LIVE: MUMFORD AND SONS // CAROL // FALLOUT 4 // LEGALLY BLONDE
FREE ISSUE 91
2
INSIDE
ARTS
Legally Blonde: a cheerful musical adaptation (p.11)
GAMES
The long awaited Sim City sequel Cities: Skylines (p.10)
SHORT FUSE 3
SCREEN FEATURE 8-9 Examinig the inspirations behind Star Wars
MUSIC FEATURE 4-5 The wonderful history of music and fashion
A
REVIEWS AND LISTINGS 10-16
EDITORIAL I’ve always admired the way John Hughes portrays the genuineness of human emotions, whether it be shame, happiness, or frustration; or in the case of this film, enthusiasm and enchantment. What therefore makes Miracle on 34th Street really special to me is that it’s the one film that sincerely makes me want to live with hopefulness and belief much like a child does in believing Santa. The world, I think, is full of good things as long as you believe in it, and Christmas is the perfect occasion to remind us of it. On that optimistic note, this issue as usual is packed with great contents that will keep you company in your spare time – lots of which you should have over the break! Music have put together a beautiful feature on the relationship between music and fashion with Emily Cuthbert, who did a great job with Arts in the previous issue doing her magic here again. Games is taking full advantage of the Fallout 4 release, back with a review of the latest installment following the excellent feature they
SCREEN
An epic end to the iconic Hunger Games series (p.14)
ARTS FEATURE 7 A review of the best arts events this year
GAMES FEATURE 6 Coverage of the first Retro Gaming Night
s 2015 is rounding to an end, along with the decreasing hours of daylight I find myself spending more and more time at home scouring the internet for good entertainment – books, songs, films, game commentaries, etc. I’m not sure if this unhealthy lifestyle applies to anyone else out there, but the lack of sunlight in this city therefore seems to make Fuse a much more relevant Forge section. So, if you really want to make the most of your read, you’ll continue on to the rest of the paper and skip this editorial by an antisocial nerd. Otherwise, if I still have your attention, I want to talk about Christmas. Since none of the sections opted for a Christmas themed feature this year, I decided to take the initiative and have Madeleina Kay draw a charmingly silly Star Wars-meets-Christmas cartoon for the front cover. It’s cute isn’t it? I also want to talk about my favourite Christmas film: Miracle on 34th Street (1994). Although I wasn’t alive for much of his career,
MUSIC
Mumford and Sons play Sheffield Arena (p.12)
produced last issue. Their feature on the Retro Gaming Night is also definitely worth a look as it puts an interestingly socially relevant spin on games. Arts is doing great just as ever, and have decided to end the year with an overview of contents from 2015. In a surprisingly end-ofthe- year-ishness lacking issue in December, I like that they put closure into their strong run this year. Finally, Screen is proud to present an amazing feature on Star Wars and the various works that inspired it – just in time for the release of the next film. Even with the many hardcore Star Wars fans out there to judge it, I think it holds up quite impressively so it is definitely a must-read in this issue. And that’s about it from us this year! Please keep checking our online outlets because we still have lots of contents scheduled to upload after this issue, and enjoy your winter break. Happy holidays everyone! KAZUMA OSAKI
FUSE EDITOR Kazuma Osaki ARTS EDITORS Jo Gallacher Joshua Hackett GAMES EDITORS Ash Emritte Moya O’Rourke MUSIC EDITORS Tara Hodgson Charlotte Pick SCREEN EDITORS Luke Baldwin Rhys Handley FRONT COVER Madeleina Kay BACK COVER Joshua Hackett
CONTRIBUTORS Alex Pinfold Emily Cuthbert Georgie Darling Harry Gold Joe Taysom Joe Elliot Joseph Mackay Julia Hodder Katherine Hardy Melissa Matos Mollie Davidson Molly Kerkham Nick Burke Sam Kelly Sian Bradley Sophie Wilson Valeria Vigalente William Elmer
Email us over at fuse@forgetoday.com or come along to one of our contributor meetings!
3
SHORT FUSE
S
THE WORLD NEEDS CREATIVE THINKERS
tudying the Arts has always been something of a controversy. The lack of direct job paths, the small number of contact hours and the subjects themselves all lead to raised eyebrows and subtle disapproving looks. This needs to change – Arts education is important too. There has been so much research into the skills gained from studying an Arts subject but most has been inconclusive. New research conducted by Durham University found that just as many students gained positive attributes from studying the Arts as those who gained nothing at all. There is no
research to suggest it has a negative effect but this new research does not help convince those considering
benefits of letting you appreciate the world around you more. The Arts are equally as important
“The Arts are equally as important as traditional subjects so people have cultural knowledge” an Arts subject for university. Personally, I think everyone can benefit from studying the Arts, whether at university or at a lower level. Studying subjects like Theatre, Architecture, Art History or Music all work to give well rounded knowledge, along with the obvious
as traditional subjects so people have cultural knowledge as well as knowing how to angle a triangle. Studying art throughout my education was one of my weekly highlights. Compared to the stress of maths or science lessons, art was a chance to relax and express my
creativity, and was one of my best subjects. Creative lessons like these encourage students to excel in other ways, especially those who may feel they’re not up to standard with typical ‘traditional’ subjects. Arts education is just as important as traditional education because the world needs creative thinkers as well as logical thinkers. The Arts encourage people to see things in different ways, and quite simply, without them, the world would be a very boring place. GEORGIE DARLING
INTRODUCTION: POLITICS IN GAMING 101
T
he current state of the gaming industry is absolutely dire. Year after year major publishers are churning out unfinished, buggy games just so they can meet their quotas. Once reputable studios have become subsidiaries of bigger, more financially secure companies in exchange for their soul. Somehow this recurring theme has created an industry fuelled by mediocrity that people proceed to buy into. I fear that the current state of the market is only going to get worse unless the newer generation of gamers become aware of the
B
situation. Simply look at the previous generation of gaming and how
Call of Duty, Assassin’s Creed and FIFA are what this industry has to offer in terms of ‘’quality games’’.
“I fear that the current state of the market is only going to get worse unless the newer generation of gamers become aware of the situation” much artistic vision and passion was once poured into this industry compared to what you get today.
used to be the standard quality of games. Only recently has this abuse of micro payments and cookie cutter philosophy become the norm in gaming. Join us after Christmas with a series giving a more in depth look at the politics of the game industry and how artistic vision has become suppressed in video games due to publishers favouring figures over quality. WILLIAM ELMER
Yes, there are some glimpses of brilliance like the Arkham series or Fallout 4 but these types of games
HAVE A MURRAY CHRISTMAS
ill Murray brings rare excitement. A Christmas song. A song for the season of joy and goodwill. What’s it called? ‘Alone on Christmas Day’. Well, what did you expect? This is his forthcoming collaboration with French rock band, Phoenix, out on 4 December from Glassnote records. It accompanies his Netflix Sofia Coppola directed special, A Very Murray Christmas. There are those who could not care one bit and there are those who see the endless pleasure already and it’s not even out yet. But a Christmas song from Scrooge? Yes, this is unexpected.
Murray is a strange and elusive guy. Yet, we can rely on him to bring us new reflections on the human state of loneliness and it is well known
are filled with. The album cover brings hope. It looks like something Bing Crosby would have done, and did, in his
“There is a chance of sincerity, grumpiness and madness, which are what most Christmases are filled with” that he only undertakes projects that he thinks are worthwhile. Plus, with Murray, there is a chance of sincerity, grumpiness and madness, which are what most Christmases
Christmas specials in the 1950s and 60s. Bill Crosby, as we all should call him, along with his family, Jason Schwartzman, Paul Shaffer and Buster Poindexter, could help
revive the genre like the Killers have tried; something entertaining and tongue in cheek. There is even an instrumental on the B side of the record for joyous parties at Christmas to recreate Bill. Whatever the reception of his song, it won’t do him any harm. His comedic talent and his roles in Wes Anderson films, Space Jam and Groundhog Day make him everpresent within our consciousness. He wants to add being a Christmas crooner to his bow. I say let him. What’s the worst that could happen? MOLLIE DAVIDSON
MERCHANDISING CAN’T FORCE US TO LOVE YOUR FILM
A
n extraordinary thing has happened to the British high street. Across an incredible variety of products, retailers have come together on a scale rarely seen to offer the same brand: Star Wars. You don’t need to be paying attention to spot everything from a Star Wars Build-A-Bear to a Star Wars Subway promotion, as companies display their tie-ins with incredible confidence and pride. Beloved characters flank the sides of anything from buses to restaurants, with products from our youth clamouring for our galactic credits.
Only, many of the characters aren’t beloved and many of the products are not from our youth. In fact, the vast majority of the
the back of characters that the public has met across just three trailers, for a total of six minutes, may even be unprecedented.
