Counterpoint Issue Four

@_counterpoint

Summer 2014

COUNTER POINT

HIDDEN WORLDS issue four b movies - copenhagen - video games - fan fiction - photojournalism

Counterpoint is an online publication featuring thoughtful journalism, photography and illustration.

Counterpoint is based in Edinburgh, Scotland.

The fourth issue of Counterpoint is themed Hidden Worlds.

The articles in this issue look at communities, scenes and stories - online and offline that remain under the radar.

CO NTEN TS 4

Through a lens, darkly

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Brave new worlds

Why the British b-movie scene provided a way of reflecting social reality that Hollywood couldn’t match

How video game developers are breaking barriers in virtual storytelling and narrative design

12 Hidden depths

An exclusive photo essay explores the personal retreats of three New Yorkers

16 Velkommen til Christiania Where the hippy spirit lives on in the heart of Denmark’s capital

20 Stranger than fiction Fan fiction communities thrive on the internet - what can

they offer the literary world?

C ONTACT counterpointeditor@gmail.com @_counterpoint counterpointjournal.co.uk Cover: Stephanie Shaw

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Cheap Thrills Counterpoint takes a look at the rough diamonds of the British b-movie industry Words: Alexander Majewski Pictures: Bea Shireen

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Unloved, but in some cases unforgettable, the British b-movie scene has often been overlooked by critics and audiences as a vital source of cinematic magic.

Although they may have been the first production witnessed by the audience, they were never the main attraction for movie-goers – the neglected little brothers to their feature-film silver screen siblings.

B-movies painted a picture of colloquial life, a homegrown mirror into the times and habit of everyday Britain.

During cinema’s heyday, b-movies provided a warm-up act for the billed feature film. They were displayed to an unsuspecting audience, and with no way of telling which movie was going to be shown there was often little correlation between the main attraction and the b-movie that preceded it. They were churned out with a strict budget, a tight schedule and no-name actors.

and franker comedic output. The worst were laughably bad, but nevertheless possessed the ability to bring a smile to even the sternest of faces.

Whilst they might not have been as impressive as their big-name counterparts, the best b-movies had the ability to wow their audiences through other means – be it their honest dramatic portrayals of British society or their freer

Blockbusters at the time portrayed heroes fighting for justice and fighting for their lives (or, in the case of John Wayne, fighting Native Americans). But the heroes in your standard b-movie were characters with real problems, wooden acting and unglamorous faces, not charming Americans phoning in their lines from across the Atlantic.

Looser regulations and a smaller audience allowed b-movies to get away with riskier content.

B-movies painted a picture of colloquial life, a homegrown mirror into the times and habits of everyday Britain. A world away from the glitz and glamour seen on the Hollywood big screen, the b-movie provided an unvarnished window into British life.

Ingrid Bergman may have broken Humphrey Bogart’s heart whilst saving the Czechoslovakian resistance in Casablanca, but your average lady in the 50s was very likely just doing the dishes, washing the sheets and fancying the postman a bit. B-movies played up to this.

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Characters in British b-movies burned for desires that could never be satisfied.

A fine indicator is Marilyn (1953), in which the protagonist and namesake falls in love with the mechanic who accidentally killed her husband. She then opens up an American diner in place of the previous British garage.

Ultimately it fails, and Marilyn is left heartbroken by her new love and broke from her failed attempt at

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chasing the American dream. The film has everything: love, wit and good oldfashioned on-screen violence. But what lingers is a longing for America – the land of cars, music and Hollywood, half a world away. Characters in British b-movies burned for these desires that, as Marilyn discovered, could never be satisfied.

Britain was such a pivotal hub in the b-movie scene of the 1950s largely thanks to the Eady Levy – a tax on box office receipts that was redistributed to producers. Funding was available if at least 85% of a film was shot in the

Thanks to their quick output and homegrown ethos, b-movies had the ability to tap into societal trends at speeds that Hollywood couldn’t match.

UK, an attractive lure for tight-fisted American producers to come to the UK to shoot their films. The Levy also acted as an incentive for British producers to increase their output in order to get their hands on the rebates.

Thanks to their quick output and homegrown ethos, b-movies had the ability to tap into societal trends at speeds that feature film productions couldn’t match.

