Fuse Issue 77

Fuse.

Burlesque and feminism How to survive survival games The X Factor 65 years of Film Unit

2

Friday November 21 2014

Short Fuse.

Comments and rants on entertainment news.

Rome wasn’t built in a day, and you can’t build a decent videogame in a year

T

he videogame industry is expanding massively: in 2014, it grew faster than the United States economy. In recent years, particularly with the introduction of the new console generation, there has been a huge pressure for game studios to produce big triple-A blockbusters every year.

While for some this may seem like a fantastic shift for gamers, who are getting ‘new’ titles every year, what this rapid release really means is a sub-par service for fans.

One example of the decline resulting from yearly releases is innovation. When a new instalment is released yearly, how much space do studios have to introduce new mechanics?

Sure, a few new features change, such as the introduction of your dog in Call of Duty: Ghosts (really?), but the overall feel of the game remains the same. Instead of moving forward what you get is the same

rehashed, flawed story progression with the main focus being on shallow online multiplayer grudge matches. Maybe if you’re lucky, there’s a few new ways to execute complete overkill, but the overall formula remains the same.

“Games should be made with quality in mind” And sometimes the rush to get a game out there results in some pretty serious glitches being missed in the testing phase. Assassin’s Creed Unity has already had many bugs identified, and it really hasn’t been out that long. A simple Google search of the glitches reveals how sloppy the developers of this game have been in order to work to their strict release schedule. Examples

include textures loading improperly, characters running whilst stuck on the spot, and other frankly bizarre things.

When I shell out 50 quid for a game, I expect a polished experience, not something that feels like it could have done with another few months in the oven.

You only need to look at Nintendo’s big hitters to see how this can be done properly. Sure, the Wii U’s had a bit of a rough time, but in six months Mario Kart 8 has sold nearly 4 million copies – that’s more than 50 per cent of the 7 million strong install base of Wii U consoles.

Real videogames should be made with quality in mind, with a well-designed, innovative, and glitch-free game being released when it’s ready and not when the studio decides it’s once again time to cash in their intellectual property.

Jay Harrison

Even old ideas can still make for great new TV shows

O

ver the course of the last month, Den of Geek have been updating a post about the ever-growing number of film-to-TV adaptations that are currently in the industry pipeline. Familiar titles include Minority Report, School of Rock and Monster-in-Law. The recent success of Channel 4’s Fargo appears to have sparked this gluttonous rush of adaptation energy, but do we really want to see the same stories on our television screens as in our cinemas?

Personally, the thought sets my teeth on edge, and this seems to be the general opinion of Den of Geek’s writers too.

However, a peruse of their collection of titles shows something intriguing, namely the unexpected variety of genres that may be up for a new lease of televisual life.

Horror, sci-fi, comedy, children’s interest and romance are all represented. And Marley & Me. A hit movie like School of Rock is clearly a winning formula. The set-

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.

up echoes musical comedies like Glee, and with Nickelodeon behind the money, it’s easy to see the kind of production this show might become.

Less obviously heading for success is a potential TV remake of the Scream franchise. Already done to death in cinema, the tongue-incheek comic horror style could hard to pull off on our small screens.

That being said, American Horror Story have found a great niche in this area, combining scary and camp in a weirdly perfect bubbling vat of macabre sexiness.

Scream is about poking fun at horror tropes, and in these postpostmodern times it might be hard to pin down anything that would be proud to call itself a trope. Nevertheless, I’m excited for this one.

Currently science-fiction is holding its head up high with the success of Marvel in cinema and television alike. Minority Report, Limitless, Frequency, Resident Evil and Twelve Monkeys are all listed as having TV adaptations in the pipeline.

With enough budget and a prominent name behind the project, even the most overcooked story (Resident Evil, I’m looking at you) is likely to attract viewers. However, a poll on the AMCTV website shows that of eight past sci-fi titles, only Stargate found a dedicated audience when it shifted onto the small screen as Stargate SG-1.

The number of prospective shows is now at a whopping 28, although a fair few are admittedly pretty quiet on the news front, presumably filed under ‘sheer desperation’ in some overworked secretary’s office in deepest darkest Hollywood.

Clearly the thought of reusing old ideas has Hollywood drooling over its cash reserves, but can remakes sustain the bloodthirsty hordes of discerning screen addicts? We’re just going to have to wait and see.

Meanwhile, I’ll be heading down Memory Lane, as far from a regurgitated TV remake of Hitch as I can possibly get.

Sophie Maxwell Disney and Pixar have confirmed that Toy Story 4 is officially in development, with John Lasseter set to direct. But while more Toy Story films sounds awesome on paper, we can’t help feel that the trilogy is pretty much perfect as is - how do you improve on that ending? Either way, we’ll find out when Woody and Buzz return to our screens in June 2017 - 22 years after the original film. Christ, we feel old now.

Boomtown Rats frontman and dogooder extraordinare Bob Geldof has brought together a new line-up of musicians including Elbow, Ed Sheeran and Emilie Sande under the name of Band Aid 30. After appearing on The X Factor on November 16, the new version of ‘Do They Know It’s Christmas?’ (which you can buy on iTunes for 99p) raised £1 million in five minutes, with all proceeds going to help fight Ebola.

3

Friday November 21 2014

L

et’s be honest, late November is probably the worst time to be a student.

The nights are getting longer, Reading Week has been and gone, and Christmas seems like it’s a lifetime away. You can’t remember what your Mum’s cooking tastes like and none of your clothes have seen an iron for two months. November sucks.

Still, while you wait for the month to end so you can finally open your advent calendar and celebrate Christmas without looking like a mad person, there’s another 16

glorious pages of Fuse to get you through the evenings. And we’ve crammed this issue with some unbelievably good stuff.

