"Awful April" and the UK Cost of Living
Sunday 6th April is the start of a new financial year, here in the UK. According to data from numerous financial and economic institutions, an estimated million plus households will be facing annual increases of £400 to £500 as the proverbial “cost of living” goes up. Everything from Council Tax to Mobile and Broadband costs are being increased. Future cost hikes are expected in our energy and water utilities. As bills start going up across the country today, average wages remain stagnant. Middle-income and poorer households have been worst hit by this wage related issue. Hence the tabloid press have labelled the start of the new financial year as “Awful April”. Hyperbole aside, this is a very real issue which due to its complex, global causes, doesn’t have a quick fix solution.
Sunday 6th April is the start of a new financial year, here in the UK. According to data from numerous financial and economic institutions, an estimated million plus households will be facing annual increases of £400 to £500 as the proverbial “cost of living” goes up. Everything from Council Tax to Mobile and Broadband costs are being increased. Future cost hikes are expected in our energy and water utilities. As bills start going up across the country today, average wages remain stagnant. Middle-income and poorer households have been worst hit by this wage related issue. Hence the tabloid press have labelled the start of the new financial year as “Awful April”. Hyperbole aside, this is a very real issue which due to its complex, global causes, doesn’t have a quick fix solution.
Here a some of the increases the UK public face:
The majority (88%) of households in England will face a maximum increase in council tax of 4.99% which adds an average of £109 to a typical band D bill. Due to some councils facing severe financial hardship Bradford, Newham, Birmingham, Somerset, plus Windsor and Maidenhead have been granted permission to raise council tax above the current 4.99% cap.
Average energy bills are expected to rise to £1849 annually. Energy regulator Ofgem has increased the price cap for the third time, resulting in an extra £9.25 per month. Fixed-rate deals will see no change in cost until their term expires.
Water bills are expected to rise by 26%, which is £123 annually. Last March, private water firms in England reported a £1.7 billion pre-tax profit. Yet the public still endure an expensive service, regular leaks and sewage discharges into the UK waterways and coastal areas.
As of April 1st, 2025, food inflation in the UK continues to rise, with food prices overall 2.4% higher than last March. This itself was up from 2.1% in February, according to the British Retail Consortium-NIQ shop price index.
There are also scheduled increases in the cost of UK vehicle tax, TV license, mobile and broadband services and many other consumer industries.
These factors combined with the prospects of a global trade war and other geopolitical problems, mean that the economic prospects for the next financial year are far from good. The dour economic outlook makes it increasingly difficult for the UK government to rebuild the country’s crumbling public services and hamper wider plans to grow the economy. As for the public, wage stagnation coupled with the freezing of income tax thresholds until April 2028, will mean that many households will struggle financially. Shortfalls in disposable income frequently leads to daily expenditure being paid for by credit card. As of April 2024, UK households held an average of £2,487 in credit card debt, with total outstanding credit card debt reaching £70.1 billion. This is a 7.02% increase year-over-year.
Wealth and poverty can be relative things. For example, does choosing not to get into debt to finance a family holiday make you poor or just financially prudent? Can you be poor with an annual salary over £100,000 a year? As ever in life, simple or binary answers tend to be spurious and inaccurate. Nuance, complexity and context are required to reach a greater understanding. However, there comes a point when the realities of increasing monthly costs upon a household budget is no longer debateable. I do not consider my own financial situation to be dire, however the recent increases in the cost of living, especially with regard to food inflation have been clearly noticed and felt. As it is unlikely that any major changes or assistance are going to be forthcoming from the state, I suspect many of us will be looking at our own personal budgets and determining what costs can be reduced in the months to come. “Awful April” may well become a much longer affliction.
A Working Man (2025)
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.
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.
A Working Man is based upon the novel Levon's Trade by Chuck Dixon. The screenplay is by Sylvester Stallone and David Ayer who also directed the film. Stallone had originally intended the basic scenario of the book to be the basis of a television series but it was repurposed as a feature film. It was deemed a more marketable property due to the number of sequels written by the original author. Whether these ever see the light of day remains to be seen and is dependent upon the box office performance of A Working Man. The film has the solid production values associated with a medium budget feature film and a cast of dependable character actors in supporting roles. The action scenes are well conceived, realised but somewhat stylised. Firearms knock people off their feets and villains take multiple blows to the head before going down. Everything that you expect from the genre and the star is front and centre. Yet there is something missing.
A Working Man has a few interesting ideas, such as the lead character performing his own, amateur investigation. Ayer adds a few flamboyant touches, such as the leader of a drug dealing motorcycle gang who sits on a chrome throne made of exhaust pipes and fairings. There are also quite a lot of subplots for a film of this nature, with various elements of the Russian mafia working at odds with each other. Sadly, the main plot line about Jenny Garcia’s kidnapping founders as she decides to fight back and not to be a victim. By the climax of the film it has almost become an afterthought. Overall, A Working Man drags under the weight of a plot which pitches several ideas and then abandons them. Statham, as ever, does much of the heavy lifting through his screen presence and personality. However, compared to Ayer’s previous film The Beekeeper, this one fails to assert its difference, despite trying hard to do so. The word “adequate” springs to mind.
The Monkey (2025)
Osgood Perkins has a distinct visual style and tone to his films. It is why his previous film, Longlegs, was such a welcome change from standard genre outings. It was atmospheric both visually and tonally, demonstrating a keen understanding of horror cinema. Hence he is the perfect director to helm this adaptation of a Stephen King short story. The plot is greatly expanded and the screenplay takes a lot of liberties with the source material but the main themes of your past being inescapable and the power of guilt remain front and centre. Due to the extreme and bizarre nature of much of the onscreen deaths, the film wisely has a strong streak of gallows humour running through it which is extremely well handled. Comedy can often be used to defuse or mitigate violence which can be narratively dishonest (think Fred Krueger). Here it adds to the cruel and capricious nature of the random deaths.
Osgood Perkins has a distinct visual style and tone to his films. It is why his previous film, Longlegs, was such a welcome change from standard genre outings. It was atmospheric both visually and tonally, demonstrating a keen understanding of horror cinema. Hence he is the perfect director to helm this adaptation of a Stephen King short story. The plot is greatly expanded and the screenplay takes a lot of liberties with the source material but the main themes of your past being inescapable and the power of guilt remain front and centre. Due to the extreme and bizarre nature of much of the onscreen deaths, the film wisely has a strong streak of gallows humour running through it which is extremely well handled. Comedy can often be used to defuse or mitigate violence which can be narratively dishonest (think Fred Krueger). Here it adds to the cruel and capricious nature of the random deaths.
In 1999, airline pilot Petey Shelburn (Adam Scott) attempts to dispose of a drum-playing toy monkey at an antiques shop. He warns the proprietor that the automaton is evil and a death always occurs after it plays its drums. The monkey subsequently spontaneously plays its drum resulting in a bizarre accident where the shop owner is disemboweled by a harpoon gun. Shortly after this incident, Petey goes missing, leaving his wife, Lois, to raise their identical twin sons, Hal and Bill. The twins later find the monkey in a closet filled with their father’s mementos. They turn the key and again the monkey plays its drum. Later that evening the twin’s babysitter is killed in a freak accident at a hibachi restaurant. Further tragedies blight the twins lives, leaving them marginalised and estranged. 25 years later, despite being thrown down a well, the Monkey returns to dog the twins’ adult lives.