For instance, the first true British acknowledgement of the fast-paced, hyped-up mix of country and blues that came to be known as rock n’ roll was the 1957 b-movie Rock You Sinners.

An early rock n’ roll musical film with a big budget ethos and a tight schedule, it came with original dance numbers and songs. Tapping into the emerging teenage market of the 1950s was one of the most impressive feats of the

b-movies scene, something that the rest of the British film industry took much longer to manage.

It’s possible to look at the mainstream films of the 50’s and think people were prudish. But b-movies were given much greater freedom to explore the darker thoughts of the mind.

The 1961 picture Naked as Nature Intended was intended as an homage to nudity, at a time when the slightest of nip-slips was deemed a red rag for the board of censors. But looser regulations and a smaller audience allowed b-movies to get away with riskier, ruder content.

Nowadays, those with a penchant for cheaply made, realistic entertainment can indulge in the comfort of their own homes with dinners on their laps and television remotes in hand. But in the days when cinema reigned unrivalled, b-movies offered a deeper and more meaningful experience for the viewer.

The British b-movie lives on. Any of the late night film channels that flood the dark depths of Sky Movies will attest to their continued existence. The acting is still as wooden as ever, the dialogue just as stinted and the editing is rushed, but as part of a long tradition of knockoff films, the b-movie still has a quality all of its own.

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How to build a universe Video game developers are the creators of code-bound worlds. Counterpoint looks at how developers are combining cutting-edge game design with meaningful storytelling.

Words: Sam Bradley Pictures: Abigail Woodhouse

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As readers and audiences, we devour stories on a daily basis, consuming variations on familiar themes steadily throughout our lives. The world of the familiar story - populated by railway station paperback detectives, stern New Yorkers facing down yet another global crisis unfolding on 34th St and summer romances coalescing on Balearic beachfronts - is always experienced in the third person and resolved in a neat three-act arc.

Video games have long been criticised for being too derivative

Video games have long been criticised for being too derivative – for encoding established sci-fi cliché, lifting Hollywood action movie dialogue, or copying from other video games.

Their flagship title, Fallen London, is a role-playing adventure set in an alternate-history version of Victorian London. The game uses very few visual elements, instead relying on the power of text to project an immersive and subversive world into the imagination of the reader.

In part, this criticism, often levelled at blockbuster titles like the Call of Duty or Halo franchises, is due to video game developers creating stories which access the safe world of the familiar story. Because games allow a player to directly experience the story world, the settings in which game narratives play out are subject to a far greater level of scrutiny from audiences than any cinematic or literary equivalent.

Developers therefore find themselves faced with a choice: to build an inviting, enveloping and unique scenario which satisfies the curiosity of the player, or to focus on a tight, structured story which can elevate the game beyond mere simulation. But as the games industry has matured in recent years, so has the way that games developers approach storytelling.

Failbetter Games are a London-based game developer who have been at the forefront of narrative innovation in the gaming world since their inception five years ago.

In Fallen London, the player pursues a multitude of stories simultaneously by drawing randomly sorted episodes from a pack of cards. With an innovative and flexible structure, Fallen London achieves a level of thematic dexterity far beyond that of many of its contemporaries, and all without needing a CPU-draining graphics card to run.

To find out how Failbetter approach narrative design, I spoke to Adam Myers, an analyst and self-described ‘world-maintainer’ of Fallen London.

Dragging him aside from the feverish final touches to Failbetter’s newest title Sunless Sea, I asked him which influences impact most on the writing

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in Fallen London. “Fallen London has an eclectic set of influences, including choose-your-own-adventure books, CRPGs, Eliot, Chesterton, hardboiled detective fiction, King of Dragon Pass and yes, interactive fiction,” he says.

“Fallen London doesn’t look much like traditional interactive fiction - it uses a very different world model, with social elements, an MMO-style economy and, most obviously, no parser. But my favourite difference is that in Fallen London, you can’t undo an action or reload.

“Choices can be irrevocable, and that gives actions a heft and consequence

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they don’t always have in games.

There are of course a cartload of commonalities, too: the biggest is a fascination with the possibilities of interactive storytelling.

“Fallen London isn’t a single story: it’s a composite of many stories, the way a painting is made up of brush strokes.

The stories fit together because they have some things in common: a setting, a protagonist, certain themes, like love and avarice. This has tremendous practical benefits. We can offer players lots of consequential choices because we don’t have to fork the main narrative every time. If you side with striking workers or drive a friend to madness,

Fallen London remembers and will respond to that again and again, down the line.”

