3 Arts Kate Romain 7 Film Willa Hope + Louis Pigeon-owen 10 Fashion Emily Claridge 15 Creative Writing Hugo Douglas-Deane 19 Gaming Kirsty McAlpine 23 Television Denise Koblenz 27 Music Alice Mortimer + Lois Young Art And design assistant: Emily Mildren This week’s front and back cover: Niamh Jones
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Concrete.venue@uea.ac.uk
Kitten Credits from top of page: Freestockphotos.biz, Ozan Kilic. Flickr, Alison Groves. Wikimedia Marie-Lan Nguyen. Flickr, Zoonarea.com.
editorial Editors-in-chief Dougie dodds + niamh Jones
Venue
deputy editor: ave you seen the kittens? Have you!? In a world full of violence, war, hatred, sadness, and our old favourite: President Trump, there will always be an adorable kitten out there somewhere to lift your spirits. YouTube it, I dare you, and sink back into the wonderful world of kittens having baths, falling over their oversized feet, or simply meowing in an adorable way. It’s only week two people, and although it’s still only the beginning we can all use some stress relief. Even if you’re a dog person like me, you can’t avoid sinking into a a relaxing, comforting bubble of appreciation. It also acts as a perfect example for the decreasing sanity of our editorial team, slowly descending into a kitten filled, coffee fuelled, stress-fest. It’s not unprofessional to have photoshopped kittens everywhere, simply expressive. Dougie
H
e thought that these kittens might help cure some of those winter blues. As someone who really suffers when there’s less natural light about, I’m definitely in need of some brightness and warm, happy feelings. These kittens were the first solution that came to mind, and boy are they cuuuuuuuute. If you’re looking for something to help you procrastinate before term fully kicks into gear, how about reading Dougie’s article on Lego? Expenisve but so, so wonderful. If like me, you’re already counting down the days until reading week, then hang in there. One of the only things keeping me going this term is the wonderful sex survey edition of VENUE, to coincide with Concrete’s traditional survey. Look out for the sauciest cover yet in our Valentine’s day issue…
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Niamh
Melissa Haggar
FEATURE
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‘A world of your own, with endless creative possibility’ Our very own Dougie Dodds explores the wonderful, colourful stuff that is Lego. He tries to conceal his nerdiness, and utterly fails in this gripping piece.
C.WRITING 15 ‘Death approaches through a meadow Open the doors to the dreamscape When head meets pillow.’ Our writers tackle the theme of Sleeping/Dreaming this week, and in classic UEA fashion, come up with some brilliant original work.
Music
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‘Definitely don’t go into it looking for fame…because there isn’t any.’ Lucinda Swain interviews Amber Run as they draw near to their appearance at Norwich’s own Waterfront.
Concrete.venue@uea.ac.uk
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Arts 03
Concrete.arts@uea.ac.uk
animals and art
why all creatures great and small can be great subjects of art hattie griffiths When portraying animals in art, humans have come a long way from charcoal cave paintings and terrible medieval murals (seriously – google ‘Medieval animal paintings’; I guarantee the results will be entertaining). One thing Britain is quite reputable for worldwide is our penchant for photographing and filming wildlife, from the exotic sweeping visuals of BBC’s Planet Earth series to the hundreds of talented emerging photographers, as well as a long history of renowned traditional artists famous for animal portraiture. It makes sense that animals all over different countries and cultures across the world have been a focal subject for art throughout history. Animals themselves are intrinsic to our survival as a species, the loss of which would be detrimental to the entire planetary ecosystem. There’s definitely a bond, isn’t there? It’s perhaps why we keep domesticated animals, attempt to conserve species in zoos, and like to feed the ducks in the park. Animals themselves are also rather symbolic. Just as colours can represent moods and energy, images of certain species can embody an idea that an artist perhaps wouldn’t otherwise be able to explain or clearly portray. In some tribes in Native American culture, for example, images of bears were used to represent
bravery strength.
and
ferocious
Even the recording of dead animals carries powerful symbolism in art. When the thrill of worldwide travel began to grip the globe in the late seventeenth century, new and unusual creatures were captured for a high price and shipped across the world to the highest bidder. Still-life paintings of exotic birds and insects would be bought by collectors and put on display in homes to indicate wealth and a knowledge of high culture. Animals in fiction, also, are a demonstration of how we represent animals in artwork. An accurate portrayal? Aslan the lion from ‘The Chronicles of Narnia’, the wolfly White Fang and even Winnie the Pooh are all illustrations of the diverse personalities that are created when animals are personified and characterised
in fiction. In this respect, however, it can be easier to think of animal characters as perhaps more human than the animals they portray. In contemporary art, the focus appears to have shifted very much to animal photography rather than painting, perhaps influenced by the increasing inexpensiveness of good quality digital cameras and international travel. Nowadays there are many great opportunities for anyone to get involved with wildlife photography and art, no experience necessary. Some good places to find modern animal photography include the Natural History Museum’s ‘Wildlife Photographer of the Year’ webpage, showcasing the best talent from amateur photographers around the world. In contrast to older forms of art such as still life painting, modern day photography seems a
lot more respectful – almost always capturing the animal subject in its natural habitat, without it being much disturbed. Definitely better than being shipped around the globe for next to no benefit for the animal. Art is often defined as a method of selfexpression. As human beings, there has always been a connection between ourselves and animals. This is one that we have strived to illustrate for millennia, whether that be inked on animal skin or chiselled in sandstone. Maybe a reason why we have continuously considered animals to be a symbolic subject is down to instinct; they’re a powerful representation of the natural world and base emotions, and will always be a great reminder to humanity of the world that continues to flourish even with us existing beside it.
04 Arts
Concrete.arts@uea.ac.uk
the awesome power of musicals sam whitelaw
It may seem bold to claim that everybody likes musicals. I know people who say that they won’t go near one if a gun was pointed at their heads. Yet, I still think that these people, deep down, like musicals, in some capacity at least. Musicals are a special thing, linking the two mediums of music and acting. Both of these sell tickets alone, so combined it would make sense that they are something special – which they are. I know that people can be put off by them. Put off by the break in story or the uncreative, plot driven songs, but that isn’t just what musicals are. They can be, and are, so much more. For the first thing there are countless genres within the musicals subsection. While it may be the case for some of them, not every musical is just forcibly inserted songs into a story.
don’t like musicals? You’re probably in denial
Nobody would proclaim that Phantom of the Opera was anything close to Momma Mia, and that is just the start of it. On West End alone you have operatic and band adaptations (as previously mentioned), along with the likes of comedies (The Book of Mormon), book adaptations (Charlie and the Chocolate Factory), and (debatably) instrumental in the form of Stomp. There is so much range within the form of a musical that there is something to like for everyone –even if it is the fan service of having a musical based on the songs of a band you like (looking at you American Idiot and We Will Rock You). There is such a variety that it provides something for everyone but also means that musicals elevate themselves a level, showing that this medium can tackle a wide range of entertainment.
Musicals also bring an essence to them that a standard play does not; a song can provide a way to express something that is difficult to do in a standard play. A character can more effectively demonstrate how they feel through music than through a soliloquy, which usually breaks up a scene in order to convey the crucial thoughts. The songs also provide not just the thoughts of characters, but their feelings. A song that clearly states how the characters feel is easier in musical form than trying to portray the emotion through bodily expression, especially when a large portion of the audience cannot see the fine details of the face. Even if people have gone through this argument and still believe musicals to be all bad, I direct you away from the stage into film. Musical
Photo Credits: Flickr, yumiang, sffghorn, MrBlueGenes, Wikimedia, Raymon Sutedjo-The.
films are marvellous, and usually are above average as they demand that time is spent in creatively writing them. All the animated Disney films of our childhoods are examples of this, and some of these stand with the greats of cinema – Beauty and the Beast (1995) got nominated for Best Picture at the Academy Awards. This goes even further when it comes to non-animated musical films, with multiple films (The Sound of Music, West Side Story, Chicago, and My Fair Lady to name a few) having actually won the award. These films show that musicals can be on par with both plays and films of the highest calibre, which in turn proves that musicals can be, and are, great. Even then if someone still doesn’t like musicals, and have seen all the productions I have listen, go watch La La Land – it’s pretty special.
