Fuse issue 69 by Forge Press

Friday March 21 2014

short fuse. comments and rants on entertainment news.

North Korea vs. Shakespeare

ver the past 400 years, the works of William Shakespeare have become such a global phenomenon that it is hard to imagine any national theatre without their presence, and in truth there aren’t many. Shakespeare’s plays have been translated into over 80 different languages and performances reach from the Globe Theatre in Lapland to the Shona people in Zimbabwe and Mozambique. So it may come as a surprise that when the Globe Theatre recently announced a world tour of Hamlet, it sparked a critical debate. It is not the tour itself but their inclusion of a North Korean performance for September 2014 that ignited criticism, the most vocal of which came from Amnesty International. Considering recent appeals over North Korea’s appalling human rights violations and the eerily Hamlet-esque execution of Kim’s uncle Jang Songthaek, it could appear to be a somewhat ill-timed and insensitive choice on the Globe’s part. This is not the first time that the political undertones and contemporary relevance of Shakespeare’s plays have led to their use in challenging oppressive regime and it will undoubtedly not be the last. Eastern Europe, Turkey and even England when Hamlet wasfirst performed under the tumultuous and repressive reign of James I, have all performed Shakespeare’s works to this effect, one that the Globe intends to achieve through their world tour. Unfortunately, until it is clearer whether their performance in North Korea will be open to a general audience and, if so, remain uncensored, it is difficult to determine whether this Hamlet will have the chance to make any profound cultural impact beyond theatrical entertainment.

Underwater gigs are a splash hit

decent gig has the power to put a smile on the grumpiest of faces and, as a general rule, the crazier the experience is the more satisfied the audience. So what do we thinkof the idea of an underwater gig? Despite it sounding like a scene from Busted’s ‘Year 3000’ video, the unique alternative music event ‘Wet Sounds’ is touring the UK right now. Creator of the event, Joel Cahen, thought of the idea whilst he was, rather predictably, swimming. Since then it has been making waves, literally, around the UK and the rest of Europe. This really is a concert with a difference. The venue is a swimming pool and audiences can listen to the music underwater with special speakers. The idea is that, because sound travels 4.5 times faster in water than

it does in air, the listener experiences a unique ‘deep listening experience’. There are also speakers outside of the water, giving the audience the opportunity to move in and out of the water as they please. Even people with hearing difficulties have given the gigs positive reviews, claiming that they were able to hear the sounds underwater. The alternate music event definitely gets bonus points for originality, and the unusual venue is a massive appeal. However, until we see the likes of the Arctic Monkeys or Beyoncé beginning to tour swimming pools, I predict the majority of society will continue to enjoy their gigs on dry land, getting wet only when the drunk guy at the back decides to chuck his beer across the crowd.

The BAFTA Games what?

Rebecca Stubbs

ell, for the majority of the world who did not even gain the slightest hint that this had happened, the BAFTA Games Awards were awarded last Wednesday to about as much fervour as a man spraying silly string at a funeral. It just breezed through with minimal recognition and left to fill pub quizzes with more obscure facts. That’s the problem with the BAFTA Games Awards; they are obviously playing second fiddle to the BAFTAs. While the BAFTAs achieve large audiences, celebrity and all the pomp they could ask for, gaming receives what appears in comparison the afterthought of the BAFTAs time and money. Now, let’s be brutally honest here. While gaming is arguably the largest entertainment industry in the world and brings so much entertainment to a generation who have been brought up with consoles and computers, they will not

receive parity in terms of recognition for a long time. Not that I condone this. Games are clearly a great interactive form of storytelling and an art form in their own right, yet from the BAFTAs, despite Dara O’Briain’s sterling performance as both host and self-proclaimed gamer who never finishes games, games will remain in the shadows of the film industry for years to come. But I may be being pessimistic, Bioshock: Infinite, Grand Theft Auto V and of course The Last of Us thoroughly deserved their iconic golden BAFTA masks. While the event was secondary to BAFTA’s main event, it’s certainly a step forward that they support games enough to give them their own ceremony. Perhaps in time gaming will be accepted by the world in general as the new gaming generation rises and thrives. Keiran Dean

Charlotte Clemens

editorial.

ello darlings! Welcome back to the almost last issue of Fuse with this editorial team. We’re all so sad at the prospect of leaving Forge Press behind and passing the torch on to whomever may take our places but hopefully it will come at a time when we no longer want to be spending time in front of computers in the hub and get to enjoy this glorious sunshine. Though the sun is hiding at the moment, we all know it makes everything better, even Fuse. This issue we’ve got exciting content about new funding for British bands, original poetry and the new season of Game of Thrones. How exciting. And don’t miss reviews of The Grand Budapest Hotel and our games editor’s new best game ever, Titanfall. Just enough to keep you going for the next fortnight. Kaz Scattergood Amelia Heathman

Thanks to Philippa Spottiswood for an excellent cover again! Want your art to be our next cover? Get in touch at fuse@forgetoday.com

Fri March 28, 7.30pm - 9.30pm Sheffield Town Hall, £4

Ghost

Tour

ver wanted to experience life of Victorian Britain? Well now is your chance. Take part in this spooky ghost walk of your favourite steel city and see the ghouls and ghosts that hide beneath the pavements and shops we visit on a regular basis. You’ll see the city in a new light, albiet a creepy one. You’ll hear about scandals and murders and even meet some of Sheffield’s favourite ghosts!* Recommendations are to bring warm clothing, an umbrella and a bottle of water. *Fuse cannot promise that there will be actual ghosts present at the Ghost Tour.

Friday March 21 2014

q&a. Matt Joslin spoke to the media officer of our very own student cinema, Film Unit, for all of the behind-the-scenes gossip Q: So what is ‘Film Unit’? Sam: Film Unit is a student-run cinema, within the Union itself, where we put on a variety of showings. Basically it’s films that just leave the cinema - so it’s not old old films, although we do put on some of the older ones now and then. Q: So really it’s a lot of things, it’s a bit of everything? Gemma: Yeah, we try and make sure we mix up our different styles with lots of cult films, things you wouldn’t always necessarily see in the cinema. Recently we’ve done quite a bit with some festivals, as well, such as we had the first chance to show Mistaken for Strangers. Q: So what’s the structure of Film Unit? How does it work? Sam: We are a working committee, so we have our own chair, vice-chair etc, but there are a variety of roles that people apply for at the AGM and we all just sort of chip in our own bit. Q: What sort of roles are there, then? Sam: Anything from media officer which is my job – I do the radio show – to Gemma’s job as special events liaison. Gemma: I basically put on films out side of our normal programme, with lots of societies, committees and even Paul Blomfield MP, for example. Q: So it’s the idea of branching out and putting on, not just films, but events? Gemma: Yeah, we’re definitely trying to move more towards event-cinema, especially with a charitable aspect, getting kids involved and stuff like that. It’s a move away from that “you put on a film, people sit, watch it, eat some popcorn”, and more of a move towards something that gets everybody involved. Q: You had the children-run showing of Frozen, and were involved with the East Asian Studies Department’s Go East! Week. But what sort of other things do you have coming up? Gemma: We’re going to be working with a local charity called the British Federation of Film Societies who are a national body for film societies. We’re a member, so, to help raise funds for them, we’re putting on a film screening of This Is England. They’ve recently got a new patron,

Mark Herbert, the head-producer and managing director of Warp Film productions, and as a result, he’s agreed to come along with some of the cast to have a big Q&A with all of them, potentially the director too. It’s probably one of the most exciting things we’re doing this year. Q: And you’re in charge of all of that? Gemma: Yep, that’s right, it’s my baby! Q: What are the opportunities to get involved with some of this? How can your average-joe participate? Sam: You can become an usher! We have sheets outside our office door where you can sign up and it means you get to see the films for free. For something which carries a bit more responsibility you can train as a house manager which is the overarching role for each screening – you oversee every-

thing. It’s a good way of getting involved if you want to give it a go and then try for a role on committee. Q: And when is it that the AGM happens? Gemma and Sam: March 26, in Hicks, 6pm. Sam: The actual event is on the Facebook page, so check it out. Q: And are you guys on Twitter as well? Gemma: Yep, you can find us at @filmunit Sam: We keep it simple. Gemma: Yes, we do! And we’re also really close to 1000 followers so join, join, join!