“To engineer marketing aggression on such a scale is a staggering feat. But to succeed on the back of characters that the public has barely met is unprecedented”
marketing mania possessing the nation is based upon a film that is yet to be released. To engineer marketing aggression on such a scale is a truly staggering feat. But to succeed on
Though the popularity of this most iconic of franchises was never in doubt, it is still astonishing to see the marketable effect only a new Star Wars film can have. As a fan, it is truly wonderful to
imagine the possibility of a new generation that dreams of a galaxy far, far away. As a cynic, this is a dangerous and disconcerting precedent: a company selling a product without knowing its worth. One thing is for sure, though. Star Wars will always be relevant. It stands proud as not just one of the only great undying brands; but maybe even the greatest of them all. We can only hope, on the sales of millions of pounds of merchandise, that the film does our inner Jedi justice. NICK BURKE
Friday 4 December 2015
4
FEATURE
From E Madonna: the link b sound a Music and fashion have always been intrinsically linked. Sian Bradley charts the two industries throughout history, and how inseparable they have proved to be.
P
op culture is created by a synchronisation of what people wear, and what they listen to as they do so. Fashion and music are platforms with which people can express themselves, and the two go hand in hand. Ever since the Rock’n’Roll 50s and then all the way to today’s house music scene, it’s evident that a genre, sound or even a single artist can shape the way we dress. Almost everything I know about the history of fashion comes from watching music videos and seeing the stars strut about in iconic outfits. From 70s festivals, to Madonna in the 80s and the Spice Girls in the 90s, fashion and music have
defined each other at every turn. History has seen a magnificent wave of fashion trends, and one doesn’t necessarily seem to follow the other, but they symbolise the mood of music and people at that time. Take it all the way back
to the 50s Rock’n’Roll revival for instance. Hits like ‘Rock Around the Clock’ by Bill Haley and His Comets and the musical force that was Elvis Presley were beloved by many and their music still sparks foot-tapping today. The same people who loved nothing more than the warbling tones and drum beat of ‘Jailhouse Rock’ would squeeze themselves into the tightest of trousers and leather jackets, akin to the iconic Grease. Female fashion was nothing if not completely suited to the dance floor. Skirts were full and thick, so the women could float
“It’s evident that a genre, sound or even a single artist can shape the way we dress”
floor, skirt along with infectious beat.
across the spinning the
Fast forward to the 60s and 70s, and psychedelic rock had taken centre stage. In the 60s, people were eager for something new, something fresh. Fashion was now geared towards youth culture like never before. Young people had, and used, the power to express themselves and music was heavily
influenced by this. Bands like the Beatles and the Rolling Stones were enjoying their immense popularity. The fun-loving carefree attitude born from hits like ‘Yellow Submarine’ gave birth to Swinging London and clothes were bright, colourful and heavily patterned. Music was more liberal and so the iconic mini skirt was born, courtesy of designer M a r y Quant. During this period of post-war optimism came the “Summer of Love” when hippy culture was born and with it, festival fashion. People wanted to use fashion and music to celebrate peace, love and originality. Boys started growing their hair long, girls wore tie-dye and roundframed glasses, whilst great artists like Jimi Hendrix paved the way for ethnic, boho dressing. In one performance of ‘Foxey Lady’ in 1968 he wore a ruffled shirt and red velvet trousers, something that could not stray further from the slick, sharp fashion of the 50s. Again, at a live performance at the Atlanta Pop Festival, singing away to ‘Purple Haze’, he wore a vibrant bell sleeve shirt and tied a scarf around his head. Both outfits complemented the jazzy, psychedelic tones of his infamous guitar playing. As the 70s rolled around, recreational drugs, a hippy culture and festivals were still as popular. This was the iconic era of freedom, and fashion and music reflected this. People who still followed
5
Friday 4 December 2015
FEATURE
Elvis to : Charting between and style ARTWORK: EMILY CUTHBERT psychedelic or folk rock wore bell bottom jeans and casual shirts in paisley patterns. Women dressed as laidback and airy as the genre enabled them, draped in long cotton dresses with flowers in their hair. This was the time of festival fashion, which is still so prevalent today. Of course, no one can forget Kate Bush in that red dress, as she danced along the misty moors to the pitchy lyrics of ‘Wuthering Heights’. The way the arms of this dress hung and how effortlessly the v-neckline was cut is evident of a laidback 70s era. Later in the 70s, psychedelic rock started to die and progressive rock and disco took its place. This was apparent in the distinguishable styles that suited both genres, and who can forget the rise of 70s disco, and Saturday Night Fever. Polyester suits, elevator shoes, white spandex, hotpants, jumpsuits, flares and crazy prints all became household fashion under the manic popularity of ABBA and the Bee Gees. These artists produced bouncy tune after bouncy tune for people to dance away to in nightclubs, donning platforms and outlandish accessories.
“The music was self-aware and didn’t give a damn, and neither did the fashion sense”
The Sex Pistols, the Ramones and the Clash grew to prominence towards the end of the decade and young people followed suit, donning leather and tartan clothing. The music was self-
aware and didn’t give a damn, and neither did the fashion sense. The long hippy hair became shorter as teenage angst was born under the likes of ‘Anarchy in the UK’ and ‘God Save the Queen’, within which lead singer John Lydon is unmistakable in a ripped white top, leather trousers and chains. As this genre carried on growing, people would stick paper clips and denim patches on their clothes, anything to show how dedicated they were to this music scene.
Punk r o c k exploded in popularity as the 80s began and branched out into many sub genres, like glam rock. But in essence, the 80s were all about pop, when the genre was vibrant and full of promise, a whole world away from today’s repetitive vibe. MTV was born and this meant people could replicate their favourite artist’s fashion easier than ever before. Madonna and Michael
Jackson are undisputable fashion icons of that era. Madonna’s chart toppers were as influential as what she wore. She revolutionised the ballerina pumps, the crimped hair, prom dress and fingerless gloves. In her ‘Material Girl’ video she was an image of luxury in jewels and a hot pink dress, defining the extravagant 80s style. In her ‘Girls Just Want to Have Fun’ video, Cyndi Lauper defined the popular punk rock style in the 80s, dressed in outfits that looked as if they came straight from a dressing up box. She embodied girls who wore fishnets pretty much everywhere and had the wackiest haircuts, but weren’t afraid to belt out a pop tune.
“Music is the medium that artists can express themselves most strongly with, but style is always changing to compliment a similar and suitable musical backdrop”
As we move away from arguably the most eccentric era in fashion and music, the 90s music scene was dominated by girl bands and grunge. The Spice Girls carved an image out for themselves with their wholly individual fashion sense.
Geri Halliwell’s Union Jack dress is still a staple fancy dress piece today and showcased how fashion and music was about having a bit of fun. Pop was moving into the mainstream and with it fashion was evolving into something slightly more casual, seen in Britney Spears’s white tracksuit bottoms in ‘Baby One More Time’ and Baby Spice’s platform trainers.
“People wanted to use fashion and music to celebrate peace, love and originality”
The 90s were a time of moving and shaping fashion and music trends, into things we can still recognise today. Namely, vintage grunge was born under Kurt Cobain. The front man of Nirvana was the epitome of being effortlessly cool and defined what grunge meant for the 90s. In ‘Smells like Teen Spirit’ he wore a striped t-shirt over a grey long length one and blue jeans, a style so relaxed it married with his deep grunge sounds perfectly. The journey through music and fashion is a complex one, but as pop culture morphs over the decades - from mods, to hippies, to punks - fashion follows suit. Music is the medium with which artists can express themselves most strongly, but style is always changing to compliment a similar and suitable musical backdrop.
6
Friday 4 December 2015
FEATURE
TAKE THE RETRO Georgie Darling attended the University of Sheffield’s Disabled Students Committee first Retro Gaming Night, and took the opportunity to discuss their aims, interests and the charity they’re fundraising for.
T
he University of Sheffield hosted its first Retro Gaming Night, held by the Disabled Student Committee last week, on Thursday 19 November. The event aimed to raise money for Special Effects - a charity working to make gaming more fun and accessible for people with disabilities. The night featured Playstations, Gamecubes, retro computer games and hand held consoles. Alongside this, Dom Harris, a member of the committee who specialises in creating games, was on hand to recreate games and teach people how to code games themselves. I spoke to Emma Rany, chair of the committee, about her thoughts on gaming and the DSC’s aims. Emma’s long-term goal is to merge with
So what got you into the gaming world in the first place? EMMA: When I was younger I always used to watch my dad game, but I was never allowed to join in as my parents thought it was a distraction. I loved playing educational games like Clue Finders and Jump Start, and when I was 11 I bought my first game for myself. That’s when I started to feel like part of the community – when I spent my own money on games. What was the first game you bought? EMMA: Animal Crossing!
