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Playstation is Go!

Yes, the console war is off to a nice start. It is important to you (the reader) to know that for whatever reason, I am a Sony guy, hence, take no offense and if you are a dedicated Xbox person (no offense taken) then you might not like this article.

The event started last saturday when I saw this article that was massively Microsoft minded and how the new Xbox would be 30% faster, that person went on by throwing teraflops at us and making all kinds of speculated boasts, fair enough, I merely glanced at it and disregarded it to the largest extent. There will optionally be differences between the two, but the difference will be less than 50% (personal conviction) of what that person claimed. In the end, the PS5 will be a huge step up from the PS4 and a decent step up from the PS4 pro.

CCN (at https://www.ccn.com/sony-ps5-reveal-beats-xbox-series-x-without-trying/) gives us “Sony’s PS5 reveal video gets more views than the Xbox Series X trailer after being criticized for being boring and technical“, yes that was always going to be the case, in the end there are two parts, the technical superiority and the games, the first one we can see and anticipate, the second one we can hope for and in coming towards our hopes and dreams the PlayStation has been a lot more rewarding than its counterpart ever was. The one time the other one stood out was when the date was October 27, 2017 and that was the day that Ubisoft released Assassin’s Creed Origins. Even as a Sony person I have to give voice to the amazement that the Xbox One X brought at that time. Assassin’s Creed Origins blew my socks off, and as a 4K title it was overwhelming. Yet that was pretty much the only time that the Microsoft console truly shined. As the self-proclaimed most powerful processor system it was surpassed by Nintendo, which with the Switch has the least powerful processor of the three, so that is the impact of superior hardware.

As such CCN gives us “The PS5 video has 13.5 million views compared to the 10.6 million views on the Xbox Series X reveal. This suggests that Sony may not have to try very hard to make the PS5 more successful than the Xbox Series X.” My response would be, Sony listens to its gamers, Microsoft only claims to do so and then does what the bottom dollar presented tells them to do, the gamer is not a consideration (proven twice over), that is how I see it (Die hard Microsoft console fans are allowed to disagree).

For me it is a much more interesting field, even as I am considering two IP’s on the matter, I can clearly see that the advantage that Microsoft created with the Xbox 360 has gone. My personal achilles issues is that the entire matter of storage has not now, not ever been properly addressed by Microsoft since the first One was released, that is 8 years ago. In all that time it was about being online, about being able to download, all whilst we see that on a global play there is a bandwidth issue, it is to such a degree that some people see how some players (YouTube and Netflix) decided to limit the video quality so that they won’t congest the internet in Europe in this Corona beer environment. It had grown to such a degree that Brussels decided to talk to Netflix on reducing internet congestion (at https://www.politico.eu/article/brussels-in-talks-with-netflix-about-reducing-internet-congestion/) and the quote “Internal Market Commissioner Thierry Breton today spoke with Netflix CEO Reed Hastings to discuss ways to help reduce internet congestion, a Commission official told POLITICO“, as such a case I saw coming years ago (not on the how it would happen) is seen three days ago in the article, there is congestion and in that environment Microsoft wants to be an ‘Always Online‘ player? As such the Sony solution with their secondary internal drive (SSD) might be a slightly limiting factor, but as it would (speculated) fit the 2tb and 4tb drives from Samsung, the Playstation 5 will have a great situation, and the 2tb SSD version is now $325, which is not required in the initial year (unless the games become really big) I reckon that Microsoft has a lot more to lose, superior processor or not. Even as they come again with their ‘most powerful processor‘ song, the moment the gamer chorus starts with ‘Yet where can we store our shit‘ they will fall silent very quickly, 1TB in 4K/8K gaming will do that. Sony has a similar start but you can add a drive to enhance player needs and 2tb/4tb will do that nicely. I expect that the 2tb drives at the end of the year will be $250-$300, so there is that too.

The larger issues is not merely that, Tom’s guide (at https://www.tomsguide.com/us/ps5-release-date-rumors-specs,news-26954.html) gave us “In his Road to PS5 talk, Cerny gave more details on the SSD again, with the key spec that it could load 2GB of files in 0.27 seconds. That should make for some unnoticeable loading times once game devs get to grips with the new console.” in this consider a Bethesda RPG where the load times in between locations becomes almost zero, the additional joy we get by replaying Fallout 4 and Skyrim, this evolution is one I anticipated, although not the “load 2GB of files in 0.27 seconds“, that is just the icing on the cake. The idea that Elder Scrolls: Restoration (see several other articles) becomes a technical viability opens up a lot of doors for RPG games, in this I wonder what Guerilla games could make of Horizon Zero Dawn 2. It is almost beyond belief and that is before we consider other franchises that offer us more and more. 

You see in the end it is not about Sony or their Playstation, it is about the gamer and gamemaker and it seems that Sony is facilitating to an amazing degree to those two, as I personally see it Microsoft is merely facilitating to those embracing Azure, in lesser degree to the game makers and last to the gamers, it is another setting entirely. Gamers are the first priority, Sony learned that lesson when they launched on 3 December 1994, a first try to debunk Nintendo as the king of gaming, they succeeded. So whilst we are all in folds on how much it is going to cost, consider that the Xbox360 was $699 and we all shelled out because we were going to get an awesome experience. That was proven true by Microsoft and I never regretted buying a second one when the red rings of death came to ring my front door bell (two days before Fallout New Vegas was released).

It seems to me that Microsoft forgot about what gamers need and they seem to listen to those who want gamers to take a certain direction, it is not the same. Still there are options where Sony could improve too, not the gaming side, but the connected social media side where we share what we want to share, that side is up for a tremendous amount of improvements, and when they do this considering that people are not always online (consider rural France and Germany) they might just wipe Microsoft out of existence, they don’t seem to care what happens to those gamers without excellent digital path access. As i Personally see it, it is due to a population of gamers without a global scope on the matter. 

The Sony presentation (at https://www.youtube.com/watch?v=ph8LyNIT9sg) is nice, but as CCN told us a little boring, still boring or not Google told me that it is #20 most trending videos at present, so boring is nice. Yet the presentation is also important as the OS is part of all this and the improvements in social media we will see before 2022, is lacking at present. As I personally see it both have that weakness and just like I was correct in storage, I expect that the social evolution on sharing becomes a much larger issue down the road and it seems that both are not ready for this part, even as it is not part of the console, it will be part of storage and synching (when possible), as such the console needs a pass through need that developers would have to adjust for and that is at present not a given. Even if it is easy, getting this in place BEFORE the console releases gives the makers of games a lot more to be ready for and I believe that it will impact the success of any of the consoles. 

How am I right?

This is much simpler. We have our friends and our social circles, at times we want all our friends to be aware, yet we have gaming friends and a social circle. They are not the same (for the most in Europe and America they are very different), I think that Sony did not consider this, or rejected this even as their PS3 presentation years ago gave sight of their plans. It was in that case a rejected plan that is now on their plate.

I am not talking about some marketing play, I am talking about gamers talking to their other gamers in an actual way, not pushing them messages (what happens too often). In this Google Plus had solved a few of the issues in the very beginning. Having circles solves it. Circles of connections playing the same game, playing a type of game and the individual messages that you can direct. So another game gets some of the messages and if that person is curious he or she can come look at YOUR wall where you see everything. So you basically have several walls, your wall, your shared wall, and circles and a message will be on some or (ill advised) all walls, your friends can select from your wall what they are interested in, and as you gain gaming fame they will optionally want to see more. It makes for a much easier social media, and that is the foundation of the dictionary “applications that enable users to create and share content or to participate in social networking” it is not about pushing content, but sharing content and like in any conversation, when the other party is not interested, they cut off the conversation, that part is often ignored because some players in social media need the traffic and the advertisements to go through, actual social media is about connecting and conversing (via sharing). It is a lesson that Microsoft (for the most) never learned in the last 8 years. Sony did not learn it either, but their solution was not about pushing marketing (to the degree Microsoft did) and as such we were a lot more happy, as well as the fact that we were not required to be online all the time, the system synched when we were (most often when synching achievements).

As this approach is matched with the games, we can select for games where the information goes (all to our wall) but then we can select per game where it goes (those who have the game too), when it is a genre we can also share it with those sharing that interest. So Fallout 5 is initially shared with those who have Fallout 5 and an interest in RPG, these players can then disregard (optionally temporary) Fallout 5 materials or disregard your material. That is a reality too, I have several friends and we shared Mass Effect 3 multiplayer gaming, but only that, as such my achievements in Mass Effect Andromeda was not interesting to them. In this I mentioned ‘optionally temporary‘ as a person starting in a game might not be interested in someone’s achievements who is at 90% (for means of spoilers and optional envy). This too makes for a much nicer experience in social media.

It is the side effect of any facilitating system of news events and achievements.

