Tomorrow (Thursday, 5th May) is local elections day in England. This is a chance for all of us to make clear to all politicians how we feel about outright, bare-faced lying in elections.
A year ago we had the full UK parliamentary elections. In the run-up to these, every Liberal Democrat MP signed a personal pledge to vote against any increase in university tuition fees. This was a personal promise, given without qualifications, by each MP. It wasn't a manifesto, if-we-get-power-and-everything-is-as-we-expect, sort of promise. It was just a simple pledge, made in writing. It gained the Lib-Dems a lot of extra votes, because many people in this country believe that having a skilled and educated population is vital to our successful future as a nation.
As it turned out, the election result was inconclusive, so the Tories offered the Liberal Democrats an illusion of power providing they sold out their electorate and reneged on their promises. Something like two-thirds of them did precisely that: selling out their constituents for a seat at (or near) the top table. The rest of the MPs, and the rest of the Liberal Democrat party, condoned this betrayal by failing to call for deselection of MPs who broke their promises to their voters, and failing to replace Nick Clegg as party leader (or to remove the whip from Vince Cable, the architect of the betrayal).
The assumption seems to be that the British electorate has such a short memory that we'll have forgotten about this by the time of the next election.
I call on all voters to go out tomorrow and vote against your Liberal Democrat candidate - vote for Labour, or Green, or Tory ... even Pirate or Monster Raving Loonie if they are standing in your constituency. But vote against outright barefaced lying. Maybe, if their share of the vote is close enough to zero, the Lib Dems will rediscover their conscience, dump their cynical power-hungry leaders, and get out of that destructive coalition.
Wednesday, 4 May 2011
Saturday, 23 April 2011
Love Wins By Rob Bell
When the religious movers and shakers, the guys with the power and the influence, are vigorously driving people away from God with messages about how hateful and judgemental He is, what can you do about it? If you're Jesus, you walk around Galilee and Judea, teaching and healing in the name of God. If you're Rob Bell you write a book. Either way, the intent is to show that God really is a God of love and faithfulness. But in doing so, they also show up the haters as being far, far from God, and they will want their revenge.
The religious right in the US were out even before Love Wins was published - they didn't care what it said, they just wanted to attack Rob Bell. Here in the UK they're not so blatant, but I was interested to read in this month's Christianity magazine an article arguing that without Hell in the message churchgoers wouldn't be able to witness to Jesus. Curiously Greg Downes, the article's author, goes on to say that universalism - the idea that everybody will eventually be saved - only works if certain sections of Scripture are distorted or disregarded. The irony of this line is that Love Wins gives a lot of examples of Bible passages which Downes has to ignore or distort to dismiss the universalist position. Actually, I think Love Wins is probably the most overtly Scripture-based book that Bell has written.
Once you read the book, it is clear that Rob Bell is not proposing universalism anyway. What he is doing is pointing out that the Christian faith, the historical sweep of mainstream orthodox Christian thinking, is much broader than the bigots would have you think. Variants of universalism have been around a long time and are not necessarily anti-Biblical. The tension between salvation of a remnant and salvation of the whole world is a Scriptural tension: the range of passages is there and we have to accept that we are not God and we don't know everything. In the meantime we are called to be grace-full and loving in our differing interpretations.
For Bell it is God's love which has the last word, yet God's love allows the freedom to say 'no'. So he is not a universalist, but he does believe that God will give every chance He can for every person to respond by choosing life.
Bell's genius is that he writes very well and very clearly, in a modern open style which avoids the jargon and religious nonsense. He writes for anyone interested in living life better, free-er, deeper; for anyone who recognises a spiritual side to life, but needs more than the Pharisees with their blaring megaphones can offer.
This is very readable and interesting book: I don't agree with everything Bell says, but I do suggest you read it for yourself. I strongly recommend it.
Labels:
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Wednesday, 6 April 2011
Hospices & Healing
Several weeks ago we had an excellent visiting preacher at Caversham Baptist. He preached about healing - which is easy to preach about badly, hard to preach well - and presented it in terms of the Kingdom of God breaking through into our 'ordinary' world. It is unpredictable and often unexpected, but when it does break in you can only wonder and give thanks.
He gave an example of someone he knew who has cancer, of a generally fairly treatable form, and was undergoing chemo. But there was a complication and she had been taken into hospital - very poorly indeed - where she just wasn't responding to treatment. Because she was so poorly they were about to stop the chemo, with long term consequences. The preacher and the young woman's mother prayed for her healing, then he left. A couple of days later, there she was, with her mother, walking into town, looking positively perky.