Arts 05
Concrete.arts@uea.ac.uk
we are all beautiful
rosa watson
what i life drawing taught me about body confidence
How we feel about our bodies is not a reflection of how we truly see ourselves but how we think other people see us. Or more accurately, how society sees us. For the majority of the population, this incredibly painful as the point of the ‘perfect’ body image is that is rare. Yet this is so artificial, for no one is really born muscularfor this involves spending many hours at the gym which, for many, is expensive and rather boring. While high cheek-bones are impressive, they also involve getting up a few hours extra and obsessively looking in the mirror. As both a sceptic of modern beauty conventions and a lover of art I cannot help but think that this is all rather ridiculous. When entering an art gallery, for example the Sainsbury Centure, you will notice that there is no standard or aspirational body type- whether it is the blooming fuller figures of Henry Moore or the skeletal Giacometti each piece celebrated and respected for its individuality. So, why is that we cannot apply the same we see these
masterpieces to the human body? During an Art society session members of Pride, who had agreed to be life drawing models, talked to us about their own experiences with body confidence, and
was struck by the extreme ways people are categorized: for some, it seemed that being hairy made you a “bear”, or that if you were traditionally unfeminine, you were considered “butch”. It was sad, to not only see that people felt their bodies had
why they had volunteered. They discussed not only their own relations with their body, but how the cruel judgements from their own community were enforced upon them. I, as well as many other members of Art Society,
to be one thing or another, isolated as a that result of not fitting into a category. The session was optimistic, however, for we incorporated colours of the LGBT flag in celebration of how UEA Pride is making significant moves
towards appreciating the individual for who he or she truly is. This session also felt very different for Art Society members as we drew more than one model at once. In some ways, this was more difficult, as we were doing the same time slots of five, fifteen and half an hour with more to draw – particularly as the last position involved all the models together. However, it also involved a more careful planning of composition; we had to take into consideration not only how to group our subjects together, but also how to apply the same amount of attention to each form. The use of colour itself was also a big step away from using either charcoal or pencil in black and white. In my drawings, I have used mixed mediums of HB pencil, pastels and colouring pencil. I found that I ended up working in a more abstract way in order to quickly capture angle and shape, as well as the personality of the models. I used colour not only to represent the figures themselves, but in the background to create a vibrant atmosphere. Life drawing celebrates body confidence, not only for the models themselves, but for society: we need to realise that there is not a set body type or ‘norm’. Illustration Credit: Rosa Watson - With permission from the model
FREE YOUR INNER ARCHITECT Ready for a blast of nostalgia? What about a great excuse to seriously procrastinate away valuable studying time? Put down your iPad, your phone, your smart watch, or your computer, and think back to the colourful bricks that gave you so much joy as a child. If you’re anything like me then you had a bag, or a box, full of randomly sized bricks that fit together to create any number of amazing inventions. If you didn’t, there’s still time. There are hundreds upon hundreds of sets, from Harry Potter to Spider-Man, with my personal favourite being the modular buildings. These nifty little things are realistic building sets, designed to be put together on a large scale in order to create your own city. They can have shops, apartments, docks, roads, even petrol stations, all kinds of things. They’re interchangeable and can be rebuilt with any old bit of Lego you have laying around. Now bear with me, this may sound completely dorky, but the modular sets offer something different from most sets. Sure, it’s great to build the Hogwarts castle, complete with revolving doors, movable staircases, and exploding bridges. But the modular buildings offer you a chance to build an entire city, a world of your own, with endless creative possibility. Yes, I realise this sounds dry, but they offer the builder all the fun of constructing with Lego, all while pleasing the inner architect and designer within you, choosing exactly what your city will look like. I’ve always been a fan of city building games, but Lego manages to bring this same joy into the real world, becoming something tangible you can build with your hands. It also offers you that change to change minute details, as if you don’t like the look of a window, the placement of your corner shop, or even the size and colour of a building, you can just take it apart and rebuild. The only set back, and this is a big one, is the price. They weigh heavily on your wallet, with each modular/ building being about £120, new. I count this as a blessing to save me from getting seriously addicted and devoting an entire room to my own little city, but for those with deep pockets and a creative mind I can not recommend these sets enough.
DOUGIE DODDS
Photo Credits: Flickr, Georgivar. Pascal. Wikikimedia MesserWoland
imag
Film 07 james mortishire Like any M. Night Shyamalan film, Split is weird, wonderful and at times, more than mindboggling. However, unlike the others, Split incorporates elements more along the lines of a creature horror rather than a psychological thriller. The fundamental question though is does this really work or is it just another Hollywood monster flick? The film tells the story of Kevin (James McAvoy), a man with 23 multiple personalities
Concrete.film@uea.ac.uk
split ranging from a disturbed Brooklyn man with OCD to a nine year old child called Hedwig. At the beginning, Kevin kidnaps a group of teenage girls and imprisons them as food for something he calls ‘The Beast’. Throughout the film, each of Kevin’s personalities tease the horror of the beast and how it devours the bodies of impure souls (in this instance, a group of privileged teenage girls).
However, when we are eventually shown ‘The Beast’, the film takes a drastic turn. The first half of the film treats audiences to a tense psychological thriller with various attempts and moments where one frequently braces themselves in hope of the girls’ escape. Yet, once the ‘The Beast’ is revealed to the audience the film loses all this and it becomes just another Hollywood Monster Flick.
young boy with three horrific stories where nothing is quite what it seems. Wait, what? Is this a kid’s movie?
While some will no doubt consider A Monster Calls too dark for
A monster Calls
melissa haggar A talking tree. An emotionallywrought boy. An unbridled imagination. At first glance, A Monster Calls may strike you as a delightfully dotty affair akin to The BFG, but it is far darker and more heart-breaking than you’d anticipate. Written by and based on Patrick Ness’ novel, the film details the story of Conor O’Malley (Lewis MacDougall) whose mother (Felicity Jones) is stricken with a terminal illness, as he tries to navigate his school and home life, whilst dealing with challenging bullies, an overbearing grandmother (Sigourney Weaver), and a sense that his world is crumbling around him (quite literally). But never fear, a creepy tree is here to help – sort of. The ancient yew tree (Liam Neeson) – or as we like to call him, Treeson – is a bit of an odd character (and frankly, we’d have accepted nothing less), on hand to soothe the Image: Dougie Dodds
Whilst the film struggles at times with its tone, it manages to paint a complex and imaginative picture that portrays the different facets of grief beautifully and chooses not to shy away from the difficult concept of death and life. A mix of beautiful animation and live-action, the stories unfold ‘Tale of the Three Brothers’ style, evoking a sense of eeriness as well as intrigue for the twisted tales that the tree tells. In some ways, MacDougall’s Conor is an extension of us all, as we try to navigate a world where belief and hope are ever increasingly important amongst tragedy and despair, and these ideas are what makes this movie so significant.
younger audiences, death isn’t exactly a light subject, and the film acknowledges this and attempts to do its
justice through enthralling performances and spellbinding cinematography. Ultimately, this is a film worthy of an audience of all ages.
Split is a film that can’t decide whether it’s a tense psychological thriller about the abduction of three teenage girls or a horror film about a monster that eats people. In terms of his other films, Split is a considerable disappointment for Shyamalan as the reveal is predictable and weak; is this a sign of bad direction or a sad reflection of what audiences want more from films nowadays? Either way Split is far from his best.
k
08 Film
Concrete.film@uea.ac.uk naomi rhodes
la la land
Damien Chazelle’s noticeably less aggressive, musical film La La Land is a distinctively unique and hopeful romance that showcases exactly what has been missing from today’s film industry. With a superb soundtrack that is not only contained in the smooth dance sequences and bright technicolour, but can be seen and felt in the fluidity of its cinematography, every scene feels as though it were a part of the song. The incredibly loveable Ryan Gosling and Emma Stone have proven themselves to be the Fred and (actual) Ginger of the 2 1 s t Century. Mia (Stone) and Sebastian (Gosling) are both down on their luck, young creatives that have been battered by their respective industries. Sebastian, a stubborn, and at times pretentious, jazz pianist is complemented by Mia, an aspiring actress who’s willingness to follow her dreams is at times infectious. The temperament and charm in their relationship are at times sickening, but profoundly heart-warming, creating that rare on-screen chemistry which has been missing in modern cinema. It’s hard to be critical about this film without seeing it through rosetinted glasses. But La La Land brings back the classic surrealism of dance and music on film, where Photo Credits:Flickr magical, pleasantly obscene, and sometimes out of place
dance sequences generate an unpredictable narrative and create an essence that could have been pulled of a 1930s Busby Berkeley musical arrangement. The film is full of the stars and starlets of early Hollywood and their silent ghost can be seen in most scenes as the film pays a respectful, and much needed, homage to its predecessors. But it doesn’t exploit this nostalgia by assuming that the audience has to understand anything about free jazz or old Hollywood. Chazelle is very careful of the use of old Hollywood wistfulness and incorporates a self-awareness that pulls
Mia equally loveable and well-rounded, characters that even today’s cynical romantics could relate to. Whilst it follows key and classic tropes of past cinema, its originality still stands above its history. It’s refreshing to watch a film that doesn’t sell romance with overtly sexualised characters. It is a film that is confident enough to depend on a strong and original story which is perhaps an attribute to the film’s success. It’s surprising that a film that is so simplistic in its style, and even substance, can have such a powerful message about love, sacrifice and what it means to grow with the person you love.