If you look beyond the over the top set pieces and wry humour, The Monkey attempts to explore various schools of thought surrounding the subject of death. It reflects upon the deterministic nature of our mortality and questions the relevance of human agency. The titular simian automaton is both scary and possibly symbolic. Is it an avatar of death itself? A biblically themed cameo at the film’s climax seems to imply such. Theo James gives two solid performances as the adult twin brothers and the film has several intriguingly quirky characters to enjoy. The gore is turned up to eleven and is both gross and amusing. Overall Osgood Perkins’ dark and droll approach to The Monkey is possibly for the best. If the story had been presented and explored in a more serious manner, it may well have been too po-faced or dour. Instead the film reacts to the absurdity of its antagonists’ random homicides in the only way it can. Namely, with ironic laughter.
TV in the UK Part 2
If you don’t want to pay for streaming services, or premium digital satellite and cable content, then your choice in the UK is somewhat limited. You can receive all “free to air channels”, IE the ones that have advertising, via the digital terrestrial platform Freeview. Most UK televisions have Freeview access built in. Alternatively, the same selection of channels are available via the digital satellite platform Freesat. You can also buy either Freeview or Freesat digital video recorders and require only a rooftop aerial or satellite dish respectively to access these platforms. Most DVRs come with additional IPTV functionality built in along with the most popular streaming apps, so additional subscription services can be added if the viewer so desires. Freeview and Freesat carry a mixture of high definition and standard definition channels. Internet based services offer 4K content.
Freeview and Freesat provide digital terrestrial TV access in the UK
If you don’t want to pay for streaming services, or premium digital satellite and cable content, then your choice in the UK is somewhat limited. You can receive all “free to air channels”, IE the ones that have advertising, via the digital terrestrial platform Freeview. Most UK televisions have Freeview access built in. Alternatively, the same selection of channels are available via the digital satellite platform Freesat. You can also buy either Freeview or Freesat digital video recorders and require only a rooftop aerial or satellite dish respectively to access these platforms. Most DVRs come with additional IPTV functionality built in along with the most popular streaming apps, so additional subscription services can be added if the viewer so desires. Freeview and Freesat carry a mixture of high definition and standard definition channels. Internet based services offer 4K content.
Until recently, our household has used Freeview, along with some additional IPTV channels and streaming apps for our television requirements. However, it has not been especially good value for money. The DVR that is supplied by our broadband provider, performs poorly and the extra channels we pay for are only in standard definition. So we have chosen not to renew our contract. We have moved over to Freesat, which broadly offers the same channels as Freeview, although more are in HD. Beyond the initial hardware costs, Freesat incurs no further charges. I recently changed my cell phone contract and received a year’s subscription to Netflix. As a regular Amazon Prime customer, we also have access to Prime Video. For the present these services are to be our main source of television content. We regularly avail ourselves on free trials, discount codes and other promotional opportunities so we can access other platforms. Thus we do not face “TV poverty”.
Freesat 4K Recordable TV Box
I spent some time researching what TV services are available in the UK, prior to changing from Freeview to Freesat. What I learned was quite discouraging. Television has changed its business model, just like the music industry and those changes are not beneficial to the customer. The dominance of streaming services has led to a decline in DVR production. Streaming services run on a subscription model, whereas digital terrestrial and satellite services rely on a hybrid of advertising and paid for content. TV is now a compartmentalised industry and although there is still a substantial audience in the UK, it is spread over a wider variety of platforms. Hence advertising reaches a smaller audience. DVRs further compound the problems, allowing viewers to bypass adverts. Thus there are less new DVRs coming to market, because user control of content is not good for business.
There is also a broader decline in physical media sales, again because streaming services appear to negate the need for it. Sadly, the reality is about removing customer choice and placing control in the hands of the vendor. Disney is reducing the availability of a lot of its classic content on physical media to drive customers to its streaming service. However, a lot of material from Disney’s back catalogue remains absent from its streaming service and a lot of content is being altered to make it compliant with what Disney consider to be “modern sensibilities”. Looking at streaming services from a wider perspective, a lot of content is licensed from third parties, to supplement original material. This means that content can come and go quickly once licensing arrangements expire. At one point, Netflix in the UK had access to all respective Star Trek shows. An arrangement that ended once Paramount Plus launched.
Apps available on Freesat
We are now living in an age where the entertainment industry (along with others) have decided that ownership or at least paying once to access material is not an adequate business model. Streaming, be it audio or video content, addresses this offering a service where the customer pays continuously for continuing access but has no direct control beyond that. Choice is very much dependent upon what the streaming platforms currently have licensed and there is always scope for material to be removed from access when licensing arrangements change or end. Due to a finite customer base being divided among an ever increasing group of vendors, subscription services are proving an “inadequate” revenue stream. Hence we are now seeing advertising being introduced on lower tiers of subscription. If the customer objects they can pay to remove it.
Due to the cost of producing content for streaming services, many platforms are now opting to release material in a weekly schedule to maximise audience retention and return on investment. Hence, we are currently experiencing a return to “appointment television”, although for a much more compartmentalised audience. Shows such as Reacher and Severance are released weekly and immediately become the focus of intense online debate on subreddits and the like. For those who think this is in some way a return to the viewing habits of the seventies, it comes with a substantial loss of agency. Adverts are forced upon viewers, where they could in the past be bypassed via a VCR. Furthermore, if you wish to avoid spoilers then you have to eschew all social media until you have watched the program in question. Once again it would seem that “choice” and “progress” are not as beneficial as they first appear.
TV in the UK Part 1
When I started writing this post it was intended to be about changing from one UK TV provider to another. However, I became concerned that there was a need to provide some sort of historical context, because I wasn’t sure whether all readers would be familiar with how television is provided here. The next thing I know, I’ve written a potted history of public and commercial broadcasting in the UK and the resulting post has become somewhat lengthy. So I have decided to split the text into two halves. The first being a summary of how the provision of television has changed in the UK over the course of the last fifty plus years. The second focuses more upon changes to the TV industry’s business model, consumer habits and the present status quo.
Philips CRT TV circa 1980
When I started writing this post it was intended to be about changing from one UK TV provider to another. However, I became concerned that there was a need to provide some sort of historical context, because I wasn’t sure whether all readers would be familiar with how television is provided here. The next thing I know, I’ve written a potted history of public and commercial broadcasting in the UK and the resulting post has become somewhat lengthy. So I have decided to split the text into two halves. The first being a summary of how the provision of television has changed in the UK over the course of the last fifty plus years. The second focuses more upon changes to the TV industry’s business model, consumer habits and the present status quo.
In the seventies and eighties, television in the UK was a singularly uncomplicated affair. You would buy a TV, connect it to a rooftop or indoor aerial/antenna and set the channel buttons to the four analogue stations that were broadcasting at the time. You then watched your favourite programmes at the time that they were broadcast and discussed them the following day at either school or work. Hence the viewing figures for popular shows were large with popular soap operas such as East Enders and sitcoms like Only Fools and Horses regularly achieving audiences of over 20,000,000. Over a third of the population at the time. Although video cassette recorders became ubiquitous during the eighties, the culture of “appointment TV” (IE watching stuff when it was shown), persisted. Analogue terrestrial television, introduced in the UK in 1936, remained the predominant source of TV in homes until 2012.
