LOTRO: Voice Acting

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One of the most noticeable things that ages the MMORPG, The Lord of the Rings Online, is the lack of comprehensive voice acting throughout the game. If a player interacts with an NPC, they will provide generic greetings or ambient dialogue. Phrases such as “hello there” of “our mission is dire” occur regularly. However, the majority of quest text is not spoken, unless it is part of the Epic Story line. If it is, the first sentence is usually voice acted but no more than that. Cutscenes within instances have dialogue, as are those that occur at key parts of the Epic Story. Overall, LOTRO does not have the extensive voice acting that a similar MMO such as Star Trek Online has. This is a shame, considering how much time and effort has been taken with other aspects of the game.

LOTRO was conceived and developed over the course of 2005 and 2006 and although the technology available at the time could accommodate comprehensive voice acting, its inclusion would have certainly had logistical and financial consequences upon the game’s production. Additional audio would have increased the size of the game installation and constantly maintaining and adding dialogue would have increased production costs. Due to the nature of the game, a great deal of time and effort would also have been required ensuring that all dialogue was correctly pronounced and grammatically correct. Tolkien fans are very particular about this. So it can be argued that Turbine/Standing Stone Games have dodged a bullet by deciding to limit the amount of voice acting in the game to date.

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Some players will argue that the lack of comprehensive voice acting is a benefit, allowing them to focus on the text, rather than the actor’s performance. Other LOTRO players already  have little or no interest in the finer points of the narrative and are focused far more on “getting the job done”. Such players would therefore be indifferent to further voice acting. However, I am in the opposite camp and enjoy LOTRO mainly due to the stories underpinning both the major and minor quests. For me, good voice acting greatly enhances a story and I often struggle to read the wall of text presented by the NPC. This problem gets worse when playing the game on a 4K monitor due to the game’s non-scaling UI. Therefore, the addition of voice acting would greatly help in keeping me apprised of the plot.

After my recent experimentation with LUA Plugins, I wondered if anyone had ever tried to develop some sort of text-to speech facility that could be added to the game. It turns out that it has already been done to some degrees of success. I found the following post on the Official LOTRO Forums by The Almighty Tater, which references a Python programme they have developed called LOTRO to Speech. For those interested in trying this service you can access all the required files and details of how to install and configure them here. Example videos can be found over at the LOTRO subreddit. Another LOTRO player, Luthryth, has indicated that they are developing a text-to-speech app. They have posted videos of their progress on YouTube, an example of which is posted below . Again, this seems to work quite well.

Obviously, with both of these programs being third party services and a workaround rather than a solution, there are inevitably some issues to consider. Relying on optical character recognition to parse the quest text can be problematic and there is scope for dialogue to be misread. Using cloud based, AI voice services to provide in-game narration introduces the possibility of lag. Also not all voices will be character appropriate, especially if you use the free text-to-speech services. Then there is the issue of pronunciation which may well bother some Tolkien fans. However, all of these negatives are outweighed by the potential benefits that text-to speech can bring to the game. Such a service makes LOTRO far more accessible. Furthermore, as technology progresses, there is scope for programs such as LOTRO to Speech to improve.

Although I wholeheartedly approve of player created apps such as these, if given a choice I’d much prefer voice acting to be officially part of the game. Sadly, although I do not consider it impossible to retrospectively add this to LOTRO, it is highly unlikely that it ever will be due to the cost involved and the law of diminishing returns as the game enters the next phase of its lifecycle (I’ll leave it to you to figure out what that may be). In the meantime LOTRO to Speech is a suitable compromise that can fill the gap. As to the future, if there is ever to be a new Middle-earth themed MMORPG, or if Daybreak Games ever intend to bankroll the creation of a LOTRO 2.0, I would expect it to be fully voiced by default. I don’t think the design choice made back in 2005 would be acceptable to modern gamers.

Music by John Williams (2024)

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Music by John Williams is a documentary celebration of the famous composer and his illustrious body of work. It provides some interesting biographical background information as to how the man was born into a family of talented musicians. It then traces his rise from pianist for hire to the most well known film composer today. Along the way, anyone who is anyone in film and music appears to heap justifiable praise upon him and his body of work. It also features a continuous medley of John Williams’ greatest hits, as it catalogues his work in broadly chronological order. Music by John Williams is an upbeat and positive love letter to the composer and exactly what you would expect, when you consider that the documentary was produced by his friends and peers. 

“How does he do it”? This is a question that is continuously raised throughout the documentary’s 105 minute running time, by the various talking heads such as  J.J. Abrams, Chris Columbus and Seth McFarlane. Naturally, this is a perfectly logical question considering the composer’s ability to continuously write outstanding music for film after film. However, it becomes clear after a while that this particular documentary doesn’t really intend to answer this question, preferring to simply reflect on the composer’s work and frame his skills in enigmatic terms. It is a perfectly valid approach and ensures that Music by John Williams remains very accessible to viewers who may well have no background in musical theory. But it is a little disappointing to those who have a genuine interest in Mr Williams technical skills.

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We are briefly given a rare insight as to John Williams thought processes, when he discusses his famous five note motif for Close Encounters of the Third Kind. He draws a grammatical analogy stating that the five note motif is akin to a conjunctive sentence and that it ends in a questioning fashion. The motif raises an expectation with the fifth degree of the scale. Contextually, it is a “but”, rather than a definitive statement. Within the parameters of the film, that is an important point and taps into the themes of the story with its cosmic questions. I would have liked to have seen far more examples of Mr Williams’ reasoning because it shows that he doesn’t just write from the heart but there is a great deal of technical literacy at work as well. It adds an additional cerebral dimension to his music as well as its inherent emotional content.

There is still much to recommend Music by John Williams. Director Laurent Bouzereau asks pertinent questions in a casual and disarming way. Steven Spielberg’s home movies are an invaluable source of information and insight as he has recorded numerous studio sessions of Mr Williams’ conducting the score for his films. The documentary also does a good job of highlighting John Williams’ work for the Boston Pops and how he did much to bring orchestral music to a wider audience. There was a surprising amount of snobbery and pushback to this in the mid eighties. However, if you are seeking the rigour and scrutiny of Ennio, Giuseppe Tornatore’s sprawling documentary about Ennio Morricone, you won’t find it. Music by John Williams is not intended to be such an exploration, preferring to be an ode to the composer and a much deserved veneration.

LOTRO: Beneath the Surface

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Last week I finally completed the Epic Story content for Corsairs of Umbar, the 2023 expansion for the MMORPG The Lord of the Rings Online. Although I am still undecided about Umbar as a zone, I found the main story engaging and as ever, well conceived within Middle-earth lore. The writers at Standing Stone Games have been very creative with their Fourth Age content and never make the mistake of over blowing it or trying to up the stakes as high as the threat of Sauron. So far, it feels like the free people are credibly mopping up residual forces of evil, as one would after a major regime collapse. Therefore, I was broadly satisfied with the Corsairs of Umbar expansion and was ready to move onto the next major story content update which was released in May this year.

Update 40: Beneath the Surface, continues the latest instalment of the Epic Story; The Song of waves and Wind. According to the official press release from SSG, “It is a new dawn for Umbar. At the request of Hármelak, the Golden Queen, the Kindred of the Coins has reopened the great meeting-hall of Dâr Laja so they can better hear the voices of their people. And yet, beneath the city in Umbar-môkh, there are some who feel threatened by this new order, working in the darkness until their plans bear fruit”. It all sounds very thrilling until I realised that the entire new zone, Umbar-môkh, in which the story takes place is a series of catacombs and labyrinths under Umbar Baharbêl. Out of all the environments present in LOTRO, I enjoy those set underground the least.

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Most LOTRO players have distinct opinions regarding Moria, the first significant underground area they encounter when playing the game. Although I have no great love for subterranean zones, Moria is different. It is an integral and iconic part of Tolkien’s source text and therefore a necessary evil in gaming terms. Furthermore, the zone is divided into several lore relevant, themed zones. Hence you have locations such as the Chamber of Mazarbul, the Bridge of Khazad-dûm, the Twenty-first Hall and the body of the Balrog below Zirakzigil. All of which make Moria, more than just a frustrating maze. Sadly, that was not the case with the Gundabad expansion as it lacked the detail of established, in-depth, canonical lore. Effectively it was maze without the benefit of having a complex literary backstory to support it. I enjoyed Moria in spite of its frustrations. I struggled to tolerate Gundabad because of them.