seven psychopaths (2012) A man with writer’s block gets more than his fair share of inspiration when his life is filled with vengeful murderers and kidnapped dogs. This is a darkly comical and comically dark story that pokes fun at everything from serial killers, to Shih Tzus, to the Hollywood Dream and still has a bit of cheekiness left over. - Louis Pigeon-Owen
The butterfly effect (2004) While maybe not a cinematic masterpiece, this is one of those films which leaves you thinking for days. Evan has a bizarre gift of being able to change the past, causing strings of parallel lives to explode, whilst killing any desire you have for time travel. Dark, occasionally comical and always odd; you won’t be short on food for thought. - Willa Hope
hunt for the wilderpeople (2016)
audiences back down to earth. Chazelle makes Sebastian a n d
Foster care is the least of Ricky Baker’s problems. He has to contend with some seriously angry wild boars, Sam Neill attempting a New Zealand accent and a national man-hunt. Despite its vast array of violence and misunderstandings, this is a cute coming of age movie that features stunning landscapes, psychedelic music and an utterly adorable protagonist. - Louis Pigeon-Owen Image: Murray Lewis
Film 09
Concrete.film@uea.ac.uk
lets talk about those golden globe speeches
eva wakeford
From Ryan Gosling to Sarah Paulson, the night of the annual 74th Golden Globe awards was quite the starstudded affair. Whilst this could certainly be applicable to the vast array of dresses and tuxedos that were present on our screens, what really stole the show that evening were the acceptance speeches. Funny, poignant and political, we as an audience were exposed to a wide spectrum of speeches. But should celebrities keep it short, snappy and sweet, or should these moments be used to exert a wider message? As seen throughout the evening of the Golden Globes, there were cases where there was a pressurising necessity to insert anecdotes and meaningful causes outside of ‘I would like to thank person (a) and person (b)’. This did not always settle well with audiences, showcased by Tom Hiddleston’s questionable speech for winning Best Actor for The Night Manager. What started out as a speech which raised
awareness of the dire situation in South Sudan, became somewhat desensitised to the audience when he mentioned aid workers ‘binge-watching’ The Night Manager during a shell attack. Whilst Hiddleston later commented that this was as a result of nerves, it certainly raises the question as to whether inserting a wider cause within acceptance speeches is always appropriate. Yet countering that, particularly heart-felt moments were that of Viola Davis and Emma Stone’s speeches; visibly moved and emotional by their awards and recognition. Emma Stone in particular, winning Best Actress in a Musical for La La Land, outlined the importance and dedication of the dreamers who never give up against the brutal nature of the film industry, which certainly
emphasises the message of Chazelle’s latest feature. The most poignant moment of the evening resides with Meryl Streep, who won the Cecil B. De Mille Award. She stole the evening by dedicating five minutes to showing the beauty of Hollywood as an indisputably multicultural platform; outlining how the defining actors and actresses of this day and age were, as a matter of fact, not born underneath the gleaming Hollywood sign. Hollywood is indeed, a multicultural plethora of talented faces of which, as said by Streep, ‘if we kick them all out, all you’ll have nothing to watch but football and mixed martial arts’. To see individuals such as Meryl Streep and the rest of Hollywood as people who vow to maintain honesty and ‘the truth’, it truly is a privilege as a viewer to experience nights such as these which encompasses true
humility and compassion. Of course, the newly instated president, Donald Trump, took it upon himself to take Streep’s speech as an ‘attack’. But hang on, did she once mention his name? So, should celebrities use these opportunities to transmit a wider political or social message? In the words of Meryl Streep, these people have the ‘privilege and the responsibility of the act of empathy’. Whilst humour, modesty and light-hearted idiocy are appreciated relief upon the stage, these artists are involved within an industry that translates the on-goings of society into artistic form, and with that comes the necessity to form an understanding of this society. If an actor or actress feels the need to demonstrate empathy on such a level, as long as they take care and responsibility of the given cause, we as an audience within this political climate should embrace these moments of hope and solidarity.
Image: Flickr, Sire Mag, Hoboh Official, Euronews
Concrete.fashion@uea.ac.uk
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Fashion
Size Matters
CHARLOTTE MANNING
C
lothes shopping. An experience that I want to love. Trying on new clothes that have a potential to make me look and feel great can be so much fun. Unfortunately, it can often end up being disheartening due to one thing; clothes sizing. Speak to any girl about it, and they will tell you just how infuriating it is trying to find the perfect fit from shop to shop. With some retailers varying the fit for the same size up to THREE inches, it’s not difficult to see why it can get a little bit complicated.
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Standardised sizing is something that although recommended, is surprisingly not mandatory within the UK. The issue at hand even entered the media last year when size 14 student, Ruth Clemens, saw her post on H&M’s Facebook page go viral after the size 16 H&M jeans she tried on didn’t even come close to doing up. After having many similar
experiences, I know we’re not alone. There’s a rising number of issues that the consumer and the retailer face because of poorly regulated clothing sizes, especially now that online shopping is so popular and dominates the market.
“Vanity sizing, in which retailers will give the clothes a bit more room to make a customer feel better about themselves, making a sale more likely” One main issue here is that the lack of standardised sizing makes it so difficult when ordering clothes online. With clothes sizing being so varied it isn’t uncommon that I find myself having to order a dress. In two different sizes because I have no idea which one is going to fit me even if I have shopped with the brand before. The retail industry will complain they are losing money over customers ordering multiple items (which then get refunded) so surely a more standardised system would be the answer that we both need.
Let’s not forget that with unregulated clothing sizes there’s also the issue of so called ‘vanity sizing’ in which retailers will give the clothes a bit more room to make a customer feel good about themselves making them more likely to make a purchase. This also reflects on how the average women’s dress size has gone from a size 8 to a size 16 in the last 50 years. Perhaps the issue is the lack of plus sizes in many clothes shops, making retailers feel there is a need for vanity sizing as the average UK female body size is a UK 16 (compared to five decades ago when it was a size 10). This is not really reflected well on the high street when shops such as Topshop, Miss Selfridge and Urban Outfitters don’t stock any sizes larger than a 16. Standardised clothing sizes would solve so many hours faffing about in changing rooms and waiting in post office queues to return items that don’t fit. While I can see the reasons behind nonstandardised clothing sizes, it doesn’t make sense in the 21st century that I have to take a tape measure out shopping with me to find the perfect fit.
Photo Credit: publicdomainpictures, George Hodan
Fashion 11
Concrete.fashion@uea.ac.uk
TOP TIPS: Winter skin
BECCA HEMMINGS
W
inter can be one of the cosiest times of year, snuggled under a duvet with a hot drink and a good film, sounds great right? Though winter isn’t as kind to our skin as it can be to our cosy nights in! Through much trial an error I’ve tested out different tips and tricks to stop my skin drying out and keep it glowing all year round.
Moisturise
It may seem like a basic tip, but many of us don’t moisturise as much as we should, or do so with the wrong products. Whether your skin is dry, normal,
combination or oily (yes us oily folk need to moisturise too). It’s important to moisturise in the morning to prepare your skin for the elements, and at night time to rejuvenate whilst your skin is going through the process of cell renewal. I like Clinique’s Dramatically Different moisturiser (£30, Debenhams) for daytime as it softens my skin and adds a healthy looking glow without looking too oily. I also love the fact they have an option for oily and dry skin types so there’s one to suit everyone…though this can be on the pricey side for a student budget! For a cheaper alternative I’d opt for Neutrogena’s Hydro Boost moisturiser (£12.99, Boots) as it has similar results and also has an option for oily and dry skin types.
Investing in a good night cream is also essential for rehydrating your skin after a day of wind, rain and polluted air. Garnier’s Moisture Bomb night cream (£7.99, Boots) is great for this as it is heavier than daytime moisturisers so gives that extra kick of hydration without feeling heavy on the face.
addition to a winter skincare routine because they buff away the dead skin cells and can get rid of any dryness or flakiness without using a harsh, abrasive scrub. Pixi’s Glow Tonic (£18, Marks & Spencers) is a great toner for brightening the skin and gently exfoliating it with the use of glycolic acid, leaving your face feeling fresh and without that rough texture winter can sometimes encourage.
”looking after your skin by selecting the right skincare products Use S P F is important, but futile if you aren’t It’s important even in winter to use SPF to protect your looking after your skin for within.” skin. Just as you would use
Night Cream
Exfoliate
Toner is one of those skincare steps which is surrounded by controversy. Is it essential? Do I bother? Exfoliating toners are actually a really great
Illustrations: Emily Claridge
it in summer to protect your skin from sun rays, it’s also important to protect your skin from winter environments, as well as winter sun to avoid dry, dehydrated and congested skin.