Sheffield Hallam University by speaking to postgraduate students from the Game Design course, which isn’t currently offered at UoS. She aims to encourage more people to take up gaming as a hobby, aside the stereotypical demographic. Other students at the event chatted about their first and favourite games, and those they’re hoping to buy next. It was clear to see how much interest and skill the students dedicated to their gaming, with one student, Ryan, showing and teaching others how to solve a Rubix cube in 16 seconds. Emma spoke of how she thinks gaming is slowly becoming more accessible: “I think mobile gaming is taking off, it used to be quite
DOM: Mine was Pokemon Crystal – I completed that and then went on to buy almost all of them. I did try to play Pokemon Green, borrowed from my friend, but it was from Japan and all in Japanese. What are your favourite games now? EMMA: I love TouHou, and games I know I’ll get frustrated with, before inevitably coming straight back to them. I love dungeon crawlers too, but the older ones like Dark Chronicle and Ace Eternity. I like visual novels and I used to make them as well.
alienating for females, often being the only one of their gender, but now it’s a lot more diverse. “I always used to watch my dad game when I was younger but even my mum is an app developer now!” Special Effect is a UK based charity that design video software to make gaming accessible for disabled people. This is done by visiting the individual, finding out what they’re interested in and want to play, and designing or modifying the equipment. Everything they provide is free, and Special Effect will often re visit people a few years on to update the software or create a new game to keep up with technology.
DOM: My favourite at the moment would have to be Fallout – I really enjoy being able to do what I want in a game. What are your aims for the event tonight? EMMA: We’re trying to raise as much money as possible for Special Effect. Their games are produced for people with mental or physical disabilities – I’ve always been touched since watching one of their adverts about a little girl with a modified Disney game, who finally said ‘I’m a gamer now!’ after Special Effect helped. They’re a great charity as they realise that
disabled people want to have fun too. Most charities helping the disabled forcus on just being able to survive – Special Effect are aware that they want more than that, they want to have fun as well! What are your goals for the future of gaming? EMMA: A lot of us gamers really want to spread the geekiness and enthusiasm for gaming. We want to run talks about diversity in the industry and make it more accessible.
7
Friday 4 December 2015
FEATURE >>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Widely recognised as one of the most successful theatre complexes outside London, the Crucible, Lyceum and Studio saw a healthy mix of classic productions such as Dirty Rotten Scoundrels and the Mousetrap, paired with bold original works like Lucy Prebble’s antiseptic love story, The Effect, or Alan Lane’s outdoor spectacular.
Sadness and laughter filled the launch of Ann Atkinson’s collected poems, The Singing and Dancing. Ann, former Poet Laureate of the Peak District, did not live to see the work published due to her death from an untimely brain tumour back in 2012. Ann’s daughters Rosie and Holly, along with friends and fellow poets Sally Goldsmith, River Wolton and Jim Caruth edited this collection; using poems that ranged from Late (her first published poem), to neverpublished drafts. Laughter filled the third floor of Channing Hall, full of people singing and dancing because of and for Ann. Music, videos and poems read by Ann’s friends and family were all met with rapt attention. It was a funny, raucus and heartbreaking event, the kind that only happens in the grassroots world of literature. In the room, there must have been a hundred years’ worth of affection for Ann, a larger-than-life poet whose work exudes a love of people and place. Her magnetic verses brought everyone together. Had Ann been there, she would have loved it.
One of the biggest things to happen in literature this year has to be the release of Go Set A Watchman, the sequel to Harper Lee’s beloved classic To Kill A Mockingbird. So out comes the sequel, written in the 1950s, set two decades after the original novel. Needless to say, a lot of hype and controversy surrounded its publication. Firstly, the issue of whether we can legitimately call it a sequel when it is actually a first draft of what would become the Pulitzer Prize winning masterpiece. Harper Lee swore she would never publish another novel, so its no surprise after the death of her sister Alice, her long-standing protector, in November, many accused the Murdoch-owned publishing house HarperCollins of money-grabbing. Go Set A Watchman challenges our perceptions of the good guys and bad guys from the original story, ultimately upsetting a lifelong fan base who had already made their minds up. It is a novel about race relations in the US, alongside the backdrop of horrific violence, shootings and the unnecessary deaths which have shaped 2015 in America, the book seems to have found the most pertinent time to reveal itself to the masses.
Tom Williamson
The photographic portrait can reveal the depths of the human soul in a way rarely achieved by other artistic mediums. In this exhibition at Millenium Gallery, the very best in contemporary portrait photography from around the world was showcased, taking a variety of characters, moods and locations (and even some famous faces), and collecting them all together. It’s an apt counterpoint to a world saturated in low-value, disposable, mass-market photography, and shows us that photography still has a lot to say as an artistic medium.
<<<<<<<<<<<<<<<<<<<<<<<<<<< Words by Joshua Hackett, Jo Gallacher and Mollie Davidson
The work of German chemist Hans Krebs isn’t the most likely subject for an arts festival, but the Engagement team at the University of Sheffield felt different, and we’re all the better for it. Rappers, dancers, sculptors and artists of all stripes gathered at Firth Court last month for a collision of arts and science that no one who attended will forget anytime soon.
Somewhere along the line, theatre became a thing that posh, rich people do. Anything which actively fights against this reputation deserves to be recognised. That’s one of the reasons that Camelot: The Shining City was such so important. It differed from a conventional piece of theatre in several ways; most notably in that the second and third acts take place outside, following a mock evacuation of the Crucible. The brainchild of immersive theatre specialists Slung Low, the production was a nearfuture re-imagining of Arthurian legend set in Sheffield, where a rag-tag band of disaffected youths end up inspiring revolution. With a massive cast drawn from the local area and a strong storyline, the play could stoke up a humble sense of patriotism and community spirit even in those most jaded.
Our very own SuTCo and SUPAS have had a year to remember, bringing us productions of classics like Death of a Salesman, Sweeney Todd, Macbeth and Footloose, along with a healthy dose of original drama, including Ben Price’s muchlauded Damage.
Joseph Priestley
8
FEATURE
Friday 4 December 2015
A long time ago in a galaxy far, far away....
9
Friday 4 December 2015
FEATURE
The Star Wars saga is the strange, unlikely sum of its parts - an epic space opera of Jedi mystics and Imperial Stormtroopers put together by a child of the 50s from the sci-fi serials, ancient myths and American cinema classics he adored. The result is something wholly unique, yet indebted to all that came before it. To mark the release of The Force Awakens, Forge Screen looks through the mind of Lucas to discover the origins of Star Wars. Old Histories, A New Trenches Run, Dams Eastern Space Hope by Joe Elliot Busted by Alex Pinfold Westerns by Sam Kelly
T
he narrative of a small band of rebels fighting an all-mighty imperial power is seen throughout human history, nowhere more clearly than in Lucas’s homeland of the USA. Star Wars certainly has clear parallels with the events of the American Revolution: an Old Republic (England) turned dictatorship under the Sith (Parliament), imposing tyranny (taxes) on the people (Americans) and chasing down any rebels (Revolutionaries), leading to war (war). The rebels in Star Wars firmly believe in freedom from dictators, an obvious feature of American history, particularly in the language of the Revolutionary generation. Much like the Revolutionaries, the Rebels are a small group of fighters, outnumbered, out-gunned and apparently without a hope (unless a new one were to come along), who ultimately triumph. Major inspiration for the characters also comes from the Vietnam War. The Viet Cong exemplify the type of warfare employed by the Rebels and, in particular, the Ewoks in Return of the Jedi. For much of the 1960s, the US military was terrorised by a technologicallydeficient but incredibly resourceful people using wooden weapons, booby-traps and the landscape to overwhelm the greatest military power on Earth. Meanwhile in Star Wars, the Ewoks use wooden weapons, booby-traps and the landscape to defeat an army of walking tanks, hover-bikes and armoured infantry. The military response in both these situations? More weapons! The US military dropped more bombs in Vietnam than were dropped on the whole of Europe during the Second World War. In Star Wars, after the Empire’s planet-destroying super-weapon is destroyed, what do they do? Build a bigger one of course!
M
ichael Anderson’s 1955 picture, The Dam Busters, proves the key inspiration behind the attack on the Death Star by rebel ships launching from Yavin IV. The basic battle plan for both sets of pilots is to launch an explosive at a small target to set off a chain reaction. Dialogue is similar as well with examples including pilots asking, “How many guns do you think there are?” Both films also feature squadron leaders narrowly missing the “impossible shot” only to then be hit on the starboard side and killed, leaving the crew with the final bomb/ proton torpedo to finish the job. However, the escape of the Millennium Falcon from the Death Star and the pursuing TIE fighters takes this beyond isolated shots and dialogue. The entire sequence is cut frame by frame to match the action during a similar scene in The Dam Busters as close as possible. Luke even takes the line “I got him!” from one of the Lancaster gunmen. So not only is the scenario of turret gunmen fending off fighter pilots shared, the editing is identical as well. There happens to be an interesting explanation for these similarities beyond Lucas being inspired. The Director of Photography for both films is a former RAF serviceman named Gilbert Taylor. His wartime job was to take photographs of Germany after bombing raids which were inspected by Winston Churchill. This skillset makes Taylor a useful asset in establishing the visual identity of these two films. In addition, Stuart Freeborn, the mind behind the Yoda and Jabba the Hutt puppets, also worked on The Dam Busters.
