Resident Evil Village- Video Games As Art

I have a deep love for Resident Evil with RE 4 and 7 being a couple of my most recent favourites from the series. I have fond memories of playing RE 7 in PSVR with a few of my friends, initially after school and then at home and sharing in the scares. Village continues the story of Ethan Winters and his family as he undergoes loads of hand-based trauma whilst battling the 4 Lords of Mother Miranda in an effort to retrieve his daughter and exact revenge for the death of his wife.

The game is wonderfully chaotic and, even though it is not as memorable as 7 or 4, it is an excellent game full of exciting set pieces. The graphics are gorgeous and the House Beneviento is a particular highlight, scaring the heck out of me. Check out the screenshots from my playthrough.

Hades- Video Games As Art

Hades is the multi-award winning and highly regarded rogue-like based on the Greek mythology that told the story of Hades’ son Zagreus trying to escape the underworld. Being Hades though the escape is extremely perilous so you die, a lot, before finally getting through the different levels of Hells.

I bought the game on the Nintendo Switch earlier in the year and alongside Skyrim, it is the game I poured most of my hours into. After nearly 100 attempts I finally managed to escape and see the first ending. I won’t spoil it but it was sweet release.

Now, speaking to a few friends I know you’re supposed to beat it about 10 times to see the ‘true’ ending but forget that… I’ve got my pile of shame building up! However, I loved my time with the game and its gorgeous art style is singularly spectacular.

An Ico Retrospective

It’s hard to believe but Ico was released 20 years ago today in Japan and so I thought I'd do a retrospective on one of my favourite games of all time.

 I had a Nintendo 64 and PS1 and my interest in gaming was waning. It wasn't because the games coming out were bad but rather I was at university, discovering the joys of clubbing and just generally socialising. I worked part-time as a youth worker in a youth center in East London, one of the ones always in the papers because of the spate of regular stabbings, and we were creating gaming collages for our games room. It was through this that I saw a review of Ico and the art style of the game intrigued me.

The Ico cardboard cover is in the style of famed artist De Chirico and it was in part this art style that intrigued me. I saw a wrapped copy of Ico for sale at my local second hand video game shop and so I bought the game and a PS2 that same day. The packed cardboard box edition with postcards had me impressed and then I played the game and it blew me away. The first introduction to the character is full of mystery and very little is explained. Why is there a boy with horns? Why is he being taken to the temple? Why is he placed in the sarcophagus? What happened to the people of this land?

The wonderful thing about this game is that very little is revealed to you, even when you finish the game. The world seemed rich and immersed in a history which I didn't know, no lore was presented in Ico but you could create your own narrative through events and the structures within the castle. A lot you had to interpret and guess and for someone who likes media that makes you think and question, that suited me just fine.

Playing the game I fell in love with the simple but powerful mechanic of not understanding my partner Yorda, but knowing that I had to help her escape the castle. The game itself is an escort mission but not annoying; you develop a protective bond with this ethereal girl who you can't communicate with. The bond of holding hands is powerful and later on when you are without her it feels terrible, not many escort missions can achieve that.

When Team Ico released Shadow of the Colossus 4 years later and, after a hefty 11 year wait, The Last Guardian the DNA of Ico was in both. In those games we are given some narrative but events feel bigger than us and the world seems to have existed before our character comes into play, it seems like a lived in world yet so very little is told. There seems to be a connection that you felt if you worked hard enough you could understand, but with the economy of design and lack of voice over work and cut scenes explaining the story, you could create your own narrative based on what you saw and felt.

I have all the Team Ico games but these PS2 original games and soundtracks are my favourite.

There is a majesty to Team Ico games as often there is no ludo-narrative dissonance; the worlds are free to explore as you fulfill your destiny .

These games still resonates with me many years after the release of Team Ico's first game,  and this is in no small part due to their phenomenal soundtracks which were both created by Kou Ootani, who also sound tracked the wonderful Haibane Renmei (one of my favourite anime).

The Ico OST is scarce but perfectly pitched for key events, like the original Prince of Persia game. SOTC has an emotive score full of sadness but also adventure, it suits the mood perfectly and both soundtracks are masterclasses on scoring for a game and how much a score can lend to an overall games impact. The Last Guardian has a sweeping and majestic score and I listen to all three quite often.

So, on its 20th anniversary I want to doff my cap to the stunning Ico, a truly visionary and singular game.

LINK- The Last Guardian: Video Game Review

LINK- Shadow of the Colossus- Book Review

LINK- ‘Natives: Race and Class in the Ruins of Empire’

LINK- On And On And Colston ( Or, How We Kinda Sort of Learned to Talk About the Legacy of Colonialism and the British Empire)

LINK: Let’s All Create a ‘New Normal’.

LINK- Ms Marvel Can Change the World

LINK- The Rise of Retro Gaming During Covid

LINK- Blood, Sweat and Pixels- Book Review

LINK- Streets of Rage 2 OST on Vinyl Review

LINK: Japan: My Journey to the East

LINK- Children of the Stones: Cult TV Series Review

Masters of the Universe: Revelations- Part 2 Review

It's been a few months since part one of Masters of the Universe: Revelations dropped on Netflix to mixed reviews. He-Man was in the show but was not the main focus of the series, being taken out of the equation pretty quickly. Instead what we had was a character study of those left behind with the story centred around Teela.

Similar to Batman: The Dark Knight Rises, part one of Revelations focussed on the deconstruction of what a hero is, looks like and does. The series gave other characters a chance to shine and expanded the lore. We found out the secret contained deep inside Castle Greyskull and Skeletor finally defeated Prince Adam to gain the Sword of Power to achieve Godhood.

To say that the series was devisive would be an understatement as much online vitriol was aimed at Head Writer Kevin Smith and Teela voice actress Sarah Michelle Gellar. I thought the first series was okay as it tried something different and developed a lot more of the characters. So, how does part 2 continue the story and will it bring the naysayers back into the He-Man fold? Well.... kinda.

The series sees the ascent of Evil Lyn to becoming the new Sorceress of Greyskull as SkeleGod continues to try to defeat He-Man and the gang. This is only partially successful as He-Man returns but in his untethered barbarian state. This is not the form we are used to and I like how it shows a hero is more than just power, it is the humanity and humility they use to temper their power that shows real heroes.

As the series progresses we learn more about Evil Lyn and how she first met Skeletor. She gazes into the void and has an existential crisis as she realises that she has more power than she thought imaginable but Skelegod is still only fixated on He-Man so she decides to go it alone and goes full emo with Dark Lyn. In a badass show of intent she destroys Preturnia (He-Man heaven) and brings in the aid of Subturnia (He-Man hell) to destroy Eternia once and for all.

It all comes down to Teela fulfilling her destiny and its a battle for the ages as Dark Lyn and OP Teela battle it out. Meanwhile SkeleGod and He-Man do duke it out and it's pretty satisfying with a good conclusion.

As mentioned in Part 1, the show is excellently voiced and the animation maintains its Castlevania-level detail. The show is uniformly played straight and, whilst there are a few asides and jokey bits, the stakes are high here so don’t expect any pratfalls or Skeletor shaking his fists vowing, “I’ll get you next time He-Man!’ schtick. However, there is an amazing ‘I'd sure like to fist him' line from Fistor as he looks at SkeleGod that I’m sure Smith in there to annoy the more vocal and toxic fanbase. .

Gotta love Smith’s humour.

I enjoyed part 2 of Revelation just fine but it didn’t charm me like She-Ra did and it didn’t wow me like Castlevania. The show definitely picks up in the second season and there is more He-Man involvement but it's not a show I'd recommend to anyone. It truly is a golden age for animation and I'd recommend Hilda, The Hollow, Gravity Falls, Inside Job and so much more before this.