I believe that the PS5 will have a large base growing much faster if the social media template is set to facilitate to a much larger degree to gamers. Whether it is done or not will not affect the initial need and desire for the PS5, but I feel certain that over time it will be a much larger facilitating and desired part of any console. I also need to emphasize the win that Nintendo had on the switch with the calendar, I am amazed that none of the others see that part. You might not want to share your calendar, but an overview of achievements gained over a week is not something a gamer is not interested in, and the option to keep that calendar for years (an option the Switch does not seem to offer). I believe the option for gamers to open this part (per game) to the developer will be much more interesting to the makers too (as the gamer decides whether to inform others). It allows for an optional  deeper connection between maker and gamer. 

This allows for two elements the first being a direct gauge where the maker can inform (once) the gamer on season passes and DLC options. The second is that we can be aware of updates required on games we have, not blindly updating a game we haven’t touched for weeks (Microsoft actually has a much better system in play here than Sony does).

As we see that the PlayStation is Go! (Thunderbird pun) we see that no matter how great any system is, there will always be space for improvements. Sony however seems to have been listening to its gamers for the longest of times, lets see what the PS5 brings and what the second wave brings. This time around there are benefits and disadvantages for Sony. The last time around the Nintendo Switch was not a factor, this time it is and no matter how strong any system is, gaming is about joy and that is a lesson Nintendo has taken to heart every single time, they did this long before the Nintendo 64 (at $699 in those days) became a reality.

Even as the PS5 players will adjust to “We believe that the overwhelming majority of the 4,000+ PS4 titles will be playable on PS5“, we see that the ‘truth’ of the matter is that the largest Sony base will initially be interested in less than 200 of them, especially if they upgrade from the PS4 and never had a PS4pro. 4K will be the larger reason for that. As such even the makers will benefit from the setting where someone did not buy it initially, their title was good on what was and optionally now will be a great added title (especially with patches in place). 

It is still early days, for the most, I am merely anticipating what is and what we will get, not what might optionally be missing. In that regard the Playstation family has never disappointed us (apart from the day one games on PS4) and it is still 9 months away, as such I believe that there will be a lot more information coming our way soon enough, most of that is most likely around the time this year’s virtual E3 hits us.

 

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Value and validation

We all see both, we need to be valued and our work, our thoughts and our point of view needs to be validated. It is for almost every person the same, the value and validation drives him and her alike. As a blogger I have to do with rants and bad mouthing, but that is what comes with the terrain, with my IP it is different, like a writer I need validation, but I cannot get it without putting my IP in the public domain and that is a really bad idea any given day of the week, so how will I get value and validation if there is no feedback? Well in my case there are a few items that work. First there is the validation on what I write. I wrote in September 2019 ‘It’s been that long‘ (at https://lawlordtobe.com/2019/09/28/its-been-that-long/). I had written about the issues before in ‘Gaming ‘after silence’ or ‘pre noise’?‘ (at https://lawlordtobe.com/2016/05/14/gaming-after-silence-or-pre-noise/). there I wrote May 2016 “This is just my view on it and I expect to be proven correct before the end of 2018, possibly even sooner” and as I see it System Shock (delayed, 2020), Moonshades (a Dungeon Master style game) have proven me correct, basically I feel validated beyond the value of Ubisoft at present (nothing wrong with my ego). Dungeon Keeper and a few others were already out (or openly in production), so that does not count. These are a few of the little things showing that I was right all along. This does not prove that my IP is da bomb, but if I am right in my way of thinking in one way, I will also be right in the speculative reasoning, and as my path is still not showing in 5G, I feel more and more happy.

In all this, my mind needs to create, it needs to be creative and I wonder when we see ‘3 Reasons 2020 Will Be a Make-Or-Break Year for Netflix‘, whether this is merely a ploy to bounce the stock or something else. Yes, the Nasdaq article gives us “Will Netflix finally win the Best Picture Oscar?” as the second reason, making the article bogus (to some extent), some of the best movies in the history of film never got awarded best picture and that did not hinder them, did it? The Independent (UK Newspaper) shows us Citizen Kane, Vertigo, the Graduate, 2001 (a computer going nuts), Taxi Driver (Robert de Niro with a decent haircut), Apocalypse now (Martin Sheen as a teenager), Blade Runner, Pulp fiction and the list goes on, the paper gives us 23 movies (a lot with De Niro) all worthy to rub shoulders with the Irishman, none of them Oscar winners, does it matter? What matters is not the billions spent ($15 billion last year on materials alone), the matter at hand is if Netflix keeps on making quality stuff, even if it is less, quality is quality. In that light I thought

Wouldn’t it be nice

Let’s take a look at Rendezvous with Rama, the atmosphere of the book gives us a handle, yet what if we turn this around, what if a group of people wake up on a space station with a diameter of around 250 meters, it is a way station, between us and the Sombrero galaxy, all indications are that the people wake up at 1/3rd between us and the Sombrero galaxy, in the middle of nowhere. At what point will we consider that we are merely rats in a maze? Even as every piece of equipment works, even as most of it is beyond most technology firms, what is the test? Is it the one we are given? Will we abide? What happens when two more teams arrive? What happens when we start taking initiative? 

As the situation presses and another platform is found, we see that there is division in the groups, one group (from the three arriving teams) decide to use it only to find themselves on a station more than twice the size, yet now only 1/3rd away from the Sombrero galaxy. As we consider the hardware available and working that it can get us to another galaxy, how much more advanced were the makers and what do they want? With one or two twists, one involving a priest going nuts (a wink at war of the worlds) we are left with questions, because we now know enough to know that there is no way that we are alone in this universe, yet the people here have no clue what we are missing to go travelling and yes the cold fusion we claim to have does not cut it (not without two elements and Celestrium) the last part is essential as its existence answers a few question, including how to find others.

When we take the science apart and see that we are often too clueless to consider leaving us alone with that equipment. Would you leave a box of matches in YOUR house with your 2 year old? The considerations I had on a Sunday evening would become the foundation of an optional mini series, with my additional mind on games, TV series and IP, I see that there is nothing wrong with my imagination! Now Google and Huawei need to wake up for the circuit to be completed (almost literally so).

In all this, we can feed our need for science and our need for fear, fear makes its own conclusions and it has no reservations taking the upper hand, just like it tends to take over giving doubt in a stage of our ability to value and validate ourselves, and it all matters! Did you think that I am so much brighter and better than some others? (Well I am to some degree), the issue that we see nowadays with the US playing tantrum child all over the field is showing a larger lack of imagination. The movie industry sees the imagination of a man like Stan Lee take over, but it was his imagination that spoke to millions of people all over the world, a lot of them having seen at least a dozen of his comic books, and Marvel cashed in, in a world where we see a lack of imagination we see the people of Stan Lee comics making a killing, imagination gets to do that. In that same view I see the Irishman, an amazing piece of work and if that is the quality that Netflix brings, then best movie Oscar or not, Netflix is likely to be around if those holding their credit is standing strong too. for that is the game too, if the credit holder is not a visionary, if that person is a short term bullet point oriented Excel user, you tend to be royally screwed (pardon my French).

And in this I am not alone, Forbes (at https://www.forbes.com/sites/greatspeculations/2019/08/20/all-the-reasons-why-netflix-is-doomed/#59953e37465e) gave us last year “Content Spending Not Adding Enough Subscribers“, an optional issue to some degree, yet we seem to overlook that there are 170 million subscribers, with 100 million outside of the US, in all this we tend to forget that France has a dismal internet (outside of Paris and Defense au Lille), and they are not alone. there is still the need to see Netflix, in many nations and as more people see the pull to new series (like the Witcher), Netflix will survive, by the way, in all this we see the lack of visibility on HOW MANY watched The Witcher, none of the cable services EVER had that much viewers. A small item easily overlooked and as Netflix moves through time, we will see more players and some will switch, but Netflix remains a name not to be forgotten, no matter who shows the Marvel movies.

And as I see the writer of Forbes give us “As I wrote about in “Loss of Licensed Content Is an Underrated Crisis for Netflix”, Netflix doesn’t appear to have a plan in place to replace these beloved shows when they depart the service in 2020 and 2021” and there it relies on the Office and Friends, a TV series that was big in 1994 and the ten years running. Yes it was fun and it is highly regarded, yet so it Star Trek, so is Altered Carbon, so is Bojack Horseman and that list can continue for some time. I believe that it is the new material that will pull in the subscribers, not old series (although a case can be made for the West Wing and Babylon 5). And what we like is out in the open, with 4 billions ooptional watchers, what we like is spread between Aaron’s Way and Zorro, there is a need for almost all and over time they all will be watched (at some point). If there is one flaw in the Netflix formula, then it is the abundance of choices, we are like children in the candy store having to make a choice, yet whenever we make one, we see another lolly overwhelmingly tasteful. It is great for the creative inspiration, but you tend to miss out on perseverance or a lack of sleep, whichever comes first and ask around you, whomever saw the Witcher, how many watchers turned into overnight bingers? Now consider that Netflix releases one show a month, how much sleep did you forego?