The Screen section celebrate the 65th anniversary of Film Unit, one of the Union’s best-loved institutions. It’s hard to believe that this humble little movie house, entirely staffed by our own students, has been around longer than the entire James Bond movie franchise. Here’s to 65 more years of great student cinema.

Arts look at the feminist arguments in favour of burlesque, a

much-maligned form of artistic expression, and argue that it can actually be a pretty empowering experience for women.

Games grab an axe and a shotgun and dive into the inhospitable wilderness of survival games, while Music debate the impact of TV talent shows like The X Factor, which I’ve always felt would be less painful if you watched them with live wasps in your eyes.

And as if all those great features weren’t enough, we have reviews of big movies like Interstellar and The Imitation Game, the newest instal-

ment in the Assassin’s Creed franchise, live music from the likes of Kate Tempest and Kylie Minogue and coverage of the University’s poetry slam against Leeds.

Yes, November is a pretty crappy month when you think about it. But in a few short weeks, everything will be about chocolate, tinsel, coloured lights, and hearing Jona Lewie on the radio every five minutes.

Then you’ll look back on your dark, dreary November a lot more fondly.

Editorial.

This delicious front cover was baked by Phillie Spottiswoode!

Phil Bayles & Kate Lovatt

Even Booker Prize winners write bad sex scenes

A

lthough it’s been around since 1993, a surprising amount of people haven’t heard of the Literary Review’s hilarious Bad Sex in Fiction Award.

The award is given to the writer of the most cringeworthy, readthrough-your-fingers sexual description or scene from that year.

Yes, satirical awards like this do encourage literary snobs to hiss and snigger.

The Literary Review created the award in the hope of drawing attention to “the crude, tasteless, often perfunctory use of redundant passages of sexual description in the modern novel, and to discourage it”.

But what does this do for ending the taboo of the discussion of sex?

Does this award hush modern authors and limit their realms of exploration? As we become more and more relaxed about discussing the

s-word, why does the Bad Sex in Fiction Award have to put a negative spin on it?

Well frankly, there’s such an abundance of painfully embarrassing sex scenes out there in contemporary literature. If you want to get your hands on anything passionate that won’t pull muscles in your neck from a dangerous amount of wincing, I’d recommend rooting through your ancestor’s bookshelves in hope of copping some Henry Miller.

Otherwise, you’re going to be left gawping at the EL James dominated Erotic Fiction shelf in your local Waterstones. Althought you may be surprised to know that James herself hasn’t actually graced her awards cabinet with the Bad Sex in Fiction Award, the trophy for which depicts a naked woman spreading herself over an open book.

When Esquire ran an article ran an article in 2013 listing the uncomfortable amounts of repetition

of phrases like “nipple clamp”, “gaping” and “lip biting”, it’s hard to understand how the Literary Review have overlooked the “crude tastelessness” in the trilogy.

So when the award shone its light on a passage from The Narrow Road to the Deep North by Richard Flanagan, literary fans would’ve been forgiven for any confusion, as Flanagan recently an acclaimedBooker Prize.

While the Booker judges thought Flanagan had crafted an “outstanding work of literature”, the Literary Review certainly seemed to disagree. Perhaps the depiction of the protagonist intimately licking someone’s “knicker elastic” before being interrupted by a dog killing a “fairy penguin” is actually just outstandingly bad.

Chloe Bolton

Spotify might find it difficult to shake off Taylor Swift’s negative views on music sharing

S

potify users whose music tastes tend toward mainstream pop will have recently noticed a conspicuous gap in their playlists. Taylor Swift’s catalogue is, as of this month, absent.

She cited a lack of fair compensation, having earned “only” half a million dollars in the last year. Daniel Ek, Spotify founder, took issue with Swift’s sums, and argued that Spotify protects artists from illegal downloading, which earns them nothing.

Ironically, Ek is the former CEO of uTorrent; one of the most prolific torrenting apps and a thorn in the side of every major record company.

If Swift is complaining about half a million in earnings, she should spare a thought for the smaller indie artists on Spotify, who earn a comparative pittance. Something needs to change.

Asked about the controversy,

NME’s godlike genius Dave Grohl went on record saying; “I don’t fucking care”, before bemoaning the way things used to be, when the biggest barrier to new artists was getting heard, and when live performances shouldered the money-making burden.

Should Spotify be treated purely as a marketing tool for gigs? It’s true that ticket sales are experiencing a surge in growth as record sales continue to shrink. But what about the Portisheads and Kate Bushes of the world – the artists who don’t or can’t perNo, this isn’t a still from Shinji Mikami’s latest horror game. What you’re seeing is one of the more interesting glitches from Assassin’s Creed Unity (which we’ve reviewed on page 10), which causes some characters to appear without faces during cutscenes. We decided against showing the still of two characters kissing with this particular glitch - it’s the stuff of nightmares.

form live?

Author and digital sage Cory Doctorow suggests a return to the patronage model.

Just as the pope commissioned Michaelangelo to paint the Sistine Chapel, contemporary artists may have to solicit funding from fans.

Some musicians are already taking this to heart.

Amanda Palmer successfully crowdfunded one million dollars via Kickstarter to create her 2012 album Theatre is Evil, which was then given away under a The Holy Bible has been named as the most influential book of all time in a poll organised by the Folio Society. The text topped a list of 30 candidates with 37 per cent of the vote, as it contains “the guidelines to be a good person.” Ironically, the book that came second was Darwin’s The Origin of Species.

Make of that what you will. Runners up included the Qur’an, To Kill A Mockingbird and NineteenEighty-Four.

“pay what you want” arrangement.

The website Patreon, which allows fans to directly support creative sorts with their wallets, boasts a cash throughput of over $1 million dollars per month. Considering the site is less than two years old, this is a considerable achievement.