UK analogue aerial and satellite dish circa the mid-eighties
During the eighties, changes in TV regulation saw the emergence of analogue satellite and cable services. However, cable was not readily available in rural and most suburban areas due to the logistics of installing the infrastructure. Similarly, satellite TV required a dish which added to the set up costs for new customers. Plus due to the prevailing UK class culture of the time, there was a great deal of snobbery regarding “unsightly dishes” and commercial television programming that was perceived as “low rent”. However, in the early 2000s (noughties), the UK was getting ready to decommission analogue terrestrial TV broadcasting and replace it with a digital terrestrial service. Hence a lot of new commercial television services began to appear as the public became more comfortable with the business model of paying a subscription for quality programmes, rather than free TV paid by advertising.
The noughties were a time of major change for UK television. Many new commercial services, such as OnDigital (digital terrestrial) and NTL (digital cable) came to market and ultimately failed. However, other industry changes proved successful, such as the transition from 4:3 to 16:9 aspect ratio and from standard definition to high definition. Tests are currently underway for ultra high definition digital terrestrial broadcasts and 4K streaming content is becoming more widespread. There was a period of a few decades, when Sky was king and digital satellite TV was the dominant premium service in the UK with a fifth of the population as customers. The provision of major sporting events and franchises, especially premier league football, was a major factor in Sky’s success. However, over time other services have begun to compete and steadily eroded
A selection of UK streaming services
In 2025, we find ourselves in a TV market dominated by streaming services. Major streaming providers have the budgets to produce high quality shows and the remaining UK broadcasters dependent on advertising revenue, struggle to compete. The main problem with streaming services, is that if you want to keep abreast of all the most popular shows then you have to subscribe to 4 or 5 services. Sport in the UK is still mainly carried on digital satellite (and now streaming) via Sky, so if you want access to that as well you’re going to have to subscribe to their services as well. The monthly cost of all of these is somewhere north of £75, which is no small beer and a reason why so many people share logon credentials for streaming services. Subsequently, there is now a societal divide regarding TV access. “TV poverty” has emerged as a term describing those excluded from premium content due to its cost.
Thinking Out Loud
Art is a big subject, so I shall keep this brief. Art has a massive impact on shaping our personalities, whether we think it does or not. Consider for a moment, any online service that requires you to write a profile about yourself. Something that is designed to provide a summary of your personality, abilities and your likes and dislikes. IE Facebook, a dating app or even your online resume. Frequently, these profiles will require us to define ourselves by what we read, watch and listen to. Yes, other information is included in such profiles but directly or indirectly, we are asked about our artistic preferences. Possibly we do not consider such a line of questioning to be about art but essentially it is. So we dutifully state which art we cleave to and then look for reciprocal taste in others. Does this not prove that art is important?
Thinking Out Loud is a recurring post in which I present a selection of thoughts and ideas that have crossed my mind recently. As always, some of these could be developed into blog posts of their own but that really isn’t the point. Thinking Out Loud is a vehicle for brief, rhetorical musing rather than log form analysis. I just put a virtual pen to paper and get some of my thoughts written down for your consideration. As always, please feel free to leave a comment.
The Importance of Art
Art is a big subject, so I shall keep this brief. Art has a massive impact on shaping our personalities, whether we think it does or not. Consider for a moment, any online service that requires you to write a profile about yourself. Something that is designed to provide a summary of your personality, abilities and your likes and dislikes. IE Facebook, a dating app or even your online resume. Frequently, these profiles will require us to define ourselves by what we read, watch and listen to. Yes, other information is included in such profiles but directly or indirectly, we are asked about our artistic preferences. Possibly we do not consider such a line of questioning to be about art but essentially it is. So we dutifully state which art we cleave to and then look for reciprocal taste in others. Does this not prove that art is important?
Are You Wealthy?
HSBC bank recently conducted a survey in the UK about people’s perception of wealth. It is a very interesting analysis with some stand out facts. The biggest being a major regional disparity between the South and the North of the UK, regarding how much you need to earn a year to be considered wealthy. Londoners cited £290,000 as an annual salary, where in the North East it was £80,000. House prices have a lot to do with this. There were also some interesting social markers that some deemed to imply wealth. Having investments, being able to regularly travel and retirement were mentioned by about half of people surveyed. There were some curious additional examples, such as having an island in your kitchen or having a cleaner, gardener or any help with domestic chores. There was also a strong trend to equate wealth with mental well being. Money worries are seen as a key source of stress.
Doing Things Spontaneously
Spontaneity covers a lot of things, so allow me to be specific with regard to the point I’m making. Consider the following thought experiment. You decide on a whim to visit a place of interest. You also consider going to a restaurant afterwards and enjoying a leisurely meal and a few drinks. However, when you arrive at the place of interest you find that it is totally rammed. You can’t find anywhere to park, or the venue limits the number of people entering. You’re advised that you should have checked the website in advance and booked tickets for a designated time slot. You then go to your restaurant of choice, only to find that it is similarly full. Disappointed, you head home only to run into major traffic delays that you were totally unaware of.
This is something that has happened to me and Mrs P on several occasions. She favours doing things spontaneously. Sadly, the world is becoming increasingly averse to such a philosophy. Museums, galleries and places of historical interest are more often than not, subject to a booking regime. Reservations for dining out are also commonplace nowadays. It simply comes down to the number of people pursuing leisure activities, especially with a growing retired population in the UK. You’ll encounter the same problem when entertaining children during half-term. Personally, I like the piece of mind that planning a day out brings but Mrs P hates the fact you can’t always do things on a whim.
Password Managers
I wrote four months ago about replacing my existing password manager, after years of using LastPass. At the time I was going to move to Bitwarden. However, I ended up creating a free account with Proton Pass, developed by the Swiss software company Proton AG. Proton Pass can store login credentials, email aliases, credit card data, passkeys, 2FA secret keys, and notes in virtual vaults that are encrypted using 256-bit AES-GCM. The company seems to have a strong customer service ethic and the free version of the software is not lacking in functionality.
Car CD Players
Mrs P is the designated driver in our household as I don’t drive. Mrs P bought a new car in 2020. A Skoda Scala. It did not come with a CD player as the car industry now expects drivers to connect a streaming device via Bluetooth, to the vehicle’s “infotainment system”. Mrs P doesn’t especially care for technology. Nor does she have a phone contract with an adequate data allowance or indeed a spotify account. She does like CDs. So I bought a portable CD player with Bluetooth. Sadly it refused to connect to her Skoda, which upon further research, is a common issue. So it was returned to Amazon and the quest for a tech friendly solution goes on. In the meantime she has found a country radio station which has proven adequate.