At times validation takes its own currency as payment and it tends to be the currency you did not see coming, and it is not a currency that holds water at the check out of the supermarket. We all tend to forget that a little, as well as the small thought that creativity starts in someone’s mind, not as a bullet point on a document. This is important, especially as I agree (and oppose) with ‘Ubisoft: A Number Of Risks Make The Company Non-Investable At This Point‘. Those who know me, have seen that I have spoken out against Ubisoft on a number of occasions, yet the issue is that this (source: Seeking Alpha) article is all set to the investors and there we have another matter. Yes games are reasonably high risk, yet there is a reason that places like CD Projekt Red are successful, they went the extra mile. Ubisoft needs to adjust course. I cannot completely disagree with “We don’t think that Ubisoft is worth investing in right now and believe that the market offers greater opportunities with less risk“, they do have a point, yet this investment report is set around the overall, not the specific. As we see “While shares are slowly rebounding from the bottom” we see a reason to consider Ubisoft, even as we have to agree with “poor decision making in the past and a ruthlessly competitive environment are making Ubisoft non-investable at this point“, we forget that the engine is set around creativity. It is watching two channels at the same time, and Ubisoft did this to themselves. There is the creative channel that is showing delay upon delay as they need to get it right and there is the hype creating business channel that needs to get muzzled, the stage is wrong, the PS5 and Xbox releases at the end of the year require their best foot forward, if Ubisoft is able to release a game in the quality settings of AC Origin, they are saved, if they do it AC Unity style, they are buggered and their marketing department is not helping, there are almost literally hundreds of shouts from all kinds of publishers on delays and other news that does not make the coffee, creation is equally about muzzling that part. All while one source is giving us the image of WatchDogs Legion: “The release of Ubisoft’s new animal-themed action-adventure game“. It was 4 days ago, why is Ubisoft marketing not all over that? I should be less concerned, Ubisoft did this largely to itself, yet the creative minds like Jason VendenBerghe were lost in this marketing shuffle. An amazing game that should have made his desk at Ubisoft a permanent one, was shown in Netflix as we are shown what the creative minds go through when they are bounced of other creative minds and off the walls, we see the need of validation and how it was missing at Ubisoft, at least that is how I saw it. There will always be a large part that is not on any camera, but what some see as validation is not always picked up as such and the need for clear communication tends to go in every direction, you merely need to look at several surveys and how people perceive brands to get that part of the picture, as such a driven creative mind with a single focus tends to go in any direction, except the direction it had to go in and the lack of validation tends to be a larger concern. As for value? that remains to be seen and that remains open, yet I do believe that if there is validation, the value of oneself tends to go up, that has been the case since before Brutus was slapped on the shoulder for treating Caesar to a dagger on 15 March 44 BC. He was validated, but his value remained that of a traitor (hence he comitted suicide). In all this we rely on one, knowing all too well that the second does not give validation to the first, or it does, yet it will not give value to both and that is where the internal person and the realist tend to sway, how to assess value? We have been on the false brink of stockmasters for too long and our  assessment of what is value is in the wind, time will tell how we go about it, because that is something we cannot do on the fly or in an instant.

 

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In light of projected greed

This is an odd phrase, projected greed is not the same as greed, it is not. Projected greed is about speculated revenue, but greed tends to be a driving motive here, no matter how you stage your response. The salesman states words like ‘pipeline’ because it gives him a handle on quarterly bonus, he’ll tell you that it is about the continuity of sales, but it is not, it really is not. The CEO uses all kinds of terms for the ‘saleslife of his quarter’, but the stage of the quarter and their extra monetary incomes are linked to it. So how do we see this in movies? For producers it tends to be about the above break even point, even as it tends to be disrupted by visibility, but good visibility is movie momentum that a producer can push onto his next project. 

As I made mention before in ‘What is unintended discrimination?‘ (at https://lawlordtobe.com/2020/02/07/what-is-unintended-discrimination/) we need to see that recognition of revenue and the missing of unadulterated vision and attention which drives down movie revenue, the stage of projected greed gets bitten by being the biter.

In the last few days we have seen all kinds of people critics, movie stars, directors and producers give voice to diversifying the Oscars and Baftas. 

Bafta

This is actually the simple one, the ‘mission’ of the Bafta is stated as “The stated charitable purpose of BAFTA is to “support, develop and promote the art forms of the moving image, by identifying and rewarding excellence, inspiring practitioners, and benefiting the public”“, all whilst the supported part is “Films must have been available to the UK public for the first time in the UK between 1 January 2019 & 31 January 2020. There is an exception for Films Not In The English Language (FNIEL) which are eligible if they have been made available to the UK public for the first time between 1 January 2019 & 28 February 2020” which we see at https://awards.bafta.org/sites/default/files/images/ee_british_academy_film_awards_1920_-_rules_and_guidelines_-_feature_categories_october_2019.pdf

As such a movie is eligible when it was available for watching in England, seems all very correct, does it not?

In 2019, a total of 786 movies were released in the United States and Canada, which implies that when we consider Bollywood and Nollywood that number goes up by a decent amount. At which stage can you diversify when we see that there are around 775 cinemas in the United Kingdom? Now we need to consider that some movies are in a cinema for weeks and that some movies are almost in every city for example, in 2019 Avengers: Endgame played in 682 cinema’s in the UK alone, as such when you see that there are 775 cinema’s, we see that ONE TITLE takes up a lot of space in the display area. As such there is no way that these 786 movies can be shown. And the British people want sensational movies (as do people in most nations), so tell me where does that leave a title like Lionheart?

 

Abacus

This was simple stuff that could have been figured out by a 5 year old on an abacus, it was not that hard and I like putting this out there as some critics requested the dismissal of HRH Prince Harry (or was that Prince Albert Victor, Duke of Clarence and Avondale?), ah well that person (the critic) will optionally fall over his on words of misinterpreted denial soon enough.

And I forgot about one part that was actually obvious and clearly out there, but just for jollies “Films are not eligible when they have been previously entered into the British Academy Film, Television, or Television Craft Awards“.

So in all this in 2019 when we consider Avenger: Endgame (Robert Downey Junior, Chris Hemsworth), 1917, Once Upon a time in Hollywood (Brad Pitt), Joker (Joaquin Phoenix),  Star Wars: The Rise of Skywalker (John Boyega, Daisy Ridley), Bombshell (Charlize Theron), Jumanji: The Next Level (Dwayne Johnson, Karen Gillan), Fast & Furious: Hobbs & Shaw (Jason Statham, Dwayne Johnson) all movies in multiple cinemas for multiple weeks, it makes the remaining space not spacious, it is the drawback of more and more film releases. I left the Marvel movies and Cats alone for obvious and opposite reasons. I also have not even taken movies with Will Smith and Angelina Jolie into consideration. As such, when we see Steve McQueen (the director, not the actor) give us “BAFTAs risk becoming irrelevant“, we see an optional valid argument, but the stage to diversification is stale and now almost obsolete, the need for greed took care of that part. His view of “After a while you get a bit fed up with it. Because if the BAFTAs are not supporting British talent, if you’re not supporting the people who are making headway in the industry, then I don’t understand what you are there for. If (film-makers) are not recognised visually in our culture, well what’s the bloody point? It becomes irrelevant, redundant and of no interest or importance. End of“, when we consider the rules, we see that the deck is warped through the need for greed (producers call it getting their investment back), we can push to change the rules, yet the environment of being able to watch a movie is not in sync with the needs of those good enough to win. Lionhart was merely one example, there are plenty more and whilst the filling of cinemas is set around the release of Marvel movies (not a bad thing) we need to consider that time is also a factor, income is a factor. I went to the movies at least once a week when I was young, bills and payments have set this back to once a month and from there to 2-3 times a year, Also limits factors in movie revenue because each trip to the cinema is $25 at least and that is when I bring my own bottle of soda and a pack of lollies. As such can you deny that Netflix had become a gift from heaven to millions of people?

