SEXISM IN THE MUSIC INDUSTRY // THIS IS ENGLAND // MACHINIMA// SHEFFIELD CRISISART FESTIVAL
FREE ISSUE 88
WELCOME TO OUR WORLD.
Friday 23 October 2015
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INSIDE
ARTS
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@ForgeFuse
Arts review the Jersey Boys at the Sheffield Lyceum (p.11)
GAMES
Star Wars Battlefront gets reviewed by Games (p.10)
SHORT FUSE 3
SCREEN
Carey Mulligan stars in new movie Suffragette (p.15)
REVIEWS AND LISTINGS 10-16
EDITORIAL like a bit of editing to start a job. Screen Editor Rhys Handley is thankfully no longer alone and has been joined by Mancunian Luke Baldwin, who is rightfully a humongous screen fan. Both Kazuma and Luke are incredible and we can’t wait to work with them over the next year. Plus, if they can put up with a neverending EGM, I’m sure they can put up with the madness that is student journalism. Fuse, as ever, is pretty bangin’. Arts masters Jo and Joshua have reviews of Jersey Boys, Platform Poetry Slam, and Karen Joy Fowler’s latest novel We Are Completely Beside Ourselves, and a feature based around the Sheffield CrisisART festival. Ash and Moya have even more games goodies for you, including three top notch reviews - Star Wars Battlefront, Mine Craft Storymode, Metal Gear Solid 5 - all by people called Oliver. Their feature also gives an insightful look into the world of Machinima. Music Editors Charlotte and Tara
Jess Williams reviews Years & Years at O2 Academy (p. 12)
ARTS FEATURE 8 Arts take a close look at CrisisART festival
SCREEN FEATURE 5 Screen looks at the end of This is England
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MUSIC
fuse@forgetoday.com
GAMES FEATURE 6 A games shaped spotlight is placed on Machinima
MUSIC FEATURE 4 Music looks at sexism and the music industry
nother busy fortnight has passed and we have even more incredible reviews and features for you all to enjoy and use as procrastination. There’s no denying that workload is starting to pile on top of me like a brick wall, but at least I have the beauty of Fuse to keep me sane. As a third year History student, life has finally dawned on me. In the last fortnight alone I’ve had to come up with a dissertation outline, read thousands of pages of reading (I jest a little), and started to consider that from June onwards I actually have to be an adult. There is nothing scarier than contacting real journalists and asking if they can give you real journalist advise. What has my life become. But there is a bright light in all this dissertation madness. Our recent EGM has finally completed our Editorial team, and I’m proud to introduce our new editors! The wonderful Kazuma Osaki is the new Fuse Editor, and in fact sat beside me copy editing this minute - nothing
forgetoday.com/fuse
FUSE EDITOR Joss Woodend
feature lives by Years & Years, Rae Morris and Swim Deep, as well as albums by Reverend + the Makers and Hurts. And it doesn’t stop there, with a Cult Corner on the Black Box Revelation, a single review of Big Moon and a juicy feature about the music industry and sexism. Last, but nowhere near least, is Screen Editor Rhys Handley with a feature on the end of This is England and the newest releases, including Suffragette, Sicario, and Pan. Plus there’s a review of the GBBO final to satisfy all you Mary Berry lovers (me included). I hope you all enjoy issue 88! For now, I’ll leave you with a picture of my puppies, JOSS x
ARTS EDITORS Jo Gallacher Joshua Hackett GAMES EDITORS Ash Emritte Moya O’Rourke MUSIC EDITORS Tara Hodgson Charlotte Pick SCREEN EDITORS Rhys Handley FRONT COVER Joshua Hackett BACK COVER Dan West
CONTRIBUTORS Luke Baldwin Isaac Blaug Josie Brewer Harry Chambers Emily Cuthbert Arne Dumez Oliver England Sarah Fitzsimmons Claire Fowler Billy Geeson Alex Grove Amelia Heathman Madelena Kay Sam Kelly Andrew Martin Blagoslav Mihaylov Louis Registe Jaskiran Shergill Sophie Wilson Emma Williams Jess Williams Marie-Elise Worswick Oliver Young
(Sorry Phil - I like having a little x)
Email us over at fuse@forgetoday.com or come along to one of our contributor meetings!
Friday 23 October 2015
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SHORT FUSE
MEYER’S TWILIGHT IS UN-IMAGIN-ATIVE
s the 10th anniversary of the hugely successful Twilight franchise that has sold over 150 million copies worldwide dawns, author Stephenie Meyer has presented her vampireloving fans with a surprise gift for the occasion. For Twilight’s anniversary, Meyer has writen a book with the genders of Bella Swan and Edward Cullen swapped. Titled Life and Death: Twilight Reimagined, Bella’s awkward character is switched to a male called Beau, and Edward becomes a female vampire called Edythe. Rumour had it that Meyer would
write a spin-off from Edward’s point of view but she completely bulldozed that theory with something that screams lazy and unimaginative. Not that a book from Edward’s perspective would really have been much better, as Meyer’s writing will never improve an already poor series. On Good Morning America, Meyer gave her reason for the gender-swap novel by saying that Bella is not a “damsel in distress” but more a “human in distress”. She then attempted to make a feminist argument for her new version of Twilight by saying: “It’s always bothered me a little bit
because anyone surrounded by superheroes is going to be a little bit in distress.
“All she seems to have done is suggest that she desperately needs to make a few bucks again” “The further you get in [to Twilight Reimagined], the more it changes because the personalities get a little bit different, but it starts out
very similar and really, it really is the same story because it’s just a love story and it doesn’t matter who’s the boy and who’s the girl.” Well, I guess that is all you really need to know about this ‘new’ book - it is essentially exactly the same story. Meyer has not employed any creativity whatsoever. All she seems to have done is suggest that she desperately needs to make a few bucks again. JASKIRAN SHERGILL
MINECRAFT: IS THERE EVEN A STORY MODE?
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he first episode of Minecraft Story Mode, The Order of the Stone, has finally been released. But right here, right now, the question I’m asking isn’t whether it is good or bad, but simply: what is the point of it? The title of the game itself is a misnomer because whatever this game actually is, it is not a story mode of Minecraft because you are not actually playing a game of Minecraft. You are playing a game that looks like it, but a game in which the mechanics are wholly different. And they have to be different. An oversimplification of what a story is is the path taken from
the beginning to get to the end. Whether that path is linear or all over the place wibbly wobbly timey wimey, it doesn’t matter. It is those three things that are crucial. The original Minecraft takes a loose interpretation of those three things: the beginning is when you spawn and the end is when you die, with the path being one that you make yourself. In effect, Minecraft already has a story mode. Except it doesn’t fit within our definition of ‘story mode’. If we drop the loose interpretations of beginning and end, story modes must then be constricting things. In the game, spawning and dying can
happen anywhere and anytime. They are not fixed points. So for a story mode to be able to take you from fixed point A to fixed point B, there must be limits to what you can do and where you can go, limits that don’t exist in the original game. So, understandably, a story mode of Minecraft must be restrictive, but does it need to be as restrictive as The Order of the Stone? And is this truly the first attempt at giving Minecraft a story? The answer is no. There are a multitude of user created maps that can be downloaded from the internet. These maps have beginnings, they have ends. Many
are quests and some have been popularised by certain YouTubers. They are stories set within it, but the truth of it all is that Minecraft has no story, other than the story of survival. Maybe that’s the thing: Minecraft is not just a game, but a tool and a medium in its own right. It is a platform for creating your own stories and for living the stories of others. And that takes me back to the very beginning. What, actually, is the point of Minecraft Story Mode? ASH EMRITTE Read Oliver Young’s review on p.10
WAKE UP! TO THE SOUND OF THE POPE
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e’s one of the most influential people on the planet, he’s followed by 10 million people on Twitter, he’s been crowned by Esquire magazine as 2013’s ‘Best Dressed Man’ and now he’s about to release his debut album. Yep, you’ve guessed it Pope Francis is trying his hand at the music scene. And who can blame him at 78? The prog-rock album, Wake up! - to be released on the 27 November - consists of 11 tracks, the first of which, entitled ‘Wake Up! Go! Go! Forward!’ is already out and available to listen to on SoundCloud and YouTube (and is
delivered in English, so there’s no excuse not to give it a listen). Wake Up! - the “Music Album with His Words and Prayers”- is comprised of speeches that Pope Francis has delivered throughout the world in recent years, each track backed by prayers and hymns.
“I suppose as the 266th pope you’ve got to keep things fresh haven’t you?”
Admittedly, it’s an odd concept to get your head around, but not one that’s altogether unusual. Both Pope John Paul II and Pope Benedict XVI have had their speeches comprised into albums, Santo Subito! (Sainthood Now!) for the former, Music from the Vatican: Alma Mater for the latter. Not forgetting too, of course, the self-proclaimed God of music himself, Kanye West, shall soon be releasing his seventh studio album (just in case anyone missed the “greatest living rock star on the planet” speech), so apparently the Holy are not wholly unfamiliar to the modern music scene.
