Fuse issue 73 by Forge Press

Fuse.

Sheffield and the first world war Local game developers Our guide to Sheffieldâ&#x20AC;&#x2122;s music The best of binge-watching

Friday September 19 2014

Short Fuse.

Comments and rants on entertainment news. The solution to #gamergate is #solidarity between journalists and developers.

he #gamergate scandal has arisen from a period of heated discussions surrounding the video game community, involving journalists, YouTubers, bloggers, and of course gamers. The fight concerns the treatment of women in the gaming community, and an issue of ethics in gaming journalism. Indie game developer Zoe Quinn has been targeted for receiving unfair treatment in the gaming press due to personal relationships. Critic Anita Sarkeesian also received abuse. Sarkeesian created a series of videos called Tropes vs Women in Video Games, highlighting the misrepresentation of women in gaming. This includes using female characters who are feminised versions of a male, or whose purpose are to be a ‘damsel in distress’. For

simply discussing these issues, she received horrific threats of rape and death which forced her and her family out of their home. Attacks on Zoe Quinn have highlighted the idea that game developers, indie ones in particular, have such close ties to the online press that their journalistic integrity has been compromised, and games writing is therefore biased and unfair. There’s also an argument against the focus on women and feminist issues in gaming, perhaps highlighted by women like Anita Sarkeesian, which is now being considered as detrimental to the gaming community. In general, it’s about a demand for more transparency in gaming journalism, better ethics, and fair representation of games. So what does this mean for student journalists? We’re lucky in a sense - we’re not well-known

enough to receive death threats for our writing. But dealing with women’s issues is a fairly high priority for Forge Press. It’s in our SU policy to “actively oppose sexism”. For the last four years at least, there’s been a female games editor on the team. When I was games editor myself, I wrote about women in gaming. Can we really start to consider that this isn’t valuable content, because it’s talked about “too much”? I disagree entirely. It’s the kind of discussion that is healthy and productive to keep having until the problems stop. Which they haven’t. And as for relationships with indie game developers, well, of course we have them. Being a pretty tiny fish in the ocean of games journalism, we’re often reliant on our contacts to provide decent content. Does that mean we give them

unfair treatment? That we’ll review them highly simply because they’ve been kind enough to meet with us? Or because they’re local and we want to support them? No, it doesn’t mean that at all. It means we’re student journalists. We’re using our resources. But we’re also practising to be great writers, and hoping that all of this voluntary experience means someday, someone in the real world might take us seriously. Luckily for Forge Press, and for all student newspapers, we’re unlikely to be unattacked by #gamergate. But we’re not ignoring it. And we’re standing by the journalists, bloggers, and women who have been unfairly attacked by this fight.

film makes no attempt to shame its characters or warn people off sexuality, but instead finds the humour and chaos in a very ordinary thing that married couples do sometimes. Neither does Obvious Child shy away from the consequences of sex when its protagonist, played by the wonderful Jenny Slate, decides to have an abortion after a one-night stand. At no point is she labelled negatively, nor does her sexual be-

haviour define her continuing career or social life. Sex is just a part of life, not a mysterious, intimidating goal. The fact that films are beginning to see it as such can only lead to healthier conveyed messages and more mature, interesting storytelling.

Kaz Scattergood

Let’s talk about sex and cinema, baby...

ex is just a normal, boring thing that human beings do. This definitely isn’t exciting enough for the movies, where the topic gets distorted, vilified or glorified beyond all measure. A recurring problem with sex in movies is that older romantic comedies such as John Hughes’ 80s classics or the American Pie series view intercourse (and usually, by extension, women) as an endgame;

In Case You Missed It A quick look at some of the entertainment stories from the past fortnight which were too interesting, funny or downright bizarre to overlook.

some unimaginable and near-unattainable prize to aim for. It creates a culture that is both desperately afraid of and ravenously hungry for sex. It can lead to some scary misconceptions and even predatory behaviour. Luckily, there are films out there with a much healthier message and they’re growing in number day by day. Coming out this month are two

such films - gross-out raunchfest Sex Tape and lo-fi mumblecomedy Obvious Child. The two features explore different ideas and have received wildly differing critical reception, but both handle the topic of sex in a frank and realistic way. Sex Tape is about a couple who make their own dirty movie and accidentally send it to everyone they know. Though critically panned, the

Microsoft weren’t allowed to market their new game Destiny (which we’ve reviewed on page 10) in the UK ahead of launch, so they found an ingenious loophole and created a fake perfume advert. Considering how Microsoft marketed Halo 4, the fragrance probably smells like Mountain Dew and Doritos.

Rhys Handley

After a Change.org petition reached over 1000 signatures, a museum in Aspen, Colorado was forced to remove one of its exhibits, which featured tortoises with iPads strapped to their backs. We came up with some shell puns for this story, but they were all turtle-y awful.

Friday September 19 2014

o new arrivals, welcome. To old friends, welcome back. A new year has begun at the University of Sheffield, and with it comes the return of the best student paper in the UK. If you’re a returning student, you already know how awesome Sheffield is, both as a university and as a place to live. If you’re a fresher, then you’re in for a treat. Sheffield has culture coming out of its ears, and every fortnight we at Fuse are here to guide you with 16 glorious pages of news and reviews of everything that’s happening in en-

tertainment and the arts. We even give it a pretty front cover, because we’re nice like that. So what can you expect from the first of many great issues to come this year? Our Music editors have compiled a rundown of the city’s best live venues, while Arts are previewing the many events Sheffield is organising to mark the centenary of the first world war. But if all that walking seems like too much effort – which we totally get, because Sheffield is ridiculously hilly – have no fear. The good folk at Screen have made a handy guide of some

of the best TV shows you can bingewatch from the comfort of your zebra-patterned onesie. Honestly, we won’t judge you. Or if you prefer entertainment of the interactive variety, over in Games we take a look at some of the local developers that live and work right in our own back garden. Over the course of this year, we want to provide you with the best content we can, but we can only do that with your help. This is, after all, your student paper. Forge Press is always on the lookout for writers, whether you’re a

budding journalist or just looking for some free tickets. Come and chat to us at the Activities Fair in the Octagon on Thursday September 25, or send us an email at fuse@ forgetoday.com and tell us you’re interested. You can even come and find us in the Media Hub in the Students’ Union. Just don’t blame us when you’re still here weeks later, having missed all of your lectures. Phil Bayles & Kate Lovatt

Editorial.

This issue’s front cover was the work of the ridiculously talented Ruby Gullon.

When it comes to the arts, we’re always better together.

y the time you read this, some kind of conclusion will have been made on the Scottish Referendum. Scary thought. However, as I’m sat here with my cuppa, the referendum is only a few days away, and right around the corner in May 2015 is the Gen-

eral Election. It’s a big 12 months for UK politics. But what kind of impact will these major political milestones have on the arts? When it comes to the arts, Scotland and the rest of Britain play interdependent roles. Not only can we appreciate the beauty of the Proclaimers’ music, the poetry of Robert Burns and everything about David Tennant; we also access to the biggest arts and comedy festival in Europe; shows on the West End, and countless contributions to galleries, museums and literature. Any division between the two countries will probably draw a defining line between the English arts and Scottish arts: if this is good or not is still to be seen. However, if the yes vote is passed, we must not ignore the rich history between Scotland and England, and how important it has

been to the development of the arts in both nations. It’s extremely important to acknowledge other cultures in the arts; it is what makes our own culture so varied and rich. Somewhat more pressingly when considering the impact on the arts is the General Election of 2015. The coalition government has already cut funding for the arts in education. They also attempted to roll out the English Baccalaureate, the GCSE programme which ignored the importance of both the arts and religious studies; the main subjects

which encourage tolerance and understanding of other cultures. More worryingly, with Ukip holding more seats than ever before in the EU, the General Election result is looking grim. Many cultural organisations in the UK apply for funding from mainland EU through the European Arts Funding programme; not just the big galleries and museums in London, but also smaller institutions like the Bristol Museum and the Ffotogallery in Penarth, Wales. Funding from Europe keeps our

whole cultural education afloat, and if our ties with the EU are severed by Ukip, everyone will suffer. Nigel Farage argues that the EU drains our resources. But without the rest of the European Union, we wouldn’t have the amazing opportunities to celebrate arts through galleries, museums and the stage that we are known for in the UK. Chloe Coleman