Tickets: £2.50

Available from the SU box office

DiG!: Fri March 28 19:30

Kill Your Darlings: Sat March 29 19:30

Tour de Cinema: Sun March 30 19:30

Friday March 21 2014

A feminist understanding of TV’s greatest gorey, provocative political series, Game of Thrones

(Possible spoilers present)

ince the show was first aired in the USA in April 2011, Game of Thrones has been a hugely successful television series. Based on George R. R. Martin’s series of fantasy novels, A Song of Ice and Fire, the show intertwines many different storylines of characters that are willing to go to extraordinary lengths in order to sit upon the Iron Throne of the Seven Kingdoms. Set in the fictional continents of Westeros and Essos, Game of Thrones contains its fair share of female characters, most of whom share the same hunger for power and dominance as their male counterparts. The first thing I noticed though when I started watching the series was the overwhelming display of boobs. Boobs everywhere. You will see the boobs of women with entirely minimal roles, such as the prostitutes, to the boobs of women with great presence within the story, such as Daenerys Targaryen. There are also plenty of scenes of a sexual nature in which women are used and abused and can be seen as one-dimensional characters. On the outset, it would seem that the women in the show are nothing more than sexual objects, placed there to please the eyes of the male audience and, according to many feminists, become passive victims of rape and violence. Indeed, I’m sure no one would argue that there are an unnecessary amount of scenes with women in the background scantily clad, or bearing nothing at all, while important and strong men discuss their manly business of war, politics and betrayal. But once you get into the story and dig a little deeper, Martin actually offers us a range o f

female characters that are equally as brave, cunning and dangerous, if not more, as all the other men involved in the game of thrones. It seems a little unfair to me that feminists are so quick to dismiss these characters without considering their development and the impact they have on the show. The most obvious example of a positive representation of women would of course be Daenerys Targaryen, also known by her title, Khaleesi. Despite being introduced as a vulnerable girl who gets sold off by her brother to Khal Drogo, the two later fall in love and Daenerys’ confidence grows. Within a few episodes Daenerys is left all alone as the last Targaryen. Daenerys becomes determined to claim back the Iron Throne as her birthright and does so by becoming the mother of three dragons, emancipating the slaves of Astapor and Yunkai and recruiting them to her grand army where they are happy to loyally serve their saviour. Daenerys has amassed much power and respect within the show but most importantly, she has broken free of the chains in what is quite clearly a man’s world to become a real threat to her competitors for the battle of the Iron Throne. Cersei Lannister is, in my opinion, the next biggest female character that goes against the grain of the traditional submissive woman in a patriarchal society. Although perhaps not as likeable as Daenerys, she is possibly the most cunning in terms of keeping her position of power and manipulating the people around her. The greatest, but possibly most controversial piece of advice Cersei ever gave was that a woman’s best weapon is between her legs. Though some feminists have criticised this as another example of women’s bodies being exploited, I would argue that she is actually exploiting the men by using the way men objectify women against them to eventually overpower them and get what she wants. Ygritte is another interesting character that appears in the second season. As a woman of the Free Folk who live North of the Wall, she is highly skilled in survival and physical fighting. Ygritte also has a deep understanding of the male psyche and uses her sexuality in order to exploit the men around her in turn for receiving what she wants. We then have young Arya Stark, one of my personal favourites in the show. Right from the beginning of the first season, we see Arya as being fiercely independent and wanting to engage in “boyish” activities rather than behaving like a lady. Trained in swordsmanship and quick on her feet, she becomes adamant in seeking revenge on the people who have destroyed her family - an astonishing assertion considering the fact that she is so young. Game of Thrones does have a long way to go though, in reducing the amount of sexually violent scenes involving women, particuarly the flamboyant objectification of their naked bodies and the way some are treated as cattle. Nevertheless, I believe the show does deserve the pedestal it is put upon in terms of being a great TV series. Along with the names already mentioned, there are a whole host of other women in the show who can be taken as positive representations of the female gender such as Margaery Tyrell, Yara Greyjoy, Osha and Brienne of Tarth. While the show may not be 100 per cent perfect in presenting women in an entirely positive light, I do believe Martin has taken steps forward in the right direction by allowing women to play a bigger part within the story than just merely sexual beings. With season four approaching, it will be interesting to see how the female characters develop further and their reactions to the new enemies on the scene: the White Walkers. By Jaskiran Shergill

Friday March 21 2014

Do you like it hard? Joanne Butcher asks why difficulty levels are so important to gaming

t’s now been a few months since Flappy Bird flew into our lives as one of the most excruciatingly frustrating games to grace the smartphone market. With a difficulty curve that aimed straight for the skies, and probably found you face first on the ground, Flappy Bird is one of the few ‘difficult’ games that seems to have resonated with casual gamers - who momentarily gave up on Level 170 of Candy Crush Saga to give it a try. But for the gaming industry this seems to contradict an inarguable truism: hard games don’t sell. Players are not going

to waste their time with a game that refuses to let them past level one or is too proud to shower them with achievements for simply turning it on. So why are there millions of duplicates scrambling to replace Flappy Bird as the hardest tap game on the app store? Do gamers – causal and hardcore alike – like games to be hard? It’s a tough question to ask when most games nowadays seem to appeal to the traditional wisdom, offering players a range of difficulty settings, which can be switched around even during gameplay, and often presenting the option to opt-out or skip missions altogether. Not to mention that general level design and modern game mechanics – here’s looking at you, quick-time events – are making games seem a little too easy to conquer. The desire to breakeven on outrageous production costs has meant that publishers are required to garner mass appeal and subsequently sacrifice difficulty. In comparison, the games of yesteryear, like the famous Castlevania and the infamous Battletoads, were monstrous exercises in frustration. Limitless ammo and regenerating health were unforeseeable and you were lucky if the game gave you a tutorial. That is, for the most part, because older games were designed with a completely different work ethic. That’s not to say they didn’t care about the money they were making – that would be incredibly naïve – they just weren’t scavenging to appeal to the widest possible market. But difficulty was still a money-making mechanism; either they wanted you to pump more 20p coins into their arcade machines or they wanted you to admit defeat and call a cheat hotline for a way to get through the last level. With this in mind, it’s really a misnomer to refer to these older games as hard. Difficulty wasn’t integrated into the game as a means of challenging the player to work harder but as a method of enforcing defeat. So difficulty is not a bygone or noble endeavour that game designers can no longer aspire to. Demon’s Souls illustrates that well-placed challenges can be used as a game mechanic in itself. Despite being notoriously difficult to succeed and even punishing when you repeatedly fail, Demon’s Souls uses difficulty as a way of commit-

ting players to the story, allowing them to really invest in their performance and therefore establishes the means for individuals to engage with each other and work together. Due to the game’s disreputable difficulty, Demon’s Souls allows other players to leave messages scattered around the landscape to warn others of impending doom or offer helpful advice on how to defeat the next obstacle. This becomes more than an overelaborate inbox service simply because players understand the extent of the challenge weighted on their shoulders. Knowing you can easily clear a room full of enemies does little to immerse the player in the story. If the danger the game persistently eludes to never actually poses a threat then the experience feels hollow and disingenuous. Considering the heightened sense of interactivity gaming offers compared to films and books, it seems the latter are less afraid of presenting their protagonists with real challenges. To an extent, this is because video games have, at their core, a need for success and progression. A book or film ‘about nothing’ sounds artistic but a game about nothing will probably leave you feeling cold. But that, in a way, is an argument in favour of difficulty. The more challenging the game, the greater the feeling will be once it’s accomplished. You only need to glance at the advanced options of ‘hard’, ‘heroic’, ‘barbaric’ and ‘bloody hell, slow down love’ available on some games to see that the demand for a real challenge is alive and well. Flappy Bird may make you want to smash your smartphone to pieces but Nolan Bushnell’s principle that a game should be “easy to learn and difficult to master” has proven that it’s even more tempting to give the game just one more go.