The small matter of morality behind the publication of religious art is a matter to be debated elsewhere, and the probable or improbable success of the album is to be decided at a later date. But as for the bizarre combination of the rock genre and pontifical speeches, I suppose as the 266th pope you’ve got to keep things fresh haven’t you? JOSIE BREWER
FEMINISM - IS SUFFRAGETTE THE WHOLE STORY?
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he film industry can be a strong tool for influencing society. From the language used to the inspirational figures featured, many people adopt what they see on the big screen into their lives. That’s why films such as Suffragette could be perceived to be more than just retelling history. Some might believe Suffragette tells the whole feminist story, and that the movement died when women got the vote. However, as much as the female struggle has come a long way since then, it is by no means redundant. At the premier of Suffragette in London, over 100 feminist activists
from Sisters Uncut laid across the red carpet, chanting “cuts kill”, and “dead women can’t vote”. This outcry comes after the Conservatives announced cuts to specialist services that help domestic violence victims. Suffragette star Helena Bonham Carter expressed her support for the protest, saying: “I’m glad our film has done something. That’s what it’s there for.” The film showcases the powerful past of the suffrage movement, and only the beginning of the fight for gender equality. There’s no doubt the purpose of the demonstration was for a moral cause, but has it harmed the modern feminist
movement? Arguably, the demonstration has achieved what it set out to do – it has drawn awareness and attention to the welfare cuts. It was carried out in a peaceful and nonviolent way, but still managed to make an impact, embodying the message of Suffragette. But there are other, more subtle influences of Suffragette. With central strong female characters, there could be knock on effects for women in the world today. It sends the message that if women are being oppressed, in any way, then they have the power to stand up for themselves, and fight for equality.
Suffragette not only retells the struggle of women fighting for equality to gain the vote, but also inspires feminists today to keep fighting for equality in all aspects of life. This film not only looks back at the past, but has the potential to inspire a change in the future. SARAH FITZSIMMONS
Friday 23 October 2015
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FEATURE Lingerie-clad cello playing: Are the men doing it?
ARTWORK: EMILY CUTHBERT
After Chvrches singer Lauren Mayberry wrote an article about her experiences as a woman fronting a band, music contributor, Marie-Elise Worswick, takes a look at the position of female band members in 21st century.
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could hardly believe it. At first, my eyes widened, my jaw slowly started to drop and I looked around in confusion. There’s sexism in the music industry? Really? Because I hadn’t noticed. I am, sadly, joking. Unfortunately, the treatment of women as sex objects in the music industry, and the world in general, has been going on for a long time, so when Lauren Mayberry of the band Chvrches wrote an article about her experiences of sexual harassment over Twitter in the Guardian, it was water off a duck’s back for most readers.
Mayberry, the only female member of the Scottish electronic band, receives harassment daily, from being called a ‘slut’, to the more worrying threats of rape. On writing about the harassment she receives, the comments at the bottom were even more concerning, with people saying: “This isn’t rape culture. You’ll know rape culture when I’m raping you, bitch”. Other ‘supportive’ messages she received said that sexual harassment is just “something that happens” and she just has to learn to “deal with it”. But why should a woman in a seemingly educated society just have to “get
over” being threatened with rape on a daily basis? Threats of sexual violence over social media aren’t the only manifestation of misogyny for women within the music industry. Have you ever noticed how, in order to succeed in the public eye, women must look a certain way? Take Susan Boyle as a prime example, a woman who was given a headto-toe makeover in order to sell her songs. And on the other side of the coin, look at Selena Gomez with her squeaky, nasal voice, but who has gone on to be tremendously successful due to the fact that she is physically attractive? Women in music are judged primarily on their appearance, and their musical ability comes second. Do you really think Ed Sheeran would’ve been as successful if he was a woman? Do you think a singer who performed at the Brits wearing a T-Shirt and a pair of old jeans would’ve been successful had he been a woman called Edwina? Highly unlikely, and even if he was a woman, she’d have been berated by the tabloid press about how unattractive she was, and encouraged to endure numerous plastic surgery operations in order to look like a clone of Madonna. There’s also the blatant misogyny in many music videos to be considered. Calvin Harris and the Disciples’ video for ‘How Deep Is Your Love’ is currently the number one watched video in the UK, and is it any surprise that the opening image is a woman wearing a white T-Shirt and black bikini splashing around in the sea? Throughout the
video, the camera pans over her bum and her breasts in a bikini whilst she seductively touches her hair.
“Women in music are judged primarily on their appearance, and their musical ability comes second” Or what about Nick Jonas’ ‘Jealous’ video where it’s all fun and games, Nick walking along in a leather jacket and jeans and a jumper and then WHAM there’s a woman sat clad in lingerie playing the cello. If I came home to find my partner playing an instrument in their underwear, I’d get them straight to an institute for the criminally insane. Rita Ora who parades around in a bra and a leather jacket for her ‘Poison’ video? I’m sure a lot of people will claim that it is empowering to see a woman who’s doing her own thing, wearing what she wants, but ask yourself whether she is wearing a bra in her video because she’s an independent lady, or because she was told that, in order to market her songs, she must conform to the patriarchal ideal of
being hypersexualised. The industry is completely male dominated with the men telling the female artists how to sell songs. There is such a lack of creativity and variety in today’s popular culture, with hardly any female artists over 30 who are still in the public eye, and many girls being told that, in order to prosper in the industry, they must dye their hair blonde, get a boob job and have a BMI of 17. It’s so refreshing when artists such as Adele and Beth Ditto, who don’t conform to the stereotypes, enjoy success. They are girls who aren’t stick insects wearing little more than a G-string, and they are actually successful because of their incredible voices and talent. The most frustrating thing, however, is that if you want to sell songs in the Western world, the sexual objectification of women is a winner. When you look at other cultures, such as Korean K-pop, all the women are dressed in amazing outfits and making individual, artistic videos which aren’t sexually provocative. However, our music industry, similar to the advertising industry, has become nothing more than a machine programmed into selling a product, regardless of morals, and it’s been proven time and time again that sex sells. Once we have created a society where there is sexual equality, maybe then women will have a chance at being able to do their job without being threatened with rape or told to conform to male dominated ideals. But until then, we’ve got to keep fighting for equality.
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Friday 23 October 2015
FEATURE
AS SHANE MEADOWS’ EPIC COMING-OF-AGE SAGA DRAWS TO A CLOSE, ALEX GROVE LOOKS BACK ON THE HIGHS AND LOWS OF A TRULY UNIQUE ON-SCREEN EXPERIENCE.
