Tag Archives: Rendezvous with Rama

A staircase not finished

I feel like I am in a two story apartment, but I cannot get to the other floor because the staircase was never finished, I can get up, but not all the way, I see the other floor, but I cannot get there. Perhaps you have had that feeling. I got that when I saw Defying Gravity season 1, a season 2 was never made and it saddens me. The story had a great start, plenty of mystery and we saw (through CGI) walks that reality is not ready for (Venus). The story seems Wonky, but I feel that there will be more, or there should be more. Especially in light of what I am setting up (Keno Diastima), I feel that it is important to know what more there is. I feel that there are two reasons. The first is that I want to remain original, which as far as I know, I am. The stage of the story is now in (rough lines) in season 3. Three seasons all eight episodes all seasons 2 double episodes of (hopefully) nearly an hour. In ones mind time works differently, the min seemingly wants to use the big brush when you revisit thoughts again and again (highly annoying). Even as the series is making a wink at Rendezvous with Rama (Arthur C. Clarke, 1973) it is not a copy, it has its own storyline, but the idea of getting confronted with a place with alien symbology mesmerises me. For me season 1 was the hardest, I wanted to keep one surprise to the end of season 1 and to make sure that the setting was not too boring (it has the speed of a Stephen King story), so it is not about high action and most other series rely on Reagan, ehh, I meant ray-guns to settle the score is enticing, but I want the psychological element to be much more important. It is what enticed me to Defying Gravity. It is also something I had hoped to continue, perhaps it drove me to set the stage to Keno Diastima, but it is a stretch, you will see that in episode three (at the end). Yet no matter where we are, the stage of loneliness, abandonment and isolation, being pushed in one direction and connection to another person, in a place where only 8 are (and 8 added later on) gives us more to consider, gives me more to probe and that is in setting where we need to consider that scientists and business driven people tend to not ever connect. The business person requires the push of profit and gain, the scientist yearns for discovery and verification. You might think that I am exaggerating. Yet consider the dominant outgoing task oriented person (sales) versus the reserved steadiness people oriented person (support), that is not a conversation that connects, often it never ever connects.

I have seen it too often, one is all about profit and sales, the other about making sure the person got the right tool to get the job done. Now put these two in a place where they do not know where the are, what they are doing and how they got there and watch the sparks fly. Now give them a basic sign.

It is like the Dutch reading board that we used in the first grade in 1968. Now give that same reading board to a person 25 years older, change the images and make the text Sanskrit, all whilst the images are optionally text as well. You might find the parts of the text you need, but what do they mean? And everyone around you is in your shoes, they are all at a loss, so how to get momentum and the insight that you are doing something right? 

That is the stage we optionally see and to get to the better spot to make progress we need the staircase, but how to voice the symbology to get a staircase? And that is merely the beginning of a larger stage that goes in a direction you never foresaw. So how will the journey continue? I feel that it continues by making every choice and adventure and one of verification. Perhaps it will never continue, perhaps it becomes another Defying Gravity, another Dollhouse, which was on route to optionally become great, if only season 3 had become a reality. And perhaps it will be the winning ticket and Keno Diastima becomes a complete story with 5 (or 6) seasons. I have no idea, but it is something to work towards. For me it is a way to fix/jumpstart my creativity and I need that as I have two more 5G devices to consider, getting the total sum to 5 devices (1 now public domain).

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Twists of the mind

It started last month when I decided to create a new TV series out of thin air, well, it is in space, so air was not a factor. It was a little homage to RendezVous with Rama, yet I added a twist, as one does. I started that journey in ‘And that was a hard sell?’ (At https://lawlordtobe.com/2020/09/21/and-that-was-a-hard-sell/), whilst I was exploring a few ideas, I stumbled (for more than one reason) on Thalia, the muse of comedy. Leave it to me to seek out the history and optional origin of my bad sense of humour. Now, when we consider the origin of humour, or better stated the muses, Their origin goes back 7 centuries before there was even a christ, and even then there was some correlation to comedy (the muse Thalia) and her mother Mnemosyne the goddess of memory. The heralding of the muses starts (as far as I can tell) in 800BC when the poet Hesiod makes mention of them. Over the three millennia two of his works survived. The first is Theogony, the second one is called Works and Days, describing the peasant life. The Theogony is basically a story of crime and revolt (by Zeus) and set the story of gods and titans, yet I do not want to digress, it is not bout the gods, it is about Hesiod. He sets the stage of muses, he sets the  indication of Mnemosyne and her 9 daughters Calliope, Clio, Erato, Euterpe, Melpomene, Polyhymnia, Terpsichore, Thalia and Urania. They are the depiction of Epic poetry, History, Love poetry, Music and song, Tragedy, Hymns, Dance, Comedy and Astronomy, in all this, we merely whisk them away as the stories of those with angst and superstition, yet in all this Hesiod was apparently a native of Boeotia, a district of central Greece. It is said that he had mastered the technique and vocabulary of the epic by memorising and reciting heroic songs. He himself attributes his poetic gifts to the Muses, who appeared to him while he was tending his sheep. So a sheep herder focussed and learned the setting of entertainment to an almost eerie level of precision in a time when none of it existed (or mostly none of it). In this no one is wondering how that happened? 

