FUSE Issue 40

Fuse.

DLC deception WATERS Occursus Best and worst movie posters

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In October last year, Cineworld hosted a one-night screening of Back to the Future – my favourite film of all time - to celebrate its 25th anniversary.

Watching that film on the big screen, with a bucket of popcorn in one hand and a bucket of Pepsi in the other, somehow felt right.

After hundreds and hundreds of times watching Marty McFly on DVD and on late-night television, I was finally seeing him the way he was meant to be seen.

But as I left the cinema, still playing “Johnny B. Goode” on the air guitar, I got to thinking – why hasn’t this been done before? I mean, the film has achieved cult status, and is still firmly embedded in pop culture a quarter of a century later.

And there are probably millions of teenagers like me out there who’d long to see it in the cinema, and pay good money for the privilege… so what stopped them?

The answer is as sad as it is simple – remakes. Hollywood is running out of ideas so quickly

that an increasingly high portion of its new releases are lifted straight out of its archives, given a lick of computer generated paint and a new cast and slapped on the screen to rake in money. And sadly, the end result is almost invariably crap.

Somehow we are expected to believe that because there is more money to throw at films these days, the result will invariably be of a better quality. But sometimes it’s the age of a film that gives it half of its charm – E.T. and Jaws would probably look less cheesy if the puppets had been replaced by pixels, but then there’d be no soul to either of them.

The reason the shark in Jaws swam in a circle was that its fin got bent accidentally. E.T.’s walk was inspired by a teenage amputee who used his arms to move around.

Without these stories neither film would be quite the same in its execution, and it’s a lot more difficult to bend a fin when the shark is on a computer.

Similarly, the enduring popu-

larity of certain films comes from particular performances.

There is no actor alive today, for example, who could portray Don Corleone like Marlon Brando could; no-one who could crack Indiana Jones’ whip quite like Harrison Ford; no-one who could click their heels like Judy Garland.

If we keep re-hashing these films, we’ll eventually forget why we loved them so much in the first place.

To use that old maxim – if it ain’t broke, don’t fix it. So let’s get cinemas to get those old reels out of the back of the cupboard, brush the dust off them, and put them into the projector

SHORT FUSE

If it ain’t broke don’t fix it

for old time’s sake. Yes, these films may be old, and the special effects may be dated and cheesy, but when you’re sat in a dark cinema, staring in wonder at a giant screen, you’re usually having far too much fun to care.

Philip Bayles

Competitions: Win gig tickets and signed CDs Red Hot Chilli Peppers

Rock legends, the Red Hot Chili Peppers, are coming to Sheffield on November 17, and you could be in with a chance of winning a pair tickets to see them courtesy of our friends at the Motorpoint Arena.

As part of their global tour, the band will be playing a gig at the Motorpoint Arena where you can expect all their classics and songs from their new album ‘I’m With you’.

To be in with a chance of winning all you need to do is answer this question.

To be in with a chance to win one of two copies of Bombay Bicycle Club’s new album, A Different Kind of Fix, signed by bassist Ed Nash and drummer Suren de Saram just answer the following question:

Which Chilli Pepper’s original name was Michael Balzary?

Anthony Kiedis Chad Smith John Frusciante Flea

What was the name of Bombay Bicycle Club’s acoustic, second album; A) Flaws B) Flawed C) Floors or D) Floored.

The competition can be entered online at bit.ly/hotpeppers The competition will close on Monday November 14

To enter email: competition@forgetoday.com with your name, answer and put ‘Bombay Bicycle Club’ in the subject field.

This week’s cover artwork has been drawn by the talented Miriam Dobson.

Fuse Musings Fuse have been enjoying the build up to Christmas....

of Michael Bublé’s Christmas album. Although Bublé may be cheering us up the Christmas songs should only be sung on the day itself.

Fuse is seriously impressed with Louis Theroux’s latest show...

Even though it may only be the beginning of November we’re enjoying the soft tones

Taking a backseat from the more serious issues of criminals Theroux looked at America’s most dangerous pets. From Tigers to Baboons those across the pond have a different taste in pets to us Brits. All we’re

going to say is some of them seem a little too close to their alternative ‘man’s best friend’.

Fuse.

Fuse is bemused by TV’s Dr Christain...

Dr Jessen, the star of Channel 4’s Embarrassing Bodies, has been doling out medical advice on Twitter with his own sarcastic overtones. Much to the annoyance of his followers he insists on answering everything in capitals. STOP IT.

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GAMES

Feature.THE DLC DECEPTION With many gamers already up in arms over the spiralling costs of games, developers are adding hidden costs with the increasing popularity of downloadable content.

Words: Ellen Jurczak

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ames are expensive. We all know this. But the savvy gamer knows how to cut corners and save cash whilst still picking up the latest releases – to pick up a second hand copy a few weeks later, or trade in an old worn out game, or wait six months until the price has inevitably plummeted.

But there is one way in which every player is forced to pay top whack or else miss out entirely, and that is through downloadable content.

Regardless of whether you come to collect your downloadable content (or DLC) on the day of release or two years later, you will always have to pay premium rate for these extras. And why? Because publishers know you’ll pay it.

Yes, in a world of hidden extras, the gaming industry has jumped on the bandwagon and made downloadable content just another pitfall for the consumer.

“Is it justifiable for a game to withhold characters and storylines from players simply because they aren’t willing to pay extra?”

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Friday November 4 2011

DLC comes in all sorts of varieties, from supplementary item packs or new weaponry, to new levels or missions, additional characters worked into the narrative, and more besides.

Granted, these extras often add a great deal to your overall gaming experience and can be immensely fun, but are they really worth the asking prices? Obviously there are perks to DLC, but the negatives are sizeable.

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Even on release week you can usually buy a brand new game with 40 odd hours of gameplay for under £40, but an extra two hour mission can cost you as much as £8.99.

With at least four or five DLC additions now standard for a game, getting the full experience is going from being already arguably too expensive to becoming borderline extortionate.

Completionist gamers are being put in a position where they end up having to pay practically the cost of the game itself again just to get everything out of

“In a world of hidden extras, the gaming industry has made downloadable content just another pitfall” the game that would have been standard before the invention of DLC. Not only is DLC over-priced and will not be reduced over time, but its very existence provides an incentive for developers to leave content out of the initial release deliberately.

This worrying trend of developers creating content on the disk but making it inaccessible without downloading the relevant code is just another way the industry is attempting to exploit gamers.

For example, Bioware’s Dragon Age was released with a code to download the golem Shale, one of the funniest, most intriguing characters in the game.

Yet if you don’t have an internet link up for your console or bought your game second hand (making the one-time use code void) you will be one of many unlucky gamers with no idea who this pigeon-hating deadpan dwarf turned rock creature even is.

Not only did Batman Arkham City pull the same stunt with Catwoman’s code, as discussed in Game’s editorial last issue, but go to the PlayStation Network or Xbox Live and you’ll see that the game already has Robin available and ready to download.

Now let’s be honest, no one is buying a Batman game so they can run around as his sidekick (even Robin probably buys Arkham City so that he can have a go at being Batman for once), but the issue re-

mains.

The issue there is, simply, is it justifiable for a game to withhold characters, who often play an integral part in the story and add significantly to the gameplay experience, from players simply because they aren’t willing to pay that little bit extra?

Moreover, demanding a fee for content that already exists on the disk is, frankly, greedy and extortionate.

Yet this trend shows no sign of abating. Some games are even advertising their DLC as part of their marketing campaigns, making a virtue out of their already prepared and easy to insert without any extra cost add-ons then making you pay for the privilege.

Battlefield 3 even proudly proclaims that buying the game new gets you an exclusive code to play the game online in multiplayer, something gamers would be forgiven for thinking should be coming as standard.

Several developers release ‘exclusive’ or ‘gold’ editions of games six months or a year after release which include all of the previously released DLC for free, just as another kick in the teeth to gamers who bought the content (and the game itself) as soon as it became available.

More frustrating still, in some cases, once purchased, DLC becomes locked to a specific console and cannot be transferred to another user, so if your console breaks, tough luck, looks like you’ll have to shell out for all of your DLC all over

“Demanding a fee for content that already exists on the disk is, frankly, greedy and extortionate” again.

