic sights. He then sets off in pursuit of Calder's trail before they can cross the border. However, it soon becomes apparent to Ruger’s associates that he may have other motives than just rescuing his wife.
The Outlaw Josey Wales is often hailed as the last great western from the golden era of the genre. As a child when I first saw the movie, I failed to appreciate its subtleties, having been raised on a more traditional diet of movies from this genre such as El Dorado. It has only been in more recent years that I have revised my opinion of this finely crafted piece of cinema. It is radically different from the much of Clint Eastwood's earlier work and most certainly displays a quality in his film making that was not apparent previously.
El Dorado opens with a montage of paintings by celebrated Western artists Olaf Weighorst. These beautiful pictures in many ways reflect the nature of the movie, depicting a stylised representation of the Old West that despite its beauty, never really existed. Director Howard Hawks includes every possible genre trope and meme into El Dorado but far from being a handicap, it makes the movie a perfect distillation of Hollywood Western. The pairing of John Wayne and Robert Mitchum is sublime as the two effortlessly riff off each other. If you need an example of how the Western is the most flexible and accessible movie genre, then El Dorado is a text book example.
As the Western waned in popularity in the seventies, the Italian market was still further revising this already stylised genre with a distinctly comedic element. The uniquely European approach to slapstick was introduced as a mean to try and explore the genre in new ways. Unlike US comedy Westerns such as The Hallelujah Trail and There Was a Crooked Man, their Italians counterparts seemed to have an allegorical theme and as ever a heavy political sub-text. They were also steeped in the unique audio and visual style of their makers.
Some video games lend themselves to being set aside and resumed at a later date with zero consequences. These are often casual games with no major goals other than having fun while playing them. Fall Guys is a great example of this. You have a cartoony avatar that participates in zany group races, filled with obstacles. You run, jump, climb but the controls are far from difficult. You may well become skilled but such things are mitigated by the other players as they stumble around. You’re not at the mercy of apex players or “try hards”. It is not a game about winning and mastering techniques. The fun comes from playing it and the unique experience you have each time. I’ve been playing this game, on and off, since it’s launch in 2020 and in that time I have only ever won once (winning requires you to win a series of 4 to six individual races). However, whenever I pick up my controller and play Fall Guys, I have fun and the game lifts my spirits.