Fuse Issue 75 by Forge Press

Fuse.

The Woman In Black What makes a great horror game? The Heeley Development Trust Horror films around the world

Friday October 24 2014

Short Fuse.

Comments and rants on entertainment news.

Official Nintendo Magazine (2006-2014): gone, but not forgotten.

ctober 14 was a sad day for many Nintendo fans, as with its 114th issue came the end of the monthly periodical Official Nintendo Magazine. The publication, which has been running in the UK since 2006, provided exclusive news of upcoming games and events, as well as reviews and features concerning everything within the Nintendo community. In a statement on their website, Nintendo said: “this was a joint decision...we have decided to direct efforts towards other channels to communicate with fans, and (ONM publisher) Future is focusing on a core of existing sites including the recently launched Kotaku UK, which Nintendo says that they will contribute to.” These “other channels” refer mainly to their Nintendo Direct broadcasts, and this decision brings

with it the question as to whether or not print journalism has a place in the gaming world anymore. On the surface Nintendo’s decision appears pragmatic; with the increasing focus on social features in newer games and the availability of information on sites like Twitter and YouTube, asking fans to pay a subscription for information that they are getting for free on the internet seems almost ridiculous. Also, such sites provide updates daily, whilst the information in the magazine is only correct at the time of going to print. That said, rivals Sony and Microsoft are sticking with their magazine equivalents (which are also published by Future), suggesting that they do not think that print has completely lost its relevance within the industry, and I would be inclined to agree. As a company who made a living off of a largely younger au-

dience through the DS and iconic characters such as Mario, It was an oversight on Nintendo’s part to scrap ONM. Many younger kids are not on social media in the same way as older gamers, and for these children a magazine is their way of finding out about their favourite games. At the end of the day, though, Nintendo is a business, and by going completely digital they may be hoping to gain some economic ground on their competitors, especially after the PS4 greatly outsold the WiiU this year. But by neglecting the younger generation that previously made Nintendo great, they may simply be losing money by opening up a market for Microsoft and Sony to slip into. Matt Mills

Reddit AMAs: close encounters of the virtual kind.

he cult of celebrity that we live in today revolves around contact. We think we know celebrities because we see their faces everyday; they plaster the covers of magazines. We think we’re friends with them because we see their thoughts and we read their jokes on Twitter. They talk to us but we don’t talk to them. This is not the case for the the Reddit AMA (Ask Me Anything), founded in 2009.

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

In his ongoing campaign to be both the president of the USA and the Most Relevant President Ever, even Barack Obama has taken part in an AMA. He answered 10 questions, equally serious and mundane – “What are you going to do to end the corrupting influence of money in politics during your second term?” and “What is the recipe for the White House’s beer?” were among the questions asked. His presence on this thread, however,

enforced a kind of validity on the AMA format as a way to instantly find out important things about important people. Sometimes AMAs can go spectacularly wrong. Given the allinclusive nature of the session, uncomfortable questions are bound to be asked. Whether they are answered is another question. Not all questions asked have to be answered by the celebrity, they pick and choose as they want, but Last week saw the opening in London of a sculpture exhibition with a difference. Belgian artist Carsten Höller’s exhibit, Garterkinden, is specially designed for children to play on and includes a giant dice that children can crawl inside and (for some reason) an octopus. We wonder how many adults will be wanting to take their shoes off and have a go.

each question dodged and not answered is available for all to see on the thread. When Perez Hilton bravely decided to do an AMA, he received serious backlash from hundreds of people wanting to knock him down a peg for his outrageous and tacky gossip column writing. The thread remains after the session as a moment in time. Any mistakes that the celebrity made (if they are brave enough to do it without a publicist present) are

indelibly written on the internet’s canvas, as everything written on the internet is. The format could be critiqued by some – for one thing, it’s just a chance for an egotistical actor to talk only about themself for an hour – but in reality, the AMA brings that air of closeness to the celebrity that until the last decade was not achievable. We really can ask them anything. Annie Mullineux Texan tourist David Willis found himself living every book-lover’s dream on October 16, when he realised he’d been locked in the Trafalgar Square branch of Waterstone’s after closing time and had to use social media to get himself rescued. If it had been us, we would have built a kick-ass fort out of dictionaries and then spent the night inside it reading graphic novels.

Friday October 24 2014

e at Fuse have always known that we’re awesome, but it’s nice to have somebody else tell you it every once in a while. On Wednesday October 15, the Guardian released the shortlist for their annual Student Media Awards. Not only did Forge Today find itself nominated for Website of the Year alongside the likes of Nottingham, Warwick and Cambridge, but Fuse’s own Rhys Handley was nominated for Student Critic of the Year. If anybody hasn’t read Rhys’s writing, you’re in luck; you’ll find his name

Editorial. at the bottom of more than a few articles this fortnight, and they’re bloody brilliant. Rhys, if you don’t come out on top when the winners are announced at the end of next month, we’ll eat our own shoes. But Rhys isn’t alone; we get dozens of awesome writers coming to us every issue, and if you want to be one of them all you have to do is come to one of our contributor meetings to get your first article! This lovely issue went to print a week before Halloween, so we’ve filled our pages with all sorts of frightening features. This week The

Woman in Black returned to the Lyceum in all its pant-wetting glory. Our Arts section loves it so much that they devoted two whole pages to telling you how great it is. Over in Screen we look at the international horror scene - because, in the words of Screen editor Sophie Maxwell, “there are other foreign horror movies besides Ringu” - while Games ask the eternal question: what exactly makes a good horror game? Music are bucking the trend, but then again it’s difficult to make music and horror work together. Instead,

they’ve decided to look at the Heeley Development Trust, which is helping Sheffield’s ceative community to thrive. And as usual, if you find yourself with nothing to do, our lovely Listings page has all of the best events happening around the city in the next fortnight. Happy reading, and make sure you eat all your Halloween chocolate before the Christmas decorations go up on November 1!

This issue’s fab front cover comes courtesy of Phillie Spottiswoode.

Phil Bayles & Kate Lovatt

Opening the borders of the Man Booker Prize can only broaden our horizons.

he Man Booker Prize for fiction was set up in 1968 and originally only open to Britain, the Commonwealth countries and the Republic of Ireland (provided the book was written in English and published in the UK). For the first time in the Prize’s long and controversial history, the entry requirements have altered this year meaning authors of any nationality have been allowed to enter. This naturally has sparked outrage amongst literary giants - everyone’s a critic. But what is all the fuss about? It’s about time Britain stopped clinging onto its ‘Great’ past and started to become more inclusive in the modern global market. When, earlier this year, it was announced that entry into the competition would be open globally, the main concern was the supposed inequalities it may lead to. The largest threat to the Man Booker Prize

is inevitably borne from America. Its well-funded and cohesive literary schemes mean the rest of the world are constantly playing catch up with US publishing giants. Yet I fear the Man Booker Prize has been somewhat underestimated. The sceptics claiming an unfair bias towards America ought to reevaluate their pessimism, considering that just two American novels were shortlisted and in fact it was Australian Richard Flanagan who bagged the 2014 prize for his novel The Narrow Road to the Deep North. Fears of total American domination are perhaps not quite as bad as one may have originally thought. The Man Booker Prize was set up when the last remnants of a British Empire had long been extinguished. It made sense for the entry criteria to include Commonwealth states in its prestigious award. But how far are we prepared to fight for tradi-

There are no winners in the war between major record labels and independents.

n June of this year, YouTube announced it was launching a premium ad-free service in conjunction with the three major labels (Universal, Sony and Warner). While licensing deals have been signed off smoothly with the Big Three, most independent labels have refused to accept the terms of the service. As a response, YouTube has started bullying them, threatening to remove their videos from its website. The reason behind the dispute is the unfair royalty rate that indies have been offered compared to the lucrative rate offered to the Majors. Unofficial videos using banned songs as soundtracks will be allowed; which seems like an attempt to put the squeeze on artists while trying to exploit their work at the same time. Since its launch, YouTube has offered an invaluable service to mu-

sicians, allowing them to increase their exposure and enlarge their fan base at basically no cost. However, YouTube’s takeover by Google in 2006 seems to have changed the site’s original ethos. The multinational company is ultimately driven by profit, and the easiest way to increase that is through popular entertainment, which is mainly provided by artists who have signed with a major label. From this perspective, a deal that would obscure the visibility of the indies and benefit major labels at the same time doesn’t seem like a coincidence. In a world where profits are the only imperative, indie labels are the last bastion of music integrity. The freedom of expression and the full creativity they grant to their artists have made them extremely relevant in the production of genuine music. Once Downton finishes with its inevitable season finale cliffhanger, leaving fans reaching for a full tub of Ben and Jerry’s with tears in their eyes once again, the knowledge that there’s a whole year to wait before more Crawley action is disheartening for many. But fear not, you can liven up the wintry months by purchasing the Downton Abbey Christmas soundtrack, which will include 45 songs and is available from next month.