The price of the DLC itself may vary in a few pounds depending on length, but otherwise it is dictated entirely by the publishers.

As a result, there is no correlation between the amount asked for and the quality of product.

As wonderful as it is to see the world you have come to love be expanded even

further, or to explore new characters and various story elements in even greater detail, much DLC does not live up to these expectations.

Some consists of just a couple of extra items, which you clearly didn’t need to complete the game first time round, or are lazy, tacked on additions which would barely count as side-quests if they had originally been included in the narrative.

With reviews and quality having no impact on pricing, it is a serious issue for a gamer to distinguish between the purely money-grabbing expansions and the ones developers have created out of a genuine passion and love for the game.

Though it is easy to lay the blame on greedy developers, this isn’t always the case.

Downloadable content pricing and scheduling decisions are often actually made by the publishers.

Controversy even struck when Gears of War developer Epic Games, who previously gave their content out for free, were told by Microsoft to implement fees, and there are other stories of the release dates for DLC being pushed back because of disputes caused by developers refusing to accept their publisher’s pricing plans.

The problem, then, lies in the gulf between the demands of the publisher and the demands of the gamer. Publishers want DLC to be easy to create, available instantly and often, and to charge premium prices for it.

Gamers want DLC to add to the overall experience of a game, prepared carefully and thoughtfully as developers come up with new ideas and respond to player feedback, not just be a way of making them pay extra for already prepared content, and be reasonably priced.

Until these two lines of thought can be reconciled, not to mention developers being allowed to have input into how their creation is developed and sold, the DLC deception will continue to leave all parties unsatisfied.

Making WAVES

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here’s something unmistakably American about Van Pierszalowski, despite his worldly travels.

Having retreated to Norway after the dissolution of his previous band Port O’Brien, Van focused on the amazing opportunity Oslo gave him to “catch [his] breath and refocus for the new project.”

The new project in question is WATERS, whose debut album Out in the Light was released in September to a welcome reception of critics who had been waiting to see what his year abroad had inspired.

“So, that was a huge selling point, and I knew he could also record like, big drums, and he just seemed like an awesome guy. It was a really awesome experience.”

“It felt better to just announce that Port O’Brien was over”

The album was created, Van says, in an entirely different way to any previous Port O’Brien output; of his decision to work with producer John Congleton, he states:

Van laughs as he compares his work with Port O’Brien to his new methods in WATERS. “I just did tons of pre-production, and made sure that by the time we got into the studio, we were totally ready and prepared. That’s why it only took 10 days.”

“Well, I knew I wanted to work with a producer this time around; I had never really done that before. I’d spent all this time writing and obsessing about these songs, that I needed someone from the outside to just be able to have a clear vision for things.

There doesn’t seem to be any regret about his decision to move on, a feeling that is echoed in Out in the Light. Van notes, “By the time of our last European tour as Port O’Brien, it was clear – to me, anyway – that the band was over.

“I was really into tons of stuff that John had done – that Bill Callahan record, Sometimes I Wish We Were An Eagle, is one of my favourite records of all time, and part of that is just because of the way it sounded.

“I thought about keeping it going, just having it in hiding, but the reality of the situation is that it would be pretty impossible to ever play with that band again.

It felt better to just announce that Port O’Brien was over, and this is

Fuse talked to ex-Port O’Brien member Van Pierszalowski about new project WATERS, travelling to Norway, and the aesthetics of good music. my new jam.”

His “new jam”, as he calls it, has a clear theme: “The themes are about starting over, which, for me, is one of the hardest things to do; I get kind of scared of moving on in some ways, and I get nostalgic for the past, and caught up in things like all the work I’ve done in the past.

“The theme of this record is like, if you realise that you’re not happy or you’re not stoked with the way things are going in your life, you’re not too old to totally make drastic changes.

“But that is also a very hard process; it can come from a lot of dark times, so I feel like the record is dark in a lot of ways, but at the end of the tunnel, I feel like it’s a positive record.”

“It’s really an aesthetic decision.”

Van’s Californian drawl makes the word “record” sound special, as if the anachronism adds gravitas to the many albums he lists as enjoying.

During the recording of Out in the Light, he says he listened a lot to The Weeknd, “just because

MUSIC

Interview.WATERS

the vibe of The House Of Balloons mixtape was so beautiful and raw-sounding.”

However, his eclectic tastes show themselves when he covers more recent music he’s been listening to: “I really like the Kurt Vile record, I’ve been listening a lot to that. I really like Junip, José González’ band.

“What else have I been listening to? Oh, I really like The Radio Dept....their last record, Clinging To A Scheme, it’s so subtle and sparse, but then it gets under your skin, and it’s just amazing.

I really like the new Kanye and Jay-Z record.”

Van’s feelings towards the depth and meaning behind music are impressive, and surely extend to his own work too. So why did he opt for the eye-catching name of WATERS for his newest project?

He laughs as he explains, “I just really like the way it looks in allcapitals; I think it looks better. I like the capital W, and next to the capital A, I like how the sides of the letters meet up. It’s really an aesthetic decision.”

Well, maybe depth and meaning aren’t necessary when it comes to smaller points. We like the name WATERS, and we definitely like the music behind it too.

Friday November 4 2011

Fuse.

Words: Coral Williamson

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The Occursus Group is a unique collaboration between the University of Sheffield, Site Gallery and the law firm DLA Piper. Fuse had a chat with the people that make it happen.

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ARTS

Feature. OCCURSUS

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Words: Alisha Rouse and Rowan Ramsden Photos: PhotoSoc

ARTS

“O

ccursus is bringing together the academic and local worlds, two worlds that should converge more,” begins Duncan Mosley, a partner at Sheffield DLA Piper – one of the largest law firms in the world.

It is Thursday evening and we’re at the offices of Sheffield’s foremost law firm. Overpriced champagne and irritatingly intricate canapés circle the room; you’d be forgiven for assuming this is just another slightly pretentious art gallery private view.

“We cannot ignore what is going on around us” But Occursus is doing something a little different. The exhibition is the brainchild of Dr. Amanda Crawley Jackson of the University of Sheffield’s French department.

as successful as possible, “We are pleased to have the opportunity to play a part in building awareness of Sheffield’s thriving artistic scene.”

Moseley makes a point of stressing the importance of maintaining a bridge between DLA Piper and local talent, “We’re a law firm, in a regenerated area of the city, but I don’t want it to be an ivory tower. We’re part of this city; we cannot sit here and just be an international law firm. We cannot ignore what is going on around us.”

The two artists displaying their work, Richard Bartle and Ian Anderson, are graduates of Sheffield Hallam University and the University of Sheffield respectively; and both vibrant members of Sheffield’s art scene.

Sheffield based Richard Bartle is the founder and manager of Bloc Studios, and former director of Bloc Projects and Sheffield Contemporary Arts Forum. He studied Fine Art at Bretton Hall College before his post-graduate diploma at Sheffield Hallam University.

Bartle’s focuses on faith, politics, and human activity. One of his more recent projects, Blasphemous, addresses all these things through the medium of scale models of garden sheds.

Speaking about his childhood, Bartle claims his passion for art was realised at the age of five when his parents attempted to subdue him by making him draw on rolls of wallpaper.

“Our support goes far beyond the exhibition, our involvement allows us to support a number of up and coming artists, helping them attract the attention they need to develop their careers and ensuring they have access to the right support to help make their careers

“In order to pacify me they’d give rolls and rolls of wallpaper and felt tip pens I used to fill them in.”

As he got older Bartle’s work became more political, he wanted to comment on current events and saw his art as a way of broad-

Bartle’s contribution to Occursus, a selection of enormous oil paintings, seeks to question humanity’s intense economic activity and the frenzied exploitation of natural resources. It seeks to comment, warn if you like, about the danger of suicidal human ambition.

University of Sheffield Philosophy graduate Ian Anderson uses the medium of text to express ideas in his art.

Anderson has never formally trained as an artist and claims to have very little knowledge of the art world.

“I never trained as a designers, my sketch book is full of quotes. I was always told at school I should be a writer, I’m interested in text, if you created a massive billboard for someone like Coca Cola, it’s largely text based- and that isn’t that different from my art on show here.”