J
apanese samurai films, particularly the works of legendary director Akira Kurosawa in the 50’s and 60’s, have long had an influence on Western filmmaking. Kurosawa, inspired by American Westerns, combines the mythology of the samurai with groundbreaking cinematic techniques and visual style, pioneering the genre. Films such as Rashomon, Throne of Blood and Seven Samurai are considered by critics and filmmakers as some of the greatest ever made. Kurosawa’s samurai cinema was a huge inspiration for George Lucas and this can be seen throughout Star Wars, particularly in the 1977 original. The lightsaber resembles a samurai’s katana blade, while ObiWan Kenobi’s robes mirror the period clothing worn in samurai films. In fact, the Japanese word “jidaigeki” - meaning period film, and synonymous with the samurai genre - is Lucas’ inspiration for the word Jedi. Furthermore, the screen wipes famously used by Star Wars to cut between scenes are a technique used across Kurosawa’s work. The biggest single influence on Star Wars comes from Kurosawa’s 1958 jidaigeki classic The Hidden Fortress. The film’s plot follows two lowly peasants who assist a beautiful princess and a wise samurai general in travelling across enemy lines and escaping from the clutches of Imperial forces. Sound familiar? Lucas himself says that the two peasants were the inspiration for R2D2 and C-3PO: “The one thing I was really intrigued by was the fact that the story was told by the two lowest characters. I decided that would be a nice way to tell the Star Wars story.” Remember, next time you watch the famous “I find your lack of faith disturbing” scene, watch out for Imperial Admiral Motti’s line “Don’t try to frighten us with your sorcerer’s ways, Lord Vader. Your sad devotion to that ancient religion given you clairvoyance enough to find the Rebel’s hidden fortress”.
My Kingdom for a Tauntaun! by Harry Gold
A
s the most famous writer in English Literature, William Shakespeare’s influence stretches out even to a galaxy far far away as Star Wars draws on many of the same ideas present in the Bard’s finest works. This may seem unlikely as any attempt to tie Jar Jar Binks to the works of Shakespeare may be more than a little bit pointless, but the underlying themes of Star Wars, are universal if you look below the surface. Indeed, George Lucas refuses to acknowledge Star Wars as a space opera as it is commonly described as by fans and critics alike, instead placing emphasis between the characters and describing the films as a “family soap opera”. In this way, the similarities with Shakespeare start to become clearer. Luke and Leia are initially unaware of their relationship not only with each other, but also with their father, Darth Vader, in a classic example of mistaken identity - a Shakespearian trope present in a countless number of his comedies like As You Like It, Twelfth Night and The Merchant of Venice. R2-D2 and C-3PO are more than reminiscent of the clown characters present in Shakespeare’s tragedies, existing to fulfill the purpose of light relief in between scenes of escalating tension, notably in Hamlet and King Lear. Han Solo’s persistent courting of Princess Leia through witty remarks and questionable actions recall The Taming of the Shrew. Granted, George Lucas’ goal may not have been to create a space age Shakespearian soap opera, but the plays of William Shakespeare have become so ingrained in public consciousness that they inevitably influence almost any literary or cinematic work in one way or another, Star Wars included.
Friday 4 December 2015
10
REVIEWS
FALLOUT 4
T
he question on everyone’s mind is can it surpass Fallout 3? The short answer is no. Fallout 4 doesn’t quite have that special factor which made Fallout 3 so awe inspiring and can even come across as somewhat lacklustre initially. The differences between the two games are small. But why is this considered a bad thing? Fallout 3 had great game
CULT CORNER
T
DINO CRISIS 2
he state of being hungry forces decent men to turn to lowly things: food metaphors. Dino Crisis 2 is a three tiered Oreo cake of pure unadulterated joy and happiness, wrapped in tortilla of dinosaurs, that satisfied a nine year old Ash to the point of no return. Dino Crisis 2 is a game that has been etched into the very fabric of my being. So when Sony announced earlier last week that it was looking for gamers’ opinions on which games to make backwards compatible for the PS4, there was only one game on my mind. Dino Crisis 2 is by no means a ‘high end’ game. It is all about having fun. It is, at its heart, an arcade game disguised as something more. It successfully manages to be a sequel so utterly different to its predecessor, yet no less great. Dropping the suspense
/ForgePressFuse
@ForgeFuse
forgetoday.com/fuse
press.games@forgetoday.com
mechanics, so why attempt to fix what’s not broken? Bethesda have made the bold decision to focus on changes in tone and art direction rather than ground breaking gameplay, and the end result is brilliant. Technically, Fallout 4’s graphics are decent but nothing to write home about. Yet the game still manages to look oddly beautiful and the reason for this a completely overhauled colour palette. Gone are the saturated greens of Washington D.C. and the over the top oranges of the Mojave Desert; welcome to Boston, apparently
the most bright and colourful postapocalyptic nuclear wasteland ever. This reflects Fallout 4’s lighter tone; ideas of hope and survival are apparent throughout and the wasteland generally feels less bleak and drab. Rather than taking away from the franchise’s retro futuristic satire, this ironically cheery yet hellish future perfectly captures the series’ dark charm. Fallout 4’s ethos in terms of gameplay certainly seems to be “Fallout 3 but with a bit more polish”. The shooting mechanics feel much tighter and more robust.
Whereas games like The Witcher 3 force the player to conform to an indepth role playing system in order to conquer their foes, Fallout 4 offers a huge open world which anyone can explore however they please. This grand scope, like any Bethesda game, is Fallout 4’s greatest accomplishment. Every building and room has a story to tell, and it’s the player’s decision which they want to learn. Like the game’s best points, its main flaws are synonymous with what to expect from any Bethesda title - a few glitches and a main
quest line which pales in comparison to the side quests. But with a large game that focuses on massive exploration and going off the beaten track, this is to be expected. It’s this predictability that makes Fallout 4, on the surface, seem boring. It’s a Bethesda game, we all know what we’re getting. But let’s be honest, they do make damn good games, and Fallout 4 is almost certainly their most polished and well thought out.
and the atmosphere of sheer dread and terror created in the first game, Dino Crisis 2 propels the franchise into something outrageously entertaining. If you decided to go and kill all of the bloodthirsty carnivorous raptors, or pteranodons, or the surprisingly aggressive and surprisingly meat eating therizinosaurus (a herbivore in real life!) in the first game, you would probably end up with a kill count of around 30. In this game, you gun down twice that amount within the opening 15 minutes. I am not going to lie, this severely exposes great big holes in my conscience, but unfortunately, I’m too busy running around shooting dinosaurs to give a damn. This is precisely why I think Dino Crisis 2 needs to be considered for backwards compatibility. You will never have so much fun in your life.
CITIES SKYLINES
what avid city builder fans signed up to? The details keep us going and make no mistake, this game is incredibly detailed. It is somewhat disappointing then that the building designs feel so cartoonish.
community friendly nature. The sheer amount of mods available is an amazing sight to behold, and an exciting thing in creating a game that is re-playable to a greater extent than previous city builders. Never have we had such a vibrant community of modders since the days of Sim City 4. With all that being said, Skylines is not a huge step forward in the city building genre. Curvy roads: seen it. Enacting policies: been there, done that. Zoning: Same old, same old. But it is certainly the right step forward. It offers something more polished and complete and definitely more enjoyable. It is where the city building genre should have been years ago. Skylines is an exciting step forward in encouraging better city builders in the future. The bar has been set high.
ASH EMRITTE
C
ities Skylines is the sequel Sim City fans dreamed of getting. Whilst not exactly putting forward a whole host of innovative ideas, it takes everything that previous games such as Cities XL and the most recent Sim City failed at implementing in a successful way. It has improved on them to such a degree that Skylines has shot up to number two on the list of greatest city builders of all time. Sim City 4 still defends its position aggressively, to this day retaining a strong community of mod builders and city planners. Its inter-connectedness is one thing developer Colossal Order should be particularly proud of. The cities you build feel so alive, real, and bustling. Some may see this as the antithesis to oversimplification and making the whole game inaccessible and ridiculously demanding. Yet surely this is exactly
“Never have we had such a vibrant community of modders since the days of Sim City 4” Built with a better interface than XL, and containing the ability to build much larger cities than the latest Sim City, Skylines already triumphs. Yet this is not its greatest strength. Its greatest strength lies with its
LUKE BALDWIN
ASH EMRITTE
Friday 4 December 2015 /ForgePressFuse
FESTIVAL OF THE SPOKEN NERD
A
re you a nerd? Most people in the audience at Festival of the Spoken Nerd – Just for Graphs are selfconfessed nerds. However, you don’t have to be a maths geek or a science egghead to enjoy the show, there’s room for the sci-curious too – as shown by the first Venn diagram of the evening. Matt Parker, Steve Mould
11
@ForgeFuse
and Helen Arney are back with another raucous and nerdy tour. Just for Graphs is, as it sounds, a celebration of all things graph like and hilarious. It does not fail to make you embrace your inner geek and coo over how cool science can be with some spectacular demonstrations that your science teacher would have dreamed of being able to show your class. Parker is an Aussie maths whizz. Maths gets a bad rep and Parker is here to put it right through the wonders of a flaming tennis ball to demonstrate a parabola. For obvious reasons, this wasn’t
forgetoday.com/fuse
live, The Leadmill would have gone up in flames thanks to the amount of alcohol on the sticky floor, but that doesn’t stop Mould using Reuben’s tube to demonstrate standing waves (more fire, can’t really go wrong there). You couldn’t have predicted what would happen next. Arney uses her musical talent on the ukelele to lure us into fits of laughter whilst singing a love song to the poor Philae lander. It’s not just new technology and fancy experiments at Just for Graphs. During the interval many of the audience are encouraged
press.arts@forgetoday.com
to download a faxing app so they can fax their own graphs to the trio, showing off what they have learned about Venn and Euler diagrams with a bit of a comedic turn.