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en years ago, a littleknown director called Shane Meadows had the idea to create a bold and daring film about 1980s skinhead subculture under Maggie Thatcher’s contentious rule in England. Despite releasing films to critical acclaim, he’d yet to release a movie that was a success at the box office and would help to really showcase his filmmaking capabilities. As a result, This is England was born, and three TV sequels later, in October 2015, Meadows’ epic franchise bowed out with a featurelength finale, as we finally bid a fond farewell to the fun and frolics of the gang who we’d taken to our hearts. The original story follows the life of 12 year-old Shaun, played by then-unknown Thomas Turgoose, who had never acted before in his life. After his dad is killed in the Falklands War, he accidentally falls in with a bunch of Doc Martensclad skinheads who take him under their wing and help him to forget about the loss of his dad. However, when the racist Combo is released from prison, the group is divided as Shaun becomes embroiled in
the wave of white nationalism with devastating consequences. The film was a commercial success, beating the likes of Atonement and The Bourne Ultimatum to scoop the BAFTA for Best British Film in 2008. He painted an authentic picture of the life of skinheads in 1980s England but also managed to convey a storyline that was realistic and made for uncomfortable viewing. Following on from the triumph of the film, Meadows made the unusual decision to create a television series that would act as a sequel. With his collaborator Jack Thorne, he knew that he still had a wealth of ideas that just couldn’t be thrown on the scrapheap, so, with the help of Channel 4, he was given the opportunity to flesh out the gang and delve deeper into their personal stories. For This is England ’86, the focus was shifted from Shaun towards Lol and Woody, as the popular couple took centre stage. This gave the viewer a new perspective to engage with. Having four hourly episodes granted the supporting cast more air-time which in turn created some more light hearted moments to
keep us interested. The likes of the harmless Gadget, flirtatious Trudy and the clueless Flip and Higgy are just as important as the main characters – they all play their part in the This Is England production. However Meadows doesn’t do fluffy dramas – he explores deep and dark issues and shows them to us in an often horrific yet convincing way. The controversial rape scene in ’86 provoked a huge reaction across the country. It was tough to watch, but Meadows has got the balls to show these things because they do happen in real life and this is exactly what he conveys in
favourite gang back on the box as the nostalgia of the Summer of Love and the Madchester music scene created another era for the talented bunch of actors to tackle. Yet again we were promised a generous helping of comedy and tragedy as the euphoria of the pillpopping ravers would contrast with Combo’s inevitable retribution. We also saw another shift in focus in terms of characters as actors like Chanel Cresswell, who plays Lol’s troubled sister Kelly, finally got their chance to play out a decent storyline and show off their acting potential. Cresswell received huge
“Meadows painted an authentic picture of 1980s England, but also managed to convey a storyline that was realistic and made for uncomfortable viewing” the programme. He’ll never gloss over shocking real-life issues that need exploring and throughout his time as director of This Is England he was always willing to push those boundaries further than others would. This Is England ’88 followed a year later and delved into the fallout and the repercussions of its predecessor. There’s less focus on humour this time, but it still proved a massive hit with the viewing public who were again gripped by the raw emotion displayed by the actors which gives the story its realism. However, fans were left waiting longer than anticipated for ’90 which had to be put on hold until 2015. That long wait made viewers even more eager to see their
praise for her work on the latest series as a shocking revelation causes her character to go off the rails and she rebels against everyone closest to her. One of Meadows’ key directing traits is to encourage improvisation amongst his cast. It’s a recurring theme throughout This Is England and is used to great effect as normal every day scenes are brought to life through the spontaneity of the actors. In ‘Autumn’, the third episode of ‘90 , the infamous kitchen table scene gives us 15 minutes of pure uninterrupted emotion as one of Lol’s biggest secrets is revealed to her closest friends and family. The intimacy of the scene makes the viewer feel as if they’re in the room
with them as a volcano of emotion erupts before their very eyes. Cresswell, however, once more steals the show as she takes it out on those closest to her for covering up this awful secret. She truly lets rip, repeating herself frantically over the course of her frenzied outburst, but this only serves to make it more relatable for those watching at home. The acting is real, and every cast member round that table played their part in producing one of the most memorable moments in television history. The final episode had to wrap up nine years worth of plotlines in a one hour and 40 minute feature-length special. For other directors, it might be difficult to find a way to give these characters the perfect sendoff they deserve while remaining true to the story that they have been telling for 10 years. But Meadows knows these characters inside out now and he was able to create a fitting ending which celebrated the prevailing common theme throughout the series – friendship. When Shane Meadows came up with the idea to make a film about skinheads larking about in a fictional Midlands town, there’s no way he could have envisaged that his creation would be so successful. The British public love TV programmes that aren’t conformist and make us care about the characters involved as if they were members of our own family and this is exactly what Meadows has been able to achieve. It was bold, it was brave and it made us ride on a rollercoaster of emotions and nostalgia – but we wouldn’t have had it any other way.
Friday 23 October 2015
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FEATURE Blagoslav Mihaylov examines the history and the process of crafting stories using video games, and gives his opinion on the medium.
machinima
Intro
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f you’re a fan of video games, there’s no way you haven’t heard of Machinima. In recent years it has become quite popular as a storytelling medium and has also spawned a whole entertainment industry. For those of you that don’t know, Machinima is the practice of making movies using video games. It’s very different from the usual types of computer animation, which involve a lot of creative effort in designing a detailed 3D world, through which you can tell a story in a unique and wonderful way. Well, Machinima isn’t quite like that. It’s basically taking the wonderful detailed world that game developers have already made and scripting animations within it to create some kind of narrative. That doesn’t mean there’s no creative effort involved, but it is much more limited as the creative process is constrained by what resources are already available in the game (e.g. models, textures, maps, etc.). It’s a lot like fan fiction actually. In many cases, it is fan fiction. A lot of people choose to do Machinima because it’s relatively easy compared to regular CGI and at the same time it’s fun putting your favorite video game characters in different situations that the creators might not have originally intended. All of the content is already there, you just arrange it in different ways. This is the point where you should ask yourself “Why the hell do they call it Machinima instead of something that sounds better?”. The name actually comes from a website, YouTube channel and media network called Machinima Inc. The name is a contraction of “machine cinema”. Initially it was focused solely on Machinima but now it covers pretty much everything game-related. This company is one of the reasons Machinima has become popular among gamers today.
HHistory istory
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ince the dawn of interactive entertainment, there have always been hackers trying to tweak the game a little, perhaps change the opening scenes or different dialogues, but that itself doesn’t count as Machinima. The first known example was done in 1996 using the game Quake. It
was a short one minute and 36 seconds demo recording called Diary of a Camper. It shows a bunch of people shooting at each other and being blown to gory pieces, as usually happens in Quake. Unlike previous recordings of video games, this is the first time someone actually tried to tell some kind of story (most other recordings of video games were speedruns). Dialogue was done entirely on the in-game chat system and the camera was some other guy floating around in spectator mode, while the actors were just the players. This little clip inspired many other players to record their own narrative-driven game demos. Hugh Hancock, from Edinburgh, to make a website about it. Initially, he thought about calling it Machinema, but he misspelled the “e” so it ended up being Machinima and then it stuck. From then on the company grew to enormous proportions as interest in video games continued to climb through the 2000’s. Many games were being used for Machinima since then, for example Halo, World of Warcraft, Second Life, Half-Life 2 and almost all other Source engine games. In fact, since the Source engine is so popular for producing Machinima, Valve has released Source Filmmaker in 2012 which is basically a tool used for the same purpose. Today Machinima Inc. is even integrated into Xbox Live and has a partnership with Google worth £30 million. It is also the biggest non-music channel on YouTube with a total of five billion views and 12 million subscribers. You can only imagine what kind of money they make from using video games to make moveis. Even so, Machinima has actually been declining in popularity in recent years. According to Google Trends, there was an enormous spike of Machinimarelated searches in 2011, when they even held a Machinima Expo. Today, it’s popularity is only 25% of what it was before. Maybe it’s becoming a passing trend. And another interesting fact, it turns out Australians are the ones most interested in Machinima, at least according to Google search statistics. Making Movies
easy. I already mentioned S o u r c e Filmmaker but there are also different kinds of fan-made software for many other games. Or if you actually understand anything about game programming or 3D graphics, you might consider coding your own Machinima without the use of any third-party software. You could also simply get your friends to join a multi-player session and simply record your screen while watching them act. That’s also an option but it might actually be harder to get good angles or just nice enough footage for an actual movie. In the end it might just end up looking unprofessional. It’s still an option though. So if you enjoy video games, Machinima could be a great source of fun for you and your friends. You can even end up making money from your channel if it gets popular. For example, let’s say you actually pull it off and succeed in making a really popular Machinima video. From here on, things may get a little complicated. Machinima, by it’s very definition requires the use of material provided by game
Making Movies
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ight now, you might be thinking about starting your own Machinima channel on Youtube and perhaps earn some cash. Well, it’s incredibly
machinimat
companies. T h e r e have been cases where machinimators were sued for copyright infringement. They would defend themselves by claiming that their work should be considered as “fair use” according to the software license agreement. Even though Machinima is not strictly prohibited in the EULA, it’s not very clear whether you can claim intellectual property rights on anything you create using the software. It’s still a gray area. It’s funny to think that even a game where the point is to
actually create machinima to progress forward, is also prohibiting you from claiming intellectual property rights on your work. I’m talking about “The Movies”. It’s a fun game where you manage a studio, hire actors, write scripts and in the end you get to actually watch your own movie. However, in the license agreement it says that Activision basically owns everything you produce in their game. In some ways, it makes sense why some companies would consider Machinima intellectual property theft. How would George Lucas feel if you broke into his studio in the middle of the night and borrowed all of his sets, décor and miniature models to film Space Wars and then after releasing it you make millions of dollars without going through all the effort as he did? Well I don’t think he would be very pleased.
Friday 23 October 2015
Of course, it’s not a very good comparison. In many companies can profit from this as these movies would increase popularity of their game. I remember watching a ton of Machinima made with Half-Life 2 and then later decided to actually play the game. I wasn’t disappointed. In fact, it would be a really bad decision to pursue a lawsuit against a machinimator as that would generate a lot of bad publicity for the publisher. In some ways, the creators of Machinima are actually doing the company a favor. That’s why most companies don’t really bother and in fact encourage their players to record videos and create their own content. Again, Valve releasing Source Filmmaker made a really good business decision as now
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FEATURE
the internet is flooded with videos made using their Source engine. All in all, Machinima is one of the examples where video game – centered media is used by companies to not only generate awareness of their product, but also create a community centered around the game. People will spend time with game-related content even long after they’ve played it through. It is one of the ways through which a company would create a longlasting legacy for its game so it would be remembered by gamers for years to come. So then what are you waiting for? Go out there and start creating Machinima... or you could also just learn how to make real CGI and actually create something original that you can
call your o w n . And no one would be able to tell you otherwise.