“We are building something bigger, a kind of social responsibility” Anderson is quick to point out that he’s not an author.

“They’re visual, they’re not words on a page, they’re not a book.

They’re organised as a design, it just happens to be using words, rather than images.”

There seems to be a certain banality attached to Anderson’s work – an idea he refuses to acknowledge. Many of his scrawlings are nothing more than the

disjointed thoughts that occur in his own head.

“The University must reaffirm itself as a civic university” This being said, his work tells a story. A story hints at some suggestion but inevitably allows spectators to glean there own meaning.

Occursus is as much about the University as it is the artists. Dr. Crawley Jackson’s students, who voluntary run the exhibition, seem to share her passion and enthusiasm for the art on display, “It allows students to show their motivation and gather fantastic experience. I believe in the artists, and I believe in everyone working together”.

Pro-Vice Chancellor Paul White, believes the venture is exactly the kind of thing the University needs, “It is important that the University is involved with activities in the city, with arts in the city. Higher Education is facing choppy times, so the University must reaffirm itself not just as a global university, but a Civic one too; we are with, by and for the city. We are building something bigger, a kind of social responsibility.”

Dr. Crawley Jackson echoes these sentiments concluding, “If everyone chips in you can achieve something really good.

It’s so important to play a part in the city in which you live.”

Fuse.

The project is a collaboration between the University and the city’s Site gallery. DLA Piper provides sponsorship but, as Duncan Mosley explains, their remit stretches much further than this,

casting his views.

Friday November 4 2011

Somewhat appropriately taking its name from the Latin ‘to bump into one another’ The Occursus group aims to connect local and international artists with academics, the business elite and, eventually, with the wider public.

Photo: Yellow book/Flickr

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SCREEN

Feature. BEST AND WORST MOVIE POSTERS

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BEST AN W MO POST

Star Wars: Episode I (1999)

Jurassic Park (1993) Spielberg always has good posters - if you need proof, just look at Jaws - but Jurassic Park’s iconic logo-on-black-background is undoubtedly his best. It tells you all you need to know about the film with its cryptic tagline and leaves your imagination to fill in the rest. This isn’t anything fancy; what it is is a brilliant, evocative poster.

Cloverfield (2009)

Inception (2010)

JJ Abram’s engimatic viral marketing campaign for Cloverfield will be remembered as one of the most inventive in cinema history and this poster played an integral role. It’s one of those great pieces that reveals more the more you look at it.

Personally, the thing that gives me the chills are the ominous ripples leading up to the shore.

This poster for Christoper Nolan’s opus might not be the sheet you know and love, but the miniscule figures set against the folding cityscape perfectly captures the film’s tone and its sense of awe and wonderment in a way that the other posters don’t quite manage. It also doesn’t hurt that it is damn pretty.

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Friday October 4 2011

The Phantom Menace was, and still is, a disaster but this is one of the best pieces of film artwork ever created. This poster subtly foreshadows the rest of the series and promises a weighty and foreboding film that Lucas simply couldn’t deliver. What we got instead was a horribly scripted and infantile car wreck. Oh, and Jar Jar Binks.

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Whether you think that film posters are an under-appreciated art form or simply a soulless marketing prop, you can’t deny that some of the most vivid and expressive imagery in cinema comes not from the films themselves, but the material that promotes them. For example, if I ask you to think of Hitchcock’s Vertigo, I’m willing

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ND WORST OVIE TERS

X-Men: First Class (2011) I was really misled by the poster. I went along to First Class expecting a heartwarming drama about a paraplegic man pregnant with James McAvoy’s massive face; kind of like a wheelchair remake of Schwarzenegger’s Junior. What I got instead was a film about mutants and the Cold War. Talk about false advertising.

The Whole Ten Yards (2004) I imagine this is the marketing equivalent of putting your toddler’s globular “self-portrait” on the fridge. “Oh, Jimmy’s just learnt Photoshop. It doesn’t matter that Bruce Willis has women’s legs or that Matthew Perry’s face is squashed. What matters is that he tried, bless him.” Also, why the hell is the old guy from Up in the background?

to put money on you thinking of Saul Bass’ famous one-sheet before anything from the film itself.

See? Point proven.

Friday October 4 2011

This issue, come with Screen as we show you some (relatively) recent movie posters that really got it right, and some that really, really, really got it wrong.

Words: Tom Wardak

Big (1988)

I don’t know about you, but nothing says “fun” to me like a shoddily arranged collage of people glancing off-camera, smiling awkwardly with dead, emotionless eyes. There are far too many awful, cliché-ridden romcom posters out there, so take this American Love Actually wannabe as a synecdoche for the whole damn lot.

With the kind of creepy smirk that could lure a child into a stranger’s car, I’m not sure if this poster succeeds in making you want to figure out just what smug Tom Hanks’ “REALLY BIG SECRET” is...

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He’s Just Not That Into You (2009)

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MUSIC

Reviews.RELEASES The Sound of Arrows Voyage

Skies Above 8/10

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he Sound of Arrows are a clear example that you shouldn’t judge a band by their cover; Voyage, which bursts with euphoria and sing along beats, is a beautiful debut.

Consisting of friends Oskar Gullstrand and Stefan Storm from the same town in Sweden, this band is a must for any fans of European electro-pop, such as Erik Hassle or M83.

Album opener, ‘Into the Clouds’, instills a sense of freedom and an ability to do anything “Let’s escape this town / these streets and the cars and the crowds / then into the clouds / Where nothing could stop us.”

‘There is Still Hope’ is an indisputable highlight. With a slow, soothing electro build up that creates a feeling of expectation and with beautiful lyrics

to accompany.

Where TSOA excel is in their ability to create an album that is chilled out enough to enjoy at any time but with enough energy that it never get boring.

‘Wonders’, the bands next single, is another highlight. “I’ll never forget / how you made me feel / come make me remember the wonders of that time / back when you were mine.” It sings of heartbreak and loss but the music gives it an infectious, uplifting spin.

The only real criticism that there is with The Sound of Arrows though, is that they walk a fine line between comprehensive electronica and a soundtrack to a light hearted Disney-tween film and, at times, Voyage falls briefly on the wrong side.

In a way they lack the mature sound that other bands in their genre, such as Delorean and M83, spout.

But give them time to develop their sound before even thinking about writing them off as this is a fantastic first offering.

Amelia Heathman

ThE Wanted Battleground Geffen 4/10

T Now Playing ith the abundance

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Friday November 4 2011

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of new releases each week it can be difficult to sift through the shit in search of the gold so Fuse has handpicked some of the musical highlights for you.

Some songs just don’t go away. Lana Del Ray’s ‘Video Games’ is one such aural nuisance. It’s a beautiful piece of music, but it is beginning to get somewhat irritating. However Kasabian have taken it upon themselves to cover the viral sensation in Radio 1. The delicacy of the song is retained in their version, but there’s also something a little more positive about their rendition, as Tom and Sergio sing together on the chorus. It’s more of a love song, almost. We just want to know if both acts like the same video games.

Fresh off their tour supporting Bombay Bicycle Club (check out p.3 for your chance to win signed CDs) Dog Is Dead have released a new single, ‘Hands Down’. Their breezy indie pop takes a turn for the anthemic in the chorus, and we’re looking forward to hearing more from the Nottingham five-piece.

Another band we’re looking

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forward to hearing more from is Nada Surf. After a four-year absence, The Stars Are Indifferent To Astronomy isset to be released in January next year, but in the meantime, we’ve been enjoying a free download of their new song ‘When I Was Young’. No, it doesn’t sound like their latenineties hit ‘Popular’; it’s a slowburning piece of reflective rock from the Brooklyn veterans.

Joe Goddard is a very busy man. Hot Chip, collaborations, solo projects and of course, The 2 Bears who have just rounded up the UK leg of their tour. We recently heard ‘Bear Hug’ again and as a result we’ve had it on loop for hours.

The duo combine elements of house, hip-hop and two-step resulting in ethereal anthems worthy of the national radio play they’ve been receiving this year.

Just follow the bear.

Any regular visitors to ForgeToday.com may have noticed that a review of The Overtones’ album stirred up quite a heated debate.

