Feeling Undervalued As A Journalist?

Do you have a shutdown ritual? Do you even know what a shutdown ritual is? According to a blog on mediacurrent, a shutdown ritual is a set routine of actions that you perform at the end of each workday to finalise your day and signify that your workday is done. Many of us need that full stop to end proceedings, and for many of us, it’s also the first step to beginning the next day.

On my phone I have a routine app that features the core daily tasks I have to ‘tick off’ each day. Many of these tasks are personal, things like taking a shower and setting aside 15-minutes for meditation, while other tasks are designed around giving my brain the information ‘fuel’ I need to keep myself updated with the world around me, like reading the news for 30-minutes and checking Twitter.

But one routine focuses on prep – aptly called the shutdown ritual.

Part of my personal shutdown ritual, and one of the core tasks I try to complete each day, is setting out exactly every work task I need to complete the next day. It’s not just the task I write down on a separate ‘to-do list’ app, it’s the exact requirements of the said task.

For example, I frequently write down “write Chiefs feature in 800 words or less” if I have a story due the next day or “research stats on disability employment” if I am preparing to pitch a project to an outlet. If I need to get guidance from an editor or talk through ideas, I’ll write something like “call newsroom to discuss angle X”.

The shutdown ritual also touches on personal appointments or tasks. Does my partner need something in particular from me on this day? I’ll write down exactly what she needs and the steps I need to take to deliver.

It’s all about the detail and the pre-planning is a crucial part of both executing these tasks. It’s also a core fundamental for my own sanity. Almost always, and trust me it happens a hell of a lot, when I don’t have a productive day (or even a productive week), it’s because I haven’t taken the time the day before to list out the agenda for said day or week.

You might read a task such as “write Chiefs feature in 800 words or less” and think that it’s fairly clear cut. But for me, the 800 bit is crucial because it gives me parameters, I now know the ideal word count so can begin thinking about its scope.

My list will also set out the exact time I will submit the story – usually an hour before deadline if possible.

I believe that the same idea can be applied to just about anything you do, whether written down in an app or not.

Want to know why so many people don’t execute on their work or don’t take that next step toward something bigger? It’s not so much that they fail, it’s the lack of attention to the how. For that, I have to give credit to a former mentor of mine and fellow disability advocate Jade Farrar, during our working relationship I marvelled at just how much time and energy he put into the small things that many of us overlooked.

I also have to credit some of the professional rugby players and coaches I speak to on a weekly basis. Their amount of thought and planning on game plans, physical shape, recovery and much more just makes the mind explode when you hear about how it’s all being put into action. A guy like Anton Lienert-Brown is a fine example of that, a deep thinker about his craft and the impact being a man in the spotlight can have on those around him whilst also knowing how to switch off and get away.

Cool Story Mike, So What’s The Point Exactly?

During these ever-increasing times, particularly in our work, it’s crucial that we allow ourselves to check it all at the door but not forget our value by underselling.

This may mean different things for different people, but for me, recent times have really forced a lot of reflection on the motives and value behind what I do, particularly as a freelance journalist. Just this week I went on Reddit and asked other freelancers about their approach to drawing a line in the sand and saying no when you start thinking your hard work is being taken advantage of.

Just a bit of context. The media business is short on money right now. Newsrooms are downsizing not expanding, journalists who were previously employed are now being asked to work as contractors and pitch stories on an individual basis.

It’s a tough industry at the best of times and, sadly, many of those who only care about the spreadsheets are putting editors in extremely tough positions by forcing them to let some of their very best writers go, or at the very least, take a hefty pay cut.

But for me, I didn’t actually understand how much time, energy and effort I was putting into my work for these different outlets until I did a bit of a google on myself. When you google ‘Michael Pulman Journalist’ it should take you to a site called Muckrack which pulls together all the clips that I’ve written for the various mainstream media outlets in the past year or two.

Turns out, I’ve done a fair bit of work. Then I began to think back to the process of writing those pieces that went on to be picked up by outlets and published in print.

It came down to the work, obviously, but it was also the quality of the process that was put around those particular articles. Few of those articles were rush jobs, looking back at my to-do lists from those particular dates showed me that I had taken the time to perform that shutdown ritual where I had the patience to map out, 1 what the task was, 2 when it was due, and 3 what the parameters for it all were.

Being a freelancer in an ever-competitive media space often makes you feel like you’ve got to be on the button constantly, ready to pitch a story at a moments notice and do it before anyone else, then get it written and out the door within an hour or two so it’s timely.