Having now ventured into Umbar-môkh, I can say it does not quite have the same claustrophobic air that Moria and Gundabad have. The aesthetic is that of Umbar and the catacombs are well lit. Plus there are multiple entrances. However, it should be noted that some areas are intended for duos or small fellowships. If you don’t read the various quest texts, you could find yourself surrounded by signature mobs and out of your depth. So caution is advised. In the meantime, I shall follow the main story and see how I get on with the episodic storyline Tales of the Kindred. If things prove to be problematic or not to my liking, I can simply move on to the new content from the next expansion, Legacy of Morgoth, which is released on Wednesday 6th of November.

Password Managers

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As we get older, we acquire more of the following three things. Keys, items that need charging and passwords. All of which are a pain in the butt. Your key collection grows mainly because you’re an adult and someone thinks you’re responsible. Hence you not only have your own keys but a set for work and possibly spares from members of your family. As for items that need charging, that seems to be pretty much all technology these days. It’s why power sockets now come with a USB option. But this is the world that we live in and until it changes, we just have to try and get by the best we can. Today I want to talk about passwords. The fact that we have so many of them and what is the best way to manage them. But before I move on to the subject of password management, let’s go over the basics of what is actually considered to be a “good” password and by good, I mean one that is hard-to-crack.

Let’s not bullshit each other, most of us do not follow a good password policy. Lots of us favour a combination of letters and numbers that we can remember easily and simply use various permutations of it across multiple sites and apps. These tend to be the names of children and pets, dates of birth or some sort of pop culture references. However, they are not that secure and therein lies the problem with them. Furthermore, people (and I include myself in this) are inherently lazy. We consider the risks to be minimal and assume that nothing bad will ever happen to us. As a result, we will use the same password or variations of them, again and again just to make our lives easier. The problem with such an approach is that if one of your passwords is compromised, it leaves you exposed across multiple applications and websites.

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According to Microsoft “a strong password is at least 12 characters long but 14 or more is better. It should be a combination of uppercase letters, lowercase letters, numbers, and symbols. It should not be a word that can be found in a dictionary or the name of a person, character, product, or organisation”. Now that’s all tickety-boo in principle and the underlying logic is clear. Such a complex password is a lot harder to crack. However, what it means in reality is that you’ve got a password that looks something like this. o96sj=Y@)l;^1mb. It is highly unlikely that you’ll be able to remember a string of characters and symbols like that, let alone a dozen or so of them. Which means that you’ll need to write it down in a log book or something similar. I know several people that use a rolodex. Alternatively, if you don’t like such an old school solution, you can use a password manager

I have used LastPass as a means of storing and managing all my online passwords for over a decade. The account is protected by a master password and several other authentication requirements. A browser extension then allows me to access my password directory while online. It can autofill both username and password fields on a logon screen if directed. LastPass can also generate secure passwords for you if required and can also store other details that you may use online regularly, such as payment and address details. Hence it makes all aspects of password management a lot easier. There is a free version available for a single user or you can pay a subscription to have access across multiple devices. However, despite the benefits of this software there is still a requirement for the user to do some “housekeeping” from time to time. It is also worth noting that password managers are not bullet proof.

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As you can imagine, after a decade plus of use, I have built up quite a lot of passwords in LastPass. So today I logged into my vault and manually trawled through all the passwords that were stored there. I deleted about 50 or so old and obsolete passwords. Many were for services that are no longer available, such as old forums and websites. I renamed some entries to make them more intuitive and then I took the precaution of exporting all password details as a CSV file. This is because I cannot upgrade my LastPass account any further due to legacy issues and I am considering moving to an alternative password manager such as Bitwarden and using it across all my devices. Out of all the companies providing such a service, Bitwarden seems to have the best track record and to date, hasn’t been hacked or compromised in any fashion.

Passwords management is a loaded subject. It is something we all tend to approach through a haze of cognitive dissonance. We know exactly what we should do but more often than not do the complete opposite. Then we whine when things go wrong. I’m sure I’m not alone in having a prodigious quantity of passwords. The current count is 282. Admittedly if some were lost it would not be a big deal. But there are some where it would be a real inconvenience to have to reset them. Which is why I force myself to be organised and stay on top of this issue. Mrs P handles things differently and uses a password log book which she scrupulously keeps up to date. Whether your solution is high or low tech, it is better to have some sort of system in place, rather than having to start one from scratch after some catastrophic disaster.

Star Trek Online: When New Ships Lose Their Lustre

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Section 31 Command Heavy Battlecruiser

While recently playing the MMORPG, Star Trek Online, I decided to use the “free ship reward” from last year’s Event Campaign V. It gives you a choice between a Premium Tier-6 Starship from an infinity lockbox, 2 x Tier-6 Starship Discount Coupons that you can use in the Z-Store or a bundle of 1,500 Lobi Crystals which will buy you a ship or gear from the Lobi Trader. The fact that I haven’t used this reward for over a year indicates that I’m not exactly short of ships in my inventory. I’ve been flying the Inquiry Battlecruiser for the last two years which I obtained from the Event Campaign IV. But as there’s an appreciable lack of new story content at present in STO, I thought I’d acquire a new ship and spend some time experimenting with a new build. After all, it is the specifics of the build and not the ship that ultimately counts.

I decided to opt for a lockbox ship and chose the Section 31 Command Heavy Battlecruiser on the basis that it looked cool. Yes, I am not especially knowledgeable in the arcane min-maxing associated with STO and tend to make decisions based on superficial factors, rather than data and facts. I decided that I would just do what I did last time I obtained a premium ship. I’d find an appropriate build from the website STO Better and then see if I had all the equipment and traits required. Usually I only have about 60% of the build and then try to find suitable alternatives. Things were no different this time with the new vessel. I opted for a beam build which is viable with a battlecruiser, although a torpedo based build may be a better fit for the statistics of this ship. I managed to cobble together sufficient consoles and traits to focus on Beam Overload.

Inquiry Battlecruiser

I think it’s fair to say that I don’t find fine tuning your starship loadout the enthralling end game that so many other players do. I don’t know the relevant game theory and it is clear now that I’m not interested enough to familiarise myself with the nuances of the game’s mechanics. It’s not as if I’ve been left under powered. My new ship still seems to do sustained damage with Beam Overload, which cools down quite quickly. And the new vessel does look cool, which was my main goal. However, I now have a major gap in my end game enjoyment. I’ve dabbled in the past with DPS metres, as they do encourage you to tinker with builds but ultimately it just doesn’t sustain my interest. What I would really like is an expansion with a ton of story content to play through but that is not going to happen anytime soon. Especially with the game transitioning between developers.

I can see now why so many players go all in on multiple alts. Especially those you create during an event where additional benefits are conferred upon new characters. It certainly offers a completionist challenge. Plus more often than not, the stories in STO are well worth playing through multiple times. Therefore, I think this is where I’ll focus my attention in the weeks to come. As for new ships, they’ve lost their lustre as far as I’m concerned.  I appreciate that is not the case for a lot of STO players and I am pleased they still have a substantial aspect of the game to provide them pleasure and engagement. But for me, I crave some new narrative content because that has always been the franchises greatest strength. Sadly, I suspect with DECA Games replacing Cryptic, the focus may well shift to new ships, rather than new episodes.

Newspapers

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A selection of UK newspapers

Newspapers were an integral part of UK culture in the seventies. During the week, they were delivered prior to going to work, so you would peruse them over breakfast. Alternatively you would buy one en route to your place of employment and read it on the bus or train. In a world before 24 hour, rolling news, they were the primary means of keeping the public abreast of events and as such, enjoyed a substantial audience. On occasions a newspaper story could make or break a political career or launch a crusading campaign to address a social ill. Newspapers were a force to be reckoned with and therefore a significant part of the socio-political landscape. However, due to a strong union presence within the workforce, the UKs newspapers often lagged behind other industries with regard to the technology.