During the debate though, one particular act was mentioned repeatedly; Frankie Valli and the Four Seasons. We couldn’t help ourselves and had to go through some of the back catalogue again. If you’ve never listened to Frankie Valli, check out ‘Beggin’’ and ‘December 63’.

he most recent album from manufactured pop sensation, The Wanted, deviates in no way from the mediocre radio friendly pop that they’ve become known for.

People are going to buy this record, but not for sublime lyrics or stunning musicality.

Unfortunately, Battleground suffers from the same clichés and underwhelming ideas that have been sold to teenage girls since the early 90s.

In fact, even the lyrics, which are distressingly superficial at the best of times, refer to things like ‘detentions’ or ‘principals’, not the sort of thing you’d expect

Eleanor Friedberger Last Summer

Merge Records 7/10

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leanor Friedberger claims “I’ve gotta learn from my mistakes” in opener, and first single, ‘My Mistakes’.

But fortunately for her, the decision to go solo won’t join her aforementioned blunders, and is in fact nothing short of an achievement.

As one half of Californian duo The Fiery Furnaces, Friedberger and her brother Mat-

men in their early 20s to be singing about, and as such it comes across as a glaringly obvious attempt to appeal to the tweens and teens that will go out and buy this album.

There are several tracks that will inevitably find their way into clubs and the like, and credit where it’s due.

The five piece have enough confidence, the reasonable voices and, most importantly, a powerful enough image that will probably allow them to stay at the forefront of pop music for the next few years.

But disappointingly, that’s the reality of The Wanted; they’re all image.

The music on Battleground consistently lacks substance and is only ever really going to be sold on the back of extremely successful branding. Branding, that

is in no way dissimilar to JLS or One Direction who, before they even released a single, had a questionably obsessive fan base; proof if ever it was needed that the brand is worth more than the music when it comes to sales. And that is a very sorry story.

On occasion, the record may get a few feet tapping, but it doesn’t last and actually, even the extremely accomplished production begins to get boring as synth notes float around pointlessly.

Battleground, has been designed to sell to the masses, but lacks taste, quality and at times even starts to become morally questionable.

thew achieved moderate success with their diverse, impulsive style.

Now however, whilst the band is on a hiatus, Friedberger seems to have embraced the opportunity to completely express herself as an individual.

Last Summer is undeniably a departure from her band’s usual mish-mash of genres, instead focussing on creating a vintage, 1970s pop vibe. The entire album is mellow, smooth, but charismatically quirky, which improves after each listen and definitely takes the listener on a trip back to the blissful memories of summer.

Lyrically, songs such as ‘One Month Marathon’ and ‘I Won’t Fall Apart On You Tonight’ are clearly heartfelt. Her vocals are filled with feeling and are so tranquil and dreamy they hold a clear air of nostalgia. On occasion, however, her lyrics falter and sometimes they are simply boring and mundane.

Whilst Last Summer is certainly not genre defining or seminal, it’s good old fashioned nostalgic pop, and who doesn’t like a bit of that once in a while?

Sam Bolton Follow us on Twitter @ForgePressMusic

Chloe Morris

Patrick Wolf Foundry

Friday October 28

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or those previously unaware of Patrick Wolf, he is known to be quite a ‘flamboyant’ performer.

Tonight, he strides onto the Foundry stage dressed in a black and white polka dot shirt accompanied by a red waistcoat and dinner jacket.

Within the first three songs of his set he switches between playing a baritone ukulele, violin and harp with glorious ease and aplomb.

That’s not to say his eccentric nature makes for an odd or particularly bad performance.

From the reckless defiance of ‘Time of Your Life’ to the bristling joy of ‘House’, both taken from his latest album Lupercalia, Wolf’s talents cannot be questioned.

Whatever style Wolf turns to, be it pop, electro or more classically structured music, his husky baritone shines effortlessly.

Particular highlights include the haunting melancholia of ‘Pigeon Song’ and the life-affirming stomp ‘The Magic Position’; songs which are both giddily received by an appreciative crowd.

Elsewhere, ‘Tristan’ and ‘Accident and Emergency’ are impressive and further demonstrate Wolf’s ability to leap from varying musical styles with little difficulty whilst still holding the attention of the audience.

Of course, not everything played tonight works so well. The glitchy ‘Bloodbeat’ from 2003’s Lycanthropy has begun to sound dated.

‘Damaris’ from the more recent (though still two years old) The Bachelor plods along and is rather forgettable.

Yet Wolf remains a wonderful

MUSIC

Reviews.LIVE

enigma of a performer who can never be second guessed.

For his encore, he reappears with a stuffed falcon draped across his left shoulder; something which seems quite normal given the evening’s previous proceedings.

He ends on the wonderfully uplifting exuberance of ‘The City’, complete with its effortlessly catchy chorus expressing how the power of love can transcend anything and a particularly joyous saxophone solo.

Throughout the set, Wolf grabs hold of the spotlight on stage and shines it upon his adoring, dedicated army of fans.

Although it’s an endearing gesture, given the majestic performance that all had witnessed, the spotlight deserves to stay on Wolf for as long as possible.

Joe Kinnaird

Patrick Wolf: Mollie-Mae Dale-Collen round each other, singing in Glasvegas hoarse unison.

The Leadmill Glasvegas live up to their Saturday October 29 status as rock and roll messiahs and on Saturday night they are lasvegas stride onto having it. “Here we go, here we the stage with the kind go, here we fucking go” was of swagger that would chant out with unquestioned dehave made Liam Gal- votion by performer and audilagher envious. Two years af- ence alike during ‘Go Square ter going missing for five days Go’.

Don’t forget that in 2009 James Allan presents himself as the eccentric frontman of one James nearly lost his mind in of Britain’s greatest rock bands. a New York hotel room and Glasvegas pump Leadmill so full missed his bands performof emotionally-charged reverb- ing slot at the Mercury Music filled energy that they nearly Awards. During the middle of the set James presents his self take the roof off.

Their set explode into ‘Flowers conscious side while performand Football Tops’ and ‘Geral- ing ‘If?’ and ‘I Feel Wrong’. But dine’ to the euphoric delight of it doesn’t take away from the phenomenal performance. the crowd.

Glasvegas are cocksure and During ‘Its My Own Cheating Heart That Makes Me Cry’ brilliant. The sobering but upliftevery drum beat is thrashed out ing encore of ‘Lots Sometimes’ with such intensity and every lyric and ‘Daddy’s Gone’ epitomise sang with such raw emotion that them, with grace and bombast.

Glasvegas have earnt a repthe band ride a tightrope between tears and ecstasy. ‘World utation as a band that defines is Yours’ and the gloriously exhil- the landscape of contemporary arating ‘Euphoria Take My Hand’ British rock music. The night beoffer crescendos aplenty, fuelled longs to all of them, but espeby Jonna Löfgren’s seismically cially the tough but vulnerable hero, James Allan. thunderous drumming.

The crowd are drunk and jubiMark McKay lant. Grown men sway with arms

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Glasvegas: Mark McKay

Visions of Trees The Forum

Wednesday October 26

Read more reviews online at: www.forgetoday.com

The Leadmill

Wednesday October 26

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ost bands that barely breathe a word to their adoring audience would be accused of being pretentious and aloof. Not British Sea Power; here is a band whose music does the talking.

The anticipation for the gig was apparent from the moment you stepped into the dark decor of The Leadmill, a perfect venue for the band’s crushing atmospheric rock.

The abundance of band Tshirts and sporadic chants of “Sea Power” highlighted the excitement before support group Seize the Chair even took to the stage.

The local band launched into a high-energy set, peppered with eclectic influences. Seize The Chair ooze talent and prove a more than worthy warm-up.

Approaching the stage to a roar of appreciation, British Sea

Power wasted no time; with minimal pauses between songs and no song title introductions, it’s clear that this is a set for real fans.

As their almost two-hour set progressed, British Sea Power’s time and genre-spanning influences emerged. The inspiration of Joy Division is extremely visible in certain songs, and a Smiths influence also pervades much of their set.

In the latter part of their set, a darker atmosphere is established through more instrumental-based songs, accompanied by suitable effects in the ‘natural world’ videos playing on the screens near the stage. The post-rock side of British Sea Power is captivating.