With scores of stories contained within the game, Fallen London lives and dies on the quality of the writing itself. Failbetter estimate that the game contains over 400,000 words - making it significantly longer than War and Peace.

Myers explains the advantages of working with words, saying: “Text is incredibly flexible. The range of activities in Fallen London - from mudlarking on the shores of the Stolen River to writing symphonies or playing croquet with devils - would tear almost any other kind of game apart. Furthermore, the idiom of gaming is heavily inflected with violence, and text helps us get away from that.”

Despite the depth of Fallen London’s setting and the sheer amount of subplots and storylines, Myers says that Failbetter try to remain on-task with their narrative. “Fallen London is often singled out for the strength of its atmosphere and setting, but we’re quite ruthless about focusing on events and culling unnecessary detail. As Alexis [Kennedy, co-founder of the studio] once put it, we go heavy on the incident rather than the ambient - and somehow, the setting asserts itself through that.”

For the fans of online multiplayer EVE Online, there is no question over whether the game world is immersive enough. For them, it’s real. The game, which blends the freedom of a sandbox with the depth of hard-sci fi role-play, is

set in a far future in which spaceships are captained by cloned ‘capsuleer’ pilots. Designed by Icelandic games developers CCP with a deliberately laissez-faire framework in mind, EVE gives players the freedom to pursue whichever goals appeal to them the most, rather than being pushed into any particular storyline or mould. The breadth of choice granted to players has come to define the game as uniquely reflective of its players’ desires. In EVE, the most important stories are written by the actions of the players themselves.

EVE Online is as complex as it is addictive, containing a reactive internal economy which supports an escrow market and dozens of amateur-run media outlets devoted to reporting on in-game events. Players band together for the purpose of military or economic hegemony, whilst the depth of digital diplomacy and geopolitical strategy form a meta-game above and beyond the scope of the original design.

It’s this aspect - the complex digital community which has grown organically within and without EVE - which has driven acclaimed gaming journalist Andrew Groen to begin writing a history book about the politics and conflicts that have defined the game. He says that the book, ambitiously titled A History of the Great Empires of EVE, will be the first ever history of human behaviour within a digital environment.

Speaking to Counterpoint from Chicago, Groen said that: “I think it allows a different player experience than what you can find in any game anywhere ever made. EVE is really the only game

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where the developers allow the player to have true agency in determining how the world progresses. Developers have been playing lip service to the idea of a player controlled universe for decades, but only Eve has ever actually delivered.”

Groen says that despite the scripted story’s popularity amongst players, it’s the unscripted interactions between players which really drive the game.

“There are definitely two distinct stories. The backstory can be really fun, but most players tend to ignore it completely. On the other hand, EVE has a pretty strong roleplay community whose every action is based on the ingame lore that CCP has written. That’s one story.

“The second story is that which the players have crafted for themselves through their actions. This is a similar case in that most players know very little about what’s been happening for the last ten years. Goonswarm and Pandemic Legion [in-game player alliances] have very little impact on the average player. That said, I do think these player groups are considered a part of EVE’s unfolding lore. That’s part of why CCP Games has been making more of an effort lately to focus on telling those stories through their comics and television efforts.”

As a working games journalist, Groen has covered and reviewed countless titles. When I asked Groen what exactly had driven him to write a history book about an online game, he replied with telling passion.

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Fallen London isn’t a single story; it’s a composite of many stories, the way a painting is made up of brush strokes He writes, “What’s unique about EVE is that it’s the only game that actually has player-driven internal history. No other game has a flow of power and politics.

What really drew me to writing about the game was that I began to understand that events in EVE can be understood chronologically. Which is to say: the fall of one alliance is responsible for the rise of others. That’s a unique thing in video games. For example, if one guild falls apart in World of Warcraft, the balance of resources and power in Azeroth doesn’t change. And so EVE is the only game that requires you to go back to the beginning in order to fully understand the present.”

Groen is self-publishing A History, which he estimates will be ready for shipping in May 2015. An indicator of the popularity of his project amongst EVE players, and the power which that popularity entails, is Groen’s Kickstarter pitch. Like many inventors and entrepreneurs before him, Groen went to the online crowdfunding site in order to use donations to fund his project, and although he asked for only $12,500, he’d received $97,000 in donations within a month - a return of 765%.