Not everyone is supportive. Nine Inch Nails’ Trent Reznor accuses patronage of devaluing music, saying “I made my album as well as I could, and it costs ten bucks, or go fuck yourself.”

Whether the future is streaming, patronage or something else, it’s clear that the recording industry is undergoing a paradigm shift. Since Spotify is clearly positioning itself as the new business model; it’s a good thing that Swift has attracted scrutiny to their business practices.

Joshua Hackett

Friday November 21 2014

4

OW AT YOU NEED TO KN SURVIVAL GAMES:, theWH of many inearly access phenomenon has seen the rise and fall

S T

, whilst ince hitting Steam in Marc h 2013 ssfully provided an immersive survival experience r. development survival games. Some have succe furthe s igate invest wood West Ned anics. mech others have had developers completely rethinking basic

1 al A few elements that every survival game here is definitely a huge demand for surviv pror should have: games. Many people have backed Kickstarte butjects such as The Stomping Land, and are contri • A well designed looting and crafting to the development of games such as H1Z1 origithat that enables the player to have game system The ing it. via social platforms such as Redd alone a hand in designing the perfect base. Somenally caught people’s attention was Day Z’s stand2 mod ARMA the of times in alpha gameplay, crafting systems or edition, developed by the creat from rt are often full of glitches. The concept may that saw a huge amount of success and suppo of terms in d limite be a bit too ambitious, especially for online quite the community. Though initially ved gameplay, but a robust, straightforward functionality and content, the standalone game recei the saw and se relea system is essential for sandbox survival on a massive amount of attention week games. sale of a whopping 400,000 copies within its first • A distinct focus. Different survival on Steam. nd dema styles suit different preferences; some peoOther developers started to follow suit; theafter Day d soare like ple prefer the player vs. player aspect of the for zombie survival games and .

Steam of survival games, and others the creative sysZ found a comfortable spot on the front pagepostapoc a in d aroun tems of games such as Planet Explorers and g But why is the concept of runnin The Forest. There are obvious problems that alyptic landscape such a popular one?

Days 7 Z, Day as such can arise if developers try and go down es Zombies and adrenaline. Gam the d both paths simultaneously, but games like to Die, State of Decay and H1Z1 are all built aroun If . world open hic, Life Is Feudal have ways around such probanarc concept of survival within an you lems. Finding the right balance is definitely you are a fan of the TV show The Walking Dead and es, Grim Rick be to essential for developers wishing to incorpolike it’s wish to get a taste of what online rate both elements. then these games are for you. However, like, most and some• A good save system. For some games survival games they still need a lot of workDay ) here.

Z you want a save system that creates an eletimes updates aren’t so frequent (looking at a for g aimin are s ment of risk. The Forest for example has an game Some of the more creative deby e interesting system, where saving at your enmuch richer survival experience than ever befor game a is Rust rs. campment allows you to continue where you playe livering sandbox mechanics to ing left off - with the risk that if you are killed, that is exemplary in showing the difficulties ofoxmerg n, desig sandb and your save is then wiped. This makes for a ng multiplayer survival with crafti well. harsh and risky survival experience. but since its recent revamp it seems to be faring te moda accom to • Manageable energy/hunger/thirst tries that Life is Feudal is a similar title and other status effects. These games wouldn’t be the amount of players interacting with each align ment, of m syste a survival games without the need to survive, ng the environment by implementi opas beyond killing zombies, cannibals and mongiving players incentives to work with each other sters. Being able to build upon the means posed to killing each other. to survive and having a system that allows the player to gain quick mastery over the ? techniques of survival is key.

SO WHAT IS WORTH PAYING FOR

I

the t is hard to say which survival games are worth inthe to due y mainl t, money and which ones aren’ but ral, gene in s game s acces early of e natur complete the often if the concept is good then people will buy this; of ple exam good a is Z Day it. enjoy game and e methe concept has people hooked, but the glitch-pron your reach and try to g runnin of hours the chanics and . ating frustr be can field a buddies only to be sniped in to tion atten pay to thing some are tes upda Upcoming good a It’s play. to s game when looking for new survival s and idea to take a look at the websites of various game dethe what of tion indica check out their FAQs to find an ng exciti and t recen very Two ing. plann be might velopers mode co-op new the are on updates that deser ve a menti in in The Forest, and (at long last) the addition of vehicles tor.

Day Z - goodbye, running simula

WORDS: NED WESTWOOD DESIGN: ROBIN WILDE

Games to give you the best chances: ○ The Forest ○ Rust ○ Day Z ○ Life is Feudal ○ Don’t Starve ○ Planet Explorers ○ H1Z1 ○ The Stomping Land ○ Starbound ○ Unturned

Friday November 21 2014

5

T

he phrase “the merits of The X Factor” will undoubtedly be greeted with snorts of derision, quips along the lines of “Merits? What merits?” and sheer disbelief when I reply that yes, programmes such as The X Factor can and have had a positive impact on the music industry. Without them, the world would be a much more miserable place.

Where would we be without Olly Murs, attempting to beat the world record for the number of rappers featured on one song? Or Leona Lewis, who, in all sincerity, is one of the best female vocalists this country has ever produced? In a much more musically deprived and miserable place, that’s where.

It is undeniable that The X Factor - and shows of its like such as The Voice, Pop Idol and Fame Academy (we won’t even go there), – has its downfalls. The acts who will provide some sort of sob story tend to be favoured by producers over acts with genuine talent. The show is guilty of taking advantage of more gullible contestants who aren’t exactly what you would call self-aware, and making a bit of a spectacle of them. Cries of “Fix!” still ring out in households across the country to this day when the results of the public vote seem, shall we say, a bit questionable.