This story begs a lot of questions, of course. Was it God doing the healing, or was it the treatment at the hospital? If it was God, then why did she still have cancer, and still need the long course of chemo with no guarantee of the result at the end? Why didn't God just fix everything for her ... indeed why not fix it for everyone in the hospital? You could worry about the questions, or you could just look at this young woman who had been really unwell and now was out and about, living freely. And you could just thank God for that.
Some years ago, my wife worked at the Sue Ryder Hospice, out at Nettlebed. They've broadened their clientele a little since, but back then they mostly worked with people suffering from terminal illnesses. This gives a rather different view of what 'healing' means. In hospitals they tend to be mostly concerned with patching up your body and sending you home 'mended'. In hospices dealing with terminal care, the body isn't going to be patched: mending it isn't an option. Instead hospices look at enhanced quality of life, at relationships, at alleviating suffering: at the physical, emotional and spiritual needs of the patient and of their friends and family. Many (although certainly not all) of the staff are Christians who regularly pray. But in most cases praying for longer lives for their patients isn't meaningful, instead they pray for healing and wholeness and peace, as each individual person comes to the end of their life.
At the church service, the preacher did one of those "raise your hand if you want to be prayed for" things. Fair enough, I guess, although I'm not a big fan. Then he did the slightly cringey, "I'm feeling there's someone here who has problems with their right arm" bit. In a congregation of some 80 people, ranging from 20's to 80's or 90's, there's bound to be someone with a sore arm. As it happened that included me, but to be honest I wasn't concerned about anyone praying for my arm. If we were going to have a time of prayer for the Kingdom of God to break through, I had a much higher priority.
Someone I know, and like, and respect, had spiralled completely out of control. Her life had crashed, she was in an utter mess, and it was not at all obvious how she could possibly get out in one piece. So I prayed for her, desperately. A day or two later, there was a development which looked like it was just going to make things worse. In practice, though, it moved her out of her pit of utter despair and into a place where she has the possibility of - slowly and painfully - rebuilding her life. She's not out of the woods by a long shot: sometimes it still looks as if she just wants to lose everything; but still she now has a chance at life and hope and rebuilding. As miracles go it might seem a bit low-key, and maybe it would have happened anyway, but that's no reason for me not to thank God for the change.
Tuesday, 15 March 2011
Dragon Age II - Initial Impressions
Last year I enthused (twice) about Dragon Age: Origins, the computer fantasy role-playing game. In particular I enjoyed the story-telling and role-playing aspects: the game drew me in - much as a really good book does - and engaged me deeply. Late last year/early this year I've been trying to use the associated tools to do my own story-telling, through creating short mods. It's very difficult, but fascinating.
Last weekend Dragon Age II came out. Finally we would find out: a) if Bioware could repeat (or even improve upon) the excellent FRPG experience of DA:O; and b) what happens next. The first episode ends on a mystery: you've saved the world from the evil archdemon, but the witch Morrigan leaves carrying a kind of demon-spawn/dragon-spawn child. One of the add-on packs suggests that she somehow intends this for good, to oppose her mother Flemeth's evil plans, but we won't know until Bioware continue the story.
Having spent several hours playing the early sections of DAII (and having a daughter who has completed it all), I can tell you: a) no, it's not even close; and b) we still don't know, as DAII doesn't include Morrigan or her child.
DAII moves to a new character and a new area, which I think is good: from a Grey Warden roaming the countryside, and a small provincial town, in order to defeat an archdemon and save the world; to a refugee striving to make a new life in the big city. Settings are much bigger and more detailed, with a far wider pallette of scenery, rooms, walls, furniture, etc to play with. This is good at first, except that Bioware seem to use this new scenery repetitively. Because it is more distinctive and more detailed it is also more obvious when you come across the same complicated rock formation, or layout of wooden platforms, or strange tunnel shapes again and again and again. It's a good idea but badly applied.
The new game has new, much more interesting, animations for fighting, walking, etc. Some of the fighting ones are very impressive - such as the staff fighting, or the rogue somersaulting into attack - some of the walking and standing ones are less so - such as the main character's sister whose animations appear to be based on a streetwalker. Again, though, these good things have been applied badly. At the same time as making the fighting animations longer and more complex, they have also made them take less time. So the staff fighting moves completely lack any sense of weight or momentum, and the somersaults just make movement fiddly and unclear. Combat visuals that could and should have been awesome become simply awkward.