Artwork: Samantha Fielding

Friday March 21 2014

Fuse. games SOUth park: the stick of truth Xbox 360/PS3/PC 7/10

outh Park fans have been waiting for The Stick of Truth for years. It’s been a long time coming, but the game is well worth the wait, for die-hard fans at least. Obsidian entertainment have teamed up with Matt Stone and Trey Parker to create the first game worthy to bear the name of this quiet mountain town. The boys of South Park are dressing up as humans and elves, creating their own fantasy game. The two factions fight over the Stick of Truth, which grants those who wield it with the power to control the universe. In typical South Park fashion, the boys’ misadventures give way to a much grander and far more ridiculous scheme.

titanfall

Xbox One/Xbox 360/PC 9/10

fter an exciting but inevitably lacklustre launch lineup for the new consoles, gamers finally have a game worth waiting for; Titanfall has landed. Last year’s E3 sparked a lot of mixed opinions in the gaming world, however most people were agreed on one thing: Titanfall looked impressive. Many were excited by the prospect of a refreshing approach to online first-person shooters, a genre which has become increasingly stale in recent years. Titanfall promised to combine precise free-flowing movement using wall running and jetpacks, with large scale ‘titan’ robot battles. It delivers on this, creating a dynamic interplay between the two modes, which is incredibly successful and incredibly fun. An obvious concern was balancing the two modes of play; how could you have huge robots with epic firepower fighting it out on the same map as people with little more than a submachine gun? If you weren’t piloting a titan, how could you feel that you were affecting the match in any way? Fortunately, Titanfall’s balancing is spot-on and it is ultimately its

Think shadowy Taco Bell conspiracies, Nazi zombies of all shapes and sizes, plus the unexpected return of a much beloved character. Multi-episode sagas such as ‘Imaginationland’, ‘Coon and Friends’, as well as the recent ‘A Song of Ass and Fire’ all pale in comparison to this truly epic tale. When it comes to presentation, this game is firing on all cylinders. The gameplay and cutscenes are indistinguishable from the iconic look of the show and that’s probably the greatest strength of the game. The entirety of South Park is free to explore from the beginning and is reminiscent of playing The Simpsons: Hit and Run for the first time, only better. The game world is jam packed with little references to the extensive canon of the show. There are hundreds of tiny background details, Chinpokomon to collect, songs from the show that can be listened

greatest strength. While you are a large, durable force to be reckoned with when piloting a titan, you’re also a huge target, both for enemy titans and pilots. As a pilot, you always have an “anti-titan” weapon that can be devastating to enemy titans, especially when you’re not their primary target. Also, as a small, agile pilot, you can simply avoid titans by not drawing attention to yourself, and heading to a different part of the map. The impressive balancing is so effective that you will often find yourself leaving your titan to fend for itself opting to be a pilot, depending on what your current situation requires. Visually, Titanfall is equally impressive, and not just because of the crisp, colourful maps. You could jump out of a building, only to land at the feet of two huge titans battling it out, as other pilots are jumping across the rooftops above you. It can really take your breath away, and can be a little overwhelming at first, but in the best possible way. Titanfall also succeeds in being just as fun for players of all skill levels. Beginners will find it easy enough to pick up the basics that allow you to get kills, points and really impact the game. In this way, it’s a little more accessible than it’s more established

to on the radio, and obscure characters to meet. This attention to detail makes the game feel like a product of love, rather than just a cheap cash-grab. Avid fans of the show will have a lot to smile about. Unfortunately, the gameplay can occasionally take those smiles away. In every level there will be moments where you wander about aimlessly, trying to figure out how to progress. The exceptionally half-baked puzzle and stealth elements are the main culprits, but the environments are also confusing to navigate at times. This stalls the pace of the game far too frequently and is the game’s main annoyance. The Stick of Truth uses a turn-based combat system. Attacks require timed button presses, in order to maximise damage. This means that the combat is visceral despite being

siblings, such as Call of Duty, where you can sometimes get lost in a constant ‘spawn-die-respawn’ cycle. Another appealing feature for beginners is the way Titanfall handles kill-streaks; everbody gets a titan at some point so you’re never left wishing. With everyone feeling involved and effective, you never stop having fun, even if you’re not having the best game. And that’s where Titanfall again succeeds, it never really stops being fun. It’s an almost perfect blend of smooth gameplay, beautiful visuals, fastpaced enjoyment and will certainly be a game-of-the-year contender. Reece Nunn

turn-based. The radial menu also means that selecting attacks is quick and easy. There are melee, ranged and magic (fart) attacks, as well as class-specific abilities to use. However, while the game requires you to strategise, it never truly tests your abilities. Once you get a grasp of the basic mechanics you will not be surprised or challenged in any meaningful way. Playing on the highest difficulty is definitely recommended if you’ve played a turnbased RPG before. If you aren’t a fan of South Park, the gameplay is good enough for a rental. However, if you know you know your Mr. Hat from Mr. Slave, and smile at the mere mention of Lemmiwinks, then this game is most definitely for you. Joe Brennan

Friday March 21 2014

CULT CORNER

FTL: fASTER tHE lIGHT PC

aster Than Light puts you in control of an ill-fated Galactic Federation spaceship, fleeing the advancing rebel army while the last fragments of the Federation army await your arrival. You carry with you an intercepted data-packet that could end the war, attempting to traverse the eight sectors between yourself and your allies. Each sector between you is full of chaotic solar systems, stuffed to the brim with pirates, disasters, diseases and strange and wondrous life-forms - all of which you must survive in true Star Trek-style by micromanaging your crew and ship systems. In standard Rouge-like style, the universe of FTL is randomly generated with every playthrough, from which alien race controls each sector through to the organisation of

dark souls II

Xbox 360/PS3/PC 9/10

rom Software has always strived to have their open world RPG series differentiate itself from all the others, and its storytelling techniques are where the series exhibits its greatest strength. It takes a step away from telling the breadth of its story through long cut scenes and heavily scripted set pieces, but instead opts to tie its lore to the players most eager to invest in it. The player awakes in Drangleic directionless, their only clue to “seek the king, lest the land swallow you whole”. You will never find concrete information as to who you are or why you are here, instead the mysteries of the world are pieced together via the quiet musings of its characters and the contextual evidence left in their wake - even these are largely up to your own interpretation. The nature of Dark Souls II ensures that stories are as often made as they are told, and the game perfectly captures what it means to go on a personal journey. The online component allows players to summon friendly phantoms to aid you on your quests, so fellow travellers fast become friends. Your character will

CULT CORNER

Desperados: Wanted Dead or Alive PC

he majority of British gamers who have heard of Desperados: Wanted Dead or Alive will have played the demo back in the early 2000s when it was released with boxes of Coco Pops. The final game was an unabashed, stealth-based affair with slick, real-time tactical elements which has now been long forgotten – a lot like its German developers, Spellbound Entertainment. Desperados stands out from a lot of real time tactical games of that era by mixing up the gameplay through smart integration with the story. All too often a player will find themselves grinding through an old RTS applying the same strategy every time, but Desperados, by skilfully placing story-based reaons

jump beacons inside a sector. These random events add the flavour and content to FTL that will make your mission all the more intense; even the outcomes of the random events are semi-randomised, and in such desperate circumstances your moral compass is a tricky beast indeed. The best of intentions can often come back to haunt you as soon as the space-dust settles.

“FTL injects you with an incredible feeling of hope” The aforementioned space-dust can be found in fairly bountiful quantities in FTL, as no end of pirates and mercenaries have their sights aimed firmly on your ship. These close and dirty dogfights or perhaps space-dog fights - are where FTL bursts into life. Where the beautiful atmospheric music turns blood-poundingly tense, and your skill as a Captain is the nail-

biting difference between brutally permanent death and your crew breathlessly picking through spacedebris in hopes of something truly unusual, and subsequently truly sellable. What truly makes FTL stand head-and-shoulders above similar games is the degree to which every aspect of the game feeds into the experience. The music is equal parts tense during combat and eerie when lost in a cloud nebula. The travelling characters you meet feel organic and real, and the mechanics of piloting a ship are both minimalist and clean. Although the universe around you often seems overly harsh and unforgiving, the game injects you with an incredible feeling of hope – your ship might explode and crew die horrifically, but there’s no reason next time won’t be better. The top-down 2D nature of FTL doesn’t make it the most realistic of space games - Artemis probably holds that accolade - but that doesn’t nearly make guiding your plucky crew through almost-certain death any less engrossing or tense.

welcome them with open arms as they arrive, and strong bonds are made as you toil great hardships together. But treasure them while they last as before you know it a boss will lie at your feet, their oaths will be fulfilled and they must return to their own worlds. Their silent waves goodbye will be the last bittersweet memory you have of them before they are claimed by the darkness and you are left to start your next chapter, this time completely alone. A helping hand isn’t always to be found directly, players are able to leave messages on the ground for those in parallel worlds to discover. Reading “safety ahead” may just be the extra bit of inspiration you need to avoid a long retreat back to the games hub. Helpful players will make you aware of traps and treasure as you explore Drangleic’s greater reaches, but of course humanity is trusted at your own risk, and players would be wise to question twice the curious message upon a cliff edge which simply states “try jumping”. Combat is once again incredibly satisfying to experience, players who opt to be heavy knights will find comfort in safety behind the fortress that is their tower shield. More agile players will dance through their fights with great stamina taking into the game, compels you to reconsider your every step. Levels at night, for instance, aren’t just for the aesthetic – they force you to contemplate how loud your gunshots will sound to enemies now the sun has set and their senses are heighted. Finding out an NPC would not be too pleased if you hurt any of their employees will have you sneaking around desolate fortresses and stuffing knocked out enemies into discrete corners because even one kill will get a ‘game over’.