Some of that might be true, but a lot of it is also complete bullshit. Being timely on a piece doesn’t make it good, keeping up appearances might help forge good relationships, but the real work is often done in isolation where the outside influences don’t help deliver the final product.

You deliver the product, nobody else really holds you accountable if you are a freelancer. If you do deliver and hold yourself accountable to everything that’s involved in doing something of quality, you’ve got to understand that there is some real value in that.

When I posted on Reddit I asked a very simple question to some fellow freelancers.

Would you do all this and not expect to be paid? Would you provide that scoop and a quality, thought-provoking read for little more than thanks and handshake?

Sooner or later, you’ve got to flick that switch and stop beating yourself up over the things you cannot control. Speaking purely from the media landscape for a moment – you’ll likely have a hundred doors closed on you before one eventually opens a bit.

Guess how many times I had to work for free before any doors opened? I estimate that I’ve worked for free for well over three of my six years working in the media industry.

The doors started to open when I focused on the story, not the number of stories. As a freelancer, I’ve so often been guilty of focusing far too much on volume as opposed to value. If you’re motivated by volume and nothing else, you have no room to improve. I want to improve, I want to be the very best I can be at what I do, and yes, I want to feel valued by the outlets I write for.

So if you’re out there and you’re in a similar boat to me, please know you’re not alone. If you know you’re doing all you can then there is your value right there. Please do all you can to ensure your work is valued.

Less Politics, More Humanity For An America Tearing Itself Apart

Before you say anything, I understand that a New Zealander with no affiliation to Republican or Democrat writing a blog about an issue that isn’t even taking place in his own country will probably draw a few eye rolls. Furthermore, I’m not African American and I’ve got no understanding of the deep sadness, anger and frustration that this portion of people are feeling right now.

I understand all of that. I’m simply writing this blog as a fellow human being, albeit most likely an uneducated one.

What’s happening across America this weekend is so troubling that it drew me to tears. As a self-confessed news addict, not much phases me these days. In the last year alone, we’ve lived through the COVID-19 pandemic, the mosque attacks in Christchurch, White Island erupting, earthquakes and an economy which has seen hundreds of thousands lose their jobs.

Most of that is just in New Zealand. What’s happening in America is much worse, or at least that’s how it feels to me.

Would this have happened under any other president than Donald Trump? Yes, in fact it’s happened many times before.

This is not about Trump and his precedency and to label it is such makes a mockery of the pain being felt in America right now. Trump is a symptom of a system in that country which has been broken for decades, it’s just appearing to erupt at the time when he is at the helm.

What Trump can be accused of both a lack of leadership and fueling the fire of not just a racial divide, but a societal divide. The president has made no effort to heal those wounds, as exampled by some of his antics on Twitter during the riots which are leaving cities in America literally on fire.

Trump has called the rioters “radical lefties” in a bid to make this deep pain a political issue. It’s almost as if Trump is trying to say that the riots are a personal attack from the left against his bid for another term of presidency.

And then there is Joe Biden and the democrat party, many of whom have been pretty silent while all this has been going down. Biden, nor anyone backing him on the democratic side, have the capability of fixing this issue. Ask the rioters on the streets of LA and Minneapolis this weekend, they’ve all said it’s about racism, not a particular political party or a particular politician.

Sadly, the answer isn’t simply voting Trump out and Biden in this November. Arguably, there shouldn’t even be an election at this point. I say that because it’s my sense, as a curious bystander, that the issues which the repressed Black America are facing can’t even begin to be addressed in an election campaign or policy.

That’s exactly why Trump, the man many blame for this chaos, hasn’t been able to enact any change, regardless of the lack of effort shown.

Racism is political, but not only political. Fixing it goes beyond politics, it requires people being able to find a bit of common ground. Good politicians can do that, but only if they’ve got good parties behind them. In America right now, both the Democrat and the Republican parties are unlikely to come together and agree on any appropriate response to the utterly heartbreaking scenes we’ve all seen this past weekend.

Doing that requires an acknowledgment that the issue actually exists. If you go back to the rioters for a moment, what are they all feeling and saying? Most of them, according to what we’ve seen anyway, are all saying they feel unheard and unacknowledged.

