Fuse Issue 76 by Forge Press

Fuse.

Recording Britain Now Lessons from Gamergate Best/Worst comeback albums LGBT on screen

Friday November 7 2014

Short Fuse.

Comments and rants on entertainment news. Share Play on the PS4: proof that gamers still care about sharing

he beauty of gaming is that it transports you into worlds and scenarios away from reality, whether that’s battling orcs in Middle-earth: Shadow of Mordor, building the Taj Mahal in Minecraft, or winning a Premier League match with Burnley in FIFA 15 (I can dream). The share button on the PlayStation 4’s DualShock controller gives gamers the ability to instantly upload screenshots and footage of these moments onto Facebook and Twitter.

The console’s recent firmware 2.0 update expanded this share by enabling users to upload footage onto YouTube, broadcast gameplay live on Twitch and UStream and, perhaps most interestingly, view and interact with another user’s game using the “Share Play” feature. Prior to the launch of firmware 2.0, the share button was an underused feature that often seemed like a superfluous addition to the noise of social media. Whereas I may feel that the world deserves to see my thirty-yard screamers on FIFA, friends and family tend

to be slightly less enthusiastic: a sentiment I share when friends upload their own footage onto Facebook. The glut of new features that come with firmware 2.0 means that your gameplay can now be seen by those who actually want to see it. The ease with which footage can now be uploaded onto YouTube and broadcast live on streaming sites opens the floodgates for countless new possibilities for PS4 users. Expect a deluge of video walkthroughs and reviews, and possibly even new online celebrities – in March the YouTube chan-

nel of gamer Stampylonghead was reportedly getting a staggering 30 million hits per week. Meanwhile, using Share Play, PlayStation Plus users in a party can play or view a host’s single player campaign regardless of whether the other user even owns the game. The value of this feature, which Sony’s marketing bods have likened to “sitting next to your friend on the couch”, remains to be seen. On the face of it, Share Play could make games much less rewarding and immersive as a single player experience.

On the other hand, it could add a new dimension to the console’s multiplayer experience. Time will tell. Sony say that Share Play lets friends “play or watch a game as though they were in the same room”. Which reminds me: whatever happened to playing or watching a game with a friend in the same room? Andrew Parkinson

A second serving of independent cinema in Sheffield will be a welcome treat

hile we should welcome any business that hopes to make the neglected George Street a valuable part of the city again, the new Curzon art-house cinema currently under construction in our fair city has attracted concern, particularly over what it means for the much-loved Showroom. There are some who say that competition between cinemas is akin to rearranging the deck chairs on the Titanic; that the winner will be the ephemeral leader of a market that is shrinking out of significance in the face of competition from streaming websites. This is not a new worry. Back in the 1970s and 80s, the Motion Picture Association of America were terrified of a strange new invention; the video cassette. MPAA chairperson Jack Valenti famously stated; “The VCR is to the film producer as the Boston strangler is to the woman

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.

home alone.” Colourful metaphor aside, his argument is still trotted out today, with the VCR replaced by a string of more modern inventions; DVD, Blu-ray, Netflix. This argument may well have some validity, but it is certainly overstated. Gourmet restaurants did not go away when McDonald’s came on the scene, even though the latter was undoubtedly faster and cheaper. Why? Because the upmarket restaurants (the cinemas) offer an experience above and beyond what fast food (the streaming sites) can hope to compete with. Not too long ago, authors and readers alike were fearful that the Kindle (and its digital ilk) meant an end for the printed word. While ebooks are eating up a particular part of the market – specifically mass market paperbacks (the “fast food” of the literary industry – think Fifty Shades of Grey), hardback sales are gloriously unaffected.

The Showroom has a great strategy; they curate a community, putting on special events, socials and festivals all designed to bring people together over their love of film. Loyal patrons are thus sculpted. This sense of community and curated experience is impossible to find through a browser window. Curzon’s planned new venture will encompass a roof terrace for open-air screenings. Again, streaming sites can’t compete with this kind of bespoke experience. The days when cinemas monopolised the movie-watching experience may be gone, but demand for the bespoke “gourmet” experience remains. Other cinemas must follow the Showroom’s example; rethink themselves, and become experts at meeting this demand. A second indie cinema on our doorstep is a significant step in the right direction. Joshua Hackett Microsoft is clearly proud of its gaming heritage. Not only is their new virtual assistant for Windows phones named Cortana (after the AI character who helps Master Chief in the Halo series); but actress Jen Taylor, who voices Cortana in the games, has agreed to record the lines for the US version of the system. Let’s hope the reallife Cortana doesn’t go completely mental in a few years like her fictional counterpart did in Halo 4.

In one of the more bizarre examples of parenthood we’ve seen in a long time, Robbie Williams went viral at the end of last month as he live-tweeted the birth of his second child. Highlights included a video of Williams dancing and miming to his song ‘Candy’ and Disney’s ‘Let It Go’, while Williams’ wife Ayda Field looked on with a face like she wanted to strangle him with their child’s umbilical cord.

Friday November 7 2014

ello again and welcome back! Hope you’ve all had a spooktacular Halloween, and a blast of a Bonfire Night. I live for Halloween puns, don’t judge me. In fact, we got so invested in Halloween last issue that we sneaked themed images into each of our reviews pages in the last issue. While we don’t have any such additions this issue, we have some splendid content that you’d be batty to miss. (That’s the last one I promise). Arts are looking at the wonder-

ful new Recording Britain Now exhibition and how it compares to the previous Recording Britain of the 1940s. Screen are celebrating LGBT cinema, a hugely under-appreciated genre. Games have an in-depth look at Gamergate, and the problematic sexist tropes that Anita Sarkeesian has identified in the gaming industry. Music have a spread on the best and worst comeback albums of the last few years, including those of David Bowie and Kate Bush. As if that wasn’t diverse enough, we’ve got reviews of Noel Fielding,

Ben Howard, Dust: An Elysian Tail, Horns and many more. Don’t forget to check out our In Case You Missed it section for a snippet of the latest entertainment news. So if like me, you’re a little stunned by the nights suddenly closing in and the sky getting dark at 5pm, find somewhere to cosy up and have a browse. And if, like me, you find yourself torn between your desire for mince pies and seasonal gingerbread flavour-ed items, and your equally passionate desire for everyone to stop telling you the exact amount

of hours until Christmas arrives, then fear not, we promise not to put any festive images into our pages until the few last issue of the semester. On the other hand, if you’re all set for Christmas (presents bought and everything) then sit back with your santa hat on and watch the brand new trailer for Grumpy Cat’s Worst Christmas Ever, which looks absolutely awful. Despite including Aubrey Plaza as the voice of the titular cat, it’s not going to be as good as Elf.

Editorial. You can thank Nicholas Moody for this beautiful and sombre front cover.

Kate Lovatt and Phil Bayles

Don’t tar the poppies at the Tower of London with the brush of party politics

ast week, the Guardian’s Jonathan Jones wrote an article lambasting the Tower of London’s memorial, which was designed and assembled to commemorate the 100-year anniversary of the first world war. The Blood Swept Lands and Seas of Red memorial by Paul Cummins and Tom Piper, when completed, will consist of 888,246 ceramic poppies - one to signify each British fatality in war. Jones argued that the exclusively British memorial encourages Ukip-

style qualities, creating a sense of nationalism while leaving out those “German or French or Russian victims”. Yet millions of people from all over the world are currently visiting the newly designed memorial. As such it excludes no one, instead creating a place in which all nationalities can come together to remember the loss the world had to endure to achieve some semblance of peace. Jones further criticises the memorial as having a certain “fake nobility to it”, continuing to state that

“the first world war was not noble”. But where was it suggested that this was a noble war? Isn’t this just the rightful portrayal of the brave souls who selflessly gave their lives? For Jones to propose that we should remember our lost men and women by filling the Tower of London’s moat “with barbed wire and bones” is deplorable. We aren’t so naive that we fail to realise the harsh realities of war. There’s no need to replicate the horrors that took the lives of so many; instead we offer sombre grounds to

show our gratitude. The continued backlash to this article has ignited much disapproval, with even the prime minister making a comment. During Prime Minister’s Questions David Cameron was quick to defend the memorial, pointing out how “extremely poignant” he felt the it was. The significance of the poppy as a lasting symbol for those who have fallen was first created by John McCrae in his poem In Flanders Fields, as a heartfelt symbol of remembrance. Many appear to forget that

simple idea, and instead linger on political or ethical views that may soon go out of fashion compared to the poppies’ long-term significance. The poppy should remain untainted by political ideals and free from criticism; a way in which to immortalise those heroic soldiers who fought for our freedom. Jess Green