“Desperados compels you to reconsider your every step” Desperados’ stealth gameplay is spot on with its careful AI programming. It will have you cloaked in shadow, frantically checking every enemy’s field of vision and hoping that a worried housewife will not

FTL is frantic and fast paced – an impressive a c h i e ve m e n t for a game with a pause button – and brutally unforgiving, but everything about FTL makes it all the more replayable; the experience of fleeing across the terrifying wastes of space is perfectly honed and refined, and if you’ve ever dreamt of captaining your own interstellar craft and having to “divert emergency power to the shields!” FTL is a must-try experience. Will White

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DOT COM

enjoyment in outmanoeuvring their adversaries, before wearing them down to the point where a frustrated, ill-thought strike will be sharply met with a parry and counter riposte. While it’s true that this series has regularly been defined by players for its unforgiving level design and regular brutality, the beauty to be found within the adventure itself is enough motivation to ensure that players may not even notice. Conor Lynch

tell the sheriff of your whereabouts. Not only does Desperados refuse your complancy, it makes sure that each of the six playable characters is adorned with their own set of unique functions. While one of them will nearly always be some kind of gun, the game also provides you with knockout gas, playing cards, dynamite, snakes, a pet monkey and a bottle of tequila. They even give you the option to bare Kate O’Hara’s suspender-clad thigh to distract nearby guards. Far from gimmicky, this provides the player with endless opportunity to strategize and guarantees a varied playthrough each time. That being said, a seasoned player may find that a couple of simple tactics out-trump the rest, i.e. shooting your gun. In fact the last level is just shooting your gun in what you

imagine the designers hoped to be an “epic gunfight” but just comes as a shocking reminder why real time tactics are not the mode of choice for shooters. While it may seem archaic to have a map with a fixed angle -

meaning sprites often become lost behind obstacles - it does mean that Spellbound were able to render beautiful landscapes for each level. By keeping things simple, the texture of the dusty roads and withered buildings are crisp and each location feels astoundingly real. Desperados is never going to be considered a classic. The characters may be charming but they are token Wild West figurines acting out a well-worn storyline and the game sadly runs out of ideas long before its finale. But for what it was, Desperados was a challenging ride through old America and deserves to be remembered as more than a Kellogg’s free toy. Joanne Butcher

Friday March 21 2014

On The Road Fuse editor Amelia Heathman investigates the new BPI scheme thatâ&#x20AC;&#x2122;s donating ÂŁ3 million to promote British talent overseas Artwork: Samantha Fielding

Friday March 21 2014

ay back in November, an exciting new scheme was launched to promote British music abroad: the Music Export Growth Scheme. The scheme is run by the British Phonographic Industry (BPI) and funded by UK Trade and Investment, offering £3 million a year to help independent labels promote emerging British talent overseas, particularly the lucrative and extremely hard to break American market. The grants will range from £5,000 to £50,000 over three years, to support marketing overseas and promotion of specific artist releases. The Music Export Growth Scheme comes alongside the Arts Council’s Momentum Fund, announced in May last year, which offers independent publishers, managers and labels a slice of a £500,000 funding injection into the UK music industry. PRS for Music Foundation announced 10 acts that would receive grants from the pot, including math prog/art rockers Dutch Uncles.

The scheme will add “£36 billion to the economy” In an even more exciting turn of events, Sheffield’s steel princes of indie (and Forge Press favourites) the Crookes have secured funding to take their delectable alternative rock beats all the way to the big bad states, proving what everyone else has been thinking for ages- that the Crookes have got something that is worth pursuing. Over one hundred acts applied for the first round of the scheme, with only 14 artists receiving funding, including Labour favourites Drenge, and ‘liquid drum and bass’ act Fred V & Grafix. They sound cooler than that, I promise. The chief executive of UKTI Nick Baird said that British artists already dominating music charts worldwide, like Mumford & Sons and Adele, contribute over “£100 million” to the UK through sales of their music overseas and promoting British arts and culture. He seems to think that this scheme will add an extra “£36 billion to the economy”. It’s obviously brilliant that the government has sat up and realised that British music is something that should be celebrated, and that there is home-grown talent in this country that is

far from the manufactured pop sounds of Simon Cowell’s X Factor. I am more than aware of the amount of money that the likes of Harry Styles and his entourage will be contributing to the British economy (Heat’s Rich List last year listed the boys of having a combined net-worth of nearly £60 million), but it’s still great that someone has realised that British music is more than just manufactured boy bands. However, there are downsides to fully ‘breaking’ America. The 1975’s sex-infused synth pop beats have been so popular over the pond that they’ve almost fallen off the UK radar. The same can be said for Ellie Goulding, who is adored in the States but almost ignored over here, save for awkward half-naked performances on Saturday night TV. Saying that, maybe this is the step that Britain needs to take in its music; give up on trying to find ‘the next big thing’ in a soulless stadium and sit back and let the great bands and singers that do well on the UK touring circuit come forward, and help them take the necessary steps to do well internationally. The Crookes secured an American contract with Austin-based label Modern Outsider in June last year, but evidentially the money the band will receive from the Music Export Growth Scheme will help them actually tour and promote their music stateside that an indie label like Modern Outsider or the Crookes’ UK label Gold Panda, wouldn’t be able to afford on its own. Then again, will the grants even be enough? Under the requirements of the scheme, companies must part-fund from their own resources in order to “demonstrate their commitment”. The grants will cover no more than 70 per cent of the cost of the campaign, which will obviously vary depending on whether a band is awarded £5000 or £50,000. In addition, the scheme is targeted at artists and bands that have “achieved reasonable levels of sales in the UK and are now looking to break internationally”. It’s a brilliant idea to be taking British music internationally, but what about the bands, artists and labels struggling to do well just in the UK? Where are the grants helping the small to medium enterprises get off their feet on home ground first? The Crookes have been doing their alternative rock thing since 2008, with two albums under their belt and some decent media coverage, including being BBC 6 Music’s ‘Favour-

ite band of the Year’ in 2011, and was even chosen to represent Sheffield on MTV Canada’s guide to ‘Breaking Bands in the UK’. It’s obvious that they have been working seriously hard for a long time and it’s great that they are getting recognition from the BPI. Yet some bands in the same position might not be able to afford to keep going for such a long time without the promise of a grant. Does longevity affect an act’s standing for the award? If you’re not awarded it in one round can you apply again? What’s the music criteria for being chosen - who decides what music has promise? Is it just if the judges are in a good mood the day your application is listened to?

With the emphasis on bands who already have success, the scheme leaves new acts in the cold The applications for the second round of the award closed early this week and it’ll be interesting to see the variety of acts that will be picked for the grant. It’ll also be interesting to see how long the scheme lasts for, and if it will add the estimated £36 billion to the British economy. There are definite flaws in the way the Music Export Scheme is being conducted: with the emphasis on bands who have already had a level of success in the UK, the scheme leaves starters and new acts out in the cold. The lack of criteria for what music is going to pass for it also leaves the scheme open-ended and potentially unfair. But, at the end of the day, the scheme seems to have its heart in the right place and at least the government have actually realised that its better to promote the arts instead of slashing the creative talent in this country left, right and centre. Has David Cameron done something right for once? Maybe, just maybe.