The world is playing this game together on the same server for decades, and that’s significant and unique in human history At the end of our conversation, Groen expanded on his motivations behind the project. “It was also the fact that I began to realize that what happens in EVE legitimately counts as human history. The world is playing this game together on the same server for decades, and that’s significant and unique in the course of human history.

I really got excited about this when I realized, beyond a shadow of a doubt, that people will want to know about what people were doing in EVE 50 years from now.”

The recent explosion in popularity of games that incorporate ‘procedural’ elements - stories which are programmed to unfold in an unscripted, random manner - is one symptom of a games industry adapting to produce more advanced narratives. In particular, titles such as Faster Than Light, Hotline Miami and The Banner Saga, which combine unscripted events with ‘roguelike’ game design, have received massive critical acclaim since their release.

In an email sent from Failbetter’s London studio, Myers tells me that: “Indie roguelikes are hugely popular at the moment, with good reason. Because they involve frequent and permanent [character] deaths, they generally rely on procedural elements to introduce novelty to keep the gameplay fresh.

That makes heavily scripted stories difficult, so naturally encourages emergent narratives - stories built from pieces that change procedurally from game to game. This looks experimental because it’s unusual in [blockbuster] games, but it’s well-trodden ground; Sid Meier’s Pirates and Nethack, for example, were doing this back in the 80s.

“I think what most of us [developers] are working towards is making games that feel responsive without falling prey to combinatorial explosion - the enormous content burden that arises as a story branches, and branches again and again. Emergent stories are one method, but it’s also possible in a tightly scripted game like the Walking Dead.”

Despite a maturing, thriving games industry harbouring dozens of innovative and inspiring development studios, video games are still some way from becoming accepted in the mainstream as legitimate and intelligent works of art. That doesn’t matter. By subverting the world of the familiar story with worlds of their own - wholly independent, hidden worlds containing stories which write themselves - games are the most narratively innovative art form being created today.

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Sanctuaries We live in an age of sharing. Whether it’s using Twitter to post a link to an article we found interesting, taking a photo of our dinner on Instagram or finding a date on Tinder, sharing seemingly mundane parts of our everyday life has become deeply ingrained in the 21st century human condition.

This photo essay explores the smaller moments – ones that are still crucial to our daily lives but which are not regularly publicised. While seemingly insignificant, these small rituals play crucial roles in the lives the subjects lead for a range of individual, spiritual or philosophical reasons.

The simple acts of completing these practices, documenting them through text and image, and consuming them visually creates a world unto itself. This is a world that is not to be found on a stream of Facebook posts, but one that is simultaneously shared, hidden and ripe for discovery.

Words and Pictures: Riley Kaminer

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“This is my zen place. Working all day in Midtown Manhattan can get to you. My garden is where I let go and daydream.”

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“I like climbing. I think I’m pretty good at it. Once I climbed up a tree that was bigger than a building!”

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“Making a strong a connection between yourself and the person you’re counselling is key. This bond will create a safe place, making everyone feel comfortable.

Getting to that place isn’t easy – but progress is easily made once we’re there.”

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Welcome to Freetown Counterpoint explores Christiania, the housing commune in Denmark’s capital where the hippy dream lives on Words: Sofie Ejdrup Larsen Pictures: Bethany Thompson

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You may have heard of Christiania, the so-called ‘freetown’ in Copenhagen perhaps best known in an international context for its cannabis trade. Despite its modern reputation, Christiania has a lot more to offer than drugs and controversy.

How and why did Copenhagen end up with a freetown in its backyard?

First and foremost, the freetown represents an alternative to the rest of society in terms of lifestyle, values and urban community. For more than 40 years Christiania has served as a playground for creative souls and original thinkers. Along the crooked paths of Christiania, one can find vegetarian restaurants, edgy concert venues, and cool art galleries.

As a result, the freetown has come to be a valued part of contemporary Danish culture and history – not to mention a tourist magnet.

But how and why did Copenhagen end up with a freetown in its backyard?

The story of Christiania begins in the late 1960’s. After the military moved out of their barracks in the borough of Christianshavn on the outskirts of Copenhagen, a large area was left empty. Then, as today, there

was a lack of affordable housing in Copenhagen. In an attempt to acquire more green areas and playgrounds for their children, the inhabitants of the surrounding neighborhoods broke down the perimeter fence and started to reclaim parts of the unused grounds.