As it turns out, sex and drugs and rock ‘n’ roll really are a very good combination indeed

ou could be forgiven for thinking that Gene Simmons, known primarily for his unfathomably long tongue and cartoon costumes as bassist of KISS, was just another drug-addled rock ‘n’ roller. Think again. It turns out those ‘Crazy, Crazy Nights’ that KISS kept banging on about in the 80s weren’t so reckless for Simmons after all. The hard rock man recently revealed while promoting his new book, “I’ve never been high or drunk in my life… You cannot run a race when you’re high, you won’t win.” But is this true? Are the needleridden rockers and pill-popping pioneers a myth? Or is Simmons at odds with his musical counterparts? Unfortunately for Simmons, delve into the annals of rock ‘n’ roll history and the chemical buzz pulsating from its debauched memory is almost palpable; the greatest have

In a major announcement last week, Marvel big boss Kevin Feige unveiled nine new films in the Phase Three slate, basically setting the Internet alight and sending fans leaping into each other’s arms. Phase Three will include Captain America: Civil War and Thor: Ragnarok, Avengers: Infinity War (Parts I & II), Guardians of the Galaxy 2, Doctor Strange, Black Panther, Captain Marvel and Inhumans. We’ll be at the cinema if you need us.

all been knee-deep in narcotics at one time or another. Take the 60s; whether you look to the Beatles, Hendrix, Clapton or the hippie era’s climax at Woodstock, acid was rife throughout the mainstream music scene as experimentation exploded in all sorts of wonderful directions and heralded the birth of psychedelia. Elsewhere in the archives of musical alchemy, would Exile on Main Street be one of the greatest albums of all time were it not for Keith Richards’s opiate induced sun-drawled guitar lines on The Stones’ 1972 offering? Would Bob Marley have released such passionate reggae on the likes of Exodus and Kaya were it not for his heavy ganja consumption, which he saw as central to the Rastafarianism that drove him? What about Primal Scream’s undisputed masterpiece, Screamadelica, if it were not for the ecstasy inspired acid house scene of the After major rennovations the Picasso Museum in Paris reopened on October 25, three years later than scheduled and €22 million over budget. These problems led the French government to sack Anne Baldasarri, the museum’s president, who had worked there for over 20 years. As a result of this, Claude Picasso, son of the great artist, criticised the French government for their actions. Zut alors.

late 80s/early 90s? There is simply too much evidence to counter the suggestion that there’s no correlation between drug use and innovative genius in musical history. Perhaps where the argument diverges is with the realisation that the musical ‘race’ Simmons speaks of is surely one of creativity, not longevity. Creative success, however, through chemical (or herbal) inspiration is seldom a precursor to longevity, to the peril of our doomed geniuses, but life expectancy was never the measure of triumph here. This brings us to the bittersweet conclusion that a hedonistic lifestyle allowed the likes of Jim Morrison, Keith Moon, Jimi Hendrix, and Amy Winehouse to shine brightly, but all too briefly, for us to enjoy for an eternity. Finlay Ryatt

Recording Britain Now

Friday November 7 2014

Jo Gallacher looks at the recent exibitions at Millenium Gallery, Recording Britain and Recording Britain Now, and how traditional and contemporary art compare.

During the second world war, at a time of major political, social and economic change, it was felt that the Britain of the past with its country houses, quaint villages and large sections of greenery was about to disappear forever. In a bid to cherish the essence of quintessential ‘Britishness’, a project was set up by Sir Kenneth Clark between the years 1940 and 1943 to create a record of places under threat from the forces of change. The project called for artists across the country to make sympathetic records of vulnerable buildings, landscapes and livelihoods, thus Recording Britain was born. The collection of watercolours draws in typical British artistic style to portray a wide range of landscapes. From country lanes to scenic woods, Britain in the mid-1940s looked like a pretty remarkable place. Even though the paintings were created during a period of turmoil within the UK and the rest of the world, this is seldom reflected in the art: war is almost invisible. Recording Britain is a celebration, and suggests a certain refusal to be identified as a nation controlled by war. As remarkable as the paintings were, they could not be seen as a wholly accurate social commentary of the time. Most images were of village churches and little town houses that seemed like a nostalgic clinging to the past. Industrial Britain mattered before, during and after the war and contributed to what makes Britain ‘great’. The plight of the working class has been almost ignored in the exhibition, suggesting their contribution to society did not define, or even contribute, to what being British was and what it represented. Although idyllic scenery is nice to look at, can we really say it is a record of Britain if we don’t reflect all parts of British society and culture? Running alongside the exhibition was its contemporary counterpart Recording Britain Now which displays 23 artists’ contemporary visions of their urban, rural or social environment. The exhibition, with its fresh take on the way art is created and presented, seems to chronicle not just rural and picturesque Britain, but also the troubles we face as a nation. A redundant Rolls Royce factory, a hand-sewn student finance

letter - it seems that Recording Britain Now is more in tune and aware that as a country we have many things to be both proud of and ashamed of. The artistic style differed immensely from the pastel-coloured water colours of the original exhibition. Dark sombre colours frequented the exhibition space suggesting any possibility of a wholly idyllic, quaint and traditionalist Britain disappeared with the turn of the century. Themes of economic hardship and fast-paced lifestyles overshadow the simple life represented in earlier paintings. All pieces were, of course, open to interpretation, yet it cannot be contested that Recording Britain Now contributes to a more realistic vision of 21st century Britain. Both exhibitions were presented well, with quotes by the artists, televisions and glass cabinets breaking up mere rows of pictures. Millennium Gallery also joyfully exploited the fact that 21st century exhibitions are becoming a much more interactive experience, which can now allow for a two-way dialogue between viewer and art. Members of the public could enjoy television broadcasts aired at the time most of the paintings were created to immerse themselves in the mood of the nation at such an important period of Britain’s history. If strolling from picture to picture got too much, cushioned seats prevented the infamous museum foot ache. The public could also download the exhibition app to offer extra knowledge and a virtual tour, which can be downloaded using the gallery’s free Wi-Fi. The exhibition created a journey of Britain from past to present. Like every historical account, it is but one opinion and record of Britain. What the exhibition does best is create a stark contrast between the two sections. Whether intentional or not, it makes one consider what our country is defined by. Is the true identity of Britain found in its stunning landscape and beautiful architecture? Or is Britain better reflected through its economic downturns and societal problems? Art allows every one of us to understand and interpret differently. It’s not certain what defines Britain, but the power of the exhibition lies in the fact it made me question it.

Friday November 7 2014

Celebrating the LGBT community on screen

Feel represented with this selection of LGBT films

Coming Out (Dir: Heiner Carow, 1989)

In 1989, as the autocratic government of East Germany was starting to collapse, its state-owned film company released their first (and last) film to deal openly with homosexuality. Given these conditions, the film’s grounded, sensitive and realistic portrayal of the difficulties of life for gay people in East Germany is all the more astounding. The film opens with teenager Matthias having his stomach pumped following an intentional overdose. For an uncomfortably long time there is no dialogue – we see only Matthias’s struggle for consciousness. The scene cuts to Matthias crying in bed, as the nurse asks what led him to such a course of action. He replies: ‘Because I am gay’. In its treatment of the trials of coming out, the film is utterly uncompromising, and its scenes of intimacy are shot without a trace of voyeurism. Its premiere in East Berlin on November 9 1989 was interrupted by the announcement that the Berlin Wall had fallen. Reportedly, the attendees requested that the film be allowed to play to the end before they left to join the events outside. Jack Collier

Milk (Dir: Gus Van Sant, 2008)

The true story of Harvey Milk (Sean Penn) becoming California’s first openly gay elected official, against deeply ingrained prejudice, is one of extreme significance for the LGBTQ community. With recent political developments in the area of gay marriage, Milk shows us truthfully the need for political action in order to change beliefs. Using flashbacks from a series of tape recordings made by Milk himself, the film tells the tale of how he overcame intolerance, even from the police, to become a high ranking politician in San Francisco. Ultimately the tragic ending sees Milk transformed into a martyr and symbol of hope for the LGBTQ community in his district of Castro and around the world. Penn’s Oscar success in the lead role also brought along a lot of media interest and coverage, making it an ideal platform to spread a message about this matter. Ideological aspects aside, everybody is challenged to watch the massive candlelight vigil staged after his death and not be moved. Matthew Drew

Mädchen in Uniform (Dir: Leontine Sagan, 1931)

Now here is a treasure from the past. Released in 1931, Mädchen in Uniform is one of the earliest films with explicit lesbian themes. Set in a all-girls boarding school, new student Manuela (Hertha Thiele) develops a crush on her teacher Fräulein von Bernburg (Dorothea Wieck). The draconian school, however, stifles her: “Affection has no place here. It only rouses their emotions… discipline is the main thing”. Indeed, the film is as much an attack on rigid conformity, as it is a love story. The girls are daughters of soldiers, and are expected to become mothers of soldiers. Yet their individuality, and desire to rebel shines through this institutional gloom. Watching Mädchen in 2014, you can’t help but be astounded by how progressive it is. One of the best lines comes from Bernburg towards the end when she confronts the ice queen of a headmistress (Emilia Unda): “What you call sins I call the great spirit of love, in all its forms”. One cannot sing the praises for this film enough, not only is it an early LGBTQ film, it is also a great example of the quality of interwar German cinema. Joe Brennan

