I don’t usually emote while watching television, but the trailer revealing Jodie Whittaker as the thirteenth Doctor caused me to shriek. Ever since I began watching the show , I’ve often wondered what it would be like – or whether it was even possible – to have a woman play the Doctor. I’m still a little shocked that in the not to distant future, I’m going to find out. To my surprise and delight most of the reaction has been positive and enthusiastic. Almost every woman’s reaction I have seen has been one of joy, with a mixture of shock, and the words, ‘they actually did it!’ With this, Wonder Woman, the new Star Wars trilogy, and the upcoming Star Trek: Discovery, it’s a great time to be a female geek.
The moment I started shrieking
Some of the not-overwhelmingly-positive reactions have been understandable. Time Lords may to be thousands of years ahead of us in terms of attitudes towards gender, but us primitive humans still struggle with it, and there has been some uncertainty as to how they feel about the Doctor changing gender. Even a former Doctor has expressed some doubts, with Peter Davison saying, ‘If I feel any doubts, it’s the loss of a role model for boys, who I think Doctor Who is vitally important for.’ (1) In fairness to him, I can see where he’s coming from. In a show about adventures in space, facing off against enemies that threaten death and destruction, having the central male character not immediately resort to fighting or killing is a positive message to send to boys and young men who are so often bombarded by all that macho bullshit. But at the same time, I question why the person sending that message to them can’t be a woman. If I had a son who was a Doctor Who fan, I would tell him that this changes nothing, that the Doctor can still be his hero, and can still be someone he looks up to. What this group of people probably just need is time to adjust to the change, and I hope that the rest of fandom give them that time.
Predictably, though, there have been some who have responded negatively to the news of a female Doctor and have declared – without ever seeing an episode – that they are done with the show. What they’re failing to remember is that Doctor Who is a series that relies on change, and that the Doctor and companions are in constant rotation. The tone, look, and style of writing also changes when a new showrunner takes over, such as the change from the Troughton to Pertwee eras, or the difference between Graham Williams’s season 17 and John Nathan-Turner’s season 18. Sometimes it’s a change we love, sometimes we’re not so fond of it, but it’s always done with a desire to keep the show alive and interesting. The regeneration has become such a staple part of the show that we forget that changing the actor who plays the title character was a brave one in 1966. We remember that Patrick Troughton took on the role and was marvellous in it, what we forget is the backlash when it first happened.
The show is also at its best when it makes decisions that are bold and may be difficult. A mere one serial in, showrunner Verity Lambert ignored Sydney Newman’s insistence that there be no ‘bug eyes monsters’ in Doctor Who because there was something deeper going on in Terry Nation’s script about giant pepper pots than Newman could see. Lambert winning that fight ultimately resulted in a massive boost in the ratings that guaranteed Doctor Who would be around longer than anyone had predicted. Had she not gone against his wishes, no one would be reacting to who the thirteenth Doctor is. The show would have been cancelled after its original thirteen episode run, and the only people who would know about it would be media academics who have a thing for TV history.
That being said, I’d be lying if I said I wasn’t nervous. There is a tendency with genres that are male dominated – both in front of and behind the camera – to portray women in terms of limitations. Both Marina Sirtis and Gates McFadden have spoken of their frustrations while working on Star Trek: The Next Generation, that the writer did not seem to know what to do with the female characters. It was the actresses who had to explain to them that they should just write the characters as they would the men, without limitations, without thinking, ‘well we can’t have Troi do this, because women wouldn’t do that.’ Once they started taking that approach, the stories with the female characters began to improve, though sadly this was quite late in the day (2). So if there is one thing I think will be absolutely essential, it will be to continue writing the Doctor as they have always been written, brave, intelligent, refusing to suffer fools gladly, trying to find a smart solution to a problem, all while retaining a child-like enjoyment of the universe.
I’m nervous that they’re going to make a big out of the Doctors gender in the first few episodes. While it would be wrong to not acknowledge it at all, I certainly hope they don’t go down the same route as they did with Capaldi and all the insufferable references to his age and Scottishness. Perhaps, given that Time Lords are so much more advanced on this topic, the Doctor shouldn’t even really notice, and it should be a human who has had contact with them before that points it out.
I hope they dress Thirteen like they would any other Doctor. I can’t imagine after two thousand years of dressing in shirts, ties, and fancy coats, the Doctor is suddenly going to be all about dresses and tights.