Principles such as freedom and fellowship have been key values of Christiania from the very beginning. In 1971, when Christiania was ‘officially’ founded, the defining vision of the freetown was outlined as: “To build a self-governing society in which each individual can flourish freely under the responsibility of the community”.

Principles such as freedom and fellowship have been key values of Christiania from the very beginning However, over the years the freetown has been criticized in Denmark by conservative politicians. The most common argument voiced against Christiania is a legal one. Until an agreement struck in 2011, the buildings built on the former military grounds were not technically within the law.

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For a while, regular police raids resulting in the arrests of dealers and customers threatened the community Since the area was never sold or bought, legal ownership was undefined.

The people of Christiania claimed they had the right to use the area, while the Danish right-wing claimed the opposite.

The trade of cannabis has been an obvious thorn in the side for conservatives. The cannabis trade has triggered power struggles and countless police raids against Christiania during the years. In 2004, a right-wing government tried to “normalise” the freetown by shutting down Pusher Street, the notorious epicenter of Copenhagen’s cannabis trade.

Christiania went from being owned by the state to being owned by supporters and residents

For a while, regular police raids along with the arrest of dealers and customers threatened the community.

Naturally, legal action against Christiania resulted in anger and frustration on the pro-Christiania side. Following the campaign, a national campaign for the preservation of Christiania began.

Suddenly, teenagers wore t-shirts supporting the freetown and support songs sung by famous Danish artists were played on the radio.

The 2011 agreement between the Danish state and Christiania made it possible to buy stocks of the freetown.

Christiania went from being owned by the state to being owned by supporters and residents. Today, the buildings of Christiania are fully legal and the future of the freetown is secure.

Even though the illegal trade of cannabis in Christiania continues, the freetown has a special place in the hearts of many Danes. Part of the legacy of the free-spirited ideas of the late 1960’s and 70’s, Christiania is a living reminder of a key part of modern Danish history.

This fondness and understanding is what protects Christiania from the law and authoritarian politics.

Despite the ups and downs, Christiania continues to define its own ways.

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Fear and Loathing on the Fanfic Forum Counterpoint focuses on the secret world of online fan fiction. It’s everywhere, but is it literature?

Words: Lene Korseberg Pictures: Steph Coathupe

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“It is doubtful whether Mrs Bennet missed the company of her second daughter, but her husband certainly did.

Elizabeth had always been his favourite child.”

Does this sound familiar? For the untrained eye, this could very well be a quote from one of the last pages of Jane Austen’s Pride & Prejudice.

However, if you were to frantically look through that worn-out copy of Austen’s masterpiece, I’m afraid you will be disappointed. The quote is taken from the 2012 novel, Death Comes to Pemperly, by J. D. James. It is, in fact, a work of fan fiction.

Fan fiction. Loved by some, hated by others. The latter category has a tendency to see fan fiction as the low point of literature, as a genre that corrupts original masterpieces.

For the former category, however, fan fiction arose as a celebration of the masterpiece. Millions of people inspired by your work – what greater compliment could an author get?

In order to truly understand fan fiction, one has to look beyond the debate we now see in the media. In contrast to what many people believe, fan fiction did not arise with the creation of the World Wide Web. If we go back to the time of Jane Austen and Daniel Defoe, we find accounts of how eager readers would take their works use them as a starting point for their own stories.

However, what perhaps is unique with the modern version of fan fiction, the one so closely associated with the internet, is the sense of community it has managed to accommodate.

Before, people would sit at home, write their stories and then hide them away. Only a few would be shown to friends and family, and only the most unique stories would ever reach the hands of a publisher. Now, fan fiction has managed to create a community almost unprecedented in the world of literature. As of 2010, fanfiction.net had almost 2.2 million registered users, making it the largest website of its kind in the world. Just the sheer scale of this industry is forcing us to take this phenomenon seriously. Critics can no longer dismiss it as unworthy of their time. But what is it that makes the fan fiction community so popular?

For an outsider, the internet fanfic community appears a secret world. It is easy to dismiss as a place where eccentric would-be writers come together to get some long-wanted attention. However, such an explanation is too simple. One should never dismiss something that has the ability to bring people together in the way that fan fiction has as a mere waste. To do so would be to naively ignore the power of the masses.