But regardless of all this, I love The X Factor and have watched it religiously since the age of about

10. It’s pure, unabashed entertainment and is something that everyone, including your Nan, has an opinion on. And in that way, it unites us all as an angry, passionate one.

Whatever you think of the format, the show’s brilliant contribution to the music industry is unquestionable. While appearing on the show doesn’t always guarantee success – James Arthur, anyone? – it has produced some absolute crackers.

An article on the merits of The X Factor would be incomplete without the mention of a small, somewhat polarising band known as One Direction. I have to admit to being in the “Oh God No” camp because McFly exist. But you can’t deny the sheer force with which they have

taken not just the UK, but the world by storm.

Artists with ‘credibility’ have also been discovered; Ella Henderson, who came 7th in her stint on the show in 2012, was responsible for the recent smash hit “Ghost” and last week saw her album go straight to number 1. Fundamentally, to completely disregard the amazing talent nurtured on these shows is sheer insanity, quite frankly, because the music industry would be much less vibrant, and, essentially, a lot less fun without them.

“Without The X Factor, the world would be a much more miserable place”

Anna-Marie Higgins

Logo : ITV

The X Factor: A blessing or a curse?

With singing competitions taking center stage when it comes to weekend television, we explore whether the impact on the music industry is positive or negative.

“We as a viewing community can kill The X Factor for good and never see its like again”

C

ontrary to popular belief, The X Factor does not make music. It makes a glossy, singing package on which to drape overpriced headphones, ‘fashionable’ clothes and crappy perfume.

It is the streamlined version of the mainstream music industry, concerned not with making transcendent songs that find the depths of the human soul, but making pure profit at minimal expense.

It’s clear from the selection process they are only ever looking for a product that fits a demographic willing to buy the crap that they’re selling. When people with genuine talent get on the stage they will always get sorted not by their ability, heaven forbid! They are sorted how attractive they are, the sob story they tell or which group they fit into

and whether there’s any value in that audience.

The best part of the charade is when there is uproar from the public when a contestant with talent gets voted off by judges. The viewers flock to their screens just to see the commotion. In one calculated action they get rid of a poor investment, and increase the impact of the final products.

The epitome of this is One Direction. The ‘supergroup’ has made billions for its shareholders and the group has never had to write their own songs or dress themselves, let alone think for themselves.

This production line takes a toll on the people it manipulates and accelerates to fame. When an artist enters the music industry they have to weather the early knocks and bad reviews that make them grow

a thick skin, so if they do make it big they can take the press coverage that only seems to exacerbate the spiralling decay of drink and sloppy nightclub photos they are get caught in.

By far the worst aspect for me is the fallout into the world of music. I used to listen to the radio, but now all I hear are the same four chords with the same lyrics that describe the most generic girl anyone could imagine sung by artists that are nearly identical in every aspect.

I would implore people to stop listening to the musical faeces that pour out on a daily basis, but people have no say in what actually goes in the charts or is played on the radio. The same business that makes the bands, is the one that makes sure everyone listens to the generic nonsense and pushes it onto

everyone until they buy it.

For the 10 years that The X Factor has plagued the television, it has kept the cost down for ITV by not employing actors, writers, cinematographers or directors that make truly quality television. For a long time people were complacent, but now we’re living in age where the quality of TV shows now determines whether people will watch it and whether or not it will get cancelled or not.

In recent years the talent style show has been taking a pounding from much better television. My hope is that now the beast is injured, we as a viewing community can kill it for good and never see its like again.

Nicholas Moody

8

8

Teasing the Friday October 24 2014

B

Jo Gallacher looks at the art o behind it, and how it’s act

urlesque dancing is both an entertainment industry and an art form which continuously pushes social boundaries. Its daring nature to tease social norms and sexual morality has meant the movement has come across its fair share of criticism. We live in an era of ‘fashionable feminism’, whereby more and more of us are becoming aware of the inequalities women face and are wanting to do something about it. In this context, burlesque represents an individual’s own rejection of the patriarchy and celebration of female sexuality. But is burlesque an expression of feminism?

Burlesque became prominent in London in the 1830s. Originally, the shows took well-known culture like opera or Shakespeare and parodied them. It also became popular across the pond: in New York, female-led productions showed scantily clad, attractive women mimicking patriarchs’ roles. In recent years, burlesque has seen a sudden surge in its popularity, with names such as Dita Von Teese and Perle Noire creating a ‘neo-burlesque’ phenomenon. It may be surprising for most that striptease only became part of the act in the early 20th Century, and this naturally lead to moral outrage.

Nudity, objectification and the female body are at the heart of the debate when considering whether burlesque is an expression of feminism. Some believe that by performing burlesque, we are merely buying into the illusion that women can only gain power through whether or not they are being deemed ‘sexy’ by the opposite sex. It is often argued that burlesque only encourages empowerment as a result of male appreciation, and not in the female’s own right.

So the controversy boils down to whether or not burlesque dancing objectifies women. A woman may feel ‘sexy’ twirling a bra around her wrist, but to what end? Is the empowerment due to the fact she is attracting male attention? It only takes a quick flick through a trashy tabloid to notice the difference between the ways women and men are perceived. We live in an over-sexualised culture where women are commodities – their value directly correlated with how pleasing they are to the male eye. With this in mind, striptease, near-nudity, and constant innuendo in burlesque dancing can be perceived as merely contributing to the toxic, sexist society

we are forced to live in. Yet personally, I belie an art form which allows women to define and s independently and in its own right despite the that women are wilfully wanting to be objectifi to feel ‘sexy’ from time to time? It is not anti-f patriarchy or any revolt against such patriarch and explore their own passions or desires. Wom such as their intellect, integrity and decency, y from their sexuality.