Like so many other products, there has always been a hierarchy of newspapers in the UK. Different papers are targeted at specific demographics. The broadsheet newspapers tend to take a more intellectual approach with their journalism, whereas the tabloids are aimed at a more broader readership. I am reminded of a quote from the sitcom Yes, Minister which although 40 years old, still has a degree of truth about newspapers readership. “The Daily Mirror is read by people who think they run the country; The Guardian is read by people who think they ought to run the country; The Times is read by the people who actually do run the country; The Daily Mail is read by the wives of the people who run the country; The Financial Times is read by people who own the country; The Morning Star is read by people who think the country ought to be run by another country; and The Daily Telegraph is read by people who think it is”.

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Daily Mail hyperbole

However, things change. Over the course of my life there has been a steady decline in newspaper sales. Dedicated television channels, providing 24 hour coverage is one reason. The internet is another. A story can be quickly disseminated online and be constantly updated as events unfold. Traditional print media lags behind and by the time it reaches the reader, is yesterday’s news. As a result modern newspapers tend to deal more in editorials and opinion pieces, rather than hard news. Sadly, the majority of the UK print media is owned by those with a right wing bias. Something that is at odds with the UK electorate which is broadly centrist. Hence the decline in sales. The only group that still cleaves to print media are over 65 and so the most popular newspapers, such as the Daily Mail and The Daily Express, exclusively cater to them. Neither of these two newspapers reflect a reality that I recognise.

Curiously, despite a decline in sales, there is still a perception that newspapers are at the cutting edge of journalism and have an influence on the wider news agenda. Television and radio news in the UK still often follows and expands upon headlines found in the popular press. Furthermore politicians still spend a considerable amount of time and effort trying to generate headlines in the newspapers. They go out of their way to cultivate relationships with political journalists and will often seek to disclose information to the press as part of the policy agenda. Similarly, newspapers will seek to influence politicians by directly and indirectly lobbying on specific subjects. The Brexit referendum of 2016, was heavily influenced by lengthy and substantive campaigning by the majority of the UK press. All of which were owned by individuals who had openly declared their support for leaving the EU.

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Rupert Murdoch, owner of 33% of UK newspapers

Beyond the obvious political and philosophical bias, most tabloid newspapers nowadays are simply a vehicle for celebrity gossip, scandals and doom mongering. They also peddle conspiracy theories, bogus science and perhaps the biggest lie of all, that all of the problems in the UK are someone else’s fault. These publications are inherently parasitical and are not in any way a force for good. Yet in spite of these issues, there is still good journalism to be found within the UK, although much of it resides online. Some newspapers, such as the “i”  are even bucking the trend and increasing their readership. Perhaps newspapers aren’t quite dead yet and despite their tawdry current state, people still believe in the noble qualities they remember from the past. Whether the tide will turn remains to be seen.

Supermarket Loyalty Cards

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In the dim and distant past, UK supermarket loyalty cards used to be about earning points that could be traded for luxury items. This would be merchandise or services. Air Miles being a prime example. This changed over time and supermarkets moved to a system where you earned points via purchases that had a nominal financial value. The customer could then offset these accumulated points against their grocery bill. A couple of years ago, around the time the “cost of living crisis” began, some UK loyalty cards added an additional system and started offering discounted prices on specific products. For example a pack of 9 Andrex Complete Clean toilet rolls retails at the standard price of £5.95 but if you have a loyalty card, you can purchase it at the lower price of £4.65 instead. 

Although overall inflation is reducing in the UK, food inflation remains high, as do energy prices. These may well stay that way due to potential global factors that could come into play next year. Hence supermarket loyalty cards will continue to play a major role in keeping the price of a weekly or monthly grocery shop manageable. The discounts on offer are such that our household currently has four loyalty cards from the following stores. Tesco, Sainsbury’s Morrison’s and the Co-op. We shop at specific stores for particular products that are maintained at a discount price. We have found it possible to make savings of £40 or even £50 a month, if we keep an eye on prices across all four stores. Often this means having an app installed on my phone and being notified of offers. 

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Naturally, the increase in this loyalty card culture has generated a great deal of interest. How do the big supermarkets accommodate such competitive pricing? Is it simply a question of loss leading, or is it a case of inflating the original price and then offering the minimum retail price as the discount? Is this practice sustainable? There have also been claims that the system is unfair and biassed towards those who can afford to shop at the top tier supermarkets. The counter argument is that the budget stores are already offering discounted products by default, as it is essentially the foundation of their business model. Whatever the methodology and irrespective of the ethics of supermarket loyalty cards, it certainly isn’t impacting upon profits. Tesco, the UK’s number one supermarket chain, had a turnover of £48 billion in 2023.

Unless you are so wealthy that the cost of living is not a consideration, most people have some requirement to “shop smart” these days. We make use of loyalty scheme discount prices and buy some products in bulk from outlets such as Amazon. Tea has fluctuated in price over the last eighteen months, mainly due to adverse weather conditions in the countries of origin. As Mrs P is highly unlikely to stop drinking the stuff anytime soon, we tend to buy a half dozen boxes at a time. The panic buying we all saw at the start of the pandemic is another reason why we like to maintain a small stock of some products such as toilet rolls, cleaning products and pasta. Until the economic situation improves, we will continue to make use of any scheme or process that allows us to keep our grocery bill as low as reasonably possible. Perhaps we can gamify the process to stop it from becoming a chore.

LOTRO: Lore-master Class Traits

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Lore-master Pre Update 41

If you play the MMORPG, The Lord of the Rings Online, then you’ll probably be aware of the significant changes that were made to the Lore-master class in Update 41. Two and half months later I think I have come to terms and successfully adjusted to the “realignment” of the trait tree and the core skills. Setting aside the argument over the rectitude of these changes, I would like to share my thoughts on the respective performance of the three trait configurations. This is not from the perspective of a min-max player or someone who focuses on the “numbers”. These are just casual observations from an equally casual player. Furthermore, my opinion is based upon PVE gameplay and not group content or full blown raids.

Master of Nature's Fury:

The “red line” trait configuration has a major impact upon the way combat pets are used. You no longer summon one and it continuously follows you. Nor does it independently aid you in combat. A pet, when summoned, will persist for 15 seconds approximately and attempt to flank your current target. During this short window, you can activate a minor or major pet skill. Both of which do varying degrees of Beleriand Damage. Each pet also does a unique type of damage during its 15 second duration. IE a Lynx does both melee damage and damage over time. At present, on default game difficulty, a skills rotation of Burning Embers, Wizards Fire and Lightning-Charged Staff Strike will quickly kill a single mob.

Keeper of Animals:

The “blue line” trait configuration has also been significantly altered. Pets can be permanently summoned but you must use your own skills in order to trigger a pet to use one of its combat skills. The three main skills are Minor Pet Command, Major Pet Command, and Sign of the Wild: Rage. All of these skills will tell your pet to execute an ability. Minor and Major pet commands transfer your threat status to your pet, so they can tank for you. Pets still intercede in combat due to mob proximity. Minor and Major pet commands used in combination with Wizards Fire, Wizards Spark, Burning Embers and Staff-Strikes are an efficient skill rotation on the default difficulty when using this trait configuration.

The Ancient Master:

The “yellow line” trait configuration is in many ways the nearest to how the Lore-master class was prior to the changes in Update 41. It allows the player to summon a pet permanently and plays very similarly in terms of crowd control, the skills that are accessible and overall pet damage. Minor and Major pet commands activate reciprocal skills. IE if you have summoned a Bog Lurker you can activate the ranged debuff Choking Vines or the stun inducing Bursting Root, which can trigger a Fellowship Manoeuvre. Once again on default difficulty, Minor and Major pet commands along with Burning Embers, Staff-Strikes and Wizards Fire or Wizards Spark deals sufficient damage to an average mob.

Lore-master Post Update 41

For a long time, I have played LOTRO with my Lore-master configured to the “red line” trait configuration. I enjoyed having my favourite pet, the Bog Lurker, available continuously. I liked the fact that you could name them. Suddenly finding from August onwards that they had been relegated to a short term skill was annoying as it fundamentally altered the nature of the class. Furthermore, many skills that were known and loved were now locked to specific trait configurations. You now have to spend across all three trees to get a full range of pets and you may have to make some hard choices about what skills you may have to give up. Sadly, what’s done is done and one has to move forward. I have adjusted to the new changes and still find “red line” trait configuration very effective. For those players who are still finding their feet with the Lore-master class, post Update 41, I hope you find the right build for you.