New Phone? No Thanks
I last bought a new phone in March 2022. At the time I decided to move away from Samsung after a decade of brand loyalty and try the Google Pixel 6. Let it suffice to say that I have found this handset to be most satisfactory. I like the size. It fits into the front pocket of my jeans. Its overall performance is very good and it has no issue running any of the apps that I regularly use. Subsequent software updates have improved some aspects of the camera, which initially had a poor zoom. Overall the good points of the Google Pixel 6 outweigh its flaws. Hence despite being 3 years old I am happy to keep using it. I have looked at what the subsequent iterations of the Google Pixel have to offer and I really don’t see any significant improvements or benefits. So despite being offered a handset upgrade by Vodafone, I have decided against one.
I last bought a new phone in March 2022. At the time I decided to move away from Samsung after a decade of brand loyalty and try the Google Pixel 6. Let it suffice to say that I have found this handset to be most satisfactory. I like the size. It fits into the front pocket of my jeans. Its overall performance is very good and it has no issue running any of the apps that I regularly use. Subsequent software updates have improved some aspects of the camera, which initially had a poor zoom. Overall the good points of the Google Pixel 6 outweigh its flaws. Hence despite being 3 years old I am happy to keep using it. I have looked at what the subsequent iterations of the Google Pixel have to offer and I really don’t see any significant improvements or benefits. So despite being offered a handset upgrade by Vodafone, I have decided against one.
I cannot see any sense in just getting a new phone for the sake of it. Why saddle myself with a £500 debt, spread out over 3 years for something that isn’t required? Phones no longer hold any appeal for me beyond their inherent functional purpose. The handset I currently have does the job and therefore it will suffice for another year or so. Hence, I called Vodafone and negotiated a new tariff. I’ve increased my data allowance to 5 GB, while retaining the unlimited calls and texts. I still have access to 5G and the benefits of Vodafone Secure Net. After obtaining a 30% discount the monthly cost is £12.60, just 0.30 pence more than what I was previously paying. The only extra cost I foresee in the immediate future is an ad hoc data package when I travel to Croatia, in June for my holiday.
I grew up in the seventies and eighties, in a world where you replaced electrical devices when they stopped working. You seldom replaced something just because a better version became available. Perhaps if your family grew in size, you may consider buying a larger freezer but the benefits of such a decision were easy to evaluate. Such a mindset is now obsolete. Phones and other devices are no longer marketed based upon their purpose. They’re aspirational, lifestyle accessories that apparently say something about you. Exactly what that is, other than you have a line of credit, I have yet to determine. It all seems to feed into that great myth of capitalism that conspicuous consumption will somehow make you happy. It doesn’t. However, we all have to determine this for ourselves. Fortunately I have, which is why I got a new tariff and not a new phone.
LOTRO: 64-Bit Server Migration Part 4
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.
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 logged into Meriadoc server again this evening, at approximately 21:00 and found that my three characters had successfully arrived. All three now have their existing names appended with a “-1” so it just remains for me to delete the placeholder alts that I created and to use the “/changename” command to rename my migrated characters and reclaim their correct identities. I have a final alt that is transferring from Landroval to Peregrin server but that has yet to arrive. I did initiate that transfer 24 hours after the first, so it is logical that it has yet to be processed. I have decided not to replace my premium house which I sold prior to migrating. I intend to start playing through the latest expansion and enjoying the benefits of the new 64-bit server. I am for the present without a kinship and it remains to be seen whether my old one will move or not. It may even be time to find a new home.
It will be interesting to see how long it takes for SSG to catch up with all the outstanding transfer requests and whether the same problem occurs again when more players decide to move. The new 64-bit servers were a perfect opportunity for LOTRO to relaunch itself and try to attract new players. Sadly, this issue has received quite a lot of coverage in video games media and it hasn’t been positive. Furthermore, it is not the first time that the game’s developers have shot themselves in the foot. However, the LOTRO player base is very loyal and as there isn’t another Middle-earth themed multiplayer game in town, there’s a good chance that the community will forgive SSG at some point. Maybe we’ll all be laughing about this in the summer. In the meantime, good luck to those still waiting for their alts to turn up on their new servers. As for those who have chosen not to migrate, sit tight.
Experimenting With YouTube Part 2
I spent most of this morning and afternoon editing video content I captured while playing Sniper Elite Resistance. I assembled 26 minutes of highlights and then recorded a narration. After adding appropriate branding for Contains Moderate Peril, I then uploaded the finished video to YouTube. Sadly, the picture quality was problematic, often becoming pixelated and blocky when there was rapid movement. The volume of my narration was also too low, so I decided to delete the video from my channel. I was somewhat disappointed by this outcome and initially thought that the day had been a waste of time. However, as I write this post, it becomes very clear that this is just part of the learning curve. I have given some thought to the problem and I believe I have determined why this video was not up to the standard of the previous one. Ultimately, this is an invaluable lesson.
I spent most of this morning and afternoon editing video content I captured while playing Sniper Elite Resistance. I assembled 26 minutes of highlights and then recorded a narration. After adding appropriate branding for Contains Moderate Peril, I then uploaded the finished video to YouTube. Sadly, the picture quality was problematic, often becoming pixelated and blocky when there was rapid movement. The volume of my narration was also too low, so I decided to delete the video from my channel. I was somewhat disappointed by this outcome and initially thought that the day had been a waste of time. However, as I write this post, it becomes very clear that this is just part of the learning curve. I have given some thought to the problem and I believe I have determined why this video was not up to the standard of the previous one. Ultimately, this is an invaluable lesson.
In my last post on this subject, I mentioned how I was having problems with audio desync when editing video captured by OBS Studio. This was due to the video material having a variable frame rate. Hence I moved over to XSplit Broadcaster because users on Reddit stated it produced video with a continuous bit rate. Sadly, this change appears to have cured one problem and caused another. The raw video footage captured by XSplit Broadcaster plays fine when editing and there are no audio issues. However, when I encoded the final edit, the results were poor quality. I used exactly the same encoding settings as I did last time, which produced a viable video that I successfully uploaded to YouTube. That was not the case this time. The only element of my production process that changed was the video capture software. I shall therefore switch back to OBS Studio.
There is no guarantee that this is the correct solution to the problem. There are many variables involved in this process and the problem may lie elsewhere. However, swapping back to OBS Studio is a logical step. The software has been updated since I last used it and if the issue with variable frame rates returns, I can always use third party software to resolve the issue and re-encode any video to a constant frame rate of 60 FPS. In the meantime, this project remains a work in progress, so I have come to terms with the possibility that further technical issues may occur along the way. I shall do some further research online, to see if anyone has had a similar problem. Then I’ll record some more game highlights, repeat my production process and see if the video quality improves. I’ll share my results in the next post in this series, as that’s what it now appears to be.
LOTRO: 64-Bit Server Migration Part 3
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.
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.
At 16:50 GMT today I started the LOTRO client launcher and saw that the transfer service button was available. I chose to migrate all three of my characters from Laurelin to Meriadoc and followed the process as stated in SSG’s migration notes. At first all appeared to be working as intended. However, I received an error message at the very end of the process indicating that it had failed. I then took a break and returned to my PC at 17:20 GMT and repeated the process. It took a few minutes and it was clear that this procedure was running somewhat slow but it was quicker than my previous unsuccessful attempt. This time round there were no errors and I received a confirmation message on screen. I have no idea how long it takes to migrate data from one server to another. I am writing this post at 23:00 GMT and my characters have neither left its old home nor arrived at its new destination.