“Burlesque of opportunity embrace and bod

Burlesque also offers a fantastic opportunity f ies. Society is obsessed with how women ought such thing as the ideal body: you will always b negativity attached to body image and the imp not exist is toxic and only contributes more to ge celebration of what you have already got, not w all shapes, colours and sizes and gives them a p of what sexy is - and do so on their own terms.

e Patriarchy Friday October 24 2014

of burlesque, the feminist views tually pretty empowering

eve burlesque to be empowering for women. It is shape their own sexuality. Female sexuality exists existence of the patriarchy. I am not suggesting fied, but at the same time isn’t it natural to want feminist to want to be found attractive, and the hy should not mean that women cannot embrace men ought to be valued on a number of elements yet this does not mean they ought to hide away

ffers a fantastic for women to truly enjoy their dies”

for women to embrace and truly enjoy their bodto look, with the only conclusion being there is no be a little too fat, too thin, too tall, too small. The possible aim for a perfect body that simply does ender inequality within our society. Burlesque is a what you aspire to be. The shows contain girls of platform to challenge the audience’s expectations .

It takes a great deal of self-respect and self-confidence to bare all in front of an audience, and I have the utmost respect for the women who do it. I struggle to look in the mirror without pointing out all the things I hate about my body and envy those who can feel differently. Burlesque dancing creates a positivity in not just the female body, but also its variations, which can only encourage the empowerment and self-confidence of women. In my opinion, this is what feminism ought to be about. Burlesque dancing is combatting the struggle against body image, and should therefore be celebrated rather than penalised.

The anti-burlesque argument has some weight to it, and I recommend looking at it to decide for yourself. But I find the argument too cynical in a world where women already have so much to contend against. Burlesque can be classed as an expression of feminism as it is a valid form of dissent against patriarchy, and exerting time and effort to contest it is simply adding to the amount of problems women face. Burlesque is of course not the solution to the problem, but it definitely helps at least some women battle the issues society imposes upon them.

The University of Sheffield’s Burlesque Society meets on Mondays at 6:30pm. You can find out more information by following @BurlesqueSoc.

9 9

10

Friday November 21 2014

Fuse Games.

Assassin’s Creed: Unity Ubisoft Montreal

I

t’s strange to think that Ubisoft has taken so long to bring the Assassin’s Creed series to the French Revolution. It’s a time of massive political upheaval and intrigue that also happens to be one of the bloodiest uprisings in human history; the kind of period that cries out for the series’ trademark brand of stabby, parkour-y action.

After sailing the high seas in Black Flag, it feels strange to be spending an entire game on dry land – and in just one city, no less.

But Paris is far and away the most impressive city Ubisoft have recreated to date. Built to a staggering one-to-one scale, the streets are teeming with thousands of non-playable characters that make the city feel like a living, breathing organism. Watching the crowds gather in the sun-drenched square outside Notre Dame feels like playing a Delacroix painting come to life.

This fabulous backdrop sets the stage for one of the most interesting stories in the Assassin’s Creed

series for a long time. Mostly ignoring the convoluted presentday nonsense, it instead focuses on the life of Arno Victor Dorian, a young nobleman searching for revenge after the death of his Assassin father. Arno is as charming as Ezio Auditore, and he’s surrounded by a colourful cast of supporting characters. It would have been nice if they didn’t talk with regional British accents, but you can’t have everything.

With the power of the new consoles Ubisoft has finally given many of the series’ core mechanics a much-needed redesign. Freerunning has never felt so fluid, with the new controlled descent ability making it easier to navigate rooftops and alleyways without slamming on the brakes every few minutes, while combat now actually feels challenging; it actually forces you to dodge and parry your opponents’ strikes rather than waiting for the automatic counter kill.

Most refreshing is the focus on actual assassination missions, which now seem to have taken a leaf out of Agent 47’s book. Instead of boxing you in with specific objectives, the game hints at a few different plans of attack and

leaves you to figure out the details. This, coupled with some surprisingly deep character customisation that lets you specialise in anything from weapons to stealth and lock picking, makes it easier than ever to be the Assassin you want to be.

It’s unfortunate, then, that the series is still suffering from a few hereditary problems which hold it back from true greatness. Freerunning might be better, but it’s far too easy to find Arno snagged on the outside of a building, refusing to go where you want him to.

It’s also painfully clear sometimes the game struggles to handle the ludicrous amount of bodies on screen, with many of them running on the spot or falling through the floor never to be seen again.

Assassin’s Creed Unity is definitely more evolution than revolution, but it’s a promising start for the series on the new console generation. By going back to basics and rebuilding from the ground up, Unity is ludicrous amounts of fun despite its flaws.

Phil Bayles

CULT CORNER

CLANDESTINE

Sports Interactive

Banjo Kazooie Rare Ltd.

S

neak around as a spy, or provide overwatch from afar as a hacker. Clandestine is a two-player co-op game with an intriguing core mechanic. Currenty in Early Access on Steam, this game has the potential to be brilliant. It’s just not quite there yet.

When playing as the spy, the player wanders around in third person, hiding behind conveniently placed chest-high walls and performing silent take downs. Seems pretty standard, if it wasn’t for the addition of the second player, who takes on the role of a hacker who can use security cameras to spot enemies for the spy, sound alarms to provide distractions, and discover key-codes to unlock doors.

This new role adds a lot of potential for creative and strategic play to what would otherwise be a run of the mill stealth game. However, Clandestine is very overtly unfinished at the minute, and is more than a little rough around the edges.

While playing as the hacker has the potential to be fantastically strategic and rewarding, the hacking interface took away a lot of my enjoyment. To my mind it is badly laid out and unintuitive, making simple tasks like switching camera views unnecessarily fiddly.