The final rule for Bafta that matters is “An entry can be made either to the Film Awards or to the Television and/or Television Craft Awards, not both“, as such how did the Irishman get in? It is a superb movie, yet which category did it get mixed in with? In addition when we see ‘Andy Serkis to receive top honour at BAFTA for ‘revolutionary’ contribution to cinema‘ and we see him getting all that well earned credit, yet we saw no mention of him being a cut throat mercenary in two Marvel movies, odd is it not? 😉

Oscar

Here we almost get a repetition of the Baftas, although what I did not know (never looked it up before “to be eligible for awards consideration, a film must have a minimum seven-day theatrical run in a Los Angeles County commercial theater, with at least three screenings per day for paid admission“, as such we see a small bewilderment, he idea that the voice of America is based on ‘a minimum seven-day theatrical run in a Los Angeles County commercial theater‘, in light of this we see a larger issue, from what I am speculating (I could not get the numbers) we see that the Oscars are likely based on a much smaller sample size than the Baftas, with the previous arguments in sight, as well as “Voting on all achievements shall be restricted to active and life Academy members“, which we accept makes sense, yet as the movie industry goes on, as it intertwines with HBO, Netflix, Apple and Stan. How much time will a voter get? The rules could be found at https://www.oscars.org/sites/oscars/files/92aa_rules.pdf and even as it looks a little more ‘lawyeree’ than the Bafta rules, it is not unreadable. Yet in light of voters, how much time did they get (as well as interest) to watch 786 movies? Consider the personal diary of Adam Driver (or Tessa Thompson for that matter), how much time did they have to sit down and watch a movie they liked and a movie they thought had to checked out because the critics were raving about it? When we consider that, we see a shifting image and the movie list given earlier (we might think that Adam was biased seeing Star Wars: The Rise of Skywalker), we need to consider a much larger stage. Oh and cutting down on Oscars and time on TV would not be a bad thing to consider either.

Yet how will that go over with the people cut from consideration? When we look back to the first Oscar, where the presentation ceremony lasted 15 minutes and had 12 winners, in this the most notable part is that Charles Chaplin lost out on three nominations, it is a big difference from the 92nd Oscars, is it not?

I do optionally not disagree with the ‘So White’ part of the outcry, but as I see it, there is a limiting factor in place that makes it hard to get distinguished here and in the 2020 Oscars we get to see Parasite, a South Korean movie (the distinction of South is important here) ending up with 4 wins and two nominations is pretty amazing. How excellent must this movie be to get that many awards (I did not see it yet), it is also amazing that it is the first non-English picture to ever win best picture. 

So until we change the premise of who is allowed to win, we will get a grey collection of movies that are in the running. In all this Parasite and Joker are already a larger step towards exceptional movies that are less mainstream than what mostly takes the slices of the cakes. And in light of all this, there is still the factor of projected greed; it is not the continuation of getting your money back. Avengers: endgame, cost 365 million, revenue 2,800 million. Then there is the real life Lion King with a cost of 260 million and a revenue of 1,700 million, two movies that took up exactly how many theatre rooms in Los Angeles County? That is part of the premise as well, because as they run, other excellent movies could not be set to the rules of being a nominee. Now I am not blaming these two movies, yet the premise of the Oscars is most easily seen when you consider that part of the equation. Projected greed might be the most dangerous part in all this, first of all because it is not actual greed, but it is closely related to its awful brother, and movies have become too much about projected revenues, in this, which studio exactly used to rely on ‘Ars gratia artis‘ (Art for art’s sake) before they (and all others) seem to have transferred it into ‘Ars pro reditus‘ (art for the sake of revenue)? It seems unfair on the directors, actors and actresses, yet they too are linked to their careers and they need to be the person who grows the income of the producer if they want to stay employed, in this I reckon both the Bafta and Oscar get to draw the short straw.

 

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We’ve seen it all before

That was the thought I got stuck with when I was looking at The Disappointments Room, a movie with Kate Beckinsale, shortly after I stopped watching it. Now, this was not the fault of anyone, not her (watching her is as pleasing to the eye as watching a Rembrandt), not the director, the lighting, the camera work, it was all high end good, yet the issue for me remains, I have seen at least 15,000 movies, so there is an issue with me watching more movies. Lately I have been taking notice of that, and with Kate who made her debut in Much Ado about Nothing (1993), a small part I had actually forgotten about, I remember the movie well. Implies that there is a sliding scale ahead for me and I am not happy.

There are still happy moments too, I loved Earthquake bird and was amazed that Alicia Vikander was so great at Japanese pronunciation, apart from that (and the fact that Lara married a Ubisoft character, LOL) made it an interesting ride, that is all before that the movie is one hell of a psychological drama, that includes some level of triangle relationship is pretty awesome, the fact that it plays in Japan is merely a plus for many (including me). That entire movie was an interesting one, we had all seen it before, but as we experience the setting, we see a movie, one that is for the most totally new, and there is a point where I wonder how the makers Wash Westmoreland and Susanna Jones pulled it off.

Was it all about Japan, was it Alicia in Japanese surrounding, or was it that for the most the movie was not laced in a sexual setting, there are 1-2 screens, but they seem to make sense as this was the relationship between two people. Yet in all that, the entire Japanese setting is overwhelming and we look around as we notice more and more differences, but what set it off? I believe that the script was a big part of it, but all movies have to face that, so what made this movie different, why did I not have the ‘We’ve seen it all before‘ feeling? I think it is important, as we are all running to the next Marvel movie, a remake of Charlie’s Angels or a Ford v Ferrari movie, I wonder what we will get next year, because it is becoming slim pickings for anyone who grew up being a movie fan. There are movie makers who are a given, people like Ridley Scott, who seem to be answering questions in the movies as they make the movies, a lot has been done before and some movie makers seem to distinguish themselves in that way, but the scary question for me remains, what comes next? Oh, I believe that we will see plenty of fine productions, but the overwhelming feeling that I have is that the ‘We’ve seen it all before‘ will return and that saddens me a little because it will not be the fault of the maker, or the actors or the actresses. It resides in me and all the movies I have already seen, that is the part that saddens me and it is laced in another part as well.

When we watched a movie (in a far distant past in this galaxy), my grandmother would comment on ‘How she had already seen that movie‘ whilst I was in the frame of mind that the movie was new, yet she was proven right again and again as these were remakes, it is nice to be in the first viewing of a remake, but I got old enough to have seen the original of whatever movie was re-released in the last 5 years so it is a little less fun for me now.

For me this is like watching the Female Ghostbusters, or the real live Aladdin, both movies have one setback, the original was pretty darn good, in the original Ghostbusters, we got to see special effects that until a few years ago no one surpassed, in addition to it all it was a great fun film to see, so the female version had a different ghost to fend off, and they were unable to, we kept comparing to the original, Will Smith faced that and worse in Aladdin, he had to fight of the ghost of Robin Williams, in addition Disney had taken the voice section to the next level and we all still remember Gilbert Gottfried as Iago, it is hard to fight off those ghosts, especially when the current generation still remembers them so well. It was different for Oceans 8, yes it was all female, yes it was linked to Danny Ocean (George Clooney) but that was it and the theft of a $150,000,000 necklace was truly next level shit (to coin a phrase) and I am avoiding all kinds of twists that the movie has, you have to see them for yourself, and James Corden was not a twist, the man really can act ;), and the ladies in the movie set out to plan a great heist.

To think back, I really have no idea who at Disney was stupid enough to invest and to allow the entire real live version of Aladdin to proceed decades too early. Although that is merely my thought on the matter, the movie did become a billion dollar plus movie, so there is that too. For me next year, I am worried about the Grudge, an amazing original Ju-On (2002) yet the remake 2 years later was still good, there were two reasons for that, the first is Sarah Michel Gellar, we had just admired her in Buffy for 7 years and seeing her in a different movie was well appreciated, the second and not the least important one was that it was from the original maker Takashi Shimizu, so seeing another remake next year will not be on my list to watch. I have a few reservations on Fantasy Island, yet we have seen Michael Peña in several good movies and there is every indication (from the trailer) that they are taking the sweet caramelized smell of the original TV series with Ricardo Montalban (Mr Roarke) and Herve Villechaize as his assistant Tattoo in a new direction, that I want to see because the trailer is indicating that the caramelized part is gone, it will be a liquorice cured salmon, the first time is the most powerful one because most people have never had it, it is also an acquired taste, so you’ll love it or hate it, but it will be new and that is the part that matters to me.

There is another wave coming, but not made as re-release or remake, it will be a sequel of Candyman, with Tony Todd as the murdered son of a slave, for me it means that there is every indication that I can finally replace that movie as a Blu-ray and it made me realise that it was released 25 years ago, wow, when I was half my age (extremely approximately), I remember the movie, meeting Clive Barker and a whole range of other events around it, seeing it sequel will (hopefully) be an awesome experience.

