Rock the City 2018: Nick Cave dar mai ales Arcade Fire

Aparent Rock the City nu mai e un festival dar organizatorii (sunt trei: D&D East Entertainment, Marcel Avram și East European Production) au reușit în 2018 să aducă două trupe foarte solide, chiar dacă din spații foarte diferite ale muzicii moderne. Nick Cave, alături de eternii săi Bad Seeds, au livrat romantism și suspine, trecând cu grație prin mai toată discografia lor, iar Arcade Fire au venit cu emoție pură plus angoasă plus speranță, concentrându-se mai mult pe The Suburbs și pe Everything Now.

În prima seară Nick Cave a pornit puțin înainte de 9 cu un public care nu a fost încălzit de vreo trupă în deschidere și a oferit o imagine plină de kavorka, cum ar zice personajele din Seinfeld, un magnetism dublat de perfecționism din parta trupei și de multă atenție pentru public din partea lui.

From Here to Eternity, Red Right Hand, Loverman și The Weeping Song au fost preferatele mele iar în rest concertul a avut și: Jesus Alone, Magneto, Do You Love Me?, The Ship Song, Into My Arms, Girl in Amber, Tupelo, Stagger Lee și Push the Sky Away, cu City of Refuge și Rings of Saturn la bis.
Cave a adus mulți spectatori pe scenă pe final dar participarea lor la cântat și spectacol a fost puțin limitată, ceea ce nu i-a diminuat entuziasmul australianului. The Bad Seeds sunt impresionanți, și ca energie și ca precizie, iar Nick Cave știe cum să lucreze cu muzica, cu timpul și chiar cu un public care poate l-a descoperit ceva mai târziu și nu a investigat chiar tot ce au de oferit albumele lui. Regret că nu a cântat și Fifteen Feet of Pure White Snow, preferatul meu dintre single-urile lui.
Înainte de Arcade Fire, în a doua zi de concerte/festival, au fost trei trupe în deschidere (în teorie, eu am prins doar două, o Firma fără mari surprize și o trupă din Serbia entuziastă dar cu limite de imaginație) iar canadienii au început și ei foarte aproape de ora 9, cu o intrare demnă de un meci de box care a dus direct în Everything Now, piesa care deschide cel mai recent și mai bun album al lor.
Arcade Fire m-a impresionat pe Put Your Money on Me, Black Mirror, No Cars Go, The Suburbs, My Body Is a Cage, Reflektor și Creature Comfort. Au mai cântat Neighborhood #3 aka Power Out, Rebellion, Electric Blue, Rococo, Neighborhood #1 (Tunnels), Ready to Start, Sprawl II (Mountains Beyond Mountains), Afterlife, cu We Don’t Deserve Love, Everything Now (Continued) și Wake Up la bis.
Trupa e foarte solidă și reușește să amestece perfect în piese și în concert teama de modernitate cu critica universului în care trăim, cu speranța că putem să facem lucruri noi și bune și că există ceva care ne leagă pe toți. A fost un concert superb chiar dacă le-a lipsit una dintre preferatele mele de pe Everything Now, dansabila Signs of Life, și câteva clasice de pe alte albume.
Calitatea concertelor și organizarea de la Rock the City 2018 au fost solide, a fost loc suficient la toalete și la locurile de cumpărat alcool, situație ajutată și de numărul relativ mic de spectatori din ambele seri (atât Diamond cât și Golden Circle au fost cam 60% pline).

Steam Needs to Balance Freedom with Responsibility

It is pretty clear that Valve, the company in charge of the dominating PC video game retail and distribution system that is Steam, is aiming to keep as far as possible from being responsible about it and plans to allow almost any developer to deliver almost any title on it.

The new policy, announced in a rather long and somewhat confused blog post just before the start of the week of E3 2018, explains that a recent controversy over mature material has convinced the company that is should allow developers to offer video games without any restrictions (other than legal ones linked to the territory where they are made and sold) while relying on the users to vote with their money and to make sure that those who do not deliver any value will be left behind.

The new Valve policy is a boon from a freedom of expression perspective and will allow more niche audiences to get cool content from Steam, a good thing, while also increasing the number of titles available, which is both great and a problem for gamers, given the limited tools for curation that are available.

The decision to tweak what is allowed to arrive on the digital distribution service will also make it easier for the company to defend its decisions, because it can rely on freedom as the core concept, giving it space to dispense largely with moderation and curation. Gamers will have to pick up this responsibility and itțs unclear whether Valve has any new aids for them.

Steam is dominant at the moment but it will be interesting to see whether rivals, from GOG to publisher driven services to itch to others, will make curation one of their own selling points and can use it to eat into the market share of the Valve product.

Until them I am happy that more potentially cool games will be launched but I think that Valve should carry more of the curation and moderation burden, which is possible even while remaining faithful to the idea of free expression in the video game medium.

E3 2018: The Elders Scrolls VI and Cyberpunk 2077

Electronic Arts, Microsoft and Bethesda have already held their press conferences at the 2018 edition of the E3 video game focused event, with a relatively high number of interesting announcements delivered by the three companies and some interesting choices when it comes to short versus long term planning of reveals .

In an industry that has recently focused on quickly delivering announced titles to gamers, preferably in less than 9 months after the official announcement, both Cyberpunk 2077 and The Elder Scrolls VI are bucking the trend and yet both were the most commented on and appreciated games at their press events. Is this a sign that we, as gamers and humans, are more attracted to things that exist in the future, because they offer more possibilities and the potential for more excitement down the line, or that players want to see entirely new mechanics and that is only possible with video games that will probably only arrive on an entirely new hardware generation?

Cyberpunk 2077 was first revealed to the public way back in 2012 and a first trailer arrived in 2013. It only took until E3 2018 for the team at CD Projekt RED to deliver a full trailer, with some hints of gameplay but still mostly cinematic driven, but there was no hint of a release date. There are plenty of rumors about the title, including that it underwent a soft reboot around two years ago, and there are also hints that Microsoft, which used its press event to debut the trailer, has a deal to make it a showcase for its coming hardware, yet announced but widely rumored to be 3 to 4 years away.

For The Elder Scrolls VI Bethesda has delivered a very short teaser that reveals nothing but still closed down their press conference. The company has explicitly talked about next gen in relation to the game, although it is unclear whether they are talking about hardware or only about the engine they are planning to use. Except to see more details before the end of the year, possibly via leaks, and maybe a full trailer at next year’s E3 press conference.

The fact that this two titles are currently getting a lot of attention could be linked entirely history, franchise loyalty or developer renown. My personal take is that The Elder Scrolls VI and Cyberpunk 2077 are currently so popular because they embody the hopes of their fans (and some unaffiliated gamers) that video games can deliver something very different. We have an industry, as seen during the initial three press events, that’s segmented between big budged sameness and low budget surprise (there are exceptions) and love for big titles that are far from their launch date is a way to project that this situation can change and we might get something that’s both high quality and innovative.