On that note, I don’t really know what else to say. I can’t listen to those who want to blame this all on Trump, nor can I disagree that he has to go come the November election, but I’m also sitting here and looking at everything I’m seeing and I shake my head when I hear that anyone else in American politics can solve this.

Biden can’t, in the eyes of many the incumbent Democratic nominee has a proven track record of racism.

America needs calm, composed and thoughtful leadership right now. But what it needs a bit more is empathy and a willingness to listen. Otherwise, you’ll get more Trumps in the White House in future years, you’ll get more politics instead of basic human decency, and you’ll get more examples of the tragic, racist death of George Floyd.

Our COVID-19 Lockdown Lessons Were A Good Thing

Almost a week has passed since New Zealand lifted itself out of COVID-19 alert level 4, bringing with it a slight reprieve from the most restrictive times our nation has ever seen.

Never before, and maybe never again, will an entire population come to a standstill in the way it did throughout the month of April. Never again will the majority of us with the smarts required have the opportunity, perhaps even time, to think about how we really feel about the crazy thing we call our lives.

So what does it all mean for the future? Whilst times are still uncertain, if the state of national lockdown taught us New Zealanders anything, it should be just how lucky we’ve always been. 

Access to the environment, to our friends, to our work. Most of it wasn’t given a second thought by most prior to all this. Those same old roads, footpaths, lakes and parks, places of work, coffee shops and the people outside of our little circle that we spend the majority of the time trying to please or convince.

Oh, and those glorious takeaways! We sure as hell missed those!

We missed it all during the course of the national lockdown. It tested our mental health, our relationships, perhaps even our very lifestyles. And honestly, it’s about damn time.

The ones that were quick to try and break the rules were class examples of selfish, immature and ignorant. The ones that complained to all that would listen on social media about being stuck at home with nothing to do suddenly realised how meaninglessly frantic their typical day-to-day lives were prior to lockdown, you know the lives where social commitments and keeping everyone in your outer circle matters most? Yeah, those ones. 

It all kind of makes me feel happy to be a socially challenges introvert with a very small circle of friends. I didn’t have to miss a whole lot during the lockdown, I had what I needed right there with me (partner, cats, food etc).  

Thankfully, the smarts of most shone bright and we managed to do enough to have the restrictions eased somewhat, allowing us to now enjoy some of those basic pleasures like getting a coffee or going out for a quick fish. 

The easing of lockdown also allowed some of us to see close family for the first time in over a month, something I personally am very thankful for. 

The tone of this blog may bring out a rolling of the eyes depending on your viewpoint on the world around you. But I do implore you, if you couldn’t use this time to take a good look in the mirror and ask yourself some important questions, you’re probably missing the bigger point here. 

The point is, the majority of you reading this are privileged, you really are.

I know, it sucks to have that pointed out, but I’m not talking about privilege in the terms of materials. I’m talking about privilege in terms of the options you have in the world around you, many of those options were taken away during the lockdown and it forces you to deal with, and make the best of, the things you actually had on hand and not the things you could get. 

Do you feel me? I guess in a roundabout way, what I’m really trying to say here is use the experience of COVID to appreciate the little things in life a little more. If you don’t appreciate those you shared your bubble with, ask yourself why.

COVID should have taught us all a lot of things in all honesty. If it didn’t teach you anything, you’re proving my point.

But don’t worry, there is still time.

Quality Sports Journalism In NZ Cannot Be Replaced Swiftly

New Zealand’s media industry is reeling following a dark week which saw two of its biggest institutions shut down.

Let’s take a look at the week that was.

First, it was Radio Sport who stopped broadcasting on Monday after its owner NZME switched the frequency of New Zealand’s only sports-dedicated sports radio station over to Newstalk ZB. 

Hundreds of jobs were lost, and not just the voices you hear on the airwaves. You’re also talking about the producers, the reporters in the field and all the researchers. 

Furthermore, it all happened incredibly quickly, almost faster than the speed in which news breaks on a day to day basis. 

Radio Sport housed New Zealand’s best minds in the sports media business and their departure simply cannot be filled in terms of talent. When, or even if, Radio Sport were to return in some fashion, many of those talents won’t be coming back either. 

Some say that the decision had been a long time coming due to the network simply not making enough money for NZME to remain commercially viable, but that’s not a black mark against the journalists rather the model in which they were working. 

The media business relies on advertising to pay its workers and advertising has all but dried up since the COVID-19 pandemic took hold in New Zealand, just take a look at newspapers recently or tune into the television, the same goes for radio. 