However, it’s way too easy to glorify the work of the indies and forget the contribution major labels have given to the industry. Some of the best artists in the world would have remained in the shade without the support of the Big Three. Moreover, they have started adopting some of the methods of the indie labels. This, combined with their enormous resources they have, can be of great benefit to the industry. In a business that gets more complicated everyday it’s hard to tell what the future of the labels will be. The world of digital music is currently at war and everybody will lose if those who the power lies with forget what music is really about: a passion that goes beyond money. Arianna Fazio

In a great day for ginger rights activists, US talk show host Conan O’Brien revealed this week that he would be lending his voice (and signature hairdo) to the upcoming game Lego Batman 3: Beyond Gotham. Clerks director and diehard Batman fan Kevin Smith will also be available as a playable character in the game, which will be released on November 14.

tion before we realise the relevance of the Commonwealth is diminishing before our very eyes? The 21st century is a time of global communication, global trade and global cultures. No longer can Britain keep within the safety net of archaic empires gone by, and by extension nor should we exclude other countries from sharing their literary brilliance and talent purely because they weren’t born into our entry requirements. The concept of ‘border control’ on literary prizes is outdated, and the decision to allow any country to enter into the Man Booker Prize can only mean positive outcomes for those involved. If the prize allows the quietest of voices from the furthest of places to be heard and published, then who are we to criticise? Jo Gallacher

Friday October 24 2014

COMMUNITY MATTERS

MUSIC AND THE HEELEY DEVELOPMENT TRUST Rachel Bell takes a look at the role music has been playing in the sparking of a community development project in Heeley.

hile music and community means a lot of different things to many different people, one area of Sheffield has been doing all that it can to enable the two to walk hand in hand strengthening community bonds and encouraging resident sociability along the way. The Heeley Development Trust is an independent charity based in Heeley, Sheffield that has actively been working to “increase the economic stability of the area, and make it a thriving, inclusive and creative community to be part of”. And it’s the ‘creative’ part of that statement that is proving to be one of the most exciting and enduring of the scheme. With various events and “community celebrations” taking place, along with deeper investments into nurturing creative talent (such as the Sum Studios), the Trust has managed to successfully provide a platform for quality artists to perform and for the Heeley community to actively engage with such events... The Heeley Institute is one such venture of the trust. A Grade II listed building, the Institute provides the space for various gatherings among Heeley resi-

dents. It also serves as a unique concert venue. With an emphasis on the folk/acoustic/roots scene that thrives in Sheffield, the Institute has played host to esteemed acts such as Chris Wood, Martin Simpson and Maia.

“The Trust has struck a chord with those who are proud to call Sheffield their city” It’s of particular testament to both the success of previous events, and the dedication and vision of the staff at the trust that Martin Carthy – one of the most influential figures of British traditional music (and a considerable

influence on his contemparies Bob Dylan and Paul Simon) is to play there in November. Elsewhere, events such as the Heeley Festival, and the Big Boulder Music and Arts Festival have both provided further opportunities for community fun. They also serve as a platform for local and younger artists to perform. The Big Boulder Festival took place on the September 7 at Heeley Park, and the line-up included Phil ‘Swil’ Odgers, Orchestre Ruffanti, and The Silver Darlings. It’s particularly exciting then, to see how such projects can be so beneficial to those on both sides of the spectrum. Residents enjoy the festivities, and artists (especially local ones) take the opportunity to forge deeper connections with

their audience. The very vision of the trust seems to have struck a chord with those musicians who are proud to call Sheffield their city, which again attracts attention to the projects that are circulating. It’s pretty damn cool to have the two elder statesmen of the Sheffield scene (Jarvis Cocker and Richard Hawley- pictured) flittering about on the decks as they were at the 1st birthday party of the development trust’s Sum Studios. The Trust are eager to capitalise on the success of their creative endeavours to encourage, and want to continue the growth of creativity in the community. In an exciting development, they have just begun to work with the University of Sheffield’s music department

in order to co-ordinate research into the value of music within Heeley. Upcoming events over the next few months at the Heeley institute include Ashley Hutchings (the founder of Fairport Convention) and son Blair Dunlop, Martin Carthy and Chris Wood.

“It’s cool to have the two statesmen of the Sheffield scene flittering about on the decks” If you would like more information on the Heeley Development Trust and the kind of things that are going on the visit their website http:// heeleyonline.org

Friday October 24 2014

Horror

A taste of the best foreign-language horror films out there...

El Orfanto (Spain, 2007)

Let the Right One In (Sweden, 2008) Based on the novel by John Ajvide Lindqvist, Let the Right One In tones down its source material’s super gory nature in favour of the endearing, twisted romance between youngster Oskar and the androgynous, centuries-old vampire Eli. Child actors Kåre Hedebrant and Lina Leandersson are impeccably selected, emanating captivating curiosity and maturity. The cool detachedness in Alfredson’s treatment of Eli’s vampirism is utterly Scandinavian - the sparse, brutal scares are played frankly leaving Hedebrant to carry the emotional direction of the piece, developing subtly as time passes. But what makes Let the Right One In so appealing is the absolute humanity at the core of its off-kilter, terrifying subject matter. The central relationship is uniquely beautiful and empathetic - which is why this is an essential example of not only foreign horror, but world cinema.

Years following her time spent in an orphanage, Laura returns with her husband Carlos and adopted son Simón with the dream of refurbishing and reopening the safe haven for disabled children that she remembers. This hope soon turns turbulent, however, as the seven year old Simón tells his mother that he can see Tomás: a child who hides his deformed face under one of the eeriest sack-cum-masks exhibited in cinema. In an attempt to lift spirits, Laura throws a party at the orphanage which ends in disaster as Simón runs away from her. Six months later, Simón remains unfound. The agonising search for Laura’s son not only breaks the hearts of the audience, but also offers twists and shocks that scare the bejesus out of them. Full of creepy old ladies with unidentifiable motives, children in weird masks and psychological terror as we realise that our own pasts and actions can create our own horrors, El Orfanto is a film credited for its absence of ‘cheap scares’; being replaced by truly unexpected and horrifying ones. Chloe Bolton

Rhys Handley

Martyrs (France, 2008) Tetsuo: The Iron Man (Japan, 1989) Metal rusts just as flesh rots, but what if the two were one? Tetsuo: The Iron Man is the first in a trilogy of cyberpunk body-horror films by cult director Shinya Tsukamoto. It tells the tale of a salaryman who is infected by a ‘metal fetishist’ (played by Tsukamoto himself), causing his body to morph into scrap metal. Set against a backdrop of urban decay, and shot in metallic black-andwhite, the tensions between man and machine become terrifyingly heated. Coarse metal violates the protagonist’s body similar to the way technological trends like iPhones and Twitter inject themselves into society. Tsukamoto smartly avoids moralising, instead clouding the almost dialoguefree film with ambiguity, forcing you think about the murky themes at play. He also manages to horrify with his editing and cinematography, making up for a miniscule budget. Don’t fret though, as the gory special effects will leave you scratching your body, hoping that your skin hasn’t turned into jagged iron. Joe Brennan

I’ve been asked many times to name a truly scary movie, not one of those soft-core pieces of junk, but one badass horror movie. Every time, my answer is the same: Martyrs. This is, in fact, according to the opinion of critics, the kind of movie that has raised the bar of the whole concept of being “scary”. Directed by Pascal Laugier, the film explores torture and suffering with sharp precision. Here you will find nothing paranormal, and no stereotypical whining female victims. Instead we’ve got abused women looking for revenge in a house full of true-to-life horrors. This movie has no mercy for the audience and will shock you with its ruthless violence, its appalling potential, and some old fashioned thrills thrown in. Martyrs is the darkest place where our worst fears are buried. If you choose to unveil it, consider yourself warned. Mariaclaudia Carella

Friday October 10 2014 Friday October 24 2014

Horror games have been making our skin crawl and our blood curdle for years. But what is it about them that makes us squirm? Tim Metcalfe finds out.