Projects

Roundabout this time last year, I started a couple of new website projects. The idea was to do something different to Contains Moderate Peril and write about other subjects. One was about UK politics and the other was about a Panda watching films and TV and making wry comments. I like to cast a wide net. I also wanted to take the opportunity to develop some new skills. It was certainly interesting creating two websites from scratch, using such diverse tools as Wix and Blot. The former provides the means to construct a very modern website with all the latest features. The latter is quite the opposite, providing a lean and minimalist service. Twelve months later, both projects have proven very useful and I have a better understanding of what is required to maintain an online presence in 2024. As they have now served their purpose, both sites are now offline.

I like to learn new skills. In the last two decades, several that were previously considered niche markets and specialised, have become far more accessible and commonplace. Audio and video production is something that millions of people do on a daily basis on social media, be it on their phones or via a desktop PC. It’s a spectrum of complexity with simple montage videos on Instagram at one end and professional quality edited documentaries on YouTube at the other. These skills are no longer gated behind formal studies or “closed shop” institutions. Anyone can learn them. I have some experience in producing a podcast and have recently decided to explore video production. I have set myself the goal of learning to film, edit and produce a video of acceptable quality. If that can be achieved efficiently and without bloodshed, then I may consider its broader application.

Over the years, I have learned some simple and practical rules that I follow when embarking on a new project. Some of which I found out the hard way. They can be applied to relatively simple undertakings such as starting a blog, to more complex and expensive endeavours such as establishing a YouTube channel.

Set realistic expectations: It will take time to learn a new skill and be able to apply it. Don’t expect to be instantly good at it. It’s something you’d explain to a child but so many adults still make this mistake.

Do your research: The internet makes researching a subject a lot easier than it used to be. Guides and FAQs are abundant. However, don’t allow yourself to be sidetracked by excessive research and don’t allow yourself to be paralysed by choice.

Don’t spend any money until you need to: Don’t buy the tools for a job until you’re sure that you want to do it. If, for example, you want to try blogging, then use a free account and see if it is a viable hobby before buying a domain.

Stand on the shoulders of giants: There are numerous guides available online that can help you achieve your goal. You don’t always need a complex bespoke solution. Follow an established methodology if it produces the results you want.

Don’t let perfect be the enemy of good: It is okay to have a few rough edges. Sometimes the quirks and foibles add character. Slavishly seeking perfection means you’ll never complete your project.

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Projects are a learning process. It is therefore important to remember that if it doesn’t yield the results that you are anticipating, then it is fine to end it. It is also realistic to acknowledge that some skills may elude you. You may not be able to learn them for a wealth of reasons and if that is the case, it is wise to strategically withdraw rather than torment yourself by beating your head on a brick wall. Another thing to consider when embarking upon a personal project is that you get to set the deadline and all relevant metrics. Rome wasn’t built in a day. Don’t set yourself up to fail by impractical criteria. I intend to enjoy my latest project and am therefore approaching it in a leisurely fashion. If I work within the parameters I’ve set and follow my five rules, I think I should quickly determine whether or not I will succeed or not. That being said, I am optimistic of a favourable outcome.

Strictly Come Dancing: The Fickle Nature of the Public Vote

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Tonight’s results for week 5 of Strictly Come Dancing (season 22) have once again demonstrated that this show is more than just a dancing competition to UK viewers. If it were just a case of determining who are the best dancers, then JB Gill would not have been in the dance off. The judges may well see things exclusively in such terms but the public clearly do not. I last wrote about this phenomenon in 2019 and I think it appropriate to raise the subject again as this season of Strictly seems to be bucking past trends and I suspect we may be in for further upsets in the run up to the season finale. Broadly speaking, the public usually tends to vote in a manner similar to the official leaderboard. Hence, those who score the lowest usually end up in the dance off. Occasionally an underdog will be championed and kept on the show but that trend seems to have lost its novelty in recent years. This season appears to be quite different.

The departure of Tom Dean in week 2 (the first week the public could vote) was a shock as Tom was patently a better dancer than Toyah Willcox and much higher on the leaderboard. Last week (the 4th in the series) it came as a surprise to see Shayne Ward in the dance off as he was 9 points ahead of Nick Knowles. However, there has been a degree of viewer pushback against The X Factor winner from 2005. On the first episode of this season, Shayne stated he was “in to win it”. A remark that was interpreted by some viewers as being somewhat arrogant, although it may have been an honest statement of intent to work hard. Hence, he seems to have failed to gain much public support and suffered as a result. On this occasion he was saved by the judges and injured Nick Knowles was voted off. Again, in the past a celebrity who has missed a show due to injury, is usually given some latitude by the public. Nick was not, in spite of his wider popularity. He was simply deemed as “lacking” and shown the door.

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Which brings me to this evening’s debacle in which JLS vocalist JB Gill found himself in the dance off with ex-professional footballer Paul Merson. JB has consistently scored well over the last 5 weeks and is considered by some pundits to be a “shoo-in” for the final. However, despite having a 11 point lead over Paul, still found himself having to dance again to remain on the show. There is a school of thought that suggests that celebrities who are consistently good can lose public votes because everyone assumes they’ll be alright and someone else will vote for them. Another theory is that the viewers get bored with those who are good, right from the start of the show, as they prefer those who get better over time and thus go on the Strictly “journey”. Let us also take a moment to ponder the fate of Paul Merson, who appeared up to tonight, to have sufficient support to stay out of the dance off. If such a fanbase exists, where was it this week?

I am beginning to wonder if all the talk about mobilising fan bases and tactical voting that we have taken as read over the last 22 seasons of Strictly is spurious. Are fans always wedded to particular celebrities or do they simply vote on a week by week basis? Are the current voting patterns associated with Strictly, in any way similar to those that have recently emerged in contemporary politics, post 2016, where people are no longer loyal to specific causes and are far more volatile in the way in which they vote? If only we could get voting expert, Professor John Curtice, on the show and have the benefit of his insight. In the meantime JB Gill was saved but I suspect that the message from tonight is abundantly clear to all remaining celebrities. No matter how good you are and wherever you may be on the leaderboard, no one is safe. I expect to see an increase in social media output next week, from the remaining contestants, as they actively try and woo the British public.

Goodbye Call of Duty

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I decided to play Call of Duty today as I wanted some undemanding entertainment. I was not surprised when the game client began an update, as I have not played for about three months. Hence, there was obviously new content to install. However, when I saw the size of the download, I knew this was more than just a season update. I therefore checked the Battle.net client and discovered that the game was installing Black Ops 6, the latest version of Call of Duty that is released on 25th October. A game I have decided not to buy for a multitude of reasons. Fortunately, you can modify your game installation on the fly, so I unchecked a few boxes and the download stopped. However, I was annoyed by the hubris of this “download by default” policy, so I decided to uninstall my existing installation of Modern Warfare 3 as it is no longer a mainstay of my gaming activities.

I have a very specific mindset when it comes to technology and my relationship with it. A key aspect of which can be summed up by the old adage “the tail doesn’t wag the dog”. With regard to software, be it the operating system on my PC, apps, or games, I don’t like updates or fundamental changes being made without me being aware of them in advance. I want to know in advance what the patches are for and what they do as a consequence. Furthermore, I don’t like any changes that attempt to “do my thinking for me”. Everything that is installed on my PC is there for a reason and configured in such a fashion that suits my personal preferences. Hence, I do not like any software that decides to do its own thing and flies in the face of this policy. I’ll decide if a program starts when I turn on my PC and whether I want additional icons added to my desktop real estate. It is also down to me when something can or cannot monopolise my internet connection.

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As for Call of Duty, the last year has been an interesting journey. Warzone teetered on the edge of returning to its glory days but the game was once again thrown off balance by specific weapons being overpowered, the tedium of an unavoidable loadout meta and a losing battle against those who cheat. I was one of the few players that enjoyed the open world approach to zombies mode and one of the reasons I’m not buying Black Ops 6 is due to the return of the round based matches. As I’ve said many times before, not only of Call of Duty but of many other competitive games, the experience the average player has is so far removed from that of a high end, content creator on YouTube. I have seldom found any of the group content to be anything other than a chaotic experience, defined by poor communication and unpleasant team mates. I’ve regularly read of players helping out others and representing the community well but have never met any.