I was wondering about the setting of comedy, about the stage of dance and what christianity broke and almost destroyed. Is no one wondering why? A stage of entertainment and insight into the mind and we are seemingly dumb do the notion, I was, and I was this to the largest degree, schooling made me this way. We have been said to a stage of moving forward, all whilst we ignore the past, the past that leaves us with more questions and not a lot of answers. You see, Hesiod did not merely have a muse of poetry, he had two, Calliope the muse of epic poetry and eloquence and Erato, the muse of love poetry. She was also part of the Aeneid almost 750 years later. So consider that we have lost the texts of most of the events between 1250 and 1400, a lot of it destroyed, yet this work survives. It also sets another person, the writer of that work Publius Vergilius Maro, who before there was a christ created three legendary works, the Aeneid, Georgics and Eclogues. In one of hist works we see the growth of tension as a forward momentum and hist work would be the larger inspiration to Dante Alighieri’s Divine Comedy, where Virgil becomes the authors guide. 6 notable legendary works in a stage where works mostly did not exist. More important, these works were kept safe, in an age where we now are swallowed by trash, spam and fake news, we disregard deeper works of optional philosophical nature and are left in the dark on their existence. 

Yet in this age, in the age of streaming entertainment, it seems natural that we take a deeper look at the old works, we might have to, even as the Vatican did it best to remove as much of the Rhaetian language as possible, they did not remove all and when we see these old works, we might ask actual questions that matter. You see, if a man herding his sheep sets the stage of entertainment to a much larger degree 3,000 years ago, even as his own audience (the sheep) had no clue what he was on about, he sets a larger frame, that frame is seemingly important, because of the goddess of memory had a sense of humour (Thalia), we better figure out what that is and how it affects us. 

It is perhaps best seen in:
Do not, I pray thee, do not weep for me, neither pursue me thus ominously as I go to the stern shock of war. Turnus is not free to dally with death. Thou, Idmon, bear my message to the Phrygian monarch in this harsh wording: So soon as to-morrow’s Dawn rises in the sky blushing on her crimson wheels, let him not loose Teucrian or Rutulian: let Teucrian and Rutulian arms have rest, and our blood decide the war; on that field let Lavinia be sought in marriage

Now consider his assumed past “Virgil was from an equestrian landowning family who could afford to give him an education. He attended schools in Cremona, Mediolanum, Rome and Naples. After considering briefly a career in rhetoric and law, the young Virgil turned his talents to poetry”, which I do not debate, yet consider that he died at the age of 50, he was at home the first 10 years, yet after that he attended 4 schools, over a distance of 1100 KM, which would have taken at least a week per part and in that setting he would have been exposed to all kinds of issues. And when we see this work (one of three important ones) over 12 books, hundreds of words per book, we forget the important question, how was this created? There was no typewriter, this is the work on scrolls, likely several per book and now consider that this would have to survive well over a thousand years. Each fact gives us something more to consider, and when we look at then, perhaps we are doing something really wrong now, have you even considered that part? 

If we consider merely these two writers and the massive impact that they had, what did we lose over time and more important was was removed from sight since the 11th century? These are part of the questions that were plaguing me as I was setting the tone in my idea for a TV series, but here I am, I already forgot the title, but not the setting. And in all that there is the choice, but what happens when we never had a choice? Did you consider that? Some might have seen the movie How It Ends, but did you consider it? Basically Theo James had a lot less options than he thought he had, and we merely see that ending come to us as the movie ends. Yet what if Hesiod and Publius Vergilius Maro were telling us about the fight, the fight that is coming in the only way that they could grasp and we wasted 90% of 2750 years and 99.9% of the 47 years that followed, with the last 3 years 100% wasted due to spam. We consider and we accept that some (in the most weird corners of life) can be the stage masters of life and creativity (JK Rowling being an example), but we have something to look back to, we have (to some degree education), as did Publius Vergilius Maro, yet what about Hesiod, who pasturing sheep on Mount Helicon? Shall we write it all to ‘imagination’?