To round off such an epic gig, playing guitar with your teeth and crowdsurfing with a microphone stand seems pretty fitting.

British Sea Power manage to do this while still delivering a flawless set; a sign of a truly great band.

Zoe Antell

Fuse.

More reviews online

British Sea Power

Friday November 4 2011

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alton duo Visions of Trees have come a long way since forming in the summer of 2009; not only have they supported the likes of Mount Kimbie, Everything Everything and Sleigh Bells, but they’ve also played sets at some of the biggest festivals, including Glastonbury and Bestival.

First up at the relaxed Forum were Glistening Pelt, crawling on stage nearly 15 minutes after their billed start time.

With a seemingly nonchalant attitude, no vocals and little crowd interaction in between songs, it was hard to get truly excited about their musical output.

While some songs impressed, such as new track ‘Square One’ with glimmering synth and gleaming guitar notes, the general air of the set gave off the impression of two guys jamming in their bedroom.

Fortunately the interval didn’t last long and Visions of Trees were on stage. Sara Atalar started the set crouched down to one side of the stage, while Joni Juden took control, crashing out booming beats which thundered around the laid-back venue.

Atalar’s voice suited the dark, brooding electronic music pumping from Juden’s equipment; every echoing note she sang was full of mystery and enigma, and tracks like ‘Sirens’ and ‘Turn 2 U’ complemented her voice perfectly.

The duo finished on ‘Everything Awaits’, an up-tempo affair which got people dancing along, and leaving many who attended seriously impressed.

Ollie Turner

British Sea Power: Mark McKay

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Reviews.

THE ADVENTURES OF TINTIN Dir: Steven Spielberg

10/10

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ased on the series of bestselling graphic novels, The Adventures of Tintin follows the eponymous reporter (Jamie Bell) and his faithful dog Snowy, on the trail of the Unicorn, a sunken ship believed to contain a cargo of treasure.

They’re aided by Captain Haddock (Andy Serkis), a descendant of the Unicorn’s captain Sir Francis Haddock (also Serkis) – whilst being pursued by villain Sakharine (Daniel Craig).

Tintin is the latest film to use motion capture technology, but never until now has it been used to such great effect. The characters are strikingly real, with shining eyes and a believable weight to their movements, while retaining a sense of caricature that keeps them faithful to the source material; from Haddock’s bulbous nose to Tintin’s immovable quiff, these are clearly Hergé’s creations.

The world they inhabit, meanwhile, is almost unnervingly photo-realistic, which creates a wonderful juxtaposition with the characters without ever making them look strange; this is the kind of world filmmakers have sought

the help

Fuse.

Friday November 4 2011

Dir: Tate Taylor 7/10

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fter smashing the US box office with the longest unbroken run at number one this millennium, and having been heavily tipped as

to create ever since Gollum first appeared on screens in 2002.

The thing that sets Tintin apart from other CG films of recent years is that, even putting aside the technology, it manages to succeed as a great film in its own right. In this timeless world of flashlights and compasses, everything pays silent homage to Spielberg’s action films of the 1980s. The cast is sublime: Bell plays Tintin as the archetypal ‘good guy’, instantly likeable; Serkis is on top form as Haddock, shifting effortlessly between the amusing drunk and the pitiable underdog, while Craig brings a delicious flamboyance to baddie Sakharine.

Even the comic relief of doppelgänger detectives Thomson and Thompson (Simon Pegg and Nick Frost) is endearing rather than annoying. Nothing ever feels forced or clichéd – it’s a classic tale of good versus evil, made all the sweeter by the allure of buried treasure, and set to a John Williams soundtrack that cannot fail to make the hairs on your neck stand on end.

There’s an epic sense of scale, as we’re transported from the streets of Europe to the high seas, to the deserts of Morocco at a breathless pace, and the set-pieces are nothing short of

amazing – it won’t be long before people refer to “the bike scene from Tintin” the same way they talk about “the boulder scene in Raiders of the Lost Ark”.

And that, in the end, is what makes Tintin so brilliant – it’s the kind of film we’ve been hoping Spielberg would make ever since the end of Indiana Jones and The Last Crusade.

It’s a reminder of why he is regarded as one of the greatest storytellers of our time, and it’s also a reminder of why many of us fell in love with cinema to begin with.

Hergé, after watching the Indy films, stated that Spielberg was the only person he trusted to bring his creation to the silver screen. He clearly placed his faith in the right man, and as repayment Spielberg includes a very touching reference in the opening scene, where we see Tintin being drawn by a street artist; none other than the late Hergé himself.

an early Oscar contender, it is surprising that The Help has arrived in the UK with relatively little fanfare.

On the evidence of this comedydrama directed by relative unknown Tate Taylor, it deserved rather more, albeit maybe not on the award-winning scale some American critics have suggested.

Set in early-60s Mississippi, the

story sees aspiring writer ‘Skeeter’ Phelan (Emma Stone) arrive back home from university with a job at the local newspaper. However, she becomes increasingly unsettled at the treatment of the ‘help’, black ladies who effectively raise the children of their white mistresses.

They exist in a fixed social hierarchy governed by the

Phil Bayles spiteful Hilly Holbrook (Bryce Dallas Howard); she therefore decides to write about the sufferings of these women, gradually gaining the trust of the help, in particular the shy and retiring Aibileen (Viola Davis), and the stereotypically sassy Minny (Octavia Spencer).

There are some issues with this film, in particular the onedimensional nature of many of the characters.

The film is produced by Chris Columbus, director of the hugely inferior first two Harry Potter films, and his influence is evident through the stereotyping of characters.

In particular Holbrook and her circle of friends – there’s the mean one, the ditsy one, the quiet one, and so on; the only major characters to receive any proper development are Aibileen and Minny. It is therefore no surprise that it is they and they alone who you become interested in.

The narrative is rather Columbus-esque too; there’s an idea, then a problem, then a solution, then another problem; then another solution, and then another problem, and so on in frankly repetitive circles for a long time. The film is 146 minutes

long, and there is no way this story could not have been told just as well in two hours or less.

It is also one of those films which give too much away in the trailer, of what is available to all online, only the final 15 minutes is not touched upon.

However, the fact remains, above all, that The Help is entertaining and very, very funny. There is a scene concerning chocolate pie, bodily excretions and Hilly Holbrook that isn’t in the trailer. I certainly won’t be giving it away here, but it is one of the funniest moments in cinema this year.

The film plays its light-hearted moments for all they are worth, although this works against it on occasions. When it addresses serious undercurrents of racism, civil rights and domestic abuse – moments where Viola Davis in particular comes into her own– half your mind just wants the film to get back to being sassy and jovial again.

There’s also enough saccharine in this film to rot your teeth just by watching it. But that doesn’t matter, because The Help doesn’t want to win awards; it wants to entertain you, and it absolutely does.

Matthew Smith

Series 3, E4 8/10

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the ides of march Dir: George Clooney 7/10

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eorge Clooney, actor and Nespresso salesman, is fast proving himself to be a seriously strong filmmaker. He directs, co-writes and stars in The Ides of March; this is what is both good and problematic about this political thriller.

Ryan Gosling also stars, which practically goes without saying these days. His character, Stephen Meyers, enthusiastically works on the election campaign of Governor Mike Morris (Clooney).

Morris is a charismatic, liberal candidate for a Democratic primary, which he must win to run for President. Stephen’s idealistic view of politics is turned upside down, not just by his opponent’s team, but also by his own.

Based on his performance, if you could vote George Clooney President, you would. So would everyone else, including George Clooney. That was the annoying

Cult Corner. westworld

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Stephanie Mullins Check out our weekly episode blogs at forgetoday.com

Daniel Meier

attractions blast each other with live ammunition. But, of course, this is the 70s.

Against all the odds, an electronic malfunction occurs within one of the robot’s programming and our heroes find themselves being stalked by a rogue gunslinger – played by the terrifying spectre of Yul Brynner.

Indeed, Brynner’s icy performance as the unstoppable cowboy terminator meant bald men the world over would never be without costumes for Halloween.