“Using the wonders of a flaming tennis ball to demonstrate a parabola”
REVIEWS
There is no end to the demonstrations and facts, Mould rounds the evening off by showing us an app that he used to record his wife’s contractions (which, obviously, you can convert the data into excel and make a scatter graph out of it) and then predict when his child would be born. The audience soon forgives him for being a minute out and start to think what can’t you do with a bit of science? With a rambunctious mix of wit and science, Festival of the Spoken Nerd is a must see for the nerdy to the novice. KATHERINE HARDY
BOOK CORNER POST OFFICE
T LEGALLY BLONDE: THE MUSICAL
T
his amateur production combines the classic features of the 2001 film, with the rhythm and energy of the Broadway show. Legally Blonde: The Musical succeeds in being fresh and funny by slightly changing some details in the plot, making the show interesting and loveable to even the strictest fan of the franchise. Elle (Abi Weigold) goes to Harvard Law School with the single goal of winning back the love of her life Warren Huntingdon III (Nick Plummer-Walsh). Considered the classic dumb blonde, Elle fights to
show that there is something under her perfect hairstyle with the help of Emmett (Richard Granger) and the clumsy Paulette (Gina Towned). The show never loses its frantic joyful rhythm, and captures your attention from the curtains opening until the final bows.
“Never loses its frantic joyful rhythm.” Act One sets out to present the characters and develop most of the story in a successful string of musical acts. ‘Ireland’, Paulette’s solo about her dream of an Irish wedding, is a particular highlight which is revisited in the following act in an
even funnier way. Act Two is somehow even better. It captures two cult scenes from the movie in two outstanding performances; ‘Band and Snap’ makes you laugh from your heart, soon followed by “Gay or European?”, an extraordinary ensemble number. Despite her young age, Weigold is a perfect Elle and combines the right amount of ‘blondness’ and intelligence without falling into the easy mistake of merely copying Witherspoon. Besides she has a real dog on stage: Dora and Lola as Elle’s Bruiser. As Emmett, Granger is adorable and nerdy at the same time, yet his voice never fails to capture attention. It’s Helen Kempton, playing Judy the over-clumsy maid at Delta Nu
sorority, who steals the most hearts and causes the most laughs. Without saying a word during the entire show, she manages to perform small comic sketches between the scene changes. It’s enjoyable even from the furthest-back seats. Overall, the entire cast gives an outstanding performance. Although they struggle to keep up with the volume of the orchestra at certain times, they harmonize their voices perfectly and they coordinate dance moves well. Funny and light, Legally Blonde: The Musical makes you laugh from your heart. Because of its high quality, it’s hard to tell the production isn’t professional, once again confirming that Sheffield is one of the best places for theatre outside London. VALERIA VIGALENTE
By CHARLES BUKOWSKI
he first novel written by Charles Bukowski at the age of 50, Post Office chronicles his years working for the U.S. Postal Service via his alter ego, Henry Chinaski. Chinaski is a selfprofessed bottom-feeder, a man whose life consists of menial work, alcoholism, women, and gambling. But what makes Post Office different is its lack of moralising about such a lifestyle, the author simply revels in it. That isn’t to say that it’s overly glamorised, it’s just accepted as the norm. Bukowski’s writing presents a largely-neutral perspective on the lifestyle of those at the bottom of the social ladder. And certainly, there are times when it’s downright repellent. The most shocking incident concerns Chinaski’s spontaneous rape of a woman who tries to steal his mail, all told in matter-of-fact terms so plain that it’s possible to overlook the significance entirely at first. Chinaski is not a pleasant man and he doesn’t care: he moves from woman to woman without thought of consequence, he’s never far from a bottle, he’s rude and gruff with almost everyone he meets, and he’s frequently very funny. To moralise is to miss the point, Bukowski wrote the lifestyle he lived and reading Post Office it’s hard to imagine he’d care what you thought and that’s what makes it so gruesomely compelling. JOE ELLIOT
Friday 4 December 2015
12
REVIEWS
/ForgePressFuse
@ForgeFuse
forgetoday.com/fuse
press.music@forgetoday.com
“As the biggest band on the planet, they can still make these arena gigs seem intimate”
MUMFORD AND SONS @ SHEFFIELD ARENA
W
ith credentials like those that Mumford and Sons possess, it would be no understatement to say that expectations for their show at Sheffield’s Arena are sky high. Three platinum selling albums, a sold out arena tour and a new sound debuted on their latest
album, Mumford and Sons’ Wilder Mind tour was always going to have a few tricks up its sleeve. The set is equally weighted between old and new, yet the new songs fail to gain the same audience reaction as those that made this band famous. ‘Little Lion Man’, one of the band’s best loved songs, is reeled out as the third song in the setlist – a mistake, as the jubilant atmosphere created dies for a good few songs played in its wake. This lull is rescued by set highlight, ‘Lover of the Light’, which sees Marcus Mumford swap his guitar in favour of a drum kit, and the rolling
beat and climatic track soon restore the show to its former glory. The chat is kept to a minimum, yet what interaction the band do indulge in is natural and endearing. At one point, Marcus tries to gauge where members of his audience hail from by asking them to cheer when their local football team is named, making for a lot of subsequent booing and cheering. This interaction isn’t rehearsed and perfected like so many arena show chats can be, and the only criticism is that there should be more. However, it is through their quieter moments that Mumford really shine.
During ‘Believe’, keyboardist Ben Lovett encourages the audience to put their lighters/phones in the air, creating a sea of sparkling lights that is reprised for any subsequent softer moments in the set. After an electrifying ‘Dust Bowl Dance’, the band relocate to a smaller stage in the middle of the crowd for a mini two-song set. The single spotlight around a circled Mumford, makes for an atmosphere similar to a séance, heightened by the audience’s silence as the band play two delicate and deathly quiet tracks – ‘Timshel’ and ‘Cold Arms’. The latter receives a rousing
JAWS @ PLUG
T KAGOULE @ ABBEYDALE PICTURE HOUSE
A
bbeydale Picture House’s dilapidated exterior gives way to the yuppyish class of its entrance bar, which gives way to a pizza-selling, ping pong-tabled common room, which in turn gives way to a grim school gym of a stage area. Behind layer after layer, Nottingham noiseniks Kagoule are holed away like a smutty secret, drawing dust from the ceiling with their stomping, snarling, Pixiesindebted neo-grunge. Bassist Lucy Hatter frets back and forth, possessed by feral vivacity her neon pink bob shimmers in the burning light as her Doc Martened feet jackboot the floor in time. The nervous energy of singer Kai Burns and drummer Lawrence English presents a twitchy paranoia and social nervousness that would have been equally at home in 90s
Seattle as it is in a dingy Sheffield backroom on a sweaty November evening. Cuts from their endearingly throwback debut LP, Urth, are regurgitated in somehow equal parts, tightly refined and anarchically deranged ways - their performative game has certainly moved to the next level over the past year. The swooping nonchalance of ‘Gush’ has a newfound drive, surging outwards from the stage into a sparse gathering of wintercoated twentysomethings, while album highlight ‘Adjust the Way’ has a gravelly grind that thrummed along the floor like a demon waiting underground. There is a magnetism to their casual-yet-intense approach to chat between songs - their banter coming off the cuff with a dark, resounding wit. Their signing to Notts-based metalheads Earache Records makes no sense on paper, but the ferocity and fiddly nature of their heavier sound at this show would put them
comfortably alongside Black Sabbath or Metallica. A new track from their apparently complete second album is carried with unabashed confidence, solidifying the strength and recognisability of their sound. While the technicality of their set remains high throughout, some more obscure album tracks have an inherently sludge-like quality to them which is not rectified in their live renditions, leading to a slight mid-set lull which is rescued by the trio’s charisma and verve. But, in their scrappy DIY fashion, Kagoule refuse to surrender their audience to boredom, injecting their set with last-minute joy on the exultant vocalising of the jubilant ‘Glue’. Kagoule have the country’s ears and balls in a vice-grip, and this headlining set in a dingy Sheffield backroom shows no signs of them letting go. RHYS HANDLEY
hough JAWS’ dreamy indiepop is relatively mellow, their upbeat mood creates a really lively reaction from the crowd at their Sheffield date at the city’s Plug. It is energetic and loud. The gig is opened by Trash, whose lively, dynamic and friendly set warms up the crowd and builds up their excitement for JAWS. However, Chartreuse, the second support, slows things down again, with a set comprising of notably softer songs. JAWS’ lively gig would have been better built up to if Trash’s upbeat set had directly preceded JAWS’, as the tempos were better suited.