Mysterious Skin (Dir: Gregg Araki, 2004)

In the canon of LGBTQ cinema, it’s important that there are films that remind us we live in a world that can be cruel, violent and fearful towards the LGBTQ community - as Gregg Araki’s Mysterious Skin does so powerfully. It follows Neil (Joseph Gordon-Levitt), a victim of childhood sexual abuse who turns to prostitution and descends into poverty as a teenager. His story is grim, frankly told, and hard to watch - an unforgettable reminder that we still live in a world full of ignorance and hatred, as Neil confronts rejection, homophobia, violence, and lifelong trauma. Gordon-Levitt’s stunning, honest performance is vital to the piece, as is Araki’s multifaceted treatment of both the tenderness and brutality with which Neil is met. We like to think we’re enlightened, but Mysterious Skin serves to remind us that the world is still broken as long as the LGBTQ community faces struggles like Neil’s in real life. Rhys Handley

Friday November 7 2014

What should we lear WHAT’S ALL THE FUSS ABOUT? Being Anita Sarkeesian hasn’t been much fun recently. The rise of Gamergate has gone from absurdity to absurdity, starting with allegations about the honesty of gaming journalism, and ending in her fleeing her home and cancelling a talk due to alleged plans of a school shooting. Being one of the most targeted by death and rape threats, it’s astonishing and admirable that Sarkeesian has kept her critical voice strong and unrelenting. Her YouTube series for Feminist Frequency, ‘Female Tropes in Video Games’ gathered so much hate (especially for the feminist cause), that most of the comment feeds on the website are now disabled for reasons of personal safety. Aside from all the unconstructive, misogynistic feedback, Sarkeesian’s ideas about tropes in videogames can produce valuable discussion on the role of gender within the gaming industry and the impact of such upon the player, also questioning the ‘target audience’ of games and the decisions made by developers to satisfy such a group. This should be taken like any other research topic, and not as a direct attack on the gaming community in whole.

A RUNDOWN OF FEMALE TROPES SARKEESIAN HAS IDENTIFIED IN GAMING:

YOU WILL FIND THIS TROPE IN:

YOU WILL NOT FIND THIS TROPE IN:

Super Mario

Tomb Raider

Bioshock Infinite

Fez

Hitman: Absolution

Beyond Good and Evil

The Damsel in Distress A scenario where a stereotypically female character cannot rescue herself, and therefore must be saved by a male character. On the surface, this might seem like an act of goodwill, but the trope often reinforces that the woman has no power and the man has a responsibility to protect her, like property. This is problematic for every gender distinction, and you’d think that something used in Ancient Greek mythology would be stale by now.

The Woman in the Refrigerator

YOU WILL FIND THIS TROPE IN:

YOU WILL NOT FIND THIS TROPE IN:

Max Payne

Red Faction

God of War

Portal

Watch Dogs

Kya: Dark Lineage

YOU WILL FIND THIS TROPE IN:

YOU WILL NOT FIND THIS TROPE IN:

Gears of War 2

Starcraft

Duke Nukem Forever

To the Moon

Prey

Mirror’s Edge

When a woman (usually a love interest or family member) is routinely killed off to move the male protagonist’s journey forward, as they seek revenge. This is overused as a plotline; it’s as painful as watching the same sitcom over and over, but with different actors playing the roles each time. Developers use this to trigger an emotional reaction in both the male protagonist and the male player. Let’s not fall for it.

YOU WILL FIND THIS TROPE IN:

YOU WILL NOT FIND THIS TROPE IN:

The Darkness II

Dear Esther

Dante’s Inferno

Dreamfall Chapters

MediEvil 2

Passage

The Damsel in the Refrigerator Again, the woman is brutally killed, but her soul is still trapped and needs rescuing; a hybrid that just won’t let even a twinkle of female empowerment remain. It’s a cheap trick into making gamers think plotlines are becoming more emotionally sophisticated, but as they get more surreal and brattier in needing something to save, the level of maturity actually hits rock bottom.

The Euthanised Damsel

When for some reason the woman has been mutilated by the villain and the ‘hero’ has to put her out of her misery, ‘for her own good’. Often these female characters beg to be killed, and often you have to point and shoot yourself, otherwise you can’t advance. This puts the life of these women in complete control of the male protagonist, and attempts to justify the violence against them.

Friday November 7 2014

rn from Gamergate? The Ms Male Character

YOU WILL FIND YOU WILL NOT THIS TROPE FIND THIS IN: TROPE IN:

Ms. PacMan

A female version of an already established or default male character; and she’s often just a blatant copy of the first with a pink bow and red lipstick. This trope not only reinforces a binary between genders, but it rips us off when we think we’re buying something brand new. Transgender rights are also compromised, when male characters possessing ‘female’ traits are also used as objects of ridicule.

Super Monkey Kyntt UnderBall ground Bomberman

YOU WILL FIND THIS TROPE IN:

YOU WILL NOT FIND THIS TROPE IN:

Scribblenauts Unlimited

Towerfall

Left For Dead

The Walking Dead

Angry Birds

Dead Island

Thomas Was Alone

ScaryGirl

The Smurfette Principle Coined by Katha Pollitt, the Smurfette Principle applies when in a whole group of playable and non-playable characters, there’s only one female character. And usually her main character trait is something to do with being a stereotypical girl. This is also a major trope for ‘token’ characters of a different race. This limit of choice is unjustifiable, as it doesn’t create any more work for developers (despite what Ubisoft say).

YOU WILL FIND YOU WILL NOT THIS TROPE FIND THIS IN: TROPE IN:

Women as Background Decoration Using hyper-sexualised female bodies to make a game ‘racier’ is a form of objectification, especially when a game zooms into certain parts, so the body is (sometimes literally) hacked up. Seeing women as irrelevant to the gameplay (other than as possessions to drool at) intensifies all of the other tropes we’ve discussed. It also continues the presumption that everyone who plays games is a titillated, straight male, which just isn’t the case.

Need for Speed

Papo & Yo

Grand Theft Auto

The Vanishing of Ethan Carter

Dishonored

Destiny

SO WHERE DO WE GO FROM HERE? For the everyday gamer, it’s important to keep criticism like Sarkeesian’s in mind. The aim of this work is not to destroy the enjoyment of playing, or ostracise anyone who touched a game that had one of these tropes in it (it would be hard to find many to play that didn’t, after all). Like any form of criticism, it enhances the experience, and opens the mind to possibilities of where the next in a franchise should go. Sarkeesian herself insists that ‘it’s both possible, and even necessary, to simultaneously enjoy media, while also being critical of its more problematic or pernicious aspects.’ Bearing ideas like this in mind if you write a Metacritic review can add something to your perspective of what makes an astoundingly innovative game, and what is just a copy of the same old formula, which by now doesn’t tug on the heartstrings at all. Whether you agree with her points or not, it is vital that we maintain the right to journalistic freedom. It’s absurd that women in particular should face two options: to suppress the ideas they’ve been inspired to write about, or to publish those thoughts and face death threats. Neither side of the argument should be silenced completely, or else the ethics of journalism as a whole would be compromised. That being said, it’s time for a more sophisticated debate than a tweet saying ‘Fuck u’. It’s about time we started taking video game criticism seriously; we’re now in a place where games are considered as art forms, and with art comes a consideration of sociopolitical context. If gamers want better games, this is something they need to accept. And if gamers want better ethics in journalism, they need to create a dialogue that incorporates a standard of objectivity and reasoning. No other form of journalism would be conducted through threats and violence. It doesn’t make you a critic; it doesn’t even make you a decent human being.