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Friday October 23 2015
FEATURE
O
ver the summer I managed an Eco-Arts project alongside the University of Sheffield Landscape Department and the Moors for the Future Community Science Team, called Moorland Wonderscape. The aim of the project was to increase access to the Peak District National Park, to encourage environmental conservation and help disadvantaged groups to experience the wonderful moorland landscape. This led me to become involved with the CrisisART festival. Crisis (the national housing charity), participated in my project which was offered to organisations in Sheffield: Two groups from the charity travelled to the Moorland Visitor Centre in the Peak District for workshops.
They included a presentation by the Community Science Team, a wildlife identification walk, lunch and an Eco-Arts workshop, where they made some stunning work reflecting their experience of the moorlands. The artwork was then displayed in the CrisisArts festival at the Moor Theatre Delicatessen in Sheffield from 7-21 September alongside displays from other visual arts workshops organised by the charity. During the festival the charity offered free arts workshops which varied from textiles and jewellery making to polymer clay, badge making and even included a collage workshop led by the Royal Society of Arts. There were also music, theatre and writing workshops as well as a whole range of evening events and performances.
Workshops were held at the Moorland Visitor Centre in the heart of the Peak District.
My favourite session was the origami workshop which I offered to help a friend run. I considered myself a bit of a pro having ran several origami workshops last Christmas, but we turned out to be the novices when a random guy turned up, showed us how to make an origami dragon and mysteriously disappeared back into the mystical realm from whence he came. I have no idea who he was or what his name is, but I’ve got a very snazzy paper dragon on my bookshelf. The absolute highlight of the festival was the Open Mic session where anyone could showcase their musical, theatrical and writing talents. This included rap artists and some fantastic political poetry written by Andy, one of the charity’s session tutors. There was also a
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Friday October 23 2015
FEATURE The open mic session was the real highlight of the festival.
fantastic self-written theatrical performance called “Semblance” starring the marvellous Christine. The evening ended on a high with an incredibly moving performance of “Say Something” by a singer called “Anomali” that was inspired by the death of her best friend. She was very nervous before the performance, but once she got up on the stage and started singing, her talent and emotion came through and she visibly grew in confidence – it was rewarding to witness. The Moor Theatre Deli also provided a temporary studio for a very talented, but unfortunately homeless artist named Dom. I met Dom in person for the first time when he came to the Peak District for one of my workshops, but in truth I actually already knew who he was. I recognised his very distinctive painting style from some of his painting that were displayed in a Community art exhibition in 35 Chapel Walk Gallery the year before. He uses strong, bold colours in acrylic paint to portray -
in exquisite detail - the most entrancing compositions of fantasy cityscapes. I particularly love his more intimate urban scenes; cast in an eerie yellow twilight. And for two weeks Dom had the opportunity to demonstrate his talents in live painting sessions and display all of his fantastic work to the public and a world that has been at times cold and unwelcoming. The festival provided a fantastic opportunity for members of the housing charity alongside the public, to come together as a community, share their talents and celebrate everything that’s wonderful about the arts. Because, let’s face it, there are a lot of not-so-wonderful challenges that we all face and as a society we need to work together to support those who are especially vulnerable. My only criticism of the event would be that it wasn’t advertised well enough. I am continually frustrated by how the amazing “backstreet” arts scene in Sheffield is continually neglected by the public simply due to a lack of
publicity. So I would urge new students in Sheffield with an interest in the arts to keep an eye out for events, often organised by Ignite Imaginations. Check out the Moor Theatre Deli, Bank Street Arts and Sharrow Community Centre and if you happen to be shopping on Fargate feel free to drop into 35 Chapel Walk Gallery – there’s an exciting new exhibition there every few weeks and always a friendly face to greet you.
Friday 23 September 2015
10
REVIEWS METAL GEAR SOLID V
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ow many games allow you to strap a balloon to a goat and send it off to the animal conservation platform of your base of operations, where they will be looked after by your private military force? It’s not quite the Metal Gear Solid most fans of the series will remember. Series creator Hideo Kojima has taken a bold new step with what is likely to be his final game in the series, changing up the formula. Following a slightly drawn-out, but nonetheless exciting prologue that sees Snake escaping a hospital following a nine year coma, The Phantom Pain throws you into one of two open worlds; one situated in Afghanistan, the other the AngolaZaire border region of South Africa. Both settings vary largely, the former filled with arid deserts, difficult terrain and intimidating cliff faces in all directions while the latter is a mixture of swamps,
CULT CORNER MINECRAFT STORY MODE: EPISODE ONE
G
iving a story mode to a game that famously doesn’t have any is no mean feat, but Minecraft has been taken into uncharted territory by Telltale Games’ The Order of The Stone. Starting out, one doesn’t really know quite what to expect. Merging the point and click story driven format that Telltale Games is known for and the first person emergent adventure of Mojang’s Minecraft is a strange idea, yet Telltale have spun it so that it works to their advantage, taking the extensive lore of Minecraft as the foundations for a story. The look and feel of the game screams Minecraft, but more polished and smooth, giving the whole thing a more cartoon-y vibe. The gameplay is standard format for a Telltale game, perhaps
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jungles and savannas that mask the danger always brimming nearby. The Phantom Pain’s approach to mission structure is pleasingly freeform; players are often a given a location and a goal to achieve and from there they are free to tackle the mission as they please. Fans of recent Far Cry games will be familiar with the ‘tag enemies with binoculars before deciding on an approach’ formula but here the options are only improved by The Phantom Pain’s extensive collection of customisable weapons, gadgets, vehicles and buddies. It gives missions a feeling of limitless possibilities, especially when experimentation is so fun. That said, it can feel that there are almost too many possibilities at times however, but who am I to complain when you can detach your robotic arm and fire it at unsuspecting soldiers like a mercenary Iron Man. The game also expands on its predecessor Peace Walker’s “Mother Base” system; allowing the player to build and expand their very own off-shore military base where soldiers extracted
in the field can be put to work on different platforms, depending on their particular skill-sets. Although some may be turned away by the intensive micromanagement, to get hold of the game’s best gear you’ll need to invest some time into the research and development trees, as well as deploy your soldiers to other battlefields to net more cash. It’s a strong system, especially as you’re allowed to freely explore your Mother Base on foot, meet your soldiers and spar with them. Unfortunately where The Phantom Pain succeeds its predecessors with some of the best gameplay in the series, it falters in its story and pacing. Kojima, in his attempts to appeal to a wider audience, presents a plot that, although won’t alienate newcomers to the series, will still baffle and disappoint. What’s more, the game’s fantastic first half is followed by a mostly forgettable second that rehashes missions and fails to tie up loose ends, finishing with a twist that is more likely to make you miserable than shock you. Only
making matters worse is Kojima’s movement away from cutscenes, relying on audio-logs for most of the game’s characterisation which ultimately comes across as half-arsed. There are certainly memorable moments that will stick with players for a long time, a tense crawl through a misty swamp to a haunting medical facility was a personal highlight, but it’s a shame to see so many great ideas go to waste in Chapter 2. With that in mind, The Phantom Pain is still a fantastic game and anyone interested in the Stealth-Action genre should definitely get their hands on it. Little else offers so much creativity a n d variety i n one
package and, even if it provides a limp conclusion to the series, The Phantom Pain still excels as a strong entry in the franchise.
disappointingly or perhaps a fresh new take on Minecraft, that is up to you. Where the game differs is its feel. From crafting your own weapons, to building your own shelter, it is distinctly Minecraft. Yet the simplicity of these parts was disappointing: when building simply translates to mashing a button, why not just play the original Minecraft? A little creativity would have gone a long way. Being the first of five, this episode builds slowly and, in some parts, drags. However, it is coated with light humour and Minecraft jokes sure to leave you amused. Where this game falls down is in its action sequences, which feel clumsy and leaves you mashing buttons in irritation. In a way, this echoes the clumsiness of the original but feels out of place here. Keeping a lot of the things that make the original, Minecraft Story Mode: The Order of the Stone is a good start to the story, but it is by no means a spectacular start.