The quest structure, at least in the early phases of DAII, is similarly fiddly and uninvolving. In DA:O you basically had one big quest, broken down into six sub-quests, plus an assortment of small side-quests. Side quests associated with your companions might have a certain amount of depth, whilst the others were essentially trivial go-fights. In DAII, at the beginning you just follow the path fighting darkspawn every now and again. Then you get taken to the city of Kirkwall and you have to make a choice of who to work for for a year: mercenaries or thieves/smugglers. This seems like it should be an important choice but then the story skips that year and you are out on your own. There are a few small quests come from your old employers, but it doesn't really seem to make a difference. In part that is because the quests themselves don't seem to matter that much. There are basically three types of quest: those where you find some random object and take it back to its owner (whose location you magically know immediately); those where you fight your way through assorted opponents to a location; and those where you go to a location and several waves of nasties attack you. There are lots of these quests, none of them seeming of any particular importance except as a way to get money, in a quest mechanism which groups them by location rather then theme, making it all seem very artificial. I gather that the quests get better as you go further into the game, though.
Companions and their dialogue were a constant source of interest in DA:O; in DAII it is purely functional. They basically only talk to you if they want you to do something; even then they will only talk in specific places. Otherwise you just get a stock response floating above their head. When you do have conversations then your side of the conversation is dumbed down to (generally) a nice response, a flippant response and an aggressive response. These are carefully indicated by symbols and a two or three word summary, but they don't even tell you what your character will say if you click on one. Your character's lines are actually voiced in DAII, which they weren't in DA:O, but that is less of a benefit than it might be as I find the voice used rather irritating.
In summary then: my initial impression of Dragon Age II is that it looks fairly pretty (although less so than, say, 2006's Oblivion) but it fails to engage me. Whereas Dragon Age: Origins was really good at drawing me in and involving me in the characters and the story, Dragon Age II is more about pushing me away to follow as a disengaged observer. Some people consider character statistics and complex skill trees and the like key to CRPGs; I consider the role-playing aspect (which is the 'RP' in 'CRPG') most important: being drawn into the game through engaging character relations and an involving story, and being immersed in the game environment. DAII, at least in its early stages, specialises in de-immersing.
It's not a bad game, to be fair, just not a very good one: Bioware have simply cut too many corners and made too many compromises in Dragon Age II.
Note: 'FRPG' above abbreviates 'Fantasy Role Playing Game' - ie magic, swords, dragons, etc in a setting roughly based on medieval Northern Europe. 'CRPG' abbreviates 'Computer Role Playing Game'. So I guess you could say Dragon Age: Origins is a CFRPG, whilst Dragon Age II is a CFRPG ;-)
Last weekend Dragon Age II came out. Finally we would find out: a) if Bioware could repeat (or even improve upon) the excellent FRPG experience of DA:O; and b) what happens next. The first episode ends on a mystery: you've saved the world from the evil archdemon, but the witch Morrigan leaves carrying a kind of demon-spawn/dragon-spawn child. One of the add-on packs suggests that she somehow intends this for good, to oppose her mother Flemeth's evil plans, but we won't know until Bioware continue the story.
Having spent several hours playing the early sections of DAII (and having a daughter who has completed it all), I can tell you: a) no, it's not even close; and b) we still don't know, as DAII doesn't include Morrigan or her child.
DAII moves to a new character and a new area, which I think is good: from a Grey Warden roaming the countryside, and a small provincial town, in order to defeat an archdemon and save the world; to a refugee striving to make a new life in the big city. Settings are much bigger and more detailed, with a far wider pallette of scenery, rooms, walls, furniture, etc to play with. This is good at first, except that Bioware seem to use this new scenery repetitively. Because it is more distinctive and more detailed it is also more obvious when you come across the same complicated rock formation, or layout of wooden platforms, or strange tunnel shapes again and again and again. It's a good idea but badly applied.
The new game has new, much more interesting, animations for fighting, walking, etc. Some of the fighting ones are very impressive - such as the staff fighting, or the rogue somersaulting into attack - some of the walking and standing ones are less so - such as the main character's sister whose animations appear to be based on a streetwalker. Again, though, these good things have been applied badly. At the same time as making the fighting animations longer and more complex, they have also made them take less time. So the staff fighting moves completely lack any sense of weight or momentum, and the somersaults just make movement fiddly and unclear. Combat visuals that could and should have been awesome become simply awkward.
The quest structure, at least in the early phases of DAII, is similarly fiddly and uninvolving. In DA:O you basically had one big quest, broken down into six sub-quests, plus an assortment of small side-quests. Side quests associated with your companions might have a certain amount of depth, whilst the others were essentially trivial go-fights. In DAII, at the beginning you just follow the path fighting darkspawn every now and again. Then you get taken to the city of Kirkwall and you have to make a choice of who to work for for a year: mercenaries or thieves/smugglers. This seems like it should be an important choice but then the story skips that year and you are out on your own. There are a few small quests come from your old employers, but it doesn't really seem to make a difference. In part that is because the quests themselves don't seem to matter that much. There are basically three types of quest: those where you find some random object and take it back to its owner (whose location you magically know immediately); those where you fight your way through assorted opponents to a location; and those where you go to a location and several waves of nasties attack you. There are lots of these quests, none of them seeming of any particular importance except as a way to get money, in a quest mechanism which groups them by location rather then theme, making it all seem very artificial. I gather that the quests get better as you go further into the game, though.