Words and Artwork: Samantha Fielding

: T S R s O m W u d b l n a A T k S c E B meba Co

Friday November 7 2014

the s e v n pro not quite e t f o that hat are m u lb et a s o k c h t eba s - and m o c s the r successe ’ t i , ’ lbum ctacula a d econ ome spe s t l u iffic ok at s d ‘ t a t th ake a lo u o b Channelling Elvis, seeing sex in a washing machine, and paying tribute to her et et a late mother – that’s just the first half of Kate Bush’s stunning Aerial. Forg rickiest. W 12 years is a long silent spell for any artist – even longer for one with as fervent t a following as Kate Bush. Reports suggested she had gone bonkers, offering her most ctacular. record company homemade biscuits instead of an album. e so sp But in 2005 she resurfaced with her first double album – a mega success both

Kate Bush - Aerial

critical and commercial, scoring Bush her highest-charting single since 1982. The album’s layers of brilliance have all the indulgence of 12 years of work, and none of the sickliness – the arrangements are gentle, the delivery mighty. This wasn’t just the hysteria surrounding the return of a legend – these songs stand up today, the album’s second half getting a well-deserved outing in this summer’s live shows, which proved Bush the true queen of comebacks. Jack Collier

David Bowie - The Next Day Bowie’s impossible 2013 comeback is a bit of an enigma. It’s divisive - provoking volatile reactions from both lovers and haters alike. But, when considered in retrospect - after the heady furore over a brand new Bowie album- what did The Next Day really mean? Is it a triumphant continuation of the Bowie canon? Arguably, no - its angular uneasiness has been done before and better during his late 70s Berlin trilogy. Can it be appreciated as a work of art on its own? Probably not, as ‘Where Are We Now?’ yearns for Potsdamer Platz and its fellows continuously, achingly look to days gone by. This is best seen as Bowie taking stock of all he’s done - a mad scientist surveying his experiments, both failed and successful. It’s an odd, misshapen beast that can’t hold a candle to its predecessors. But there’s an undeniable pleasure in hearing Bowie be Bowie one more time. Rhys Handley

Vashti Bunyan - Lookaftering It's one thing to return back into the limelight after 10 years or so, but it's an entirely different story to release only your second album thirty five years after your debut. Thus, the story of cult folk singer Vashti Bunyan is all the more remarkable. Releasing her debut, Just Another Diamond Day in 1970, Bunyan fled from the musical world after poor sales and an increasing disillusion with the industry. Whilst Bunyan retreated to the Scottish borders and rural Ireland, living a quiet life raising a family and animals, Just Another Diamond Day steadily established itself as a rare gem and lost classic of the folk revival. So much so that fans such as Devendra Barnheart and Animal Collective were professing their love and Bunyan was encouraged to make her long overdue return. And, when you are returning to a musical landscape that has so drastically changed, Bunyan did what came most naturally to her and unveiled to us Lookaftering in 2005, a masterpiece of ethereal charm. It seemed - like it's predecessor- to belong in it's own time and space entirely, and reawakened audiences to an astonishing talent that could have been lost forever. Rachel Bell

Friday November 7 2014

The Stooges - The Weirdness The Stooges, often thought of as the forefathers of punk, transcended the psychrock haze of the late 60s/early 70s with a hat-trick of albums that opened doors to multiple genres and have become cult classics. The 2007 release The Weirdness went a step further than most aged-rockers’ reformation attempts to recreate the magic of their original career/ “glory days”. On this album, it sounded as though a group of senseless 15 year-old stoners listened to Fun House and Raw Power once through, picked up whatever instruments they could find and took to their garage. Unsurprisingly, the end result was an album that lacks any of the grit of the first three albums, as well as any real songwriting merit. However, it is only just to give each album its due; while The Weirdness may have gone halfway to soiling the Stooges’ otherwise faultless reputation in the punk world, it may well have landed Iggy his starring role in Swiftcover advertisement. Jacob Steiner

Grandmaster Flash - The Bridge: Concept of a Culture It was natural for fans to have high expectations. The hip-hop pioneer with a social conscience (and whose classic 1982 album The Message is widely credited with elevating the entire genre to a higher social platform) hadn't released a studio album since 1998 – so 2009's The Bridge: Concept of a Culture was eagerly anticipated to say the least. And on paper, it certainly seemed promising, with guest appearances from the likes of Snoop Dogg, Q-Tip and Busta Rhymes. On record, however, the result was hugely disappointing. It seemed out of touch with rap's present climate, and a far cry from the figure of the progressive rap hero that had earned his place in both our hearts and musical history. Sure, there were some redeeming qualities that The Bridge: Concept of a Culture had to offer – the way in which Flash gave some relative unknowns the chance to shine for instance. However, even this couldn't save The Bridge from sinking into embarassing obscurity and Flash had become a faded cliché of his bygone glory years. Rachel Bell

The Who - Endless Wire For a band with such a legacy as the Who, bringing an album out after a 24 -year break (and returning as inevitably 'old' men) always runs quite a risk. Could the rock gods manage to pull it out of the bag and produce a sound that had gracefully matured and yet was still musically and culturally relevant? Or would they appear with an album that was perhaps best reserved for those die-hard fans only. Unfortunately it was the latter – and even some of those 'die-hard' fans had to give it a miss. Yes, it would be hard to blame the Who for wanting to venture too far into unchartered musical territory at this time in their lives, but a bit of it certainly wouldn't have gone amiss. 'Fragments' sounds just a little too much like 'Baba O'Reilly' and Pete Townsend's musical arrangments (that once seemed so very impressive) are now limited, and quite frankly very dull. Don’t get me wrong – Endless Wire won't tarnish the reputation of the Who, but it certainly won't do anything to add to it either. Rachel Bell

Friday November 7 2014

Fuse Games. Sid Meier’s Civilization: Beyond Earth Firaxis Games

n the pantheon of long-running game series, Sid Meier has attached his name to some of the greats. Of course, Civilization is the most well known and with good reason, but calling Civilization: Beyond Earth a true installment to that series would require you to ignore perhaps the greater influence on its development - the 1999 strategy game Alpha Centauri. Civilization: Beyond Earth takes place in the 27th century, after the demise of humanity’s Earthbased ancestors, following the ravages of time, overpopulation and resource depletion which is taking their toll on the population. The great empires of Earth each venture forth to a new world, intent on developing a new extension to their civilisation on alien soil. From here the game takes a similar path to previous Civilization installments as the player tries to establish and expand new cities and research technology (this time handily expanded into the future and with a real tree which can be researched in many directions rather than the fairly linear progression of before). The gameplay has changed little in function from Civilization V, which is fine. The careful balance of building, research and military adventure has been honed in although there are new elements, such as randomly spawning aliens in place of barbarians, and miasma which poisons ground and

CULT CORNER dungeon keeper

Bullfrog Productions 1997

he famous catchphrase of one of Bullfrogs best-selling flagship titles, Dungeon Keeper - “It’s good to be bad”, can be found echoed in the vast amount of games that took inspiration from its dark humoured tones. The god game Dungeon Keeper is remembered fondly by many as one of the first games to embrace the idea of playing the ‘bad guy’. The game starts off with a handful of imps and a “Dungeon Heart” which must be protected. Imps act as your basic workers and can be ordered to carve out tunnels and rooms which are used to further your various agendas and attract all sorts of dark entities to your dank, humble abode.

damages units. Unfortunately though, while it’s all perfectly functional, there’s something lacking in satisfaction about the new tech tree and building progression. As the starting point is already future technology, it feels as though there’s far less progress being made with each scientific leap. The advance from pottery to cruise missiles in prior Civilization games held a lot more satisfaction because it was a slow but steady progression from where we were in ancient times to where we are now. In it, the player is asked to develop from unknown t e c h n o l o gy into other unknown techology. For science fiction fans looking to forge their own view of the future, Civilization: Beyond Earth offers the chance in some style. You can become the master of your new world, or integrate entirely as a species. It’s most certainly a well-made game in its own right, but newcomers to the series may be better served playing the prior installments. Robin Wilde

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When the time comes and you feel your unholy army of the night has grown strong enough, you can direct them into battle. Although your minions do the fighting for you and you yourself cannot precisely control them, you can turn the tide of battle with various spells; such as turning targets into chickens. Once battle is done, imps can bring injured enemies to prisons and torture chambers, where they may be convinced to join your ranks with a bit of ‘persuasion’.

“Dungeon Keeper’s themes stay strong to this day” While battle is certainly a big aspect of the game, dungeon building and maintenance was arguably more enjoyable. The wide variety of creatures available each had their own needs and personalities, leading to a diverse ecology.

Dust: An Elysian Tail Humble Hearts

ean Dodrill is a man of many talents. A self-taught illustrator and animator, he worked single-handedly on Dust: An Elysian Tail for three and a half years, designing and coding every aspect of the game by himself. His hard work has clearly paid off: the finished game is a beautiful 2D Metroidvania platformer, which takes simple presentation and an engrossing story and skilfully combines them into a satisfying whole. Dust begins with the eponym o u s hero sat in the middle of a forest clearing, with no idea of who he is or how he got there. With the help of a magical talking sword and a flying cat-like creature called Fidget, he sets off across the land of Falana, slaying monsters and helping strangers in order to find the secret of his identity. From the first opening levels the game is striking in its beauty. The hand-drawn characters and backgrounds (which range from snowy mountains to dark underground caverns) have a wonderful storybook quality to them, and the whole thing is imbued with an Oriental aesthetic that looks somewhere between Kung Fu Panda and My Little Pony: Friendship is Magic. But it’s not all style and no substance; the world of Falana is filled with memorable, well-rounded characters, who feel all the more alive thanks to some