Hydrate
Looking after your skin by selecting the right skincare products is important, but futile if you aren’t looking after your skin from within. Make sure you drink a lot of water as this will hydrate your body and will make a visible difference from the inside out!
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Concrete.fashion@uea.ac.uk
The Power of
EMILY CLARIDGE
T
rump’s inauguration has affected millions of people, and mostly not in a good way. It is hard when things like this happen that really just make you think, damn, is there any good in this world? Then thousands and thousands of people of all genders and ages march to show that no, we’re not ok with this and we’re not going to let this defeat us.
”colours can hold an incredible amount of emotional weight” Why is she going on about this in the fashion section I hear you ask? Well in this sea of optimistic anti-Trump wondrous people there was a blanket of pink.
Colours can hold an incredible amount of emotional weight, black at funerals, colours in the summer, and pink has been one colour that seems to be the focus of a lot of gendered arguments over the years. Having done about 3000 modules on gender theory I wasn’t sure whether to write this as it may drift its way into an essay at any point, but I believe it’s something important and particularly relevant this week. Pink seems to be a colour that used to be seen as ‘girly’ aka ‘weak’. There was a correlation between pink and princesses; pink was all about the feminine and the female gender and never it seemed, in a positive way. Now we see millions of protesters around the world marching with their coordinated pink hats, pink clothes, banners and so on.
Fashion
Pink
So what does pink mean now? Well, I don’t know. But I think the amount of power and subversion one colour can bring to a political movement is fascinating. It seems to say yes I’m girly, yes I’m feminine but that isn’t a synonym for weak and we are here to show you that in heels and pink hats we will stand against hate. But then there seems to be a conflict here as the middle class white women who are able to say yes I can be sexual, wearing pink, wearing make-up and still be strong. This is not a privilege extended to everyone. This ability to wear pink, march through the streets and be empowered and honestly to have fun at the same time is something I think a lot of us take for granted.
white feminism, privilege and whether wearing pink is helping or discouraging the problem, to remember who the real enemy is. It’s not each other, and different streams of feminism in society, it’s the orange faced, toupee wearing
“In this sea of optimistic antiTrump wondrous people, there was a blanket of pink” racist man who just became president of the United States, and anyone who believes hate will always be more important than love.
It’s important when you get into the arguments of
Image: WikiCommons: Mark Dixon
THE BEST GAMES OF 2016 DOOM
Toot
toot
‘Pounding metal, demons for days for and guns that feel like they could rip a hole through hell itself. Best shooter I've played in years and a soundtrack that's burnt into my brain." Too long? Alright? I wanted to just scream 'oh god the metal' but figured I should be at least vaguely serious.’
JOVI MASKELL
STARDEW VALLEY BATTLEFIELD 1 ‘Battlefield 1 is a fucking amazing game. It’s not particularly realistic, but who gives a shit? It’s hours of unadulterated, gory fun. I dunno.’
‘Stardew Valley is the cosy escapeto-the-country that students dream of. Raising slimes has never been more fulfilling.’
HELEN JONES
‘Everyone will say what Stardew Valley can do, but I’m going to say what it can’t. It can’t, no matter how hard you try, become your actual life.’
DOUGIE DODDS
BILLY KENSIT
OVERWATCH ‘Overwatch, Blizzard’s latest offering, has been the best thirty quid I’ve spent in 2016. Personally I love gathering a team together and pummelling our way through the missions as hackers, cyborg cowboys or veteran snipers. The characters are fab, the gameplay is easy to pick up (and I’m a self-confessed noob so that’s saying something) and you can’t beat the feeling that you get seeing your victorious team on screen at the end of a match.’
NIAMH JONES
SUPERHOT Would you look at that, another ‘indie’ game. Other than Stardew the market has been swamped by triple A games taking the pedestal, but Superhot is not only a fantastic game, it’s fantastically clever. You dodge bullets and kill minimalistic baddies. Time is slowed, and only moves on when you move or look around. It means you can create amazing fight sequences that look amazing when sped up. This is a game that makes you feel good at games. DOUGIE DODDS Illustrations by id Software, Eric Barone (Stardew Valley Developer), Gromoxon (DeviantArt), and Kirsty McAlpine
THE WORST GAMES OF 2016 Get i bin n the
SODA DRINKER PRO
‘I didn’t really get the concept, and the graphics gave me a visual hernia. It’s not even a 2016 game, I just wanted to complain about how terrible it is.’
LOUIS PULFORD
‘I’ve never heard of it, and I don’t want to play it.’
DOUGIE DODDS ‘I like Soda, though this game makes me barf.’
BARRY WANG
ACE BANANA ‘I hated Ace Banana, it was shit. What a stupid name.’
LOIS YOUNG
‘No Man’s Sky is one of the most outrageous examples of unreliable advertising I have ever seen. It took an extremely negligent and careless developer to feel justified in releasing such a terrible example of failed expectations, and honestly it will go down in history as well hell of a shit show.’ KIRSTY MCALPINE
NO MAN’S SKY
UMBRELLA CORPS ‘Almost completely without merit.’
CHRIS P. RICE
COFFIN DODGERS ‘Coffin Dodgers is the prime example of an awesome idea with a terrible execution. When I was told about it, I was desperate to play it, only to learn that it was appalling in every possible way.’
NIAMH JONES Illustrations by Milky Tea Developers, Time of Virtual Reality Developers, Capcom, and Kirsty McAlpine
C. Writing 15
Concrete.creativewriting@uea.ac.uk
sleeping/dreaming
“To present a whole world that doesn’t exist and make it seem real, we have to more or less pretend we’re polymaths. That’s just the act of all good writing.” – William Gibson “The answer is dreams. Dreaming on and on. Entering the world of dreams and never coming out. Living in dreams for the rest of time.” – Haruki Murakami “A dream has power to poison sleep.” – Percy Bysshe Shelley
no need for sleep — alexandra parapadakis Belly full with laughter, guts plump with giggles, I crumble under your tickles. Face a rash of Cheshire cat, the only pain I feel Is the ache of burning cheeks and the foggy wonder if this could be real. Cause even in the dark our faces beam, we refuse to sleep because we live the dream. It feels like we are falling through clouds, leaping over picketed fences, staring through glazed church windows…. Happiness is so simple and it hugs your head deliciously, squeezing you tight. And when you are let go, you keep tumbling, you are left dizzy, giddy, trying to take it in - overwhelmed Where to begin? I’m burning up, this is a fever! My skin is shining, reflecting, I’m golden! I’m a hot ball of fire in the sky, a medieval lamp, the Olympic torch! Is this what glowing feels like?
I dreamed of you last night — y. bird
I
dreamed of you last night and in that dream of mine you died. You were all cheekbones with that cheeky smile that brings on stormy rain but promises of summer (and perhaps a bit of snow on Christmas). It wasn’t terrifying, not per se – I’ve seen your death a million times, and I have built your coffin with one-sided panels of wood and metal in disguise. But there I was, awake, and bit my nails and clutched the air, holding on to what you left me; nothing, really, except some tender words and those same, repeated nightmares. I hope you are not haunted. I hope your room is free of any of these memories, and that your heart is quiet when you walk about the silent city in the middle of the night.
“I have built your coffin with one-sided panels of wood and metal in disguise”
I guess it was a premonition of the day you really died.
16
Concrete.creativewriting@uea.ac.uk
A
C. Writing
Déjà Vu (with thanks to Samuel Beckett) — tom cascarini
baby like me always had nightmares. Dreams of lift-the-flap books where I opened the bonnet of a car, and static flames burst out in crude red-and-yellow flames. Spot the dog staring at me with his mouth agape, his black dot eyes unblinking, before an empty white background. Hector the dog sawing at a tree branch, behind him a stack of burning logs blazing higher, about to explode; but then it settles, and Hector goes to examine it, because he can’t understand why it happened, and then out of nowhere, someone screams: ‘Nigel!’ Now I have dreams that predict the future. Well, to a certain extent. One evening I’d be sitting in my room typing on my laptop, when suddenly I hear that it’s Lip Up Fatty playing on iTunes, and I’ve just cut two paragraphs out that are right next to each other, one a single sentence and another one a double, and I see in my mind’s eye a vision of me taking out those two paragraphs, but I think: I haven’t done this before. I’ve only just got round to taking a look at it. The only possible explanation I can come up with, is that I saw this exact same vision in a dream. ‘I definitely remember you saying that, Peter.’ ‘No, I definitely didn’t.’ ‘No, I remember you saying it: Sean Connery was born in America. You were wrong.’ ‘Oh, well I don’t remember it. You must have misremembered it.’ ‘No, I haven’t! I did not misremember it.’ ‘Well, one of us must have.’ ‘Oh, well, I guess I must have dreamt it then?’ ‘Yeah, I guess you did, then.’