I have one alt left, that I haven’t yet moved. They are based on the US server Landoval and I intend to move them to Peregrin. I shall attempt this tomorrow morning after I’ve checked to see if my initial transfer has been completed. Furthermore, I shall record the process and share it on YouTube. It may be of use to those who are concerned about this entire migration or unfamiliar with the transfer process. In the meantime, my advice to LOTRO players is to wait a little longer before attempting to migrate your characters to a new server. Let SSG process the backlog of data that is still outstanding. I chose to move servers now, mainly so I could write about the process. I suspect it will be a lot smoother in a week's time. Until then, stay put on your current server and do some in-game housekeeping to make your move easier when you decide to leave. I’ll post an update when my alts arrive on Meriadoc.
LOTRO: 64-Bit Server Migration Part 2
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.
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.
So far, as stated in my previous post, all I have done is create placeholder alts on the new server that I intend to move to. I didn’t attempt to migrate any of my characters yesterday because I suspected that the service would grind to a halt under the volume of users. Those who did manage to initiate a transfer request currently find their alts in “gaming limbo”. They cannot access their characters on their old server and the new servers aren’t open yet. Not exactly an ideal situation. Hence the pushback from players on the official forums. According to feedback from SSG, the slow performance of the transfer service is specifically due to housing claims and moving kinships. If the backlog isn’t addressed in the next 24 hours they have hinted that they may defer opening the new servers further.
After working IT for several decades and having been involved in several major server migrations, I am painfully aware that there is always scope for something unforeseen to crop up and derail the most well planned project. However, SSG seem bamboozled by the fact that a substantial percentage of their player base have done exactly what they were encouraged to do. Namely, transfer their alts to the new 64-bit servers, on the day stipulated in SSG. It seems somewhat odd to publish a timetable and then be surprised when people follow it to the letter. Sadly, this isn’t the first time that SSG have been wrongfooted by their own plans and it probably won’t be the last. Which is why a lot of LOTRO players have chosen to adopt a “wait and see” policy, like that of UK Prime Minister Herbert Asquith. Let us see what tomorrow brings.
Update: While writing this post, SSG have announced that the new 64-bit servers are now going to open on Friday 7th March. Furthermore, the transfer service will return on Thursday 6th March, possibly as early as 8:00 AM EST. However, all dates are potentially subject to change.
LOTRO: 64-Bit Server Migration Part 1
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.
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.
LOTRO developers Standing Stone Games offer comprehensive guidance with regard to migrating characters, moving player houses and transferring kinships to the new servers. So I decided to create a placeholder character and reserve the name of my primary alt. At present all my characters reside on Laurelin which is an EU RP server, therefore I have decided to move to Meriadoc which is the new 64-bit equivalent server. Hence, at 5:00 PM GMT I attempted to log into LOTRO and begin the process. Let it suffice to say that the number of players attempting to do the same had an impact upon response times but after a while I could log in to the game and select Meriadoc from the server list. I successfully created a placeholder alt for my primary character. Having secured the name of my beloved Lore-master that I have exclusively played since late 2008, I logged out of the game.
I have chosen not to secure the names of my remaining two alts, mainly because I seldom play them and have precious little attachment to them. I have also decided to sell my existing Premium House on my current server and not to repurchase it when I transfer to the new one. The house as it stands is just a virtual warehouse, mainly for unused housing items. As I don’t craft and seldom visit it, I just don’t see the point of having it anymore. Plus the prospect of having to redecorate a new home is singularly unappealing. Hence, for the meantime, I will just concentrate on moving my Lore-master. Upon arrival I suspect I shall be throwing away a lot of unwanted items and generally decluttering. At present, my kinship doesn’t have a plan to move, so I’m monitoring the situation. It may be time to move on and find a new one. Let us see what tomorrow brings.
Damerham
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.
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.
I had the pleasure of visiting Damerham today, as I was attending a family wedding and the reception was held at the village hall. The hall was built in 1996 and is situated next to the Allen River. This proved to be the perfect venue for a late winter afternoon wedding reception, as the weather was unseasonably pleasant, bright and warm. The riverside setting was ideal for wedding photos and the village hall amenities were more than adequate for a gathering of 70 plus guests. I took the time to take a stroll around Damerham prior to the reception getting into full swing and it is an extremely picturesque settlement. There is clear pride evident in the village, with so many committees and local bodies overseeing the upkeep and maintenance of facilities.
The church of St. George looks very imposing. It has served the community of Damerham for at least 900 years. It is likely that a Saxon church preceded it. The church is situated in a picturesque setting, positioned on a gentle rise that provides a view over a water meadow. It is an enchanting and harmonious structure that incorporates features from various architectural styles of churches dating back to the 12th century, while maintaining a balanced aesthetic that is not dominated by any single aesthetic. There are also numerous walking trails and footpaths throughout the local area, which highlight the natural beauty of the county of Hampshire. The village also has a wide variety of social clubs, with horticultural and gardening societies featuring prominently.
In many ways Damerham is the epitome of romantic preconceptions of a “rural Southern English village”. However, what struck me and left a very strong impression was a tapestry in the village hall celebrating the millennium of Damerham. There have been people living in this area for over a thousand years. This certainly provides a sense of continuity and I can see why the villagers are so proud of their home. Much of modern day life is ephemeral and yet in Damerham, there is a rich vein of history that runs all the way back to the stone age. A thousand-year-old village is a living testament to time, carrying the weight of history in its stones, streets, and traditions. Its existence raises deep questions about continuity, change, and the nature of human legacy. I look forward to returning at a later date and spending more time in this charming village.
Nothing is Ever Easy
Have you ever embarked upon a tech related task that you consider to be a relatively simple undertaking, only to find it slowly becoming more complex and more involved as you progress. For instance, configuring software, upgrading your PC or changing internet service providers. I’m sure the answer is yes, because this seems to be life’s default position these days. Every endeavour starts with a simple premise, only to become bogged down in additional requirements and unforeseen issues that weren’t apparent at the beginning. The icing on the cake is often a cost that hadn’t been anticipated. To get the job done you have to put your hand in your pocket and pay someone or buy something. It is a pain in the butt, annoying and sadly, all too common these days.
Have you ever embarked upon a tech related task that you consider to be a relatively simple undertaking, only to find it slowly becoming more complex and more involved as you progress. For instance, configuring software, upgrading your PC or changing internet service providers. I’m sure the answer is yes, because this seems to be life’s default position these days. Every endeavour starts with a simple premise, only to become bogged down in additional requirements and unforeseen issues that weren’t apparent at the beginning. The icing on the cake is often a cost that hadn’t been anticipated. To get the job done you have to put your hand in your pocket and pay someone or buy something. It is a pain in the butt, annoying and sadly, all too common these days.
With this in mind, let me return to my recent aspiration to divest myself of Microsoft software. Specifically Microsoft Office. My plan hinged upon finding a replacement for Microsoft Outlook and I had decided on Mozilla Thunderbird. Everything seemed quite straight forward until it came to exporting my existing mailboxes from Outlook to Thunderbird. Outlook uses a proprietary file format, the Personal Storage Table (.pst) which is incompatible with Thunderbird. It needs to be converted to the .MBOX format before it can be successfully imported. However, conversion tools and apps tend to be mainly designed for corporate mail migration projects. Hence they have limited free access and often rename header details as part of the “free trial” restrictions. Full licences tend to cost several hundred dollars. Let it suffice to say that this development stopped my plans dead in their tracks.