Left to their own devices, minions would seek out what makes them happiest; warlocks will quietly research in the library, while goblins would find happiness hammering away in the workshops. Take away these factors and creatures become disgruntled, and at extremes will either leave your dungeon or even rebel. It’s rather satisfying to just sit there and take in everything that’s going on like a well-oiled machine. Dungeon Keeper’s themes stay strong and alive to this day with many past and upcoming games claiming to be directly influenced by it, but they’ll never quite hit the mark and truly recreate that maternal feeling over virtual monsters that Dungeon Keeper managed to instil in us all. Joey Relton

great dialogue and voice performances. The banter between Dust and Fidget only becomes more charming as the game continues, but the story still manages to include some moments of real emotion and deep introspection. The combat, meanwhile, is simple but effective. Instead of adding more and more superfluous skills to your repertoire as the game progresses, Dust hands you a few simple mechanics – two buttons to swing your sword, a dash button and some projectiles – and stands well back. It’s remarkably easy to get to grips with, and it’s hard not to feel like a badass as Dust cartwheels gracefully across t h e screen racki n g up a 500-hit combo. If there is a weak link, it’s the game’s RPG elements, which don’t always feel as balanced as they could. It’s remarkably easy to level up in Normal mode, and even though the enemies get tougher Dust can start to feel overpowered rather quickly. Fallen monsters sometimes drop blueprints for new armour and items that a blacksmith can make for you for a sum, but since most items become available in shops sooner or later, it’s a wholly unnecessary mechanic. Still, it feels unfair to criticise Dust: An Elysian Tail too much. Working on his own, Dean Dodrill has managed to create a game that’s deeper and more engrossing than some triple-A titles built by teams of hundreds. The mere fact that it exists is enough reason to be impressed. Phil Bayles

Friday November 7 2014

Fuse Arts.

The Woman in black Sheffield Lyceum

othing tempts fate like a positively defiant audience member declaring “I can’t imagine being scared by a stage show”, just a few minutes before the curtains roll up on The Woman in Black. The current touring production has, thankfully, well and truly lived up to the hype of its West End forefather. The play tells the story of London-based lawyer Arthur Kipps and his journey to an obscure English town to settle affairs of a recently deceased widow, Mrs Drablow. Mr Kipps is initially perplexed by the suspicious nature of the locals whenever Mrs Drablow or her estate is mentioned. Yet it soon becomes apparent to Mr Kipps that the town is overcast with a dark, ominous presence, the ghost of The Woman in Black.

Noel Fielding Sheffield City Hall

nything short of bizarre from Noel Fielding would never feel right, but thankfully An Evening with Noel Fielding was incredibly imaginative, non-stop funny and, of course, one of the most surreal evenings that I have ever experienced. After a long six years since the last Mighty Boosh tour, it was about time for Noel Fielding to hit the road once again. It’s been a while since we’ve seen him doing what he does best; being incredibly bizarre and making people laugh. None other than the Moon from The Mighty Boosh kicked off the show, setting the tone for the rest of the night. From this point on, it was clear we were in for a good time. Fielding appeared on stage dressed in a long sequined gown, as only he could, and started by introducing the audience to the severed torso on stage who he’d

BOOK CORNER The Cuckoo’s Calling Robert Galbraith

hortly after its publication in April 2013, it was let slip that JK Rowling was the real writer behind The Cuckoo’s Calling. Consequently, sales rocketed, immediately placing the novel as a number one best-seller, and leaving eager readers and critics keen to place the book in relation to the world-wide sensations of the Harry Potter series as well as the more critically received, The Casual Vacancy. The plot itself entails a gripping

A surprising factor of the stage adaptation is its scarcity of actors. Just three talented thespians make up the cast: Mr Kipps, the Actor and The Woman in Black. The role reversal between Mr Kipps and the Actor is initially confusing, but the wit and intelligence of the written script alongside convincing portrayals of both principle characters makes the (hopefully) fictional ghost story believable and familiar. By far the most impressive factor of the entire play is the production’s use of stagecraft. Bright lighting meant the audience was safe, nothing could leap out of the wings. However, once the lighting was toned down, a wave of nauseating fear grew silently across the audience. The lack of any light other than a single torch meant there was no longer a partition between stage and stalls - the auditorium was a part of the show, and in turn just as likely to be haunted. Suspense was carried through motifs of different sounds which

of course meant danger and the inevitable presence of the ghost. A rocking chair, a child’s musical box or the sudden slam of a door were enough to make any audience member cling to the arm with a perspiring palm. Yes, it may only be a play, yet when a shriek echoes throughout the theatre a momentary suspension of disbelief crept into the audience. Goosebumps and sudden screams are guaranteed when one experiences the power of The Woman in Black. Forget the stagecraft, the actors, the script. The most impressive feature of all was the potential of theatre itself. Its ability to draw the audience close, and genuinely shock them demonstrates the power theatre still holds on those who are willing to experience it. Almost every audience member will have thought about the ghost’s opaque black veil before going to sleep that night.

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Jo Gallacher

named Lionel Messi. Telling stories of a dream he had where he was a teabag and an affair that his wife had with a triangle and an impression of a “God damn chicken man.” Fielding didn’t take long to have the audience in stiches. The night flowed easily from scene to scene, allowing Fielding to introduce the extremely talented Tom Meeton - a regular on Noel Fielding’s Luxury Comedy - as his understudy Antonio Banderas and the triangle, a n d

his brother Michael Fielding - who we all know better as Naboo – Hawkeye and Fielding’s made-up wife Stephanie. Both Meeton’s and Fielding’s characters provided innumerable laughs, with Meeton’s Banderas flirting with male members of the audience and talking about The Expendables 9, and Fielding’s Hawkeye wearing a Speedo cap, a beak and a tennis skirt. Meeton and Fielding’s ability to portray different comedic characters throughout the night deserves praise, as they managed to bring what we

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see on TV seamlessly to life. The use of characters didn’t end there. Joey Ramone made an appearance, even being brought into the real world from the plasticine world with disastrous results. When the second half of the show started, Sergeant Raymond Boombox burst onto stage to investigate the kidnapping of Noel Fielding during the interval, shooting cut outs of nuns and interrogating the audience with Hawkeye. Fantasy Man and Big Chief Whoolabum Boomalackaway also appeared after Boombox in an attempt to rescue Fielding from his captors, the Moon and the Triangle. An Evening with Noel Fielding was everything I expected it to be. He may talk about being 41, but in no way has he lost his surreal humour. This is no ordinary comedy night; this is Noel Fielding, his brilliant friends and some wacky but hilarious characters. Joss Woodend

murder investigation behind the death of London supermodel Lula Landry. Home from Afghanistan, with half a leg missing and the raw emotional remnants of the recent break-up with his fiancée to deal with, Cormoran Strike has taken up profession running his own private investigation service. Accompanied by Robin, his new secretary from a local temping agency, the two work to unravel the twisted, intriguing story behind Landry’s death. Along the way, the reader becomes consistently drawn in by references to Strike’s war injuries, personal problems, his file of death-threats, and the pair’s determination to prove that Landry’s death was not that of suicide.

The intense meticulousness of Rowling with regards to her characters, locations and the narrative itself, leaves you so powerfully immersed in their stories, and rooting for their successes, that you surface on the other side with an almost satisfying, lost feeling. The attention to detail in relation to themes of press and journalism, instigates a more personal connection between the reader, Rowling, and the celebrity realm. This insight into the celebrity perspective demonstrates profoundly Rowling’s psychological motivations behind remaining anonymous under the pseudonym of Galbraith. Until it was revealed that Rowling was the true author, the novel had sold mere hundreds of copies, sug-

gesting also at the difficulties faced by writers in becoming recognised names in the modern fictional literary industry. After having wanted to read The Cuckoo’s Calling for ages, but lacking the time, it was easily the best book I read over the summer. Its intrigue and modern additions to the traditional Agatha Christie-style plot left me wanting more. If you are a dedicated fan of Harry Potter and enjoyed Rowling’s books of the past, her flawless style continues to delights in this highly engaging, plot-driven page-turner. This is definitely a series to follow for Potter fans. Bethan Littley

Friday November 7 2014

Fuse.Albums. music Fuse Taylor swift 1989

aylor Swift has officially and irrefutably shed what remained of her country roots with the release of pop masterpiece 1989. The highly anticipated album infuses hip-hop beats, 80’s bass lines and unforgettable pop hooks to create 13 (or 16 if you splurged on the deluxe version) remarkable tracks. At the center of the hype surrounding 1989 is, of course, Swift’s biography style tell-all songwriting skills. Fans (and critics) have begun to anticipate the lyrics of Swift’s songs more than the tracks themselves as they explicitly peer into

jim noir Finnish Line

fter briefly abandoning the music scene and his abilities to churn out an abundance of songs successively, Jim Noir is back and better than ever with his fifth album. As always, Noir, originally from Manchester, has a prodigious ear for a catchy pop tune so Finnish Line is bursting to the seams with foot tapping pop riffs, slick lyrics, and crunching guitars. When asked about the themes of the album, Noir said: “Alcohol. Life. Death. Aliens; in that order I think.” These themes, typical of Noir and his fascinating-yet-genius mindset, set the tone for an album that is just as mad as it is brilliant. Fans can expect breathy, almost dreamlike vocals from Noir throughout the album, as well as an abundance of social observations. Crucially, it is undeniably refresh-