STAR WARS BATTLEFRONT BETA
end emerging victorious. But it was Hoth’s ‘Walker Assault’ that was arguably the most exciting, enjoyable and broken of the three; pitching the empire and its huge (but cumbersome) AT-ATs against the
player controlled Darth Vader. Star Wars: Battlefront contains some severe balancing issues, the empire on Hoth feeling particularly overpowered, easily taking most matches if the Rebels don’t make a real effort to come together and work perfectly as a team (something made even more difficult by the bizarre decision to leave out voice chat from the game). Drop Zone also comes across as more than a little wonky with spawn points constantly changing, allowing players to spawn before having half the enemy team spawn right behind them just a few seconds later. Despite these issues Star Wars: Battlefront still succeeds for one simple reason: it’s fun. Any Star Wars fan should feel right at home with the game, and with such a wonderful presentation it’s about as close as you can get to feeling like you’re a part of some of the series’ most exciting moments. The beta shows promise, but only the full release
Oliver Young
T
he long-awaited reboot for the classic Star Wars: Battlefront series was finally handed over to the world, albeit in the form of an open beta. The game entirely takes place in the time period of the original trilogy and centres on the ImperialRebellion conflict. The beta gave access to three maps set on the planets Tatooine, Sullust, and Hoth, although the full game will include 12 maps spread across Hoth, Tatooine, Endor, Sullust and Jakku. Each of the three maps on display showcased a different game mode, Tatooine featured ‘Survival’: a two-player co-op mode that sees two rebels fending off waves of Stormtroopers. Sullust on the other hand showed us ‘Drop Zone’, a Domination-style game where teams contest to hold falling dropships for a set amount of time, the team with the most pods by the
“Despite these issues Star Wars: Battlefront still succeeds for one simple reason: it’s fun” rebellion’s humble snowspeeders in a wonderfully atmospheric battle. It’s easy to get a little bit giddy and there’s an embarrassing temptation to mutter ‘pew-pew’ as you fire into the distance; it’s always entertaining and incredibly nostalgic, especially when coming face to face with a
OLIVER ENGLAND
Oliver England
Friday 23 October 2015
11
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JERSEY BOYS
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he untold story of Frankie Valli and the Four Seasons, Jersey Boys, swung into Sheffield’s Lyceum chirping out high notes once considered only possible by a man wearing extremely tight trousers. From the mean streets of New Jersey to the dazzling heights of the Top 40, the show is a rags to riches tale of how a seemingly ordinary group of men managed to create a new sound that would
change music history forever. With classic hits such as ‘Sherry’, ‘Big Girls Don’t Cry’ and ‘December Back in 63 (Oh,What a Night)’, the jukebox style musical kept everyone’s toes tapping with unforgettable melodies. But the star of the show was always going to be Frankie Valli (Matt Corner).It was astonishing to witness such a talented singer switch into that notorious high falsetto at the change of a chord. Not just an impersonator, Corner added his own authenticity to the role, and boy did the audience love him. The highlight of the show came
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at the most unexpected moment, when the scenery and co-stars had been wound back to leave just Frankie under a solitary spotlight. ‘Can’t Take My Eyes Off You’, a song usually reminiscent of bad X Factor auditions and Working Men’s Clubs nationwide, has never been a personal favourite of mine. Yet Matt Corner added new depth and meaning to the lyrics; they became more believable, with every word inviting a new, deeper emotion. The song received a roaring applause making the next piece of dialogue somewhat impossible to start. The Lyceum had obviously
been touched, and wanted their entertainer to know. Just for a moment, both the character of Frankie Valli and Matt Corner as an actor were able to simultaneously appreciate the power of theatre and music, and its astonishing ability to move people. It was a charming moment to witness. Some pop songbook style shows crash and burn; there are, admittedly, certain cliches surrounding the show’s genre. But what is it about Jersey Boys that breaks the mould? Along with a truly fantastic back catalogue, their story is genuinely interesting and
unknown to many. The show, for all its glitter and sparkle, also tackles the hard hitting difficulties in life. Divorce, betrayal, death - all the ugly moments are left in, taking the cheese out of 60s pop and leaving a highly emotive and captivating narrative. Jersey Boys is a treat for audiences young and old, the energy is unstoppable, and the hits just keep coming. The only downside is that you will be singing the Four Seasons at every given moment for the following week - you have been warned! JO GALLACHER
to participate in some way; judges were picked at random from the audience to score each poem out of 10 and poets not competing in the slam were invited to read during the interval.
atmosphere. Upon arrival there was time to get a drink from the bar, get a seat in the ‘Private Party’ area booked for the slam, and join in with the murmur of casual chatter filling the room. The poems varied from piece to piece, from some that made the audience laugh out loud to the darker readings that spread goose bumps around the audience. From one-night stand infatuations, to mad ramblings inspired from seven simultaneously played YouTube videos, the variety was there. The event was relaxed, with plenty of breaks between the poems to meet new people, talk about the performances or just get
another drink from the bar. Those yet to attend one of Sheffield’s many poetry slams are in for a treat. They are a great way to spend the evening. If you’re even vaguely interested in poetry or performance, it’s definitely worth checking them out. The event ran smoothly, performances were dynamic and enjoyable, but the 5 minute breaks after a dozen performances made the event drag on unnecessarily.
BOOK CORNER WE ARE ALL COMPLETELY BESIDE OURSELVES
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By KAREN JOY FOWLER
he idea for Karen Joy Fowler’s latest novel came from her daughter after a trip to her hometown of Bloomington, Indiana. The novel has a scientific edge which was possibly influenced by her father and his work as a professor of psychology. The story begins with Rosemary Cooke as an adolescent who realises that in order to discover where she belongs in the world she must first revisit her past to discover the truth. Family relationships are at the centre of the plot, which focuses on sibling rivalry. Rosemary in particular deals with a lot of guilt and the burden of her past is the reason she has become an outsider. The reader gets to know Rosemary’s character very well during the book. Her mind is an extraordinary place to occupy and her perspective often creates humour out of stereotypical human behaviour. However a surprising twist in part two of the novel will keep you up at night. Suddenly the reader is sent into moral turmoil. Fowler creates an ethical minefield that is gripping but also heartbreaking. A good read if you’re scientifically inclined, especially those in the social sciences, this is a story that is both heart-warming and heart-breaking - definitely worth a read. CLAIRE FOWLER
PLATFORM POETRY SLAM
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n association with the University of Sheffield’s Poetry Society, Platform Poetry Slam demonstrated the diversity of Sheffield’s vibrant and growing poetry scene. Hosted in a fairy lit back room at Harrisons 1854, between West Street and The Diamond, the event was accessible without losing its bohemian appeal. The slam itself involved people standing up to read and perform short poems they had written in under three minutes. There was a chance for everyone
“Those yet to attend one of Sheffield’s many poetry slams are in for a treat” It was easy to forget that the event was actually a contest - the slam was just a fun way to spend the night, with no tense and competitive
SOPHIE WILSON & LOUIS REGISTE
Friday 23 October 2015
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REVIEWS
YEARS & YEARS @ O2 ACADEMY
T
he sheer amount of people packed into the O2 academy for Years & Years was striking. The buzz in the crowd was infectious, with all these people eagerly awaiting the arrival of headliners Years & Years, winners of BBC Sound of 2015. With this in mind, it must have
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been fairly daunting as a support act, when it is obvious that the crowd are mostly Years & Years super fans - there was a lot of merchandise sported by crowd. However, Swedish pop singer, Tove Styrke, stuck out with an effortlessly cool stage apparel, reminiscent of Orange is the New Black due to her eye catching jumpsuit. She won the crowd over with her smooth cover of Britney Spears’ ‘Hit Me Baby One More Time’, which suited the vibe of the event perfectly. When Years & Years finally entered the stage, they took the crowd on what can only be
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described as a musical journey. They started the evening by getting their, and everyone else’s, groove on, with dancehall inspired ‘Take Shelter’. The band members were also busting out slow, seductive dance moves on stage, with the crowd doing their best to imitate. After making sure everyone in the crowd had got their boogie on, the tempo was slowed down with some more soulful sounds, with tracks such as ‘Eyes Shut’. This gave frontman Olly a chance to showcase his seriously impressive vocal abilities. The crowd took this change in their stride, going from grinding to
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standing, and chanting along with him word perfect.