“A show of honesty and lack of pretension”
JAWS’ confidence as a band shine throughout, and their joy at watching their audience enjoying their music is clearly observable. Their set is comprised predominantly of songs from their 2014 debut album Be Slowly, with a couple of tracks from their 2013 EP Milkshake, interspersed within these. As a live act they are brilliant, as their ability to replicate the songs from their album perfectly whilst making their contemplative songs, about summer breezes and crushes, faster and more animated so that everyone has a good time, is admirable.
rendition by the Sheffield crowd, with the audience becoming the band’s choir. It is a credit to Mumford and Sons that as one of the biggest bands on the planet, they can still make these arena gigs seem intimate. Closing the show with their anthemic, gritty and emotionally-wrought ‘The Wolf’, Mumford show just what this band can do when plugged-in. Gone are the tweed waistcoats – the leather is here to stay. TARA HODGSON
JAWS are incredibly talented musicians - each of the songs they play live is technically flawless. JAWS are clearly having a great time onstage and this makes the performance special. During ‘Friend like You’, frontman Connor
“Their breezy, beachy tunes turn Plug into a warm, happy refuge from the cold outside”
Schofield instructs each member of the crowd to put their arms around the shoulders of their friends - a positive, sociable moment that epitomises the warm, friendly atmosphere of the gig. A show of honesty and lack of pretension is demonstrated when frontman Connor announces how ‘fake’ he believes encores to be, letting the crowd know that they would stay there and play their last two songs and wouldn’t wait to be cheered back on to play them. They finish with ‘Gold’, which wraps up the gig perfectly. Overall, JAWS’ performance is highly enjoyable and their breezy, beachy tunes turn Plug into a warm, happy refuge from the cold outside. SOPHIE WILSON
13
Friday 4 December 2015 /ForgePressFuse
@ForgeFuse
forgetoday.com/fuse
press.music@forgetoday.com
REVIEWS
“With her sober, elegant style of black gowns, paired with her incredibly fierce voice, Adele is an icon”
ADELE: 25
L
ast month, the long wait ended as the new Adele album, 25, was released featuring 11 brand new songs written and sung by the Grammy Award winning artist. Fans have been anticipating this since the immense success of her previous album, 21, which had left them in suspense and demanding more.
The themes around this album are mostly about love, sadness and a reminiscence of the past.
“An authentic story that we can relate to across her songs” As Adele said in one of her most recent interviews about the album on BBC Radio 1 in October, “This
CULT CORNER
T
/ Treat me soft but touch me cruel […] I miss you when the lights go out / It illuminates all of my doubts”. With her sober, elegant style of black gowns, paired with her fierce voice, Adele is an icon. She can almost be identified as a modern opera artist when she takes your breath away in ‘Hello’. Although some songs like ‘Send My Love’ or ‘Water Under the Bridge’ have a more bouncy and jazzy rhythm, most of this record’s songs are of a slower, more meditative pace, and the recurrent themes across her three albums sometimes seem quite repetitive.
Adele is not an artist that can be listened to constantly without feeling a little melancholy. This album, while excellent, does not quite reach the dizzying heights of her career defining 21. If the listener can put their understandably high expectations aside, it is easy to recognise 25 as another milestone in the indomitable rise of Adele.
Minister’s wartime speech, referring to the Royal Air Force’s wartime efforts against the Luftwaffe. Rather than reading as a testament to this, the introduction instead switches around the odd word of the Churchill’s speech, seeming like a smug attempt to prompt an ‘I see what you did there’ moment, but unfortunately to no avail. ‘Nemesis’’ haphazard piano feels like a deliberate attempt at creating an ‘arty’ pop record, as does the presence of grief-stricken violins throughout the album. However, Clementine’s vocal delivery, particularly on ‘Cornerstone’, the album’s centerpiece, is its redeeming feature. Switching seamlessly between softer, more prosaic delivery and lung-bursting odes to solitude, Clementine expertly demonstrates his unquestionable talent. Virtuosic singing ability does
not, however, make for a great album. For an award that compares itself to “the Booker Prize for literature and the Turner Prize for art”, the Mercury Prize has always been about championing musicians who push the boundaries of their respective genres. Instead, Clementine’s mournful piano-led minimalism seems like a misstep. At Least For Now feels not like an experimental pop record, but one that instead consciously tries to tick all the boxes in order to award itself that title. At Least For Now may well be a half-decent pop record, but it certainly shouldn’t be a Mercury Prize winning one.
JULIA HODDER
SINGLES THE SSS: ‘EIGHTEEN’
THE LIBERTINES: UP THE BRACKET
T
he SSS are an up-and-coming Sheffield band - the energetic younger brothers of early noughties indie rock bands, like the Kooks and Franz Ferdinand. ‘Eighteen’ can’t be faulted for its rock ‘n’ roll energy, with driving guitars and a bouncing pulse. Singer Josh Coddington’s nasal voice gives the vocals an unusual edge to the sing-along chorus. The band’s other singles may seem fresher and more distinctive, but ‘Eighteen’ is more immediately catchy and anthemic the sort of thing that gets everyone dancing at an indie disco. The main flaw of this song is its subject matter. It describes an attraction to a girl who is “eighteen, barely legal”. This line is close to okay-ish, as the band members themselves are aged between 19 and 21. However, it still has uncomfortable echoes of grown men creepily singing about teenage girls - like when a 22-year-old John Lennon sung “She was just 17, if you know what I mean”. In an age more sensitive to issues of consent, it should be clear that songs like this are better left way back in the ‘60s. ‘Eighteen’ is nothing groundbreaking, but it’s a fun tune for dancing to with your mates - a JOE TAYSOM sign of this band’s future potential.
his album inspired the next wave of indie from the mid 2000s; it is an embodiment of underground music. Produced by Mick Jones of the Clash, the result was sensational. Up the Bracket is 37 minutes of uninterrupted ecstasy which kicks off with the abrupt ‘Vertigo’, setting the tone for the next half an hour or so. The next hat-trick of tracks are pacey, loud, and lyrically sublime. This is exemplified in ‘Time for Heroes’ famous line, “we will die in the class we were born” which stuck in the hearts of a generation. ‘Tell the King’ perfectly illustrates both sides of the band with sincere lyrics and Barat and Doherty share the vocal duties gloriously. It was my highlight from their euphoric 2014 reunion gig at Hyde Park, where a 63,000 chorus chanted every word. “If you’ve lost faith in love and music, oh the end won’t be long”, summarises the London based band’s spirit from penultimate track ‘The Good Old Days’. After one listen, it is clear to understand how Up the Bracket inspired the next generation of indie stalwarts including Arctic Monkeys. This album makes you want to pick up a six string and start a band.
album is about what I have learnt from the past and the things about it that I miss because life changes, I miss my friends and the people that have taken a part in my life and allowed me to become who I am, I declare my love to them”. Adele uses her powerful voice and talent to tell us an authentic story that we can relate to across her songs. For example in her latest song ‘I Miss You’, she choses picturesque lyrics to describe various feelings and senses, such as touch, light, darkness, rain that anyone can experience: “I want your heaven and your oceans too
MOLLY KERKHAM
BENJAMIN CLEMENTINE: AT LEAST FOR NOW At first, the choice of Benjamin Clementine’s At Least For Now for the Mercury Prize may seem a little confusing, if not uncharacteristic for the typically leftfield award ceremony. However, all becomes clear when the extraordinary story of Clementine’s X-Factor-esque background is revealed. Born in London, the singer and pianist left home at the age of 16, devoting himself to busking on the streets of Paris, before being discovered by a producer. Undoubtedly then, there is meaning behind Clementine’s musical meanderings. But is it actually any good? ‘Winston Churchill’s Boy’ begins the record with a reworking of the famed Prime
HARRY GOLD
Friday 4 December 2015
14
REVIEWS
/ForgePressFuse
@ForgeFuse
forgetoday.com/fuse
press. screen@forgetoday.com
brutal, if somewhat predictable. The extravagant way in which the blocks of the Capitol are converted into a field of spectacular traps strains suspension of disbelief at points – taking the viewer’s attention away from the peril at hand, forcing them to imagine exactly what kind of cost-benefit analysis led to such intricate, overwrought traps being constructed. The film gives its secondary characters a fair amount to do, but it’s hard to emotionally invest in certain members of Katniss’ squad - so obvious is their redshirt status. The dearly deceased Philip
Seymour Hoffman’s scenes, a mixture of existing footage and digital superimposition, are seamless, but there’s at least two key scenes which scream out for the presence of his character. This, of course, could not be otherwise. Mockingjay: Part 2 is a heady, delightfully adult exploration of delicate themes like the realities of war and finding one’s own way in the world. It wraps up the story with due attention and flair. Can we ask anything more?