“Every song could be a hit” She appears to no longer blame herself for her recurring relationship fails, but shares the blame with her male counterparts like heartbreaker Harry Styles as she bites with lyrics such as “BandAids don’t fix bullet holes/You say sorry just for show” in ‘Bad Blood’. ‘Blank Space’ is a statement track responding to the idea that she falls in and out of love all the

time. The track shows just how much Swift has grown as she happily jams to lyrics such as “Got a long list of ex-lovers/They’ll tell you I’m insane” and “You know I love the players/You love the game”. This new awareness from Swift of her critics angles and her ability to make references to it throughout this album is perfect and will potentially stun those who question her recurring songwriting inspiration. 1989 projects the confusion of being a girl in your mid 20s seamlessly. With infectious hooks featuring in every track, 1989 is sure to have females all over the world crying, laughing, and reveling in the beauty that is an expertly created album where, lets face it, every song could be a standalone hit. Rebecca Stubbs

ing to hear a current solo artist emulating the sound of the Beatles with the success evident in Finnish Line. Lead single ‘Broadway Jets’ is infectious and heavy with 70s McCartney influence with just enough comfortable tambourine to achieve near perfection. Similarly, piano ballad ‘Stone Cold Room’ oozes Lennon’s style. Noir has self-declared Finnish Line a ‘masterpiece’ and, although such egotistical remarks from artists are usually frowned upon, he has every right to label is just that. This album shows Noir at his best yet, and is a real step up from listening to a guy recording his albums from his bedroom. Noir has matured into a legitimate intelligent artist. This album feels professional, complete and polished and although nothing is ever perfect, Finnish Line strives towards exactly that and very nearly achieves it. Rebecca Stubbs

BEN howard

I Forget Where We Were

S X

her consistently rocky but celeb filled love life. 1989 doesn’t disappoint as Swift once again graces the world with her quick witted slick song writing skills, although she does so with considerably more sass than in previous albums.

ince his Mercury- nominated 2011 debut, Every Kingdom, Ben Howard seems to have been steadily gaining popularity - so much so that he won two Brit awards last year. It would, however, be altogether too tempting for critics to dismiss Ben Howard as just another singersongwriter of a certain persuasion. We know the type all too well – sensitive boy with guitar singing wistful ballads about lost love etc. Nice, but not particularly ground breaking stuff. It’s an undeniably pleasant surprise, then, to hear I Forget Where We Were. Previous misconceptions are cast aside immediately – from

the very first track ‘Small Things’, it becomes clear that this is a far more sophisticated and skilled musician than certain stereotypes would have you believe. It’s a dark and minimalist affair, with Howard making as much use of the space in-between notes as the notes themselves, much in the same way as progressive groups such as the xx. Riffs like the one in ‘Rivers In Your Mouth’ simply glide, effortlessly and seamlessly. As a guitarist, Howard verges on sublime here, pulling inspiration from newer directions than previously. If you listen carefully enough, the ghosts of Bert Jansch and Nick Drake are evidently breezing about. Lyrically, Howard doesn’t employ quite the same amount of stylistic departure, with lines such as

“Clearly calm I’m keeping terrorised/ The ageless thaw of winter/ Alone but by your side” not reaching the same level of maturity as his guitar playing. It’s in this that Howard seemingly reverts back to type, but luckily it’s not quite enough to detract from the overall beauty of I Forget Where We Were. Sure, perhaps Howard does struggle to completely break out of character, but it’s a character that he plays very, very well – and with more conviction and skill than most. Rachel Bell

Friday November 7 2014

PALE SEAS The Harley October 23

aving released their first EP Places to Haunt just this summer, Pale Seas are a fresh indie four piece hailing from Southampton. Throughout their career, they have supported some of indie’s most successful artists, including The Lemonheads and Stornoway. But tonight they headline Sheffield for the first time, at popular gig venue the Harley. Although Pale Seas have gained a loyal following, it appears someone missed the memo. The few seats scattered around the venue are filled - just. But the standing audience consists of two or three older gentlemen lounging absent mindedly against the bar. This does not seem to bother the band though, who begin their set unfazed. The sound Pale Seas produce is impressive. An echoing electric

guitar fits perfectly with the softer acoustic sounds played by lead singer Jacob Scott. Add in a driving bass line, and the band create a full and carefully constructed sound that completely fills up the room. The small crowd respond enthusiastically to this introduction, cheering them on into their next track. There are a few stand out moments from the set, but an early highlight is their performance of ‘Wicked Dreams’ where Scott’s strong vocals shine. Dreamy melodies and sunny harmonies have the crowd swaying - albeit still sat down. Mostly their songs are simple, sweet, and easy on the ear. However, there were signs of a more technical side to the band’s musicality. ‘Evil is Always One Step Behind’ closes the set. An impressive seven minute track, it starts gently before thrashing into a dramatic mesh of gritty guitar riffs and quick drum solos, proving their more lo-fi indie/psychedelic sound. Anyone who may have lost inter-

liveFusemusic. Gigs.

Photography: Joshua Hackett

est perks up now, with the audience satisfied with this new change in tempo. “Thank you for having us, it means the world,” Scott mumbles, before finishing their set. Pale Seas definitely have potential. Their indie pop melodies are irresistible and are sure to attract more attention during this tour. Let’s just hope their next Sheffield show will have a few more fans on the dance floor. Josie Kirk

DOT DOT COM COM

netsky

Plug October 30

I Mogwai Magna October 23

he walk along poorly lit canals and through a trading estate to arrive at Magna showed that this was not an average venue. The expansive former steelworks looked menacing at night, reminiscent of a spacecraft about to take off. Perhaps this is what the band intended. The industrial setting was certainly appropriate. After entering, we were shepherded into a room of fans. Tables and chairs permit only cabaretstyle queuing. The sole light source is a healthy red glow emitted from one wall. This was surreal, to say the least. Eventually, we were allowed into a cavernous room in the bowels of Magna. Support act RM Hubbart did more than one man and an acoustic guitar should ever be expected to. He spent more time telling anecdotes about the Scottish referendum and Buckstasy – ecstasy and wine – than playing music, but it

didn’t feel out of place. His humour was endearing and the music both memorable and surprisingly diverse. A brief soundcheck later – no small feat, given the number of guitars their layered sound demands – and Mogwai were on stage. The band’s love of quiet/loud dynamic contrast in their music is well-known, and a live setting did it justice, allowing great barrages of sound. Highlights included a weighty performance of new track ‘Remurdered’, and the aggressive closer ‘Batcat’, where one unfortunate member of an otherwise calm audience tumbled over the barrier and faceplanted on the other side. If there were any flaws with the show, they were in the band’s engagement with the audience, or lack thereof. At this stage in Mogwai’s career, having survived the rise and fall of their own post-rock genre, this is unlikely to change. Shows in venues like this are gambles, but this one appears to have paid off. Joshua Hackett

Photography: Thelineofbestfit.com

n a post-modernist era of music, where a juxtaposition of sounds has proven to be pleasing to the ears, DJs and music producers are constantly inventing new mixes with the hopes of playing them at sell out events. Plug, albeit a humble venue (capacity of 1,200 people), was crowded with drum & bass thirsty fans eager to be hydrated by the sounds of Netsky and Co. Netsky, pronounced Net-Sky rather than Net-Skee, was joined by I See MONSTAS, Kove and Meridian Dan to kickstart his UK

tour right here in Sheffield. Playing new tracks, such as 'Running Low', to classic favourites, such as 'Porcelain', Netsky had the crowd jumping up and down for joy throughout his set. With every tune there was a raise of hands swaying in the air, waiting for the inevitable drop where the crowd go wild. Some of his fans even decided to create a mosh pit to let off a bit of steam. As the event allowed anybody in aged 14 upwards, it finished at the early time of 11pm. This was a great opportunity for some of Netsky's younger fans to be able to enjoy his music first hand without age being too much of an issue. It was however, disPhotography: Netskymusic.com

appointing for older ravers who are used to partying until dawn. When I raised this with Netsky, he said that the schedule was “good for the tour and my fans”. The idea of sharing sweat with a stranger sounds unappealing, but proves no issue when everybody's main focus is the spectacular sounds that are bouncing of their eardrums. A successful night for Netsky, his companions, and Plug. If the rest of his tour is anything like his first performance in Sheffield, then it will be a series of unmissable nights. Jonathan Pickles

Friday November 7 2014

Fuse Screen. Fuse. screen Horns

Dir: Alexandre Aja

t’s always bad when a movie doesn’t live up to your expectations, especially if you didn’t have any to begin with. Eventually, the safest thing to do is run away- as the couple next to me did. The story, based on a novel by Joe Hill, is quite easy to follow: Ig Perrish (Daniel Radcliffe) and Merrin Williams (Juno Temple) are madly in love, she is found dead and he’s charged with her murder. No one but his long-time friend Lee (Max Minghella) believes he’s innocent. At this point, what was supposed to be a mystery film turns into fantasy-horror with religious undertones: one morning Perrish wakes up with a nice pair of horns

SMALL SCREEN the missing BBC One

ew eight-part thriller The Missing opens with the abduction of Tony Hughes’ (James Nesbitt) son Oliver (Oliver Hunt) on a family holiday in France. One second Tony is holding his son’s hand in a lively holiday resort bar, the next he has momentarily let go and the five-year-old boy has disappeared. The French police launch a manhunt to find the boy but it soon becomes clear to Hughes that his son has probably been abducted. Not only that, but the police tell the couple that in these situations, their child’s abductor is most likely to be someone known to the family.