Yet overall I see that there is more behind me than in front of me and for a lot of us, when we have budgets to keep to we need to select the movies we see on the big screen, I went from a movie every week to a life where I saw no more than 6 of them on the big screen last year and that is a big difference, nowadays I see the movies that are in the libraries, and with Netflix, Disneyplus and other streaming media, on one side I wonder how much is left for the silver screen. Yet on the other side, as far as I can tell, no one ever took Ryū Murakami 1999 masterpiece Audition to the western world, now that is a movie you want to invite Harvey Weinstein to. I won’t give away anything, but if you want to see horror with a difference, that is one movie to watch, there is a whole range of movies where we seem to forget that there is a whole planet outside of Hollywood that makes good movies, and even if we want to see a re-master, or a re-launch, personally I am still hoping for Claude Leloch’s Les Uns et let Autres to make it to Blu-ray, let alone to get it re-launched (if that was even possible). The Netherlands (who got caught up in WW2) has its own views on the resistance and occupation and it resulted to amazing works, like Black Book (2006) and Riphagen (2016), most people will remember the decorated movie the Assault (1986), yet very few of the non-Dutch will have any idea about a movie called Undercover Kitty (2001), whilst the person behind this (Annie MG Schmidt) is in Dutch circles on a level that equals Walt Disney, or perhaps a little more correct the Swedish writer Astrid Lindgren, who created Pippi Longstocking. Yet how many remember or even know of the Swede Gunnel Linde? He wrote over 40 books and in 1973 the White Stone (Den Vita Stenen) became a TV series. I wonder how many options a place like Disneyplus would have when we see how large the collection of children’s series would be, the same when we look at Netflix in light of Audition (not really a kids movie), yet more revealing, will this become the age of ‘We’ve seen it all before‘, or will we see that like the new Fantasy Island, we end up with movies that show a surprising twist, one we never saw coming, to be honest, not unlike some movies, we will have seen it before, even if we would accept the new special effects, there is a chance that we get to see another Thing (1982) which makes for an interesting version from its original 3 decades before, yet nowadays, we are more likely to see another Insomnia (2002) which was its own perfect remake, yet when it comes to remakes, it is a wild card, because no matter how we love the Departed (2006), there is a chance that you saw the original Hong Kong film Infernal Affairs (2002), at which point the timeline is too close together. I was lucky enough to have seen the original and yet Scorsese makes a magnificent movie, yet the original was made in such a way that it was brilliant in its own right and in this my mind would love to give Andrew Lau and Alan Mak the credit they deserve, yet in opposition, there are plenty of other movies that a lot might not have seen and seeing some of those works (again), in a new light is still worthy of watching. Sweden has jewels like Lilja 4 Ever (2002), we might have seen the Norwegian movie Trollhunter (2010) in a different form, yet when you see this movie, you wonder which one is the original (the other movie was released a decade before this), so there is not much call on that, yet the stories are unique, original and the stages we see are also a question ‘We’ve seen it all before‘, yet have we?

In 2015 Norway produced the Wave, like other movies we want to say ‘We’ve seen it all before‘ yet that too would be wrong, we have seen something similar, but never in this setting, that is where the feeling gets in the way, The Wave is an intelligent piece of work that takes Norwegian customs and leaves us wondering whether we choose the right place to live for the right reason yet can we avoid choices? (I am really trying hard not to give anything away here), the world is filled with movies that seem to look like a movie we had seen before, but we had not and this group of films is now going to be a central part in places like Netflix and DisneyPlus (as well as AppleTV) to set their markers for gaining a following. Sometimes remakes work really well Zatoichi (2003) is a nice example. Yet even more overwhelming are the works of fiction, the books that were released in other nations that no one thought of translating. Even known works like Swedish Sjowall and Wahloo resulted in amazing movies a decade ago when the world got to see Beck; in this Peter Haber made an amazing Beck, finally replacing the image that Sweden had through Gosta Elckman. Germany is another nation where there is an abundance of great art. We all seem to remember Das Boot, Downfall and Der Baader-Meinhof Komplex, yet how many have seen a version of Das Leben der Anderen, where we see the impact of Stasi (the East German secret police)? Perhaps you might not know it by Die Welle was based on the true story of a high school teacher in California who designed an experiment to teach his students about Nazism, when you see that in real life, you wonder what you know. We seem to believe that modern day fascism is impossible, yet the movie casts doubt on that and this was all before social media, so there is room for new versions and altered (read: different) versions.

It is hard to see the light in so many seemingly remakes and re-launches of past greats, but there is light and there is room for plenty more, as such I wonder whether it was just me when I thought ‘We’ve seen it all before‘ or was it the maker who was not aware of other versions of great stories?

I wonder about this not because of Christmas, you might think that we will get re-runs of other versions, I know that this is not the case as Netflix gave out Let it Snow (2019) which is actually a decent movie to watch, which was a nice surprise for me. As I feared that plenty of repetitions seem to be the case when it comes to Christmas, I merely chase that one side in movies, the one I had not seen before and as we get from stage to stage, that risk is increasing, yet the cameraman as he uses his instructed skills to show something different will be able to thwart that danger for all of us (one might hope).

We are about to get 6 times the releases that we have ever had before, because the large screen and Blu-ray line is gone, there is now a large screen, Netflix, Disneyplus, Stan, Amazon Prime and Foxtel release plan, even as they all end up on Blu-ray, we need to pick what we can optionally watch and they are all slamming whatever they can lay their hands on, so there is 6 times the likelihood that they hunt a similar story. Yet there in the end we get to see the issue at hand ‘We’ve seen it all before‘ and as out budgets are now a lot more defined, we all end up being in a place where we rather avoided that part of the equation.

 

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Finally!

Yup, there is a new fashion in town and it will force the companies to fix the one element in IT that most corporations have ignored fixing for the longest of times. The issue that needed fixing for the longest time was non-repudiation, the issue has been clearly around for almost 10 years, 15 if you want to set a time table, but today on LinkedIn ‘Netflix and don’t share‘ shows that the industry will start doing something about it. The problem is what drives the masses to think that a paid service could ever be free. And even as we see: “Market leader Netflix has already declared it is examining how to curtail password sharing among family and friends. But streamers are treading carefully in teaming up “against the grifters,” aware of the backlash record labels previously generated in the Napster era” we need to be aware of the setting that it is a Netflix world and if you don’t pay, that is fair enough, but it also means that you can’t have Netflix. This issue is not limited to Netflix, it has a setting in video games, a setting in programs and in the past it had a setting in music. The problem is how to go about it. For places like Netflix, there is the non-repudiation solution, so in your network there are a few devices that could be set to receive, in the home environment the router tends to be the most culpable solution, yet in equal measure the home devices are also solutions that give rise to the patch of hardware that will allow one person to be connected, as such, Netflix was nice enough to allow 4 devices to be linked. Yet what to use as a system of non-repudation?

Well, email is certainly one way of doing it, but that only helps to some extent, the nice part about e-mails are that it allows Netflix (and like-minded people) to communicate with the owner on hardware, so as long as the email address is not hacked, this is decently safe.

Non-Repudiation

The term Non-Repudiation is not new, It refers to the ability to ensure that a party to a contract or a communication cannot deny the authenticity of their signature on a document or the sending of a message that they originated. So you and only you could have instigated the connection, bio-metrics are only one part of it, so is a password, non-repudiation is more, an autograph have the elements to complete non-repudiation, but in automated traffic, a copy of a autograph is becoming exceedingly simple, so we need to set the state where two tiered enabling is the way to go. Even if the origin of the two tiers was done in separate ways, combining them in any stream would be a decent level of assurance to convict a jury of peers (and Netflix) that only you could have instigated the stream. And Netflix is not the only one seeking for a solution. Bank solutions, use a pin and a bank pass, it is close but in in the end it is not real non-repudiation. Netflix needs to find a solution and whatever they find will push authentication technology.

And the system needs to be simple, not just for customers sake, the setting of complexity in these matters was best described by Scotty the Chief Engineer in Star Trek 3 whilst sabotaging the Excelsior: “The more they over-think the plumbing, the easier it is to stop up the drain“, it does apply to authentication and non-repudiation systems, especially when distance is an issue. So whatever we have at point X requesting for an authentication that tends to be the soft spot in the track.

It has to be simple, it needs to always work and it needs to set 2-3 alternatives at the spot. The problem with such a system is that it is not really non-repudiation at that point.

For example

A programmable dongle can be hacked; the hacked account can be copied. And these dongles will come from somewhere, so criminals will end up having access to the stuff they need.

As such the best you can hope for is a system that will take out 80% from accessing such a solution, add proper cyber solutions in the form of law and you have a solution that a company can live with, as it deals with 10% of the outstanding 20%. It is not pretty at times, but at least it works. So these solutions could stop 90% from using stated systems in a non-paying capacity.