WORDS: TIM METCALFE DESIGN: ROBIN WILDE

Friday September 19 2014 Friday October 24 2014

5 7

he most essential quality of any great horror game is surely its ability to instill an emotional reaction, a genuinely unsettling sense of fear, in its players. However, with the increasing diversification of the games industry, there are now more ways than ever to deliver such spine-tingling scares. With the recently heightened popularity of indie games for example, and the growing credibility of mobile gaming as a viable platform, developers of horror games have never had more tools available with which to ply their trade. Adding to this the inherently idiosyncratic nature of fear - what is terrifying for one person might be quite tame for another - it’s clear that pinning down what makes a horror game ‘great’ is quite a difficult task. Nonetheless, there are certain qualities common to successful horror games. Perhaps the most obvious, if vague, prerequisite for a horror game is the unsettling atmosphere communicated to the player. Just as a successful horror film must convey a palpable sense of ‘horror’, so too must a successful horror game. Exponents of the modern ‘survival horror’ genre (Silent Hill, Resident Evil etc.) achieve this atmosphere by creating richly-textured, realistic and interactive environments, where scariness is amplified by a player’s immersion in the game. However, other genres may make use of much more minimalist, stylised visuals to achieve a similar effect, as in the wildly successful puzzle-platformer Limbo, which derives great atmosphere from its singular, monochrome visual style. Further games have been able to generate their atmosphere using almost no visuals at all, like the recent text-based adventure The Uncle Who Works For Nintendo, which derives its scares by holding back just enough narrative information to both intrigue and unsettle the player. In this case, with such sparse visuals, audio becomes more important in evoking an eerie ambience - in fact, players are encouraged to wear headphones to optimise the horror experience. This example is particularly important because it illustrates that the role of great storytelling, and the ways in which a story is told, can be just as important (and some might argue more so) than its visual representation. A secondary attribute prevalent in successful horror games is the way in which stories are structured to exploit the advantages of games as a medium. That is, the potential for scaring the player should be enhanced by interactivity, given that the player is usually responsible for, and identifies with, the protagonist. This occurs in varying ways across horror games of all stripes. For example, some games (Dead Space) opt for relatively linear gameplay, guiding the player into pre-established scenarios conducive to jump-scares. Conversely, other games have employed much more open-world-style gameplay, in which players are free to roam around an environment and discover for themselves each terrifying intricacy. Recent games (Grave, The Forest - both still in development) have adopted this style, allowing the player to share the protagonist’s paranoia and disorientation, augmenting the horror experience. Successful experimental (albeit non-horror) game The Stanley Parable went a step further, employing meta-narrative elements to more explicitly and directly involve the player, questioning and undermining his/her actions in order to unsettle. Therein lies both the hallmark of successful horror games and the future of the genre - an ability to create an unsettling experience using great storytelling and audiovisual effects, and to strengthen this atmosphere by using narrative techniques exclusive to the medium to involve the player. The recent ‘biofeedback game’ Nevermind is a great example of this: it uses physiological cues to assess players’ levels of fear and dynamically alters gameplay on this basis, providing perhaps the most literal player-game interaction conceivable. Though there are countless other elements that might add to a great horror game, at its core the genre must first deliver on two basic principles; It should deliver a genuinely unsettling atmosphere, and it should communicate that atmosphere via original and engaging player interaction.

Friday October 24 2014

The Woman As the West End production of The Woman in Black is about to start at the Lyceum this month, Jo Gallacher decided to take a look at the history of the world-famous play, from classic gothic novel to Hammer film.

o you believe in ghosts? Absolutely not? Are you sure? Your disbelief in all things supernatural may soon be questioned when Susan Hills’ classic gothic horror tale The Woman in Black creeps into the Sheffield Lyceum this Halloween.

The gothic genre in novel form has been popular for centuries, with classic works such as Dracula and Wuthering Heights becoming a rite of passage for all GCSE and A-Level English Literature students. A fascination with the supernatural and barbaric has meant gothic literature is an ever-popular form of literature which helps fuel our intrigue of the unknown. With this in mind it may be surprising to hear that after The Woman in Black was published, alongside a few nice reviews, it was turned into a paperback left to become dusty on a Waterstones shelf. Yet this harrowing tale was, for a multitude of reasons, never to be forgotten about. Thanks to actor turned playwright Stephen Malltratt, who happened to pick up the book for a holiday read, the novel was transformed into a play four years later in 1987. The play was first performed in Scarborough, at the Stephen Joseph Theatre for a six-week run as a budget Christmas show. It was taken to the West End a year later and has enjoyed years of success in London, on tour, and across the globe. Currently it resides at the Fortune Theatre in Covent Garden. The Woman in Black is now the second longest running play in the West End, with only Agatha Christie’s The Mousetrap in front. Not bad for a six-week show. The popularity of the hypnotic ghost tale was furthered due to the release of the 2012 Hammer film adaptation starring Daniel Radcliffe, this time without his broomstick to easily get him out of sticky situations. Although it was almost impossible for the film to match the success of the stage show, it undoubtedly solidified The Woman in Black as a classic example of gothic literature. So much so that there is set to be a film sequel, The Woman in Black: Angel of Death, which has just started production. But what is it about the play in particular that makes it so popular to audiences?

It could perhaps be that there’s just something sinister to it that allows us to see elements of the human psyche we may wish didn’t exist. Revenge, betrayal and isolation all play their part in allowing the audience to delve deep into the hidden side of human nature as well as receiving complimentary goosebumps throughout. The Woman in Black tells the story of Arthur Kipps, a solicitor who is sent on a trip to Crythin Gifford to settle the affairs of a recently deceased woman, who lived at an old house on the edge of town. When Kripps begins to sort through the paperwork, he begins to notice things aren’t quite as they seem and soon begins to question the supernatural, with the border between imagination and reality becoming more nebulous as the play goes on. A gothic tale would not be complete without a touch of the supernatural, so in comes everyone’s favourite element - a ghost. Forget the Dickensian view of friendly ghosts visiting at night to help uncover the error of your ways, this ghost is bitter and out for revenge. The ghost of The Woman in Black is malevolent and ominous, adding to both the gripping nature of the play and its popularity amongst a range of audiences. A huge bonus to the show are its ‘access performances’ whilst on stage at the Lyceum. Throughout its week in Sheffield, there are audio described, sign language and captioned performances. This means more people are able to enjoy the classic story and the power of the gothic genre, regardless of disability. Furthermore, the Lyceum also offers a student discount on tickets so there really is no excuse to miss the show! (Sorry to disappoint all of you scaredy cats). If you are looking to get into the Halloween spirit without dressing up like sexy kittens or zombie monsters, then a date with The Woman in Black may be just what the witch doctor ordered. Who knows, it might just make you wonder what if?