*
Sometimes I’m scared by the number zero. Sat on the bus on my way to sixth-form, and the digital clock blazes ‘08:00’ — the outline of a never-ending circle, surrounding the abyss. Red against black. It looks angry. ‘Sorry, Nige, I’m leaving. Come on, give us a hug. Sorry, I just can’t be dealing with this.’ ‘No, come on, Stuart, stay. Please.’ ‘Okay, you know what? That’s it! Now you listen here, bitch…’ Someone wake me up. Please. Just solve all my problems, and then wake me when it’s all over. I must keep going. Must keep going. Can’t keep going. What will I see if I wake up, if this is all a dream? Will I see heaven, or hell? Or will I see a world where things are different, even though everything is still the same? I was abused, but not anymore. My father is gone. I must keep going. If this is reality, then how can the sky exist? It’s far too beautiful. Those pinks and purples are so intricately chosen. They go together without question. How long did it take to choose them? Or did it just happen? Maybe it occurred to them in a dream? When zero exists, the world is a nightmare. But when things have the potential for infinity, I never want to wake up. So I’ll keep going.
Sommeil — Rahul Mehta Technicolour migraine Death approaches through a meadow Open the doors to the dreamscape When head meets pillow. Paralysing fear or spastic emotion Psychedelic backdrop to warped truth. Loosen the belt on your imagination, Where dissolving memories are your only proof. Broken-winged birds lie on barren land, My body arches beneath soaked sheet. What is there to understand? This is where Hell and Heaven meet.
“ I must keep going. Must keep going. Can’t keep going.”
C. Writing 17
Concrete.creativewriting@uea.ac.uk
one blind, one deaf — gus edgar untitled — Emma Wallington Binded by me blinded I fell behind did I, dead eye. Butthis when it happened Dead eye disclosed exposed globe close to closed, I sigh. – and it did – whirled wishwashes, I wish. On my watch the world watches I didn’t heardaze a single wail, glazed, it’s pish. Wishing days stopped to stop and saddened glaze my eyes thecanter, weeps and I count as a cunt,All can’t see Iscreams, see my stupid stupor, my eyes sear. in aand hospital dreams, Sear the lively lifeFaraway I’ve loved lived of here, Hear, Hear! At least I can hear. As I slipped in and out of sleep, All I heard was the surrendered silence, __________________ the clickety clack, onward track, Deafened I defendthe dead-ends of death, detest this test I attest. of theout train Movies move me move of forever mouths forward. licks lips and lapse, into unrest. Silence in islands of white wight noise annoys quite quiet I riot, and rot. Rot away and weighed down way down in doubt for grotty ears I forgot. Muffled my muscles ache and ate til gone, the shrill gong is knotted not for me. For me it wavers like waves that weave I bereave in the sea; at least I can see.
other — elisha rose
T
“ When I finally surface, I am falling out of a sandglass backwards. Blue receding from my vision.”
he world around me is blue: blue ground, blue atmosphere, a blue filter wrapped around my eyes. I have just pushed off against a wall, and for a few brief moments, I hang suspended like a star in the sky or like how clouds hang above lightning in the middle of a storm. The rapids pull me away, eager to show me the next attraction, and I allow myself to follow. Sustained alone by the oxygen in my lungs (not needing to breathe for another few moments yet) I am neither breathing nor not breathingjust sustained in stasis. I could be awake. I could be asleep. Or maybe sleep is this, but with your eyes shut- no control, just calmly drifting away. When I finally surface, I am falling out of a sandglass backwards. Blue receding from my vision. And one big breath is all it takes to break the illusion of awakened sleeping or of the ceased-breathing living and of time halting the present. When the pool is shallow enough for me to stand, I do. Slick hair, stuck onto me much as the smell of chlorine masks my own and I almost feel otherworldly otherplacely othertimely until the feeling passes all at once. Illustrations by Hugo Douglas-Deane Illustration: Emily Mildren
Gaming 19
Concrete.gaming@uea.ac.uk
Mystic Messenger Amelia Morris Dating simulators are of one the most looked-down upon video game genres out there, and indeed, when I first downloaded Mystic Messenger to my phone I felt an acute sense of shame. I felt like I was doing myself a disservice by being tempted by this strange Korean app that promised me the chance to chat with cute anime boys. Mystic Messenger is an ‘otome’ game: a dating simulator aimed at heterosexual women. The premise is simple. What you have in your hands is a messenger app for a secret charity organisation called the RFA, which apparently only has six members: dateable anime guys numbers 1 through 4, cute anime girl you can befriend but not date (boo!) and their mysterious leader, V. Logging in, you’re greeted with a set of options: chatroom, call, and text
My first Otome Experience message. Mystic Messenger differs from other dating simulators in that it doesn’t use the traditional visual novel format. Instead, the plot takes place through the chatroom, which is updated real time throughout the day and supplemented by (fully voiced) calls and texts from the characters. The game takes eleven days to complete, though once finished you’re encouraged to go back to the start and try romancing a different character. Although the first four days are the same no matter what, at the fifth the game branches based on which character you’ve built the best relationship with. From there, the plotline is different and the storyline is focused around the character in question. Your job, no matter what, is to invite enough guests to the fundraiser party held on day eleven by correctly answering their emails.
Gathering enough guests is as important as building a good relationship with your chosen character – fail at either, and there’s a bad ending waiting. I regret to inform you all that despite my scepticism I was immediately hooked. It was hard not to get attached when it all felt eerily real. With notifications on, your phone alerts you to a text from the game like it would for a real one. In less than 24 hours, I was better at responding to the texts from the fictional Korean college student Yoosung than I was to my own flatmates. Don’t get me wrong, there’s still a certain level of cringe associated with the whole thing. Some of the dialogue is sickeningly cliché and there are one or two lines that have made me full on
Illustrations: Kirsty McAlpine
shudder (“as a man it’s my duty to protect you!”) but I find myself surprisingly willing to forgive and forget. A lot of this comes down to how compelling the plot is. By playing each character’s route one by one, you slowly uncover a larger storyline, unravelling the mystery of what happened to the woman who had the job before you, and getting involved a larger conspiracy involving a computer hacking ring. What I’m realising from all this is that I was perhaps too quick to judge otome dating games. Mystic Messenger may be a little silly, but the plotting is on par with some visual novels I’ve played in the past, and its real-time chatroom mechanic makes it seriously addictive and genuinely good fun to play.
Concrete.gaming@uea.ac.uk
20 Gaming
‘Bored’ games We’re just rolling in circles
Sam Whitelaw Board games, as everyone has experienced, can be tiresome. Some of the classics can last multiple hours or even days in the case of a ferociously battled game of Monopoly. Even games such as Trivia Pursuit, which has the potential to end in around 20 minutes, can easily span an entire afternoon if no one is on fact-answering form. The problem with this is that the games have no fixed end point, if planned correctly most board games could theoretically go on forever, with never-ending terms and a slow escalation of madness. This in turn creates the problem of people being put off games. If you suggest to friends that a game of Risk is the perfect thing to kill a few
hours, many of those friends would turn you down in fear of devoting a potential day and a half to the cause of trying to dominate the world. Even then it will probably end in a stalemate. There is also the issue of games that promise false hope. Cards Against Humanity (C.A.H) is won when someone reaches x number of wins, if people keep playing, then eventually someone must win, right? Well yes, but when the goal is 10 and all 6 players have won 9 rounds each, at some point over the last 54 rounds the game probably lost a large portion of its enjoyment. It seems no matter what, games can be dragged out – sapping fun and time in the process. Blitz versions are of
course an option. Speeding up the start of long games such as Monopoly help keep the pace going at a high tempo, a probably shaved at least 30 minutes off of a single game. Even these have the potential to turn into another long session though, with the impending deadlock waiting to develop. Because of this issue being a reoccurrence in most games I would characterise it as the largest issue that faces board game lovers everywhere, and so it must be quelled. There is hope though. There are games that have to end quickly. These aren’t common, due to how most games are designed for tactics and thus need time in order to deploy the various
strategies, but they do exist. A fine example of this is Tsuro. The objective of this game is to create a path on the board using the tiles provided. The board is only so large though, meaning even if all the players some how managed to make it to placement of the final piece, the game ends there. This results in each game only lasting around 15 minutes (at max). This is the goldilocks time frame for quick board games. It can be used just once as a quick one off or as a few rounds. The previously mentioned long games can’t shorten their playtime, and games like C.A.H are too short to simply play one round. So if you are afraid to commit yourself to a board game, maybe get a time-limited one like Tsuro.