I am happy to do that, but from what we know now bout then, his work leaves us with all kinds of questions, questions that we (for the most) cannot answer. How many people (of non noble origin) had the ability to write? Were versed in all kinds of manner? And consider that Mount Helicon was close to 150KM from Athens, not a trip sheep herders tend to make. So where did the refinement of his work come from? We are left with questions and some people (academics) will give bright answers that make total sense today, but 2000 years ago, a lot less so.

As such, when I was considering memory and humour as I was trying to find a scientific narrative in season one of Keno Diastima (I had to name it again) and that is where I find myself. A station of choice where the choice is an illusion, because the option of choice was only valid for a while and we decided to waste time and options, as such what would we face then? 

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Have at it

I just had an idea, it happens, we all do. It happens whilst I was watching the Downton Abbey movie, for some reason my mind wandered about time travel, the time travel stories we have seen in the cinema, the TV series and the stage of altering the past, yet what if this was different (it always is), I remembered a line in some Star Trek novel giving us “How can we set any station to something that never happened?”, or something of the sort. It gave me another notion, one I am not exploring in the story I was writing, so I am putting it here. What if aliens came to alter history, our history, not to do us harm, but to prevent us from harming them. Consider that we find the setting to dimensional travel (which is done by altering the vibration speed of the electron), it would allow us to see another dimension, this is not new, It has been done before. Yet what happens when we visit an alternative universe where we embraced MASER technology and during the 70’s we used masers to carpet area’s, that technology was not in our reality, so as it comes here, we see a much more powerful and less peace driven people use it as a weapon. When that time is changed, the victims of a maser mine take matters into their hands and decide on a timeline change, one that stops the dimension gap from being explored. So we get in the first  setting an alien invasion, in the second setting our technological advancement in the form leading to invention that were never ours and the stage that we have to be stopped, so how to go about it?

It was  simple application of drive, fears and expectations to set the brief in motion. Ah well, feel free to tinker with it. In light of what is written here, it takes some work, a lot more than the field I designed when I set towards meeting nowhere where we see 8 couples meeting on some kind of a station and no-one has a clue why they are here, or where they are. A setting that has us wondering the bottom of the sea and the vastness of space, so far I have the setting up to the cliffhanger of season 3, but I will admit that season three is still empty. Like season 1 where I set the option of what they did not see coming (and I know what is on the other end), so as they are in a stage where they are on a third between here and the sombrero universe, they went into season 2 and ending the season we see the second way station which is a lot larger and a lot closer to the sombrero universe. A vast connection of what might be, and why not?

So as we look into the IP I casually throw away (mostly undone IP), I see another setting of where we are, we are in a stage of ideas that are flowing over us like a waterfall (it is in my case), I would gladly hand that part over for some sleep, yet there is still the other part, how can we create original IP? Even as Netflix is throwing $17 billion this year alone at new series and the continuation of existing series. I am wondering if there is anything truly original left? When we see the old series and the originality that the set as well as the foundation for other series, I merely wonder, is there anything left? It makes sense for others to grasp at what DC and Marvel have and soon other comics will find their materials in a much stronger movie setting, but that is for another day. For now I need to ponder on original choices, even as my idea seems original, it is founded on the original story RendezVous with Rama, I openly admit that and even as I made a lot of it original, there is a link because my work is an homage to the original thinker Arthur C. Clarke. It is not always good what we make, but when we see the errors we design, we also tend to see around them, or to improve upon them, at least I expect that is what most of us tends to do, the rest? That is up to them.

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And that was a hard sell?

OK, we all have these moments where we think ‘I can do that’, in my mind I can be an NHL goalie, becoming the wall in a goal that no one can pass (Wayne Gretzky eat your heart out). I can be as delusional as I want to be thinking that I could be the goalie of the Edmonton Oilers, the San Jose Sharks, or perhaps the Vancouver Canucks. Yup, nothing wrong with my capacity to dream, but what happens when we truly believe that? When we create something bigger than ourselves? I have created the IP of 5G, of videotapes that have not yet released and the other day I came up with the concept of a new TV series, based on an all time classic. Yet what happens when we add our own spice to the equation? In my case it is a space station, it is about 500 meters, roughly vibe shaped and when the 8 people wake up, they realise that they are no longer home, but they do not know where they are. It is that setting that I used to create a new series. So far 8 episodes per season. 