Westworld, despite being somewhat overshadowed by Spielberg’s movie adaptation of Crighton’s later novel Jurassic Park, is one of the original chaos theory fantasies. What’s more, it’s still one of the best.

The Simpsons has even parodied the film on a few occasions.

Principal Skinner’s unyielding

hunt of a truanting Bart was inspired by the gunslinger, as was the robotic malfunction which took place at ‘Itchy and Scratchy Land’. Unfortunately, camera flashes aren’t sufficient to stop Mr Brynner.

It wouldn’t be farfetched to suggest that, without Crighton’s

1973 classic, the likes of The Terminator may never have existed.

The unstoppable force of Brynner’s malfunctioned killing machine was the fuel of children’s nightmares for years to come.

Tom Fletcher

Fuse.

Fuse.

efore dinosaurs walked the Earth by means of David Attenborough and his bizarre frog cloning shenanigans, author Michael Crighton’s fetish for chaos was already well established.

Welcome to Westworld, the futuristic amusement park where anything is possible and nothing can possibly go wrong. The main attractions of this state of the art entertainment park are a troupe of advanced robots that can act out any vacationers’ fantasies.

Our two protagonists choose a Wild West adventure for their vacation. The park duly delivers; they find themselves in the Old West surrounded by robot cowboys programmed to shoot each other, but not visitors.

You can tell where this is going.

Now you’d expect health and safety to have a field day with an amusement park where the

This idea of nasty politicians and messy politics lies at the centre of The Ides Of March. If you enter the world of politics, it explains, you have to leave your principles at the door.

However well intentioned you are when you start, with your naïve youth and wide, blue, Ryan Gosling eyes, you will be betrayed and you will be corrupted. This important point was well conveyed in a dramatic and engaging way, but not as well as it has been in other recent political films, notably Fair Game and the fantastically satirical In The Loop. It also felt like it was trying, and never really succeeding, to be The West Wing.

That said, The Ides Of March is an intelligent and entertaining film with a crucial central message about the volatility of political loyalty and the hypocrisy of politicians. Not only does it feature the most attractive and coolest group of politicians ever, it marks a huge step in the careers of both Clooney and Gosling.

precognition.

He can see the results of his own actions and choose whether or not to act on them.

Curtis (Nathan StewartJarrett) has switched the ability to rewind time for shapeshifting, but, embarrassingly, he can only transform into a girl.

Alisha (Antonia Thomas) is rid of her ability to inspire overwhelming sexual arousal at touch.

She now has a sort of clairvoyance, being able to put herself in other people’s shoes, and see where they are and what they’re doing.

Kelly (Lauren Socha) no longer hears other peoples’ thoughts; instead, she has the brains of a rocket scientist. The only snag is that her brilliance is limited to rocket science.

There is still hope for the show, despite losing Nathan. The cast are back in community service, Alisha and Simon’s relationship is still blossoming and Rudy is destined to become the replacement troublemaker.

Please, Misfits, don’t let us down. You have made promises. Keep them.

Friday Friday November October4 72011 2011

Dir: Michael Crighton Year: 1973

thing about this film; Clooney uses it as a platform to express his own liberal credentials. He is basically looking right into the camera and saying, “look how good I’d be as President.” This is political grandstanding at it’s most self-indulgent. However, this isn’t about George Clooney’s character, it’s about Ryan Gosling’s.

Gosling’s omnipresence in cinema at the moment is well deserved.

While Clooney is emerging as an interesting director, Gosling is emerging as an interesting actor even more so. His performance in The Ides Of March shows off his enigmatic charm, and serves only to speed up his rise to superstardom. Hopefully this won’t stop his less mainstream projects such as Drive, which was a better film by all accounts.

The other performances are just as strong, with Evan Rachel Wood and Philip Seymour Hoffman brilliantly filling the three-name quota. Also noteworthy is Paul Giamatti as Tom Duffy, the opposing campaign manager, who is wonderfully conniving and manipulative.

nd the verdict for the first episode of Misfits series three is… it’s just not the same without Nathan (Robert Sheehan).

Sure, the writer is the same and the rest of the cast have stuck with the show, but we’ve lost the lovable joker. Who has replaced him? Someone with the super-power equivalent of bipolar disorder.

That’s right, newcomer Rudy (Joseph Gilgun) splits into identical duplicates of himself with opposite levels of confidence. It all bears a striking resemblance to Dr. Jekyll and Mr. Hyde, but without the visual disfigurement.

In the first series, five young offenders on community service are caught in an electrical storm and gain supernatural powers, including immortality, telepathy and invisibility.

A second series and a Christmas special later, the five discover a dealer who can transfer powers from one person to another. They take full advantage of the opportunity.

So, in the third series, Simon (Iwan Rheon) has sold his power of invisibility and has bought

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GAMES

Reviews.

Battlefield 3 PC/360/PS3

9/10

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hey say war never changes; it seems nobody told developers DICE. After six years of stubborn experimentation they’ve finally given audiences what they’ve long craved; a proper sequel to Battlefield 2.

Battlefield 3 doesn’t follow the exact same mold however. For a start there’s a singleplayer campaign, relegated to a second, separate disk (on the 360 version at least).

Boot this up and there’s a disheartening sense of deja vu.

Battlefield 3’s singleplayer is an homage to Modern Warfare, and not just the best bits. Multiple protagonists? Check. Heavy, almost unbearable scripting? Check.

Infinite supply of respawning enemies with dead eye accuracy?

That too. There’s even the token sniper mission. It’s all very predictable.

It’s not just derivative of Modern Warfare either. The line, “Frankly gentlemen I’m not hearing the aggressiveness I’d like” is ripped straight from HBO’s stellar production Generation Kill, and goes that extra mile to pull you out of the experience.

The singleplayer is short, shallow and highly forgettable. Fortunately the same can’t be said for the game’s main attraction. In fact, it’d be forgivable and even expected for most Battlefield fans

Batman: Arkham City PS3/360/PC

9/10

14 Fuse.

Friday November 4 2011

I

n 2009 Rocksteady Studios raised the bar for comic book gaming when it released Arkham Asylum, arguably the best portrayal of a superhero universe in an interactive medium, ever. The question, as always, is have they produced a sequel with as much flair and originality as the first?

After the events that took place back at the Asylum, a new prison city has been constructed under the control of the mysterious Hugo Strange.

Being captured and forced inside as Bruce Wayne you must become Batman and confront your enemies, beating, gliding and exploding your way through the city to bring Gotham’s criminals to justice.

But this time you aren’t alone.

Arkham City allows you to play as the seductress Catwoman and the boy wonder Robin for optional side quests once the main story is complete.

Alongside the new heroes are a plethora of villains to bring to justice. No character is wasted, and the game integrates them into the story with aplomb. Each character has a biography relating directly to the comics, showing such detail as the issue they first reared their ugly heads (poison Ivy excluded), a nice

to bypass the singleplayer entirely, and jump straight into the multiplayer.

There’s something immensely satisfying about planting C4 on a helicopter, flying to a high enough altitude, ejecting, and watching the metallic husk fall into a hive of enemy activity with explosive force. Meanwhile you survey the damage you’ve done as your canvas parachute guides you to your next interaction.

Battlefield hasn’t lost it’s unique flavour.

That flavour has been sharpened by DICE’s new Frostbite 2 game engine however. Animations are powered by the same system as FIFA, giving an eery believability to how your teammate’s shoulder cocks in conjunction with the recoil from their ri-

Editorial.

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Bad Company games, kicks in with an increased level of sophistication. Points of destruction aren’t as telegraphed; there aren’t many symmetrical structures with obvious points of vulnerability, but when the destruction does kick in it’s similarly impressive.

The real star of the show is the

“Bullets crack and whizz with genuine menace”

fle. Bullets strike with frightening consequence, shredding concrete and kicking up dust.

Explosions can also tear down structures, as DICE’s destruction technology, pioneered by both touch.

Combat isn’t as straightforward as walking into a crowd of baddies and hammering a specific button either. Foes attack you using guns and knives, often protected by shields. This encourages the player to think carefully before diving in and considering the best way to tackle a situation; often involving traps, stealth and environmental hazards.

These tactics are especially essential in boss battles which can be particularly challenging, and

as a result very rewarding.

