Just your archetypal evil horde, out for a rampage. Image: Creative Assembly
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In Total War: Attila, rampaging across Europe as the Huns is the most fun you can have

What sets this game apart is its perspective on the past: it’s not often you get to play as the Big Bad Nomad himself.

One of the great things about games in a historical setting is that they give you a reason to think about the problems faced by people way back when. Oddly enough in the case of Total War: Attila those problems seem to be somewhat familiar. The climate is changing, there are thousands of displaced people looking for new homes, the old established order could be losing its grip on the world and in the east a new and powerful enemy is advancing. It sounds less like the setting for a historical game and more like the running order for Newsnight.

In some ways this setting is fairly standard fare in games. Time and again we are told the world is a mess, threats are looming and somebody has to save the day. What sets Attila apart, however, isn’t the setting, it is the perspective. While such games typically cast you in the role of the defender of a beleaguered people, Attila takes a different route, encouraging you to play as the Big Bad Nomad himself, leading your forces across Europe and annihilating everything in your path.

This style of play is where the lion’s share of the new game features have been added, allowing you to play either as the completely nomadic Huns, whose armies serve the purpose of also being their towns, or as roaming peoples like the Visigoths and Vandals, who can settle down in towns for the long term if they want to, but can wander off again should they so choose.

Playing as the Huns is where Attila shines brightest. With no towns, just self-sufficient armies, the player is free to roam the map however they wish. Wandering around in this way offers two distinctive and new experiences to players, even those who are familiar with the series. The first of these is the archetypal evil horde, methodically outmanoeuvring, dissecting and destroying enemy armies, even when outnumbered, and then razing their cities to the ground.

Image: Creative Assembly

The second is the more interesting one and it is occurs when the other plan goes wrong. That’s when the wheels come off on the Big Bad Nomad Roadshow and you find your people living like hunted animals, pursued across the map by outraged enemies. As you evade pursuit with the Huns you will inevitably attract even more enemies, because nobody likes the Huns camping out on their doorstep. The ability of the Huns to move fast, regroup quickly and strike hard makes this kind of pursuit far from a passive affair. Other factions can also find themselves in this kind of a pickle, but only the Huns make it fun.

This is because typically Total War games are about owning provinces, you capture a town and that part of the map becomes yours. With the Huns in Attila this doesn’t necessarily have to happen, you can burn the town and move on, subjugate it, or just loot it. However it plays out you have no abiding connection to the area as you would more usually have in previous games. As such a chase across Europe can be all sorts of fun, rather than being simply the thing that happens right before you lose the game.

The direct contrast to playing as the Huns in Attila is to play as either of the Roman factions. The Eastern Empire is fairly well squared away, although they have the Sassanid Persians and the Huns to contend with. The Western Empire is vast, sprawling and largely undefended. The idea for the player here is to hold the empire together while streams of marauders pile in from all directions and provinces break off to rule themselves.

While Rome 2, understandably given the name, gloried in the Roman Empire, Attila revels in its destruction. The game offers no sympathy to the plight of Rome, its fall is not seen as being tragic in any way. If you’re a very good player you can stem the tide, but by and large to play as the Western Roman Empire is like choosing to attend a wedding as the cake.

In the north of Europe events in Attila take a turn for the chaotic. As the game progresses Europe is plunged deeper into a period of cold, which makes life tougher the further north you go, which in turn drives people south towards Roman territory. This drive south is also spurred by the Vikings and other northern nomadic groups who create havoc with constant raiding.

Image: Creative Assembly

What all this tends to create is a game that is far more dynamic than previous games in the series, one in which the old tactics don’t transfer across easily. You can’t simply hunker down and bide your time, because the weather will move you on, either directly or by flinging refugees at you. But that said simply rushing out won’t work either, because the enemy will batter you if you’re not cunning about it. To build up even a small nation of your own you have to duck and dive and fight fires constantly, making it much harder than previous iterations and much more work.

The general systems of the game have been smartened up too – the family and political machinations of your ruler now play a bigger part and diplomacy between factions is now more transparent. Even if it can be difficult to make much headway the game will at least tell you why the leaders of other tribes are acting like complete tools so much of the time. These improvements extend to the battles too. Units engage each other in combat properly without collapsing into big heaving blobs, and the fights are reasonably well balanced, not too quick but not too slow. The micromanagement of multiple commander special abilities that appeared in Rome 2 seems to have quietly slipped into the bin this time out, another gratifying change.

The presentation of the game has improved upon Rome 2 as well and the towns and villages in particular look stunning. More importantly the AI now knows how to navigate these places and so the visual spectacle can be enjoyed without grimacing at whatever stupidity the enemy units are engaged in. There are not a huge number of units available for armies, though it feels likely that more will come along, either through user-made modification or DLC. Those that are in the game look good, in a grubby, end-times sort of way. The all-women units that appeared in Rome 2 are gone, but their legacy remains, with many levy and irregular units now containing a smattering of female fighters amongst the men.