We can go in all directions from there, but the world needs a solution where non-repudiation will stop 96% dead in its track, and only up to 1% would be able to find a workaround. Making the non-repudiation system a 98.9999% working solution. I reckon that this is as good a solution as we are going to get and the solution is needed faster as 5G will require correct non-repudiation solutions to be up and running. With 5G out and about, the criminals get a 500% chance to get to more systems to infect more and more devices as such the need for Common Cyber Sense is becoming a pressing matter and from there we can move onto non-repudiation. Consider that the current situation allowed cyber criminals to lay their fingers on $120 billion dollars and with 5G out and about criminals will have access to well over half a trillion dollars, one could argue that it is a great day to be a cyber-criminal, or we can do something about it, because the one thing I do know is that the banks will only take hits for as long as they cannot make a case for ‘negligent care, the person did not take care of the item like a father would take care of its child‘, that is not some rant, the art world is already working with terms like that. How long will it be until banks and payment systems will take the same steps? At that point, the hardship will fall on the owner of the hit bank account, not the bank, unless a clear established path of evidence is presented that the bank itself was the intended target.

Oh, and when banks are no longer held accountable how much attention do you think that the FBI has for little you? Common Cyber Sense will be the immediate requirement.

Non-repudiation will be the big next thing soon enough and whoever gets a system like that up and running will make an absolute fortune, it would change my 5G IP systems into small change, nothing more. It is the next thing and we are in dire need for such an inventor soon enough, not just Netflix.

 

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Branding

An Apple original, a Netflix original, Stan presents and so on. This is the view I started this morning when the trailer ‘For All Mankind‘ hit the screens. The game has changed and the value of IP has gone through the roof, finding quality IP is going to take on a new level of interest. Not merely finding the IP, getting there first means something now, it is a new form of Armistice and it is a game designed for all the creative Masters of Art out there. Yes there is the anticipation of new hits and movies we want to see. We look forward to people like Nicholas Cage (Primal), and Robert de Niro (The Irishman). Yet it goes further than that, the amount of movies that are popping up with references to ‘Basically, How to Write a Netflix Original‘, we see new cash cows coming into existence. Yet the basic need is not to write the story, it is to have the idea in the first place. I can, at any given moment drum up a new story; I have been writing my blog for several years now, creating over 1200 articles. All the articles have news references and have references to events, but creation was key! And that is not the stage, the stage is not the Wall Street journal (at https://www.wsj.com/articles/with-chips-down-saudi-arabia-finds-little-goodwill-in-the-u-s-11569495606) giving us: ‘With Chips Down, Saudi Arabia Finds Little Goodwill in the U.S.‘, this is a given and required little creativity, yet the creative eye will spot beyond the quote “Two-thirds of Americans now have an unfavorable impression of Saudi Arabia, according to a Gallup Poll earlier this year, the highest percentage the survey group has ever recorded for the kingdom. It is higher now than it was after Sept. 11 attacks, in which 15 of the 19 hijackers were Saudi“, it would be able to see that the anti-marketing machine that even included the United Nations (the essay by Agnès Callamard), where even with a lack of evidence the Saudi Arabian crown prince was painted as the guilty party, Eggy Calamari even gave us: “The killing of Mr Khashoggi thus constitutes an international crime over which other States should claim universal jurisdiction. I call on those States to take the necessary measures to establish their competence to exercise jurisdiction under international law over this crime of extrajudicial execution,” we cannot deny that the likelihood that the life of Jamal Khashoggi was ended in an unnatural way with a certainty approaching 100%, no one denies that, yet the who remains an issue and the reference “for which the State of Saudi Arabia is responsible” can only be made through circumstantial evidence (and it still remains dubious at that), whilst the use of that evidence leaves too many gaps, giving a clear failure as ‘beyond all reasonable doubt‘ is not met, yet in opposition these same state facilitating players have ignored actual evidence of Iranian actions of assaults and bombing of Saudi Arabian civilian targets. As such there is a creative engine in play and that engine is targeted at Saudi Arabia (the connections will make sense soon enough).

The actions by the UN to stop escalation with ‘US-Iran tensions escalate despite UN efforts‘, gives us the light that clearly produced evidence is ignored and shunned by the UN, giving us the stage that the discrimination of produced evidence is set aside, the western media to a larger extent has been accommodating to that, in the one case where the Washington Post could get a reprieve, even now when we see mere hours ago headlines like ‘Iranian president: US should end ‘maximum pressure’ policy‘ and ‘As tensions boil in the Persian Gulf, Iraq seeks to rein in Iran-aligned militias‘, we should notice that the Washington Post has gone to extremes to keep the mention of Saudi Arabia as a victim to an absolute minimum.

It is a new kind of branding, it is anti-branding. The western world is scared, too scared at present. First there was Huawei that has the hands on the largest bulk of 5G IP ever made, and it reduces several nations to an Intellectual property joke at best, the cream of all 5G patents is in the hands of Huawei (China), in this Reuters reported less than 12 hours ago ‘Huawei already producing 5G base stations without U.S. parts‘, more important, in 2020 that production line will be doubled, add to that that Norway is not siding with several EU nations not to block Huawei as a 5G solution has the US on the ropes, they are about to lose billions upon billions. It is the price of iterative complacency and it scares Wall Street. You might think that I switched topics, but I did not. There is a clear line.

As Saudi Arabia is more and more committed to build its Neom city, Huawei is now ready to implement their 5G solution and that pushes Saudi Arabia forward in ways never seen before. The academic consideration that Neom City will be on par with the latest Silicon Valley solutions has never been seen before and as that trail picks up speed, the IP consideration will be passed to other regions too, at that point IP firms registering their patents and Trademarks will rise in China and the Middle East even further, it is exactly the play I had in mind when I created my IP and even now I am looking at a golden parachute the size I never held possible ever before.

All this still reflects on the hindrance that pushes these technologies and there we see that Iran is becoming the larger problem in several fields. Even now, as we see projects grow, we also see the larger field that is fuelling this endeavour. The National gave us “Neom’s contribution to the kingdom’s GDP is projected to reach at least $100 billion by 2030” and that is a pessimistic view, as the 5G boundaries are met in Saudi Arabia, there will be a growing workforce trying to get their 5G apps on the ground as this could fuel millions in revenue for any app maker that makes it, and the most important part in this is the fact that being there first gives a lot more benefit for a longer amount of time. This path gained momentum as Huawei started to cater to 5G needs 6 months ago in both India and Pakistan, for Pakistan the middle East and in particular Saudi Arabia will give rise to more apps, better apps and stronger commerce; yet it is not merely in Saudi Arabia, the United Arab Emirates is also pushing for this boundary, as is Qatar. The experience in app making will spread form Pakistan further and further giving these entrepreneurs’ futures they themselves never thought possible under the stage of 4G and it makes them all hungry for success.

Creativity

It is there where creativity and needs interact. Whilst the arts are claiming a larger group to write idea’s for streaming TV, the creative engineers are pushing new telecom boundaries in 5G, setting a stage for a new kind of facilitation, one that is not limited to the iterative community, as they were trying to cater to the needs of guided anticipation, the innovators are going where iterative makers did not consider to look, 5 of my IP trains are on that track going decent for now, I still have a little more than 2 years to set the final stage, whilst the stage is curving to my desired needs more and more. That we see when IT Wire gave us ‘US seeks funds to remove Huawei, ZTE gear from rural providers‘ only 2 days ago.

As we see the quote: “Legislation supported by both sides of politics in the US seeks a sum of US$1 billion to help small and rural wireless providers replace equipment made by Chinese vendors Huawei Technology and ZTE Corporation“, we see a growing failure in the US. Don’t get me wrong, the US is allowed to do what it is, but instead of fuelling innovation forward, it is wasting $1,000,000,000 to remove rural equipment, whilst the supporting quote “helping small and rural wireless providers root-out suspect network equipment and replace it with more secure equipment” cannot be met with evidence on any level. Even the term ‘more secure equipment‘ is a grey remark open to interpretation, all equipment form 2018 onward will be more secure than the equipment that was installed in 2012, even with the latest updates this statement remains true, as this is the nature of the technology beast. What is adamant in all this that the lack of security in Huawei equipment was never proven other than one specific 2011 example, an issue that was apparently addressed and settled in 2013.

Even now, no espionage evidence by China was ever given in any way, shape or form. As I personally see it, this is all about economic foundations and progress and the non-Chinese solutions lack technology, innovation and quality to compete with China, now that the Middle East and Europe (to a larger degree) has allowed Huawei to get there, they will reap the benefits of it all, consider that over the next 5 years Neom city, block by block will be 5G ready whilst the longest changes in most parts of the world will be still upgrading, it will create a clear need for to use what is available and now we get to the union of both.

As we see the testing grounds of Saudi Arabia being there, the makers of streaming services will have a place to test and create 5G IP (or was that create and test). We have seen Hollywood, Bollywood and now there is a case to be made for Neomwood as well. If Saudi Arabia plays its cards right, there would be the stage for implementing and creating 5G streaming services and the creation of originals (to some extent) of TV series, shows and movies. People seem to forget that there are around 2 billion Muslims in the world, and the ability to cater to 25% of a global population, whilst the other creators have neglected this group offers a larger opportunity than most people realise.