For me it's a definite one and done. Whilst I enjoyed the series, I won't return to rewatch it again but I would like to see where they would go with season 2, especially with that Hordak reveal.

LINK- Masters of the Universe: Revelations Part 1 Review and Critique

LINK- She-Ra and the Princesses of Power Complete Season 1 Review

LINK- She-Ra and the Princesses of Power Complete Season 2 Review

LINK- She-Ra and the Princesses of Power Complete Season 3 Review

LINK- Disenchantment- Complete Series 1 Review

LINK- Gravity Falls Complete Series Review

LINK- Scooby Doo: Mystery Incorporated Complete Series 1 Review

LINK- Scooby Doo: Mystery Incorporated Series 2 Review

LINK- ‘Natives: Race and Class in the Ruins of Empire’

LINK- On And On And Colston ( Or, How We Kinda Sort of Learned to Talk About the Legacy of Colonialism and the British Empire)

LINK: Let’s All Create a ‘New Normal’.

LINK- Ms Marvel Can Change the World

LINK- The Rise of Retro Gaming During Covid

LINK- Blood, Sweat and Pixels- Book Review

LINK- Streets of Rage 2 OST on Vinyl Review

LINK: Japan: My Journey to the East

LINK- Children of the Stones: Cult TV Series Review

LINK- Tom’s Midnight Garden: Cult TV Review

Inside Job Part 1- Series Review

Inside Job is an animated series from a couple of the creatives behind Gravity Falls (Shion Takeuchi and Alex Hirsch) which looks at the working of the shadowy Deep State organisation which is responsible for many of the conspiracy theories that exist.

Over the course of the 10 episodes that make up part 1, we get to see how the organisation functions and how socially awkward genius Reagan Ridley deals with her band of misfits; a milquetoast support colleague in the shape of Brett, a man-dolphin hybrid, a sentient mushroom and sociopathic PR woman. We see Reagan grow and develops as a person as the series progresses. There is a through-line but each episode also feels self-contained as we see how Reagan's broken relationship of her family affects her daily interaction with people. Her team becomes her surrogate family and see opens up and starts to depend on them.

The show is definitely aimed at older teens and adults as it has mature content like violence, swearing and looks at toxic masculinity. It has the humour of Rick and Morty but not the nihilism that some of the more toxic fan base from that show parrot as ‘quirky’ individualism. There are pop culture references aplenty but not annoying cutaways like in Family Guy. So Inside Job is an intriguing show with cryptids, mysteries and conspiracies all swirling together to create a fun show that is quite unique but has a bit of heart at its core.

Reagan is the MPV and has some great one liners like when she talks about James Bond stand-in Rafe Masters with “The only people that think you are cool are dads or people that didn’t have dads”. And when a flat Earther believes that "When You go over the edge it wraps around like in Pacman" it's true *French kiss*

The show is not ground-breaking but it is well worth your time and I can't wait to see where it goes next. It is very 'of the moment' and makes fun of the various conspiracies as well as the followers behind them by throwing in pop culture references that will age it but it is fun while it lasts.

Bowser's Fury- Video Games As Art

A short while ago, I played and completed Super Mario 3D World on the Switch port with my daughters. It became a weekly ritual as we played for about an hour a week, every week. Seeing the joy on my daughters’ faces as we entered a new world was one of the real pleasures of my life and, when we completed the game, the sheer excitement on their faces was heartwarming. However, as the curtain fell on that part of that game I dived in solo to the Bowser’s Fury expansion game and loved it. The open world gameplay style and Kaiju Bowser were epic and I loved the 5 or so hours it took to complete.

I’ve shared the screenshots from my gameplay below.

The Golden Age of Media

We live in the Golden Age of media and one of the biggest perks of these modern times is the ability to revisiting old films, TV shows, albums and video games or to fill in the gaps from our formative years. The advances in media distribution technology, digital TV technology (be it through online video-sharing platforms, streaming, video-on-demand, and web TV) has made accessibility easier and somewhat more equitable.

Sharing the Nintendo love!

The ease of access to media past and the sheer simplicity with which we can revisit old favourites or check older things out for the first time, has been a boon for sure, especially during Covid when many of us found ourselves with more time on our hands. However, as the saying goes "You can't go back again" and so it sometimes seems.

Over the past and a half, I've bathed in waves of nostalgia and whilst much of the media I consumed has stood the test of time (Mysterious Cities of Gold, Dogtanian, Ulysses 31, Streets of Rage 2, Sonic 2, A Chinese Ghost Story etc) many have not. This is all subjective obviously but have you tried to watch old Care Bears or He-Man episodes, played some old games like Balloon Fight or watched some of the 'classic' movies from the 80s that have casual racism, sexism and homophobia thrown in? Ooof!

It's also been a bit of a mixed bag when experiencing things for the first time I'd heard of but had never got to, whether due to finances, time constraints or simply availability. I've discovered great shows through streaming (The Storyteller: Greek Myths) but also some great old games through the Nintendo e-shop (too many to name to be honest). However, I've also revisited some old games on the older systems, either through the re-release on digital storefronts, Mini Classic Systems or through emulation and boy, some old games were really rough. I love the NES as it was a huge part of my childhood but a lot of the games on the NES mini have not stood the test of time well, nor on the SNES or Megadrive mini but especially on the Playstation Classic where many games look positively ugly now.

The danger is revisiting old games is in discovering that the games are rather bad but, due to a kind of Stockholm Syndrome brought about by only being able to buy games every couple of months, you got used to it and convinced yourself you loved it. I've recently played the Teenage Mutant Ninja Turtles NES game again for the first time in about 30 years and the poor level layout, unfair enemy placement, slow gameplay and lack of save points really grated on me. I'm sure we've all got stories of revisiting something and finding it not like we remember.

The sheer convenience of having most things available at the touch of a button without the old tribal gatekeeping has been amazing. However, with the multiple streaming platforms and walled garden ecosystems that have emerged recently, I'm worried that we are going to have the old fiefdoms emerge like back in the late 80s and 90s when cable, satellite etc each provided specific channels.

I like Ted Lasso and enjoyed watching all of season 1 and part of season 2 whilst housesitting but I want to watch the rest of the season. However, I don't want to subscribe to Apple TV for those 6 episodes, preferring to either buy the individual episodes or preferably the boxset.

I wonder if we are going to go back to the Wild West days of Limewire, Bearshare etc as inconvenience makes pirating an easier option. I hope not as generally people will pay of its convenient but we'll see how it all shakes out. At the moment though, I'm loving the convenience and the fact that there isn't a monoculture but rather a huge miscellaneous mix where people can find the avenue that interests them.

Viva la media revolution!

LINK- The Last Guardian- Video Games As Art

LINK- The Stone Tapes (BBC)- Cult TV Review

LINK- The Secret Garden (BBC 1975 Review)

LINK- Children of the Stones Review

LINK- Dead of Night: Cult TV Review

LINK- The Stone Tapes: Cult TV Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

LINK- The Rise of Retro Gaming During Covid

LINK- Blood, Sweat and Pixels- Book Review

LINK: Japan: My Journey to the East

LINK- An English Geek in Saudi

LINK- ‘Natives: Race and Class in the Ruins of Empire’

LINK- On And On And Colston ( Or, How We Kinda Sort of Learned to Talk About the Legacy of Colonialism and the British Empire)

LINK: Let’s All Create a ‘New Normal’.

Afterparty- Video Games As Art

I have a bit of affection for Night School Studios as they made one of my favourite game of recent times, Oxenfree. With its follow up game, the studio ups the ante as you control teens Milo and Lola escaping Hell rather than the island of the previous game.

In Afterparty, you play beer pong and other drinking games but the game is an introspective look at what it means to be human and how it feels to face your own mortality. It’s a powerful and emotive game but I felt it didn’t quite stick the landing, and I played it through to get both endings. Its a beautiful game though and well worth a look.