Fortunately for me and not necessarily so for Activision Blizzard, there’s always something else to play. There are plenty of comparable games to Call of Duty and the sub genre of extraction shooters is certainly growing. Sometimes, when I uninstall a game I have a pang of sadness, especially if it has been a noteworthy experience such as Red Dead Redemption 2. However, more often than not, it feels the opposite. Call of Duty is somewhere in the middle of those two extremes. It was certainly fun for a while but ultimately the developers made choices that weren’t for me. Such is life. You can’t please everyone. However, the community is a different matter and despite several claims that cheating and trolling are being addressed, no discernible change is apparent so far. Hence its time to find something else to play, although there is always the risk of leaving one shitty community, only to join a new one. Such is the nature of contemporary gaming.

Alien: Romulus (2024)

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Some films are made with the intention of starting a franchise, others evolve into one after a surprise box office success and lucrative sequels. Alien (1979) falls into the latter category. A mid-budget science fiction horror film that was well crafted and then benefited immensely by being released at just the right time. Sadly, many franchises become derailed and enter into a death spiral due to competing artistic visions, cynical studio politics and cinematic ignorance. This has certainly afflicted all subsequent Alien films after James Cameron’s magnificent Aliens (1986). Sometimes, a franchise can correct its course and do something fresh with the source material. Prey (2022) is a fine example of this with director Dan Trachtenberg bringing fresh vigour and intelligence back to the Predator movies. I believe that was the intention with Alien Romulus (2024). Sadly, the road to hell is paved with good intentions.

Rain Carradine (Cailee Spaeny) works and lives with her adoptive brother Andy (David Jonsson), a malfunctioning, reprogrammed android at the Jackson's Star colony on LV-410. After her work contract is forcibly extended by the Weyland-Yutani company, Rain's ex-boyfriend Tyler (Archie Renaux) persuades her to join an expedition with his pregnant sister Kay (Isabela Merced), their cousin Bjorn (Spike Fearn) and adoptive sister Navarro (Aileen Wu). They intend to loot a derelict spacecraft and retrieve cryostasis chambers so they can escape to the planet Yvaga. Andy's ability to interface with the onboard computer system is crucial for the expedition. Using an ageing hauler, the Corbelan IV, they dock with the space derelict to find it is a Weyland-Yutani research station. However, restoring the station’s gravity and power have unforeseen consequences, as the company has been experimenting with xenomorph biology. When they repair a damaged android called Rook, they learn the true nature of the danger they face.

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I shall keep both my praise and criticisms for Alien Romulus short. This is a handsome production with good visual effects. The budget has been spent well. The film quickly sets out its stall, introducing the characters and setting up the plot. For the first forty minutes or so, Alien Romulus keeps the viewer onboard and focused. And then it sidelines all the ideas it briefly alluded to in the first act and just lapses into a rather trite fan service. It constantly refers to or tries to recreate classic scenes, tropes and dialogue from all previous Alien movies. It also tries to tie in numerous plot ideas from previous films, regardless of whether they’re a good fit with what is actually going on. Alien Romulus should have been able to stand on its own two feet and the only reason it was not allowed to do so is because it was decided by the studio that it was less risky if they just gave the audience a film version of a “greatest hits” album.

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I won’t waste my breath or time discussing the failings of the existing film studio system or the way they treat the intellectual properties they hold. No film director sets out to make a bad film, so I see no reason to lambast director Fede Álvarez. I’m sure he did not have a free hand and had many constraints placed upon him. Sadly, Alien Romulus is a classic example of the “cakeism” mindset that blights Hollywood at present. Where a director or writer is brought in to allegedly shake things up but at heart the studio is far too risk averse to really do anything radical. Hence, they constantly interfere and mitigate any originality that is proposed, resulting in stupefying mediocrity. Perhaps the most egregious aspect of this business philosophy is the utter contempt it has for the audience. If you’ve never seen an Alien film before, you may find Alien Romulus mildly diverting. Fans of quality cinema and integrity in film making, will roll their eyes and be unsurprisingly disappointed.

Conversation

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Comedians Mel Smith and Griff Rhys Jones have one of their “head to head” conversations

Daily life is often filled with small talk. Simple exchanges of pleasantries that make social interaction easier and modern life tolerable. Not every conversation needs to be a heavy weight and meaningful exchange. More often than not, all you have to do is politely listen, express an appropriate response and end the verbal exchange on a positive note. It’s not exactly rocket science but that’s not to say that it’s easy for everyone. Some people seem to have an innate talent for this sort of social discourse. Mrs P is very good at it. She remembers people’s names, what they may have said previously and most importantly she shows interest. I’m not so good at small talk. I can do it but I tend to find that a continuous diet of it is unrewarding. Being effectively “retired”, I mainly meet others who are no longer working but they tend to be at least ten years my senior. In the UK the biggest factor that currently determines differing opinions on all major issues is age.

One of the few things that I miss about full time employment is talking to intelligent people. Although I’m not keen on small talk, I’ll happily listen at length to those who have interesting and informed insights based upon a wealth of experience. Such conversations do not have to be couched in academia. It is more of a case of talking to someone who just knows their job or subject well and they are at total ease when discussing it. They’re not merely sharing information. Rather they are relaying knowledge and imparting wisdom. Furthermore, such exchanges can come from all quarters. I remember two exceptional conversations I had in the early 2000s. One was with a senior operations officer of a steel plant and the other was with an air conditioning engineer who had previously been a military policeman. Both were knowledgeable, worldly, good communicators and I suppose you could possibly say charismatic.

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Elvis famously advocated for a “little less conversation” but I consider such advice dubious

I also miss the conversations I had with my father. He similarly was an inexhaustible source of information, anecdotes and measured opinions. All of which had been born out of decades of reading, study and sober reflection. His most formative years had been during World War II as he was ten years old when it began and sixteen when it ended. He was at heart an academic and although he had feelings, in many matters he never let his heart rule his head. Hence he had a capacity to change his position on certain subjects over time, because new data or experiences logically required a re-evaluation. It’s a rare quality these days and I wish more people had such an adaptable outlook. Sadly he’s been gone four years now and it has left a significant conversational gap that has yet to be filled.

As a consequence of this conversational deficit, I find myself listening to a lot of podcasts, audiobooks and other content that is structured around a discussion. If I can’t find an engaging conversation of my own, I can at least listen to someone else's. Thanks to the internet, I can fill my day if need be with the musings of the finest minds, the wit of the funniest people and the badinage of the greatest raconteurs. However, despite the pleasure such material brings, there is a downside. One’s expectations of conversations in the real world have to be seriously adjusted. A chance encounter with someone at the bus stop will seldom result in an in depth analysis of Etruscan pottery or Cartesian dualism. Naturally it can be cogently argued that it is unreasonable to expect such things to begin with, however that doesn’t alter the fact that the heart wants what the heart wants.

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“Man is humbled by the uncertainty of what he can know, but still has the itch to gain absolute knowledge, often with tragic consequences”. Jacob Bronowski

Something I’ve noticed about the nature of conversations, is how they evolve over the course of one’s life. I cast my mind back to my late teens and earlier twenties and recollect many a late night discussion, fueled by alcohol and couched in the certainty of youthful inexperience and ignorance. Nowadays when discussing weighty issues such as geopolitics or economics, the one thing that is conspicuously missing is any shred of certainty. The financial crisis of 2008, COVID and the ongoing war in the Middle East all go to show how the established status quo can alter quickly. At the age of 56, I now understand Socrates’ position of “I know that I know nothing” and I am extremely sceptical of anyone whose arguments and philosophical positions are presented as immutable truths.

However, in recent years a new source of engaging conversation and interesting inquiry has been my grandchildren. They are young, confident and curious about lots of things. Therefore they ask a lot of questions and assume I have all the answers. As well as being deadly earnest, they’re also very funny, though often unintentionally. Although there is a requirement to explain things in a manner that children can understand, you must never patronise or condescend to children. They’re far shrewder than you think. It is also a golden opportunity to impart to my grandchildren a love of engaging and enjoyable conversation. Because it is such an invaluable social tool. Conversation is good for building relationships, sharing ideas, resolving conflicts and creating trust. It is also beneficial for one’s mental health. And if you can’t find such conversations in real life, then seek them online.