Don’t be in such a rush to tar all musicians with the same racist brush.

here’s no denying that in the past couple of years, the appropriation of foreign cultures by caucasian poster girls has been plastered all over the media. Following the uproar that Miley Cyrus’s nightmare performance at the VMAs sparked last year, accusations of racism against many other, predominantly female, pop artists have lingered on the tongues of the public and celebrities alike. When Iggy Azalea shot the video for ‘Bounce’ in India wearing a sari, murmurs of her appropriating Indian culture rumbled. Azalea then faced further backlash denouncing her as a racist following unfortunate tweets. It seems like every pop star and their dog has been in the firing line for criticism of their songs, videos and even dancing. And frankly, some of these accusations are ridiculous. Lily Allen’s 2014 come-

Hot on the heels of Arrow, The Flash and Gotham, DC Comics has now confirmed that Supergirl will be getting her own TV series sometime in the near future. Considering Wonder Woman has been shoehorned into next year’s Batman vs Superman, it’s nice to see a female superhero take the lead role for once.

back single ‘Hard Out Here’ was challenged because of the use of black dancers, when the focus of the video was blatantly intended to satire the objectification of women – regardless of race – in media. While Allen is no stranger to controversy, it seems cruel to brand her as a racist in an attempt to sidestep the actual issue she brought to the table. The most recent example of this kind of scrutiny comes after Taylor Swift’s video for her newest single, ‘Shake It Off’ . The country queen’s video is hardly a piece of cinematic genius, but it’s unfair to state that Taylor is following the example of Miley’s minstrel show. The point of ‘Shake It Off’ is that Taylor is own satirising herself, mocking the well carved out persona that she oozes: “I’m a nerd and can’t dance”. Unlike Cyrus, Swift acknowledges that she could never appropriate

In what is being called the single biggest music release of all time, 500 million people woke up on September 10 to find U2’s latest album, Songs of Innocence, in their iTunes libraries as part of a deal with Apple. Sadly, not everyone was pleased; one tweet compared the experience to “force-feeding lamb to a vegetarian.” Ouch.

hip-hop culture convincingly. While she clumsily wriggles her hips, it’s worth noting that it’s not just black women behind her who successfully twerk, but white and Asian women, too. Incidentally, Swift also sucks at ballet. Earl Sweatshirt of Odd Future decreed via Twitter that ‘Shake It Off’ is “inherently offensive and ultimately harmful”, despite later admitting that he hadn’t given three minutes to actually watch the video. We should be aware of cultural appropriation as teens descend on Creamfields with bindis in abundance. But nitpicking every successful artist when it’s not necessarily deserved will only damage their careers, as well as further stigmatising unfamiliar cultures. Chloe Bolton

Friday September 19 2014

Words: Rachel Bell and Rebecca Stubbs Sheffield’s music scene has long been hailed as one of the country’s most vibrant and colourful, exploding across artists, genres, venues and record labels. Without sounding too much like a Lonely Planet travel guide (although we just can’t help but endorse the song of this oh-so-fabulous city!) Sheffield has something to offer music lovers of absolutely all persuasions. From a thriving electronic tradition, to a long-standing affinity with gritty northern indie (ahem, Jarvis), Sheffield has seen, and continues to see it all. So, with it being Intro Week,we thought we would take this opportunity to introduce (and of course re-introduce) just few of this city’s many musical hotspots, and tell you just what exactly you can to find there.

THE LEADMILL The Leadmill has been a staple part of nightlife of Sheffield students ever since its opening in the 80s and is now somewhat legendary throughout the city. The last three decades have seen the acclaimed venue attract the likes of the Libertines, the Verve, the Killers and Sheffield’s very own Arctic Monkeys to its stage, and to this day it’s still providing us with some of the best live music acts and the most iconic club nights. Despite the club being large and generally very busy the layout ensures that, when live music is playing, there is still a very intimate atmosphere with a good view of the stage wherever you stand. Watch out for when the Horrors, Nick Mulvey and Mallory Knox all play here in the coming months.

THE NIGHT KITCHEN Tucked away in a neglected side street of industrial Sheffield, the newly revamped Night Kitchen (formerly DLS) plays host to some of the most well loved and respected DJs and producers from across the world. A must for lovers of all electronic dance genres, in the last year the Night Kitchen has seen names such as Giles Peterson, EJECA, and Derrick Carter go down a storm. Having received financial support from the National Lottery, the venue seeks to incorporate visual arts projects in order to “create an isolated world for revellers and party people”. The beginning of October sees Party for the People and Gold Teeth present Daniel Avery, Ghost Culture and Bozzwell, starting the new term in style.

CORPORATION Corporation is perfect for those of you who like your drinks strong and your music heavy. It has been voted into the top three rock clubs in the UK by Kerrang and continues to live up to its title providing people across Yorkshire with alternative music, cheap drinks, and an amazing atmosphere. The club has seen Mallory Knox and Funeral For a Friend take to the stage in the past and 2014/15 looks set to be incredible with the likes of Electric Boys, Malevolence, and Kids in Glass Houses playing. Corp will ruin your shoes (make a specific pair of shoes your ‘Corp shoes’), and your head (did someone say quad vods?) but we promise it will definitely not ruin your time in Sheffield!

THE HARLEY It may be tiny, but what the Harley lacks in size, it certainly makes up for in both diversity of the acts that play there, and fearless attitude. And, let’s face it, while the bigger venues are great, every city needs those smaller spaces where the music can truly connect with its audience. In terms of live music, the Harley is a must for lovers of absolutely anything alternative. In just the past year, it has seen Royal Blood, Courtney Barnett and Nick Mulvey, and with the likes of The Black Lips, Marika Hackman and Eugene McGuinness all set to play in the coming months, its importance on the Sheffield scene cannot be underestimated. And that's not all this plucky little venue has to offer – its club nights are particularly vibrant, playing anything from funk and soul, to house, techno, reggae and almost everything else you could imagine in between.

Friday September 19 2014

Buffy the Vampire Slayer A show in which humour and emotion combine is the elusive holy grail for most TV viewers and boxset-bingers, yet Buffy manages this in the most fantastic of ways with a side helping of the supernatural. It follows teenager Buffy Summers (Sarah Michelle Gellar) as she moves to Sunnydale, California and has to balance a new school with battling the undead. Buffy boasts superb acting from a stellar cast; Alyson Hannigan (pre HIMYM) as Willow is particularly noteworthy. The pre-2000’s CGI is matched by the enjoyably nostalgic 90s fashion that the characters sport. It is a thematically rich journey through issues of love and death which are as prominent as the supernatural and equally gripping. Joss Whedon’s direction is warm and witty throughout the series and ultimately gives Buffy its timeless appeal. A true genreless classic with seven excellent seasons to sink your teeth into.

It’s Always Sunny in Philadelphia

Season one available on Netflix

Megan Myers

First, a test. Why does It’s Always Sunny in Philadelphia demand to be watched? In a word: darkness. Ranging from crack addiction, to holding a funeral for a baby to get out of an audit, IASIP pushes the boundaries of convention by tackling taboo subjects without hesitation.

Summer Heights High

Looking For the Perfect Cure?