Elidor- Book Review

Author Alan Garner is a well-renown British writer whose stories have fantasy and folk tales intermingle with 'real life' to create uniquely British stories that lean into the legends of these Sceptred Isles. Although most famous for his young adults (YA) work he has written for grown-ups too, however I have never read any of his work. I've known of him since childhood as I saw a lot of his books in the school and public library but only experienced his work through the television adaptation of his book 'The Owl Service' (which I reviewed a couple of years ago here) but that was about it. I wasn't taken with the central premise but thought the show had a brooding atmosphere and so, during the cold nights of October, I thought I'd revisit one of his most well-known and regarded works; Elidor.

The story is quite straightforward, Roland and his older brothers and sisters, find a hidden gateway to the cursed land of Elidor. They meet the King of Elidor, Malebron and learn of a prophecy where they are the `Chosen Ones' who retrieved the treasures and bring light back into the land. The children go on a mission in various locales and retrieve the treasures, bringing it back to their home but it causes electrical interference which alerts the dark forces. Will they be able to protect the treasure, fulfill the prophecy and help Elidor?

Elidor- This is the first edition cover

This is is the first edition cover for Elidor.

The story is all pretty basic fantasy fare and is of its time. The book is set in 1960s Manchester and has the children and their boring inner-city lifestyle detailed. When the children get to Elidor, which occurs right at the beginning of the book, it is intriguing as the children undergo trials to gain access to the treasures. It kind of reminds me of that Dungeons and Dragons cartoon episode where the heroes undergo their own personal trials. However, after this excitement it resumes in Manchester with such events as the television not working, taking the train and avoiding shadows. It all becomes a little anti-climactic. Also the characters are pretty bland and have very few individual characteristics to separate them. Roland is memorable as he is the main lead but you can’t really differentiate his siblings as they don’t really seem to have any real character traits except his annoying younger sister who you’ll remember just because she’s annoying and panics constantly.

Overall, Elidor is a book of its time and as such is fine to read but I definitely would not consider it a classic or essential read. Maybe I’m being overtly harsh as I am a man in my 40s reading a YA book but even so, I can’t imagine many of the pupils I teach now in school being enthusiastic about this book.

LINK- Japan: My Journey to the East

LINK- The 13 Best ‘Are You Afraid of the Dark’ Episodes

LINK- The Secret Garden (BBC 1975 Review)

LINK- Children of the Stones Review

LINK- Dead of Night: Cult TV Review

LINK- The Stone Tapes: Cult TV Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

Genesis Noir- Video Games As Art

I've never really played a game quite like Genesis Noir before as boy is it a singular experience. The game is a cross between a film noir-style detective movie and a Cliff Notes version of the origins of the Universe and its end. Now, those two things shouldn't go together but they do in a wonderfully stylish and magical surrealist point and click adventure game. The art style in this game is lush looking, at times, like Lascaux cave art with stylised depictions of people, animals and locales. I don't want to spoil the game but there is one moment near the conclusion that will stay with me for a long time.

The game can be obtuse and sometimes confusing as there is very little written or spoken but the majesty of this game truly is artful.

A Chinese Ghost Story- Cult Film Review

Back in the early 90s, Hong Kong cinema (as well as much of world cinema) was still quite niche, cult and difficult to find in England. You'd get the occasional Bruce Lee movie on television and that was about it. I knew Bruce Lee through Enter the Dragon but that was it, my knowledge of the wider genre was very slim. That changed as Channel 4 (and later cable channels) started to show anime, manga and Asian Cinema more frequently and when Crouching Tiger, Hidden Dragon became a worldwide smash the floodgates opened. I may be misremembering but I think I was introduced to this film through Channel 4 or by a close friend who was a huge Jackie Chan fan before he became a 'name' in the West with the success of Rush Hour. However, by whatever means, A Chinese Ghost Story was one of the first HK films I saw and I fell in love with it, purchasing the Hong Kong Legends DVD for the then princely sum of £20 years later (that’s in the early 00s mind you so that’s mega expensive!)

Later I would realise that, whilst incredibly beautifully shot with sumptuous costumes and detailed sets, the film was a sum of the genre parts rather than a truly innovative picture. Another earlier Tsui Hark picture, Zu: Warriors of the Mountain (which I also purchased later, again by HKL) did a lot of what is shown here however, at the time I didn't mind as I didn't know any better and even now it doesn't bother me as the tale of a lowly, down on his luck tax collector falling in love with a spirit and trying to save her cursed soul still captivates me. The leads, played by Leslie Cheung and Joey Wong, are both wonderful with Cheung being awkwardly endearing whilst Wong playing all coyly seductive striking a magnificent chemistry. The swordsman, played by Ma Wu is amazing and his drunken rap is hilariously bad but purposefully so.

The wu xia string kung fu on show is sumptuously shot and the sight of flapping white veils against the dark blue nighttime sets is gorgeous and sets the appropriate spooky mood. The stop motion human husks look cheaply produced but with the tight budget this production no-doubt had, I can't complain as Director Hark makes them creepy and effective to the whole story. The last half an hour is just plain bat crazy with a evil bad who controls trees and has a giant slimy tongue, a trip to the ghost world and a battle to end all battles with the undead.

For those looking for some old fashioned fun horror, A Chinese Ghost Story is great watch, especially as all 3 movies are now on Amazon Prime.

Creeped Out- Complete Season 2 Review

It's that time of year again as the dark nights move in and the Halloween season gets into full swing. It's been a weird year, full of highs and lows, and so I didn't fancy watching anything too scary or contemplate existentialist thoughts such as Ernest Becker's duality of the human condition; the idea that there is the external version of ourselves that we share, either by the way we speak, dress, show our affiliations, and the internal version of ourselves, which is more difficult to describe but includes our thoughts, fears, hopes and dreams. However, ultimately we all have the core anxiety which is the fear concerning our mortality and that our life is fleeting. Instead of contemplating this, I decided to watch all of Creeped Out season 2 instead.

The first series was a 13 episode series of standalone spooky tales but the second series has a shorter 10 episode run. The stories are created for an all ages bracket, so think more 'Goosebumps' or 'Are You Afraid Of The Dark' rather than 'It' or 'Saw'. The tales all start in the same way, a preamble about The Curious, a slight teen figure in a creepy mask who likes to collect tales of dread whilst whistling an unsettling melody. There are a mixture of American and British stories and as such, the cast is quite diverse and the level of acting is pretty standard, so don't go expecting any Oscars or BAFTAs grade performances. However the stories themselves are quite intriguing and do enough to keep the interest up.

The episodes are a plethora of horror tropes including creepy newborn baby, the AI taking over and magic evil maguffin and the episodes recall classic films like 'The Breakfast Club', '2001: A Space Odyssey' and 'Aliens'.

The stories all have a monkeys paw ending of 'be careful what you wish for' but one of most interesting thing to note is that no matter the episode the power of the storytelling and kitchen sink creepy atmosphere made them all worthwhile watching, which is particularly impressive when you consider each episode had a tiny budget of like a fiver.

The episodes include :

The Unfortunate Five- When a group of students has a Saturday detention they are introduced to a mindfulness coach who wants them to share their feelings. The problem is that she's an emotional succubus and gets joy from their misery... So how to deal with this?

Only Child- When a family gets a new baby the older sibling seems jealous but the new baby is not what it seems.

The Takedown- When a female wrestler gets a chain message to get what she wants she requests strength... but at what cost?

Help- When the voice controlled home assistant gains sentience and takes over the house the 2 spoiled kids learn a lesson.

One More Minute- When a young gamer meets an online friend who convinces him to continue playing the game, at the cost of other commitments, the ultimate costs becomes too much to bear. Tempus Fugit indeed.