The Future of Star Trek Online

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Cryptic Studios appear to have started a new round of layoffs, following those made last November. Although the developers of Star Trek Online and Neverwinter have not formally commented on the situation, it is more than likely that this is a continuation of their owners, the Embracer Group, ongoing restructuring program. So far, the Swedish company has laid off over 1,500 employees since June 2023, in an attempt to address its ill considered over expansion in recent years. At present development of Star Trek Online and other titles are being transitioned from Cryptic to DECA. The German developers are mainly known for mobile games and have recently positioned themselves as “breathing life into old games”. Their intent is to keep developing content for STO and to maintain a working relationship with the owners of the intellectual property.

Taken at face value, I’m sure there will be some players of STO who will argue that “the game is still being supported so everything is okay”. To which the counter argument would be “apart from the original developers being kicked out of their own party and laid off”. However, this is the video game industry, so it is unwise to take things at face value. One has to apply critical thinking and consider what has happened in similar scenarios. What are the most likely outcomes based upon previous corporate behaviour, rather than one’s own aspirations. Hence I suspect that STO and other titles have been identified as having stable player bases that return an equally stable amount of revenue each year. As a result, it will continue to be developed. However, the budget for the development will be less (hence the replacement of Cryptic by DECA) and there will likely be financial goals set. Thus there may well be a focus on “monetisation” over more traditional content.

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A change in developers raises many questions and the transition from one to another does not end at training your replacement and handing over documentation. Often there is a wealth of unique knowledge that isn’t so readily quantifiable, that is hard to learn through any other method other than experience. Let us not forget that one of the reasons why Cryptic abandoned the Foundry system was due to insufficient knowledge to adequately maintain it, after key staff left the company. Are DECA going to face similar issues? Then there are the business relationships that Cryptic currently enjoys with Star Trek licence holders and the actors who have provided voiceovers for the game. These are not so easily “transferable” and may be hindered by such things as smaller operational budgets and the fact that DECA is based in the EU. If you’ve ever worked for a company and experienced a change in service provider then I’m sure you realise the scope of change that STO faces.

I preordered STO and began playing when it launched in 2010. Due to the problems that were inherent with the game, I drifted away and made several attempts to return over the next few years. It was not until 2015 that I started regularly playing this MMORPG, mainly because by then the game was finally reaching its potential. So I bought a lifetime subscription for $200, which has proven a sound investment. Despite being a F2P game since 2012, STO maintained the option for players to subscribe each month and received a stipend of the in-game currency Zen. Subscriptions ceased in May 2018 in favour of the game selling starter packs but players with existing subscriptions could continue if they wanted to. As of October 10th 2024, STO has ceased supporting these residual subscriptions. Players who have had an active subscription since 1st January this year are being moved over to a complimentary lifetime subscription.

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It can be argued that players that have subscribed optionally for 6 years have more than paid for the complimentary lifetime subscription, as they have spent far more than $200 in that time. But I am curious about the optics of this decision. Does this indicate that the perceived worth of a lifetime subscription has diminished now that the game has been transferred to DECA? Is it an indication that future content is envisaged to be of little real monetary value, so they can afford to be generous? Does it imply that the majority of new game development will be focused upon increased monetisation? It is entirely possible that this is simply an act of good faith and there’s nothing beyond that. However, again this is the video games industry and there is little or no sentiment in business. Will DECA continue to offer the lifetime subscription?

As ever with video games, I return to the matter of fans who fail to think in terms of customers and vendors within the context of a transactional industry that exists primarily to make money. Too often player communities focus upon developer’s artistic aspirations, over the business realities of the publishers. I enjoy STO, quirks and all. However, having been laid off in my working life, I have a great deal of sympathy for the folks at Cryptic who have had their jobs taken from them ignominiously, through no fault of their own. I sincerely hope they can find alternative work promptly. As for the future of STO, I am not holding my breath. I suspect that there is content in the pipeline for the remainder of 2024 but who knows what 2025 will bring. They say when life gives you lemons, make lemonade. Therefore, when you’re taken over by a company that makes mobile games, expect your product to follow the business practices of that market.

LOTRO: Bullroarer Update 42 - Legacy of Morgoth Beta #1

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Over the last 24 hours, I’ve spent some time taking part in the first beta test for Legacy of Morgoth on this Bullroarer test server. This will be the 12th expansion for the MMORPG, The Lord of the Rings Online, when it is released on November 6th. According to the developers, Standing Stone Games, “Legacy of Morgoth is homed in the Valley of Ikorbân, located east of Umbar Baharbel. This is a challenge level 150 region, with 4 new zones packed with new quests, Deeds, Missions and Delvings for you to explore”. The Valley of Ikorbân is located to the east of Umbar Barharbel and is part of Near Harad. The aesthetics of the region are a continuation of those featured in the previous expansion, Corsairs of Umbar. Something, I personally still have mixed feelings about, as I find it somewhat incongruous to be questing in a tropical zone, after years of playing in a world that is predominantly based upon a European, temperate climate.

The Valley of Ikorbân is split into four maps, filled with new quests, Deeds, Missions and Delvings for players to explore. The expansion is a challenge level 150 region. The first beta test is unusual compared to those for previous expansions, as developers SSG have not made the entire expansion available as they usually do. Hence I have only been able to explore Ambarûl and Khûd Zagin so far. Both Imhûlar and Urash Dâr will be available for future tests. The downside to this approach is that players will encounter specific invisible walls, the most noticeable is across the Bridge of Danagir. Limiting access to the full expansion has also broken the travel mounts from the stables in the area. Regular travel mounts will ride through a zone until they encounter an invisible wall but swift travel mounts fail to follow the designated route and run into any obstruction.

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SSG have not explained why they have made this decision and it has been assumed by many LOTRO players that the quests in the two withheld zones are incomplete. Setting this aside for a moment, an expansion comprising of just four maps, is cause for concern in its own right. LOTRO players have already pointed out that the 3 different versions of the Legacy of Morgoth that were initially announced (standard, collector’s and ultimate fan edition), were lacking in content and the SSG has already decided to add cosmetic items to address such concerns. However, I still do not feel that 4 new maps merits being called an expansion. It is not as if we’re getting a new class, like we did with Corsairs of Umbar. I am curious to see if this becomes a talking point on the official forums and whether SSG will make any further concessions.

With regard to the two zones that I did have access to, neither reinvent the wheel. Ambarûl  continues the tropical aesthetic of the previous expansion and adds some areas similar to a mangrove swamp. The zone is somewhat open and gently slopes up towards the mountains. There is a closed gate to the North East that leads to Harondor, the overland route to Southern Gondor. Khûd Zagin is a more interesting zone, due to its arid, rocky desert. Vegetation becomes more sparse and the landscape is filled with snakes, scorpions and caracal cats. There are dust devils and other embellishments that convey the character of the environment. Furthermore it looks quite sinister at night. As ever with LOTRO, the ambient music by Bill Champagne is outstanding and contributes so much to the game’s atmosphere.

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Beta tests are subject to change and are not representative of the final product. Hence, there is scope for things to change in the weeks to come with the next test of Legacy of Morgoth. That being said, I still have my concerns regarding this expansion. In the past, beta tests have presented a virtually finished version of the expansion with all its respective content available for consideration. I find this limited access to only two maps perplexing. Is the new material still being actively created? Have there been issues making the new content? Is this expansion being quickly put together and pushed out the doors at the behest of the bean counters at Daybreak Game Company? It is the latter that worries me the most. It’s not so much a question of quality but one of quantity. Are we being given what is effectively just a content update but being charged for it? It wouldn’t be the first time such a thing has happened. Watch this space.

So Many MMORPGs, So Little Choice

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I recently considered whether or not I should find a new MMORPG to play. A cursory Google search showed that there were plenty of titles that I have not tried. Unfortunately, they are predominantly fantasy based games drawing upon the established tropes and themes of the dungeons and dragons genre and the wider sword and sorcery literature. This begs the question “why aren’t there more science fiction or non-fantasy based MMOs?” apart from the handful that currently exist? After a little research and a degree of thinking it becomes very apparent that the answer to this question is mainly a business decision made by publishers. Furthermore, that business decision is based upon several specific factors. All of which cumulatively tip the scales towards fantasy, rather than science fiction or some other complex but non fantasy based franchise.