If you weren’t immediately offended by those premises, read on. The show’s lampooning of dark subject matter makes its core characters thoroughly detestable, a position in which they revel. Their motives are selfish, their behaviour contemptible, and their relationships with each other are based solely on mutual tolerance rather than friendship. This is characterised by the use of escalating emotions to drive the story, using the characters’ ignorance to inform their unjustifiably strong opinions about a subject (e.g. abortion, race, religion). The combination of the show’s darkness and contemptible characters make it a unique product in American TV, an antidote to the predictable niceties of the CBS production line. IASIP takes a well-practiced sitcom formula of nihilistic socialising (a la Seinfeld) and perfects it with well-fleshed characters, hilarious dialogue, and a self-awareness that its not supposed to be liked. So, if you want a comedy that skews the ‘relationshipbased-happy-ending’ paradigm, or you just want to see a nude Danny Devito, I implore you, watch It’s Always Sunny in Philadelphia. Available on Netflix

You may have recently been made aware of the hilarious and ridiculous talent that is Chris Lilley. With Ja’mie: Private School Girl and Jonah From Tonga recently hitting our screens, it’s probably got you wondering where it all started. Look no further; 2007’s Australian comedy series Summer Heights High is all you’re going to need to fill those long, hungover days. Starring diva school girl Ja’mie King, break-dancing Tongan teen Jonah Takalua and flamboyant drama teacher Mr G, the eight-part series is a fly-on-the-wall mockumentary on life at Summer Heights High. Expect one liners such as ‘sir, what’s the difference between a dick and a penis?’, ‘shut your face and go to a hairdresser and sort your fucking roots out’ and ‘she really wants to be the first year 11 girl to date a year seven guy’. Prepare for tongue-in-cheek hilarity and not one moment of political correctness.

Our Screen Team recommends these TV treats to rid you of the new term’s hangovers...

Seasons one and two available on Amazon Instant Video Mollie Carberry

Jack Beal

Orange is the New Black Ten years after transporting a suitcase of drug money overseas for her drug smuggler girlfriend, Piper Chapman’s (Taylor Schilling) newly comfortable life is turned upside down as she is sentenced to 15 months in a women’s federal prison. Leaving her pushover fiancé Larry (Jason Biggs) in his middle class surroundings, Piper not only crosses paths with female offenders from all walks of life, but her husky-voiced exgirlfriend Alex Vause (Laura Prepon), who snitched on her in the first place. We watch Piper attempt to align herself with the unusual systems that pregnant prisoners and meth-head inmates have fashioned behind the backs of the neglectful officers. With better one-liners and more lesbianism than the true story could ever possess, this adaptation of Piper Kerman’s autobiographical story of the same name, a Netflix series full of twists and cliffhangers, is not to be missed. Available on Netflix

Chloe Bolton

Project Runway Who thought a competition about sewing could be exciting? Project Runway shows that it can. A bunch of budding fashion designers compete against each other, combining their couture expertise and design know-how. The coveted prize is to show a collection at New York Fashion Week. Every week, the designers are given a new challenge, for example designing garments from unconventional items like sweets or being asked to create fashionable sportswear. Every week, one designer is eliminated after a panel of star studded judges, including Nina Garcia and Zac Posen, critique the designers’ catwalk show. Now into its thirteenth season, the show is a must-watch for any fashion lover. Hosted by the glamorous Heidi Klum and partner-incrime Tim Gunn, Project Runway is a great guilty pleasure, perfect for a lengthy TV love affair. If you want a show like America’s Next Top Model minus the drama, then Project Runway will be your next TV binge. Available for purchase on Amazon.com

Niki Kesharaju

Friday September 19 2014

Lest We Forget One of our arts editors, joss Woodend, looks at the centenary and what is happening to commemorate it in sheffield.

Friday September 19 2014

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Friday September 19 2014

WELCOME TO

Sheffield is a superb place for all things gaming. We’ve handpicked 4 of our favourite companies, located in our steel city, and included their bios a

Sheffield is a superb place for all things gaming. We’ve handpicke included their bios and exc SUMO DIGITAL Who’s behind Sumo? ‘Sumo is driven by its four original co-founders Carl Cavers, Paul Porter, Darren Mills, and James North-Hearn. Between them is 65 years of game industry experience.’ Are you working on anything exciting at the moment? ‘Absolutely! We have two amazing projects in development at present, which includes some of the highest profile gaming brands on the planet. At E3 earlier in the year, Sony unveiled LittleBigPlanet 3. We’re partners in this development, and our team in Sheffield lives and breathes every molecule of the franchise. Honestly, this has been a tremendous project to work on. We’ve also channeled our accumulated expertise in the driving game genre to create a sequel to the award winning, open-world game, Forza Horizon. Working with Xbox, we’re using the same title, with nuanced game experiences; we hope this will be enjoyed with the same fervor as has been poured into the development.’

ROBOT/LIZARD Who’s behind Robot/Lizard? Team Cooper, the digital amusements agency, founded by Tim Cooper. Past gaming projects: Unclean Canteen, Nurse Quest: Love Till It Hurts, Beastie Builder, Beastie Burgers, and Tri Shooter, all of which are free to play online. Unclean Canteen is a more grotesque version of Cooking Mama. Nurse Quest is a personal favourite, an RPG reminiscent of Escape From Monkey Island. You can join Geoff Jefferson in his quest to sustain various injuries, all to impress a nurse at the local hospital. Expect beautifully dark humour. Robot/Lizard love to experiment. A venture within Team Cooper, the company have only just become a major part of Sheffield’s gaming scene, after utilising the Flash development they’ve been mastering since 2006. Now with eight people contributing to Robot/Lizard, they’ve accumulated a list of impressive clients, including CBBC, Nickelodeon, Adult Swim and eBuyer.

WORDS AND DESIGN: SAMANTHA FIELDING

What’s your games design mantra? ‘Sumo works with so many different game genres, so I’m not sure there could be a single mantra that applies to everything we do. Designers are encouraged to be faithful to the franchise we are supporting, but also push the bar whenever you can. Bear in mind the publisher’s needs and the fan base’s expectations as well as the design team’s aspirations. Don’t let your own ego get in the way of a global game concern.’ What do you love about the Sheffield games scene? ‘There is a misconception that 90 per cent of games are developed in America or Japan. Sheffield is swimming in game development history, and we love this. The two universities nurture a vast talent pool, and Sumo runs an annual Graduate Placement Scheme. With fantastic events hosted by the likes of Game Republic, Games Britannia and local GameJams, it’s fair to say that Sheffield has a truly dedicated community, with a bright future ahead.’ Do you have any advice for aspiring developers? ‘Having a portfolio of your work, be it demonstrations of your coding prowess, design writing skills or examples of concept work, will help you show what you can do and will get you an interview. Show your love for the medium and be prepared to explain what makes your favourite games stand out! If you apply for a job at a games studio, put in the time to research their history and games. It’s quite shocking the number of interviewees who can’t attribute the developer to the game when it comes up in a Q&A.’

Friday September 19 2014

O SHEFFIELD

and exclusive interviews below. Sheffield is a superb place for all things gaming. We’ve handpicked 4 of our favourite companies, located in our steel city, and included their bios and exclusive interviews below.

ed four of our favourite companies, located in our steel city, and clusive interviews below. SCRAPBOOK DEVELOPMENT Who’s behind Scrapbook? ‘Chris Gray, Ashley Collins-Richardson and Jack Lee. We founded the company in the summer of 2012 after graduating from uni. We each have a different educational background, and this contributes something vital to our business. For instance, I [Chris] have a Master’s in Animation so my skills lie in art and design. Ash studied Games Software, and Jack has a Master’s in Business Law.’ Are you working on anything exciting at the moment? ‘We’ve got a few games in development. We’ve got Soccer General Manager coming out autumn next year, which is designed to be a fresh take on the football management genre. More currently, we have a game called Robot Factory in development, which we’re due to release at the end of this year. In Robot Factory, you play as the head of quality assurance, and approve the robots that are built properly. So for instance, you might be given one minute to look through 20 robots. You’re shown them one at a time and if there’s anything wrong with them, like missing limbs, or if they’re sparking, then you have to send the product back for dismantling. Eventually as the factory gets more successful, new product lines get brought in and some are given upgraded models. The robots will also start to catch on as to what happens to damaged goods and will do their best to disguise any imperfections. So you’ll need to be extra vigilant!’ What’s your games design mantra? ‘Solid design and original ideas.’ What do you love about the Sheffield games scene? ‘Sheffield has always been a popular city for artists, and we have a large community of independent media producers here. It’s a city where a lot of people within these industries know each other and it’s that sense of community that we love the most. I’d say that it is very appealing for independent artists in all media disciplines.’