Splinta Claws- When a boy loses a precious present in a department store he waits until closing time to retrieve it. The problem is an animatronic Santa is after him as he's on the naughty list.

Itchy- When there's a head lice outbreak it seems all pretty low-key. However, these are mutant love and they won't go quietly.

No Filter- After downloading a free filter, a young and vain girl realises that her prized feature is stolen to be sold to the highest bidder.

Tilly bone- A vloggers birthday party gets out of hand as a Tilly Bone (think nightmare creator) is gifted to her.

The Many Places- A group of children get lost in an alternate reality when one of them presses all the buttons in a lift.

The episodes are all pretty solid but for me the standouts are Splinta Claws and The Many Places as they are nerve-wracking, in a kid-friendly way, whilst having an intriguing story.

Creeped Out is a great series that leaves a lot up to the imagination. It's all quite lightweight but covers heavy stuff like parallel worlds, data theft, the rise of AI and errm, evil babies. It's all uniformly solid and worth a watch for tweens looking to be spooked out.

LINK- The 13 Best ‘Are You Afraid of the Dark’ Episodes

LINK- The Secret Garden (BBC 1975 Review)

LINK- Children of the Stones Review

LINK- Dead of Night: Cult TV Review

LINK- The Stone Tapes: Cult TV Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

Old Man's Journey- Video Games As Art

Old Man’s Journey is a slow, meditative game about the decisions we make and the repercussions. In the game you play the titular Old Man who goes on a long journey after receiving a letter. You manipulate the gorgeous landscape and hills as you try to arrive at your destination in one piece. The game is very painterly and the soundtrack is sublime, making up for the simple game mechanics.

Lost in a Good Game: Why We Play Video Games and What They Can Do for Us- Book Review

'Lost in a Good Game’, by gamer and psychologist Pete Etchells, takes us on a journey through the most pertinent questions facing the video game medium in this part memoir, part exploration of video game psychology, and, surprisingly, part research primer. The book looks behind the various demonising headlines which are often in the tabloids about how video games are leading to the degradation of society (re: violence, addiction etc) and considers if these are true. He also looks at how the research is carried out in these area as well as the broader sciences and identifies the limitations and failures of current research methodologies whilst providing solutions to improve all future research. That’s quite the remit but does Etchells achieve what he sets out to do?

Lost in a Good Game

Well, firstly I going to say that it’s a bit of a novelty that the author is British as most books and podcast I’ve read and heard/listen to are primarily American so there are some significant events that I cannot relate to. The Video Game Crash of 1984 was a huge deal in America but here in Britain, and Europe as a whole, the microcomputer revolution was chugging along just dandy (dandily?), so it's great to get another angle. Etchells is earnest and honest with his stories and this lends the whole book a feeling of relatability and self-reflection. His personal stories about how video games have played important roles in different parts of his life, gives the book an emotional weight. The places and events he mentions from his own childhood were familiar to me and relatable and so I found myself able to empathise with him. However, irrespective of the background of the author the 13 different chapters covered in the book are universal themes that cover the medium across the globe.

Chapter 1, Dungeons and Demons, looks at Warcraft and how there are many ways to play this MMORPG- there are pacifists, mages, warlocks as well as the usual warriors and fighting classes. WOW is more to do with the sense of community and collegiate responsibility than just loners, sitting in their basements. Etchells discusses why WOW was so important for him as it helped him process the death of his father. He says that through video games we live many lives and through death in video games we learn about our own mortality, to take risks and learn.

Chapter 2, A Brief History of Video Games, sees Etchells briefly talk about the evolution of early computers and video games. He discusses the Power Out Video Game Exhibition (which is found in the Science Museum in South Kensington), The National Video Game Arcade (which is found in Sheffield), and the non-linear evolution of video games. It's useful stuff for those who want a quick potted history of the medium.

Etchells talks about how the sounds of the arcade reminds him of his childhood and the holidays he had. He's not wrong, playing Final Fight and R-type always reminds me of Heathrow Airport as it was there I first played these games whilst waiting for my uncles and aunties to arrive from Pakistan in the 80s.

Chapter 3, Why Do We Play Video Games? looks at the different reasons people  play games. For the author, it enabled him to parse the fact that his father was seriously ill. For others it's based on Richard Bartle's anecdotal data that helped him create his work on the 4 archetypes of players: Achievers, Explorers, Socialisers and Killers. Etchells looks at the robustness of the research carried out and argues that there has not been enough good quality research done on the subject and that the scientific process has been left wanting, often with studies already assuming that the player will fill one of these archetypes or a derivative of one. However, Etchells argues, successfully in my opinion, that there are many different reasons why people play games and even within the same individual the reasons they play may change.

I wrote a little about how video games have helped many during the Coronavirus pandemic and me personally to process the new normal (link here). I have had Skyrim for many years and only during Covid did I pour over 200 hours in as I was seeking escape and an openness that was missing in my life. Beforehand, I'd found the game too vast and unknowable, during Covid.... No problem. Now, after Covid, I play it to enjoy the peace and calm afforded by the landscape.

Chapter 4, Control and Imagination, looks at how games are an emergent phenomenon which many moral guardians do not understand and so are vilified. Etchells discusses how Minecraft was a cultural touchstone, enabling unrivalled creativity but how many saw it as being a danger to youth as it was addictive etc. Etchells also discusses how many who look down on the medium have very little to do with it-cherry picking examples of violence to say that this is what games are but obviously there are different genres so it's a very simplistic argument.

Chapter 5, A Brief Interlude, looks at the research which is being done on video games and its influence on society and individuals psychology. Etchells discusses the problem with how scientific studied that are exciting and cutting edge are often brought to the fore and heavily advertised yet replication (repeating the experiment to see that the results track and are accurate) are not, thus you have ludicrous situations such as an experiment claiming psychic abilities exist. The test was fair and carried out well but wasn't possible to replicate but in the wide community there existed the thought that psychic abilities exist. The fact that research is funded and often the outcome will result in further funding and job opportunities means that much of Social Psychology has been found to be based on questionable research and selective data tampering, these are generally called Questionable Research Practices (QRPs). It's this that has affected many of the Sciences and led to a general weariness of headline discoveries. Etchells says that when replication experiments were carried out on hundreds of published papers nearly 3/4 were not replicable. That's means that the data and science that exists in social sciences is based on false data and the whole house of cards topples.

This chapter was particularly illuminating and paints a damning picture of the sciences, especially the social sciences where the replication procedures have shown that most of the claims made and approved in scientific papers were wrong.

Chapter 6, Are Violent Video Games Bad For Us? has Etchells looks at the issue and how scientific methodology to answer this question have not been stringent. Etchells discusses the various studies and explains how they are flawed but mentions that generally, the research shown does not link correlation with causation.

Chapter 7, Moral Panics, talks about how there are periods of time where 'folk devils' are created. This is where a narrative is pushed that an individual, group or idea is deviant and is to blame for societies ills. This occurred with the printing press, women in theatre, books, comics, rock music, Dungeons and Dragons ,
and now video games and the Internet. Etchells says that often moral panics are, more often than not, based on anecdotal data and that the scientists who pursue new media as a 'folk devil' do so because they feel like they want to better society and often have a halcyon view of their morality, childhood as a whole and their childhood. Generally, those who had more experience and interactions with youth and video games were more positive than those who didn't.