The attention to visual detail is outstanding. Your cape sweeps fluidly behind you as you walk or glide across the city, and your suit degrades gradually as you progress through the game, making you look as if you’ve gone 10 rounds with a grizzly and put your cape through a shredder.

It’s an experience that effectively throws you into the shoes of the caped crusader with overwhelming force. As a result your enjoyment of it absolutely hinges on a basic appreciation of the subject matter itself. Like Batman? You’ll love this.

James Comer

audio. Bullets crack and whizz with genuine menace, subconsciously forcing the player to hit the deck under intense fire.

A suppressive effect is also apparent on screen, but honestly the game doesn’t need it.

You can tell whether your foe is using a sniper or a machinegun

simply from the sound made as the bullet careers past your ear.

It’s a phenomenal feeling.

The game has a varied array of maps with very few disappointments.

There may not be anything as instantly magnificent as Karkand, so far, but the rolling green fields of Caspian or the wet, claustrophobic streets of Grand Bazaar provide sufficient replacement.

Classes have also seen an intelligent refinement.

Assault now carries the ability to heal or revive fallen comrades, as Support controls the rationing of ammunition.

It all makes sense, and as with many things DICE have done with this game seems completely natural.

War never changes, but the battlefield just got a whole lot better.

Arnold Bennett

Rocketbirds: hardboiled chicken PSN

7/10

I

n the totalitarian dystopia of Albatropolis, a hero with feathers leads the resistance. The freedom-fighting Harboiled Chicken rises against the penguin regime hunting down the fearless leader Putzki. As you work your way deep through the penguin stronghold you face a number of puzzling obstacles, gunning down any penguin that gets in your way in order to collect keys to advance through the enemy lines and bring an end to the Putzki dictatorship.

Hardboiled is everything his name suggests. Hell-bent on destroying the penguin leadership, he powers his way through the enemy, quite literally forcing them into the air with a rampage of bullets. His Rambo-meets-Angry Birds persona makes the game a lot more interesting, the comic edge distracting from the game’s more lacking areas.

As the game goes on, insights into Hardboiled’s life come through flashbacks to his childhood when, subjected to experiments, Hardboiled gained his mighty physique, and a personal vendetta along with it.

Accompanied by the rock soundtrack from New World Revolution (appropriately named) the flash-

backs are surprisingly adrenaline pumping. The drive to kill penguins as a chicken is not something you expect to be easily instilled in you; however the musical interludes make for an inspiring team-talk.

The main problem with the game is that it is limited by repetitive gameplay. The quite rigid movements of Hardboiled make the game very simple, but not vastly exciting. If you are facing your enemy, simply holding the R1 button will eventually kill them, no aiming required.

This really puts a hold on the game, making destroying your opponent a question of time rather than challenge. Jetpacked gun battles and the ability to mind control the enemy penguins provide a welcome rest bite, but don’t occur often enough to cure the monotony.

This game is outrageous. Somehow, a chicken on a sole mission to destroy a fascist penguin regime brings a ton of enjoyment. As a concept the imagination cannot be faulted, it’s just a shame there’s not enough substance to hold you once the feathers start to fly.

James Dale

agle eyed readers of our previous issue will have noticed a glaring and shamefully unintentional mistake.

Somehow, and unbeknownst to every type of editor Forge has at its disposal, we labelled our review of ‘Fifa 12’ as ‘Fifa 11’.

We’ll pause for a moment to let that sink in.

Don’t worry, it took us a while.

After the initial embarrassment had worn off, we tried to establish how such an error had slipped through our watertight editorial net. Only one conclusion could be made.

With it’s relentless annual release and it’s incremental tweaks, Fifa has begun to feel like an evolving platform rather than a sequence of separate releases.

Perhaps a more accurate title for the review would’ve been ‘Fifa’.

Of course, these evolving platforms aren’t restricted to the sports genre.

Call of Duty is now a yearly event. As much a part of many a gamer’s calendar as say, Halloween.

This does raise questions of quality though. If making videogames becomes a production line process then there’s a risk that the creators themselves might burn out, as well as their audiences.

It must be difficult as a developer to get excited about creating yet another modern warfare, first person shooter. And that must also shine through in the final product.

There are ways of going about it though. Look at DICE’s treatment of the Battlefield franchise.

Battlefield 2 launched in 2005, Battlefield 3 finally reared it’s glorious head in 2011.

If you put the two sideby-side there’s literally no way you could confuse the order in which they were released, and that’s how it should be when releasing a sequel.

We wish we could say the same thing about Modern Warfare 2 and 3.

Our wish for the future is for publishers to focus less on releasing to a schedule.

If only to prevent a repeat of last issue.

Ellen Jurczak Arnold Bennett games@forgetoday.com

king lear

University Drama Studio 7/10

S

uTCo regulars were treated to their second play in as many weeks with the opening of James Travers’s King Lear following the excellent Equus.

In a week where the press has been littered with questions regarding the origins of Shakespeare’s work, this production serves as an apt reminder that regardless of the source of his words, the quality and the longevity of the works cannot be doubted.

Even before the opening of the curtain, the audience was accompanied by a live band who are due great credit for adding grandeur and

atmosphere to the occasion.

Not least during the Machiavellian Edmund’s (Tom McMahon) scheming, in which the eerie and unnerving theme added tension, suspense and anticipation to the proceedings.

The guitar that accompanied the acceleration of Lear’s (Josh Finnan) descent into madness was perhaps less appropriate, as both lines and the orchestral tension were lost in a moment in which a concern for sound seemed to cloud a concern for speech.

The minimalistic lighting set the tone with a variety of palettes reflecting both the mood and location of the action, combined with a few abstract devices and the occasional extra effect such as smoke, which was used sparingly.

This, together with the open stage space largely left the cast and director to their own devices to tell the

tragic tale of King Lear’s fall.

Lear, played by newcomer Josh Finnan, was brought to life not only by an excellent visual portrayal of a man who even at the dawn of the play had lost much of his youth’s authority, but also by a vocal performance that betrayed much of his naivety and withering power before the narrative did.

His mature performance was demonstrated by the ease in which he transformed Lear, particularly in his darker moments, through a range of emotions whilst continuously evoking sympathy and slight repulsion with the authenticity of his act.

Finnan was complimented by a fine supporting cast, not least from Tom McMahon’s deliciously duplicitous Edmund who brought such dark charisma to the role that watching him command the stage was a delight.

His knowing grin and the slow

Lungs

Crucible Theatre 9/10

W

ith extraordinarily witty dialogue, Lungs is a play involving only two actors exploring, with equal measure of humour, sorrow and passion, the complexities of having a child in an age of growing environmental angst.

With a bare stage, no costume changes, still lighting and not a second between scenes, this is theatre at its rawest.

The language is all that matters in this minimalist production; and rightly so. It is a tribute to Duncan Macmillan’s writing integrity.

Unlike many plays in this style, it is completely unpretentious and totally accessible.

The audience feel like a fly on the wall, peering into the lives of ‘M’ and ‘W.’

Book 7/10

O

this sentimentality and nostalgia the collection is a very well researched and skillfully put together by an expert in Geoffrey Howse, who clearly has a great passion for the project.

The modern day pictures re pl i c a t e

ensemble, including the magnificent Sarah Sharp as Lear’s only loving daughter, Cordelia, who brought possibly the most tender moment of the entire play in her reconciliation with her father, which suggested that one of the biggest tragedies in this play of many, was that we were unable to witness more of both her and her relationship with Finnan’s Lear.

King Lear was a tasteful, if fairly conventional production of Shakespeare’s classic, which certainly benefited from a solid cast.

The characters swear, say what they are thinking, don’t quite phrase things correctly, and talk over one and other in a starkly human way.

In part, what has made the characters feel so real is Richard Wilson’s directing.

The actors talk into one another’s lines as though they’re so caught up in their argument they are not listening to what the other is saying.

Rather than dull and flat, Lungs is exhilarating and so fast paced the audience doesn’t have a second to detach themselves from the piece.

To watch ninety minutes of intense acting, with no gimmicks or smokescreens, overblown music or makeup is a joy, and a testament to the skill of the actors Kate O’Flynn and Alistair Cope.