BONELOAF Who’s behind Boneloaf? James, Jonathan, and Michael Brown, all brothers, and Jason Pugh. Current gaming projects: Gang Beasts, Grim Beasts, and Star Beasts. Gang Beasts is currently the most developed, and influenced by Sega fighting classics, the game is a lighthearted multiplayer battle of plasticine men in ‘horrific environmental standards’. Boneloaf was set up in 2011, as a part of the DigitalCity Fellowship scheme, a scheme to help companies working with technology. Since then, the company have shown their faces all over the Sheffield scene, taking a special interest in Games Britannia, a festival that focuses on the way adolescent gamers can benefit from playing. Now greenlit on Steam, we can expect the arrival of the finished Gang Beasts soon.

Do you have any advice for aspiring developers? ‘The best bit of advice I can offer is to treat your studies like a full time job, and to always try to go the extra mile. Games development is a notoriously difficult industry to break into, so you’ll have to do everything you can to make sure your portfolio stands out from the rest. Work experience is also vital; you’re unlikely to get hired with a degree alone, even if you come out with a first. Working on something in class and working on something in the real world are two different ball games and employers want to see that you can handle it.’

Friday September 19 2014

Fuse Games. The Sims 4 EA

fter almost 15 years, the mechanics and basic ideas of The Sims have stayed the same. There’s something addictive about constantly remaking virtual copies of your friends and watching their lives fall apart while they live in a house lovingly crafted by your hands. For those who somehow have managed to avoid The Sims, the basic idea is that you design avatars called “Sims”. You then watch their lives unfold, taking as much or little control over them as you please, while your Sims carry out their basic needs. Houses can be designed and furnished yourself or bought premade, using in-game currency earned by your Sim’s career. The game’s “create a Sim” received one of the biggest changes

in this instalment. The familiar sliders used to change the size of a Sim’s features are gone, replaced by a more interactive yet frustrating method of dragging at areas you want to adjust. Gone also is the trusty colour wheel which once allowed players to mess with colours to their heart’s content, replaced by a pre-determined set of 18 basic colours. After getting used to it, though, it does eventually become possible to create the Sim you want. This is complemented by a variety of clothes, something previous base games have lacked. House building has received new tools which make the task far easier. Now rooms may be selected and moved as a whole - no more knocking down that kitchen just to rebuild it two squares to the left merely because the house wasn’t symmetrical enough. The game ships with a wide range of items to decorate your house with, allowing catering to each per-

son’s individual tastes. However, the game does feel rushed and lacks many key features from previous games. Although careers are now slightly more indepth, allowing a Sim to choose a path in their chosen career, simple job areas which have been around since The Sims are missing - no scientist, no politician, and no slacker career. Toddlers, which were introduced in The Sims 2 to make babies more exciting, have been removed, meaning babies are nothing more than interactive bassinets stripped of any personality. Other features missing include burglars, ghosts and repairmen, making the world seem far less alive. There’s no doubt these will appear in a future expansion, but it doesn’t seem right to make us pay extra for features we’ve come to expect, which have been included in the base game since the franchise’s birth. The Sims 4 acts as a good foun-

DESTINY BUNGIE

uardian of humanity, your Destiny awaits you. This year’s biggest, most important video game incorporates only the best features from some of the most influential videogames to date, culminating in a breathtaking masterpiece. Hundreds of years in the future, the Traveller, a mysterious moonlike orb, floats down to the Earth, giving humans, robots and aliens alike their own powers of peace and warcraft. But the Darkness, a floating cloud of deadly smoke from space, kills the Traveller, leaving the xeno threat to run free. While Peter Dinklage [voice of the Ghosts] subtly pushes you through a linear campaign, the

CULT CORNER

THE ELDER SCROLLS III: Morrowind Bethesda Studios 2002

aken from the imperial city, you hear the stately voice intone her reassurance: “Fear not, for I am watchful. You have been chosen.” So begins the still unsurpassed The Elder Scrolls III: Morrowind. You were transported to this alien land, whisked away first of all by the haunting melody of the game’s menu theme, its pipe and kettledrum strangeness far superior to the likes of Skyrim or Cyrodiil. And that’s what sets Morrowind apart from its successors, and competitors like Dragon Age or Fable: it dared to be weird.

Morrowind is an unforgiving land, with harsh and unforgiving people. The elves of The Elder Scrolls: Morrowind come in three flavours; the refined High Elf, the arboreal, occasionally cannibalistic Wood Elf, and Morrowind’s native, Dunmer Dark Elves, a brash, ancestor-worshipping warrior race. The Dunmer of Morrowind eke out a living in a desert waste of volcanic ash, riding three story tall insects. They chafe against the restraints of the human Cyrodillic Empire, which has outlawed the practice of necromancy and forced the Dunmer to grant rights to lesser races. George RR Martin, eat your heart out. Yet Morrowind isn’t weird for the sake of being weird; it is thoughtful, and obtains the fabled enterprise of providing a completely unrestricted open world. The captivating story is epic on a level

never reached by another Elder Scrolls game. In no other game will you walk towards a temple with a moon anchored to its summit, on your way to debate with a hermaphroditic god on the theology of its cult. No other game will have you stopped by a priest-soldier in armour of insect shell and gold leaf, enlisting help to build a wall from the bones of his house’s honoured dead. No other game like Morrowind could be made today, in this era of big budget play-it-safe blockbusters, afraid to challenge gamers, make them think, or make them grapple with the implications of human imperialism on the mercantile ambitions of a noble Dunmer house. So don’t play its successors; play The Elder Scrolls III: Morrowind. Sam Robinson

dation. At its core, it’s basically the same with a new lick of paint. The game certainly looks visually impressive and does a good job of retaining the player’s attention. It shows potential but at the same time the missing features let the game down. Players may want to wait for the game’s first expansion before sinking their teeth into The Sims 4. Joey Relton

continents and bases are fully explorable for your own training time. From the first mission onwards, you can run free like a looney if you so choose, gaining stupid amounts of XP and levelling up your abilities, weapons and armour. As you join the elite army of Guardians, you get to sharpen your fighting skills, while studying those of your allies. It’s nice that other players will hardly ever interfere with your play; unless you join a Fireteam story mission, they’ll just be mooching around, four at a time, helping you scour the moon, Old Russia or Mars for these deadly invaders. From the beginning of Destiny, you must choose a class; Hunters specialise in long-range, stealth tactics, while Titans have ability to smash through hoards headfirst. A Warlock’s powerful force blasts at

the cost of fewer defence points. A very crisp heads-up display acts like a parallax Microsoft Surface screen, making menu optimisation as quick as you could need. Take the time to properly explore Destiny, not just for the caves containing loot boxes, but for the ‘greener-grass’ effect that arises over every hill and rock you climb over. The £300m budget really provided some stunning graphic landscapes, and an imaginative and fully customisable character. There may be issues with repetitive location missions, but you will never get bored of random online events that pop up, forcing you to postpone your mission to defeat a swarm of warp dregs, or a huge, heavily armoured Fallen walker. Working together has never been so personal, and we love it. Will Ross

Friday September 19 2014

Fuse Arts. Lee Mack

Sheffield City Hall

t’s been four long years since Lee Mack graced our stages with hilarious live shows and razorsharp humour. Thankfully Mack is back with his brand new tour, Hit the Road Mack, and it is funnier than ever before. This is truly Lee Mack at his best.

“Mack is a hugely talented performer.”

After seeing his last tour, Going Out, it was clear that this tour was going to be nothing short of hilarious. Mack has an incredible ability to bounce off the audience at his live shows, making it a risk to sit in the front row if you don’t want to be picked on. Unfortunately for those people, he made full use of the audience before him. Working his way along the front row, he asked the names of all those sitting there

and eventually settled on Tom and Natalie who he returned to for most of the night, making endless jokes at their expense. At one point Mack even had a spotlight projected one audience member, poor Chansel, because he refused to tell him his name, only responding with “it’s going to be a long night”. For Chansel, it was indeed a long night. Throughout the show Mack was quick with his humour, clever with his timing and funny to the point of tears. The humour ran effortlessly into the encore, seeing Mack encounter all sorts of questions. The best question of the night came from an audience member who confidently asked Mack if he was real or not, to which Mack quickly replied “no, this is just one fucking massive TV”. Mack is a hugely talented performer who is capable of delivering high-quality humour as well as confidently creating jokes on-thespot at the audience’s expense. He’s a one-of-a-kind comedian and is incredible to watch. Nobody can escape his comedic improvisation and, if you risk sitting in the front row during his live shows, it’s more than worth it.