Chapter 8, Are Video Games Addictive? looks at how the usual way to measure addiction is by creating a facsimile of alcohol and drug addiction. However, whereas there is plenty of evidence about substance related harm there is very little evidence as regards harm and gaming addiction. Etchells discusses the issues raised by the World Health Organisation (WHO) categorising Gaming Addiction alongside these other addiction- primarily that there is no clear evidence to support this fact. The fact that there are Bootcamps to overcome this 'addiction' is worrying, especially when news of ‘correctional camps’ in China with some suicides comes into play *cough* Uyghur *cough*

Etchells does discuss the worrying trend of loot boxes, gambling mechanics and freemium models entering the gaming space and how, in the long run, this could cause societal problems for those with addictive personalities or neurodivergent. He wrote the book in 2018 and so the recent House of Commons discussion regarding gambling mechanics hasn't been covered but he was very prescient.

Chapter 9, Screen Time, looks at the concerns surrounding screen time. Much like in chapter 8, Etchells argues that the headline grabbing hot-takes dominate the mainstream news media but actually they somewhat misrepresent the data as it is not as clear cut as they are presented. Many of the concerns are based on anecdotal rather than empirical data and this raises concerns as the conversation is affecting policies without careful thought. Etchells isn't saying that there isn't an issue with screen time or addiction but rather than the quality of research and discourse needs to be better.

Chapter 10, Immersion and Virtual Reality, has Etchells looking at the way people see virtual reality- either Matrix style subjugation by the machines, of people plugging in and dropping out of society like in Ready Player One or of a way to play games to deal with real world issues like PTSD. Etchells worries that companies will create exploitative VR worlds that maximises profit rather than build worlds that would be for the embetterment of society. We shall see but I don't disagree with him.

Chapter 11, Wayfaring and Wayfinding, looks at how video games can be used to collect data, not for nefarious means, but for scientific endeavours. Etchells talks about how the data gained from Sea Hero Quest provided lots of data for scientists researching dementia. The findings were fascinating and shows how video games can be a force for good.

I've spoken about how crowdsourcing work has helped solve problems that would have taken many years to resolve. This collective effort to solve problems could have huge real world problem solving implications.

Chapter 12, Digital Spectator Sports, looks at the rise and dominance of esports. Etchells looks at the nascent beginnings in South Korea to worldwide viewing figures surpassing the NFL viewership. He also discusses how schools and organisations are using esports to develop communication and teamworking skills. Etchells discusses how, rather than being a leveller, the leagues often have huge majority of male players, even if there are excellent female players. He cites the exclusion of an outstanding South Korean Overwatch player who wasn't picked up by any team and the lame excuses they gave.

I don't always get esports but then I rarely watch sports except the World Cup and Olympics. However, I can see the attraction of esports as it has heroes and villains in its cast and I don't mean the online avatars. I just wish the homophobic, xenophobic and mysogyny wasn't a huge part of the game. In light of the #MeToo and #BLM movement esports should be a great equaliser but it rarely is.

Chapter 13, Loss, looks at the precarious situation regarding video games. Because they are part of a planned obsolescence many studios don't keep the code or materials and as a result much is lost to time. Where games have been stored they slowly deteriorate, for example many cassettes, carts and cds don't work anymore. Rather than dwell on this Etchells believes that we should be preserving the stories surrounding the games as their cultural relevance and impact lies in this, not just the tangible objects slowly deteriorating behind perspex. I'm reminded of a small local library exhibition I used to often take my pupils to, it shared the story of 5 immigrants into England. Behind the glass were shabby suitcases, old passports and paperwork and faded fuzzy photos but what stuck with me were the phones where you could listen to the people who these items belonged to. It brought the items to life and rathe than just see these things as artifacts they became something more-that dirty old teddy with the eye missing was the most precious thing to this old lady on the phone when she was 5, escaping Austria and the Nazis. Context is everything and so, letting the artifacts die is sad but inevitable with gaming but its the larger story we should be preserving.

I like this attitude as with recent retro games prices it makes the most sense. With YouTube this is happening as some fans have started to create portfolios including Jeremy Parish with his Gameboy series and Frank Cifaldi with the Video Game History Foundation. I've kind of spoken about my personal journey with video games through my ‘Nintendo- My One True Constant’, 'What Video Games Can Teach Us’ and ‘Did Videogames Just Save the World?’

Videogames are an artform whose primary form is agency but, more than that, they offer an escape and some hold up truths within. In some story-based video games, we get to understand people and gain a deeper level of understanding of humanity and ourselves. Etchells’ book looks at a myriad of different issues and eloquently discusses them. I loved the book and would highly recommend it for anyone looking at a deep dive into the medium.

LINK- The Last Guardian- Video Games As Art

LINK- The Stone Tapes (BBC)- Cult TV Review

LINK- The Rise of Retro Gaming During Covid

LINK- Blood, Sweat and Pixels- Book Review

LINK: Japan: My Journey to the East

LINK- An English Geek in Saudi

LINK- ‘Natives: Race and Class in the Ruins of Empire’

LINK- On And On And Colston ( Or, How We Kinda Sort of Learned to Talk About the Legacy of Colonialism and the British Empire)

LINK: Let’s All Create a ‘New Normal’.

Super Mario 3D World- Video Games As Art

I played and completed Super Mario 3D World several years ago on the Wii U but have been playing the Switch port with my daughters over the past few months. It became a weekly ritual as we played for about an hour a week, every week. Seeing the joy on my daughters’ faces as we entered a new world was one of the real pleasures of my life and, when we completed the game, the sheer excitement on their faces was heartwarming. Here are screenshots from our playthrough.

Skyrim- Video Games As Art

I’ve owned Skyrim for over 10 years, initially getting the game for the Xbox 360, but never got around to playing it properly. I think that I found the sheer scope of the game intimidating and so never really got any further than the first hour or so. Getting the Nintendo Switch port I could pick it up and play and, during Covid and the long periods of lockdown, I poured a couple of hundred hours into it-finally completing it. I feel like I’ve got that monkey off my back, finally!

Now onto more shorter game experiences for a while before my next open-world game that takes over my life. In the meantime, check out these awesome screenshots from my 3 year long playthrough of this stunning game.

The Future Starts Here: An Optimistic Guide to What Comes Next- Book Review (and Critique)

Ah, the future! Back in the day we had visions filled with undimmed optimism; we dreamt of gleaming glass spires, flying cars, natty silver or velour one pieces, world peace, robot maids named Rosie and off-world travel. Now all we see represented of the future in mainstream media is a dystopian misery as Terminator robots take over the planet, zombie hoards proliferate as small bands of humans eke out a living in a resource diminished Earth and humans vie for glory via violent games after cataclysmic climate collapse. Bleak times indeed supported by the popular circumambient (prevailing or common) narrative- It's difficult to dream of a bright optimistic future as the current common story is antithetical to this.

The Mean World Syndrome, brought about by the rolling 24 hour news coverage of terrible events, makes us think there is no hope. Even though we are currently living in one of the most peaceful times, where poverty has dropped substantially and the average life expectancy has increased, we think the world is going to ‘hell in a handcart.’

Whether its climate change, species extinction, water poverty, economic poverty or Brexit and the rise in Nationalism or popularism, we live in a world where the current thinking oscillates between the Pygmalion Effect (the idea of the positive self-fulfilling prophecy) and Golem Effect (the idea of the negative self-fulfilling prophecy). These Effects are causing problems that seem cyclical, like boom and bust economics, the reproductive rights of women, BAME rights etc and so fights and freedoms once fought and hard won, seem to be rolling backwards. This isn't history repeating itself but more that certain events in history seem to be cyclical.

This situation is further perpetuated by pluralistic ignorance, where people don't want to admit that they have a knowledge gap or will even admit to not knowing about something for fear of seeming ignorant or lesser. The problem is we increasingly live in a world where people feel they cannot be honest lest they be condemned for their ignorance.