Friday October 24 2014

n In Black

Words: Jo gallacher design: joss woodend

Friday October 24 2014

Fuse Games. Middle-earth: shadow of mordor Monolith

eveloped by Monolith Productions, Middle-earth: Shadow of Mordor is an open world RPG and the world’s premier orc-bashing simulator. The game takes place in-between the events of The Hobbit and The Fellowship of the Ring, and follows the story of Talion, who is imbued with the power of a mysterious wraith. Fuelled by their mutual hatred of Sauron, Talion and the wraith embark on a quest to kill as many of his orcs as possible. Bravely expanding on the existing lore with some pretty hefty revelations, the narrative left me grinning almost as often as when I was chopping up greenskins. I also grew to love Talion, and despite seeming like a contender for an Aragorn look-alike competition, I truly felt for him, and wanted to see him succeed against the innumerable odds. After a short introduction sequence, the game throws you straight into the open world of Mordor, leaving you free to do whatever you like. This is where the fabled ‘Nemesis

Super Smash Bros for Nintendo 3DS Sora Ltd.

ollowing the major success of Super Smash Bros back in 2008, Nintendo has graced us with the next instalment on the 3DS before its Wii U cousin. Now Nintendo fans can fight with their favourite characters from the wide variety of franchises on the go. Super Smash boasts an impressive 51 characters this time round. While that sounds like a lot (12 more than the previous iteration), it should be said that a few of these ‘new’ characters are simply clones of current champions with almost identical move sets, like “Dr Mario” and “Classic Mario”. On the other hand, the new characters that aren’t clones do feel unique in their play style and add a lot of value to the game. Stage-wise, there’s a lot of variety to cater to various tastes, but the fact that almost one third of the maps

System’ comes into play. This system means that every orc captain is randomly generated, right down to their strengths and weaknesses. The individuality and diversity of these endearing little devils really struck me to the point where I almost felt bad about decapitating them. Almost. These captains will also remember you; if you burn them in a fight, they will bear the scars, or if you run away, the next time you meet them they will make fun of your cowardice. It really makes you feel like an integral part of the narrative, rather than an observer. The fluid animations and brutal finishing moves make fighting a joy to behold, and the addition of wraith abilities also serves to vary the combat, preventing it from becoming a button mashing fest. If for some reason you don’t find combat enthralling, you may find the game to be very repetitive because Shadow of Mordor doesn’t do a whole lot else. But seriously, who doesn’t want to spend their time hacking greenskins to bits? Matthew Reynolds

are returning from the previous game is also somewhat disappointing. Quelling fears that arose from the game’s announcement, Smash Bros usually keeps it easy to keep track of your character on the 3DS screen – although this issue does come to light in a couple of multiplayer maps. In addition to the classic brawl mode, Smash Bros 3DS also hosts a number of other exciting game modes. ‘Solo’ mode has you picking a character and battling through several stages to reach the end boss fight, while allowing you to adjust the difficulty quite significantly for different rewards. The goal of the new 3DS exclusive ‘Smash Run’ is to beat as many enemies as possible in a given time period. Nintendo also incorporated a number of small ‘mobileesque’ games, including “bomb-blast mode”which would seem heavily influenced by the iconic Angry Birds. While this isn’t going to keep a players attention span for more than ten minutes, it’s something fun to do while waiting for a bus.

FINAL FANTASY xiii SQUARE ENIX

very time a new game is released in a popular series, there is always pressure to make it better than its predecessors; especially the 13th time round. But with this re-release for PC, the most recent instalment of this venerable RPG series deserves a reappraisal. Final Fantasy XIII is yet another addition to the family of well-known video games developed by Square Enix. It tells the story of a group of characters, all with clashing personalities and goals, coming together after becoming fugitives with newly gained magic powers. It’s returned to PC at a discounted price and with a 50 gigabyte download to boot. Now, any true Final Fantasy fanatic would tell you the best in the series is Final Fantasy VII and it will arguably never be topped. Breaking the mold back in 1997, it is still the best selling of the series, reaching almost ten million sales. FF VII lived up to its name as an RPG, whereas in FF XIII, although classified as an RPG, there is very little availability to roam freely. Also, unlike FF VII, you can only play as

These modes in particular became one of the highlights of the game for myself. Super Smash Bros hasn’t changed that much over the years, but then again, why tinker too much with a recipe that has proven time and time again to be hugely successful? The new

one player during battle while any companions act as non-playable characters. This was one of the greatest functions in other Final Fantasy games, when you were able to alternate between the spells and melee attacks of different characters during a singular battle sequence. Although Final Fantasy XIII may not live up to the hype of its glorious older brother, it still has some addictive qualities, which keep the player enthralled. Like previous games in the series, you have a wide variety of weapons and spells to scroll through and equip your characters with. Alongside the stunning graphics, enhanced by the extra graphical power available on PC. The storyline is also exciting – even if the dialogue consists mainly of weak comebacks and heavy sighs – and convinces you to continue playing. Final Fantasy XIII is a good game for those of you who are unfamiliar with the series; but may not live up to previous expectation (but you probably already knew that). For those new to the series this PC release may be worth picking up, but it offers little new for long-time fans. Jonathan Pickles

3DS version is a worthy addition to the Smash Bros franchise, and overall does a good job of upholding the game’s prestigious legacy. Joey Relton

Friday October 24 2014

Fuse Arts.

Trainspotting

University Drama Studio

otentially one of SuTco’s greatest achievements, Trainspotting drags the audience into the sinister world of four heroin addicts living in Edinburgh. Not only did the cast of four manage to impeccably maintain thick Scottish accents, they successfully depicted the distressing realities of drug addiction. The set and production is minimal, leaving the cast to amaze the audience purely with their emotional intensity. Isaac Whiting, Jack Solloway and Eve Cowley flawlessly multirole, while Jack Young (Mark) maintains a powerful sadness throughout his narrative. The harrowingly realistic manner in which heroin addiction is presented causes extreme moments of discomfort for the audience and is particularly commendable as the severe darkness of drug addiction is such an alien concept to the four young university performers. The production does not have an

THIS IS MY FAMILY The Lyceum

unny, witty, and even heartwarming at points, This Is My Family, written by Tim Firth, tells the story of a 13 yearold girl, Nicky (Evelyn Hoskins), who enters her family into a competition which, of course, they win. The prize is an all expenses paid holiday to wherever they please, and Nicky chooses the dismal lake resort that her parents first met. The play tells the story of our main protagonist, the excitable young Nicky, and five of her family members. There’s Steve (Bill Champion), her eccentric father, who seems to be in the stage of a midlife crisis and her exhausted mother Yvonne (Clare Curt), who just wants an easy lifestyle. Matt (Terence Keeley), her moody, goth brother, who is uncooperative with his family and obsessed with his wife, May (Marjorie Yates), who we never see. Her senile grandmother who is not really sure what is going on anymore and last, but not by any means least, is Sian (Rachel Lumberg), her kooky auntie whose main interests seem to be strange men and ostentatious cars. Each character was hilarious in their own way, and each actor gave a convincing performance, but the show stealers have to be Rachel Lumberg and Terence Keeley. Both actors seemed to gain the greatest number of laughs from the audience, more than likely owing to their brilliant portrayals of their characters. The actors did a superb job engaging with the audience who were

interval and as a result the chilling intensity of the piece is not dropped at any point. The only relief for the audience is the comedy that derives from the sexual experiences of the characters and occasionally seeps through the bleakness. The audience is pulled into conflicting emotions of anger, empathy, fear and sadness. Particularly powerful aspects are Solloway’s disturbing exuberance as he portrays domestic abuse, Whiting’s uncomfortable deterioration as ‘Tommy’ and Young’s unnerving ability to display the trauma and physical pain involved with going ‘cold turkey’. As the only woman of the cast, Eve Cowley adds a tragedy to the piece through the emptiness of expression as she deals with the loss of a loved one. The male characters continuously objectify women throughout the play, but she holds her own in the male cast and displays a faultless ability to switch between accents. Trainspotting is an utterly compelling piece of theatre.