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Joss Woodend

Picture The Poet

BOOK CORNER

Graves Gallery

Will Grayson, Will Grayson

heffield’s affinity with poetry is inescapable; from the mural projecting Simon Armitage’s ‘In Praise of Air’ on the Alfred Denny building to Andrew Motion’s ‘What If?’ on Howard Street, there is always an opportunity to sample the works of giants of British literature. Thanks to a three-year partnership between the National Portrait Gallery, the National Literary Trust, and the Apples and Snakes initiative, Sheffield is one of six hosts for the Picture The Poet project, which exhibits 250,000 photographs of renowned poets. Although aimed primarily at raising the standards of literature in schools, the project also presents photographs as windows through which a collection of creative souls can be viewed and appreciated. The exhibition allows visitors to look past the works that they have read and been inspired by, to the people whose imaginations gave birth to them. The artistic photography provides some poignant insights into the character of its subjects; many poets, like Roger McGough, are captured in the black and white effect of a bromide print, either looking wistfully into the distance or challenging the viewer with a gaze straight into the camera, as a cross-armed McGough does. Poets command celebrity status

John Green and David Levithan

I beyond most artists, and the eye is instantly drawn to a colour print of current Poet Laureate Carol Ann Duffy standing in a cavernous hall, half-bathed in darkness. Popular dub poet Benjamin Zephaniah gazes into the camera entirely swathed in darkness, Fleur Adcock and Michael Morpurgo are fittingly amidst books, while the portraits of John Agard and Grace Nichols’ sit together in isolation from the rest. What is most striking is the variety of different images available to view. From Nigerian poet Ben Okri to Anglo-American writer Anne Stevenson, who stands with St Paul’s Cathedral dominating the skyline behind her. We see not just great writers but people from entirely different walks of life, all brought together by the power of the written word. The exhibition

aims to speak to those who stereotype the poet as someone entirely different to themselves. As the murals and displays in this very city show, poetry is for the people. This serves as an inspiration. These people are more than just names on the side of a book you once read; one day they used their imagination and came up with ideas that stir our senses. Looking at the essence of these writers expertly captured and framed made me want to explore poetry and see how I can add to the great patchwork of global writing. And that’s what this exhibition does best. Perhaps it may do the same for you. Ed McCosh

t’s always a risky move when two authors join forces. However, John Green and David Levithan seem to pull it off pretty well. On a cold night in Chicago, two boys of the same name cross paths and the result is a hilarious comingof-age story, which will take you back to the worries, arguments and general awkwardness of secondary school. Both authors capture the very essence of what it is to be a teenager trying to find your way. Despite a fairly predictable plot, the contrast of the two authors keeps you gripped throughout the novel. Although, despite the way in which both Levithan and Green work together, there is a feeling that without Levithan’s additions to the novel, the story would just be an extension of the characters seen in Green’s Looking for Alaska, Paper Towns and An Abundance of Katherines. Both Green’s Will Grayson and his female protagonist, Jane Turner, share the same qualities as his other characters. Will is nerdy, under-celebrated and smart and Jane has a slightly pretentious air which turns out to be alluringly mysterious. Levithan’s Will Grayson and co. are a breath of fresh air, challenging real issues such as mental health and parental

struggles in a way which Green seems to avoid in this novel. The novel leaves you with an overall feeling of positivity, which is quite enjoyable, especially as Green is the king of ‘not quite cliff hangers but cliff hanger-y enough to make you wonder what will happen next, even though you know there won’t be a sequel’. Despite not being Green’s best work, the smooth collaboration between the authors means it is still a fairly good book. It’s an easy read and, if you’re a sucker for comedy like me, then it’s perfect to ease you into term and not make you feel too guilty when you know you should be reading something academic. Chloe Coleman

Friday September 19 2014

Fuse Albums. Simian Mobile Disco Whorl

eaving all computers behind them, electronic music duo Simian Mobile Disco ventured into the depths of southern Californian desert to record Whorl. It's the pair’s fourth album – and whilse the material itself is not particularly ground-breaking in comparison to much of their back catalogue – it's an undeniably strong album nonetheless.

“A sublime sense of space and balance are at the centre of the first two tracks”

to love Simian Mobile Disco for - the glowingly buoyant ‘Tangents’ and ‘Calyx’, for instance. This glaring contrast of style means that much of Whorl is carefully poised between being effortlessly free-flowing and meticulously well conceived. It's important to remember that some of the recordings that make up Whorl are taken from the duo's live performance to a 900 strong crowd while out in the desert. As artists that are possibly at their most creatively powerful when live, the feverish energy that is transferred here is invaluable. At the very least, we should be applauding Simian Mobile Disco for exploring new territory, but Whorl deserves more credit than that, and most definitely deserves a listen. Rachel Bell

Listen

he Kooks have never quite shaken off the chilled out noughties pop vibes of their 2006 debut album Inside In/Inside Out. Of course then, generally it is the songs from the aforementioned album that we know them by (-think ‘She Moves in Her Own Way’, and ‘Naïve’). This was, without a doubt, the album that defined them which is why their new album Listen has come as such a shock for the music industry. Gone are the easy beats and catchy-butpredictable riffs of their previous albums. The only thing recognizable on this new album is lead singer Luke Pritchard’s nasally tones - and even that has matured significantly. It’s clear to see what the band has done. Noughties popworld is over. It’s 2014 and the Kook’s last album

didn’t do so well. So, rather than become simply another pop band that had a few hits before gracefully bowing out of the industry, the Kooks have (rather impressively) reinvented themselves and their music to come up with their fourth studio album, which is full to the brim of character.

“Listen is definitely worth a listen” The stand out track of the album is, without a doubt, the piano ballad ‘See Me Now’, that Pritchard wrote about his father who died when he was young. The track is smothered in genuine feeling, and is a real step for the group who, on previous albums, have been criticized for failing to provoke any real emotional

This Is All Yours

ot even two years after tucking a British Mercury Prize under their best for their debut album, An Awesome Wave, the Twitter account of Leeds-formed four piece alt-J announced that Gwil Sainsbury, hailed as the band’s “silent leader”, had left the band. As if there wasn’t enough anticipation for alt-J’s follow up, the fact they were down to three members ensured that people would be itching to catch a listen of This is All Yours. Just how much would Sainsbury’s absence change their sound?

“You’ve got to give it to them, alt-J are one of the most musically diverse acts around today”

Perhaps its the concept and process behind Whorl that belies this strength, with members James Ford and Jas Shaw recording the album over a three day period and using just two sequencers, two modular synthesisers and a mixer. The tapes that were recorded from these experimental sessions were then spliced and re-edited to form the album in its entirety. Indeed, there's something intrinsically beautiful and rare about the way in which many of the tracks reflect the surroundings of the albums origins – a sublime sense of space and balance are at the centre of ‘Red Shift’ and ‘Dandelion Spheres’, the first two tracks. And then, when the ambience is cast aside for just a a moment, we are back with the house and techno sprawls that we have come

the kooks

alt-j

The vocals of Newman and Gus UngerHamilton (keyboards/vocals) pull you in under the pretence that the opening track is almost an acoustic piece. If you strain yourself, you can hear a guitar string being tickled faintly; the “la la la”s definitely begin to dominate ‘Intro’. One minute in, a synth sounds, closely followed by another shift to a dramatic rumble of drums. We begin to worry: are alt-J trying too hard to cram as many different sounds in as possible? reactions from its audience due to their strictly happy/ poppy style. Despite that, there remains the question that perhaps it is too little too late for the band to suddenly start addressing such emotional and meaningful issues. Their stab at social commentary within ‘It Was London’ which discusses inner city riots seems somewhat nonchalant and lacks any true feeling. Despite this, the fusion of funk, jazz, pop and rock throughout the rest of the album is undeniably refreshing and, whilst I doubt the Kooks will be outselling their older and cooler brothers the Arctic Monkeys or the Libertines any time soon, Listen is definitely worth a listen (no pun intended); even if just to appreciate the massive changes the band has gone through in a bid to stay current. Rebecca Stubbs