CULT CORNER The deep blue sea Dir: Terence Davies 2011

ow do you turn a typical love triangle story into something watchable without being cheesy? Take a look at director Terence Davies’s adaptation of the play The Deep Blue Sea. Set in post-war Britain, Hester (Rachel Weisz) is our protagonist, who is torn between her older husband Sir William (Simon Russell Beale) and Freddie (Tom Hiddleston), a young, delightful ex-Air Force pilot with whom she has an affair. The whole film is organised in a non-chronological way, so that the

audience can experience the stark contrast between Hester’s feeling towards her husband, and the war hero Freddie. We can tap into Hester’s mind, which is grim, suicidal and emotionally despondent. The downside is that it leaves Freddie’s intentions ambiguous. He too is a troubled individual struggling to fit into post-war society. Despite that drawback, in terms of films about love, this one is among my favourites. To make this intimate drama work, casting is crucial and here it’s been done right. Weisz portrays the depressing but alluring Hester well. Not only is there a great dynamic between Hester and Freddie, but the supposedly dull husband is also fascinating to watch. Thanks to Beale’s amusing and subtle performance, this reserved judge from the upper classes can be interpreted as an introvert, in comparison to the adven-

turous Hester. The film is not judgemental but aims to present Hester’s internal struggle. It is a deep blue sea, as her romantically and sexually unsatisfying life with William is clearly suffocating for Hester. Nonetheless, her needy, indulgent attachment to Freddie is also drowning her, leading towards another emotional breakdown. Living in a time when women’s life choices were more constrained, Hester’s frustration and her confinement within society is all the more poignant. Movies based on love stories are unlikely to impress us nowadays. However, don’t be put off by the genre. Let this moody, intimate piece of cinema surprise you. Vienna Lee

growing from his temples. Apparently a sign of his guilt, the horns have the power to make people confess their deepest, most morally unacceptable secrets to Ig. After his initial surprise, Ig decides to find out who the real murderer is and so prove his innocence. At first glance, Horns seems an interesting, quite enjoyable movie and for the first hour, it is. After this hour, however, the movie gets slowly worse: the flashbacks, via which the director, Alexandre Aja, tries to explain everything, are so painfully long that one forgets what was going on before them. On the other hand, telling the spectators almost every detail deprives the movie of one of its main features: mystery. Eventually you’ll be so bored you’ll be at risk of missing the final (terrible) plot twist. One of the few positive elements is the soundtrack: among the songs, the choice of ‘Personal Jesus’ is an effective, if predictable reference to the devil’s horns. Temple is en-

chanting while dancing to Bowie’s ‘Heroes’. Perhaps Aja should have spent more time on the screenplay instead of picking up his favourite playlist. Harry Potter has defeated Lord Voldemort, but Radcliffe is still struggling with his wizard past: Horns is not the best way to get rid of it, but at least it shows that there may be a future for him outside Hogwarts. His portrait of Ig is quite credible in his painful remembrance of Merrin. But, please Daniel, lose the accent! Aja fails completely in his attempt to merge genres: he still loves horror movies and you can see it from the large amount of gratuitous bloody scenes. In general, the movie never quite reaches potential and it ends up being a melting pot of unconnected good ideas. It could be a thriller or, even better, a black comedy, like This Is The End, but it’s stuck somewhere in the middle.

One of the interesting things about this series is the way in which the story flicks between two different time frames - one in 2006, at the time of the abduction, and the second eight years later where many things have changed. The audience is caught up in an intriguing web of mysteries, beginning with the fact that Oliver is still missing. While Tony remains determined to find his son, his wife Emily (Frances O’Connor) seems to have given up. She has left Tony and is about to marry the police liaison officer. The lead detective of the case has retired, having suffered a leg wound, and his second-in-command is in prison. These are all events that are not yet explained and generate more questions about the eerie abduction. The first episode of the series

introduces the story alluringly and successfully engages the audience’s interest in the family and the mystery of Oliver’s abduction.

Valeria Vigilante

“An intriguing web of mysteries” The suspense that is built up in the first programme and the cliffhanger the audience is left with is reminiscent of ITV’s recent drama Broadchurch, which is no bad thing. We are emotionally drawn to Tony as he desperately attempts to find out what has happened to his lost son. The show leaves us on the edge of our seats to find out the truth about what happened to Oliver. Jaskiran Shergill

Friday November 7 2014

Mr. Turner Dir: Mike Leigh

he majority of period dramas fall into one of two categories. They are either monotonously serious or take place in a whimsical version of the past, graced with jittering mothers and dashing gentlemen. Mr Turner, written and directed by Mike Leigh and starring Timothy Spall, has finally found the middle ground. Unfortunately, the end result is flawed, failing to be truly engaging. The film follows the trials and tribulations of one of Britain’s most celebrated artists, the titular Mr Turner (Spall). The film aims to illustrate the journey of a quiet rebel: not a man calling for revolution, but rather a man being revolutionary. Spall gives us a character who is forever fighting through a state of disrepair – hobbling, emotionally stunted and often offering a deep grumble rather than real words. It is remarkable how Spall and Turner become inseparable in this performance. The accompanying cast also provide a range of great performances. Dorothy Atkinson as Turner’s housekeeper and Martin Savage as artist Benjamin Haydon add a charmingly humorous element to the film.

nightcrawler Dir: Dan Gilroy

n the discomforting, barren world that is LA at sunset, several crimes are committed in the street. Every night a bunch of criminals crawl out into the open air to infest the city with their toxic presence. Nightcrawler is the vibrant depiction of this bloody mess and one of its protagonists, Louis Bloom (Jake Gyllenhaal). Louis is broken and unemployed. The man barely scrapes a living with minor robberies and his bargaining skills. No matter how hard he tries, nobody seems willing to offer him a job, because there is something very unpleasant and creepy about him. Louis might be an oddball but he is certainly not a quitter. Maniacally driven to find a suitable career for himself, he finds a job opportunity in the most unusual situation: a car crash. Seeing reporters at the incident site seizes him with sudden inspiration to become a street journalist at crime scenes. After buying a camera and a police scanner, Louis is in the business and he’s a fast learner. His pieces are selling fast and he gets a spot at the local news station. But for Lou, this is not enough. As the line between him being a witness and being a director in the crimes he reports become smaller and smaller, the movie escalates into a psychotic, thrilling narrative. The film is an adrenaline-fuelled trip into its protagonist’s unsettling mind. The action is, for a change, concentrated on the other side of the camera, and the spotlight is on the one who holds it. With the smart script and sophisticated language of his screenplay, Dan Gilroy sheds a dark light on a delusional, ruthless, sociopathic figure. His first work as a director is managed with unexpected confidence and a steady hand. The footage is, in fact, deliriously pressing and tense staging the horror and violence that accumu-

Mike Leigh’s direction is characteristically subtle, favouring the nature of the events on-screen rather than placing too great an emphasis on aesthetics. That’s not to say the film is without artistic merit. Breathtaking visuals are dotted throughout the film, with Turner silhouetted against sweeping vistas as he explores various landscapes. The structure of the film’s plot is its greatest downfall. Although the majesty of Spall’s performance cannot be understated, we never seem to truly connect with t h e character. Rarely is a connection made between the events in his life and his artwork. This important aspect is mainly glossed over and thus, we fail to understand the character’s thought processes or inspiration. The film centres more on the personal elements of Turner’s life, mainly the turbulent relationships with those closest to him. While engaging for the most part, these scenes feel like small parts of a larger story that has been omitted. Additionally, Leigh unnecessarily includes various stereotypes. The embittered ex-wife and the comically pompous Ruskin don’t sit comfortably alongside more fleshed out characters and distract from the more subtle come-

dic aspects. Undoubtedly, Timothy Spall steals the show in what could otherwise be considered a quite laborious period drama. Although

the concentration on the character’s personal turmoil is interesting, the film begs for more focus on Turner’s art. Without this, the film inevitably feels incomplete.