Ringo Starr has wise words about things not being easy
So rather than waste time trying to work around the above solution, the path of least resistance has led me to another approach. I shall see if I can find a lifetime license key for Microsoft Outlook and negate the need for a subscription. Then I’ll uninstall the remainder of Microsoft Office. I may have to roll back to an older version if necessary. It’s not an ideal solution as such keys can be “questionable” in provenance and you can on occasions find them being blacklisted. Alternatively, I could just use Gmail to handle all my mail related requirements but that is basically just swapping one corporate behemoth for another, which doesn’t ultimately resolve the issue. The Mozilla Thunderbird option would be fine if I was starting from scratch but I have quite a substantial archive of mail that I don’t want to have to abandon.
Tech problems are often rabbit holes, as I found out recently with video editing and the problem of “variable frame rates”. I can think of no other industry where known bugs, incompatibility issues and paid service gating are just an accepted part of the associated landscape. Mind you, it’s not exactly plain sailing everywhere else. Our family car recently had some tire related issues. As a result we discovered how wheel nuts are not a common standard and there is often an adaptor required by independent garages before they can remove a wheel. The UK is also still debating whether to introduce legislation for standard USB-C chargers across a range of electrical devices. So it would appear that from a business perspective, it is financially lucrative not to make things easy for customers. However, this is a status quo that the public is far from happy with.
Disco Elysium
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.
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.
Disco Elysium is set in a coastal area of Martinaise, a dilapidated suburb of the city Revachol. The country is still in the process of healing from a communist revolution that transpired many years before the events of the game. However, the communist regime was deposed by a coalition of neighbouring capitalist countries and Revachol is now under “special administration” by the coalition. The player assumes the role of an emotionally broken detective suffering from alcohol induced amnesia, who is assigned to unravel a local murder. It becomes clear quickly that the case is politically complex and potentially career suicide. Throughout the investigation, the detective begins to regain memories of his own history, as well as confront various political, social and criminal influences that are associated with the case.
Most plot summaries of Disco Elysium fall woefully short of adequately explaining what actually unfolds within the games first few hours. Simply put, the game grabs your attention immediately, as your character slowly wakes from a drunken revelry and it refuses to let you go. The setting and the aesthetics all add to its compelling nature but it is the dialogue that seizes you by the throat and demands that you damn well apply yourself. It is difficult to describe to those who haven’t experienced it. It’s like you’ve awoken in a living neo noir movie. It has the visual style of David Lynch and you’re being aggressively interrogated simultaneously, by Albert Camus, Werner Herzog and Raymond Chandler. I can fully understand why some players will abandon the game within minutes of playing. Yet for some, the opening elicits a strong desire to fathom what the hell is going on. It is they who continue
Regular players of RPGs are au fait with branching narratives and multiple dialogue options. However, Disco Elysium does so much more with this game mechanic. Your character is advised, berated and tempted by multiple inner monologues which interject as a response to your dialogue choices with NPCs. These voices stem from the various 24 skills you have and their strength is dependent on the allocation of skills points you’ve made. If your character possesses elevated Drama skills you may excel in both identifying and constructing falsehoods; however, this proficiency could also render you susceptible to episodes of hysteria and paranoia. Similarly, a high level of Electrochemistry equips your character with immunity to the adverse effects of drugs and imparts valuable knowledge regarding them. Yet it may also result in substance abuse and other self-destructive, hedonistic behaviour.
Unlike traditional RPGs, Disco Elysium handles major in-game events and narrative decisions through skill checks, rather than combat. The amount of points you have in specific skills influences the outcome of such events but the game ultimately determines the outcome via the rolling of twin dice. Hence you can theoretically have a 68% chance of completing a skill check favourably but the RNG says “no” and you fail it. Skill checks are colour coded and white ones are repeatable but not all are. I experienced an interesting situation when talking to a witness and a skill check turned up in the list of dialogue responses. On this occasion I passed the skill check and discovered that the witness knew me. However, the game crashed and I had to repeat the scenario again. Second time round I failed the skill check and was presented with a totally different outcome.
Disco Elysium is a tale about a broken world. It explores the realities of poverty, the failings of multiple political ideologies and the emotional burden of having to endure all these iniquities in a world you cannot change. Many of the dialogue options offer the player the chance to cleave to a particular philosophical or political dogma. You can be a fascist, a liberal, or a communist if you see fit. Or you can try to navigate a path through the game without taking a side. If you choose the latter approach the game berates you. Eventually, to get things done, you will have to take some sort of moral or ethical stances. Just like in real life, your actions have consequences. If you try to play the game by taking what you feel is the optimal dialogue choice, the game will conspire against you. NPCs will be uncooperative and the story will get bogged down.
This can all be very daunting to players expecting a traditional RPG. Fortunately, Disco Elysium throws you a lifeline via your partner, Kim Kitsuragi, another detective who acts as a voice of professionalism and who offers advice or support in certain dialogue. He is a fascinating character, who like you feels the weight of the world that he lives in. However, he deals with it in a very different fashion. His monologues, which often occur after key plot points, are singularly thought provoking. It is details such as this that makes the game world so plausible. Yet there is a price for such credibility. Disco Elysium can be oppressive at times. It also has the capacity to make you genuinely sad. Some of the NPCs' backstories are very moving. Hence I find playing it in focused sessions of an hour to 90 minutes helps.
It is a truism that not all games are for everyone. That is very much the case with Disco Elysium. Gamers™ will probably chafe at the social and political content of the game. So who is the game aimed at? Anyone who likes games driven by stories, credible characters, and who isn’t averse to some introspection and learning. Disco Elysium is in many ways a form of therapy. A means of coming to terms with human frailty and finding hope in the most desperate of situations. Disco Elysium is a rare example of that much disputed concept, that some video games are art. It certainly argues the case for video games being a learning tool and it has much to teach. I am fascinated by its unique nature and feel compelled to play. It is certainly an anomaly. Don’t worry if you, like me, discover its virtues late in its lifecycle. I suspect that Disco Elysium will still be played and talked about a decade from now.
Experimenting With YouTube Part 1
I recently wrote a post about how I wanted to have a go at producing some gaming videos for YouTube. “How hard can it be?” I asked rhetorically, knowing that there would probably be a lot more to the process than meets the eye. Two weeks on and I can report back that there is indeed a learning curve but it is not insurmountable. I managed to figure out how to record a video game, edit it and then add a narration as well as a simple animated logo. Furthermore, I succeeded in doing this without spending a lot of money. I bought some video editing software and a year’s subscription to XSplit Broadcaster but got a really good deal on both. In total I paid £41, which is very reasonable. Hence yesterday, I posted my first video on the officially relaunched Contains Moderate Peril YouTube channel.