This concern is tarnished soon enough, thankfully. One of the most haunting things about alt-J is their soprano whisperings and even the lyrics. “Turn you inside out/And lick you like a crisp packet” Newman coos during ‘Every Other Freckle’, such lyrics reminiscent of last year’s Arctic Monkeys track ‘I Wanna Be Yours’; a musical adaptation of John Cooper Clarke’s well-expressing poem concerning all-consuming love. You’ve got to give it to them, alt-J are one of the most musically diverse acts around today. This is All Yours echoes the sounds of so many other bands around today; ‘Left Hand Free’ offering us a harsher rock sound that mimics Cage the Elephant, while songs like ‘Hunger of the Pine’ feature electronic demos and shiver-inducing vocals pays homage to Wild Beasts. This is All Yours takes what alt-J created with Sainsbury and amplifies how far they are willing to stretch their sound. The selfconfessed ‘geeks’ perfect and excel in every sound possible in their follow-up album. Chloe Bolton

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Friday September 19 2014

Fuse Gigs. Shambala Festival Northamptonshire 27th - 31st August

Photography: Shambala Festival

Green Man Festival

Brecon Beacons 14th-17th August

magine yourself sitting on a hill in the middle of the beautiful Brecon Beacons, watching a band you thought you’d never have the chance to see live ever again. Many festival-goers had that very experience at Green Man Festival this year. Right from the incredible lineup, down to the pokey little places to explore, the Green Man organisers were on to something very, very good. The first and most obvious virtue of this year’s Green Man Festival was the line-up. The diversity of the artists was impressive, the individual performances outstand-

ing. The feel of each show was completely different, but individually brilliant. They also managed to book two bands that until very recently had been on hiatus for over a decade, (Neutral Milk Hotel and Slint) and having the chance to see them both was stunning. Neutral Milk Hotel’s set was incredible. They cut no corners and delivered a high energy show to one of the keenest crowds imaginable. Their style was unique and eccentric - from playing the saw, to Jeff Mangum’s dark lyrics and invasively beautiful voice , they were very well received. As near perfect as you could get , the original alt-folk outfit didn’t miss a beat. Mac De Marco’s fast paced style and high tempo attitude immediately wowed

‘carnival’ falls short in the description of Shambala festival; the experience is rightly described as ‘Adventures in Utopia’ whereby punters are set free and allowed to revel In the beauty of what it is to be alive. Set in a modest location in the Northamptonshire countryside afoot a grand manor house, the festival arena was a complete antithesis of its surroundings. A lake provided a haven whereby minds could be settled following the ferocity of excitement in the arena. It presented itself as the younger sister of Boomtown Fair, with its wild eyes and perspective. It was a feast of colour for all the senses; whilst this appears to be a cliché for such an event, there doesn’t seem to be an alternative. Where else could you one day participate in a frenzied ceilidh

the crowd. Bashing perfect guitar solos out of a whining Fender Mustang, his enthusiasm was obvious. To crown his outstanding performance he concluded his show with a stage dive, and a five minute crowd surf. There isn’t really anything I can find to fault this festival. Green Man was diverse, engrossing and had an atmosphere rare at festivals these days. Organisers did a brilliant job of catering to everybody’s tastes and making everyone feel welcome, whilst also providing some of the best music they could. With all of this set to a backdrop of the beautiful Welsh countryside, I was left wondering if anybody could ask for more Jack Crissfield Photography: Dom Moore

Green Man

Brecon Beacons, Wales X/10

(presented by the wonderful Fitty Gomash) and the next a group guided meditation right in the midst of the main stage? Chai Wallahs (a venue favourite on the UK festival circuit) succeeded at hosting some of the most memorable acts of the festival. Thursday evening saw Brit reggae outfit By the Rivers whose catchy songs caught the toe tips of

“The arena was the antithesis of its surroundings” those in the audience and initiated a spirit fuelled riot in the tent. The Fire Beneath The Sea combined genres such as hip hop, funk, jazz, ska and afro

BESTIVAL

Isle of Wight 4th - 7th September

ay down on the Isle of Wight, Bestival was unequivocally the greatest way to finish off the summer. Sure, burgers and booze were unfathomably expensive but, for this four-day weekend, music is your food and drink. There aren’t many festivals that can boast a more diverse line up. While this year’s ‘Desert Island Disco’ theme gave proceedings a funky backbone, all tastes were easily accommodated. The entire spectrum of music was represented over four days, with festival stalwarts Disclosure or Reverend and the Makers, dance masters Basement Jaxx or SBTRKT and glorious up-and-comers like CHVRCHES or Wolf Alice. There were real moments of madness in the likes of Radiophonic Workshop - old dudes with synths performing the Doctor Who theme tune - madcap, warped tribalists tUnE-yArDs or vintage samplers Public Service Broadcasting. There were pockets of serene beauty from more reserved acts like Cate Le Bon or Wild Beasts, as well as plenty to explore outside of the musical acts - a stroll through the Ambient Forest, a cup of tea from the Women’s Institute or some belly-laughs in the comedy bar.

beat and brought a highly jubilant performance with their culmination of brass and alternative vocals; a particular highlight was their use of thumbs up for audience participation, an unexpected pleasure. The Shambala stage had the pleasure of hosting the main acts of the event including Slamboree, Gentlemen’s Dub Club and Femi Kuti and the Positive Force. An explosive performance from Slamboree was met with a powerful downpour which beautifully complimented the Smörgåsbord of circus performers. Femi Kuti, son of the legendary afrobeat pioneer Fela Kuti, headlined the Saturday night performances. The Nigerian beats brought a certain exotic flavour to the evening, bongo drums being the main draw; the finale of his father’s own ‘Water Get No Enemy’ was a perfect tribute. Emma Bailey

The headliners alone offered wildly different experiences Beck’s joyously twisted genrespanning set, Outkast’s over-thetop, stomping hip-hop or Foals’ deeply atmospheric indie.

“There aren’t many festivals that can boast a more diverse line-up” The crown went to Nile Rodgers and his New York disco outfit, Chic, as they closed the Sunday night. A two-hour set full of every number one Rodgers had a hand in (from Bowie’s ‘Let’s Dance’ to Madonna’s ‘Like a Virgin’ via Daft Punk’s ‘Get Lucky’) as well as Chic’s own plethora of classics. With the world’s largest disco ball shimmering in the sky, there was no greater euphoria to end such a spectacular weekend on. No taste went neglected and nosummer concluded on a bum note. Bestival was the ultimate end. Rhys Handley Photography: Bestival

Friday September 19 2014

Fuse Screen. a most wanted man Dir: Anton Corbijn

he latest John le Carré novel to be adapted for the big screen, A Most Wanted Man is set in post-9/11 Hamburg -the city where the attacks were planned. It follows Günther Bachmann (Philip Seymour Hoffman) and his small counter-intelligence unit as they attempt to track a Chechen refugee and discover how, or if, he fits into the wider Islamic extremist network in the city. The film is a commentary on modern espionage, questioning whether Bachmann’s patient tracking of the enemy is more effective than the Americans’ smash-and-grab technique. This commentary has the effect of cleverly inverting the traditional spy-thriller model, creating tension through the relationship

SMALL SCREEN Doctor who: Season 8, Episode 4 Dir: Douglas Mackinnon

hat’s hiding under the bed? Rabid with curiosity, the Doctor pulls Clara into an investigation that goes back and forth in time to get to the bottom of an age-old human fear. Bursting at the seams with interesting ideas, ‘Listen’ is a fascinating episode which overreaches itself, failing to bring coherence to everything it wants to say. At its core is the symbiotic relationship between the Doctor - a predator hunting for answers - and Clara - the human soul that reins him in.