Friday March 21 2014

Camille Brouard talks to Sheffield student Wi’am Sa’ad, a young British Mustlim woman, about her poetic expressions of the effects of nationality and personal history on identity

I was made to remember the word ‘immigrant’ before I had even ever heard of the word, turned into an enemy of the only city I have ever known, the radiance of hope extinguished from my face, body of concrete composure, soul soft as ink, my heart in the shape of the Middle East, as dusty as Yemen’s dunes, my bones twisted like my history, my mind an unstepped minefield, filled with dreams as smudged as last night’s kohl from unslept nights spent deliberating over the collateral damaged. I have memorised every ray in the definition spectrum of mourning. I have perfected the art of holding myself like the Sphinx of Giza. I bite the insides of my cheeks until the blood of my ancestors trickles, to coax out the words that are supposed to remain hidden within the four corners of my ribs. My tongue clicks to the beat of war drums that are becoming a daily occurrence; my motherland wraps me in a tight embrace, because it understands my identity of mismatched lovers; too foreign for the West and too foreign for the East, my skin is braille, and my motherland the blind reader. The presence of oud in my heart is soothing, and bakhoor transports me to my father’s shoulders carrying me through the souks of Jeddah. I remember the lubaan stalls, the cassettes stall with rows and rows of Oum Kalthoum and Fairouz on the covers. Immerse me in the words of the Middle Eastern poets’ passion, because my lips have been silenced with hot wax, society has orientalised my image, but dismembered the woman attached. Still, despite all this, I know there is a place where I can exist as More than an oxymoron, More than a veil, More than a stamp on a passport Because my name means love and harmony, Because when I was born in the battlefield of the Gulf war, My mother held me up as her white flag.

W from Yemen.

i’am Sa’ad, 22, is a student at the University of Sheffield, studying Town Planning. She also grew up in the city, in Southey Green. She was born in Saudi Arabia, and her parents came

Poetry has been a part of her life since she was a young child, and she often focusses on her identity as a Muslim woman of Arab descent, in connection to the world around her, in the themes of her writing. We spoke to Wi’am about her poem Motherland Embrace, which was recently performed at the University’s Palestinian Culture Evening:

What inspired you to write Motherland Embrace?

What do you enjoy, or find useful, about writing poetry?

For years I struggled with who I was, seeing my identity shredded to pieces in society. I never felt like I belonged anywhere. When your identity is ripped from you it causes a sense of loss. The poem was written to try and portray that feeling, and the struggles of cultural assimilation.

Being a Muslim woman of colour, you’re constantly a political spectacle. Writing is a way for me to release my experiences, mainly the bad ones, from my system.

What else do you focus on writing about, and what inspires you? Most of my pieces have underlying themes of identity, loss, and loneliness. I view writing as detox, a way to flush out the toxins that this world sometimes burdens us with. It allows me to clear my mind and re-see the beauty hidden in this world.

Poetry is like painting, you can create a picture of a person or an experience and there is no right or wrong way of doing it. With just one line, poetry has the ability to strike you somewhere inside you thought you’d buried a long time ago. What I enjoy most about writing is how you cannot allow yourself to escape from the truth. You can push things to the back of your mind.

Friday March 21 2014

Fuse. arts

BOOK CORNER In the Miso Soup Ryu Murakami 7/10

he Japanese novel In the Miso Soup is not for everyone. It was written by Ryu Murakami, and first published in 1997 and translated into English by Ralph McCarthy. The setting is Tokyo, where main character Kenji works as an English speaking tour guide. However, he is no ordinary guide; since he helps his customers navigate the red light district Kabuki-Cho.

The MErchant Of Venice University Drama Studio 8/10

any Shakespearian attitudes may seem dated today, but in SuTCo’s adaptation of The Merchant of Venice the anti-Semitism at its heart isn’t such a distant memory. Fast forward to Venice, 1939: Mussolini rules Fascist Italy and the Manifesto della razza has been published – a set of laws which stripped Jews (and other ‘inferior’ races) of Italian citizenship. This scene is set with a very punchy opening sequence: a provocative speech is met with cries of ‘Jews are not a part of the Italian race!’ from the Venetian crowd. Despite its title, the merchant, Antonio (Alex Monks) is not the focus: it is the vengeful Jew, Shylock (Dan Turner) who is in the spotlight. Turner constructs an extremely sinister character by assuming a slow, mechanical limp and a foreign accent that makes Shylock sticks out like a sore thumb: this Shylock is the very villain we want him to be. His “Hath

The plot is kicked into motion on the very first page as Kenji has to guide an overweight American tourist named Frank for three days before New Year’s Eve. As their first evening wears on, and they explore Tokyo’s seedy underbelly, Kenji begins to feel uncomfortable about Frank. There’s just something a bit “off” with him. There have been gruesome murders occurring in the area recently and Kenji can’t shake the feeling that Frank is involved somehow. The first person narration from Kenji effectively creates a mounting sense of unease in the first half of the novel. At the heart of it is the

cultural gap between Japan and America. It may seem that it is all about a gaijin invading and desecrating Japan, but the novel avoids such a simplistic approach. Instead it explores the corruption and moral hypocrisy in Japanese society. It will be a shocking read at points, and the third section does drag its feet a little. Another disappointment is that Kenji’s relationship with his girlfriend Jun isn’t explored enough. By limiting the story to Kenji’s nights with Frank, the novel evokes a feeling of entrapment that comes from being tethered to a potential serial killer. But this means that the other aspects

not a Jew eyes?” speech is powerful, but it’s difficult to sympathise when he’s hellbent on extracting a pound of flesh from Antonio’s chest. That all changes when Shylock loses everything. You can’t help but pity him when his entire estate is confiscated, but there is real poignancy when he is told he must convert to Christianity: he’s instantly rendered an inconsolable heap on the ground. Losing your means of living is one thing, but being forced to lose your faith? Suddenly the ‘heroes’ aren’t quite so heroic and the play’s classification as a ‘comedy’ becomes dubious. Saying that, some bits are very funny; in particular, the demonstrations of Lancelot’s (Chad Bentley) wit and exuberance, as well as the panic-ridden fumbling of clothes by Lorenzo (Nathan Spencer) and Jessica (Martha Roberts) when Portia (Anna Dobrucki) returns home earlier than expected. At times you forget you’re supposed to be watching events set in 1939 – there are visual reminders in the graffiti ridden set and modern costumes but it’s difficult to buy into it alongside the Shakespearean script. However, the decision to stay true to

the original script is exactly why this is such an eye-opener. There was fear that the challenging introduction may be undermined by sticking to the original ending in which Antonio gets off scot free. That is not the case: we are left with a dark ending that leaves Antonio’s fate uncertain and shocks anybody already familiar with the play. By simply changing the beginning and the end, the tone of everything in between is altered without removing a single one of Shakespeare’s words. SuTCo’s adaptation effortlessly presents The Merchant of Venice in a completely new light, and the alternate time period makes the it especially moving: this is a play haunted by events of modern history that make the anti-Semitic themes all the more troubling. Laura Heffernan

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of Kenji’s life are given less priority and the potential for interesting subplots is neutered. Overall, In the Miso Soup is not for those who want a comfortable read. There’s no real moment of safety, as tension and horror are this book’s primary weapons. However, if you want to read a Japanese novel by someone besides the other Murakami, this might be something you could enjoy. Joe Brennan

Pole Position Graves Gallery 8/10

he exhibition, Polish Art in Britain 1939 – 1989, displays the art of Polish people exiled in Britain. The dates focused on are crucial to note, as they span the 50-year period from the beginning of the Second World War through to the late 1980’s. Thus, there is much in the exhibition that touches – both subtly and screamingly - upon the atrocities of war and feelings of displacement and isolation. The 19 artists featured in the exhibition can be seen as strongly individual, with little stylistic uniformity between the group – described by exhibition curators as “definitely a group, but not really a school” of artists. Despite this, many of the works in Pole Position seem to favour a broadly expressionistic approach, arguably pointing further to their origins of Eastern Europe, than to Britain, where they were conceived. There are a few artists that seem to shine when visiting Pole Position. Particularly striking are the works of Joseph Herfman (1911 – 2000), who, upon enduring the anti-Semitism of late 1930’s Warsaw, escaped to Britain and settled in Glasgow. Perhaps most famed for his 1950’s drawings and paintings of a small mining community in South Wales, Herfman was obviously fascinated

with the pain and suffering of the peasantry. This is something beautifully communicated in his ‘Head of a Bergundian Peasant’ (1953), a portrait that expresses the paradox of being beaten down but still deeply resilient. Herfman himself stated that “There is more to a miner or peasant standing and doing nothing than meets the eye”. The religious imagery in two of Marian Bohusz-Szyszko’s (1901 – 1955) paintings shows how colour can create such marked differences in atmosphere and meaning. The gentle and completative ‘Portrait of Mary Magdalene’ (1947) employs stylised faces and a muted colour scheme. His ‘Christ crowned with thorns’ (1957), however, uses brisk, sharp brush strokes and bright flashes of colour, in a similar style to the German expressionists, in order to perfectly convey the agony of the crucifixion. Also impressive is Marian Kratochwil’s smartly satirical ‘The Puppeteer’ (1955), which depicts a crowd mesmerised by the skills and story-telling of a Spanish puppeteer (reflected in a colour palette similar to many Spanish works). Stanistaw Frenkiel’s ‘Self Portrait’ (1978) uses bright patches of unnatural colour in order to portray the shadows and highlights of his face, in orange hues arguably inspired by Francis Bacon. Overall Pole Position proves moving and thought-provoking. Rachel Bell