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Laura Marsden one minute laughing and the next in tears. When writing the play, Tim Firth obviously made the effort to create a variety of characters that he knew would relate to his audience. With a play as exciting as this (not a sleepy eye in the room) it is difficult to notice any faults. The only piece of criticism is the lack of variance in the musical tune, although it still kept a good flow, and it was disappointing that Matt only became cooperative after he ditched the trenchcoat and make up, which plays on the negative stereotype of goths. Highly recommend for all members of your own family! Jonathan Pickles

BOOK CORNER Heir of Fire

“Funny, witty and heartwarming”

Sarah J Maas

he latest book in the Throne of Glass series, Heir of Fire, has just been released. Celaena Sardothien, Adarlan’s greatest assassin survived a year in Endovier Salt Mines as a slave paying for her crimes, passed deadly trails against the best assassins of the land, became the King’s Champion and defeated two beasts from a hellish dimension while managing to keep her most dangerous secret of all: she not only is Fae (a magical being in a land where magic is banned) but is also their heir to the Tarrasen throne. But now Chaol knows her secret and she’s been sent to a land where magic is free, by the orders of the King, to kill the Prince and King of Wendlyn – or so book two leaves us off. This book does not disappoint and for those of you out there who

haven’t read the first two books I encourage you to do so. With fiery writing of a 21st century author, the mix of the words of today and another world entirely with fae, demons, cruel kings, assassins, smouldering guards and charming princes creates a beautiful blend for an action packed story. Introducing a new thread to the plot of this book would be the Ironteeth witch, Manon, who, with her bloodthirsty 13 – the fiercest coven of the Blackbeaks – are now set on a mission by the evil king to train as an army and ride wyverns (the dragons of this world) for some unknown, unspeakable agenda. With Celaena across the ocean in the land of Wendlyn another new character is introduced: Rowan, a prince of the fae. With so many characters on different paths this book is unlike the other two which mainly centred on Celaena’s story, but encompasses the fight she has endure to overcome the death of her family and best friend along with Prince Dorian’s struggle with magic, his best friend Choal’s search for honour in an honourless place and the cousin Celaena’s character only hinted at before returns dramatically after being deemed “Adarlan’s whore” for the past 10 years after he turned his back on his own people to do the King’s bidding. As always, the ending leaves so much more to anticipate in the next novel with each character scattered across the globe, two in mortal peril and one poised to start a war. Chloe Green

Friday October 24 2014

Fuse.Albums. music Fuse jessie ware Tough Love

essie Ware has recently been thrust into the acclimed region of the popular musical sphere through collaborations with such recognised EDM artists as Disclosure and SBTRKT. However, the singer has recently released solo album Tough Love, perhaps in an attempt to separate herself from her counterparts and find some individual recognition in a busy area of the charts and yet sadly this album fails to make any impression. Title track ‘Tough Love’ sets the scene for a piece of work with little creative force and even less musical substance, with poppy, euphoric

Weezer

Everything Will Be Alright In The End

usically, Weezer have been MIA for a long time. Following the euphoria of the nerdy garage-poppers’ first three albums, their experiments with glossier avenues of sound proved controversial and unsuccessful. Their latest, Everything Will Be Alright in the End, is a course-correcting mission statement - a message to fans who remember the 90s that Weezer know who they are again. Frontman River Cuomo rediscovers his signature balance of awkwardness and charisma, as opener ‘Ain’t Got Nobody’ shows in the lyrics’ achy nervousness. Lead single ‘Back to the Shack’

backing and tinny percussion that serves little structural purpose. Ware’s singing is not uncomfortable, however, and at points her ability to hold a simple melody whilst retaining an essence of sophistication is admirable, with the hook on ‘Tough Love’ being an example of the well restrained, sombre and melancholy vocalism heard throughout. As the album progresses there is very little worthy of comment, as tracks blend into one another in a stream of bland writing, anti-climactic vocals and apathetic producing. There are some rare moments of beauty to be found here. The more folky, singer songwriter styled ‘Say You Love Me’ is a stand out, Ware’s voice sensually sliding over a simplistic R+B beat before coming to an emotional climax with a gospel

choir. Jessie Ware has the perfect voice to take over a scene, but it is apparent here that she may not be able to do it alone. The guidance of other writers could be an essential ingredient in catalysing her talent and pulling her clean from bland albums like Tough Love.

deals with the band’s past and aims squarely at the future, apologising to the fans who were dismayed at their increasingly overproduced, false recent output. The words are clunky and unsubtle, but nothing beats the nostalgic joy of hearing Cuomo sing about his “Strat with the lightning strap.” The album feels complete, straight-up and unpretentious, with guitars turned up to eleven, crunching and whining their way through 42 minutes of garage-y pop abandon. Weezer haven’t been this musically honest since The Green Album. But Everything is more than a nostalgic throwback, there’s also hints at progress in the bands sound with everything feeling bigger, more epic and ambitious than it used to. The album closes on a glorious, geeky three-part suite, that peaks and troughs

with different moods and mindsets across the instrumentals - ‘Waste Land’ and ‘Return to Ithaka’ - and hits classic Weezer melancholy on mid-section anthem ‘Anonymous’. Preposterous guitar solos fly everywhere and the drums are strong and storming as Cuomo shows that he’s still the same shy, introverted weirdo he used to be - he just wants to be good enough. On Everything, he’s finally found

Stanley Penrose

his way back to the sound that made him. Now, where he takes it could be a very interesting journey. Rhys Handley

Caribou Our Love

our years after the release of electronica milestone Swim Canadian composer Dan Snaith, better known by his stage-name Caribou, is not short of sonic innovation for his recent release Our Love. It may seem to some an impossible challenge to follow as groundbreaking and acclaimed an album as Swim. However, Snaith seems to brush this qualm off of his shoulder when embarking on the creation of Our Love. Drawing on a variety of genres, ranging from deep house to trip hop, Snaith manages to uphold Caribou’s standing as one of the most eclectic and intriguing electronic acts on the scene. The warm ambient bass that runs throughout the album acts as a

backbone for further exploration. This is particularly evident in tracks such as ‘Julia Brightly’ and ‘Dive’, which wax and wain with the elegance of one of Aphex Twin’s Selected Ambient Works.

“One of the most eclectic and intriguing electronic acts on the scene” This elegance is briefly discarded during the album’s title track ‘Our Love’, which transforms tactlessly from an atmospheric slow-bouncing beat into a tiresome tech-house track. Although this transition may well go down a storm at a boiler room set, it breaks the album’s succession of well-crafted subtle build-

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ups, and feels like an easy ploy to please the BPM-freaks. Lyrically, Our Love marks a shift from the heartbroken character which Dan Snaith presented in previous Caribou albums (‘And the hope I had is dying/And what we had has come undone’ – ‘Melody Day’ from Andorra) to the repeated promises of devotion in the electro anthem ‘Can’t Do Without You’. In the stand-out closing track ‘Your Love Will Set You Free’, the lyrical despair returns (‘How hard it has been since I left you’) over a trademark Caribou synth line. This track acts as a reminder to listeners that underneath the experimental eclecticism lies the same artist that produced the much-loved folktronica classic Andorra. Jacob Steiner

Friday October 24 2014

liveFusemusic. Gigs. Photography: Charlotte Pick

Photography: Gavin Watson

Ella eyre Plug October 9

or 20 year-old soul singer/songwriter Ella Eyre, success is growing rapidly. She sold out her first UK tour earlier this year, is currently part way through her second tour and will be touring the USA with Bastille, who she has previously collaborated with. All this has been achieved from just her single, ‘If I Go’ and two EP’s ‘Deeper’ and ‘Comeback’, which includes her new single ‘Comeback’, currently at No.12 on the UK singles chart. Having only been signed to Virgin EMI since 2012, she is soaring to success, with her eagerly anticipated debut album out ollingvelvet early 2015. Ella had an awe-inspiring stage presence, being both humble and sweet; as she seemed genuinely overwhelmed by her audiences’ support and having achieved such success at 20 years old makes it no surprise. This admirable gratitude coupled with the incredible energy, power and intensity shown through her emotive lyrics and her expressive, soulful voice, made sure she emanated emotion and dominated Plug’s main room. From the beginning, after bounding onstage, proudly following her band and looking delighted to be there, Ella showed obvious energy and enthusiasm that continued throughout her set. ’Love Me Like You’, set the night off to a brilliant start, with her powerful, passionate vocals sending emotions reverberating around Plug’s main room.