The lack of any real tutorial on the nuances of hacking also makes the hacker’s role seem overwhelmingly

A

s those of you who were children of Nintendo will know, Banjo Kazooie is a three-dimensional platform game released in 1998. Playing on the apparent age-old rivalry between bear and witch - of which the designers at Rare were clearly all too aware - the aim of the game is to aid Banjo, a honey bear, in retrieving

complex, making me feel lost and frustrated and inhibiting fluid play.

Playing as the spy also has its problems. The most grating of these is the unbelievably awkward cover system. Often, I found that my character suddenly stood up to be promptly shot in the face when I wanted to stay in cover, and when I wanted to quickly break out of my hiding place and make a run for it, she simply sat twiddling her thumbs.

I love stealth games, but usually they involve nothing more complex than waiting until a guard’s back is turned, throwing a rock as a distraction, or, if you’re really lucky, a light mechanic that enables you to lurk in the darkness. This is where Clandestine shines; by adding an extra player into the mix who can guide the spy, turn off certain cameras, and mark enemies, the

game adds a new strategic and intensely cooperative aspect into what would otherwise be an average stealth title. Just make sure you trust your partner, I can see this game ending many a good friendship...

Clandestine does have its issues, but they are by no means irreparable. This is definitely one to watch.

Matthew Reynolds

his sister Tooty from Gruntilda the witch.

The player helps the bear in his quest by guiding him through a maze of various worlds, collecting ‘notes’ and ‘jiggys’, while releasing ‘jingos’ as they go.

To shed some light on the vocabulary, ‘notes’ are the equivalent of coins and can be found littering the ground of most worlds, ‘jiggys’ are jigsaw pieces that are earned by completing

quests, and ‘jingos’ are small clanger-like people that have been trapped across the worlds in cages

by Gruntilda. Releasing all of the ‘jingos’ in any one world earns you a ‘jiggy’.

As daunting as this task may seem, it’s worth mentioning that Banjo is not alone in his quest.

Stashed in his backpack for the duration is his trusty sidekick Kazooie.

Arguably the brains of the operation, Kazooie provides Banjo with the power of flight and increased acrobatics, whilst Banjo most notably excels in landing on his head.

Alongside our protagonists are an array of supporting characters that most definitely add to the atmosphere of this classic. First and foremost is Bottles, a bespectacled mole and provider of all new capabilities and general moments of advice and, at times, scorn. However, perhaps the best character of all is Mumbo Jumbo, a skeletal shaman who bestows Banjo with the ability to transform into different animals at different points.

All in all, Banjo Kazooie was definitely one of the better and more undervalued Nintendo 64 games.

For enthusiasts of wacky, jumping bears, the overuse of honey motifs and anthropomorphised walruses, the sequel Banjo Tooie – also on Nintendo 64 – was even better received.

Ben Brunton

11

Friday November 21 2014

Fuse Arts.

SHEFFIELD V LEEDS: POETRY SLAM Foundry

T

en young poets gather in the depths of the University of Sheffield Students’ Union. Five have journeyed from Leeds and five are on their home turf.

An audience in the triple digits takes their seats. There are two rounds, separated by an intermission. Performances are scored by judges in the audience, and the best-scoring return for the second round.

As is traditional, the audience snaps their fingers in lieu of clapping, so as not to disrupt the flow of words. To a newcomer, the lack of applause is eerie – and those little finger snaps feel very powerful indeed.

A fantastic standard of poetry abounds from both teams (only 1.4 points stood between the Leeds team and victory), with subject mat-

BOOK CORNER

The FLOWERS OF EVIL Shuzo Oshimi

E

ven though it never indulges in hardcore violence or sex, reading The Flowers of Evil in public always makes me feel like a pervert. This 11 volume manga comes courtesy of Shuzo Oshimi, and boy is it a nasty little piece of work. Kasuga Takao is a shy middle-school student with a crush on the pretty Saeki Nanako.

So far so shonen you might say, but wait, because this is honestly something different.

In a moment of madness (or is it something darker?) Kasuga kind of steals Saeki’s gym clothes. Not only that, but the class oddball Nakamura sees him do it. While the rest of the school is on the look-out for the culprit, Nakamura entangles Kasuga and Saeki in a series of schemes that are way beyond the pale.

With such a set-up, this could easily be a naughty comedy, but instead what we get is something far murkier, and ultimately more satisfying.

Without any real supernatural elements, and often forgoing shock tactics, the series evokes a suffocating sense of unease. At its heart, the series is about being a pervert, and how everybody, to some degree, is one.

The seedy undercurrents of this triangle between Kasuga, Nakamura and Saeki rarely bubble over, thus prodding the unconscious like a devilish imp. This makes it so disturbing, without going overboard with the surreal imagery.

Indeed, all the locales in The Flowers of Evil are awfully mundane, being mostly set in a small town. Many of the locations are

ter ranging from family to rape culture, from body image to Disney.

Some bring notebooks; some recite their work from memory.

“Evenings like this one serve as valuable reintroductions to the artform” There are flaws, of course, false starts, forgotten lines, but it’s all part of the experience. The slam feels lo-fi; unembellished and genuine. The material performed is engaging, diverse and most importantly, heartfelt on the part of every competitor.

Highbased on real places from Oshimi’s own teenage years; drawn in intricate detail they give the visuals a personal feel.

The empty afternoon streets, and recently vacated classrooms conjure such a sense of isolation that it forces you to identify with the adolescent nihilism of the main characters. Oshimi wisely plays this straight.

When Nakamura says the world is full of “shit-bugs”, it is not a cue to mock her. We’re forced to identify with that, and recognise those feelings within ourselves. This deep sympathy with the unpleasant aspects of its adolescent characters makes the series more authentic, and is one of its greatest achievements.