I recently wrote a post about how I wanted to have a go at producing some gaming videos for YouTube. “How hard can it be?” I asked rhetorically, knowing that there would probably be a lot more to the process than meets the eye. Two weeks on and I can report back that there is indeed a learning curve but it is not insurmountable. I managed to figure out how to record a video game, edit it and then add a narration as well as a simple animated logo. Furthermore, I succeeded in doing this without spending a lot of money. I bought some video editing software and a year’s subscription to XSplit Broadcaster but got a really good deal on both. In total I paid £41, which is very reasonable. Hence yesterday, I posted my first video on the officially relaunched Contains Moderate Peril YouTube channel.
Like a lot of people, I captured my video game material using OBS Studio. This was easy to configure as there are plenty of YouTube videos on this subject. Deciding what software to use for editing was a little trickier. I didn’t want to use a beast such as DaVinci Resolve as it smacks of using a sledgehammer to crack a walnut. Eventually I read a comparison review over at TechRadar and Corel VideoStudio 2023 seemed to fit the scope of my project. It has proved easy to learn and is well supported. All went well to begin with. I edited an 18 minute video down to 8. However, when I started adding more material, I noticed that the sound started getting out of sync, leading to a crash course in the iniquities of video content recorded with a variable frame rate. Remuxing offered a solution but added an extra layer of work. So I switched from OBS Studio, to Bandicam (which stuttered) to XSplit Broadcaster.
The thing about making videos for YouTube, is that it’s only half of the work. Uploading the finished MP4 file and having to input all the metadata required for posting, is a complex task. There is an element of “voodoo” associated with choosing a title and a thumbnail image, along with selecting the right keywords and writing a description that will potentially intrigue viewers. If you’re looking to monetise your YouTube channel (which mercifully, I am not) then there is a lot of pressure to get this process right. Like writing online, I can see how easy it is to start obsessing about numbers and traffic. However, YouTube is already an oversubscribed space so it is best to put thoughts of “global domination” out of your mind. I have and I am just pleased that I managed to produce something.
I guess the question remains, am I going to post YouTube videos regularly? Not exactly. I am going to try to do a few more and see if I can learn how to refine my presentation and make the production process more efficient. If that can be done I don’t see why I can’t publish something once a month? But in true blogger style, I reserve the right to get bored and lose interest, or to have unforeseen complexities in my life which prevent me from doing anything online. It has been fun learning something new. I like to challenge myself and think it important to keep the brain ticking over, especially as you get older. This project has also been a timely reminder of how hard some YouTube content creators work. Especially those who clearly do it as a means of income. It is far more labour intensive than blogging.
Dog Man (2025)
For those unfamiliar with Dav Pilkey’s graphic novel character Dog Man, he’s a half-dog, half-human police officer. This comic chimaera is the result of a surgical procedure carried out after Officer Knight and his trusty dog Greg are blown up while defusing a bomb. Greg’s head is grafted to Officer Knight's body. Post surgery, Dog Man (Peter Hastings) remains an officer of the law and continues to track his nemesis, Petey (Pete Davidson), an orange cat and criminal genius. However, despite positive media coverage and a high arrest rate, Dog Man incurs the ire of his Chief (Lil Rel Howery) who is jealous of his success. Furthermore, Dog Man becomes depressed due to the loss of his owner, girlfriend and former home. Meanwhile, Petey decides to clone himself in an attempt to find a worthy assistant and also plots to resurrect a deceased super villain, Flippy, who is an evil telekinetic fish.
For those unfamiliar with Dav Pilkey’s graphic novel character Dog Man, he’s a half-dog, half-human police officer. This comic chimaera is the result of a surgical procedure carried out after Officer Knight and his trusty dog Greg are blown up while defusing a bomb. Greg’s head is grafted to Officer Knight's body. Post surgery, Dog Man (Peter Hastings) remains an officer of the law and continues to track his nemesis, Petey (Pete Davidson), an orange cat and criminal genius. However, despite positive media coverage and a high arrest rate, Dog Man incurs the ire of his Chief (Lil Rel Howery) who is jealous of his success. Furthermore, Dog Man becomes depressed due to the loss of his owner, girlfriend and former home. Meanwhile, Petey decides to clone himself in an attempt to find a worthy assistant and also plots to resurrect a deceased super villain, Flippy, who is an evil telekinetic fish.
Dog Man is a visually impressive animated comedy that succeeds in being accessible to both children and adults. Kids will like the madcap humour and frenetic mayhem, where adults will smirk and guffaw at the abundant film references, pop culture humour and satire of commonplace cinematic tropes. Within the first seven minutes there is a homage to RoboCop and it is not an obvious one, clearly showing Peter Hastings’ (who also wrote and directed the film) movie literacy. There are continual sight gags, clever puns and good old-fashioned slapstick. The film has a bright colour palette and a very knowing style. It calls out its own use of a montage and continuously nods and winks at the audience. Dog Man is certainly well made and clever, especially with regard to the contrast between Dog Man’s boundless love and Petey’s cynical philosophy.
Despite all these good points, Dog Man starts to show its weaknesses after about 50 minutes. The fast pace of the story and the continuous barrage of jokes becomes a bit of a hindrance. The audience doesn’t get time to think or take stock. While you’re laughing at one gag, you potentially miss another. There’s also a celebrity voice actor cameo that doesn’t really add any value to the proceedings and stands out like a sore thumb. The secondary plot about Flippy feels like it’s a contrivance to get the plot from A to B, rather than a valid theme to be explored. Dog Man also feels like it’s lapsing into fan service at times. Hence, although there is much to enjoy both visually and narratively about this clever adaptation, the 90 minute running time can be quite taxing for adults. Children will probably have no issue with the fast pace and bombast.
Diary of a Podcaster Part 19
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.
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.
The email itself was about outsourcing podcast post production. I broke protocol and actually replied to this one, as they had unknowingly amused me. I politely declined their services, pointing out that the Burton and Scrooge podcast had ceased production over 8 years ago. But it certainly got me thinking about how the nature of podcast production has changed over the years. When I started producing podcasts in 2010, it was very much a case of flying by the seat of your pants. I had a cheap, desktop microphone which sounded terrible. Everyone recorded their own audio which was then sent to me and I tried to cobble it together using Audacity. It was very rough around the edges but it was that lack of formality and quality which made it exciting and different. Now even a small podcast can outsource its post production, if it sees fit. The cost is that low.
That “wild west” period of small, amateur podcasts seems pretty much over. Everything is slick once again. Podcasts for a while supplanted traditional media but the corporations and professional companies simply moved into the podcast market and slowly formalised everything once again. Like the media version of the Borg. It’s a shame but unsurprising. Capitalism hates anything that it can’t control and monetise. But enough of this melancholic, introspection. It was nice to have been reminded of the Burton and Scrooge podcast. It was a fun time and both I and my co-host Brian really enjoyed having a weekly show where we could literally talk about anything. That is a rare opportunity these days, where everything is quantified and optimised to appeal to a predetermined market. As for being addressed as Burton, it just makes me want to podcast again.
Sting (2024)
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 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.