Crocodiles The Harley October 9

ew genres have defined the 2010s’ indie scene more clearly than echo-y, melancholy surf-pop, so it’s a privilege to see the sound epitomised by Californian group Crocodiles when they own the stage at the Harley. Four albums in, the band has still yet to have a breakout hit, but it doesn’t seem to quell their infectious enthusiasm as the channel all the joy in the world into 45 minutes of shoegazing ecstasy. Guitarist Charles Rowell sets things off with an ocean of noisy, reverb-drenched sound that relentlessly massages it way through the ensuing bouncing, driven pop. His wall of sound washes back and forth constantly through the set. Singer Brandon Welchez - pencil-skinny husband to legendary Dum Dum Girls singer Dee Dee Penny - shuffles and wiggles on the spot. His backing guitar is unassuming but supportive, his vocals are at once downbeat and elated and his smile remains unbroken. In a time when it’s fashionable for bands to be antisocial, it’s refreshing to see Welchez grinning, bantering and constant-

‘Bullet For You’, off her new ‘Comeback’ EP, marked halfway, and had the audience singing along; to each other and back at Ella. Her slow,intense cover of Jermaine Stewart’s, ‘We Don’t Have To Take Our Clothes Off’, had the audience awestruck and the track that followed, ‘If I Go’, had Ella wide-eyed too, as the audience sang part of it alone. Her cover of Rudimental’s UK No.1 single, ‘Waiting All Night’, that she featured on, had everybody dancing along and her set-finishing cover of Sigma’s ‘Changing’, which was cowritten by Ella, left everybody wanting more. With ‘more’ consisting of an encore of ‘Home’, a slower, emotional song from her upcoming album and an unforgettable finale of her new single ‘Comeback’, everyone was more than satisfied. Charlotte Pick

ly thanking the unfortunately sparse crowd before him - this is a band that clearly plays music for nothing but the love of the form. From opener ‘Marquis de Sade’ onwards, there is a wealth of warmth, passion and talent to be mined from the four scrawny Americans onstage. As their catchy, playful melodies bounce off the back wall, it’s clear that they’re deserving of far greater recognition. In fairness, the audience Crocodiles have managed to draw are clearly receptive while there’s no mad dancing or volatile moshing, there isn’t a bored face in the house. The music is strong and immediately likeable, evidenced in the innumerable feet tapping along to every beat. There’s a sense of fun across the evening, from the slapdash indie-punk of support band Gäy to the rollicking cover of the Rolling Stones’ ‘Satisfaction’ that closes the night. All in all, Crocodiles are a band that should be on the way up. Their excellent musicality and immediate likeability make it a shame that - on album four - they’ve still not quite reached the audience they deserve. Rhys Handley

THE AMAZING SNAKEHEADS Plug October 14

ollowing the release of their debut album, Amphetamine Ballads, Glaswegian three-piece, The Amazing Snakeheads, brought their unique brand of punk to a small, but enthused crowd at Plug. Frontman and guitarist Dale Barclay’s fierce presence was palpable almost on entrance, and by the breakdown of their third song ‘Where Is My Knife?’, he had left the stage behind, and has the crowd dancing in a circle around him. Their distinctive sound drew on everything from Birthday Party-era Nick Cave to early Horrors material with renditions of dark punk tracks such as ‘Swamp Song’ and ‘Nighttime’. Although their style is rough and raw, William Coombe and Jordon Hutchison’s instrumental proficiency provide a firm base for Barclay’s fraught Scottish growls and gritty hard-rock guitar riffs, as well as his adventurous on-stage antics. They paused for breath only briefly before the downtempo

Photography: Grimygoods.com Photography: :Youtube/ rollingvelvet

‘Every Guy Wants To Be Her Baby’, a twisted lounge ballad along the lines of The Stooges’ ‘I Need Somebody’. Dale Barclay’s ferocious yet amicable interaction with the crowd was a highlight of the band’s set. He ventured into the crowd at various points throughout, rousing a bobbing audience into mosh pits. He even turned the microphone to a thrilled fan for the final verse of single ‘Here It Comes Again’ (duly rewarding him with a Carslberg). It was only during their performance of ‘Memories’ that Barclay pushed his luck, yelling vague atheistic propaganda over the song’s climax. Although the fans were unphased, this seemed unnecessary and errs on the side of overkill. The key characteristic of the performance was the band’s (and specifically Dale Barclay’s) unmistakable control of the crowd’s energy. From the thumping bassline of ‘Here It Comes Again’ through the sway of ‘Every Guy…’, the fans followed intently. Jacob Steiner

Friday October 24 2014

Fuse Screen. Fuse. screen THe Maze Runner Dir: Wes Ball

es Ball’s The Maze Runner is based on the dystopian trilogy of novels by James Dashner. For those who haven’t read the book, the story follows Thomas (Dylan O’Brien) who wakes up in the centre of a huge maze

SMALL SCREEN american horror story: freak show Dir: Ryan Murphy

espite the bad ratings of the last season of Glee, Ryan Murphy and Brad Falchuk don’t seem to have lost their talent and imagination. The first episode of American Horror Story: Freak Show, ‘Monsters Among Us’, is maybe the best opening episode of the entire series. Set in the city of Jupiter, Florida, the story starts in 1952 following two apparently different scenarios: life in one of the last freak shows in America, and the grisly adventures of a killer clown. The freak show, managed by the

CULT CORNER

hedwig and the angry inch

Dir: John Cameron Mitchell 2001

magine the twisted, adolescent love-child of The Rocky Horror Picture Show and The Adventures of Priscilla, Queen of the Desert and you find yourself with Hedwig: a camp, surreal and heartbreaking musical about transwoman Hedwig and her weird and wonderful life. Through flashbacks in the form of gutsy rock songs and drunken anecdotes, washed-up performer Hedwig reveals with painful honesty the (very) intimate details of her troubled past. She was born a boy in East Berlin at the height of the cold war and underwent a sex change in order

with no memory of anything but his name. In this maze, 60 or so boys called ‘Gladers’ – all without their memories – try to survive whilst the ‘Runners’, an elite group, attempt to find an exit. Their entire existence in the maze changes when Thomas arrives, a catalyst to the extreme events that follow. As with all book to film adaptations, there are plenty of changes. Most alterations, however, seem justifiable: telepathy no longer features, and nor does the Cliff. Thom-

German Elsa Mars (Jessica Lange), is a refuge for outcasts, shunned by society due to their physical deformities, among which are siamese twins Bette and Dot Tattler (both played by Sarah Paulson), who have the hard work of saving the precarious state of the freak show. Meanwhile, the story follows Twisty the Clown, who has already killed three people and kidnapped another two. As an anthology series, American Horror Story changes its setting, themes and story lines every season but not its main feature: quality. This quality lies in a well-written screenplay, good direction and particularly in a superb cast, which has improved over the years. Lange is wonderful with a German accent, drawing on her long career in Hollywood, as is Kathy Bates playing a bearded woman. It’s Paulson’s double role, however,

that is the most surprising and interesting. Ryan Murphy, who wrote the episode, knows how to hold his viewers’ attention. He plays with the music perfectly, creating a soundtrack whose notes play on the melodies of the past seasons. In addition, the editing merges scenes and shots together cleverly. All together Murphy creates a good balance between situations and the debuts of the new characters, which the viewers shouldn’t become attached to, as the previous seasons warn. An even more important piece of advice: nothing is what it seems. That’s the moral of American Horror Story, embodied magnificently in the plot twist at the end of this episode.