CULT CORNER
SCREEN DIGITAL
FLATLAND (2007)
JESSICA JONES
falling”, as Jones corrects). The supporting cast is equally unpleasant. All act with the same needlessly hostile aggression, often creating weak drama with poorlyexplained motives. Some blame must go to the formulaic and clichéd script. None are afforded time to develop, time that is instead used to deliver uninspired wisecracks that often feel forced and emotionless. Much is redeemed, however, by the truly magnificent David Tennant as antagonist Kilgrave. It is no surprise that the series’ best moments by a considerable margin are commanded by Tennant and his character’s unique powers. Unfortunately, his appearances are intermittent at best, greatly harming a show that fails to build suitable tension in his absence. Jessica Jones will undoubtedly be seen by many as breaking new ground. There is a prevalence of uniquely dark moments, that while sometimes feeling tacked on to achieve a mature rating, nevertheless add an extra dimension to the plot. But these are simply not enough to hide bland camerawork, repetitive character design, and a soundtrack that, though paying worthy homage to iconic detective shows, often feels completely out of place and mistimed. The result is not terrible, but by no means great. It lies in the realm of disappointment, simply serving as a reminder of what could have been achieved with the excellent talent and ideas on display.
THE HUNGER GAMES: MOCKINGJAY: PART 2
S
o here we are, at the end of an era. As the final instalment of the Hunger Games franchise hits cinemas, it’s difficult to see the story ever continuing. The appeal of the series is so intimately linked to Katniss Everdeen (Jennifer Lawrence) as a character that it’s hard to imagine the universe will ever continue now her personal journey is at an end.
T
hough Flatland may seem like a children’s film with its colourful computer animated scenes and silly-looking characters, the film is relevant both philosophically and politically, satirising society as a whole with a charmingly witty story. It is about a two-dimensional world, where beings live along a flat plane. They have different shapes and can “colour” their edges, leading to familiar conversations about religion, sexism, racism, and political extremism. The plot concerns A Square, who is a square, on his journey of discovery and enlightenment after A Sphere, who is a sphere, teaches him about the third dimension, to the anger of Flatland’s President Circle. The original novel, Flatland: A Romance of Many Dimensions by mathematician Edwin Abbott was a literary response to the oppressive nature of Victorian society, but Flatland is still relevant today as war is waged unjustly and hatred and narrow-mindedness consume the hearts of many. Director Ladd Ehlinger Jr. conveys this strong political message through great computer animations and a playful narrative. By tackling controversial social issues in unconventional ways, Flatland becomes the quintessence of independent filmmaking. KAZUMA OSAKI
Arguably, it’s a welcome end. The Hunger Games is, in some ways, meeting a natural conclusion. The series appeared in the heat of the 2008 financial crisis, when the Occupy movement was in the headlines. It struck a chord with disaffected youth. Now, at the end of 2015, inequality is still on the agenda, but it’s no longer the blockbuster issue it was. These things run in cycles, but the trend for dystopic, fantastical young adult fiction appears to be on the wane everywhere. Bearing that in mind, even with high expectations, Mockingjay: Part 2 delivers.
By this point in the story, President Snow’s reign of terror is in deep trouble, and the rebellion is at the
“A heady, delightfully adult exploration of delicate themes” gates of the Capitol. The deadly “pods” which hamper Katniss & Co’s inexorable trudge through the Capitol’s hostile streets are savagely imagined and the sacrifices made along the way are
T
“Boasting a sensational cast and excellent pedigree, it is regrettable that Jessica Jones fails to provide engaging television.”
he superhero genre has, until recently, struggled to make an impact on TV. Without the mind-boggling budgets or grand scope offered by cinema, original content was rare and often sub-par. In recent times however, fans have enjoyed a new wave of darker, more mature small screen ventures. Last year’s Daredevil, a Netflix original, offered outstanding production values and gritty realism, brilliantly rebooting a much-loved franchise. The streaming giant now returns with Jessica Jones, the second in a group of heroes soon to be known as The Defenders. Boasting a sensational cast and excellent pedigree, it is therefore regrettable that it fails to build upon its predecessor and provide engaging television. No time is wasted in introducing Krysten Ritter’s Jones as a troubled, brooding P.I. with superhuman strength and a penchant for whiskey. While a fascinating character on paper, the exploration of her life as an investigator more or less ends there, as the plot refocuses entirely upon the show’s villain. There is also negligible deviation from her grumpy, angstridden performance, portraying a character that is eminently unlikeable and entirely devoid of a backstory until midway through the season. Her superpower more often than not underwhelms as a propensity to break locks, and an unintentionally hilarious ability to fly (“guided
JOSHUA HACKETT
NICK BURKE
15
Friday 4 December 2015 /ForgePressFuse
REVIEWS
forgetoday.com/fuse
press.screen@forgetoday.com
don’t become extinct and begin colonising and cultivating a world very different to our own. The film follows the eponymous ‘Good Dinosaur’ Arlo (Raymond Ochoa) trying to find his way home after being caught in a storm and the adventures he has along the way. The Good Dinosaur showcases some of Pixar’s finest animation work to date, with an awe inspiring display of scenery. The characters themselves maintain a goofy cartoonish charm, looking almost out of place against the lucious, richly detailed and varied backdrops.
You can’t help but feel physically anxious when Arlo accidentally slips in. Set against Mychael and Jeff Danna’s folk-inspired soundtrack, the film is stylistically beautiful; entirely different from the fantastical settings of other Pixar movies, but still perfectly imagined and believable. It lays its influences on the table – and there are a lot. The setting recalls Dreamworks’ Ice Age, especially when you throw Arlo’s feral human companion/pet ‘Spot’ (Jack Bright) into the mix, and elements of the plot are distinctly
reminiscent of The Lion King. While this means the film is not necessarily the most original, it doesn’t detract from how enjoyable it is. Arlo himself is a particularly likeable and vulnerable character whom the audience root for throughout, and Spot is one of the most interesting portrayals of a child on-screen, running and gnawing through a world he doesn’t understand – a show of true human vulnerability. Pixar’s unique brand of humour means children and adults alike will be kept entertained throughout,
helped by Mara’s rather childlike portrayal of Therese. Her character has no personality so it seems a mystery why she would be so appealing to the fascinating Carol.
and falls into denial. Carol’s situation is much more dangerous and destructive. Her bullying ex-husband refuses to let her go, leading to a custody battle for their daughter which highlights how bigotry and a lack of understanding of sexuality in the 1950s affected American law. Haynes perfects the exquisite, luxurious beauty of classic New York and his attention to detail brings out a melancholic tone. The two leads may not be right for each other, but the film remains significant at a time when female homosexuality, continues to be largely ignored and subject to joke in film and television. The collective mindset today may be more understanding of sexuality but that doesn’t mean there aren’t still prejudices where gaps in understanding exist. More films exploring homosexual experiences, particularly those of females, are needed in order to address the preconceptions that remain.
BRIDGE OF SPIES
@ForgeFuse
“While The Good Dinosaur is not necessarily the most original Pixar movie, that doesn’t detract from how enjoyable it is.”