First off, let’s address the biggest factor. Fantasy is a much bigger and more popular genre, compared to science fiction. This is mainly due to the barriers to entry being relatively low. Its tropes are straightforward and recognisable. Hence, it is theoretically easier to create a fantasy themed MMORPG than a science fiction one. By this I mean, the world, the game mechanics, the assets and the underpinning narrative. Fantasy does not have to try as hard as science fiction to justify itself. Exotic skills and powers can simply be labelled “magic” and players won’t necessarily kick up a stink about their provenance or credibility. An original fantasy themed intellectual property doesn’t have to work within so many rules as an existing science fiction property that has an excess of lore. Fantasy is a self plagiarising genre by default and players are relatively comfortable with this concept. It’s essentially priced in.

From a writing perspective, a science fiction MMORPG is a potentially more complex proposition. Storylines need to be driven by a suitably plausible McGuffin or underpinned by complex lore. This impacts on game design making the final product more complex. A science fiction based game may not be limited to a single environment or world. There may be the need for multiple types of travel mechanics and therefore multiple types of combat. This complexity both in design and narrative may create a higher barrier to player entry. All of which makes such a game a far more niche market proposition. Which is why you’re more likely to find a fantasy MMORPG with science fiction elements blended into it. Consider the Asura in Guild Wars 2. Also, is Star Wars a pure science fiction franchise? No. This is by far the most common compromise that will happen.

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However, possibly the biggest issue that prevents the development of a major science fiction themed MMORPG is copyright. If you wish to draw upon or specifically base your game upon an existing intellectual property, then there will be licensing costs. Often these can be complex and expensive. Furthermore, rights can change hands overtime and a game that has existed for a while and made a profit can subsequently find itself cut off at the knees, purely due to the withdrawal of a licence. This raises the question of why bother taking a risk with such material when you can create your own franchise based on an original IP. However, fans can be funny about such workarounds and particularly unforgiving when a game proves to be a pallid imitation of something they hold dear.

Despite these considerations, the video games industry is not totally averse to science fiction based MMORPGs. Star Trek Online has endured with a degree of success for 14 years, although its future is not looking especially good at present. I think the unique nature of the IP and the loyalty of its fanbase is the main reason that it was originally created and has survived so long. EVE Online is another perfect storm of a game. One whose success cannot easily be duplicated. As for Star Citizen, the jury is still out until we get something approaching a fully fleshed out game. Simply put, the video game industry is just like any other leisure business. Trends are followed, risk is eschewed and decisions are often dictated by the bottom line. Although I would love to see a radical, hard science fiction game based on the works of Arthur C Clarke or Isaac Asimov, it is highly unlikely that any major triple A studio would undertake such a project. They’d be too worried about sufficient return on investment. Cue “and this is why we can’t have nice things”.

Is It Time to Rebrand the MMORPG Genre?

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According to Wikipedia, a massively multiplayer online role-playing game (MMORPG) is a video game that combines aspects of a role-playing video game and a massively multiplayer online game. 15 years ago, the MMORPG was an established and popular video game genre. It seemed that every developer wanted a title like World of Warcraft in their portfolio and were happy to sink millions of dollars into making one. WoW at the height of its popularity had over 10 million subscribers and annual turnover of over a billion dollars in the US alone. Sadly, no one ever came close to creating a WoW killer, a game that had found success through a perfect storm of events. Today the MMO genre has become synonymous with being a time sink and a grind. The universal adoption of the free-to-play business model further compounds the negative connotations associated with these types of games. Simply put MMOs are no longer seen as a licence to print money. 

Hence we now find ourselves in a world where games that are definitely MMORPGs are rebranding and attempting to present themselves as something else. Guild Wars 2 is currently marketed on Steam as a “online RPG”. New World is to be launched on consoles on 15th October under the revised name of New World: Aeturnum. The marketing for the game now refers to it as a “action RPG” and the online aspect is presented as “co-op play”. Similarly, ArcheAge2 which has been rebranded as ArcheAge Chronicles, goes out of its way to avoid using the term MMORPG in its promotional material. It will be interesting to see exactly what genre it ultimately claims to be when it is released in 2025. Even the doyen of the genre, Raph Koster, who worked on Ultima Online and Star Wars: Galaxies has dodged calling his latest game an MMO. Stars Reach is described as a “massively multiplayer sandbox RPG” on its official website. So near but not quite an MMO, then.

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Some gamers may argue that this doesn’t matter. It’s just marketing speak and there is a degree of truth in such a position. It has also been pointed out by many gamers and journalists over the years, that the term massively multiplayer online role-playing game is both cumbersome and inaccurate. I have written blog posts in the past about how we need to update and revise the existing gaming lexicon, as game genres and mechanics are constantly changing. Language doesn’t stay still in other areas of life. Why should it do so in the gaming community? However, setting linguistics aside, I think there are two very clear reasons why the MMO genre is perceived as being after its “best before date”. One is a matter of context within internet history. The other is a matter of perception. The former is a question of fact. The latter is more complex as perceptions are not always correct. However, mud sticks.

In the late nineties, the internet was still novel. The idea that you could communicate in real time with people all over the world was genuinely exciting. Hence the idea of playing a game in a shared environment, where the other avatars were actually real people, was revolutionary. My first exposure to this unique gaming experience was playing Air Warrior. This positive perception of the internet persisted possibly for a decade. By 2010 the MMO market was becoming saturated and the internet had gone from being a quaint, niche market talking point, to an utterly ubiquitous medium that was slowly becoming dominated by corporate interests. As a genre, the MMO had changed from being a player dependent platform for emergent gameplay, to a interactive but firmly on rails, gaming experience. As more and more players eschewed playing collaboratively many games effectively evolved into online RPGs with optional co-op play.

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As to why the player base shifted away from group content, there isn’t a single smoking gun that explains it all. However, raid culture often leads to elitism, which then fuels toxicity in gaming communities. Gaming has also become a far more widespread pastime over the decades, so MMO content had to become more accessible and less gated behind group play, for straightforward business reasons. As mentioned previously, we are now at a point where certain gaming terms, rightly or wrongly, come with a lot of baggage. If you speak to a gamer who primarily plays Call of Duty or a sporting franchise such as FIFA, they will often see the MMORPG genre as something “old fashioned”. Games that are graphically dated, filled with convoluted systems that require years to master. There is also a great deal of association with “pay to win” mechanics and egregious in-game stores which “nickel-and-dime” players. There is also a perception that the communities associated with MMOs are “weird”. 

When you step back and consider these things, regardless of whether they’re true or not, you can see why both players, developers and publishers may not want to be associated with the acronym MMORPG. Therefore, we again return to the subject of rebranding the genre and coming to terms that some words, phrases and indeed concepts become obsolete overtime. Exactly what the new description for an MMO should be, I’m not entirely sure. A game such as The Lord of the Rings Online, can be defined as an online action role playing game with optional cooperative play. Dedicated raiders may argue otherwise but their gaming experience is not that same as other players and they are far from the majority. Ultimately, as long as the terminology used to describe a game is accurate then I’m not resistant to change. If we have to say goodbye to the acronym MMORPG, so be it. It’s not as if we’re saying goodbye to the games themselves.

LOTRO: The Benefits of Plugins

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After my recent experiment involving tweaking the graphics settings in the MMORPG, The Lord of the Rings Online, I decided to see if I could improve my gaming experience with the use of mods. These are known within the LOTRO community as “Plugins”. They are created using the Lua programming language and are managed via an option on the character selection screen, after logging into the game. They are mainly used to augment the existing GUI, often presenting existing game data in a more convenient manner. Plugins can also be used to track information such as deed progress and to mark where specific items, resources and locations are on the in-game map. They cannot be used to issue commands or create macros. The most reliable source for Lua Plugins for LOTRO is via the website LOTRO Interface which maintains a comprehensive repository along with guides and FAQs.

As with other MMOs, the main issue with using any sort of mod or addon is cleanly installing all the appropriate files to the correct locations. While players can do this manually if so desired, the easiest way is to use a third party installation tool. LOTRO Plugin Compendium (LPC) is a windows based plugin management tool. There is also a Java version for Mac and Linux users. It can be used to search for existing Lua Plugins for LOTRO, as well as install, update and uninstall them as needed. It is broadly similar to Minion, for those familiar with the World of Warcraft mod manager. Once installed you can immediately start perusing the wealth of plugins that are available for LOTRO. Upon selection LPC will install all the necessary data to the appropriate game directories. Upon logging into LOTRO, the player has to click on the “Manage Plugins” button on the right of the character select screen to load those they wish to use.