Charlotte (Alyla Browne ), a rebellious 12-year-old, lives in a rundown apartment block with her overworked stepfather, Ethan (Ryan Corr), her mother Heather (Penelope Mitchell), and her infant half-brother, Liam. Frequently left to her own devices, Charlotte discovers an unusual spider which she catches and keeps in a jar. Unbeknown to Charlotte, the spider originated from a luminous meteor that landed in her great-aunt's apartment. Charlotte nurtures the spider, which she names Sting and it subsequently grows at an astonishing pace. Initially, she conceals its increasing size, but as it becomes more challenging to keep hidden, her stepfather and the neighbours begin to observe unusual happenings within the building. Sting's rapid growth and voracious appetite soon result in the demise of pets and residents alike. Is Charlotte’s family safe?
Director Kiah Roache-Turner, builds the tensions with some clever jump scares based around shadows and household objects being mistaken for Sting. As for the spider itself, it is very well realised by Weta Workshop, Cumulus Visual Effects, and Spectrum Films. The majority of the visual effects are practical. Sting manages to provide gallows humour, with its wise cracking exterminator and comedy pets, along with the required horror elements of a “creature feature”. However, what makes the film more interesting than standard genre outings are the characters and the central theme of a daughter reconciling with her stepfather. The human aspects of the story are well handled and have a Joe Dante-esque quality. As I’ve said before, not every film has to be a cinematic milestone. A small, focused story that is well done, is a perfectly entertaining proposition. Sting provides exactly that.
Sniper Elite Resistance: 10 Invasion Tips
I recently wrote 10 tips for Sniper Elite Resistance. Some simple advice and features to be aware of in the game, that hopefully proved beneficial to both old and new players alike. This time, I want to give some further guidance, specifically for Invasion mode. A few pointers to make hunting down other players easier and more fun. Invading someone else’s single player campaign is a very exciting prospect and many players rush headlong into this game mode without giving any prior consideration to who they may be up against, or how to approach the ensuing hunt. Here are 10 tips that will hopefully help Invading players and improve their overall Invasion experience. There is also a bonus tip at the end of the post for campaign players whose games get invaded.
I recently wrote 10 tips for Sniper Elite Resistance. Some simple advice and features to be aware of in the game, that hopefully proved beneficial to both old and new players alike. This time, I want to give some further guidance, specifically for Invasion mode. A few pointers to make hunting down other players easier and more fun. Invading someone else’s single player campaign is a very exciting prospect and many players rush headlong into this game mode without giving any prior consideration to who they may be up against, or how to approach the ensuing hunt. Here are 10 tips that will hopefully help Invading players and improve their overall Invasion experience. There is also a bonus tip at the end of the post for campaign players whose games get invaded.
Play the Campaign:
If you play through the single player campaign you will become familiar with the various mission maps, the different entry points where the player you are hunting may spawn and their respective mission objective locations. This information will help you identify where your prey has been and where they may be going next. You can then make educated guesses as to where they may dig in or set up an ambush for you, if they are proactive in their defense. If you do not wish to hunt your enemy, you can go to locations that they will later visit and await their arrival. A familiarity with all the mission maps makes Invasion mode an organised process, rather than a random search.
Don’t Stand Out:
When you play as a German Sniper Jäger, you have a choice of cosmetic outfits. It is tempting to pick one of the more flamboyant options but the most logical choice is that of a standard Infantryman. You have a much greater chance to blend in with the other NPCs and may not be immediately identified as the invader when approaching the player that you’re hunting.
Know Your Enemy:
When you invade a game, take the time to read the mission settings such as the difficulty and any other customisations such as health regeneration, bullet drop and wind etc. This can give you some indication as to the skill of your enemy or enemies if it’s a co-op game. Check to see what platform the other player(s) are on. Sniper Elite Resistance is currently available on PC and Xbox Game Pass, so a lot of new players are trying the game. However, remember that you may also be facing an experienced player who is playing on a lower difficulty so they can focus on the various collectibles and achievements in the game.
NPCs and the Mini Map:
When invading a game, the most obvious way to monitor activity across a mission map is to tag all NPCs. This can be done via your binoculars or the telescopic sight of your rifle. However, using the binoculars is preferable as it is permanent. You can also tag NPCs that are close, by using High Alert. This tags them and makes them extra vigilant for a short time. Tagged NPCs show on your mini map and changes in their status are denoted by the colour altering from blue, to yellow to red. If an NPC that you’ve tagged is shot, a white X shows on the map. If the enemy gets into a firefight with the NPCs their position can eventually be triangulated. This is indicated by a spinning red triangle on the minimap. These visual cues are invaluable.
Follow the Clues:
There is an element of detective work involved in Invasion mode. When you spawn into a game, look for areas without NPCs, damaged vehicles, a trail of bodies or completed objectives. If you inspect corpses with your binoculars, you’ll find a colour coding system that indicates how long they’ve been dead. White is recent, yellow is several minutes and red is over 15 minutes. Always be careful around corpses as they may be boobytrapped. As your enemy progresses through their mission you will receive notification of their progress.
Use Your Binoculars:
Use your binoculars for reconnaissance. Your sniper scope gives off a very obvious glint, while your binoculars do not. If you spot your enemy with binoculars it is not essential to tag them as this alerts them that they’ve been seen. Binoculars also reveal NPC dialogue, irrespective of your distance, which can be useful.
Lures and Traps:
Mining choke points, mission objectives and elevated positions that afford a wide view can often yield results. A mine will not necessarily kill an enemy outright but it will diminish their health and tag them. Combined explosions are lethal. Decoys and lures can also prove useful for drawing enemy fire and triangulating their position.
High Ground:
High ground often provides clear and far reaching views. However, the enemy will also seek these out. It should also be noted that the sniper that you’re hunting has access to armour piercing rounds and you do not. You can be shot through a brick wall. Hence, weigh up the pros and cons of seeking high ground before doing so. When using a tower or something similar, mine the steps behind you and use a decoy if possible.
Customise Your Loadout:
As a Sniper Jäger with a clear hunt and kill objective, you do not have to be especially worried about stealth. Once you spot your target you need to hit fast and hard. Hence customise your loadout accordingly. Opt for weapons that have a high rate of fire and that do heavy damage. The Gewehr 43 is a more practical rifle in this respect, than the Karabiner 98. For SMGs and pistols, customise with extended magazines as well as barrels and receivers that do higher damage. Grenades are very versatile weapons and should be included in your loadout.
Audio Cues:
Listen for gun fire, sabotaged generators and NPC dialogue as these can be invaluable clues as to your enemy’s location or passage through the map. If the enemy is close, you can often hear them use the Invasion Phone.
Bonus Tips:
If you’re the player whose game is being invaded, you may wish to cease your current activities and dig in somewhere at a location that is defendable. Or you may choose to proactively hunt the invading Sniper Jäger. Ignoring an ongoing invasion is a high risk strategy.
Use your Focus ability continuously. Too many players simply forget about it. It tells you what direction the enemy is coming from on the minimap and displays a continuous red circle when they are very close.
Pre-aim corners and swap to a SMG or trench gun for close quarters combat.
Be prepared to simply run into your opponent by chance. Sometimes there is so much going on, you can walk right past each other.
Be mindful of bravura kills. Stealth takedowns can be tricky and they sometimes glitch out if your opponent moves. A fancy knife kill or drop down melee attack may look cool but can fail. Sometimes a simple bullet to the head when the opportunity presents itself is the better option.