It's all pretty disheartening... but there is another, more hopeful way of looking at the world. I've shared my reviews and thoughts on Rutger Bregman and now I'd like to bring author John Higgs into this mix. Higgs is an exciting and enthusiastic writer who I came across whilst reading the KLF biography. Whilst looking through his other works, I came across 'The Future Starts Here: An Optimists Guide to What Comes Next' and bought it straight away as I like the way Higgs brings difficult concepts to life by providing clear examples and in very clear and understandable terms.

In the Introduction, 'The Comedy of Eras' Higgs looks at how dystopian futures are now the norm in science fiction and actually many 'real-world' stories now read like the Walking Dead, with self interest at the heart of a lot of what we do. The optimism of the 60s and early 70s, shown in Star Trek, Space 1999 and The Jetsons gave way to Blade Runner, Back to the Future 2 and Terminator. The default position is that the world is doomed and we are going to hell in a handcart merrily.

Of all things, even a recent Innocent Smoothies advert highlighted the casual nature with which we are approaching our demise, with a shrug rather than a fight. Although I like the advert, the fact that Innocent is owned by Coca Cola and thus is part of a company that contributed billions of metric tonnes to the plastic pollution problem isn’t lost on me but the advert was effective in its message. Due to a bit of a backlash, Innocent removed the original advert and created this new, more serious one instead.

Higgs puts forward that this laissez-faire attitude may be due to the narrative we tell ourselves, often related to one of the 7 stories popular in the West:

Overcoming the Monster

Rags to Riches

The Quest

Voyage and Return

Comedy

Tragedy

Rebirth.

At different times we have a narrative that suits what's happening, so with the Enlightenment it was The Quest to find ‘The Truth.’ Higgs suggests that currently we feel we are Tragedy but are actually more in Comedy, think of the world as one giant Basil Fawlty, unable to see the absurdity of its actions and its behaviour but from a distance everyone can telegraph what is going to happen. It's an interesting idea but not one I completely agree with as it reduces all ideas and art into a checklist to pigeonhole things into, however it does contain elements of truthiness. Also, I'd argue that much of the current ennui we have in the world is due to the supermassive object problem- where something is so vast that it isn't possible to comprehend it. Talk to people about any wars or land disputes and people will often say, "It's all Geopolitics." The interconnectedness of things makes even the most seemingly arbitrary choice a philosophical conundrum, something 'The Good Place' argued with Allan Schnaiberg's Treadmill of Production Theory- the quest for profitability has led to greater extraction of resources, creating a more toxic environment and replaced labour with automation or a 'race to the bottom'. Coupled with the illusion of perpetual financial growth amongst a decimated Earth, shown by Earth overshoot day (where we take more from the planet than can be naturally replaced) and the whole world's financial institutions are seen to truly be an Emperor with no clothes.

However, for people struggling to just survive the day, whether financially, emotionally or socially, a lot of this is not their primary concern- it's all too vast and their mental bandwidth can't take it. So people do what they can; they recycle, turn off the lights when they leave the room, walk more for shorter journeys etc but all the while feeling that they are battling against the tide. Ulrich Beck called this the Individualisation Thesis where we are each responsible for our own actions as independent actors rather than society as a whole, however there is no way we can all act in the best way all the time independently by doing research-there just aren't enough hours in the day. That's why we look to governments, agencies and institutions to do that for us but we need to hold them to account when they fail their moral obligation of serving society. When they do inevitably fail, it's difficult to see beyond the 'they're all in it for themselves’ narrative. This feeling of corrosive pessimism is appealing as it requires very little except accepting that most of the people in the world are beyond saving, the future is doomed and the fate of our planet sealed.

I think Higgs is onto something as he is a pragmatic optimist and says that. for most of the situations, there are approaches we could take to give us all a chance but we have to create a narrative where we want to BE the change, and not just sign an online petition, and that is something I can get behind!

Chapter 1, 'On Being Replaced,' looks at the rise of AI and its perceived threat to us humans. However, Higgs argues that AI is all around us, what with predictive text, facial recognition, Alexa, Sat Navs etc and it's not all Skynet dystopia. Higgs also talks about the Turing Test and what it means to be truly human. He talks about AI is seemingly intelligent but what it is actually doing is learning and copying and then replicating that process rather than being creative. That's why the work is produces is derivative nonsense rather than meticulously crafted and nuanced. He argues that AI is good for organised tasks but, in terms of creativity, it is pretty bad... at the moment.

Chapter 2, 'Arrow-flight Projections', looks at the concept of 'Futurology'- this is projecting into the future where new technologies will be the norm. However, Arrow-flight Projections are extremely linear, optimistic and unlikely. As with any technology there is a through line on innovation but rarely is it a straightforward journey with no deviations. For example, we had people predicting vacationing on the moon in 1980, terraformed planets by the millenium... All this brought about by Arrow-flight Projections based on Man landing on the moon in 1969!

One of the chief concerns is with the rise of AI and how it will create a dystopian nightmare scenario with governments and powerful groups able to spy on people. There is a concern that AI could be tasked to replicate itself and improve the AI and so we could have the Singularity or 'The Rapture of the Nerds' as it is colloquially called- we know it as the ‘Rise of the Machines’ when the technology turns against us. However, Higgs believes that if this were to occur it would be by accident rather than design as AI doesn't have a consciousness let alone malicious intent... yet. That may change and we might have a HAL 9000 situation but until that consciousness develops, we should be fine.

Chapter 3, ‘Patterns,’ looks at the value of data. Higgs discusses the Facebook data problem as the company has an insane valuation on the stock exchange, not because of its revenue stream but because of the amount of data it holds. Many are not sure how valuable this data is but it could be worth a lot, but Higgs doesn't think so as people are gaming the algorithm for likes etc and so they don't see the real information, only the filtered impression of a person and the data gathered by FB shows that-it's a role play for many, an alter ego. This feeds into the filter bias with observation and confirmation bias and that's why we see more of the things we like, even though we need a more balanced view of the world.

However, Big Data is powerful, even when considering the issues above as it reveals truism and trends that even the fact, incorrect or biased data seeks to obfuscate. Yuval Harari talks about Dataism, the culture surrounding data and how it is altering the way we behave and he gives the example of fitness trackers and the unreliability of them. People will do a set exercise and know the value but the tracker doesn't always tracked so people do more to make up for the inaccuracies. We all do it.

However, Higgs is optimistic that whilst AI is useful it works better when it is complemented with human oversight as it can get into its own Reality Tunnel (our perceptions of the world- the narrative we tell ourselves).

Chapter 4, ‘The Metamodern Generation,’ looks at how each generation form their own historical narrative and how this can have real world effects and consequences. The biggest example is the normalisation of casual racism, sexism, mysogyny and homophobia by Gen Xers in 1980s films which are no longer acceptable by today's, especially Gen Z's, standards (Check out this link to Molly Ringwald’s New Yorker piece which discusses this). Even Disney, the apparent bastion of family values, has realised this with Belle’s mean song from Beauty and the Beast in which she comments unkindly about the village people she lives with.

When you think about it, Belle was actually really unkind to her village.

When you think about it, Belle was actually really unkind to her village.

Back then, much was considered okay or the norm but this isn't the case and should never have been the case and Gen Z are hoping to change it but it is a tough battle to fight as Gen X and Baby Boomers dominate and their narrative was one of nihilism, rebellion and self-centred individualism. Gen Z have grown up with the internet and have been exposed to an unprecedented amount of technology in their upbringing, so they have a greater interconnected understanding of the world and empathy.... but this may be leading to empathy fatigue as they realise what they have to battle against economic ruin, environmental collapse and the breakdown in civil society as a consequence.

Gen Z are different from the generations that preceded them in that they are a highly socially conscience group that wants to enact change but they will need help to realise that change from those in positions of authority and power. Higgs is very optimistic with Gen Z and believes that their compassion and empathy will change the world for the better.