Then on Thursday, the shock of all shocks, Bauer Media announced its closure in New Zealand, bringing with it the death nail to some of the most beloved magazines that have served readers for multiple generations. 

Shortly after, speculation was similar to the Radio Sport closure, that it wasn’t so much because of COVID-19 alone, but the implications of not being able to print magazines during the lockdown served as the perfect excuse to make a decision that had long been in the pipeline. 

Today, the Government has been criticised by many in the media for not helping out Bauer Media with any financial assistance, but the Prime Minister herself says that the company refused to take wage subsidy allowances. 

Whatever the real truth, the impact on workers at Bauer Media makes the losses Radio Sport sustained look tiny. Journalists, columnists and editors for magazines like The Listener, the Woman’s Day/Weekly, and Metro Magazine (just to name a few) are well into triple figures when you put the entire New Zealand branch of Bauer together. 

So, with all this news and the hundreds of jobs lost to the business, where to from here to the New Zealand media? 

Filling The Void, But At What Credible Value? 

We’ve already seen many a social media pundit quickly try to turn the closure of media outlets into an opportunity to fill the void, so the answer about where to from here can be found in that, social media will give the opportunities for everyone to keep sports media going in different forms. 

But despite that, quality journalism for sports and magazine is in grave peril right now. 

COVID-19 and its impact on New Zealand will likely to be the single story for our media moving forward. For the established sports media, it’s a gigantic game of wait and see for the next while. 

Until the sporting landscape gets somewhere close to being back to normal then there really isn’t a sustainable market for it, because the news will quickly dry up and this will expose the flaws of opportunistic tendencies by those who think they can replace and do better. 

If anything, what COVID-19 should teach us is how important professional competitions really are to the business of sports journalism. 

If you break it all down, the news isn’t just what happens on game day and the fallout from it, the news is really about the stories within the sport, player transfers and injuries, what franchises are doing or not doing, etc etc. 

Don’t discount the importance of contacts that some of the sports journalists keep either. 

Social media pundits can and will successfully be able to keep the sports conversation going within their respective bubbles but without legitimate access to sources and the knowledge of journalistic practices, the value of their respective mediums will be low. 

If six years of doing this sports journalism thing (semi-professionally before transitioning into the mainstream) has taught me anything it’s that the story always matters, not the chatter. 

You don’t have a story without the sport and the access to it, what you have is chatter. 

That’s not journalism, it doesn’t require that hard work required to verify fact from opinion, the ability to be able to meet deadline multiple times per day, or to go back and re-write or re-produce content to meet the quality required for mainstream publication. 

The biggest test that’s about to face the business on these shores is ensuring that when sports media does return to what it was before COVID-19, it maintains the talents it had to ensure the quality and substance remains. 

The Opposite Of Binging Your TV

A cold, drizzly Thursday morning has dawned in the rural King Country. It’s 2003, school is a drag, I just can’t math to save my life, but if I can just get through it this the reward waits for me later that evening. Thursday means two things in the Pulman household, takeaways from the Golden Lantern (hands down, the best takeaway joint in Te Kuiti owned by a lovely family) and the latest events taking place on Coro’s cobbles.

Yes, as a young boy, I was into Coronation Street, far from the sports and politically obsessed product you see today. Coro was a thing for me, mostly because that’s what Mum had gotten me into over the years. She was so dedicated to that show, you can’t help but decide one day to flick over and see what all these relatively normal people are doing on the streets. So, I started to watch with her more regularly and it became a ritual. Mum and I would pile into my parents’ bedroom, while Dad switched on American Chopper out in the lounge. As the first ad break came, “how’s the Choppers going?” Mum would yell out to Dad, “yeah” he would respond in his typical dry tone.

As dull as it was, that’s what we did every Thursday night, without fail. I’d come home from school, scramble to get homework done and then take a quick shower before picking up the landline and ordering the takeaways after the first segment of TV3 news was done. There was no better way to wash down the fat-soaked fish batter other than a glorious Dilmah Tea, just in time for the beginning of Coro.

Fast forward 17-years and I’m in my two-bedroom flat watching the first episode of Netflix’s hot new drama, The Witcher. It’s a cool show, based off a book and videogame I never cared to discover, but this is kind of what platforms like Netflix are good at delivering on, as well as original IP’s that take off in popularity from seemingly nowhere.