However, this identification with the teenage psyche isn’t always a good thing as The Flowers of Evil occasionally takes it self too seriously and comes off as pretentious.

Ultimately, reading these books will be a lot like eating Twiglets: you either love them, or violently throw them aside and wonder what the hell is wrong with that guy in Forge Press who recommended them to you.

Joe Brennan

light performances include Leeds student Emma Ward, whose delivery and stage presence stood out among the other competitors, and Greer Dewdney of Sheffield, whose initial poem presented some of the most arresting imagery of the evening. Both received a generous share of finger snaps.

Rhys Dumont of the Sheffield Open Mic society was on great form, providing acoustic tunes duri n g

STOMP! Lyceum

O

ver 25 years ago, the idea of creating a West End musical with bin lids and brooms as instruments of percussion seemed completely farfetched. In 1991, Luke Cresswell and Steve McNicholas decided the idea seemed quite plausible, and they created the stage production Stomp.

An original idea became a phenomenon and still maintains the same authenticity it had at its first show. Stomp has brought its tour to Sheffield this week, performing in the recently refurbished Lyceum Theatre. The cast and crew kicked off their first performance with spectacular results.

Using an eclectic mix of items, ranging from matchbox maracas to rubber ring drum sets, these guys were determined to make music out of anything. With an ever changing choreography, Stomp surprises its

the intermission.

Miriam Schechter, social secretary of Sheffield Poetry Society, said of the occasion; “The event w e n t great.

All the poems were top

notch. Especially the haikus.”

There is no shortage of memorable lines, but it can be argued that the audience provides the line of the night, with; “This is my first Poetry Slam.” Asking around, it becomes clear that a considerable fraction have never considered attending something like this before.

For people whose last exposure to poetry may have been at Alevel or even GCSE, evenings like this one serve as valuable reintroductions to the artform. More than a few new converts were certainly gained tonight.

The poetry society plans more slams in future. As we inexorably approach another exam period, if you find yourself disillusioned or weighed down by work, go and see one of them between stints at the IC – you won’t be disappointed.

Joshua Hackett

audience every time – be it your first or 15th visit.

The well trained performers had the audience amazed at points and hysterical at others. They did an impressive job remaining active for almost two hours without slipping up.

The only fault was a broom snapping in the first scene, but the performer managed to save it and turn it around to be comical.

The performers also kept the audience engaged by encouraging them to clap along, and spurred them on further by showing disapproval with every pathetic attempt.

A performance suitable for all ages, school kids and scout groups had arrived with their teachers and leaders for a fun trip, which also educated and cultivated them. The audience loved the performance so much it received a standing ovation.

Stomp divides people: you either love it or you hate it. Those that hate it perhaps don’t understand the complexity behind creating music from everyday objects; they figure that even a chimp can make a sound out of banging pots and pans

together. But there is a huge difference between creating sound and creating music.

Cresswell and McNicholas decided to produce a musical which depicted the talents of working class labourers, using work tools for instruments in contrast to other musicals about an upper class child prodigy with an organ in his parents’ study.

Stomp has been going strong for 23 years and deserves to run for 23 more.

Jon Pickles

Follow us on Twitter @ForgePressArts More reviews online Read more reviews online at Forge Today

DOT COM

Friday November 21 2014

12

Fuse.Albums. music Fuse hookworms The Hum

F

ollowing their 2013 debut Pearl Mystic, new album The Hum confirms that Hookworms are definitely a band to get excited about.

The five piece are based in Leeds, and have been on the scene since 2011. However, The Hum is their most impressive work to date.

‘The Impasse’ is a perfect opener. With driving synths and heavy guitars, it gives listeners an insight into exactly what Hookworms are about. Creating a strong DIY sound, front man Matt Johnson (AKA MJ) sings with a sarcastic punch to his screeching vocals.

Along with dissonance and a powerful drum beat, it is a com-

Arca Xen

P

roducer Alejandro Ghersi’s (a.k.a. Arca) debut album audaciously attempts to express personal turmoil with mixed results.

In recent years Ghersi has built up quite the repertoire. A string of EPs and mixtapes accompany his work on Yeezus, as well as his coproduction of FKA Twig’s EP2 and Mercury Prize winning LP1. At just 24 years old he has proved himself to be an exciting prospect.

In his first solo outing since his 2013 mixtape &&&&&, Ghersi shows his potential through a synth heavy exploration of his adolescent sexuality.

The young producer grew up in Venezuala and, as a gay individual, created the alter ego ‘Xen’ for refuge. He conveys his past struggles with off-beat melodies and a dissonance that express such feelings of conflict. Effects surface but are swallowed, beats sound but disappear, concepts develop before they’re destroyed in an instant – Ghersi’s unconventional style captures the tone of the album perfectly.

But despite the album hosting such gems as ‘Sisters’, ‘Thievery’, and the titular ‘Xen’, it all feels off balance. Ghersi will tease you by dropping a tune like ‘Lonely Thugg’ before letting you down with ‘Fish’. This lack of consistency brings you out of the zone that Ghersi’s worked so hard to get you into, and ultimately it saturates the album.

But as soon as you grow disillusioned with Xen’s lack of focus, you’re drawn right back in with such beauties as ‘Wound’. It’s this ability to keep his audience listening through thick and thin that shows Ghersi’s real potential.

Xen’s attempt to capture per-

pletely irresistible introduction.

The album has an unusual set up; three ambient instrumentals titled ‘iv’, ‘v,’ and ‘vi’ are scattered throughout . They allow for calmer musical intervals amongst the madness of the faster paced songs. Where this could have been a pretentious flaw for other bands, it appears to have a place here - acting as a crescendo for what is another, undoubtedly dynamic track.