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After I installed LPC, I spent a lot of time trawling through the plugin search facility to try and find ones I thought would be beneficial to my play style. I also watched a lot of YouTube videos and read through various subreddits and forums. What I found was that there are a lot of plugins designed around combat and analysing your performance. These are very useful for min-maxing and monitoring data such as DPS, aggro and buffs, when raiding. However, for a player such as I who mainly does PVE content on its default level of difficulty, few of these plugins are relevant. Fortunately, there are plenty of “quality of life” plugins to be found. Addons that present in-game information in a more accessible fashion, so you don’t have to go and search for it at an inopportune moment. Hence I installed the following:

Titan Bar: A transparent toolbar that is located at the top of your screen, which can have a wealth of customisable information displayed on it. I use it to track in-game currency expenditure, damage to gear and reputation progress. I also have an in-game clock that tells you what phase of the day the game is currently in and how long it is until the next one.

Travel Window II: Adds a new window to your screen which lists all your quick travel skills. These can be presented in various different ways and you can minimise the window when not using it. I freed up two complete in-game quickslot bars by switching to this plugin.

Alt Inventory: Does exactly what the name says. Adds a drop down window where you can search your various alt’s inventories. Both bags and vault respectively. This plugin is invaluable if you are an MMO “pack rat”.

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So far, I am not aware of the plugins causing any performance issues in LOTRO. However, I am only using three at present. Those installed do not clutter my screen in any way. All can be minimised when not actively used. In fact the Titan Toolbar vanishes during combat which is very convenient. They all provide exactly the functionality I require. I suspect that the key to effectively and efficiently using Lua Plugins for LOTRO, is the same as it is for using addons in any other MMO. Only install and use what you need and don’t get carried away. It is also worth remembering two important things about plugins. They are fan developed and maintained and game updates often break them. Hence, support for them is not indefinite or immediate. It is therefore possible that one day, a plugin you rely on may stop working. With all this in mind, a sensible selection of Lua Plugins for LOTRO can potentially enhance the game and improve your player experience.

Robot Dreams (2023)

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Whenever I feel that mainstream filmmaking is becoming increasingly bland and I grow despondent with it, along comes an animated film to prove that there is still greatness and art to be found through the medium of cinema. Robot Dreams begins as a tale of loneliness and then quickly becomes a eulogy to friendship and participating in life. The story then turns things on its head as it explores loss and finally concludes with a profoundly beautiful resolution, as it muses upon accepting change and new friends. Robot Dreams succeeds where so many other films fail by being honest, candid and sincere. Hence the emotions expressed by what is essentially a simple story are genuine and palpable. The film’s lack of dialogue is a blessing, with music doing a great deal of the narrative heavy lifting. This allows audiences to focus on the main characters without unnecessary distraction. The animation is uncomplicated but very specific in its style and setting. It utterly suits the tale being told.

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Set in an alternate incarnation of 1980s New York City populated with anthropomorphized animals, Dog lives alone in a Manhattan apartment. Tired of being lonely he orders a robot companion after seeing a TV advertisement. Upon arrival, Dog assembles his new friend, Robot and the pair embark on a series of adventures throughout the city. Robot’s innocent excitement and wonder at the world kindles a love of life in Dog and the two become inseparable. However, a trip to the beach at Coney Island goes awry and ends with Robot stranded on the sand. Dog unable to move him on his own, intends to return the next day but the beach is closed and fate then conspires to keep the two friends separated. Dog tries to go about his life, trying to fill the emotional void. Meanwhile, Robot dreams about being reunited with Dog and wonders about his own fate. 

Based upon the 2007 comic of the same name by Sara Varon, director Pablo Berger executes his animated parable with aplomb and integrity. As well as being a superb piece of animation, Robot Dreams is also an extremely well observed love letter to the city of New York. Subtle details embellish every frame, from the period-specific graffiti to niche cultural references such as the inclusion of a VHS copy of The Wizard of Oz rented from Kim’s Video store. The choice of songs from Earth, Wind and Fire to Reagan Youth are very evocative of the era and there are clever homages to films of the time, as well as classics also set in New York. Watch carefully for references to A Nightmare on Elm Street and Manhattan. For a film that is in essence, very simple, there is a great deal of emotional and philosophical depth to Robot Dreams. It is never boring, consistently compelling and quite profound throughout its 98 minute running time. You may find yourself crying but in this case, that is a good thing.

LOTRO: Virtue Traits

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I returned to the MMORPG, The Lord of the Rings Online, in April this year and caught up with 18 months worth of content. Upon reaching the latest level cap of 150, I built two entirely new Legendary Items and acquired new gear via the game’s lootbox system. As I am not the sort of player who is especially knowledgeable about the “stats” associated with my class and the overall theorycraft of the game, I did some research and found several guides to follow. As I play primarily solo PVE content, I favour a DPS build for my main character in LOTRO, which is a Lore-master. So I copied a specific build and considered my work done. However, along came Update 41 on the 1st of August, which made serious changes to this class. As a result I recently decided to look at every option for the Lore-master and see what I could do to find a new optimal build. The two areas that offer the most scope for improvement are Class Traits and Virtue Traits. This post deals with the latter.

Virtues are a type of trait that each character can obtain in LOTRO. Virtues grant bonuses to specific statistics. Each trait grants bonuses to 3 different stats. The first statistic listed grants the largest bonus, the next grants an intermediate bonus and the last stat listed grants the smallest bonus. In order to gain the benefits of a specific Virtue it must be slotted into the top bar in the Virtue page of the Trait Tree Panel. There are 21 Virtues in total, all of which grant a small passive stat bonus (either to Maximum Morale or Physical and Tactical Mastery) even if they are not slotted. A character can have 5 Virtue traits slotted at a time. Virtues are levelled as you progress through game content, with quests rewards often including Virtue XP. Completing deeds is another means of levelling Virtues. The current cap for Virtue Traits is 92.

The key to using Virtue Traits effectively is to slot those with statistics that are beneficial to your specific class. Naturally, you will find hardcore LOTRO players who favour bespoke selections for specific tasks. They may even swap between selections on the fly. For the average player, it is simply a question of finding those traits with stats which benefits your class and favoured play style. Post Update 41, I perused various discussions about the Lore-master class on Reddit and opted for the following Virtue Traits for my “red line” Lore-master. Honesty, Wisdom, Valour, Wit and Confidence. I then proceeded to return to older regions in the game and clear outstanding deeds to earn appropriate XP. Some of the traits I slotted I’d used before, so they were close to the level cap. Others that I had not used previously were only halfway. The benefit of having 5 maxed out Virtue Traits is that it boosts your overall stats and thus your in-game performance.

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To cut a long story short, I went through Cardolan, Swanfleet, the Wastes and Elderslade completing various slayer deeds and earning virtue XP. It got somewhat tedious after a while and then I remembered that I have an abandoned Guardian alt, that I previously “boosted” to level to 120. As I hadn’t used all the resources that came with the “boost”, I transferred them to my Lore-master and subsequently maxed out their respective Virtue Traits. This combined with my rebuilt Legendary Items, along with “Teal” gear and jewellery, means that my character stats are now very robust. I always pursue a policy of being overpowered for PVE content, when playing MMORPGs. Hence this has made playing through the Corsairs of Umbar content, a lot easier and faster. I remain undecided about the merits of the last expansion but I am now happy that my primary alt is now what I consider to be optimal.

The Virtue Traits system often gets neglected in LOTRO, due to the more pressing needs such as upgrading your gear and weapon as you level, as well as selecting the right Class Traits to unlock the skills you desire. Hence, levelling your slotted traits is often something we relegate to the time between expansions or content updates, when we’ve done all the major quests and are simply looking for something to do while we kill time. However, it is something that can significantly improve your stats and is therefore well worth pursuing. If done in conjunction with completing deeds, not only will you benefit from the trait XP but you’ll also be rewarded with traceries for your LI and even the occasional additional skills point or mount. There is the possibility that the Virtue Trait cap may be increased in the future, so that is another reason to stay on top of them now.