Even as we accept the story of the 60’s where in the new production called for all mankind we see the stage and setting of the first woman on the moon, there is nothing stopping the Middle East of creating Islamic series that are about furthering their goals on the big screen and the little screen. The lack of actual quality TV in that regard (as far as I can tell) becomes more and more visible. There has been great controversy regarding the TV series Omar, I understand that thousands are stating that the show must be stopped because they believe such depictions are forbidden by Islam. Yet there are other ways to give light to Islam, to educate the non-Islamic community, and I believe that a larger stage could become apparent there. Also, the entire stage of soap series is seemingly ruled by Bab Al-Hara, a Syrian show by Bassam Al-Mulla that has been going on for 10 seasons, as I see TV watching people, they are never content with just one series and to be able to stream globally on 5G will be the larger need soon enough, owning the studios, production, IP and delivery will give whomever gets there first a much larger cut of the winnings and they can be huge, especially with 2 billion Muslims looking for more. I am still smirking (on the inside) to seek a way to make my idea: ‘How to assassinate a politician‘ a reality and optionally get it selected for Emmy and Oscar’s consideration (that is how I roll, never stop dreaming). In this, as I stated several times in the past, the slogan of FX (a filmmaker) is the best ever: ‘The story is everything‘, it is the holy grail that Apple, Stan, Netflix and all other streamers, as well as all other forms of medium are pursuing, it comes from creativity and as creativity overlaps from creation to technology we see a much larger shift in innovation, Whomever doubts that look at Big Brother and consider why it was a success. The overlap of technology, innovation and creation is a direct result of that is something that John de Mol Jr. saw immediately, it took a little while for me to catch on and it was an eye opener (I personally never liked the series, but I admired the approach of innovation and technology towards creation), now creation drives innovation and technology (as it should), yet I also accept that this interaction tends to be symbiotic and the direction of these streams can go in either direction making it the closest to a perpetual system, in this iteration will be the death of it and that is why I have been frantically against iterative designers.

In this, branding has been too much about iteration, Google and Huawei being the obvious exceptions, yet they are at present still the exceptions to that rule. I see that branding can be about innovation, but not the marketed innovation that Apple claims it is. Innovation as Heineken marketing shows it to be is a much better example, even as their product has not changed for the a longest time, their marketing has been on the edge of what is possible for over a decade, if we can keep creativity on that scale we have the making of long term success, no matter what field we move in, that is what the US fears, as innovation grows through Huawei, they see a dip that turns into a revenue canyon, the lack of forward momentum. Even now we see how economic momentum in the US is lost, whilst their IP investments are at an all-time high. If IP becomes the currency of a nation the UIS is indeed in a dire position and their stalling and delays of 5G will not help them, it is exactly in that part where we see the anti-Huawei weaves becoming a disaster for those embracing a non-Huawei solution. The fact that the hardware is not on par with Huawei is one part, the implied accusation ‘But Can They Scale Operations Timely‘ is a much bigger danger, as the markets evolve, scalability will be key and in that (for now) Huawei is far ahead of the others, making any non-Huawei advantage short lived, in addition to that part we see the earlier mentioned solution that Huawei is on the road improving and upgrading the base stations without US parts, when that one hits the US economy will take a much bigger hit, and as latency and delays add to the 5G part, those who want to be at the head of streaming will need to consider where they will be running from, as I see it there is a case to be made (to some degree) for Neomwood, when that happens, the revenue streams will change even further giving the US to live with the realisation that the entire Huawei war was the worst of all idea’s, especially when there were alternatives and especially as the security risks have never ever been proven.

I believe that due to data options there will be a larger change in trademarks in the next 5 years, also in that regard IP will decline in the US a lot more, as data is key, any delaying factor to 5G will have larger impacts over the next 24 months. Those who want to be ahead need to select what gets them there and not listen to fabricated fears and speculative events that have so far not been proven. As creativity shows, those who can dream the new stories, those who can consider the next idea will be catered to, because if the story is everything, the value of a poet and a writer outpaces the accountant by a lot. We can get all kinds of accountant a dime a dozen, yet how many poets are there? How many story writers and story tellers are out there who can spin a story that makes you sit down and relax? Consider what you watch on streaming services and what you are willing to pay for, now consider where the market is and you will see a large gap, a lag that was ignored for the longest of times. In 2020 alone we see a need to invest close to $50 billion, $6 billion by Apple alone for start-up; do you think that there is a higher need for a book keeper or someone who can create a story? As WarnerMedia buys back the old TV series Friends for $245 million, ready to spend $11 billion on content this year alone, how much are they willing to pay for an original idea?

Branding starts with a dream, or a thought that is actually original, how much originality could we find in the Islamic world that has ignored that path for decades? It is a path exploring, especially with 2 billion optional content customers. A path to a larger success that is currently written off through the fear mongering of governments and media needs, whilst there was not ever a need to do so; the facilitation of iteration pushed non solutions and whilst that happens, originality in content and technology will take a backseat to facilitate to the people who no longer should have any voice on the matter, their need to delay and slowdown innovation made it so.

 

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A night with Clio and Alecto

It started 2 days ago, I have been wondering about the news (no actual new news, just the rehash) and what to write about. I heard snippets all over the place on ‘more of the same‘ and ‘lack of originality‘, yet until yesterday (around 03:30) I had no idea what to consider when the article (at https://www.inverse.com/article/58121-google-stadia-launch-games-6-aaa-titles-to-get-in-november) hid behind ‘6 Huge Google Stadia Launch Games That Will Make You Rethink Consoles‘ to invoke interest in the Google Stadia.

It was the sight of 6 titles that had been available for some time that made me wonder if some people at Google had any idea what they are doing, so I decided now to counter it.

When we look at these games, we see a first person need, no one denies this, yet if the power is applied, we can go so much further. For example, we might see the RPG giant System Shock in a new light (it is being remade). We might look at the Citadel (Mass Effect Series) and consider it is too big (or the death star for that matter), but the situation is nice and contained. What if we set up a large space station, fill it with crew, not spawning them at certain stages, but a station with the amount of people that would ordinary fill a space station. Now the Death Star has been rumoured to contain a crew of 265,675, as well as 52,276 gunners, 607,360 troops, 30,984 storm troopers, 42,782 ship support staff, and 180,216 pilots and support crew, so too large. Yet is the idea too far-fetched? What if we scoop back to Citadel Station (System Shock version) and we have to contain a situation with 5300 people? Now the numbers start making sense. The game has difficulty settings impacting available ammunition, health food and so on and in addition, we can set the scenario to Contagion (zombie apocalypse), Competitor (sabotage), Patent run (thief) and Entity removal (assassin), each with their own issues, challenges and options. The ability to blend in, to not be seen, to steal stuff and more important to remain hidden whilst you optionally kill (or incapacitate) a specific target. Yet the station is different, the crew is completely managed by the system and in some cases it has to be done within a time frame (any except the zombie apocalypse). The option to do it alone, do it together and the fact that this location can be reused gives it all a larger replayability value on a long term premise.

To some extent System Shock had many parts, yet the original had floors and the enemy would not pass that boundary. What if that is not a constraint? What happens when a place that big becomes its complete environment? Like the station on IO in the movie Outland (excellent role by Sean Connery). What if we had a station where the ‘AI’ error of waves of people do not panic (like in AC Unity, repeated to some extent in Syndicate), what if a proper hidden body does not set off alarms immediatly, but what if a missed shift does alert security to seek for the person, a station requiring ID badges becomes a new challenge.

How is this original?

Because the template might have been used to give rise to the environment, it can be any space station. Games like Destiny, Doom, are all about trigger point, all about spawn points and all about flag points. Yet what happens when it is already all there, how do we get through the game when we set off alarms, when we alert security by giving rise to an alarm. I think that this is the part that Hitman 2 really got right. Some will raise concern, but a lot of NPC should not notice, and that is at the centre of a much larger interaction. What if we consider that the stages of Hitman 2 are too confined (not for the story they had mind you), what if an entire city is the premise; do you think that every cop known everyone? They react to the badge, the uniform (medic), the identity (clearance) beyond that they often do not. So to set the ‘futuristic’ stage, millions of gaming fans have voiced the desire to actually walk around the Death Star, On Babylon 5, on the Enterprise, on Citadel Station and so on, yet no one pushed to make it happen to the degree possible, even Mass Effect Andromeda dropped to ball to the greatest extent there, an original game that allowed for (non IP secured locations) to be addressed. Locations to be originally designed, all with the option of giving a run, a challenge and optionally a group of friends united to stop an infection ramping through thousands. We now have the technology (we have had it for 5+ years) and yet they all rehash IP that has been done before. We even see YouTube on the 32 games that are coming, yet rehashing is not a solution, yes they do have some new titles, yet all IP that is already out there, or titles that will also come to other formats. It is interesting, yet we have seen since the very first PlayStation and Nintendo 64 that their true growth was through unique IP, I wonder when Google will figure that part out. We accept that sometimes doing something over is easier and I accept that, yet when we see that these designers ignore dozens of great titles that are on My Abandonware and evolve these titles into a new stage and challenge that will captivate its Google Stadia audience is interesting to say the least. Even now some of these original creators are looking at bringing life to what was an excellent game and turn it into a new great game. I wonder why Google might have thought that this was a path that was not googley enough for them to walk on.