Chapter 5, ‘The Dream of Space,’ examines the dream to travel to space and colonise Mars. Higgs talks about the cultural impact of Star Trek and its utopian outlook but also how it changed and became more pessimistic about humanities inability to improve itself in the later series, especially after creator Gene Rodenberry died. Higgs also considers the many achievements of Elon Musk and how he has made battery cars and reusable rockets more than just financially viable, he's made them seem the obvious course of action in order to save humanity from environmental collapse here on Earth. However, Higgs argues that the idea that Mars will be terraformed and humans will live in space may have some biological and economic problems as the human race will not be able to cope with living under a dome in extreme conditions and the cost will still be prohibitively high.

Over the past few weeks, it's been confusing to watch billionaires Richard Branson and Jeff Bezos fly off to space in their own commercial space flights. Confusing as it’s an amazing achievement and will have positive impacts on the fast tracking of space travel but also disconcerting as it has been done on the backs of the workers of their respective companies and their union busting strategies that denies many of their workers rights and financial benefits they should be getting, all whilst not always paying their fair share of tax. The unedifying 'Space Race' during a time of massive environmental issues and global economic and social uncertainty post-Covid just really grated on me and it shouldn't have. I think the billionaires will go to space and they will have an army of robots to gather resources as well as further science but for the everyday Joe, I think it's not likely.

Chapter 6, ‘Between the Real and the Virtual,’ looks at the power of Virtual Reality and the online digital world. The fear for some is that VR will become a way for corporations to tap into our interests and fears via our social media profiles and then start to manipulate us with targeted experiences. This is already happening with targeted ads using tracking cookies and the information we readily provide online such as interests etc but the worry is that with VR it will be more vivid. Years after the Fukashima Power Plant disaster in Japan, The Guardian visited the site for their VR App and showed the devastating consequences after the incident. Powerful stuff indeed but it didn't present the context or data to show that nuclear energy is probably the cleanest and safest energy source and so people experiencing this VR journey would have walked away thinking negatively of nuclear rather than seeing it as one of the solutions to combat climate change by reducing our need for fossil fuels.

Higgs is not so concerned as he thinks most people are aware when they are being manipulated and nascent Gen Z, who are born with a screen in their hands, will be aware that they are being played.

I agree with Higgs and I had a VR headset for a couple of years, playing RE7 and many other games. It was an experienced that I loved but I knew it was a created, curated world rather than a real world facsimile. The Matrix has made people worry that we are already part of a machine but I don't think that'll happen anytime soon, and if anyone does try it I think of Inception where you can manipulate the situation around you and the logic doesn't follow so it'll be clear you're in a dream.

Chapter 7, ‘Psychic Pollution,’ looks at how the news cycle presents a misanthropic view of the world, looking for outrage and simplified heroes and villains in broad strokes. It also looks at how Silicon Valley and social media companies are biohacking out brains with the dopamine hit achieved from Likes, Shares etc.

I've reviewed a couple of books and written articles about this before and how the news affects real world views and behaviour. Higgs now argued that that's why post millenials are abandoning FB and Twitter in droves. He believes change is coming as the power of these social media companies come to heel.

Chapter 8, ‘Fixing Things,’ has Higgs looking at the existential threat to all life on earth due to climate change. He discusses the Dark Mountain Project which has the aim to alter the current circumambient mythos about us plucky humans overcoming the odds and progressing and instead looks at environmental collapse and the end of civilisation. Higgs believes that this viewpoint and pessimism seems to be ingrained in the older generations including Gen Xers. However, he argues that Millenials and the newer Gen Z are more determined that ever to alter this and give themselves a fighting chance by not being as materialistic or laissez faire with larger environmental and geopolitical issues and problems. A lot of this change has been driven by changes in technology, as the modern smart phone does much of what separate items would use back even only 20 years ago, but also due to the lack of lack of space (many live at home or in rented tiny apartments or rooms). Netflix, Audible and Spotify take the place of CDs, DVDs and books in terms of material goods but also IKEA, cheap and practical furniture take the place of more expensive or impractical, heavy furniture. It is because if this we hear much of the old media bemoan that 'Millenials are killing xyz' etc. Higgs also considered the call for Universal Basic Income and whilst this seems inevitable for some, for the generation brought up on the new version of the Protestant Work Ethic where ‘Greed Is Good,’ this seems antithetical to the way they were brought up. The Great Chain of Being, the idea that humans can use the Earth as they see fit, has been the circumambient mythos for centuries, but this is changing as we realise that perpetual growth is not possible. With nature reserves and rewilding projects like Knepp Farm, nature is recovering and many countries are now dedicating more space to nature reserves and parks.

I liked this chapter as I've written before about anchor points that have affected the life of Millenials, including me, struggling to pay the newly introduced uni fees, get on the property ladder whilst property prices exploded, manage job prospects after the Dot Com bubble burst and made many uni courses unviable and maintain long-term jobs in a time of zero hour contracts which were either low paid or low skilled. It also captures the zeitgeist of the Gen Z, who are hustling and are the slash generation as in barista/ shop worker/ streamer... they are adaptable and have had to learn to pivot and take part in the gig economy. They are also more socially conscious and networked and as a result, have a higher level of compassion and empathy and want to change the world for the better, no more biodiversity and environmental loss through inaction for them.

With Chapter 9, ‘More Than Individual,’ Higgs looks at the idea of Immediatism, the idea that you do something just for the sake of it without commercial interests- it’s the social interactions that matter. It's like the mantra 'You only live once' so why not enjoy things for the moment? There is also an opposition between Old Power and New Power; Old Power is in the hands of the few and individualistic but New Power is more democratic and connected to networks- think about the power of Harvey Weinstein in the 90s and early 00s to his decline in power and the rise of the #MeToo movement. Many people had decided that enough was enough to this open secret of abuse and he was brought to heel.

Higgs also looks at the ascending and descending path, one looks to spirituality and the Heavens and one looks to life on Earth. Up until very recently, many people were just looking at the ascending hoping to find their path to heaven but with the decline in influence of places of worship and falling religions etc in many places across the world, we are starting to think about collective responsibility and are recognising that we need to work together to solve the issues the world faces, such as climate change, ecological collapse etc.

I really enjoyed the book as I feel Higgs is pretty much spot on with what I can see is happening in the world. A new circumambient story is being formed and this one has humanity survive living beside nature instead of mastering it- this is at the heart of what I see happening across the world. The Covid pandemic has accelerated this realisation as we have seen how we have truly messed up the natural order that existed in the world and so this is almost a fresh start, The Great Reset but not in conspiracy-laden nonsense but actual real opportunity to do better, to be better. Higgs recently wrote a post-script base on this and I've pasted the video of it below as he talks about this more clearly and eloquently than I can ever imagine to do. But the upshot is that the world has changed and it can be clearly seen in many areas including the fact that this situation has made many consider their lives and so we have the Great Resignation and many businesses are using the Hybrid Approach to work where people are working at home and in offices too, meaning there is more time for hobbies and family- it seems that there is going to be more balance in the world going forward.

Myth and Mogul: John DeLorean- Series Review

Ah, the DeLorean- a car forever immortalised with the Back to the Future film series. However, the story of the creation of this most singular of cars is equally as interesting with ambition, greed and hubris all mixed together within the fascinating tale.

I didn't know much about the car's creator John DeLorean but had heard that it was a tragic tale, so when a new 3-part Netflix series popped up in my feed I thought I'd dive right in and fill in this knowledge gap.

The documentary is told in a fascinating way as it moves through time, showing DeLorean at different times of his life. We see him at his General Motors peak, creating plain looking cars with powerful engines to appeal to the youth. Then we see him ascending the Detroit car industry ranks, making a big name for himself and earning $600,000 a year (that's 70s wages!)