Friday March 21 2014

Fuse. music METRONOMY Love Letters 7/10

iding on the success and popularity of their incredible third album The English Riviera, Metronomy give us their latest album Love Letters, which shows signs of inventive progression. Creatively placed instrumentation has been incorporated into the synth pop sound, and has diversified Metronomy’s music, further defining them as a unique and interesting band. Metronomy’s writing process has clearly progressed, as shown by their inclusion of instrumentation alongside the familiar 80’s pop feel. While this has been done before, Metronomy have managed to give Love Letters a sound that is completely their own; a really summery upbeat vibe, but with an oscillating, lagging feel of melancholy. Single ‘Love Letters’ uses the trumpet

LE1F

Hey EP 7/10

xperimental New York emcee Le1f comes through with a debut EP of deranged, club-ready rap. From the first track ‘Hey’, Le1f begins laying down effortlessly delivered yet complex and well constructed lyrics over unusual yet accessible beats. Dropping a diverse array of references (ranging from Pokemon cards to Jar Jar Binks) and smart punchlines (on ‘Buzz’ referring to his sexuality with the line “I’m a man’s man... literally”), Le1f cuts a confident and playful character navigating a vivid world of wild clublife. It’s possibly over the top and at times a bit silly, but it takes delight in being so - inviting to you to leave any reservations at the door and get down to some

unabashedly freaky fun. This isn’t to say that the record is in any way mindless - surface irreverence runs alongside themes of empowerment; “LGBT cuties all over the world/are diamonds and pearls/black sheep, black sheep/ sexy ass fur” he proclaims at the opening of ‘Boom’ – an important celebration given the long standing presence of homophobia within rap music. Production wise, the EP is far from subtle,

The war on drugs Lost in the Dream 7/10

or a band once described as making the perfect “road movie” music, the third album Lost in the Dream by the Philadelphia four piece the War On Drugs, is a vivid and sprawling celebration of romanticised, runaway, American angst. Unashamedly drawing, as in their previous albums, upon those great highway giants Bob Dylan, Tom Petty, and Bruce Springsteen, these are songs about unbearable restlessness and internal terror. And while it’s a mostly convincing, if not ever so slightly tiresome, affair that’s stylistically impressive, it listens like an entire album (albeit lovely and somewhat darker) that reworks Don Henley’s ‘Boys of Summer’. Its the subtleties and vision of the instrumentation on Lost in the Dream that really shine. The band is so obviously skilled in creating stirring feelings of motion within sound. You never want the opening ‘Under the Pressure’ to stop – its driving outro makes us picture dark and vast open spaces – and the quietly thumping piano in the background compliments this beautiful momentum. The faint traces of strings on ‘Red Eyes’ and the biting harmonica in ‘Disappearing’ offer touches of musical communication as effective as singer Adam Granduciel’s vocals or lyrics.

and saxophone to generate a feeling of mild loss and despondence until the tempo changes. The piano and synth comes in and the old, familiar Metronomy sound is heard. Alongside the imaginative and creative progression Metronomy have seen, the standard of song writing is also still superb. Brilliantly composed synths and lyrics make Love Letters interesting and diverse. In ‘Boy Racers’ the composition of the synth is well structured and thought out, and is really satisfying to hear. The only drawback is the subtlety of the talent they have written into these songs. It does take a few listens to recognise properly, and so makes Love Letters quite inaccessible. Love Letters does take longer to get under your skin but once it does (and it definitely will), you’ll realise that the subtlety in its brilliance works in its favour. It delicately radiates a mild, balmy, feel-good atmosphere while carrying with it a lingering despondency that makes it very relatable. Jack Crisfield with the beats tending towards a danceable club sound, though always kept interesting through the inclusion of unexpected elements, such as the eerie, distant gong sounds in ‘Hey’ and the weird mutant p i t c h distortions of Le1f’s vo c a l s that

permeate the record. ‘Sup’, the second track, channels the autotuned vocals of Drake, Future et al in its triumphant chorus – the cruising beat letting Le1f sleazily and cockily doing his thing, making it probably the most satisfying track for me. The Hey EP finds a unique and exciting space between witty, leftfield hip hop and no-nonsense party music, avoiding the gimmickry that that combination could suggest and delivering a hyperactive but undeniably good time.

It’s the lyrics that are the album’s weakest point. Lines like “And I can barely see you/you’re like an ocean in between the waves”, from ‘An ocean In’, are not only poetically vague but slightly non-sensical. Lines such as “Have you fixed your eyes on the wind/ will you let it pull you in again”, (‘Eyes to the Wind’) could have been lifted straight from Bruce Springsteen’s 1978 Darkness on the Edge of Town. Only Springsteen, of course, does it better. Lost in the Dream arguably works better when thought as more of a soundtrack, rather than a collection of songs. The music is in parts stunning, but the lyrics verge on the clichéd and faintly disappointing. Rachel Bell

Sam Gibbons

WHAT’S ON YOUR PLAYLIST?

Jenny Carter, Ecology Favourite artist: Katy Perry Favourite track right now: ‘Dark Horse’ - Katy Perry

Megan Lee, Biology Favourite artist: Katy Perry Favourite track right now: ‘Timber’ - Pitbull

UPCOMING: JOHNNY CASH:OUT AMONG THE STARS/TIMBER TIMBRE:HOT DREAMS/STEEL PANTHER:ALL YOU CAN EAT X

Friday March 21 2014

Fuse. music NICK MULVEY

Tuesday March 4 The Harley

aving previously supported Laura Marling, and drawing comparisons with the likes of Joni Mitchell and Nick Drake, it is unsurprising then, that with his virtuosic guitar skills and compelling voice, Nick Mulvey is managing to establish himself as one of our finest acoustic singer-songwriters. Playing at the Harley, Mulvey attracted a significant and appreciative crowd, many of whom seemed taken aback by both the sublime clarity of the sound he produced and the intimacy of the gig. In a music industry awash with the figure of the guitar playing singer, there are certain aspects of Mulvey’s set that propells him above your typical fare. The quality

of his guitar playing is beyond impressive – he employs such demanding techniques as harmonics and tremolo so masterfully that it is hard to believe that he could have the concentration to sing at all. And whilst so many of us are cynical and wary of a stream of confessional love songs, there is something about the helpless romanticism of his lyrics that is startlingly modest, and to be honest, quite nice to get carried away with. Team this with a fine, fine voice (reminiscent of Nick Drake’s mellow anguish), and a stage presence that is self-assured, but not over bearing, and Mulvey is on to a winning formla. Highlights of the set included the lovely “Fever to the Form” (taken from his first solo EP) - the lyrics “How did you know what I’m thinking/ maybe I thought it before/ Maybe that’s why I’m at your window/ hear me at your door” being effortlessly and classically romantic. Others included the arresting guitar work on “Juramidan”, and the new single “Cucurucu”. Convincing and thoroughly enjoyable, Mulvey shows he is a seriously talented musician and well worth taking note of. Rachel Bell

Nick Mulvey: Phil Carpenter

POLKADODGE Saturday March 8 Plug

ailing from Sheffield, Polkadodge are an up and coming “high octane indie band band with big ideas”. Having played Plug back in October supporting Catfish and the Bottlemen, they return to headline, bigger and better than ever before. Opening with ‘Fever’, followed by their first single ‘Catfish’, Polkadodge explode onto stage. The momentum builds as they blast through ‘Borderline’ and into ‘The Other Way’. These are songs that are just meant to be played live. Guitarist Martin jumps to the front of the stage to the outstretched arms of the fans and vocalist John announces that “this is the best gig I’ve played since I was 16!”. Their new song, ‘Take Me Home’, is received well. It’s evident that they’re enjoying themselves immensely and it is an absolute pleasure to watch these boys perform. The crowd sings along to every line of their anthemic new single, ‘Laughing in Spanish’, participation which seems to surprise and overwhelm the band. They’re unable to keep themselves from grinning as John addresses the crowd, “thank you to everyone of you, we genuinely appreciate everyone who’s made the effort to turn up. We’re gonna hug each and every one of you after with our sweaty bodies!” Before closing with ‘Natural Heat’, John pauses to