Gabe Newell’s Reddit AMA Half Life three confirmed to still be unconfirmed Steffen Jørgensen and Helen Jones Our glorious Valve-Overlord, Gabe Newell, recently participated in an AMA (Ask Me Anything) with the people of Reddit, giving some new announcements about what’s in store for Valve and the Steam platform in 2017 as well as some more personal insights about the man himself. Newell confirmed that Valve are dedicated to improving Steam’s muchcriticised customer support system, with a focus on
faster response times, an improved refund system, and an acknowledgement that there is more to be done in the coming months. Valve has already hired extra support staff to help bring about these aims, with five times more staff on support since Newell’s last AMA. A common criticism of Steam has been the lack of quality control for new games, with buggy, microtransactionheavy, or even copyrightinfringing games flooding the
front page. Newell responded to this with no promise for quality-control, but instead an improved filtering to tailor to customers’ preferences. Aside from Steam as a platform, the exciting news is that Valve will be investing more into VR this year, and there are movies on the way. Films set in the Half Life and Portal universe are being produced, and none other than J.J.Abrams, known for his work on Stark Trek and Star Wars, is already on-board.
And, finally, we have been told that Valve have a fullyfledged single-player game in the works. While this isn’t the fabled confirmation of HalfLife 3, Newell did confirm that there is a chance of a new IP set in the Half-Life/ Portal universe. Could this be the same game, or are we getting two? All I know is I’m looking forward to the next AMA. For more, head over to r/The_Gaben for the full interview.
Image credit: Wikimedia, Dave Gandy, Emmanuel Huybrechts
Gaming 21
Concrete.gaming@uea.ac.uk
We’re looking forward to: Mass Effect Andromeda Release Date: March 21st for North America, March 23rd for Europe
Helen Jones Between The Video Game Awards and the CES Keynote event we’ve been treated to a steady drip-feed of new information about Bioware’s latest addition to the Mass Effect series: Andromeda. Andromeda is set up to carry the flame of its predecessors as a sci-fi action RPG, but this time with a whole new galaxy, new characters, and new gameplay. Andromeda is braving not only new multiplayer
settings, allowing four player co-op mode throughout the campaign similarly to ME3’s horde mode, but also adds crafting and survival elements to the old formula.
events of ME2, we now explore a world separate to that of Shepard yet still populated by the Asari and Krogans we have come to love.
Andromeda launches us into the story of either Sara or Scott Ryder, two siblings sent out to explore the Andromeda galaxy as official ‘Pathfinders’: part-soldiers, part-explorers tasked with discovering new planets for humanity to colonise. The writers have found a way to conveniently undo the fallout of ME3’s ending: our pathfinding mission having begun during the
However this edition’s focus on survival elements may be a source of worry for long-time fans. Bioware have promised an “explorable galaxy”, planetary resources for a new crafting system and “environmental hazards” from inhospitable atmospheres to roaming alien monsters. Clearly, survival will be much more of a focus here than in previous games. This has led some people to suggest Andromeda will be the No Man’s Sky we were promised, especially given Bioware’s proven track record with expansive stories and compelling characters, but I find myself hoping that Bioware have learnt from the resource-management mistakes of Dragon Age: Inquisition. Worryingly we have also been told that Andromeda will contain microtransactions, although the details of the system still remain hazy. Multiplayer matches will now reward players with not only experience, but also ‘Prestige’ experience, which goes towards levelling up your team. However it has been suggested that players will be able to buy into the
new Prestige system, with confirmations that card packs (carried over from ME3) will be available for purchase in addition to being unlockable in-game. It’s going to be interesting to see how these microtransactions will impact the game as it is yet unclear how much of an advantage it will give to big-spenders. Hopefully the system has been given some deep thought by Bioware. But it’s not all bad news. Andromeda promises the return of the beloved Mako in the form of the Nomad: our new all-terrain terrestrial explorer, as well as the shiny new Tempest in place of the Normandy. Romancing your shipmates is back, and better, with a reworking of the Renegade/Paragon system to a more diversified dialogue wheel featuring Heart/Head and Professional/Casual options. Overall seeing how Andromeda balances a multiplayer exploration experience with the more linear narrative world of previous games is going to be interesting, but I have high hopes. The world of Mass Effect deserves a breath of new life, and personally I can’t wait to get back to blasting through a galaxy filled with space-stations, solar-systems, and alien forces still to discover.
Photo Credit: Flickr, Joshua Livingston.
and the Rise of Digital Bands Olivia Campbell
V
ery few bands can say they are fronted entirely by animated drawings that have manifested into something beyond moving images, despite technically not existing. The lovechild of musician Damon Albarn and artist, Jamie Hewlett, Gorillaz represents a highly ambitious and creative project that has evolved into a defining act of our generation. The term ‘virtual band’ was popularized by Gorillaz in 2001 with the release of their self-titled album, essentially meaning any group whose members are not corporal musicians but animated characters. The creation of 2D, Murdoc, Russel and Noodle as characters who exist within their own universes, whilst still being present on our very own three-dimensional world, represents somewhat of a paradox. The band was Initially developed by Albarn and Hewlett in 1998, having grown disillusioned with the so-called manufactured bands heralded by MTV and the general lack of substance and creativity within the music industry. Consequently, both artists created a world which was so vibrant and oddly realistic that the distinction between virtual and reality became blurred. Real life personalities, including Del the Funky Homosapien, Dan the Automator and Kid Koala, alongside Albarn became the musicians hidden behind phase one. A wide range of collaborators also mould the virtual bands musical image, but still existing within our world and theirs. The Gorillaz universe itself has developed into a complex and surreal version of our reality, with every detail meticulously developed. Each member has their own backstory which has been carved out through the various use of multimedia. Whether it’s fake ‘interviews’ with band members, interactive tours or the phenomenal music videos which explore the adventures of 2D, Murdoc, Russel and Noodle, the Gorillaz world is so well developed that they have become their own entity. Arguably, the Gorillaz storyline and subsequent artistry that arises from it, can be defined as a product of the digital age- utilising the internet to develop each character whilst simultaneously growing it impressive fan base. However, while the centrepiece of Gorillaz is, no doubt, the artful creation of a virtual band, the desire to create vastly unique music certainly underpins the entire project. Albarn constantly pushes the boundaries both lyrically and musically, therefore encompassing an immense array of genres. Despite being dubbed a ‘virtual R&B band’ by many critics, four albums have been produced which experiment with genres such as electronica, acid jazz, punk rock and trip hop. The limitless zeal of musical experiment that has defined the Gorillaz sound no doubt ensures that they remain unique. Indeed, the expansive exploration of many genres has ensured that the band has become a popular cultural icon.
The success of such an innovative project is demonstrated through the sheer number of sales and accolades Gorillaz has received. The band’s second album, Demon Days, went 5 times platinum in the UK, while going double platinum in the US. Alongside this, one Grammy Award, two MTV Video Music Awards, an NME Award, three MTV Europe Music Awards and nine Brit Awards encompass widespread success. Albarn and Hewlett, as artists, completely reinvented what a band could create and their influence, no doubt, is immense.
Photo Credits: Wikimedia Commons, Tylerxg1 and К.Лаврентьев
Television 23
Concrete.Television@uea.ac.uk
Lemony Snicket’s a series of unfortunate events Book, Film, Netflix original
Abi Steer After the last book, published in 2006, and the 2004 film (starring Jim Carrey, Jude Law, and Meryl Streep) remaining sequel-less, fans of Lemony Snicket’s A Series of Unfortunate Events have been denied the pleasure of seeing what could undoubtedly be one of the most visually interesting book-to-screen adaptations in history. The steampunk-esque images and downright strange locations and characters are almost unique in the book-to-film world, with directors making the stylistic decision to incorporate these clashing ideas and time periods. So naturally, when the new Netflix show was announced I could not have been more thrilled. The film was pretty good, yes, but somewhat lacking (or at least I thought) in the strangeness of the world that Snicket seemed to create in his books so well. Rather than create the mystery and adventure that the books form, the film was retold more as a list of bad things happening to the same children over and over; a mere coincidence. The show, however, has no such problem. I cannot begin to describe how
excited I was simply from the opening credits, which are the perfect mix of interesting and creepy. And the perfect theming does not end there. In the middle of a tragic story following the life of three orphans and their hideous mistreatment, a perfect mix of intrigue in both the story and the physical representation is required to prevent any sane person from turning the show off altogether (as the narrator encourages you to do before our story even starts). The use of weirdly
contrasting colours, presumably impossible camera angles, as well as the very elaborate and exaggerated set keep your eyes drawn to the screen, even when you may want to look away. Right from the get-go we are alerted to the idea that everything may not be as it seems. This narrator seems to know far too much and gives us insight into things that he cannot possibly know - yet he does. The switching of perspectives is used to create an almost film-noir aspect of
mystery; we can recognise characters by name and sight but their true purpose is not always clear. This dramatic irony changes the mystery somewhat;
from following the children along as they puzzle things out themselves in the progressive way that a book always moves, we are thrown straight into the action – the tension builds as we see the Baudelaire children accept their situations without question, whilst we from behind our screens just desperately want to tell them the truth that we have been privileged to see. In regards to the film, cast and characters were pretty phenomenal, Billy Connolly as Uncle Montgomery was a stroke of genius, and it should have worked brilliantly. But compared to that phenomenal awkwardness of the Netflix original one can see that the film did not utilize the sheer absurdity of such a situation to its full advantage. Of course the humour is there, but it has got nothing on the awkward over-ebullience of Mr Poe or the simple straightforwardness of Count Olaf’s theatre troupe. No character behaves really as they should, or even how you expect, which adds to the weird, disjointed atmosphere even more. Either way, this show needs to be watched, if only to see how it differs from the other formats.