As I started, I got to (avoiding spoilers as much as possible)

Introduction, backstory

Here we start the introduction of the 8 people, it seems a little familiar, because that is how introductions tend to be. We see it from the first person, then the second person, all are confused and all are a little scared, both the males and females alike. The 16 represent different people, the pragmatic lady where we see flash backs where she is a bag lady in Chicago, now cleaned and like the others in some kind of a white overall, the African American who is on the flashback a hedge fund manager, cold and calculating, a mechanic from Paris Texas, looking at the rooms around him, having his own thought. The story continues and as we see the rooms who are all spic and span, we end the episode where they see a large window with fish, corals and no light in sight. The fish are according to one of the man, really deep sea fish.

Where are we? (+ continuance backstory)

The story continues, but more focussed on the where they are, with here and there a small back story recall. We see the icons on the doors, the coloured icons on the wall, the 3d maps and icon based settings of the rooms, as they are setting in their new environment, three groups form, two groups of 5 and one of 6. At that the groups start to focus on the icons on their overalls, speculating on the icons of gender and trying to work out the meaning of colour.

Symbols, iconography, Rosetta Stone (+ continuance where are we?)

One of the 5 groups finds a stone, The icons that are around them and on them and the stone gives three other versions of the symbol, the gender, the setting mechanical, financial, medical, logistical, and many more, they all reflect on what is on the station in one way or another. It is the that another group finds a tablet, and group three finds another display tool. When they unite they compare notes and they united in the rosetta stone room to share the knowledge they have found and what they think things are.

First breakthrough, water

They are still in the setting that thy do not know just how deep they are, there is nothing to set the stage of how deep they are, the entire setting is a little unnerving. Yet they start to identify icons and when they see the icon for water, they all rejoice, their first stage of survival is found, they now have water, thirst and the need for a bathroom.

That was a bidet. second breakthrough food, first 24 hours passed

As they approach the first 24 hours in their new environment, they find the food stash, the C-Rations give light to them being in a military experiment. 

The map room, memories, the last hour of some

In this episode they find a map room, giving them status, giving them a view of the size of the station, and we see the last moments of some of the members, their abductions are in a stage where they were in a bad place.

Coffee corner with coffee, the map room continuance, more water

As they are outside to the map room, the corner there is a place where they relax a little. The setting is one where they discuss what some of the systems are, and as they are somewhere deep in the ocean, they are not willing to test the devices that much, fear sets in, but everything looks OK, they sit together translating the icons as much as they can. It leads to a different water symbol, one that turns out to be the showers, they have found a place where they can clean up.

Almost 48 hours, the view of a lifetime, where are we? and what is that?

This starts in the so called coffee corner, there is a button that was out of sight, one of the women finds it and presses it, the wall moves up and they get to see the vast blackness of the ocean, or so they think. So as the stare t the blackness, they see the light come from the side, it is bright light, and as the view becomes more in sight, they all realise that they are staring at the sombrero galaxy, almost a dozen times bigger than the Hubble telescope can project. Then one of the men realises something and they run through the corridor to the other end of the corridor, where a similar wall is, they press the button and they get to see the spiral galaxy, it is absolutely huge, they are not in the ocean, they are in space and they are far from earth, the view ends season 1. So far I got most of season 2 designed with a rather spooky cliff hanger towards Season 3 and I got to be a little eager beaver when I set up the cliffhanger to season 4, but left the rest of season 3 alone.

Yup, that was my creativity, and I reflected on the Rendez-Vouz with Rama, a book by Arthur C. Clarke, a book he wrote in 1973. My introduction to the book was a video game produced in 1996 by Sierra On-Line. It was my introduction to the story, it is what drove me to make my version of it whilst trying to embody the thoughts of Arthur C. Clarke (based on 2001). 

So when will you design something unique to you? I got my creativity with me, the list is long and distinguished. And I do not care where this ends, I have a plan with my 5G IP and it will more than set me right for life. The direct way to deal with greed is to make the other thoughts public domain, so that no one can claim them and they are basically free to use, that too is an option in IP, only the greed driven forget about that part of the equation. Should you deny that part, then have a little look at the HSBC bank and the FINCEN document leak, look at that level of greed and consider where we are. When we see the facilitation to crime to this degree and we realise that governments are basically doing nothing, you know where you are and I bet you haven’t even realised that you are without a paddle. I think that Arthur C. Clarke got it right when he named the vessel the Rama. He got it right 47 years ago, so how wrong have we been for the last few decades?

Just a thought to consider.

 

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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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