“A thoroughly energetic and electric live performance” Another highlight of the show was the band’s cover of Sean Paul’s RnB track ‘Breathe’. It was refreshing to see them cover something different from their own style, and added an extra dimension to
RAE MORRIS @ LEADMILL
S SWIM DEEP @ LEADMILL
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aiting in anticipation for Swim Deep to arrive on stage, there was an excited buzz in the crowd which built in the 30 minute wait since the final support act. The lights dimmed and the crowd visibly lifted, standing on tip toes to try and catch a glimpse of the band, only to be met with the theme of Jurassic Park. This moment sums up the evening perfectly: completely unexpected but somehow totally working. The energy that the band threw into their opening number ‘Namaste’, transferred onto the crowd, demonstrated by Austin Williams throwing off the burgundy beret he was wearing just a verse into the song as he smacked a
tambourine against his microphone. Not pausing to take a breath, guitars were rapidly swapped as Swim Deep revisited their debut album to play ‘Honey’, at which point it became hard to hear any vocals over the noise of the crowd. Encouraged by the reaction of the crowd to their new tracks, Swim Deep played from their new album but with increased tempo. This gave a taste of their new synthetic style: a heavy bassline whilst still managing to retain their iconic, dream-like vocals. The highlight of the evening was a new track, saved until the very end of the evening. ‘Fueiho Boogie’ demonstrated the lyrical talent and range of the band throughout the eight minute track. Heavily reminiscent of the acid-house movement of the 1980s, combined with the use of psychedelic lighting, it would have been easy to forget that this was a band that had been dreamily singing from their debut album, Where the Heaven Are We,
just minutes before. Creating a trance-like vibe, Swim Deep well and truly abolished any apprehension the crowd may have been having about the new tracks. The album represented the music their old fans know and love, but in a whole new light, and would be something to buy out of curiosity alone, regardless of any preconceptions of the band. On a cold, October evening, Swim Deep brought a taste of summer back to Sheffield, and successfully showcased why Mothers has been given high reviews across the board. The excitement they had for their music was contagious, yet their apprehension regarding the reception of their new music was humbling. Their intimate relationship with their fans show why they are so well liked, and why they are growing in popularity with every single released. EMMA WILLIAMS
eeing Rae Morris live is an emotionally charged experience. Rae Morris doesn’t just sing her music, she feels it, and this translated to her audience at the Leadmill. The gig was opened by Dan Owen whose folky tunes spread a relaxed vibe across the venue. His performance picked up, slowly building up the sense of excitement. Owen was followed by Roo Panes whose music was in a similar vein but with the accompaniment of a cellist. The support acts certainly built up to the unique experience of Rae Morris’ performance. Despite having only released her gorgeously romantic debut album, Unguarded, earlier this year, Rae Morris has gone from strength to strength. The raw emotion woven into her lyrics comes across so much more in her live gigs than it does on her album. Morris is a lively performer. Even during her slower songs such as ‘Don’t Go’ and ‘Skin’ her fluid movements showcased how cohesive her performance would be overall. Her unusual voice and dreamy lyrics bring to mind elements of Kate Bush, whom Morris has often noted as one of her major influences. Morris’ songs largely centre on heartache, yet the emotional pull of her Leadmill gig was far from melancholy. She danced and smiled throughout which really lifted the mood. The gig was a journey; from upbeat opening tracks to mellow, melancholy, introspective songs
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their performance. It was not just a regular cover, as they of course gave it that Years & Years stamp of individuality that the crowd so obviously adored. Years & Years went out with a bang with their number one single ‘King’ which left the crowd roaring for more. A thoroughly energetic and electric live performance, Years & Years are not to be missed. JESS WILLIAMS
about love. By the end there was a life affirming sense of coming out of the other side of a time that had fuelled such heartache centred lyrics, with Morris shouting “let’s party” before bursting into ‘Love Again’ during the encore.
“The gig was a journey; from upbeat opening tracks to mellow, melancholy, introspective songs about love” Morris projected an overwhelming sense of gratitude onto the audience, thanking them repeatedly; with eyes shining with tears. She talked a lot about change and moving on. There was a sense that she had moved on from darker times of feeling misunderstood, times that inspired songs like ‘Do You Even Know?’ She carries that feeling with her still, but whilst performing she shakes it all off, allowing the audience to do the same. Overall, the performance was accomplished and sophisticated with an underlying pulse of deeper feeling. SOPHIE WILSON
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Friday 23 October 2015 /ForgePressFuse
REVEREND & THE MAKERS: MIRRORS
T
he fifth studio album, Mirrors, by Sheffield band Reverend and the Makers, is a truly adventurous and eclectic album. While heavy bass, beats and electronica, combined with antiauthoritarian lyrics and Yorkshire sarcasm, often dominated their earlier music, these tendencies take a back seat for Mirrors.
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This album sounds like a conscious expedition into new musical lands. Multiple instruments, effects and genres are used as well as uneven song lengths, tied together with very minimal pauses. They attempt to be different everywhere. Band members other than frontman John McClure take some vocals, and on top of the 14 tracks, there are three bonus radio edits, and a dub recording of the whole album. The final result is a fascinating listen and an album whose musical epicenter is hard to pin down. If it has one, it might be some kind of modern update of a 1960’s, dreamy, rock
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concept album. The Makers’ previous albums did have a psychedelic/dreamier side, and they begin with it here with the intro ‘Amsterdam’. This leads to a short drum intro styled by world music, which quickly collapses into a modern, dirty guitar riff and the song ‘Black Widow’. It’s already obvious that the band are doing something different with this album. ‘Black Widow’, along with ‘The Trip’ and ‘Blue’, are all catchy rock tunes, touching on the Who, Cream and the 60’s, by way of Kula Shaker, the Black Keys and Tame Impala. ‘The Beach and the Sea’ is the
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REVIEWS
most dreamy and beautiful track here, while ‘Mr Glasshalfempty’ and ‘The Gun’ keep the band’s traits of bouncy Yorkshire sarcasm and ska induced horn parts alive and well. ‘Last To Know’ is a pretty standard, generic acoustic guitar number, but the songs are strong throughout. The final bonus track, the ‘Overproof Dub’, condenses many of the sounds and song parts, and is an appropriate end, letting the listener take stock of an album that flies off in many directions. At times, the album sounds a little rushed, as the songs are so different and the pauses between them so
minimal. You could be forgiven for not knowing where you stand with this album – there’s not one dominant sound. But not knowing what’s coming next is part of what makes it such a fun listen. It’s catchy, full of ideas and sounds great. Whether or not it fits together into a cohesive album is unclear, but here, it doesn’t seem to matter. It takes pride in being a rich, fragmented and varied record. ISAAC BLAUG
SINGLES
CULT CORNER
THE BIG MOON: ‘NOTHING WITHOUT YOU’
THE BLACK BOX REVELATION: SET YOUR HEAD ON FIRE
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T
he new single from the Big Moon ‘Nothing Without You’, is a breezy new statement of intent. Kicking off headlong on a round trip through the dreamy and the dynamic, the single exudes self-assured songwriting talent, and aims to prove they are living up to the hefty magnitudes of their name. It would be impressive if the motives behind a two-minute caper like this could be anything other than unambiguous, but the Big Moon refuse to administer the usual concise and palatable dose of juvenile desire that such a kinetically crafted song might call for. Instead, singer Juliette Jackson chooses to position herself with graceful maturity, making the case for dependency and commitment to another. The rest of the band colours the song to this end, as chugging guitars and rolling drums give way to glassy falsettos and lucent guitar breaks in a waltzing interlude. It’s true that the Big Moon’s dishy, homespun guitar-pop follows a familiar formula, rather than creates one. But they excel in showing that these airy margins of contemporary pop-punk, filled by the likes of Girls and Best Coast, still have plenty more to give. HARRY CHAMBERS
HURTS: SURRENDER
W
hen Hurts erupted on to the British music scene in 2009 with ‘Better Than Love’ and its infectious, heavy beats, the duo were instantly noted as ones to watch. Sharp, confident and with an impeccable style, it seems they could do no wrong. The release of Happiness in 2010, including a collab with Kylie Minogue no less, the band were pop on a knife edge; exciting and interesting. The third incarnation of their music though, Surrender, seems almost shallow compared to their
intoxicating, and quite often fairly dark music from their previous albums. It doesn’t seem to be apparent what they’re trying to do: one moment it’s a big Eurovision contender such as single ‘Some Kind of Heaven’ or channelling some blasé-EDM beats in ‘Nothing Will be Bigger Than Us’. It’s fairly catchy, but more was to be expected.
“The normal passion we have heard from Hurts is missing”
‘Wish’, the ballad on the album, is mediocre. It was the type of song
where you could predict the next word on first listen, and not in a good way. Some of the songs just seem so synthetic, which is admittedly an amusing comment to make about a band that channels synth-music - the normal passion we have heard from Hurts is missing. The type of pain that fuels songs like ‘Somebody to Die For’ from their second record seems to be AWOL on a song like ‘Slow’, with lines such as “What you do in here is murder/ When you whip your body slow”. Surrender’s songs could be the only way we ever achieve a high score in Eurovision, but that may be all its positive points. Just listen to ‘Sunday’ instead and mourn for the great music that once was. AMELIA HEATHMAN
f you’ve never been in contact with Belgian grunge rock, this is your chance. Jan Paternoster and Dries Van Dijck bring you the very best of the genre from across the Channel. Their first full album, Set Your Head on Fire, clearly shows what these boys are all about. The raw guitar riffs, pounding drums and nonchalant vocals that define the BBR sound, and will bring you back to the days where you couldn’t stop playing the Strokes on your iPod. The first single ‘I Think I Like You’, threw the duo onto the charts in their native country. Tracks like ‘Love, Love Is On My Mind’ and ‘We Never Wondered Why’, remind us that we don’t need synths or computers to make a powerful song; a guitar and a drum kit is enough to make you jump out of your seat. But there’s much more to BBR than that. In ‘Gravity Blues’ and ‘Never Alone/ Always Together’ Jan showcases his bluesy side, with slick licks and more emotional lyrics. The band has gradually matured since their first album, but Set Your Head On Fire is all you need to get to know the core and roots of the Black Box Revelation. Don’t think for a second that good rock can only come from Britain; these boys will make you realise that chocolate, beer and waffles aren’t the only valuable exports from Belgium. Lend them an ear, you won’t regret it. ARNE DUMEZ
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SCREEN
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The film sees Villeneuve reunite with veteran cinematographer Roger Deakins, whose work here deserves an Oscar. It’s a visual spectacle throughout, from shots of dust flowing through the light shaft of a curtain to stunning aerial shots of the Juarez urban sprawl - and one of the most innovative uses of night vision in film to date. With acting, direction and technical aspects on such a high level, it’s almost inevitable that the writing doesn’t quite compare. While it has a mostly-solid screenplay, a sudden change of perspective in the third act doesn’t quite work. Similarly, a
plot development sold as a major twist is fairly obvious from the beginning. Ultimately, there is something vaguely dissatisfying about the ending, as though we’ve only seen a small and meaningless snapshot of a much wider, decades-long problem. But perhaps this is intentional – it’s certainly the way Kate feels, and a reminder of the film’s nihilistic message: that there are no answers or conclusions to this conflict, just more money thrown at it and more pointless deaths.