Hopefully the male writers could not dwell on the things they think women do. We do not play with our boobs all day, and we do not obsess about fashion and make up. The Doctor has never been shown to care about their hair style* so please don’t have thirteen start considering styles and colours.
I’m not one for angry shouting on Twitter, but I will do it at the first hint of a period ‘joke’.
And please, for the love of god, no ‘tits and ass shots’. One of the things I love about the above image is that the coat is big and doesn’t emphasis the her body, which is what tends to happens when women are photographed for promotional images, especially in science fiction. She’s also in a powerful pose, with her back straight and her right leg elevated. I hope they continue to do this, as the Doctor is often photographed in powerful or energetic poses.
* On screen anyway. Three, Ten, and Eleven’s hair didn’t just magically look like that when they got up in the morning.
- Two former Doctors clash over Jodie Whittaker casting
- It is worth pointing out that Peter Davison’s comments are being taken a little out of context and are being jumped on by the media, particularly the tabloids. The above link is to the Guardian, who did a slightly better job of representing his fuller answer in which he praised Jodie Whittaker as an actor, wished her every success going forward, and encouraged viewers who had doubts to approach the next series of the show with an open mind. A transcript of his full answer can be found here.
- Mission Log – The One With Marina Sirtis
Tomb Raider Chronicles is not the best game in the series, but trying to figure out exactly where it is on ‘the list’ is trickier than you might think. Unlike Angel of Darkness, it is not completely without merit, but unlike Tomb Raider 3, it’s difficult to damn it with the faint praise of ‘at least they were trying.’
The game picks up a shortly after the events of Tomb Raider: The Last Revelation, with Lara Croft missing, presumed dead. After a memorial service, several of her friends reminisce about past adventures. Much like Tomb Raider 3, the game is made up of mini adventures, however, where that game would say, ‘oh, you’re finished with Nevada? Where would you like to go now?’ Chronicles ties them together smoothly, with each FMV beginning in the past, coming into the present and then moving into the past again.
If there is one thing that Core Design always excelled at it was the soundtrack. Sadly a lot of the score of this game is borrowed from the previous one, resulting in music for an Egyptian themed game turning up in a level set in Rome or Ireland. Where Chronicles does stand out is in its soundscape, which often helps the lacklustre design come to life. Whether it’s nearby church bells or the creaking of a vessel as it moves underwater, the sounds allow the player to become immersed in the locations long after the graphics have become dated. The real standout is the Ireland levels, in which rain, thunder, owl hoots, crows, and the occasional other creepy sound can be heard.
It’s a shame, then, that the game is so often lacking when it comes to the visuals. That’s not to say that the graphics are bad, in fact, for their time, they’re pretty good. I can clearly remember playing this game when it came out, thinking, ‘this is as good as games will ever look. How can anyone improve upon this?’ Rather, it’s the design and imagination that is so often lacking. It was really no surprise to learn that the game was put together with a series of rejected or abandoned ideas proposed for previous games(1), as Chronicles feels like a game in which randomly selected ideas are thrown together. The most glaringly obvious example is Ireland, in which you are fighting a Russian demon. Why not draw on Irish history and mythology to come up with an opponent? Because they don’t, there is nothing particularly Irish about those levels. Even one of the better sections of the game, Rome (which was clearly made at the beginning of what I don’t doubt was an otherwise rushed production), suffers this problem. Yes, it has a colosseum, statues, and other architecture to place us in the location, but these are fleeting, and so much of those levels are just generic streets and buildings.
A real bug bear of mine in the classic era is a lack of level to level continuity. In the original game, the end of one level is the beginning of the next, giving a sense that each level is a part of something larger. In every other game, save The Last Revelation, the beginning of a level is in a completely new location with no logical explanation as to how Lara ended up there. On a few occasions, Lara is shown getting to the new area through cut scenes (Ireland does this particularly well), but on many occasions it’s as though Scotty from Star Trek just beamed her there. The result is levels feeling more like set-pieces than actual locations to be explored (Rome being the only time in the game where the individual levels feel connected due to returning to a central area).