It takes me little time to get through the eight hour-long episodes of Witcher S1, including binging the last three all in one night. I certainly didn’t have to wait another week to find out what happened to the bore main character that is Geralt, or find out if the seemingly crazy Yennefer was actually going to turn out to be the unsung hero.

But then something happened. When I was most enjoying this new show, I couldn’t help but quietly wish that I could, somehow, find a way to delay the enjoyment and go back to the feelings of this being something to look forward to each week. You know, like those good days in 2003.

But Netflix, coupled with all the trends on my social media feeds, is doing all it can to push me toward binging through and joining the discussion about this show I’ve really enjoyed.

The problem is that the enjoyment of modern-day television has such a short lifespan. Quickly thereafter, I’m onto the next big show, and then the next one.

Today’s state of binge-watching has all come about from one show, when upon its release, the company creating it had a vision of what many others previously scoffed at.

Wondery’s fantastic podcast series Business Wars takes a deep dive into the history of Netflix. Based on Netflixed: The Epic Battle for America’s Eyeballs by Gina Keating, the podcast explores how, on January 31st, 2013, a meeting was held between Netflix’s head of content Ted Sarandos and respected filmmaker David Fincher. It was just hours before the first season of House of Cards dropped online with every episode immediately available. It was a bold, first-time move that Netflix hoped would catapult their internet streaming video service to the top.

Releasing all 13 episodes at once not only worked for Netflix, but it changed the very nature of how consumers would watch their favourite TV shows, forever. Furthermore, Netflix’s political thriller was also available on DVD, but with other seasons like Orange is the New Black also offering the same “all in one” online drop, the service could push ahead because its content was going to keep on coming and subscriptions were rising.

Little is it known that HBO, arguably Netflix’s biggest competitor at the time, predicted that the idea of letting audiences watch the entire season of a top-tier show was a sure-fire way to kill growth and lose subscribers.

Less than a decade later, a growing majority of people are watching the latest seasons of their favorite shows, in their entirety, in one or two sittings. Binge watching isn’t just unique, it’s become the norm.

Then came Disney Plus. When it was announced that Disney’s marquee offering at launch, a Star Wars spinoff series called The Mandalorian, was to be a weekly episodic release, the reaction drew a nervous gasp.

And yet, The Mandalorian was still successful despite drawing the season out over eight weeks. Disney’s hot new show was 31.1% more in demand than the average title worldwide, catapulting it to the top and surpassing even the likes of Stranger Things, widely viewed as one of the top shows today.

The Mandalorian proves that if you’ve got a show that will likely draw in a large audience (like Star Wars did, and like House of Cards would’ve) then it can work. The risk of losing subscribers to a service is always there, no matter how you deliver the content.

I’d also state that the shows we are watching today feature some of the greatest production and writing value we’ve ever seen, but I just wonder if that is short-changed short on the time and attention front that these shows deserve by getting through them all so quickly.

Think about how easy it’s been to start, enjoy and finish these shows since that famous gamble taken by Netflix with House of Cards seven years ago, the very nature of how we consume media, including our TV, has changed remarkably thanks to the growth of technology that is constantly adapting. But has it necessarily changed the cost and time required to develop TV?

No, because the binge isn’t just proficient in terms of consumer watching patterns. There is also binge-spending and it’s already increased from $12b to $15b, by Netflix alone since 2018.

That’s some serious investment and subsequent production time, somehow it feels wrong to me that I can, so easily, be all done with that and onto the next thing so quickly.

Freelancers Like Us Are Going To Be OK During COVID-19

Last week, on Twitter, I posted that I’d block anyone who played the ‘feel sorry for me’ or ‘please donate to my Patreon because I’m now out of work’ game.

The bottom line is this: we are all in a s**t situation thanks to COVID-19, and freelancers like ourselves have taken a big hit financially. Now is the time to have a bit of perspective, as hard as it might be.

Personally, if I am to be self-indulgent for a moment, I am now all but redundant until further notice. I am not the only one.

It would be easy for me, like many others who have been in the same position recently, to go on an all-out content push in the hopes that it would fill the void of what I may have had before.

Perhaps I am even guilty of this at times, but IMO there is a lot of gross and shameless self-promotion on social media these days.

When I transitioned from social media journo to regular mainstream journo, I noticed how loud the Twitter-sphere really was. I don’t mean that in a bad way, but it’s just loud, getting louder by the day in fact.