to marry her GI boyfriend and flee with him to the United States. Unfortunately for Hedwig, the operation gets botched, her husband leaves her and the Berlin Wall falls almost immediately afterwards. From here on, nothing goes quite right for Hedwig, and she finds herself in a legal and emotional battle with fellow musician Tommy Gnosis, whose successful tour she follows with her own band to a series of increasingly dismal venues. The film was adapted from an off-Broadway musical by John Cameron Mitchell, who also wrote the screenplay, directed and starred in the film version. Mitchell’s performance and evident skill as a writer-director make this film truly awesome. Hedwig is utterly human. Her struggles and mistakes are those of a social underdog, and their humanity balances out the inherent

surrealism of the musical genre. The soundtrack is wonderful, and if you find yourself addicted, the album version includes some juicy tunes not included in the film. The style is mostly a camp take on classic rock, with all the appropriate highs and lows included. The story-song ‘Origin of Love’ is the film’s anthem piece, accompanied by a beautiful animated video that provides visual and aural riffs repeated throughout the film. Mitchell’s love of this story is palpable and infectious. Even if musicals aren’t your thing, the riotous humour and beautiful editing make this story well worth a watch. You’re bound to fall in love with Hedwig and her songs regardless of your usual preferences. Sophie Maxwell

Valeria Vigilante

as’s quest to figure out the maze is the biggest change. These big rewrites mean that even if you’ve read the book, you’re watching with anticipation along with the rest of the Maze newbies, wondering what’s going to happen next. As with many dystopian films, there’s a worry that the production might go too overboard with the CGI, or fail at making the set merge well with the computer generated scenery – but this film knows exactly what it’s doing. The establishing shots show the Glade in all its glory, and the shots within the maze look so realistic that it’s hard to remember that most of the set is CGI. These images put the whole film into perspective and don’t just

make it a great action entertainment piece, but a work of art in its own right. The casting is great – Chuck (Blake Cooper) and Alby (Aml Ameen) translate right from the page onto the screen. Although the casting of Thomas Brodie-Sangster as Newt is a little surprising, he plays the part exceptionally well, alongside Will Poulter, who portrays Gally as a more sympathetic character than his heartless equivalent in the book. O’Brien encompasses the role of Thomas well, making him a stronger character than the scared boy-turned-leader from the novel, whereas Kaya Scodelario’s character Teresa doesn’t really have much scope for development due to her small role. With a great cast and fantastic cinematography. We hope that September 18, 2015 comes soon so we can watch the sequel: Scorch Trials. Chloe Green

northern soul Dir: Elaine Constantine

laine Constantine’s directorial debut comes in the form of the uplifting new indie film, Northern Soul. Set in 1974 and based in a small, seemingly hopeless town in Lancashire, we are thrown into the lives of two young men: John (Elliot James Langridge) and Matt (Josh Whitehouse), whose discovery of the up-and-coming nightclub culture changes their lives. Their new-found love for this culture, coupled with their hatred of the monotony of their lives on a factory production-line, sets them in pursuit of their dream of visiting the United States to buy sought after indie Motown and Soul records in the hope of starting up their own Northern Soul club. Northern Soul captures, in a

‘71

Dir: Yann Demange

t a time when the Taken film series is inexplicably due to receive its third instalment, it is comforting to know that there exist filmmakers who dare to subvert the conventions of the tired thriller genre. ‘71 is a historical thriller that delivers on both tense moments and shock in an unusual environment. The film follows the journey of Gary Hook (Jack O’Connell), a young British soldier from Derbyshire. He and his battalion are sent to the war-torn streets of 1970s Belfast in an attempt to quell the rising threat of the IRA. Caught in a street riot, Hook is abandoned by his unit and left in a hectic fight for survival in an unfriendly world, full of unpredictability and violence. O’Connell’s portrayal of Gary Hook is the highlight of the film.

beautifully gritty, realistic way, the highs and lows of John and Matt’s friendship and also of the scene itself, torn apart by violence, jealousy, drug-use and death and brought together by shared passions for Funk and Soul music and shared hatred of the generational differences that oppress them. Constantine experienced this Northern Soul nightclub culture first-hand in the 1970s, and has been working on creating an authentic representation of this youth culture experience on the big screen for the last 17 years. The end product of her efforts is visually flawless; with Matt and John’s hometown of Brunswick shown to be bleak, but with bright, euphoric club scenes showing the camaraderie and mutual admiration between the dancers, musiclovers and their DJ. The film is impeccable in its casting, with the up-and-coming Langridge and newbie Whitehouse taking the lead and showing their He delivers such a natural and believable performance as the vulnerable soldier, that it is hard not to have true concern for the character. This may not have been the case if portrayed by a lesser actor – it would have been easy to make the character into another John Rambo wannabe. The remainder of the cast create a fantastic ensemble, especially Sean Harris and his wonderfully intimidating screen presence. Interestingly, the film offers no separation between its heroes and villains – we are left just as bewildered as Hook. Mixed allegiances, confused situations and the shear bloodlust of characters on both opposing sides result in an ever increasing feeling of tension and uncertainty. Coupled

character’s frustration and passion incredibly powerfully. A lighter side is added to the film with cameo roles from comedians Steve Coogan, Ricky Tomlinson and John Thompson, making the cast even stronger.

Constantine’s writing is perfectly moving, as she encapsulates the frustrations of the adolescents through the contrast between the powerfully emotive dialogue of the younger generation who shout to make electrifying new culture be

taken seriously by the older 15 generation, whose propagandaesque backlash spurs the youths on to chase their dreams. The film is therefore comprised of contrasts: the older generation seem pitted against the younger generation due to apparent jealousy. The main characters John and Matt have dissimilar attitudes towards their experiences, and their bleak hometown’s tedium and factory production lines fight against the euphoric club and dance scenes. With a recent increase in the popularity of vinyl records and 1960s and 1970s style music, Northern Soul could be set to bring about a full revival of the culture itself. These contradicting themes and aesthetics make Northern Soul an eclectic, insightful, authentic and all-round brilliant watch. Charlotte Pick

with a series of surprising and shocking events, this makes for an enjoyably gripping experience. Another aspect of the film which shines through is the recreation of Belfast during ‘The Troubles’. Whether it is during the grey sky of daytime or in the sinister darkness of night, the film creates a truly dystopian environment. The dirty streets laden with rubble and burning cars are nightmarish and emphasise the dire situation of our protagonist. The biggest flaw lies in the film’s direction, by newcomer Yann Demange. The film sports an extensive overreliance on hand-held cameras, made popular by films such as The Blair Witch Project. While it does prove effective in hectic scenes of rioting and foot-chases, its use in quieter moments of the film makes it highly distracting. The same can be said for the over-use of extreme close ups. While effective to focus on

certain aspects of the image, we need to be given a wider picture of the events – both for our understanding and enjoyment. If nothing else, ‘71 proves to be a unique and subversive thriller. The film is not of any vast scale, but rather a much more personal story highlighting the experiences of one soldier and the unbearable situation he has to endure. Despite its few flaws, ‘71 is an admirable film in the face of its modern-day US counterparts.

Teenage Mutant Ninja turtles

art of ninjutsu by a giant rat Sensei. The story goes on and on, a brilliant example of trivial plot, poor cinematography and primary school sarcasm, until the final showdown with the turtles’ arch-enemy (awkwardly disguised as a samurai): the Shredder. Teenage Mutant Ninja Turtles is basically an unsuccessful imitation of the Transformers franchise, with an uncharismatic female protagonist, and an unoriginal aesthetic that will give you an irritating sense of deja vu during the entire experience. Even considering the movie is artistically (extensively) inspired by Michael Bay’s blockbusters (he’s also a producer on this film), it doesn’t fail to cross the “homage” threshold into a grotesque caricature. Unfortunately not even the cool slow motion sequences, the Jedi moves and the ridiculous stunts are no tenough to save Teenage Mutant Ninja Turtles. This film is pure trash. The utter lack of originality is unjustifiable for a paying audience. It is just another derivative product of manufactured nostalgia.