Dinner with Clio

There had been noise around Netflix, several sources, including the article (at https://www.barrons.com/articles/netflix-stock-has-new-worries-including-disney-and-the-loss-of-friends-51563582983) give us a view on optional issues. The article gives us: “For its second quarter, Netflix added 2.8 million net new international subscribers and lost 126,000 U.S. users, versus Wall Street expectations for 352,000 domestic additions and 4.8 million international adds“, some might state that Netflix was not on the ball; personally I believe that Wall Street was setting the stage where the insiders could profit from the backlash of “The company’s shares fell 10% on Thursday, a day after the results. They fell another 3% on Friday“, it is a personal believe, but when we see that the difference between company and Wall Street is a difference of 2.2 million subscribers, a difference of almost 50%, it implies that Wall Street remains unfamiliar with realism. In light of the growing group of streaming services (Disney, Stan, and so on) gives additional rise to the delusional view of Wall Street, especially when you consider that Disney has Marvel in its corner. Yet with the spending spree of Netflix that is set to a $15 billion budget is also a concern. Even as Netflix studios are a one-time expense, the growth needs to come from new IP and mastering innovation in stories, it is the one part that Google and Netflix have in common. I can’t comprehend that they are not considering cooperation in that regard. There is overlap, but one that could be overcome, especially if they need to push Google Stadia to a much stronger position with Microsoft and Apple biting at their heels. They have to set a stage where they can overcome that optional weakness.

As such I decided to give a little diner party, Clio and Melpomene were in attendance, Clio came with a plus one. Not only did they confirm my view of Wall Street, they gave me another example, one I did not know, a story that never made it to print ever.

There is no time, there is no date, it was late summer and in the cool breeze of night, 4800 years before Jesus of Nazareth would be born Hades met with Apollo in a temple at Gortyn. There was no reason, or none that anyone remembers. They merely crossed paths to exchange words. It was after the talk when Hades walked towards the waters at Lentas that he sensed something, he sensed the end of a life and anguish, anguish to a degree that was rare and he moved in a blink to that source. He found a young woman; she looked at him, in pain and anticipation, but not in fear. It took Hades back for a second, this young woman showed more strength and dignity than the thousands of soldiers he received from the battlefields. He gave strength to her to heal by smearing the smallest amount of ambrosia over her lips, her wounds dissipated slowly to show true beauty, her name was Anemone, she was no one special, merely the daughter of a fisherman, brutally raped and left for death. Hades picked her up and took her to a shelter. It was during that night he bedded her and she gave herself to Hades. In that shelter she felt truly happy for months, and it was not until the second week of May that she gave birth, it was not something that she would survive, to give birth to the child of an Olympian was taxing enough the power of death that was there was too strong and it claimed her. Yet Hades knew that would happen, this was now all planned. The baby was named Elissa and Hades set forth his first part, he left her in the care of Tisiphone, Megaera and Alecto. The furies would raise her until she was ready. Over the next years 7-10 Elissa grew fast and became stronger and stronger. The realm of the Furies gave her a never ending supply of cannon fodder. Yet the furies were well versed in all matters and she was not merely of steel, Alecto taught her how to be anyone, to take shape, and how to reshape form. Form was a weapon that could attack the senses, the ability to temper anger to any degree and drive her opponents utterly insane. Tisiphone took Elissa under her wing to teach her about the act of murder, to see in other ways, the ability to charm any snake instantly and make it do her bidding. Elissa learned that cutting a small lock of her hair and cast it could turn it into a snake, to merely draw some poison from it, or let the snake scout for her. She could see through its eyes and she could see the heat of people without the use of a snake, in the deepest night she could see all around her and they could never hide their warmth from her. Her reflexes honed to new heights she was able to strike in the blink of an eye, her daggers thin and short would ensure death to all requiring the veil of Hades to fall over their eyes. Finally she ended with Megaera and there thing changed, as she taught Elissa the power of envy, to see the true worth and value Megaera did something Hades never expected. You see there is an unwritten link between the Furies and the Muses, it is that link that Magaera relied on in the past to see what is true from false and there the game changed. The furies always remember the services rendered and it was at that point that Terpsichore taught Elissa the art of dance and with that skill new levels of balance and creativity were taught to Elissa, Erato taught her poetry of the heart, so that she could always see the true love from the false one, feelings from deceit, as well as truth from planned falsehood, finally there was Thalia who taught her comedy, because Magaera had seen how the jester, the funny person was often overlooked by others, by serious people driven to greed, Elissa looked deeper into poetry and learned that comedy is not merely a relaxant, it was also an interesting weapon. As the lessons ended Elissa had levels of balance never seen in any person that was not Olympian, and it was at that point that Alecto fed Elissa her dinner which put her to sleep and started the dream of what her mother faced that fateful night near Lentas and they unleashed Elissa on the world.

What exactly happened that night will never be known, yet the 4 old men that ravaged her mother were found feasting on the flesh of their sons, who had grown up to be as despicable as their fathers were. In the morning the villagers found the four elderly feasting on a broth containing the bodyparts of their sons; skulls, ligaments were visible in the cauldron, the men old, grey and turned utterly insane chanting slowly and fearful “ένα ακόμα δάγκωμα για συγχώρεση“, Elissa had completed her training and was unleashed on the world, the furies regarded her as ready for a plan of their own.

In a blazing sun

It was deep summer; the sun was relentlessly beating the streets and people. A woman was walking the streets of Heraklion; she ignored the weather and casually looked at market stalls. The street was filled with tourists and she got plenty of smiling looks, it bothered her not, over the centuries she had gotten used to it. She had not seen Heraklion for decades, so she took it all in, she was on an errant to take out a murderer, she was still every much the girl the furies trained, slowly walking towards her goal, it was a building on Evaggelistrias and as she observed the building from a distance, looking at where she needed to be, she looked back at watching the poor boy beaten to death only 2 days before, the police had no clue, but she was not the police, she looked at the building and she saw her target, the two man relaxing, smiling, laughing and drinking beer, they felt good about themselves. She waited patiently until 18:30, most people were starting their meal and she slowly and quietly walked into the building. there was no movement, no sense of anyone and she walked up to their front door, she dropped a lock of hair and quietly entered the house and moved swiftly into the house, the two men were in the kitchen fetching beer and slicing meat, she walked past them as their backs were turned so that the balcony was not a place they could flee from she knocked on the wall and as the men walked with surprise into the living room she merely stared them in the eyes, as her eyes turned deep black, they went pale and white, they over overcome by fear so intense that they dropped their beers, and rant out the door only to see the large snake on the steps, they screamed and ran up, they kept running in fear feeling the hunt of danger behind them hissing loudly, they ran onto the roof running past the water tanks until there was no roof left, they never stopped running, not even as they fell to the grass field on Anogion and the last they felt was the anguish and pain of broken bones blood leaving their bodies and the sound of hissing snakes until darkness set it. Elissa picked up the snake and softly placing the snake in her bag, she would release the snake outside the city limits, her work was done.

That was merely the beginning!

It took me 30 minutes to come up with this idea, another 30 minutes to look into ancient Greece (and a few maps) and 30 minutes to write this, so when we see the implied lack of originality, I am not sure what that was coming from. Creativity is all around us, and it only needs to right spark to set the stage to something fresh. I believe it to be just around the corner and Netflix has an advantage, Disney will not consider certain paths, they rely on families and fairy floss sugary sweetness, it is partially the weakness that Achilles showed (see Brad Pitt in Troy). I believe that the people want something darker. It might have started with an unknown British director named Ridley Scott when he made Alien in 1979; it was that feeling that I had when watching that movie and that same feeling I felt came to me again when I saw Brightburn. It might seem a little shallow, it is not overly epic, but that same feeling is what David Yarovesky left in me, he got the jackpot and if Marvel does not see that and use it (for example in Moon Knight), they will miss out soon enough, Netflix has an advantage because of the limitation that Disney keeps and even if they go via Fox, the delays they call for give Netflix an edge, they merely need to find the right spark to entice watchers, Google faces the same setting, imitation might be the path to flattery, but in this game originality and creativity are much more powerful partners, Even now decades later we still listen to Queen, watch Firefly (or Star Trek) and we watch Top Gun, again and again. Originality and creativity did that, not imitation.

So find your muse and get creative

 

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