CULT CORNER
SMALL SCREEN
ARMY OF DARKNESS (1992)
THE GREAT BRITISH BAKE-OFF FINAL
unforgiving of any mistakes made in the final and although Nadiya was shaking with nerves, she never faltered. However, all three bakers produced spectacular cakes for the last showstopper challenge in which they were asked to bake a threetiered classic British cake. Ian went the extra mile in making five tiers of his curvy carrot cake while Tamal opted for a sticky toffee pudding cake that he took design inspiration from an abandoned Chinese fishing village taken over by nature.
SICARIO
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enis Villeneuve’s Sicario is a morally murky thriller. It follows FBI agent Kate Macer (Emily Blunt) as she joins a covert operation to catch a notorious cartel leader in Mexico and she soon realises that the lengths her superiors will go to achieve their goals blur the boundaries between law and crime. This often-told story is elevated to new heights by Villeneuve’s assured
T
he third of Sam Raimi’s Evil Dead trilogy, Army of Darkness’ similarities to its predecessors are scarce. The original is an ultra-violent scare fest, and his sequel takes a comedic approach. Army of Darkness cranks this approach up to eleven. And it’s brilliant. Key to this is Bruce Campbell’s cynical, wisecracking Ash, who is transported to 1300AD and must defeat a zombie horde to get home. Raimi’s witty dialogue and Campbell’s on-point performance make Ash the main driving force behind the film. The plot is thin and silly - mostly Ash hacking through zombies. But this is not a negative, rather a platform on which Campbell can display Ash’s charisma - as if Raimi is deliberately making bits of the film bad to highlight his lead. Likewise, the film’s special effects are abysmal. The CGI looks incredibly dated compared to the following year’s Jurassic Park. The practical effects aren’t much better, either. But the hints of amateurism hark back to the film’s indie origins, making Army of Darkness seem charming, not tacky. It’s well written and acted, not “so bad it’s good”. Campbell and Raimi should be proud of pulling this off, as Army of Darkness is the perfect film to just sit back and relax with. LUKE BALDWIN
direction. He creates a grim, paranoid tone similar to his bleak 2013 drama Prisoners, continuing that film’s theme of ethically questionable behaviour committed for a supposedly good cause. There is a constant sense of unease and confusion - we, like Kate, are never sure what the purpose of each increasingly shady mission is, or who’s even fighting who in this unofficial war. Blunt, firmly establishing herself as an action heroine, is an appealing lead; her earnest desire to help, and subsequent disillusionment, act as an anchor amid the suspicious
supporting characters. Josh Brolin is the right balance of snarky and dangerous as the obnoxious team leader, and Benicio del Toro, looking more like a Puerto Rican Brad Pitt with each film, evokes mystery and menace. Sicario proves Villeneuve is adept at generating tension and pulseraising action. The film features several breathtaking set-pieces, particularly a shootout in a bordercrossing traffic jam that instils a devastatingly effective sense of dread and vulnerability – helped by an ominous, booming score from Johan Johansson.
N
adiya Hussain was crowned Queen of this year’s Great British Bake Off final in the sixth series of the much loved BBC baking show. Nadiya, from Leeds, was joined in the final by Cambridgeshire’s Ian Cumming, and trainee anaesthetist Tamal Ray from Manchester. Both Nadiya and Ian had won Star Baker three times in the competition, and Tamal always dazzled with his impressively unique creations such as the “bread-cycle”. Despite Tamal never winning Star Baker, millions of fans fell for the lovable young doctor and gave him the title of “Star Bae-ker” instead on social media. The final was watched by 14.5m people, making it the most watched TV programme of the year. The average audience was at a staggering 13.4m, which beat last year’s series of 12.3m showing just how much the baking buzz has infected the British public. With three outstanding bakers in the final, GBBO was set for a tense showdown but Nadiya soon looked to be the clear winner as she was completely faultless in all three challenges set by the two judges, Mary Berry and Paul Hollywood. Ian and Tamal both made errors in their signature bakes, as Ian forgot to add sugar to his dough for the iced buns challenge and Tamal’s creme patisseries for his toffee and marmalade iced buns failed to set in time. Mary and Paul were very
SAM KELLY
“The final was watched by 14.5m people, making it the most watched TV programme of the year” Nadiya chose to bake a “big fat British wedding cake” which she decorated with jewels from her own wedding for a cake she never had at her traditional Bangladeshi wedding ceremony. From the showstopper challenge alone, it was difficult to pick a winner but the judges were looking at who shone in all three challenges, so of course Nadiya proved victorious and Mary described her as “sheer perfection”. JASKIRAN SHERGILL
15
Friday 23 October 2015 /ForgePressFuse
@ForgeFuse
forgetoday.com/fuse
press.screen@forgetoday.com
SCREEN
“Surprisingly, Pan goes downhill as the more fantastical elements are introduced”
PAN
J
.M. Barrie’s novel has had little trouble finding a home on the silver screen. With various well-loved adaptations already telling the tale of the boy who never grew up, how does Joe Wright’s prequel stack up? Mischievous Peter (Levi Miller) grows up in an orphanage at the height of the London blitz when his friends are abducted by the fearsome Blackbeard
SUFFRAGETTE
T
hough at times Suffragette leans towards being a generic historical drama, it would be difficult to watch this film, focusing on the involvement of one working class woman in the British suffrage movement, without being moved. Unlike other on-screen representations of the campaign for the vote, Suffragette does not focus on the role of the most upper class women involved. Meryl Streep makes a cameo appearance as Emmeline Pankhurst, but the character that the film focuses on is Maud Watts (Carey Mulligan), a laundry worker who experiences classist, as well as sexist oppression. The film follows Maud as she discovers what the suffragette movement could mean for her; financial independence, custody of her own child and freedom from male authority.
(Hugh Jackman) and transported to Neverland where Peter faces magic, fairies and the mystery of what happened to his mother. Levi Miller is pleasantly convincing as Peter, delivering a feisty sense of realism in his performance. The casting of white actress Rooney Mara as Native American Tiger Lilly was controversial, but not worth the headache, as she adds little substance to the role. Lamentably, casting an actual Native American actress would have added diversity to the film’s cast. Jackman’s Blackbeard is a joy to
watch. His performance gracefully walks the tightrope between overthe-top camp and cold malevolence, all while bringing some genuine humour to his charmingly vain, Ramones-singing antagonist. He is the highlight of the ensemble. The remainder of the cast leaves little impact. The film starts strongly with an interesting mix of Second World War grime and dark children’s fantasy. It is snappily paced and visually exciting, especially the bombing raid and the journey to Blackbeard’s mines. Surprisingly, Pan goes downhill as
Carey Mulligan gives a moving performance. Although co-star Anne-Marie Duff, who plays a woman named Violet who works alongside Maud in the laundry, plays her role with more convincing consistency. The production design really helps to set the scene of industrial early 20th century London. Each scene set in the city appears to be covered with a thin layer of fog, setting the grim tone of working class industrial London. At times the film goes over the top with the soundtrack, voice overs and muted scenes, coming across clichéd rather than adding anything to the film’s plot or mood, though Suffragette does leave an impression when presenting the first stark and bare scenes set in Maud’s home. It is refreshing to watch a film about the campaigns for women’s liberation that is focused on the contribution and impact of working class women instead of solely on the upper middle class women who led the movement. However, the film is still far from
intersectional. Streep and her costars have been heavily criticised for wearing t-shirts with the Pankhurst quote, “I’d rather be a rebel than a slave” written on it for a Time Out magazine spread, given that all the actors in Suffragette are white and the suffragette movement did very little to help women of colour. The film’s main weakness is its ending. It feels rushed and as though it has been added on just to wrap things up. Its focus shifts away from Maud and instead focuses on a more famous figure, which seems to defeat the whole point of the film. After the ending, a number of facts about women and the vote come up before the credits. This feels very detached from the film and makes it seem unfinished. As a whole, though, Suffragette is enjoyable and deeply emotional. The suffrage movement was a pivotal moment in history and the film reminds us of the bravery of the women involved. SOPHIE WILSON
the more fantastical elements are introduced and the tedium sets in. The rigmarole of gaining the trust of a tribe and believing in your own abilities is stale and leaves you waiting for the final battle. The plot is also quite convoluted, considering the young target audience. The mystery of Peter’s mother begins as intriguing, but is tossed around so much that all intrigue is squandered. Joe Wright applies a good sense of direction, pace and speed. Alas, he is at the mercy of the special effects. While there are some excellent perspective-shaking
moments and interesting landscapes to behold, the intense action sequences are quite disorientating, in need of establishing shots to figure out who is where and what is going on. Pan was always going to be a hard act to pull off. Wright’s interpretation is a decent one, although the impact it may have on its audience is questionable at best. Pan has wonder and magic, but little to spark the imagination of its audience.