There are some who are really good at promoting themselves and have some genuinely good content worth following them for, but there are others who

So as the lockdown begins and we ponder the next month (at least) of being confined largely to our homes, what’s the best way to deal with this? There’s certainly been no shortage of guides, how-to blogs and inspiring stories of how people are making the most of the situation floating around the internet in the past couple of weeks.

The first way to make the best of self-isolation is to understand that you’ll likely go through different stages. You’ll tell yourself you’ve got a plan, but the key moving forward is to not overdo anything. That includes making content for the sake of making content because you feel like your platform can’t afford to take a break.

For some, it may also be a good opportunity to go back to some of the platforms we’ve let get dusty, or potentially some of us can put ourselves out there and create completely new ones.

Personally, my first plan was to get back into streaming on Twitch, record a ton of extra podcasts and even begin writing a book.

But in reality, I’ve really only done a couple of streams and podcasts, spending the rest of my time keeping a close eye on the news, watching Netflix and playing PlayStation.

It’s going to take time to adjust to our new lives, and you will likely stumble off the mark. I know that I certainly have.

Today, by way of this blog, is the first time I’ve managed to get some concentrated writing done, and I did it with no idea of what I was going to type on the blank word document other than the ideology of getting something published online.

That’s probably why the general direction of this piece is all over the shop.

PlayStation got in contact this morning, the new Predator: Hunting Grounds trial weekend is open for gaming media and fans alike from today, so I will have a go at that and write up a preview blog for the game on Monday after I’ve had some hands-on time.

Us rugby journos had a phone conference with the Chiefs CEO and media manager earlier and I am glad to report that there will be some opportunities to talk to players about their respective self-isolation experiences.

I also redesigned the blog, so if you are reading this, be sure to let me know how it looks!

Stay safe, don’t push yourself too hard. Keep what’s most important nestled in the forefront of your mind, you are (hopefully) healthy and safe, surely this is what really matters in the current climate.

Microsoft’s Next-Gen Console Revealed As Xbox Series X

The Game Awards might be known for some big announcements, but Microsoft took it to a whole new level in the 2019 edition. 

A new console, the new console, called Xbox Series X for the time being, coming in holiday 2020, is not yet available for pre-order.

Microsoft says they want to give “more information” before opening the floodgates for orders, but their shock announcement at Thursday’s Game Awards took nearly everybody by surprise in any case.

In announcing Xbox Series X, formerly known as Project Scarlett, Microsoft have beaten Sony to the punch in announcing their next-generation games console.

Little is actually known about Xbox Series X, other than its distinct PC tower-like look and a new dedicated share button on the controller.

No price was revealed, but according to an article on Gamespot, Microsoft wants to be transparent about what gamers will be paying for before going ahead and allowing them to be first in line for purchase.

The design of the console is what’s got many gamers talking on social media immediately after the announcement dropped. Shaped like a Gaming PC tower, the console’s square footprint is roughly as wide as an Xbox One controller and around three times as tall. Featuring a disc drive for games and other media, there is little else to talk about in what is a very clean and modern looking form factor for the Xbox Series X.

The console will also feature an NVMe SSD and use super-fast GDDR6 memory as RAM.

But, that name though? Microsoft’s Phil Spencer hinted that the name may change prior to an official release, telling Gamespot “Series X gives us the freedom to do other things with that name so that we can create descriptors when we need to”.

Make sense? No, not really and it is one of the only points of confusion that has come out of the reveal.

In terms of the most important thing, the games, Microsoft already has some big titles to in the new console window, Halo Infinite and Hellblade 2 for starters. There is also the large lineup of Microsoft Game Studios development teams working on new titles and the work being done around the xCloud games streaming platform.

In short, we now have a name and a look at Microsoft’s flashy next-generation games console. There is much more specific information to follow, but for the time being, Sony has been beaten to the punch and that will see Xbox head Phil Spencer sleeping comfortably for the next night or two.

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Death Stranding Review: A Middle Finger To Convention

Death Stranding won’t be a PlayStation blockbuster for everyone, but for those who enjoy it, none of that really matters in what turns out to be an experience like few others in gaming today. 

Death Stranding is one of the most extraordinary games I’ve ever played. It’s also one of the more slow-paced, repetitive and lifeless gaming experiences I’ve experienced.

From the very get-go, Death Stranding feels and plays out completely different from what you’d want and expect from a modern-day videogame.