The Men

Tuesday March 13 The Harley

certain level of anticipation for a gig is created when, as the drummer walks on, it’s clear he feels the need to wear incredibly short sports shorts. Such is the anticipation for the Men several minutes before their set, and the Harley is already crackling with energy, clearly aided by the fact that the floor has been packed with punters since the support. The stage is set by a great support (mathy, noodly, punchy rock from Swordface) and the large, awaiting crowd in high spirits, the Men waste no time in kicking their

thank everyone again for their support. Caught up in moment, the crowd can’t believe the gig is over. The whole band come out into the crowd to thank everyone for coming personally and fulfil their promise of hugs. Polkadodge clearly adore their fans, and are, in return, adored by them They do everything they can to show their appreciation – delivering tickets personally around town and spending time with fans. John and bassist Tom (Forge’s very own ex-screen editor) could be seen wandering through the venue before taking the stage, taking the time to say hello and pose for photos with those eagleeyed audience members that spotted them. Something special certainly occured tonight. Keep an eye on these lads – they’re sure to rise to be something great.

set off with a tremendous energy from the off. There is immediate demonstration that the men are capable of using wild guitars, throbbing bass, and almostshouted vocals to create a terrific sense of pandemonium in the venue. This is heavy stuff, and it doesn’t take long for the audience to really get going – excessive jumping and yelling only adding to the great atmosphere created by the Men. It’s not just an hour of raw energy, however, as the Men show they’re capable of stripping it back to provide gentler, more chilled out segments (somewhat á la the Strokes) with synths that have been slept on for the rest of the show. In doing so, the Men demonstrate mastery over both

instruments and audience, transforming the room at will – the bass goes from a growl to a roar; the vocals whining with a cool Brooklyn twang, and then yelling with an emotional urgency. The ability to hop around in such a cohesive way is a testament to how inventive the Men are. The extended segments with a hint of prog can seem a tad selfindulgent, but regardless, it’s incredibly easy to get into. There is a feeling of intense disappointment when the Men announce their last song, as the gig seems to fly by in all the intensity of the performance. They are certainly capable of producing a great sound. The Harley was the first show of their tour, so if you have the chance, go see the Men. Theo Cole

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Katherine Hodgson

Polkadodge: Katherine Hodgson

UPCOMING: RED FANG:CORP MARCH 15 / BIPOLAR SUNSHINE:LEADMILL MARCH 28 / RHODES:THE HARLEY MARCH 28

Friday March 21 2013

Fuse. screen The Zero THeorem Dir: Terry Gilliam 7/10

irected by Terry Giliam (Brazil, The Imaginarium of Doctor Parnassus), The Zero Theorem is for all intents and purposes an attack on the senses. To quote an appropriate anecdote – it is “a brilliant film, but a terrible experience”. From the very beginning, we are literally looking into the void, a swiling black hole, before we’re presented with a naked, bald and stoic Christoph Waltz. Waltz shines thorugh as Qohen Leth, a character worlds apart from his previous notable roles as Dr. King Schultz in Django and Col. Hans Landa from Inglourious Basterds. Qohen consistently refers to himself as “we” and when questioned on this oddity

Under the Skin

Dir: Jonathan Glazer 8/10

rovocative, compelling and visually stunning - Under the Skin is a beautiful aesthetic experiment - enticing and dangerous in equal measure. But fans of Michel Faber’s novel, on which the film is based, will inevitably be frustrated as the cinematic adaptation falls short. Scarlet Johansson stars as an unnamed alien seductress who drives through the streets of Glasgow, leading male hitchhikers to their dark and watery deaths. Here, the casting is surprisingly innovative. Far from being a token celebrity booking, Johansson’s beauty and clipped Home Counties accent sets her apart from the rest of the cast - indistinguishable middle aged men with thick Glas-

CULT CORNER Colorful (karafuru) Dir: Shun Nakahara

aking a couple steps back from the mainstream, Colorful is an involving life-affirmer which tells the story of a dead man who strikes ‘lucky’ and wins the death lottery, giving him another chance at life. At first reluctant to jump back on into the fray, Makoto is finally swayed by his angelic schoolboy guide, the twist being that this time he must prove himself in the body of a high-school boy who has recently committed suicide. The plot progresses nicely and the protagonist’s struggle to come to terms with the grim reality before him elucidates some of the grizzly circumstances that surround the modern

The Zero Theorem, more than anything else, comments on a dystopian future Gilliam sees already established in our lives today. He takes modern-day features we’ve all become accustomed to, and ramps them 100 per cent. Qohen’s every move is watched on CCTV and doctored by Management; adverts are in the most literal sense inescapable – they follow pedestrians on a billboard as they walk, and the workers in the Mancom environment turn up to work only to stare at a screen, isolated from everyone else. This dystopian setting, however, only makes the premise of the film bleaker. When we discover that the titular theorem is one that would essentially prove that all is for nothing, we empathise with Qohen’s feelings of emptiness. The end of the film arrives and

simply answers that he is referring to “ourselves”. This is only the beginning of the disorientating features Gilliam adds to the film to truly throw the audience off balance. The busy, neon wardrobe and set design never allow for the viewer to switch off for even a minute, and by having this vibrant world exist outisde Qohen’s dark church doors, his isolation is emphasised. Every character that makes up the supporting cast is exceedingly eccentric, and stands as a contrast to Qohen’s dark, minimalist appearance and personality. With David Thewlis as Qohen’s superior Joby, Melanie Thierry as his virtual reality love interest Bainsley, and Matt Damon as the curiously enigmatic Management, Waltz is supported but not overshadowed by kooky performances. wegian accents. She is believable as an alien presence, simply because she is so far from fitting in to her bleak Scottish landscape. The splendour of the film is in its aesthetics: impressive camera work, beautiful, sharp edits and long, sweeping shots of misty landscapes. The dialogue is minimal, with so much is said in silent sequence and exchanged glances. The few words that are spoken are surprisingly commonplace, setting the audience at ease before sudden events unsettle us once more. Every look and every word is calculated. The soundtrack is a perfect accompaniment to the chilling low budget thriller: jarring discordant music that underlines the neo noir mystery of the film. Sadly, along the way, the film loses some of the dark satire that ensured Faber’s original narrative was so enduring. The novel, an al-

legory for factory farming, covers political issues like the meat trade, sexuality, immigration and feelings of ‘otherness’. The film, however, is a little more simplistic. It is visually beautiful, yes, but fails to match the grit and depths of the book. If Under the Skin is taken solely as an aesthetic cinematic endeav-

Japanese suicide phenomenon. ‘Society’ and ‘pressure’ being the key words here, Colorful tears away savagely at each and every personal relationship in the film to point the finger at the crimes that the school system and the bullying within it are committing against Japanese youths. The consequences of the slavish working hours of Japan’s white-collar workers - the ‘salarymen’ - are also given a nod, as the mother’s shameful affair with her spicy Latino flamenco teacher further shows what the pressure-cooker of Japanese society is doing to the family model. Indeed, familial bonds are perhaps the real victim of the story. This film does fall down with its tired anime conventions. The schmaltzy music so common to the Japanese film industry is as saccharine as ever and at times provides a jarring sense of contradiction to

some of the harder to watch scenes. The film jumps from one intense scene of the protagonist sexually tormenting a sympathetic female classmate to one of campy brotherhood bonding. Equally, the art style often comes off as confused. Crafted by the same hands that gave birth to Japanese household staple Doraemon, bumbling intrusions from some gaudy bits of CGI make the aesthetics far from consistent and, ultimately, a let-down. It’s a film that succeeds in experimenting with the genre in order to serve up a hearty plate of home truths. Although the animation and musical score leave room for improvement, Colorful makes for a welcome addition to the veritable rainbow of modern anime works.

loneliness lives on. In some films the ultimate message would be positive – the theorem can be disproved, love and unity are real. Here, Gilliam never provides us with a clear cut Hollywoodtypified ending. It doesn’t make for a cheery, soul searching piece of cinema - it makes everything, both in Qohen’s world and ours, seem more than a little bleak. This is a film with a terrible message, told in a brilliant way. Annie Mullineux