It’s a far better narrative crux than Clara’s date with Danny Pink (Samuel Anderson), which recurs throughout the episode, demonstrating little more than a dearth of chemistry. The first act explores childhood fears of monsters under the bed through the eyes of a young Danny (Remi Gooding). When a mysterious figure appears under his sheets, a sequence of effective, if familiar, suspense (think Weeping Angels) follows. The meat of the scene lies in the interplay between Clara and the Doctor’s differing approaches to the problem, together teaching Danny the value of fear. More adult fears of loneliness emerge when they discover Danny’s descendant Orson trapped alone at the end of the universe. Orson has locked the door on his fears. The Doctor’s own desperate need for answers leads him to open the

between the intelligence networks rather than among the terrorists, presenting a familiar world in a new and intriguing light. Willem Dafoe plays banker Tommy Brue admirably, but Rachel McAdams’s performance is the weakest link in the film: she is wooden and fails to bring the emotional depth necessary to her character. That being said, the casting of Philip Seymour Hoffman as downtrodden spy Bachmann is a masterstroke on the part of director Anton Corbijn. Hoffman’s immersion into his character is complete and unwavering. His breathing, furrowed brow, even the fixing of his tie, encapsulate the character’s disdain for the world of espionage as terrorism itself. It is a wonderfully engrossing and skillfully nuanced performance and lifts this film to another level. At its core, this is an old-fashioned spy thriller. There are no explosions or stylized chase scenes. It

is espionage straight out of the cold war era (information is exchanged via a cigarette box in a dingy restaurant) and Hoffman’s character is never seen without a cigarette or drink in his hand. As well as the clever inversion of story, Corbijn’s directing is modern and adds a new twist to the spy genre. It is almost entirely shot with handheld cameras, the natural swaying of which adds movement to the most static of scenes. Corbijn also builds tension by using sound and special effects to immerse the viewer, going as far as including the sound of characters’ breathing in point-of-view shots. It’s fantastic cinematography, and shows that classic slow-burner spy films not only have a place in depicting modern espionage, but also can be an arena for creative artistic direction.

childhood, Matsuko leaves behind a string of failed careers and relationships: schoolteacher, prostitute, jailbird, and ultimately recluse, Matsuko does it all. The film succeeds largely thanks to Miki Nakatani’s performance as the adult Matsuko. She plays the character as a quirky livewire whose optimism is gradually eroded by all the terrible things that befall her. What makes Memories of Matsuko so special though is its campy style. The film makes use of gawdy special effects to summon an assault on the eyes. Meanwhile, the drama is peppered with cheesy musical numbers. This vibe is often undercut by the tragic elements, making them all the more emotional. The switches between heartrending drama and whimsical fun are frenetic. In one scene Matsuko’s abusive boyfriend kills himself, only

for it to transition via Dinseyesque tweeting birds into a joyous song. The continuous tonal whiplash makes the film emotionally exhausting. It feels like you have walked in Matsuko’s shoes for forty years, feeling every triumph and disappointment. Its triviality and cheesiness only serve to amplify the emotions at play and forge a stronger connection between audience and character. Ultimately, Memories of Matsuko manages to be sad without being cynical, and fun without being tiring. It has all the exuberance and dazzle of a Hollywood musical, the emotional clout of a lip-trembling weepy, all wrapped together by a stellar performance from Nakatani. Memories of Matsuko is one hell of a sucker-punch film.

Keir Shields

door. As Clara warned him, it brings no good, as the oxygen is ripped from the room and he barely gets out alive. The final segment is both the most intimate, and the most ambitious, when Clara discovers a very young Doctor crying in fear of the dark. As Clara comforts the child and tells him to embrace his fear and turn it into kindness and bravery, everything Moffat has ever wanted to say about Doctor Who coalesces around this touching scene. The Doctor goes chasing the monsters to prove that his terror is real - that there is something to fear. Sometimes there isn’t. It’s OK to be afraid of imaginary monsters because fear is strength. It’s a shame ‘Listen’ is so often shapeless, because at its core is a satisfying look at how fear makes us the best we can be. Rhys Handley

CULT CORNER Memories of matsuko Dir: Tetsuya Nakashima

great film usually does one of two things: it makes you laugh or it makes you cry. Memories of Matsuko makes you do both over and over again. Directed by Tetsuya Nakashima, this two-hour drama begins with a young slacker who learns that an aunt he never met has been murdered. The tearaway must clean out her absurdly cluttered apartment, and in doing so he begins to learn about this unknown relative known as Matsuko. This is the set up for the flashbacks that tell her exciting yet ultimately tragic story. Beginning with her unhappy

Joe Brennan

Friday September 19 2014

Pride

Dir: Matthew Warchus

hen one thinks of British period pieces, costume drama, Keira Knightley and the Sunday night BBC slot come to mind. Every few years, though, another type of period piece arrives giving a no-punches-pulled staging of social regression in 1970s and 1980s Britain. Matthew Warchus’s Pride is the latest addition to this family of films. Representing the Pits and Perverts brigade of 1984, Pride foregrounds the post-Callaghan gov-

ernment, set alongside charming characters and memorable oneliners. Pride begins with Mark Ashton (Ben Schnetzer) and his partner Joe (Joseph Gilgun) fronting a group campaigning for gay rights during the mining strikes. The two movements’ respective battles spark Ashton’s lightbulb moment: both parties are fighting the same enemy. The only exception, being that “miners don’t have to deal with Mary Whitehouse.” The narrative becomes poignant in sentimentally presenting two parties pulling their resources together to fight for their respective rights. Films depicting this period in

Britain’s history run the risk of being steeped in nostalgia or filmed behind a rose-tinted lens. Just like This is England, Pride succeeds in using historical culture to foreground the wider issues at hand.

Pathos appears in scenes such as Dominic West’s flamboyant disco sequence, which is undercut with Joe’s mother warning “you don’t know what you want at your age, that’s what the laws are there for”. Such a script reminds audiences about the social effects of the contemporary segregation of sexuality. Additionally, references to the notorious AIDS campaign which

gers, and Eggs (Isaac HempsteadWright), the child they supposedly snatched, is living happily among them. But when a vile exterminator (Ben Kingsley) makes it his mission to round up every last Boxtroll,

Eggs must find help from the upper world in the form of Winnie (Elle Fanning), the neglected – and slightly demented – daughter of the town’s leader Lord Portley-Rind

(Jared Harris). Following on from the classic horror aesthetic of ParaNorman, there’s something wonderfully grimy about Cheesebridge. From the cobbled streets, set at angles that would make even a Sheffield resident’s legs twinge, to junk-filled caverns, the world is vibrant. Ben Kingsley steals the show as Archibald Snatcher, a greasyhaired sycophant with delusions of

15 scaremongered thousands into prejudiced views allow Pride to succeed in this kinship between hilarity and hard-hitting social drama. Pride is a gutsy depiction of 1980s Britain, making it a perfect bedfellow for This is England and My Beautiful Laundrette. Aaron Stretch

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The boxtrolls

Dir: Graham Annable and Anthony Stacchi

here’s a wonderful moment in The Boxtrolls where, as a minor character ponders the nature of his existence, we see the ghostly hands of an animator, moving every tiny detail of his body and face. It’s a reminder of the sheer volume of time and work that goes into constructing stop-motion films. The film takes place in the steampunk-inspired town of Cheesebridge, whose inhabitants are plagued by vicious monsters. Except they’re not. It turns out the Boxtrolls are just harmless scaven-

grandeur. He’s flanked by two hilarious henchmen (Richard Ayoade and Nick Frost) who are “60 to 70 per cent sure” that they’re the good guys. It’s a shame, then, that the plot is the least interesting part of the film. After a slow start it comes into its own in the second act as a kind of reverse My Fair Lady, where Winnie teaches Eggs how to fit into Cheesebridge society, but it feels stretched out over a 100-minute movie. But while The Boxtrolls doesn’t have the narrative depth of ParaNorman or Coraline, it more than makes up for it with dazzling visuals and a darkly comic streak that’s becoming Studio Laika’s signature. Phil Bayles

the guest

Dir: Adam Wingard

his chilling action thriller is one of the year’s movie highlights. David (Dan Stevens) is a charming young gentleman who arrives with a smile at the door of the Peterson family. He introduces himself as a friend of their son, Caleb, who died serving in the US army in Iraq. Why is he there? To fulfil their son’s dying wish that David check up on his family. All seems fine and dandy until some mysterious deaths occur and Anna Peterson (Maika Monroe) begins to suspect that David isn’t all he’s cracked up to be. The Guest blows its audience away with a return to the classic 80s horror structure. We are given intense, lingering wide shots that are remi-