I had no idea what was going on or why, but there was something oddly freeing about having a massively open and incredibly lifeless world to step into. On the long treks and delivery missions, I had time to think and ask myself what the game is about. Once I got to my destination and connected the region to something close to a civilization, I felt like I had done something truly good and worthwhile.

Whilst it is far more than a simple trekking simulator, what Hideo Kojima has developed is a game that will divide the opinion of gamers unlike no other in this generation.

Some will love Death Stranding and will call it the breath of fresh air that gaming so desperately needs, whilst others will see Death Stranding as a product of boredom and monotony.

After more than 20 hours spent traversing the world, the meaning behind why you take Sam Bridges on this journey appears to be all about what amounts to doing something for your fellow man or woman. Your job is to deliver cargo, medical supplies and other important equipment across a broken, bare and empty world.

Then, once you get to the various destinations, connect them up to what’s called the Chiral Network to get that area back online.

The world you traverse is the UCA (loosely based on the USA) which has been left utterly decimated in the aftermath of a Death Stranding, causing creatures called “Beached Things” or BT’s to form some sort of realm between life and death. The game helps you discover what is behind this phenomenon, but players can’t simply fight these creatures as Death Stranding really forces an approach of working around rather than forcing the issue.

Most encounters with BTs result in you walking slowly, holding breath (the closer you get to a BT the more it hears your breath) and gently getting by a potentially dangerous encounter.

If you do trigger a BT, the ground turns to tar and you are forced to fight your way free before the demons wrap themselves around you and pull you down. Fail to do this, you’ll enter a “fight” of sorts with a single BT creature that is much bigger and obvious than the ghost-like figures that can be found in the first instance, and all you’ve got to do is kill it with a grenade to complete the challenge.

Once escaped, the tar disappears and you’re back on the trek again towards the delivery destination seemingly unharmed. I wish I could tell you what happens if you were to lose a battle with a BT, but after 20+ hours, the challenge in Death Stranding has been next to non-existent and I haven’t died a single time.

With me so far? It is all classic Kojima in so many ways, half the time it’s just flat out weird and all these moments of something close to combat all seem to be placed in the game for games sake, all in an aid to somehow further toward the story that is being told in cutscenes by some absolutely brilliant voice acting by the various stars involved.

Norman Reedus Heads A List Of Hit n Miss Characters & Story Telling

Played by Norman Reedus (the dude from Walking Dead), the character of Sam Bridges is one of the more dull protagonists Sony has ever had in its AAA PlayStation list of titles.

Uncharted’s Nathan Drake, Joel from The Last of Us and even Kratos in God of War seem to be far livelier and engaging than the experiences I’ve had with Sam so far.

Even the deeply emotional states Sam gets into (who could forget the first time we saw those tears dripping down his face in time fall) seem unexplained, forced and like the experience with the BT’s, just something Kojima and his team decided to throw into the mix.

The adorable baby strapped to Sam’s chest BB is connected to the BTs in some way and the story progresses forward to answer those questions. Fragile, a woman voiced by Léa Seydoux starts out as something of an unknown but quickly progressed into a character I found myself deeply caring about. You’ve also got the main villain Higgs (voiced by Troy Baker) and the annoyingly mysterious Die-Hardman (voiced by Tommie Earl Jenkins) just to name some of the many characters that play big parts in the game.

For the purposes of trying to not spoil it for you, the Death Stranding story is engaging, annoying, mysterious and worth seeing through to the end it seems. Classic Kojima again, you’ve got to be really concentrating for any of it to make sense.

Death Stranding Challenges The Status Quo

Yet, for all its flaws (and there are many in terms of challenge and story design), Death Stranding remains a game that attempts to hit on a deeper message and that’s where the strength and controversy of it sits.

How many have the patience to find out why Death Stranding is the enigma it is remains to be seen, and that’s why reviewing this game is difficult.

The aim of the mission structure is all about going at it alone, to help out an effort that is much wider than yourself. Some of the delivery missions, like the one where you’ve got to deliver a pizza, seem so basic that it’s understandable why as the game progresses many will lose patience.

But perhaps that’s what Kojima and his team wanted to challenge gamers on? Maybe gaming isn’t all about instant gratification, maybe gaming can deliver these sorts of Atypical experiences.

In an age where FPS, RPG and games come out all the time, where Battle Royale kings like Fortnite and Apex pit everyone against everyone else, what Death Stranding does is take a step back from the action, the competitiveness and the creativity to deliver a truly different experience.