Image Credit: Murray Lewis
24
Concrete.television@uea.ac.uk
Oldie But goldie Gus Edgar The Crystal Maze returns to our screens this year, bringing along all of its outdated costumes and cheesy challenges. For the uninformed, The Crystal Maze is a beloved game show in which a team of six contestants face various solo-challenges where the end result of each is either collecting crystals, or being eliminated. The more crystals gathered, the more time allotted to
The Crystal Maze returns!
complete the wickedly fun final segment and earn a prize. It is an interesting format wonderfully realised through smart challenges, design and the lovable campness of 90s entertainment television. Channel 4 certainly have a task on their hands in creating the entertainment of the original, but if their 2016 one-off is anything to go by, the game show’s iconic status is in safe hands. And despite the show being rooted in 90s schtick, it is a refreshing entry into a TV schedule
full of uninspired quiz shows where the gimmick has long worn off - the promise of six contestants frantically attempting to complete The Maze is infinitely more interesting than watching a bygone presenter stare at discs nudging into each other a-la Tipping Point.
Or is Channel 4 modernising an unapologetically oldfashioned tone? Yet even the cynics cannot deny the inevitable joy of a 90s classic unfolding chaotically on screen once more.
The one concern, and it feels very strange to write this, is Channel 4’s againsttype recruitment of the hilariously deadpan Richard Ayoade as presenter. Can he muster up the frantic energy of the show’s original presenter, Richard O’Brien?
Image Credit: Flickr, Chris Evans
Wikipedia, Stuart Mentiply
Homeland Beth Papworth Homeland is back with a boom. Explosive scenes and dramatic romantic interludes were the ingredients to the previous seasons. Not deviating far from the past series, season six is a treat for viewers because of the action packed scenes that address terrorism, political scandal, sex and lies. Set in the big apple, New York City, domestic Islamic terrorism and the potential crisis in the Middle East are concerns that drive the CIA to act. Carrie Mathison (Claire Danes) does not disappoint in entertaining millions with her heartfelt portrayal of a workaholic professional working in the CIA. Now a legal advocate for Muslim
Sunday, 9pm - Channel 4
Americans, she takes on the case of a young man, who keeps a provocative blog that challenges people to empathize with Muslim terrorists. Provocative and controversial, it is Danes’s convincing performance as a CIA agent that makes the show so popular. Donald Trump, America’s new president mirrors the successful television show as new President-Elect, Elizabeth Keane steps up as the leader of the free world. This female political leader questions everything about
how the country handles itself in regards to its Middle Eastern policies. The series is certainly a catch and relatable to the modern viewer who is aware of the terrorist threat. Tuning into this entertaining show for a sixth season is a wise choice because of Claire Danes’s authentic performance as the leading CIA agent. We love her because she has emotional depth and intelligent insight, with the ability to perceive potential attacks on America. We empathise with Carrie because her bipolar disorder has a negative hold
on her wellbeing. A female heroine who saves civilians from terrorist attacks, Danes inspires young people to fight terrorism. Dark? Of course. These twisted scenarios play out thanks to Saul and Dar’s backroom machinations. Man on man conflict and tension is part of the gripping script that entertains the viewers. Back on American soil, it is a familiar feeling that comforts the reader. Most importantly, Homeland’s political commentary and setting up a presidential transition is part of the excitement and allure that will attract another generation of viewers. Image Credit: Wikipedia, DHS
Television 25
Concrete.television@uea.ac.uk
One day at a time Heart warming and genuinely funny
Rachel Innes Over the years I have become increasingly disenchanted with sitcoms. Do not get me wrong, I will happily watch repeats of classics like The Fresh Prince of Bel-Air, Frasier and the (unfortunately) greatly overlooked joy that was Ellen. I tend to gravitate towards sitcoms filmed without a live audience as I feel they allow for smarter jokes and rely less on tired clichés. Has anyone seen the video where the laugh track has been removed from The Big Bang Theory? Truly, it is nothing short of beautiful. Also, a quick internet search tells me that that particular show is currently on its tenth season. Ten?! That is ridiculous. Let it die a long, overdue death. My wariness of the laugh-track genre almost had me turn off the new Netflix
show One Day at a Time after about thirty seconds, but I figured I should give it a proper chance. And I am so, so glad I did. One Day at a Time is a remake of the 1975 show of the same name, starring Justina Machado and the absolute treasure that is Rita Moreno. The show focuses on a Cuban-American family, comprised of single mother Penelope, her two teenage kids Elena and Alex, and her traditionally Cuban mother Lydia, who lives behind a curtain and likes to stick photos of the Pope on their fridge. I will start by saying that this show is funny. And I mean really funny, in a smart, warm kind of way. The jokes do not come at the expense of Elena’s feminism, or Lydia’s religious values, because the other characters do not belittle these characteristics. The family love and support one another, even if they do not always see eye to eye.
The only jokes that poke fun at other characters are always at the expense of Schneider, their straight, white landlord, who is actually very endearing and is horrified when he realises he is guilty of ‘mansplaining’ to the matriarchal Alvarez family. But it is always in good fun, and Schneider becomes an honorary member of the family. But what really struck me about this show is how wonderfully and unabashedly it engages in dialogues with a variety of social issues. The Alvarezs are a family of Latino women, and the show never, ever lets you forget this. Whilst it tackles all the universal issues of family, it makes sure to address the specific obstacles faced by the Latino community, and there is an amazing episode in which Elena’s is offered a ‘diversity’ position on a writing course, and we see how Penelope, Elena and Lydia all have to different
relationships with their Cuban heritage. We also see Penelope deal with sexism in the form of micro-aggressions in the workplace, as well as her relationship with PTSD as a military veteran, and a really, really lovely comingout story, acknowledging how queer Latino individuals experience coming-out differently than their white peers. There are thirteen halfhour episodes in the first season, making it easily binge-able and I really do highly recommend it. It will make you laugh, make you think, and probably get you a little teary-eyed. (I never cry at TV, and I was a mess for the entirety of its last episode.) So if you want some heartwarming, genuinely funny TV to de-stress with after a day of classes, give One Day at a Time a try.
Image Credit: Wikipedia, Richard Sandoval Wikipedia, John Ferguson
Music 27
An upbeat indie earworm, with thought-provoking, emotionally charged lyrics. McKenna becomes a voice for the youth, expressing a universal anger of being silenced and shut down. An inspiring ‘rant’ song that will leave you empowered and ready to kickstart a revolution.
On + Off – Maggie Rogers
Seamlessly infusing coffeehouse folk, indie-pop and electronic dance, ‘On + Off’ is an ethereal, dreamy, love song. The multilayered electronic soundscape, pulsating piano melody and breathy, falsetto vocals will leave you in a state of wistful nostalgia.
Nick Mason Funeral Pyre - Julien Baker
Soft, vulnerable and atmospheric is Julien Baker’s go-to sound, and with the emotional weight it carries on new track ‘Funeral Pyre’ it is easy to see why. Haunting and harrowing, like if Kodaline wrote for Taylor Swift.
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The Kids Don’t Wanna Come Home - Declan McKenna
Vinyl he Big
In a music buying industry dominated by streaming services such as Spotify, Apple Music, and Tidal, vinyl has managed to stake its place as a nostalgic, cultural product in the physical music market. According to the BPI, 2016 brought more than 3.2 million UK record sales, which is 53% more than the previous year and places UK vinyl sales at its highest in 25 years.