niscent of The Shining and a jarring synth-techno soundtrack, reminiscent of every 80s horror ever. These features are tried and tested ways of building up tension and the film reminds us of just how effective they can be. The aesthetics of the film is what makes it so great, but that’s not to suggest that the plot is lacking in any way. The storyline is gripping and the film comes at a perfect length with a breezy pace so that you never get bored. The Petersons are your generic nuclear family: nerdy boy, hot girl, working dad, stay-at-home mum. This does not mean they are two dimensional, however, and you find yourself warming to them separately due to scenes concentrating on their interactions with David. The film uses comedy well in order for us to empathise with the characters and does so especially with Luke Peterson (Brendan Meyer),

whose facial expressions alone are enough to warrant laughs throughout the film. Stevens plays David incredibly well, and this character is a far cry from his career-defining role as Matthew Crawley in Downton Abbey. He is dark, brooding and creeps onto the sociopath scale. You find yourself liking David, even when he’s getting up to no good, because his intentions are often honourable. The ending of The Guest is marmite – some people loved it, others hated it. Personally, I think it was great. There’s blood, action, tension, shock, horror and surprise - all in quick succession. Everything unravels in a violent crescendo and has the viewer biting their nails – what is going to happen to the Petersons and David? Katherine Hockley

Fuse Listings. All the events in Sheffield that you don’t want to miss in the next fortnight.

Screen.

Games.

Sensoria Film Festival (September 27 - October 5) This UK festival boasts film and music, and is held right across the city. Highlights include the drive-in screening of Back to the Future and a hilltop screening of nuclear war documentary Threads. For more information and to buy tickets go to sensoria.org.uk Showroom Shorts (September 23, 8:45pm, the Showroom Cinema) A collection of short films made in collaboration with Sheffield’s own Cheap Thrills No Budget Film Festival. Codebreaker (September 24, the Spiegeltent, Barker’s Pool) Part of the Festival of the Mind A special screening of the documentary about genius Alan Turing, whose work cracking the Enigma Code saved millions of lives during World War II. Followed by a Q&A with Dr Allan Pacey and the film’s producer, Patrick Sammon. Sheffield’s Students’ Union cinema has a new film every day of Intro Week! Monday September 22: Pulp Tuesday September 23: The Amazing Spider-Man 2 Wednesday September 24: Bad Neighbours Thursday September 25: The Grand Budapest Hotel Friday September 26: The Wolf of Wall Street Saturday September 27: Gravity Sunday September 28: The LEGO Movie For more Film Unit news go to filmunit.org.uk Tickets: £1.50 each

Give it a Go: BoardSoc (Activites & Sports Zone, September 27, 2pm, £2 entry) If your eyes are starting to go square from all the electronics in your life, then why not try some games of a more old-fashioned variety? Life Play (September 23/24/26, the Spiegeltent, Barker’s Pool) Part of the Festival of the Mind An interactive game that asks: is our future set, or can we change it? The creator, Andi Stamp, uses art and science to address issues like climate change and local and global development. Below we’ve picked some of the biggest games coming out in the coming weeks. Will you be adding any of these to your collection? September 23: Disney Infinity 2.0 (PS3, PS4, Wii U, PC, Xbox 360, Xbox One, iOS) FIFA 15 (PS3, PS4, PSVita, Xbox 360, Xbox One, PC, Wii, 3DS, Android) September 30: Forza Horizon 2 (Xbox 360, Xbox One) Sherlock Holmes: Crimes & Punishments (PS3, PS4, Xbox 360, Xbox One, PC) October 7: Alien: Isolation (PS3, PS4, Xbox 360, Xbox One, PC) Driveclub (PS4)

Arts.

Music.

Off the Shelf: Tales from Sheffield (September 18-19/22-26, the Spiegeltent, Barker’s Pool) Part of the Festival of the Mind A series of talks highlighting the rich history of the people of Sheffield, from its historic buildings like its Cathedral and Castle to the unbelievable story of the murdering musician Charlie Peace. Marvelousa Exhibition (September 18-28, Western Bank Library) Part of the Festival of the Mind An exhibition of works by six different artists, all inspired by the National Fairground Archive. Our Corner: Art as Political Expression (September 18-20/23, Bank Street Arts & the Spiegeltent, Barker’s Pool) Part of the Festival of the Mind Exhibitions, workshops and open-mic sessions based on themes of discrimination and inequality, culminating in a public debate on September 23. Gaze-shift (September 18-28, Castle House) Part of the Festival of the Mind An art installation designed to recreate the inside of the human brain, in collaboration with Professor Peter Redgrave at the Department of Psychology. Twelfth Night (September 18 - October 18, the Crucible) William Shakespeare’s immortal comedy about a shipwrecked young woman who disguises herself as a boy but finds herself falling for a nobleman. Just like that episode of Blackadder II. For more info on the Festival of the Mind go to festivalofthemind.group.shef.ac.uk

Cabaret Boom Boom (September 19, the Spiegeltent, Barker’s Pool) Part of the Festival of the Mind Cabaret Boom Boom celebrates its 100th show with acts including a comic violin virtuoso, an escapologist and a beer balancer. That last one in particular sounds awesome. Live Gigs Northern Sounds - 19/9, O2 Academy The Pierces - 20/9, The Leadmill The Vamps - 23/9, Sheffield City Hall Shift K3Y - 23/9, Tuesday Club Urban Voodoo Machine - 24/9, O2 Banana Hill - 26/9, The Harley Allah-lahs - 2/10, The Harley

Route 94 - 3/10, Fez Childhood - 3/10, The Leadmill Havana Rocks - 5/10, Corporation The Wytches - 6/10, The Harley Ella Eyre - 9/10, Plug Crocodiles - 9/10, The Harley

Album Releases Alt-J: This is Yours - 22/9 The Drums: Encyclopaedia - 22/9 Erasure: The Violet Flame - 22/9 Goat: Commune - 22/9 Leonard Cohen: Popular Problems 22/9 SBTRKT: Wonder Where We Land 22/9

Tony Bennett & Lady Gaga - Cheek to Cheek - 22/9 Jamie T: Carry On The Grudge - 29/9 Prince: Art Official Age - 29/9 Caribou: Our Love - 6/10 Stevie Nicks: 4 Karat Gold - 6/10 Weezer: Everything Will Be Alright In The End - 6/10

Life at the University of Sheffield is about so much more than lectures and seminars. Which is why the Union created the Give it a Go programme; an easy way to try everything from archery to chocolate tasting. Joining an event couldn’t be easier. Once you pick an event you like, buy a ticket from the Union Box Office (or online at sheffieldsu.com/events), then turn up on the day! Be prepared to try something new and make friends! Oh, and don’t forget to bring a bottle of water.

Give ‘Go’ a Go Activities & Sports Zone Thursday October 2 6:30pm £1.50

Mooting Bartolome House Moot Court Friday September 26 2:30pm £2

‘Go’ is an ancient Chinese game that looks like a cross between chess and tiddlywinks. Learn the game’s history (and the rules) and see if you can master it.

Yes, it’s a funny word. But if you fancy a career in law, mooting is also a great way to practice formulating arguments, as well as learn how a courtroom actually works.

LGBT Genderbread High Tor 5, Endcliffe Sunday October 5 3:30pm £1 The LGBT Committee has organised this tasty event, where you can decorate your own gender-neutral gingerbread person and learn about Sheffield’s LGBT events.

Blackberry Picking The Edge, Endcliffe Friday September 26 2pm £0.50 Those of you with green fingers won’t want to miss this opportunity to tour Sheffield’s student allotments. Plus, whatever you pick will be baked into a pie afterwards!

Bell Ringing The Edge, Endcliffe Monday September 29 6:30pm £0.50 If you’re looking for a new conversation starter, then the Sheffield Universities Guild of Change Ringers has you covered with this introduction to campanology. Ding-dong...