Dir: Jonathan Liebesman

his is the live-action rehash of a famous quartet of reptiles, who first appeared in the 80s on the pages of comic books by Kevin Eastman and Peter Laird. It’s a version that nobody needed to see. Since the superhero fever and the reboot obsession are pathologies still far from being cured in Hollywood, we can’t say we are that surprised by its existence. We are allowed, though, to be surprised by how incredibly rubbish this movie is. It’s present-day New York, and the city is menaced by a poorly defined criminal organization that calls itself the Foot Clan and that, predictably, doesn’t hesitate to plan a huge conspiracy to destroy the city. While both the police and the press remain inert towards the evil plot, only one average, annoying reporter in the body of a supermodel, April O’Neil (Megan Fox) has the guts to push the investigation further. She discovers that four mysterious vigilantes are secretly guarding the city from the threat of terrorism (of course). Too bad that the vigilantes, eccentrically named after Italian Renaissance artists, are actually four human-sized turtles instructed in the

Andrew Martin More reviews online Read more reviews online at Forge Today

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Mariaclaudia Carella

Fuse Listings.

Photo: Joshua Hackett

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

Screen.

Games.

Celluloid Screams (October 24-26, the Showroom Cinema) Sheffield’s scariest film festival returns with a whole weekend of horror movies, and an art installation in the Showroom’s lobby inspired by classic 80s films. To check out a full schedule of what’s on or buy tickets, go to celluloidscreams.co.uk

MCM London Expo (October 24-26, Royal Victoria Dock, London) It’s a bit of a drive out to London Town, but London’s answer to Comic-Con promises to be worth the trip. Highlights this year include a Yu-Gi-Oh! tournament, and demos from the likes of Capcom, Square Enix and Warner Bros Games.

Sing-Along The Wicker Man (November 1, 7:30pm, Film Unit) Dr David Bramwell and singer Eliza Skelton invite you to join them in a musical trip to Summerisle, complete with goody bags and Pagan hymn books. Sadly, since it’s the original film there’s no chance of seeing Nicolas Cage with a face full of bees.

Videogames Reading Group (October 29, 5pm, Jessop West SR 2) Look at videogames in a new light and discuss things like philosophy, narrative and critical theory. The first discussion is entitled “The Formal Qualities of the Videogame: An Exploration of Super Mario Galaxy with Gilles Deleuze”. Deep stuff, man. Game Releases

Sheffield Film and TV Expo (November 1, the Workstation) Fantom Films is offering you the chance to celebrate the best of cult and classic movies and TV, with special guests including Tron’s David Warner, and Richard Gibson and Kim Hartman from ‘Allo ‘Allo!. Coming soon to the University of Sheffield’s independent cinema... Friday October 24: The Rocket Saturday October 25: Frank Sunday October 26: Guardians of the Galaxy Friday October 31: The Raid 2 Saturday November 1: Sing-Along The Wicker Man (see above) Sunday November 2: How To Train Your Dragon 2 For more info on future releases or to volunteer go to filmunit.org.uk

October 24 Bayonetta 2 (WiiU) Sid Meier’s Civilization: Beyond Earth (PC) October 28 Sunset Overdrive (Xbox One) WWE 2K15 (PS3, Xbox 360)

Tickets: £2.50 each

November 4 COD: Advanced Warfare (PC, PS3, PS4, Xbox 360, Xbox One) Harvest Moon: The Lost Valley (3DS) Never Alone (PC, PS4, Xbox One)

Arts.

Music.

Give it a Go - Life Drawing (October 30, Octagon Centre Meeting Room 1, 4pm, £2.50 entry) The Arts Society is giving you the chance to use a range of mediums and materials to try your hand at drawing a human figure from life. A great way to practice your skills of observation. Give it a Go - Opera Screening (November 6, Gallery Room 4, 7pm, £1 entry) The Opera Society is putting on three classic operas for you to enjoy, including Verdi’s La Traviata and Puccini’s La Boheme. Head along to Bar One afterwards to meet the society’s members and make new friends. Fancy little glasses on a stick not included. Hotel Room (October 29 - November 1, University Drama Studio, Tickets £6) Set in an unremarkable English hotel room, Matilda Reith’s play is a series of funny and thoughtprovoking vignettes which explore a variety of characters and the conversations that they don’t want others to hear. BookSoc Meeting (October 26, Gallery Room 4, 7:30pm) In their second meeting of the academic year, BookSoc will be looking at Neil Gaiman’s classic creepy novella Coraline. Join them for a lively discussion complete with biscuits, followed by a few drinks in Interval. Queen Coal (October 30 - November 22, the Crucible Studio) The new play from Bryony Lavery, Queen Coal follows the story of local wife and mother Justine as she fights against the tumultuous mining industry. Stomp (November 4-8, the Lyceum) Currently celebrating its 23rd year, this smash-hit show has entertained over 15 million people using nothing more than bin lids and brooms. Now featuring new choreography never before seen in Sheffield.

Live Gigs Everley Pregnant Bros - 24/10, Crucible Reverend and the Makers - 24/10, O2 Nick Mulvey - 24/10, Leadmill Paolo Nutini - 25/10, Motorpoint Arena Hookworms - 26/10, Queens Social Club Courteeners - 27/10, O2 Academy Paloma Faith - 27/10, City Hall Twin Atlantic - 29/10, O2 Simon McBride - 29/10, Greystones Tim Green - 31/10, Fez Marty Wilde - 31/10, City Hall

Cervo - 31/10, the Harley Heaven 17 - 1/11, Plug UB40 - 1/11, O2 Black Lips - 2/11, the Harley Rise Against - 3/11, O2 Band of Skulls - 3/11, Leadmill John Mayall - 4/11, City Hall Nerina Pallot - 4/11, Greystones Maricka Hackman - 5/11, the Harley The Blackout - 6/11, Corporation

Album Releases Allo Darlin’: We Come From The Same Place (27/10) Cold War Kids: Hold My Home (27/10) The Flaming Lips: With A Little Help From My Fwends (27/10) Lil Wayne: Tha Carter V (27/10) Ought: Once More With Feeling (27/10) Run The Jewels: RTJ2 (27/10) Taylor Swift: 1989 (27/10) The Twilight Sad: Nobody Wants to Be Here and Nobody Wants to Leave (27/10)

Ultimate Painting: Ultimate Painting (27/10) Grouper: Ruins (31/10) Les Sins: Michael (2/11) Saint Saviour: In the Seams (2/11) Deerhoof: La Isla Bonita (3/11) Dirty Beaches: Stateless (3/11) Helado Negro: Double Youth (3/11) Swearing At Motorists: While Laughing, The Joker Tells The Truth (3/11) Virginia Wing: Measures of Jo (3/11)

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

Heritage Motor Museum Durham Road Sunday October 26 8am £22.50 Home to the largest collection of British cars in the world, this is a must-visit for any petrolhead. Be sure to check out the special exhibit celebrating 100 years of Aston Martin.

Chocolate Tasting Bar One Monday October 27 5:30pm £10 There is no way we can make this sound more awesome than it already is. Learn about the history of chocolate, and then eat your own body weight in the stuff.

Thriller Dance Class Studio Wednesday October 29 1pm £3.30 Darkness falls across the land, the midnight hour is close at hand... Come and learn how to dance like the King of Pop, just in time for Halloween! Fancy dress optional.

Tropical Butterfly House Durham Road Sunday November 2 9:30am £19 As well as a tonne of butterflies, this local wildlife centre includes birds of prey, a small animal house and even a Meerkat Mansion.

RAG Spiderwalk Students’ Union Building Thursday November 6 6pm Ticket prices TBC Sheffield’s infamous 13 mile walk in the Peak District returns! As well as raising money for charity, clubs and societies can claim back up to 50 per cent for their own use.