15 Unlike Turner himself, Leigh has failed to create a masterpiece. Andrew Martin

late on the screen. Last but not least is the impressive performance by Jake ‘crazy eyes’ Gyllenhaal who achieves an astonishing physical transformation. His massive weight loss and undeniable talent are worth half the praise for the film.

“An adrenalinefuelled trip into its protagonist’s unsettling mind”

Nightcrawler is a graphic crime thriller that is not to be missed. With his lucid, calm madness and his thirst for blood Louis Bloom will get into your head in a dangerous way. He likes to say that if you see him “you are having the worst day of your life”. But, in terms of watching him on screen, it’s purely breathtaking, and in a good way. Mariaclaudia Carella

DOT COM

Serena

Dir: Susanne Bier

t’s been a long yet oddly silent wait for Serena, which has been completed for over two years, to reach our screens. Its muted release seems apt now we see the film isn’t much to shout about. The latest project of Oscarwinning Danish filmmaker Susanne Bier, Serena is a theatrical glimpse into the south-eastern United States of the 1930s, based on the 2008 novel of the same name by Ron Rash. Wannabe logging tycoon George Pemberton (Bradley Cooper) is struggling to save his timber business when he falls suddenly and hopelessly for the mysterious Serena, who, after a brief holiday romance, accompanies him home as his wife. Serena (Jennifer Lawrence) arrives on the Smoky Mountains of Depression-era Tennessee and North Carolina, a ruthless cocktail of brutal determination and femininity, with a hands-on approach to showing the workmen how to do their jobs. Having taken an instant dislike to her husband’s business partner, slacking workforce, and illegitimate child, Serena’s explosive marriage begins to unravel when she learns she will never give George a child. With too many sub-plots, none of which are scripted thoroughly

or convincingly, this film falls flat in terms of dialogue, or lack thereof, with not enough attention awarded to creating the strong and stimulating narrative offered by the book. The limp first half drags with an overly generous helping of dismal landscape shots and blank faces, before lurching into full-blown melodrama at an uncomfortable pace, with little explanation and even less dexterity. United on screen for the third time in as many years, Lawrence and Cooper are the movie’s saving grace, re-igniting some of the magic of their earlier ventures, Silver Linings Playbook and American Hustle. Together they throw themselves into their ambitious roles, bringing passion and depth to the lives of George and Serena Pemberton, albeit amidst somewhat excessive scenes of a sexual nature. Their captivating portrayals of the anguished Pembertons are buoyed by a talented – and largely British – supporting cast, notably Rhys Ifans, Toby Jones and Sean Harris. The movie does little justice to the novel on which it’s based, eventually descending into a tiresome calamity of confusing plot twists that no cast could save. Keri Trigg

Fuse Listings.

Photo: Joshua Hackett

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

Screen.

Games.

Showroom Film Quiz (November 11, 8:30pm, the Showroom Cinema) Do you know your Charlie Chaplin from your Charlie Kaufman? The Showroom’s film quiz returns to challenge the most devoted cinephiles. Dust off your Bible and start learning the words to Ezekiel 25:17 - this month includes a round devoted to classic quotes from Samuel L Jackson. Science Fiction, Science Fact: Sunshine (November 14, 6:30pm, the Showroom Cinema) The first in a series of discussions with University staff that ask the question; just how much of science fiction can we believe? Professor Tony Ryan explores Danny Boyle’s Sunshine, in which a team of astronauts must use a massive nuclear bomb to try and reignite a dying sun. Cult Tuesdays: X: The Unknown (November 18, 8:30pm, the Showroom Cinema) On a desolate Scottish moor a mysterious explosion creates a bottomless fissure in the ground, leaving two nearby soldiers with first degree radiation burns. Scientist Adam Royston (Dean Jagger) is baffled at the mystery, but knows that in its quest for radiation the “unknown” entity will make for a nearby research centre Coming soon to the University of Sheffield’s independent cinema... Friday November 7: The Man Who Fell to Earth Saturday November 8: Godzilla Sunday November 9: The Fault in Our Stars Friday November 14: Under the Skin Saturday November 15: Starred Up Sunday November 16: Next Goal Wins For more info on future releases or to volunteer go to filmunit.org.uk

Tickets: £2.50 each

Christmas is around the corner (by which we mean the decorations are going up too bloody early again), and the developers are starting to line up some of their biggest releases of the year! November 11 Assassin’s Creed Unity (PC, PS4, Xbox One) Assassin’s Creed Rogue (PS3, Xbox 360) Digimon All-Star Rumble (PS3, Xbox 360) Halo: The Master Chief Collection (Xbox One) Lego Batman 3: Beyond Gotham (PS3, PS4, Xbox 360, Xbox One) Shape Up (Xbox One) November 13 Pro Evolution Soccer 2015 (PC, PS3, PS4, Xbox 360, Xbox One) World of Warcraft: Warlords of Draenor (PC) November 18 Dragon Age: Inquisition (PC, PS3, PS4, Xbox 360, Xbox One) Escape Dead Island (PC, PS3, Xbox 360) Far Cry 4 (PC, PS3, PS4, Xbox 360, Xbox One) Grand Theft Auto V (PS4, Xbox One) LittleBigPlanet 3 (PS3, PS4) WWE 2K15 (PS4, Xbox One)

Arts.

Music.

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 and described by our Games editor Robin Wilde as “using the wrong things as drums”, 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. Verdi Requiem (November 8, Sheffield Cathedral, 7:30pm) A live performance of Verdi’s ‘Requiem’ orato, intended to honour the citizens of Sheffield who died in the first and second world wars. From Hollywood to the West End (November 8, St Oswald’s Church Hall, 7:30pm) A concert of the greatest songs from Broadway and Hollywood, all performed by members of Singers Unlimited. All proceeds to go to Macmillian Cancer Support. The Great Gatsby (November 12-15, University Drama Studio, Tickets £6) Baz Luhrmann ain’t got nothing on SuTCo. Adapted by Simon Levy from F Scott Fitzgerald’s immortal novel, The Great Gastsby follows Nick Carroway through the champagne-fuelled haze of New York in the Roaring Twenties, and the lavish parties held by his enigmatic neighbour. The Snowman (November 19-23, the Lyceum) Raymond Briggs’s classic children’s book comes to life at the Lyceum. When a young boy’s snowman comes to life on Christmas Eve, they go on a magical adventure together where they meet Father Christmas, dance with other snowmen and sing songs in a creepy Welsh falsetto.

Live Gigs Annie Mac - 7/11, Kate Tempest - 8/11, Plug Bellowhead - 8/11, City Hall The Xcerts - 11/11, Corporation Submotion Orchestra - 11/11, Leadmill Kylie Minogue - 13/11, Motorpoint Arena The Struts - 13/11, Plug Blackmamba - 13/11, South Sea The Voyers - 13/11, Harley The Kooks - 14/11, O2

Show of Hands - 15/11, City Hall Oli Brown Band - 16/11, Greystones Mallory Knox - 16/11, Leadmill Ballet School - 17/11, Bungalows & Bears Hacktivist - 18/11, Corporation Bondax - 18/11, Tuesday Club Lada Gaga - 20/11, Motorpoint Levellers - 20/11, O2 2:54 - 20/11, Harley

Royal Northern Sinfonia and Sheffield Philarmonic (November 7, City Hall) A line-up of elite soloists join conductor James Burton for an evening of music from the likes of Mozart, Mendelssohn and Wagner. Dakhla (November 12, the Lescar, 9pm, Tickets £5) Jazz nights at the Lescar on Sharrow Vale Road are one of Sheffield’s best secrets, and on November 12 the bar welcomes a four-piece horn outfit from Bristol known for their big, funky sound. Sheffield University Chamber Orchestra (November 18, 7:30pm, Firth Hall) An evening of classical music from the University’s chamber orchestra; the programme will include Albinoni’s Oboe Concerto in D minor, Op 9 No 2.

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.

Paradise Island Golf Bar One Friday November 7 1:30pm £5 (plus tram fare) Leave everything you know about birdies and Mulligans at the door; in Paradise Island, you’ll have to deal with palm trees and exotic plants instead of sand traps.

Yorkshire Sculpture Park Durham Road Saturday November 8 9am £18 An open-air display of modern and contemporary art, full of sculptures like this bunny lady. The price of your ticket also includes afternoon tea and a scone.

Welcome to Bhangra The Edge, Endcliffe Village Tuesday November 11 7pm £2 An energetic, lively form of dance from the Punjab that you probably remember seeing at the London 2012 closing ceremony. Seriously, bring a bottle of water for this one.

Quilting Workshop Activities & Sports Zone Thursday November 13 5:30pm £8 Stitch Soc will teach you all you need to know about the fundamentals of quilting in this two-part session. Perfect for making a blanket to cuddle during your next hangover.

Reindeer Food Parcels Students’ Union Building Wednesday November 19 Get creative in this free, allday session and turn oats and glitter into a reindeer food parcel, which will be sold to raise money for a charity supporting children with cancer.