The individual stories themselves aren’t particularly satisfying, despite the potential for them to be so. Rome only tells us that Lara is after the Philosopher’s Stone, we don’t learn why. In the original game her motivation is never in any doubt, and The Last Revelation pushed the storytelling up to a level the series had not previously known. To come directly after that, makes Chronicles seem a hollow affair in comparison. You could argue that she’s after the Philosopher’s Stone because she read Harry Potter, there is nothing to contradict you. In the last section of the game, Lara is after the Iris and wants it badly enough that she breaks into a secured building to get it. Again, we are given no real reason why, though if you’ve played the previous game, you can make the argument that it really belongs to her. Von Croy only appears in one cut scene, and never interacts with Lara directly, so any potential to enrich their rivalry or set up where that rivalry is heading in The Last Revelation is lost.
There are some stand out moments in the game play, such as the all too short ‘Deepsea Dive’ level has Lara exit the Russian submarine and move about underwater. In an era of gaming in which clunky controls were the norm, the suit handles extremely well, making the level actively enjoyable. Lara is also given a few new moves that actually feel like a bit of a step up. Being able to exit a tunnel front first instead of having to turn around is a blessed relief (though the game is a bit fussy on when you can actually do this). Pole swinging is so beautifully graceful, I do wonder how they managed to go so wrong with the controls for Angel of Darkness, a next-gen game that seemed to take a step backwards in comparison to the late PlayStation One entries in the series.
Unfortunately, the lack of imagination is not just in the visual design of the levels but in the game play as well. There is often no logic to what the player is expected to do, with Lara picking up items that she shouldn’t know she needs until much later. There are many times when it is not clear where to go in order to progress, such as a hatch on the floor which is incredibly difficult to spot. The levels don’t so much feel like a journey as a pointless exercise in running back and forth, making them feel like padding, such as ‘Escape with the Iris’, in which you are not so much escaping as running around in circles only to end up back at the beginning of the level.
Chronicles also tends to go against logic set up in the previous games, which is an odd thing for the last game of the PlayStation One era to do. An example of this is when Lara has to break open a damaged wall. In Tomb Raider II, Lara shot at windows to smash them open, and this damaged wall looked like a similar strategy was needed, yet the bullets did nothing. Instead, Lara has to be standing directly in front of it before the action button is pressed to kick it. The only other times Lara has interacted with the physical environment in order to open up a passageway is with the use of a crowbar. The developers introduced this new approach in the last level of the game! If that didn’t smell of laziness, introducing a new weapon, the grappling hook, in the last level certainly does. I can understand wanting to bring new weapons into the Iris section to set it apart from what has come before, but it should have been done in the first level not the last. There is a whole section of this level dedicated to Lara going off in a different direction in order to find and learn how to use the grappling hook, slowing the overall pace down dramatically. The last level of any game, especially one called ‘Red Alert!’, should be fast and dramatic, not slow and clunky.
And then there’s the boss battles. Rome feels like ‘traditional’ Tomb Raider, meaning very few enemies other than the odd animal, and as a result, there is an increased amount of boss battles, from statues, to a Hydra, to an octopus/spider…thing. The latter is, on paper, the easiest to deal with, as you need to shoot out both of the eyes, however this is hindered by a truly awful laser sight that requires you to stand completely still in order to line up the shot – the boss is doing exactly the same, so if you aren’t quick, you’re toast. The good thing about this boss, though, is that the shot out eyes tell that you are doing damage to it. This is not the case with the other bosses in Rome, as they never seem to react in any way to Lara’s gun fire, causing you to wonder if you’re having any effect. It is only with a lot of patience and persistence that you will begin to see damage. The encounter with the Hydra was the most frustrating boss battle I have ever encountered in Tomb Raider because I was shooting for a good ten minutes before getting any sense that I was doing damage, all the while having to constantly side jump in order to avoid fire blasts that were, to all intents and purposes, instant-kills.
Both the Russian and Ireland levels deal with supernatural weirdness and both simply hint and some kind of ghostly creature lurking in the shadows, which succeeds in adding to the creepiness of the Ireland levels, but fails in the Russian ones. Ireland’s level also has its Russian demon defeated in a cut scene. This may sound fair given that this is teenage Lara who has no guns, but still a clever puzzle she has to solve while under attack from the demon might have given the end of the Ireland levels more drama. This is done in the Iris level, when Lara has a gun and is in a position to have an actual fight again. She has to trap an enemy in a room before filling it with poisoned gas in order to kill him, and while initially confusing, once I figured out what I was meant to do, I appreciated the puzzle and the challenge that came with it. The other major enemy is a robot that must be shot with the second worst weapon in the Tomb Raider franchise (nothing could be worse than the harpoon gun). Weapons that are not duel wielding tend not to work in the classic games, as combat relies on Lara being able to jump and role to avoid enemy fire. One handed weapons make it incredibly difficult to pull off, and the Iris levels only give you the one combat weapon. Admittedly, it has three shooting options, sniper, burst, and rapid, and in my experience, I found that sniper was the most efficient and saved on the already scarce ammunition. But what this means is that Lara has to stand still during combat, something that feels completely foreign.