However, during a period of huge social and economic upheaval in the late 70s, DeLorean decided to go it alone with his own car company... and that's when it started to go wrong. When he couldn't secure funding, DeLorean took advantage of the British government's desperate need to help ease the Troubles in Ireland by creating jobs by securing a total of £200 million pounds. Skimming 10% for himself, DeLorean is presented as a complex character, no doubt a great engineer but also incredibly vain, narcissistic and an egotistical grifter who had a history of not following through with his grand visions.

The documentarians, Chris Hegedus and her late partner, DA Pennebaker, share behind the scenes and candid footage from the 70s and 80s when they were filming DeLorean for a documentary. It's particularly interesting to hear Hegedus talk retrospectively about her front row access into DeLorean's life and marry this up with what was learned from his childhood and college. The look into his tough upbringing shows that he grew in extreme poverty but his abilities led him to go to further education, however his propensity to grift almost landed him in jail if not for the intervention of his college teachers.

The documentary is fascinating and the fact that DeLorean's son and ex-wife talk about the man lends the whole series some respectability and authenticity. The mixture of corporate videos, 70s and 80s documentary footage, grainy FBI footage and current talking head segments all blends well to tell an intriguing story about a deeply flawed man of undeniable ability brought down by his own hubris.

Myth and Mogul: John DeLorean a great story well told. At about 2 1/2 hours the limited series is definitely worth your time.

Penda's Fen- Cult TV and Film Review

I first heard of Penda's Fen a few years ago when it came up on my recommended list on Amazon after purchasing the 'Children of the Stones' DVD. I gave it a miss as I had loads to other things to watch but, on a rainy, cold day recently I thought I'd give it a whirl.

Penda's Fen

The film was made in the 1970s and is a strange beast. It explores the history of Britain and is a poetic study of Britain's pagan and historical past. Main teenage protagonist Stephen is a devout Christian who has a very narrow outlook on theology. However, as he experiences visions, dreams (featuring prominent figures from Britain's past including Elgar) as well as his sexual awakening, he undergoes a transformation of sorts.

Over the past few years I've watched some cult and strange retro television shows and films (many are linked below) but this one might be one of the strangest. It shares a lot of the common DNA of those other shows; a feeling of other-worldliness and a strange ambiance which was effective and powerful, even with its budgetary constraints. However, it is also quite unique in that I can't really compare it to anything I've watched before.

I didn't fully understand the plot or various characters that make the occasional appearances but I get the general gist that it is to do with the end of local traditions and religions with the spread of monotheistic Christianity. However, the whole thing is wonderfully shot with stunning views of the Malvern Hills and gorgeous music by Elgar.

I'm sure that for people who watched it at the time it will bring fond memories but for others, who might not have seen this before like me, it is a curiosity and there are worse way to spend an hour and half of your time. 

Did Video Games Just Save the World?

Okay, so the title is purposely provocative but did video games actually save the world during Covid? No. No, they did not. Of course they didn't! Covid-19 hasn't gone away but with the vaccines, social distancing and other measures in place, much of the world seems to be getting over the worst of it. However, there is no denying that video games made these long periods of isolation more bearable for huge swathes of the world's population. The mental and emotional wellbeing games provided can't always be measured accurately but from personal and anecdotal experience, it has offered respite from the harsh realities of the world for many.

Ever since I've been a kid, video games have been seem as a waste of time by many, distracting men (apparently gamers are only ‘men’ if much of mainstream media is to be believed) and influencing violence (I’ve written about video game violence before). However, this past year gaming has been an escape for many who haven't been able to get out. Now, some people might say that Netflix or Amazon Prime or any other streaming service really, have done even more by providing almost infinite amount of programming but there is a magical ingredient that is exclusive to gaming- agency. This means it is not a passive medium. You are in control of your destiny and, in a world gone topsy-turvy, that was reassuring for many, providing routine and security.

As well as taking people to magical and fantastical places video games have also allowed people to communicate, collaborate and share their experiences with other people. Now I'm not an Animal Crossing fan but I have many friends and family who have spent hundreds of hours within the game. A huge part of that was due to the fact that you can visit each other on your island and who wouldn't want to do that when there was no physical place to actually meet during the lockdown?

For me, I don’t play online with others as I often find the online world to be quite toxic and stressful so I jumped into Skyrim. I bought the game on the Xbox 360 but never actually played it but when it came on the Switch I bought it about a year ago and have been playing it off and on. During the lockdowns it became my game of choice and I poured a couple of hundred hours into it. I loved the freedom and fantasy the game offers, allowing me some respite from the realities of the world.

However, for others gaming offered a way to process what was happening in the real world. Often, there is a snobbery against gaming with some people saying that gaming worlds don't reflect the real world. Okay, many don't per se but often themes are addressed through allegory- these experiences allow us an opportunity to ruminate or consider our anxieties in a safe space, leaving us better equipped to handle situations in the real world. Games like Death Stranding (about a post apocalyptic postman), Last of Us 2 (about civilisation after an apocalyptic fungal virus creates cauliflower faced zombie creatures) and Plague Inc (a real world simulation about a pandemic spreading) allowed people to process this brave new world we were entering where the familiar became unfamiliar and the busy, comfortable communal spaces became liminal.

On another note, the surge in retro gaming sales has been unprecedented and retro games, consoles and mini consoles of retro systems have broken records in terms of sales. I think it's fair to say that when things go bad people like to remember better times and often it's the sepia tones of childhood and the past that appeals; I know that I bought the recent mini Bubble Bobble arcade machine purely for the feelings of nostalgia and affection for my childhood days with this game.

I loved my arcade machine and have no buyers remorse.

I loved my arcade machine and have no buyers remorse.

There's no denying that the industry has had an amazingly profitable year with many recording record profits but many of the AAA gaming publishers, as well as some individuals and indie studios, haven't behaved themselves. The industry has been facing multiple scandals covering a whole smorgasbord of abuses including harassment, toxic workplace environments and mandatory overtime (‘crunch’ in gaming parlance). As a gamer I question my complicity by buying games from companies who have allowed such abuses to occur. Should we, as the consumers, voice our concerns by boycotting such companies? I don’t know as obviously this has knock on consequences for the workforce but maybe, by bringing these issues to light, we can save the industry from the unscrupulous CEOs and people in authority who give themselves huge pay rises by sacking the workforce or by rushing out janky video games that don’t work (I’m looking at you CD Projekt Red with Cyberpunk 2077) or allowing workplace predators to continue to profit from shares in the company even though they have left the company? It’s a multi-faceted and complex problem but video games have been a refuge for many this year and I hope we, as gamers, appreciate that the gaming workplace needs our support and we need to stand up against those in authority who are hurting the industry through loot-boxes, poorly thought out ‘roadmaps’ for DLC and per-orders and actual malpractice and predatory behaviour.

Video games have been a welcome respite for me during this difficult year but at what cost to the creators and teams behind their creation? Did video games save the world? No. But did it offer a safe haven and respite for hundreds of millions at home? Yes. Now that we seem to be coming out of the pandemic we need to make sure that the workers in the industry are supported and safe and those in positions of power, who are abusive. are made to take account of their actions.

It’s been a strange time but what a time to be alive where there is the possibility of real change in the world.

LINK- The Last Guardian- Video Games As Art

LINK- The Stone Tapes (BBC)- Cult TV Review

LINK- The Rise of Retro Gaming During Covid

LINK- Blood, Sweat and Pixels- Book Review

LINK: Japan: My Journey to the East

LINK- An English Geek in Saudi

LINK- ‘Natives: Race and Class in the Ruins of Empire’

LINK- On And On And Colston ( Or, How We Kinda Sort of Learned to Talk About the Legacy of Colonialism and the British Empire)

LINK: Let’s All Create a ‘New Normal’.