THE GOOD DINOSAUR
A
fter the absence of any release in 2014, Pixar have, for the first time, spoiled audiences with not one, but two feature lengths this year: summer’s Inside Out, and The Good Dinosaur – two films literally worlds apart. The Good Dinosaur has an oddly dystopian premise on paper. The asteroid that wiped out the dinosaurs misses, thus they
CAROL
T
odd Haynes’ romantic drama tells the story of two women who can’t help but fall in love despite the consequences in 1950s New York. Cate Blanchett dazzles with grace and elegance as Carol, the personification of New York’s rich and sophisticated upper class. When she meets younger woman Therese (Rooney Mara), they two decide to embark on a trip together which will have devastating consequences thanks to society’s attitude towards lesbian relationships. The age difference between the two characters proves difficult to overcome as their relationship seems closer to that of mother and daughter. All too often Carol is seen to provide comfort and encouragement for Therese, leading the relationship. This is not
“Cate Blanchett dazzles with grace and elegance” Separately however, their stories make strong statements about female mutual attraction and how society reacts to it. Therese begins the film in a relationship with a man, but it becomes clear that her feelings for him are not so strong and she becomes uninterested in him when she meets Carol. In a particularly poignant scene in which she discusses same sex attraction with her boyfriend Richard (Jake Lacy), they discuss the suggestion that falling in love is not a question of falling for a particular gender. Richard is quick to dismiss and ridicule the idea,
MELISSA MATOS
F
ew formulas remain that unerringly produce top quality cinema, but one is the pairing of Steven Spielberg’s fanatical attention to detail and Tom Hanks’s renowned devotion to his roles. Set during the Cold War, Bridge of Spies offers gripping, immensely enjoyable drama, telling the story of Hanks’ unassuming lawyer James Donovan as he reluctantly represents known Russian spy Rudolf Abel (Mark Rylance). What ensues is a high-stakes game of political machinations. Hanks is superb, injecting the role with easy charm, relatable humanity and impeccable comic timing. His belief in the value of human life is ultimately the driving force behind the film’s most engrossing moments. Rylance is immensely likeable as Abel, and the film benefits greatly from the pair’s companionable
and there are more than a few tear-jerking moments. Despite signs that Pixar may be starting to struggle for ideas, The Good Dinosaur is a clear example that they are yet to lose their touch when it comes to world-sculpting, character-building, or storytelling finesse. JOSEPH MACKAY
chemistry. Spielberg’s direction is reliably assured, whipping the film along at a pace that maintains an impressive degree of tension. As always though, Spielberg is the storyteller upon who the film relies. His ability to present a snapshot of history with such unflinching, visceral accuracy has never been in question, and the seasoned director does not disappoint with his portrayal of a world upon the brink of war, although the intense American patriotism feels outdated. But this is a truly great film, historically precise and beautifully acted, measured and maturely presented. Above all else, it’s a classic Spielberg film. He is a man that no longer seeks to push the boundaries of cinema with controversy or bold takes on storytelling, content simply to set the bar above which the rest must jump. NICK BURKE
LISTINGS ARTS
GAMES
MUSIC
SPIN: 360° EXHIBITION
CHRISTMAS SHOPPER SIMULATOR 2: BLACK FRIDAY
12 December, 7:00 PM Corporation
14 December Curzon
So how did you fair on Black Friday this year? If things didn’t go quite as planned for you and you need to up your game for Christmas shopping, well here’s just the game for it. Christmas Shopper Simulator is all about shopping ability and utterly realistic.
Hey! Hello! are a noise-pop band from New York, comprised of established musicians from various bands that are absolutely amazing at making catchy, addictive songs. After the success of their first album, the band are on tour showcasing their soon to be released second album. It’ll be the perfect fun event before going home for holidays.
Having recevied lots of critical acclaim at the Cannes Film Festival 2014, Red Army is a compelling story about the most dominating ice hockey team in history: the Red Army that was formed by the Soviet Union in the mid-1950s. Featuring footage from both sides of the Iron Curtain, Gabe Polsky’s brilliantly directed masterpiece honestly tells the raw story behind the Soviet Union’s use of sports for propaganda.
7 October - 19 December Made North
Spin will be hosting an exhibition that features their outputs, inspirations, processes, and self-initiated work, as well as a museum-standard collection of historical graphic design poster and ephemera. It will be the perfect opportunity to experience innovation and legacy in art.
SHOW BOAT
10 December – 23 January Crucible Based on the novel by Edna Ferber, Show Boat is a musical from 1927 about performers, stagehands, and dock workers on a Mississippi show boat called the Cotton Blossom. With catchy, enjoyable tunes throughout and an enthralling story of the drama between its characters, the musical is just the right production for the holiday season.
20 November Windows, Mac
MARIO & LUIGI PAPER JAM BROS 4 December Nintendo 3DS
Paper Mario is now jumping out of the two dimentional world and entering the normal Mario world, resulting in a bunch of hilarious and exciting gaming moments. Of course, classic Paper Mario characters will be making an appearance as well as characters from the usual Mario and Luigi franchise.
HEY! HELLO!
THE SHERLOCKS
19 December, 7:00 PM Plug The Sherlocks are an indie rock band from Sheffield that uphold the brilliance of our local music scene. Having performed at renowned festivals including Leeds and Reading, and with plans to tour with The Libertines next year, they are a band you definitely can not miss if you are living in Sheffield.
HOZIER
LIVE LATE: CHRISTMAS WITH THE FOLK FOREST
THE SIMS 4 GET TOGETHER
11 January, 7:00 PM O2 Academy
Museums Sheffield is collaborating with The Folk Forest this winter to host a festive night of jolly holiday tunes featuring the finest of UK folk. Take a look at the event for a musical delight in keeping with the Christmas season!
Who doesn’t love the Sims? Nonetheless, it does tend to get a bit boring and generic when you only have yourself to share your masterpiece with. In the Get Together extension pack, you’ll get to create communities and explore the wider world of Sims with your friends and essentially party anywhere!
If you don’t know Hozier yet you’re missing out big time. Rising to prominence in just a few short months since the release of his first album last year, Hozier is an Irish singer-songwriter with a genius songwriting ability and a beautiful voice that singlehandedly dominates any crowd. Any lover of indie rock, blues, or soul music should definitely be there to witness his brilliance.
11 December Weston Park Mueseum
THE SNOW QUEEN
19 December The Montgomery Theatre What’s Christmas without a winter wonderland on stage? The Snow Queen is a classic story about a girl called Gerda who goes on an adventure to save her friend, Kai, who’s been kidnapped by the Snow Queen. Although it is a production targeted at kids, it may be the perfect way to explore the inner child in you that wants to witness a Christmas miracle!
WORK IN FOCUS: GODFREY SYKES
10 December Windows
THIS WAR OF MINE: THE LITTLE ONES
27 January, 7:30 PM The Leadmill
The multiple award-winning survival game inspired by the 1992-96 Siege of Sarajevo during the Bosnian War revolutionized the genre by focusing more on the realistic experience of civilians rather than on the played-out soldier side. This new installment will feature new installations and characters.
Formed in 2001 by members coming from experienced backgrounds, the seemingly novelty band have proved themselves to be a group of qualified entertainers capable of producing catchy melodies with creative and innovative sounds. Experienced with playing on stages all around the world, Minus the Bear is poised to take The Leadmill by storm
LEGO MARVEL’S AVENGERS
21 January - 3 February Graves Gallery
29 January Nintendo 3DS, WiiU, Windows, PS3, PS4, PS Vita, Xbox 360, Xbox One
Godfrey Sykes studied at the Sheffield School of Art, and went on to become a renowned artist. 2016 marks 150 years since his death, and so Graves Gallery will be exhibiting his works from the city collection, ranging from paintings and watercolors to designs and metalworks.
There’s nothing more excrutiating than the wait between each Marvel film - well, here’s a way to alleviate the pain. Not only will all of the Avengers in the films be present in this game, but characters from the comics are also a part of the awesome action phenomenon.
IN THE MAKING: RUSKIN, CREATIVITY AND CRAFTSMANSHIP 23 January - 5 June Millennium Gallery
In this installation of In The Making, the Millennium Gallery will be housing the works of artists and craftspeople who do their work by hand: stitching, sewing, weaving, and dying. This time, the focus will be textile ranging from 17th century linen to contemporary works by Tracey Emin.
MINUS THE BEAR
29 January PS4, Xbox One
SEBASTIEN LOEB RALLY EVO DAY ONE EDITION 29 January Windows, PS4, Xbox One
Rally car racing games don’t get any better than this one! Choose from a variety of the best rally cars from the past and the present and race them in the best rallies and off-course events in the world. Experience the adrelanine of rallying with the best of the best!
ALBUM RELEASES
SCREEN RED ARMY
DIE HARD
15 December Odeon The ultimate Christmas film is back at the Odeon for a onetime screening. John McClane’s innocent visit to his wife’s office for a Christmas party is not so merry anymore when it is taken over by a group of terrorists. If you want to enjoy Christmas but with a hint of excitement rather than a humpty dumpty Santa, it doesn’t get any better than Die Hard on the big screen.
STAR WARS: THE FORCE AWAKENS 17 December Cineworld
There’s really no excuse you can give to not watching Star Wars. Whether or not you’ve seen the past films in the iconic sci-fi saga you should start immediately once winter break starts, and go watch it as soon as it’s out. This is very well an early Christmas treat to all film fans out there.
FILM UNIT
Nelson Mandela Auditorium As ever, Sheffield’s volunteer-run student cinema is showing films for just £2.50 each. For more info and a look at their full schedule for the autumn semester, go to: filmunit. org.uk 6/12 - The Tale of the Princess Kaguya 11/12 - Chappie 12/12 - The Tribe 13/12 - Song of the Sea
8 January
NETFLIX RELEASES
David Bowie - Blackstar
3 December
HINDS - Leave Me Alone
How I Met Your Mother - Season 1-8
15 January
10 December
Panic! at the Disco - Death of a Bachelor
Aloha
Daughter - Not to Disappear 22 January Mystery Jets - Curve of the Earth Coasts - Coasts 29 January Bloc Party - HYMNS Sia - This is Acting Harriet - American Appetite
15 December Burnistoun - Season 1 Californication - Season 6-7 X+Y 16 December Big Fish Happy Endings - Season 1-3 Santa Claws 31 December Manhattan Romance Dear White People