Tomb Raider Chronicles is a game that has moments that are interesting, clever, or downright brilliant, but they are just moments that never come together to make a good game. If this game was just being made now, it would be downloadable content, some extra stuff to tide the player over until the next major release. I can imagine Rome being downloaded and played, then a month or so later the Russia levels being released. In a way, I played the game like this when I recorded my Let’s Play as I recorded it in four main recording sessions. When the game is played like that, the shortcomings of each section – the pacing, the level design, the over abundance or dearth of boss battles – becomes painfully obvious. Chronicles was a rushed production that Core Design didn’t intend or want to make, and ultimately it is the brand name that causes it to still be played to this day, rather than the quality of the game itself. It’s a sad way for one of the biggest icons of the nineties to end on the original PlayStation – had they been allowed to just end with The Last Revelation Lara would have gone out with a bang, and a legitimately good game.
I’m not much of a handheld games person, but I do love having a puzzle game on my phone, one that is simple in concept, but keeps me hooked. Flow Free’s concept is incredibly straight forward: join the dots together, as though laying down piping. You can’t have overlaps and you have to fill every square on the grid. What starts off as so-easy-it’s-insulting, quickly becomes fiendishly difficult, and being confronted by a 14×14 grid of seemingly randomly placed dots becomes daunting.
Easier puzzles tend to be ones in which dots are joined together by laying a pipe around the circumference of the grid, as it meant I could just work my way inward. More difficult ones involve the pipes moving through the middle, which could often take a while to solve. There were many times in which I thought I had cracked it only to realise that there was one box on the grid unfilled, and so what I thought was the solution turned out to be nothing of the sort. That being said, the more difficult the puzzle, the more thrilling it became when I finally saw how everything fitted together.
It wasn’t enough to simply solve the puzzles, I also had to gain a perfect star, which was done by learning how to solve them without making any mistakes. To get a wee star next to a particular pack on the menu screen, I had to get a perfect score in each of the puzzles within that pack, usually a hundred and fifty.
To stop the game from becoming too similar, it also has a hexagon pack which involves laying down the pipes at forty five degree angles instead of the usual ninety degrees. More challenging is Bridges, in which pipes can be overlaid in specific spots. This inability to overlay pipes in the main game was so ingrained into me that when given the chance to do it, it requires relearning the game slightly. Several bridges on the one level created a challenge that often took me quite a while to suss out.
There are currently two thousand, two hundred and twenty individual puzzles in the free version of the game, with the option to pay for more if you so desire. There are also daily puzzles that offer you a new challenge – either lots of easy ones, or a couple of challenging ones – though not too difficult as they clearly want you to keep coming back to the game, long after you’ve finished all of the main packs. I’ve been playing this game for two months now, which is longer than a lot of games I pay actual money for. If you are looking for a simple little puzzle that will keep your mind occupied during those spare few moments here and there, this is a great one to try out.
A Way Out
The standout in what was an otherwise standard affair with EA presentations. Two men – whose hair has a bad case of the seventies – decide to break out of prison and have to do so by working together. What’s interesting is that it is a two player co-op game that you play with someone either online or, preferably, in the same room as you. There doesn’t seem to be any option for single player, so I’ll be curious to see how it is greeted by gamers and whether the mandatory two player mode will hinder or help sales.
Wolfenstein II: The New Colossus
There’s a lot to this extended trailer. We are in an alternate world in which Nazi’s won the Second World War and the KKK are just casually walking the streets. There are resistance fighters, such as the woman with the sadistic sense of humour, or the guy with the out of control robotic arm. It’s a crazy world and I don’t know much about it, but I do know one thing: there’s a lot of Nazi’s needing
punched killed in a bloody and gory fashion. And boy, does the action look bloody fantastic. If they get this right, this could be a great balance of well executed storytelling and balls to the walls action. I’ll definitely be keeping an eye on this one.