Total War: Attila is a brilliant return to form for a series that at one stage looked to be sinking. If you can find a few days free to shut yourself in and play the hell out of it, you’ll find it time well spent.

Phil Hartup is a freelance journalist with an interest in video gaming and culture

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Don’t worry, Old Etonian Damian Lewis calls claims of privilege in acting “nonsense!”

The actor says over-representation of the privately educated at the top of acting is nothing to worry about – and his many, many privately educated peers agree.

In the last few years, fears have grown over the lack of working class British actors. “People like me wouldn’t have been able to go to college today,” said Dame Julie Walters. “I could because I got a full grant. I don’t know how you get into it now.”

Last year, a report revealed that half of Britain’s most successful actors were privately educated. The Sutton Trust found that 42 per cent of Bafta winners over all time were educated independently. 67 per cent of British winners in the best leading actor, actress and director categories at the Oscars attended fee-paying schools – and just seven per cent of British Oscar winners were state educated.

“That’s a frightening world to live in,” said James McAvoy, “because as soon as you get one tiny pocket of society creating all the arts, or culture starts to become representative not of everybody but of one tiny part. That’s not fair to begin with, but it’s also damaging for society.”

But have no fear! Old Etonian Damian Lewis is here to reassure us. Comfortingly, the privately-educated successful actor sees no problem with the proliferation of privately-educated successful actors. Speaking to the Evening Standard in February, he said that one thing that really makes him angry is “the flaring up recently of this idea that it was unfair that people from private schools were getting acting jobs.” Such concerns are, simply, “a nonsense!”

He elaborated in April, during a Guardian web chat. "As an actor educated at Eton, I'm still always in a minority," he wrote. "What is true and always rewarding about the acting profession is that everyone has a similar story about them being in a minority."

Lewis’s fellow alumni actors include Hugh Laurie, Tom Hiddleston, Eddie Redmayne – a happy coincidence, then, and nothing to do with the fact that Etonians have drama facilities including a designer, carpenter, manager, and wardrobe mistress. It is equally serendipitous that Laurie, Hiddleston and Tom Hollander – all stars of last year’s The Night Manager – attended the same posh prep school, The Dragon School in Oxford, alongside Emma Watson, Jack Davenport, Hugh Dancy, Dom Joly and Jack Whitehall. “Old Dragons (ODs) are absolutely everywhere,” said one former pupil, “and there’s a great sense of ‘looking after our own’." Tom Hollander said the Dragon School, which has a focus on creativity, is the reason for his love of acting, but that’s neither here nor there.

Damian Lewis’s wife, fellow actor Helen McCrory, first studied at her local state school before switching to the independent boarding school Queenswood Girls’ School in Hertfordshire (“I’m just as happy to eat foie gras as a baked potato,” the Telegraph quote her as saying on the subject). But she says she didn’t develop an interest in acting until she moved schools, thanks to her drama teacher, former actor Thane Bettany (father of Paul). Of course, private school has had literally no impact on her career either.

In fact, it could have had an adverse affect – as Benedict Cumberbatch’s old drama teacher at Harrow, Martin Tyrell, has explained: “I feel that [Cumberbatch and co] are being limited [from playing certain parts] by critics and audiences as a result of what their parents did for them at the age of 13. And that seems to me very unfair.”

He added: “I don’t think anyone ever bought an education at Harrow in order for their son to become an actor. Going to a major independent school is of no importance or value or help at all.” That clears that up.

The words of Michael Gambon should also put fears to rest. “The more Old Etonians the better, I think!” he said. “The two or three who are playing at the moment are geniuses, aren’t they? The more geniuses you get, the better. It’s to do with being actors and wanting to do it; it’s nothing to do with where they come from.”

So we should rejoice, and not feel worried when we read a list of privately educated Bafta and Oscar winners as long as this: Chiwetel Ejiofor (Dulwich College), Emilia Clarke (St Edward’s), Carey Mulligan (Woldingham School), Kate Winslet (Redroofs Theatre School), Daniel Day-Lewis (Sevenoaks School, Bedales), Jeremy Irons (Sherborne School), Rosamund Pike (Badminton), Tom Hardy (Reed), Kate Beckinsale (Godolphin and Latymer), Matthew Goode (Exeter), Rebecca Hall (Roedean), Emily Blunt (Hurtwood House) and Dan Stevens (Tonbridge).

Life is a meritocracy, and these guys were simply always the best. I guess the working classes just aren’t as talented.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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