When Lungs began it seemed as though it would be a laugh a minute play with little substance.

But that veneer was soon cracked.

The later stages particularly

lend the piece a deeper, more thought provoking layer.

The audience are invited to question some of the fundamental questions of life; when is the right time to have a child?

Should a child be born into a world so ravaged by the extremes and excesses of climate change?

And also, is it morally right in a world with an exploding and unsustainable population, to have a child?

Although this seems heavy, and dry, it is done in such a way that it is consistently hilarious.

When first presented with the synopsis of this play, I was sceptical.

It seemed as though it would be glib, clichéd and condescending.

But it was anything but.

With a hugely talented writer, a seasoned director in Richard Wilson and two incredibly naturalistic actors, this play comes together perfectly.

Nicholas Try

almost perfectly their older counterparts, showing the exact view as it is today, and the photos are supplemented on each page with a brief history of the area depicted; with just the right amount of information not to detract from the images.

That Sheffield first had electric trams whirring round its streets from 1899 or that our very own University of Sheffield rushed to achieve university status in 1905 (mainly to prevent Leeds from becoming the University of Yorkshire) were both interesting news to me.

There is not a lot else to say about a collection of pictures and

it seems very unlikely that the slightly dated design of the book – it possesses a cover that suggests it could easily be about 20 years old if you didn’t look inside – will attract many, or indeed any, student buyers of this book.

It is certainly worth a read though, it makes a reader realise once you get beyond the nostalgia, just how lucky Sheffield is.

That despite all the changes there is a surprising amount of old Sheffield still around in town.

Few students will buy this, M but I’m sure most would find a glance through Howse’s window into old Sheffield momentarily absorbing at the very least. Well worth a look.

Oli Godwin Follow us on Twitter @ForgePressArts

Fuse.

nce upon a time Sheffield was a lot prettier than it is today.

That is the story of Sheffield Then & Now, an artfully put together history of Sheffield through photographs old and new.

The ‘Then’ photos range from the 1890s up to the 1970s, touching on examples of most periods in between; the ‘Now’ photos having mostly been taken on grey days in January of this year.

The book’s sepia pictures of old Sheffield, particularly the older ones, possess a captivating elegance which the modern colour pictures lack with their downcast weather and high street logos.

Naturally, the world of dapper men in suits and hats spilling over the pavements onto roads populated by horsedrawn carriages and packed trams is fascinating. It’s alien to us and a lot more interesting than seeing pictures of the Sheffield we know today.

There is a sense that something of Sheffield’s identity has been lost amongst the post-war arrival of horrible c h a ra c t e r l e s s buildings; and the same chain shops that populate every other city centre in the country.

Beyond

and precise delivery of his asides to the audience made Edmund as engaging as he was devious, and allowed him to charm the audience almost as much as he did his fellow characters.

It was his unnerving and twisted confidence that ever so slightly began to shake towards the climax of the play that made the closing scenes as exciting as they were.

With a play so wrought with emotion, comic relief is much needed, and it was brought to the play in the form of the Fool ; portrayed in three parts by the mischievous Jade Richards, the childish and petulant Megan Gunn and the more sinister Elisa Santos.

Together with a wonderfully eccentric wardrobe and makeup selection, they gave the play a well choreographed and perhaps well needed extra dimension.

Further solid support was brought by the rest of the

Friday November 4 2011

Sheffield Now and Then

ARTS

Reviews.

Tom McGuire

15

LISTINGS

Film Unit

Fancy a night out?

Tickets: £2.50

Cool Beans: Foundry & Fusion @ Sheffield Students’ Union; Friday November 11; £5; 11pm

After their sell out birthday event at Penelopes, Cool Beans are back with a massive blowout.

With their biggest event to date, they’re bringing four very different, yet equally amazing acts that are all worthy of headline status.

O. the night you’ll be able to see DJ Woody, Dutty Moonshine, New Town Kings, Balkan Bandits and they’ll all be supported by System: Attic.

This is not one to miss out on.

Last time they took over the Foundry there were trampolines, conveyer belts and crowd surfing monkeys.

All films are shown in the Students’ Union Auditorium.

Tickets cost £2.50 and can be bought from the Union Box Office or Union Shop.

Saturday November 5: Fast Five; 3:30/7:30pm Former cop Brian O’Conner partners with ex-con Dom Toretto on the opposite side of the law. Backed into a corner in Rio de Janeiro, they must pull one last job in order to gain their freedom.

Sunday November 6: Limitless; 7:30pm What if a pill could make you

rich and powerful?

A copywriter discovers a topsecret drug which bestows him with super human abilities.

Friday November 11: Biutiful; 7:30pm This is a story of a man in free fall. On the road to redemption, darkness lights his way. Connected with the afterlife, Uxbal is a tragic hero and father of two who’s sensing the danger of death. He struggles with a tainted reality and a fate that works against him in order to forgive, for love, and forever.

Saturday November 12: XMen: First Class;3:30/7:30pm

Before Charles Xavier and Erik Lensherr took the names Professor X and Magneto, they were two young men discovering their powers for the first time.

Before they were archenemies, they were closest of friends, working together, with other Mutants (some familiar, some new), to stop the greatest threat the world has ever known.

Sunday November 13: Win Win; 7:30pm A light-hearted comedy about how a rough-and-tumble runaway changes the lives of a suburban New Jersey family and turns around the luck of a high school wrestling team.

Fuse’s four for the fortnight Disney on Ice: Tuesday 8 - Sunday November 13 @ Motorpoint Arena; £13-35.50

Remember When at Christmas: Monday November 28 @ Sheffield City Hall; £9 Start Christmas in style with this delightful and unforgettable festive trip down memory lane back to a time when Christmas really was so special.

We can all be dreaming of a White Christmas and watching Chestnuts roasting on an open fire, with Neil Sands and his brilliant cast of West End performres who will have you singing along to all your festive favourites.

This enchanting Christmas production now in its 5th sell out year, is a truly wonderful mixture of great songs, stunning costumes, lots of good old fashioned festive fun.

Feld Entertainment’s action-packed ice spectacular, Disney On Ice presents Worlds of Fantasy, whisks audiences on a captivating adventure to four magical locations, including the auto-racing terrain of Cars and a visit to Andy’s bedroom to play with the stars of Toy Story 3.

Daniel Sloss: Tuesday November 29 @ City Hall; £10; 7:30pm Scotland’s half-man-half-Xbox, hormone-ridden comic prodigy is currently one of the fastest rising stars of UK comedy.

He started doing stand-up aged 16 as well as starring in his own BBC show ‘The Adventures of Daniel’ and selling out three Fringe seasons in 2008-2010 - all before he started to shave.

His October 2009 debut in London’s Soho Theatre made him the youngest stand-up ever to perform a solo season in the West End and he has performed in Europe, Australia and South East Asia. Winner 2011’s Scottish Variety Award - Best New Comedian. Catch Daniel’s new show on tour this autumn! (with fabulous support act Kai Humphries)

Fuse.

Friday November September416 2011 2011

This production delights audiences with a journey under the sea to Ariel’s world from The Little Mermaid and then into the mystical land of Pixie Hollow for a presentation of Tinker Bell.

16 2

Miles Kane supporting Kasabian: Saturday December 10 @ Motorpoint Arena; £30; 7:30pm Kasabian have just confirmed Miles Kane as special guest for their Motorpoint Arena show on Saturday 10th December.

Miles’ has had an amazing year with the release of his acclaimed debut solo album ‘ Colour of the Trap’ and the singles ‘Inhaler’, ‘Come Closer’ and ‘Rearrange’.

Recent appearances on ‘Later’ and an acclaimed Radio 1 Live Lounge, have enhanced his growing reputation as one of the UK’s most exciting artists.

Kasabian’s new album, one of the year’s most eagerly awaited LP releases, ‘Velociraptor!’, was out on September 19 through Columbia and includes stompers ‘Switchblade Smiles’ and ‘Days Are Forgotten’.

The band have been wracking up those youtube hits for the ‘Switchblade Smiles’ video and ‘Days Are Forgotten’ has already been chosen as the soundbed for the new Sky Sports football season TV ad.