THE WALK
silly or forced. The Walk is a masterclass in balancing reality and entertainment. The concept itself seems insubstantial to justify a feature length film but Zemeckis not only tells the story of Petit, he uses the film as a vehicle to deliver his own message in auteurist fashion. Nostalgia pervades the movie; the shifting from black-and-white to colour in the first half is reminiscent of early Hollywood cinema, with a jazzy soundtrack to boot. Nevertheless, the movie’s key selling point is the phenomenal sequence in which Petit does the titular walk. It is very rare for a PG-rated movie to provoke such a terror. You feel as if you are doing the walk with him, and that if he slips off, the floor will open up beneath you and you will plummet beneath the cinema. To the adrenaline junkies among us; next time you feel like abseiling in the Peaks, don’t. Watch The Walk instead.
B
ased on the true story of artist Philippe Petit’s (Joseph Gordon-Levitt) daring highwire stunt, The Walk is a tense, tummy-tightening triumph from veteran filmmaker Robert Zemeckis that will leave you spellbound; and quite possibly clammy-handed. Much like a tightrope act, the film has a clear direction and succeeds in being both entertaining and shocking. The film follows Petit’s progression from quick-witted, Parisian street performer to artiste extraordinaire obsessed with the idea of committing the “artistic coup of the century”. Namely, to walk across a high-wire between the newly built Twin Towers. Gordon-Levitt plays Petit with sprightly finesse and he does a good job at capturing the enthusiasm and restlessness of the man. Importantly, his French accent does not sound too
ANDREW MARTIN
BILLY GEESON
LISTINGS LISTINGS ARTS
GAMES
SECRET EGYPT: UNRAVELLING TRUTH FROM MYTH
CHAOS REBORN
17 October - 10 April Weston Park Museum
Bringing together 150 objects from animal and human mummies to ceramics and jewellery, the exhibition will invite visitors to explore a range of fascinating archaeological evidence to reevaluate what they understand about this remarkable civilisation. It’s on tour from the Herbert Art Gallery & Museum in Coventry, so view it while you can!
STREET VIEW
26 - 31 October The Winter Garden Street View is the result of a new collaboration for Sheffield’s Off the Shelf Festival of Words between the Open College of the Arts, a national higher education charity and The Cathedral Archer Project, a holistic service designed to help homeless people improve their lives.
THE BODYGUARD
27 October - 7 November Lyceum The award-winning musical, based on the blockbuster movie, The Bodyguard comes to Sheffield’s Lyceum. Starring Alexandra Burke as Rachel Marron, the production follows Former Secret Service agent turned bodyguard, Frank Farmer, who is hired to protect superstar Marron from an unknown stalker.
SHIRLEY WILLIAMS - THE LIFE OF VERA BRITTAIN 29 October Crucible
Shirley Williams comes to Sheffield this month to talk about her late mother, Vera Brittain. Brittain’s memoir of her experiences as a VAD during the First World War, Testament of Youth, still continues to make a profound impact after 80 years.
THE DISTANCE
29 October - 14 November Studio Good friends should be there for one another – no matter what. But when Bea returns home after five years abroad having made a bold choice about her life, old friends struggle to support her. Or even to understand. One night in Brighton, things threaten to slide into chaos.
RUSKIN RE-VIEWED
31 October - 8 November Millennium Gallery An exhibition of research, displays and creative work from Ruskin-in-Sheffield’s community events and activities to rediscover the heritage of Ruskin in Walkley, Totley, Rivelin Valley and Stannington.
MUSIC
SCREEN
SPECTOR
GOODNIGHT MOMMY - UK PREMIERE
26 October Microsoft Windows, OS X, Linux
24 October Leadmill
Chaos Reborn is an upcoming turn-based tactical role-playing game created by Julian Gollop and crowdfunded through Kickstarter. The game is a remake of Gollop’s 1985 game Chaos: The Battle of Wizards.
Spector hit the Leadmill with their new album, Moth Boys, this month. With help from friend and inspiration Dev Hynes, the band have honed their own production, developing their sound in a claustrophobic home recording session. This gig is not one to miss.
WWE 2016
27 October PS3, PS4, Xbox 360, Xbox One
THE CRIBS
24 October O2 Academy
The new WWE is back, with the new 2016 version due for release this month. Arnold Schwarzenegger’s character T-800 Terminator has been announced as a playable character in the pre-order exclusive.
The band celebrated the arrival of their sixth album For all My Sisters earlier this year with a Top Ten chart placing, and a series of incredible festival appearances and now the Cribs tour the UK.
SONIC LOST WORLD
JACK GARRATT
2 November Wii U, Nintendo 3DS, Microsoft Windows Developed by the Sonic Team, Sonic Lost World focuses on the efforts of Sonic the Hedgehog to stop the Deadly Six, an alien tribe that serves as the game’s main antagonists, as they seek to siphon energy from the Lost Hex, the game’s setting.
31 October Leadmill
Up-and-coming soloist Jack Garratt brings his fresh material to the city. He has featured on Zane Lowe’s Radio 1 Future 15 for 2015 list, and has been announced as the support act for Mumford and Sons.
SKEPTA
NEED FOR SPEED
31 October O2 Academy
As the 21st major instalment of the franchise, this newly rebooted release has a lot to live up to. Despite the delay of Need For Speed for PC until Spring 2016, the game will still reach major platforms and bring more racing goodness to the gaming world.
If you’ve failed to grab some Scary Tarts tickets, then thank goodness Skepta is performing at the O2 Academy this Halloween. Following the success of a collaboration with JME - ‘That’s Not Me’ - and single ‘Shutdown’, which he performed with Slaves at the Radio One Big Weekend, his gig is sure to be exciting.
5 November Microsoft Windows, PlayStation 4, Xbox One
CALL OF DUTY: BLACK OPS III
6 November Microsoft Windows, PS3, PS4, Xbox 360, Xbox One Activision bring the new Call of Duty, Black Ops III, to all of your favourite platforms. The new release is set 40 years after the previous game, bringing a more dystopian vibe to shooting the enemy. There are two confirmed Zombies storylines for the release, so at least they’ll be heading back to scare the living daylights out of us.
SONIC LOST WORLD
2 November Wii U, Nintendo 3DS, Microsoft Windows Developed by the Sonic Team, Sonic Lost World focuses on the efforts of Sonic the Hedgehog to stop the Deadly Six, an alien tribe that serves as the game’s main antagonists, as they seek to siphon energy from the Lost Hex, the game’s setting.
ALBUM RELEASES 23 October 5 Seconds of Summer - Sounds Good Feels Good Half Moon Run - Sun Leads Me On Rod Stewart - Another Country 30 October
23 October, 9:30PM The Showroom
Showing as part of Celluloid Screams, the film will premiere at the Showroom. In the confines of their ultra-modern rural home, twin brothers Lukas and Elias await the return of their mother, who has undergone cosmetic surgery. When she arrives, their mother’s face is covered with bandages and her behaviour seems erratic, leading the twins to suspect that she is an imposter.
BABETTE’S FEAST 29 October, 6PM The Showroom
A central problem in Babette’s Feast is communication. How can we learn what we do not already understand? How can we explain ourselves to someone whose experience of life is completely different? How can it be that to be truly ourselves we may need to change? A stranger’s arrival in a pious, traditional community raises and answers these questions.
FILM UNIT
Nelson Mandela Auditorium Sheffield’s student-run cinema offers a range of new and classic films every weekend for just £2.50 a ticket. For more info or to volunteer go to filmunit.org.uk 23/10 - It Follows 24/10 - Ant-Man 25/10 - Force Majeure 30/10 - Teen Witch/The Craft Halloween Double Bill 31/10 - A Girl Walks Home Alone At Night 1/11 - Minions (Project Buzz!) 6/11 - The Wolfpack
NETFLIX RELEASES 23 October Hemlock Grove Season 3 24 October Reign - weekly episode update Saving Mr Banks 28 October
Def Leppard - Def Leppard
Once Upon a Time - weekly episode update
Escape the Fate - Hate Me
6 November
Roots Manuva - Bleeds
Reign - weekly episode update
6 November
4 November
Ellie Goulding - Delirium
Once Upon a Time - weekly episode update
Extreme Noise Terror - Extreme Noise Terror
6 November
Tim McGraw - Damn Country Music
Master of None