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our, it is a successful one. Gripping and compelling, it is an exquisite homage to the human condition and the feeling of being lost and alone in a crowded space. But its failure to pick up on the deeper, darker themes of the book that inspired it renders it a somewhat shallow venture. Lauren Archer

Matt Joslin

Friday March 21 2013

The grand budapest hotel Dir: Wes Anderson 8/10

n this impeccably made, madcap tale, Ralph Fiennes stars as Monsieur Gustave - head concierge of the legendary Grand Budapest Hotel. Accused of murder, Gustave begins an improbable journey with his faithful lobby boy Zero (Tony Revolori) on a quest to prove his innocence. The Grand Budapest Hotel is indie favourite Wes Anderson’s eighth film as director, following on from the stellar Moonrise Kingdom. Known for his very distinct and personal style, Anderson crafts another sprawling, oddball romp that could only ever be his. In Fiennes, Anderson finds a leading man able to personify every facet of the director’s body of work. One moment, he is calm, reserved and oppressively formal. The next he is verbose, explicit, daring and virile. A newcomer to the world of Wes, Fiennes provides

SMALL SCREEN

True detective: Episode Two Creator: Nic Pizzolatto 8/10

fter the events of the pilot, Hart (Woody Harrelson) and Cohle (Matthew McConaughey) are beginning to feel the pressure to get results as the public outcry over Dora Lange’s murder increases. Unsurprisingly, in the heart of Deep South America, the occult is feared to a hysterical extent, and it soon becomes apparent that a lot of eyes are on the two detectives. Hart and Cohle now have to contend with an anti-Christian crime taskforce established in response to the murders, which the nihilistic Rust takes particular, vehement objection to. However, to a greater extent than in the pilot the murder investigation is relegated to a subplot, as we instead begin to mine deeper into the lives of Hart and Cohle. Episode two is about conflicting ideas of masculinity, complete with

This is inarguably Anderson’s biggest ever film, but he handles the enormous and fantastic cast as well as the ridiculous episodes of his yarn with a reserved formality and a tongue planted firmly in cheek. The locations are further afield and the goings-on are more ridiculous than any Anderson flick since 2004’s The Life Aquatic, but the camera remains perfectly steady and the dialogue remains sparse and sharp. To discuss the plot of the film in detail is to rid the viewing experience of its unpredictable charm. Suffice to say, Budapest clips along with fluidity and speed - Anderson knows just where to slow up and where to fly by. The tale is full of moments of cartoonish ridiculousness, unexpected darkness and gore while still packing in plenty of melancholy sentiment

a perfect centre to the off-kilter goings-on. Serving as observer to the whole affair is newcomer Tony Revolori as the hotel’s newest lobby boy. In both Anderson’s script and Revolori’s excellent performance, Zero simultaneously manages to act as audience surrogate - viewing events from a perplexed outside perspective - while also providing his very own fleshed-out, dynamic, and tragic quirks as a character. The rest of the cast move around Fiennes and Revolori like a finetuned machine. Anderson stalwarts like Jason Schwartzman, Owen Wilson and, of course, Bill Murray appear for charming walk-on parts that come and go. Meanwhile, other Anderson alumni such as Tilda Swinton, Ed Norton, Adrien Brody and a particularly menacing Willem Dafoe chew scenery and spin the improbably proceedings further out of control. police brutality, buddy-cop antagonism, locker-room scuffles, disputes over jurisdiction and a dressing down by the Chief. But these somewhat clichéd cop show tropes are reconciled brilliantly with the exploration of the backstories of the characters. Hart is respected and popular among the other officers, and it is his reputation alone which stops the taskforce from getting their hands on the case. But he is also shown to be an aggressive, alcoholic womaniser, worse still, one who uses his family in a twisted way to justify his philandering; needing to ‘decompress’ from the horrors of his professional life. His sanctimonious treatment of the woman who runs the brothel is exposed in sharp, hypocritical contrast to the scenes he shares with girlfriend, with particular reference to their use of his handcuffs. It is no surprise that 2012-time Hart is divorced, and his misogyny combined with his evocation of classical Hollywood definitions of manliness and men who don’t ‘air their bullshit to the world’ provides an interesting and extremely fruitful counterpoint to Cohle.

As with Hart, more is revealed about Cohle’s past. We learn that his daughter ‘passed’ (explaining his behaviour when Hart invited him to dinner in the previous episode), and the spiralling descent into darkness that followed, culminating in him ‘emptying a nine into a crackhead’ and spending time in a mental institution. This certainly explains Cohle’s personality, while McConaughey’s performance ensures that the frightening Kevlar-coated, machismo-embodying man stays on the right side of the line between believability and pure macho fantasy. The fact that both protagonists partly embody clichés is inherent in the genius of True Detective, as it is the ways in which these clichés are addressed, partly from a retrospective, future standpoint, which makes it unique. Meanwhile, ambiguous references to ‘a big throwdown in the woods’ hint to an upcoming explosive climax to the meticulously built up slow-burn narrative of the series, ensuring our continued viewing. Chris Smith

300: Rise of An empire Dir: Noam Murro 6/10

dark, gory telling of the conflict between the ancient Greeks and Persians, 300: Rise of an Empire rammed full of bare-chested, manly, bloody men, shouting at each other and where possible, killing each other. As a film, it runs, looks and feels like a video-game. Operating on an entertainment-only level, messages and meanings are sacrificed for engaging fight scenes and stunning visuals. The action is fun, ultimately thrilling, and set across the respective navies of both the Greeks and the Persians. The combat is sharp, wellchoreographed and exaggerated, staying faithful to the Zack Snyder directorial mantra. Against this comes a boring and under-developed plot, often serving only as a way to justify the caricatured levels of violence, in the same vein as many of Hollywood’s so-called epics. The dialogue, which fuels the story, is full of pseudograndeur and ultimately lacks the ‘This is Sparta!’ memorability of the original 300. Perhaps the reason for the unim-

15 and heart. Of course, as has been the case for a good few years, people who were unimpressed by Anderson’s early efforts - classics such as Rushmore and The Royal Tenenbaums - will find little to love here. What many will likely find charming and appealing, the unconverted and unconvinced will find unbearably twee and sickly sweet. But for those who have long held a love for everything Andersonian - and possibly those who have never been exposed to his wacky world before - The Grand Budapest Hotel is a delicious treat of a film. It combines action and adventure with romance, violence and wit to create something ridiculous and appealing. Rhys Handley

pressive script is due to its deliverance by an underwhelming hero, Thermistocles (Sullivan Stapleton), whose performance lacks the fire and realism of Gerard Butler’s Leonidas. By contrast, the antagonist Artemisia (Eva Green) is fantastic, lending sultriness and giving the film an electric shock, she comes off as much more than a token female character in an often cloyingly male-dominated plot. What we lose in the storyline is made up in visual brilliance. The grimy style naturally suits the subject matter and, for the most part, despite the ambitious imagery of the landscapes and the scale of the two armies, each computer-generated shot maintains detailed and believable levels of realism. This allows for incredible, panoramic shots which encapsulate the sheer immensity of the world. Black rain hammers on the impossibly huge Persian navy, swords shine and flash, and liberal use of swirling slow-motion effects are fluid and dazzling. 300: Rise of an Empire is admirable for knowing precisely what kind of film it wants to be; one that channels style over substance, and visual intensity over plot development. Jack Stacey

FORGE’S DESERT ISLAND Every fortnight, we ask a couple of our editors to pick their Fuseesque desert island necessities. This issue we ask our sports editors which items they couldn’t live without.

MUSIC: It takes a nation hold us back - of millions to Public Enemy GAMES: Grant Theft Auto V

Joseph Bamfo

rd: sports edit

ARTS: Soccernomics - Simon Kuper SCREEN: Supern atural

gainst A e s i R nd Gamheine E : C I MUS the Mac urismo 4 T n a r G GAMES: is Ryan r h C k c a eB RTS: Strik

op Gear T : SCREEN itor

: spor ts ed

yman Thomas P

MUSIC: A Rush of

Coldplay Blood to the Head -

GAMES: F

IFA 2001

ARTS: The Curiou Jack Taylor: sp

orts editor

In the Nights TInimcident of the Dog e - Mark Haddon

SCREEN: A Touch of

Frost