Many have speculated on the sudden resurgence of vinyl, highlighting its rise parallel to the current retro craze; with old artists bringing out new music and young artists producing on the basis of nostalgic 70s and 80s style. Vinyl’s imperfect, warm and immersive sound is often thought as complimented most by classic sounds and old school production styles. Therefore, with the resurgence of retro music itself, 2016’s top vinyl sales include David Bowie’s final album, Blackstar, Amy Winehouse’s Back to Black, Fleetwood Mac’s Rumours, and the Guardians of the Galaxy Mix 1-, a compilation of various 70s rock and soul artists appearing in the Marvel
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Amy Bonar
Concrete.Music@uea.ac.uk
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film. However, vinyl is now reaching a far wider audience than this. With the majority of new releases coming out on vinyl and its availability in a vast amount of highstreet chains like Sainsbury’s, Tiger, and Urban Outfittters people of all ages and genrepreferences are buying up records. So, it surely comes down to the cultural value and ritual of listening to vinyl. Music listeners have been far removed from the physical product of music for a while now, even more so with the recent abundance of streaming services. This instant and easy source to billions of tracks, ‘genius’ recommendations, and ‘perfect’ digital sound, has deprived listeners of the value of actually discovering, buying, and owning a piece of music. LPs fill in this gap with their contrasting wholeness, fragility, and collective worth.
Georgina Hewison
Artists have always emphasized the narrative power of song placement in an album, from Pink Floyd’s Dark Side of the Moon to recently J.Cole’s 4 Your Eyez Only. Vinyl takes full advantage of this, as the careful process of removing the record from the sleeve and placing the needle discourages skipping tracks, allowing for a more thoughtful and appreciative listen. For some, though, it’s simply about making a statement. In a BBC survey, 48% of vinyl buyers did not play the vinyl they bought, and 7% didn’t even own a turntable. Instead of the musical experience, the popularity comes from the artistic value of sleeve designs and the expressive quality of owning certain artists’ records. While there are many reasons for the comeback of vinyl, most come down to the listener’s appreciation of the artist’s creative ability in the extensive production of an album - something which streaming services lack in providing.
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Amber Run ‘We have the chance to talk about actual issues’
28 Music
Lucinda Swain
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creating music anything else.
What were your early music interests and influences?
The overarching theme of the album is the feeling of isolation we have all felt with each other and the industry… it shaped the album lyrically and musically. We actually did more writing individually this time and came together to play them.
How long have you been playing together? Me, our guitarist Will Jones, and bassist Tom Sperring were friends from grammar school so have been playing together for years and years and years. We didn’t meet Henry (Wyeth) until we were at the University of Nottingham. We ended up forming the band in 2012 when we realised we’d rather be
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What was your first big break? We were lucky enough to play on the BBC Introducing Stage of Reading Festival, and later signed a deal with RCA Records.
Inspiration for your new album?
How has your music evolved since you first began playing? We’re better musically with our instruments and have a better understanding as to what we can do. We have the chance to talk about actual issues…opportunities to say how we feel about things are making a difference to us. We are definitely more conscious of doing things for a particular reason now then we were before and confident in our own opinions.
Biggest challenge as a band? How did you overcome it? From an emotional perspective just actually carrying on. It’s a funny old struggle being in a band. You have moments when you’re releasing music and people for the full interview, head come up to you
to concrete-online.co.uk
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All About Me – Syd 24-year-old
I had the opportunity to chat with lead singer Joe Keogh ahead of their Norwich show, discussing Amber Run’s latest album For a Moment, I was Lost and overbearing politics in the music industry. The band’s upcoming release is honest storytelling at its best, both atmospheric and spellbinding; a record noticeably different from the upbeat, carefree tracks of their previous album, 5am.
Definitely old-school indierock, but less jangly and more emotive. We listen to a lot of Radiohead, I don’t know if that’s evident in our music.
Tony Allen
saying they like it and then at other times money is not easy to come by and it’s then really easy to start feeling horrific about what you’re doing. The biggest challenge for me was struggling with anxiety and depression with this latest album. Knowing I wanted to do it and that these feelings would pass, I just had to work through them. I’d say that was the biggest challenge so far.
Advice for people who want to start their own band? Just really work hard. You need to really want it. Lots of people will say no and will not like your work. But if it’s worth it to you, you need to keep going. Definitely don’t go into it looking for fame…because there isn’t any. Go and do something new and exciting. If it’s something you are excited about, other people will be too. Most of all just work hard.
Tell us a little bit about your new album coming out February 10th.
Californian
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artist Syd presents the first single from Fin, her soon-to-bereleased debut solo album. Set to a sparse backing, the former Odd Future member delivers a slick, moody vocal which actually explores the importance of those around her.
Fever - Deaf Havana
Taken from the Norfolk band’s fourth LP, All These Countless Nights, released last week, ‘Fever’ is perhaps less arenaready than previous single ‘Trigger’. Nevertheless, its clever guitar hooks and continued outsider themes make it well worth listening out for when the alt-rockers visit the LCR.
Madelene Aldridge On Hold - The xx
Well it was more like drawing a line under two years of music industry politics. It’s about self-reflection in the music industry and how being in a band nowadays, if you let it, stops being spontaneous, fun and becomes too political. ‘Fickle Game’ is about our relationship with music and our falling out of love with it. When you start a band you have fun and then it starts to feel like we are part of this political game rather than just enjoying fun music. Amber Run play Norwich’s Waterfront Studio on 8th February. Illustration: Lucinda Swain
‘On Hold’ is the lead single from The xx’s long awaited third album I See You. After some time away working on his solo project, Jamie xx, Smith’s influence in this song is evident. Coupled with the ever haunting vocals from Oliver Sim and Romy Madley Croft, this track is sure to go down as a classic.
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Concrete.music@uea.ac.uk
Concrete.music@uea.ac.uk Music 29 Guilty Pleasures “so bad they’re good” chart toppers tony allen I’ve found it really interesting talking to people about their favourite worst songs. Not a single person is without at least one guilty pleasure. One friend suggested ‘Crazy Frog’, whose single I’m ashamed to admit I once owned (if I’m not much mistaken, the CD came with the added pleasure of the *ahem* uncensored music video). When I started thinking about this myself, the first thought that came to mind was a big pink and yellow one. Mr Blobby set the bar for horrendous pop with the raison d’être of being so bad it’s kind of good with his eponymous 1993 anthem.
But, it almost seems more brilliantly cringe-worthy when its humans who serve up some terrible fayre that the British public inexplicably lap up. Eurovision is a fertile breeding ground for hideous hits, none more so than Scooch’s truly risible ‘Flying the Flag’ which made me genuinely ashamed, then a tiny bit proud, to be British. Many of my personal favourites are from the 1970s and 80s and first came to my attention through Tony Blackburn’s Pick of the Pops. One really has to wonder what was going on back then when you hear the likes of the crowning glory of awful pop, Meri Wilson’s euphemism-
laden ‘Telephone Man’, which really has to be heard to be believed. It does make me thankful for today’s relative privacy of music consumption. A swipe of a finger and our shame is gone forever, and there’s far less risk of embarrassment when friends come over… Sadly, it seems that the era of specific ‘novelty’ music is largely over. Deliberately terrible chart songs have depleated, since the physical media stopped being our primary listening platform.
Illustrations by Lois Young
Whether this is a good or bad this up to you, but those classics will live on forever like endearing, homely stains on the lush carpet of recorded music.
greatest film scores kate feenstra A good film score, for the most part, knows to speak only when spoken to, to leave necessary space, fill in enough gaps. It reveals
what may not be so clear in the film’s narrative, substitutes for missing emotions or ideas. Mica Levi’s score to the 2013 sci-fi piece Under The Skin is a prime example of this - it sounds like a collection of long-lost alien love songs, a Martian answer to Hank Williams. Given that the central character is distant from the audience (literally an entire other species) the score gives us an ‘in’ into her world, with throbbing, pitched-up drone-like synths, the sounds of pure heartbreak. This is a similar case for Jonny Greenwood’s There Will Be Blood (2007) score - Greenwood delivers
not so much ‘music’, as a series of primal, aggressive sounds trapped inside an oppressive box. The score mirrors the film’s claustrophobic superstition alongside strong visuals of mammoth oil rigs and newly built churches with paper thin walls. Of course, when it comes to my favourite film genre Bollywood - music is hardly an understated affair. Music in Bollywood is not so much set up in scores, rather the songs become characters themselves, with important lines/lyrics, dances/actions. The 1995 Dilwale Dulhania Le Jayenge (incidentally one of the best films of all
time) introduces a dancing Simran with the joyous song ‘Mere Khwabon Mein’, without which we would simply not understand the carefree, ecstatic youth of her character. Similarly, ‘Maar Dala’ in Devdas (2002) is a piece wherein Chandramukhi laments her broken heart with an overwhelmingly bittersweet song alongside all her fellow courtesans. This scene, as with so many Bollywood scenes, reflects more widely how music in film transcends beyond the purely visual or purely sonic - finding ways to tell a story that is unspoken, nonnarrative, and beautifully effective.
Illustration by Lucy Croft Image: Flickr, Steven Gerner