In Death Stranding, players are all but alone in a massive open world that is on such a scale of emptiness, it makes even the likes of Red Dead Redemption 2 look busy and full of life. How gamers react to that will differ, how they feel about being a deliveryman and little else will divide opinion.

What will also divide opinion is the message this game attempts to send. The importance of coming together and doing something to help a cause bigger than yourself, perhaps even one that doesn’t make sense or benefit you in any obvious way.

Unless this game takes a drastic turn from its formula in the next 10-20 hours, I reflect on my experiences in it with a lot of thanks.

Death Stranding is different and un-apologetic about every aspect of its gameplay, design and storytelling. It’s a game you’ll either get something out of or curse the day you ever spent the time playing.

And yet, Death Stranding really attempts to challenge gamers to find a middle ground.

MY RATING: 7/10  

Crisis Mode: NZ’s Poorly Planned Disability Transformation

Little over a year since the newest big pilot launched, one of New Zealand’s biggest players released a report stating that the disability support sector has entered full crisis mode.

NZDSN certainly pulled no punches in its latest report, stating that “the disability sector is in crisis at every level” in an explosive overview that estimated $574m shortfall in funding.

Whether you agree with the report or not, you’d be a poor fool to say that it simply reflects the financial interests of providers and attempts to scaremonger the Government.

The proof of the effects this funding model is having on real disabled people couldn’t be clearer.

Such reading makes a mockery of the “nobody left behind” and “choice, control, flexible” values that have underpinned the most ambitious change to disability support system since the closing of the large institutions. If anything, the uncertainty and stress on the system matches (if not beats) that of what was experienced in the nineties and early 2000s.

NZDSN estimates 15,000 people within the regions where new support pilots are taking place (Waikato, Christchurch and the MidCentral) have missed out on getting some kind of disability support.

15,000 people, more than a handful (making somewhere around 25% extra unmet need) in an approach where $24m of taxpayer money was spent on development.

But what exactly was designed and how well was it actually developed in the first place?

That’s the question that will be asked by the appropriate parties, and as much as it seems that they will be the ones tasked with easing the uncertainty ahead, they were let down by some pretty shoddy advice and a clear lack of awareness from those disability community representatives that themselves forgot about or didn’t understand the reality that was burning below the surface.

Chaotic Feeling Underpins Life In New Disability Pilot

Words like “try, learn and adjust” that came out of the MidCentral project were as clear a sign as any that there were few answers on what to expect, but more importantly, they provided absolutely zero clue on how to address the issues that were coming.

Just over a year since launching Mana Whaikaha, the feeling on the ground in the MidCentral has been described as one of chaos after long periods of time with deep-rooted uncertainty.

Such sentiments are echoed in previous and ongoing work in other parts of the country. The Real Michael Pulman understands that connectors in the Waikato have been told that their jobs are only certain until June 2020, with further announcements not expected to be made until earlier in the year.

In his interview with RNZ on Monday, NZDSN boss Dr Garth Bennie was exactly right when he said that the pilots were originally about testing the designs, offering disabled people a choice of their supports rather than taking from a set menu.

One must also ask how cutting runaway costs could possibly have ever been managed with the growing demand not being a prospect, but a certainty. To even attempt to answer that, there needs to be an honest admission about what was going on behind the scenes.

It was never simply about “Enabling Good Lives” for disabled people and their families. It was about attempting to adhere to a set list of principles and do it with very little to no extra funding with tangible impact in the long term.

What’s been a constant reminder in 2019 is that disability support services are flying blind into the future. Perhaps this was always the case, perhaps this is identifiable in the wider health and social service sectors, but it’s dangerous to assume that small parts of the country can successfully show enough result to transform a system nationwide.

And yet, that’s the very assumption that’s come from all this, whatever is happening in these new spaces will soon be the status quo for all. It worked well for persons X, Y and Z so let’s build on that and repeat the formula.

There is merit in arguing directly against that. The poorest outcomes in the new pilots should be the examples used when decisions are made about what to do next.

That’s not all positive and rosy though is it? Now more than ever there seems to be much logic in stopping, having a big rethink and getting it right if the basic human rights of many disabled people are to be met.

All that starts with an admission that what we’re doing currently just isn’t working.

NZDSN REPORT: https://www.nzdsn.org.nz/wp-content/uploads/2019/11/NZDSN-Sector-Briefing-Final-14-11-2019.pdf