In fact, fanfic forums, as with any other forum where likeminded people come together, represent a sort of sanctuary to the people involved. They allow users to express an opinion without the danger of being ridiculed by an outsider.

Literature, which still has the mark of high culture in society, clearly distinguishes between the author and the amateur. We rarely hear of the two combined, the “amateur writers”;

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we only hear of would-be writers, eccentrics with an unrealistic dream of someday having their stories published.

These prejudices are often generalising and unfounded, and ignore the power of inspiration generated by the love of literature.

Fanfic forums are unique in that they successfully manage to bridge the everwidening gap between the professional author and the isolated amateur. It allows people that otherwise would be seen by outsiders as “wasting their time� to express themselves freely to a large audience, to informally

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publish their writing to people who are genuinely interested in what they have to say. That is the beauty of the internet.

People that otherwise would not be able to reach out with their thoughts and ideas can now target their audience so as to not only find people who might be interested, but also to avoid people that otherwise would leave them open to abuse.

It is precisely this sort of critique that people who are interested in fan fiction seeks to avoid associations with forums like fanfiction.net. Although postings are of course judged on the quality of

Fanfic forums manage to bridge the gap between professional authors and amateurs their plot and their style of writing, the expectation that ‘anything goes’ seems to lower the bar for what is accepted.

As such, it can appear as though people involved in this hidden world would like it to stay hidden.

However, with the rise of fan fiction authors such as E.L James, author of the now infamous Fifty Shades of Grey, and the crossing-over of well-respected authors such as J.D. James to the fan fiction genre, this may not be the case for much longer. The fanfic community, which to some extent arose to bridge the gap between professionalism and amateurism, is experiencing a divide within its own ranks; those who get published and those who do not.

The insider, who by their very nature previously took a stance against the elitism of high-culture literature, is now joining the other side, the side of the publishers and the critics.

This is not to say that fan fiction no longer is the target of criticism; in fact Fifty Shades of Grey is probably one of the most heavily criticised books published in the last decade. It is only to say that the fan fiction community has to some extent lost the power of unity. Fan fiction is today not only criticised for being of poor quality, as

was the issue before. It is now also, in a weird sort of way, criticised of being good enough to publish. In the eyes of the critics, Fifty Shades of Grey should never have been allowed to reach the printer’s press; however, even the most stubborn critic cannot deny its unprecedented success.

Traditionally, the fan fiction community has been criticised for not being serious, ambitious or professional enough to be taken seriously. Now, when some of its members have moved into the ranks of the promoted and the published, the same critics argue that they are taking themselves too seriously and that they should stay in their respective forums.

Nothing appears ever to be good enough. As long as one is associated with the term ‘fan fiction’, everything produced under is name is considered low culture and of lesser value.

However, for the millions of people involved with fanfiction.net and the like, the controversy associated with Fifty Shades of Grey and other published fanfic works has still not managed to remove the sense of community that is so clearly representative of their world.

For most of them, this hidden world, characterised by a love of literature and a passion for writing, is still hidden.

Being hidden and secret does not mean that the force of your existence is in any way less powerful. It only means that you can hide away from the critics, to indulge yourself in a favourite piece of literature and be inspired to continue the work of that author who managed to put into words what most of us could only dream of ever writing.

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CON T R IBUTO RS Words

Pictures

sam bradley

abi woodhouse

sofie ejdrup larsen

steph coathupe

alexander majewski

bea shireen

lene korseberg

bethany thompson

riley kaminer

stephanie shaw

Editors sam bradley bethany thompson you can read about our contributors at counterpointjournal.co.uk/writers or /illustrators

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G ET T IN G IN VOLVE D The next issue of Counterpoint will be released in autumn.

We hope you liked reading our words and looking at our pictures as much as we enjoyed writing and drawing them.

We want writers, illustrators and photographers for our next issue. If you want to do something creative for Counterpoint, we’d love to hear from you. The best way to get in touch is to send us an email at counterpointeditor@gmail.com.

This work is licensed under the Creative Commons Attribution-NonCommercialNoDerivs 3.0 Unported License.

The views expressed in this work are those of individual contributors and are not endorsed

by Counterpoint or its editorial staff.

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