Companions and their dialogue were a constant source of interest in DA:O; in DAII it is purely functional. They basically only talk to you if they want you to do something; even then they will only talk in specific places. Otherwise you just get a stock response floating above their head. When you do have conversations then your side of the conversation is dumbed down to (generally) a nice response, a flippant response and an aggressive response. These are carefully indicated by symbols and a two or three word summary, but they don't even tell you what your character will say if you click on one. Your character's lines are actually voiced in DAII, which they weren't in DA:O, but that is less of a benefit than it might be as I find the voice used rather irritating.
In summary then: my initial impression of Dragon Age II is that it looks fairly pretty (although less so than, say, 2006's Oblivion) but it fails to engage me. Whereas Dragon Age: Origins was really good at drawing me in and involving me in the characters and the story, Dragon Age II is more about pushing me away to follow as a disengaged observer. Some people consider character statistics and complex skill trees and the like key to CRPGs; I consider the role-playing aspect (which is the 'RP' in 'CRPG') most important: being drawn into the game through engaging character relations and an involving story, and being immersed in the game environment. DAII, at least in its early stages, specialises in de-immersing.
It's not a bad game, to be fair, just not a very good one: Bioware have simply cut too many corners and made too many compromises in Dragon Age II.
Note: 'FRPG' above abbreviates 'Fantasy Role Playing Game' - ie magic, swords, dragons, etc in a setting roughly based on medieval Northern Europe. 'CRPG' abbreviates 'Computer Role Playing Game'. So I guess you could say Dragon Age: Origins is a CFRPG, whilst Dragon Age II is a CF
Sunday, 13 March 2011
Parents
When I was a little boy
They would say to me
Don't go in the world and play
It's bad company
All they had was child and faithNutsy made a comment on my last post which got me thinking, as Nutsy's comments are wont to do. Given the title of this post, not to mention the lyric extract from Budgie's Parents, it won't be a surprise that what I have been thinking about was parents and parenting.
Let him grow and let him wait
Just to find out what it was to be free
I know kids who are spoiled brats, but whose parents are convinced they are 'firm but fair'. I also know kids who are downright neglected, one way or another, whose parents claim to dote on them, reckoning they would 'do anything' for their children. Presumably so long as there's not something they'd rather be doing for themselves. I've got teenage kids so I've lived through all the hassles, sacrifices and compromises that have to be made to survive parenthood. So I wonder what I'm kidding myself about?
I was fortunate in my parents: they were loving and caring, giving time and energy to raise my brother and myself as best they were able. Nevertheless I carry scars from my upbringing, and I know I'm not the only one. I am fortunate at that, many adults seem to bear open wounds, long after childhood is past.
Long ago, at prenatal classes, we were told not to worry about parenting: it comes naturally and we will find that actually we'll do it perfectly well when it comes to it. That might have been the case back in the prehistoric African savannah; here in 20th/21st Century Britain things work differently.
My take nowadays is that, as parents, we are bound to make mistakes: bound to screw up somewhere along the way. The challenge is to raise kids who are secure enough and sensible enough to grow into well-rounded adults able to make the best of the world in which they grow, in spite of - maybe even because of - those mistakes. Parents who sell the idea of themselves as perfect, never making mistakes, set their kids up to feel like they are failing in their lives, as well as their own parenting.
To raise children that way is a community effort - churches can be wonderful for that, but there are other communities - and an extended family probably helps, but in the end you need parents who are willing to accept that having children is a whole new way of life, which has to be enjoyed for itself, but requires eternal vigilance. The way you treat kids when they are young has a major impact on how they behave as they get older.
Which is one reason why I have tremendous admiration for those who adopt, or long term foster, older children. Someone else has sown the wind, they are called to lovingly reap the whirlwind!
Another group I admire are single parents. Parenting is a team game - sometimes together, sometimes in turn (like tag-wrestling) - so to have to do it alone is a tremendous challenge. Yet I know single parents who have done just that, and done it well. Maybe it helps that when you're on your own you know it's going to be difficult, you know you are going to have to make sacrifices. Sometimes, it seems, couples just don't get that.
Wrap me up and keep me warm
Hide myself far from the storm
Sleep and love will keep
my mind at rest.
Only now I realise why my
parents had to try.
Love you all and keep you all my life.
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