There are signs of a less rock driven, more upbeat side to the band’s musicality - evident in tracks such as ‘Radio Tokyo.’ The groove in these moments contrast well with the pure noise rock numbers, adding a nice sense of variety throughout The Hum. The vintage-sounding keys under the gritty guitars create controlled layers of fuzzy noise, giving the band an individual and energiz-

sonal struggle has translated into an unstable album that oozes personal pain and conflict, but fails to be engaging for a full LP. In the end, we’re left feeling like Ghersi could achieve more, and for a debut album, that’s not a bad reaction to conjure.

Alex Bushnell

ing sound.

Hookworms have a slightly different take on the psychedelic indie rock we’re hearing at the moment from bands such as Swim Deep, Temples and Tame Impala.

It is refreshing to get away from the simplistic whiney pop hooks that are so popular across this genre. Instead, The Hum is gritty and rich, filled with frenzied excitement from beginning to end.

Josie Kirk

Follow us on Twitter @ForgePressMusic More reviews online Read more reviews online at Forge Today

DOT COM

TV ON THE RADIO Seeds

U

nless you’ve followed them for the past decade, it may come as a surprise that Seeds is TV On the Radio’s fifth studio album.

This doesn’t stop it from being jammed full of glitch-ridden goodies though, that few ears would neglect listening to.

The quartet have produced another album full of indie-rock necessities, but more often than not take the opportunity to blur genre boundaries causing fans of anything from Hot Chip to The Black Keys to prick up their ears.

At their most comfortable, the caught up nature of the grungey

riffs in “Lazerray”, makes it one of the few stand out tracks of the album. The same can be said for, “Happy Idiot” - the track which is likely to draw many people to the band for the first time. It’s brooding with uncontrollable venom and could easily turbo-charge itself into a driving video game.

On the other hand, “Could You”, touches upon a more classic rock ‘n’ roll sound, with Dave Grohl-esque vocals and a grand, trumpeting outro. The harsh guitar shreds don’t kick in until “Winter” though, where The Hives style intro never really has the gusto to get into full swing.

The majority of the album is catchy and danceable enough, however, tracks such as “Test Pilot’ “ and “Love Stained” tend towards a softer and more synth smattered sound of the alternative side of the

spectrum; think Everything Everything. Similarly, the more creative, “Careful You”, ejects from the band like a sluggish space trip on hallucinogenics, in a way that’s much more LCD Soundsystem than LSD. While the initial rampage of single “Happy Idiot” may lead you into temptation, the rest of the record is an interesting mixture of experimental material; some pulled off well, others left lacking.

Rather than being a leading light in the indie-rock scene, Seeds is for those who are bored of the break through of “quirky” bands and want to sit back in the late noughties.

Josh Shreeve

13

Friday November 21 2014

JAMIE T Leeds O2 Academy November 8

A

fter a mysterious 5-year hiatus, much-loved indie-raprocker Jamie T broke his silence this autumn with a new hit album Carry on the Grudge.

Like-minded garage punk duo Slaves provided an appropriately energetic support set in the lead-up to the release of their second LP. Slaves’s dynamic performance sited the combination of Laurie Vincent’s dark grunge guitar riffs, Isaac Holman’s uncompromising drumming style and Johnny Rotten-esque yells.

There was no shortage of vigour, as the pair steam-rolled through their set, pausing only for another of Holman’s extended spoken-word introductions (and occasionally to

jeer at critical spectators). Although these introductions were somewhat intriguing initially, ringing bells of Mike Skinner’s early work, they rapidly became self-indulgent and tiresome, particularly in the case of the 15 second long ‘Girl Fight’.

The remarkable feature of Jamie T’s set was not his performance, faultless though it was, but the unremitting adoration and exhilaration that the crowd showed towards every song, new and old.

Jamie and his band coasted seamlessly through his back catalogue, ensuing sing-alongs and dancing among the Adidas-clad, beer throwing fans.

He effortlessly glossed through genres, from the ska rhythms of ‘Operation’, through the strippeddown renditions of acoustic anthems ‘Emily’s Heart’ and the more recent

liveFusemusic.

Gigs.

‘Love Is Only A Heartbeat Away’, to the rap-based ‘Man’s Machine’ and ‘368’. All the while, his trademark Jack-the-Lad persona shone through indubitably.

The faithful fans seemed to know and appreciate hidden gems such as ‘Back In The Game’ and ‘Spider’s Web’ every bit as much as radio hits ‘Sticks ‘n’ Stones’ and ‘Zombie’, which were unsurprisingly saved for the encore.

It would be tough to find a postmillennial artist welcomed back to the music scene anywhere near as warmly as Jamie T has been.

Jacob Steiner

Photography: Rebecca Stubbs

KYLIE MINOGUE Motorpoint Arena November 14

T

he last time Kylie Minogue performed in Sheffield, she had just released her worldwide hit “Can’t Get You Out of My Head”.

Fast-forward 12 years and the Australian star has returned for her Kiss Me Once Tour. In those 12 years since she was last in the Steel City, Minogue has released four studio albums, undertaken six tours, dabbled in acting, battled breast cancer, won Brit Awards, a Grammy, and was awarded an OBE. It’s a safe to say she’s been busy.

Before she arrived on stage, a short film entitled Sleepwalker, played to the arena. In it, she flitted between characters. One moment she was Miss Havisham, clad in a bridal gown, sat by her spinning wheel. The next, she was in a Snow White slumber, halfeaten apple in hand. Her chamePhotography: Bozward Monkey/Flikr

leonic changes are perhaps indicative of her career in general.

Opening with “Les Sex”, an album track, she ascended to the stage on a pair of giant lips, in reference to artist Salvador Dalí.

The crowd in the arena roared.

The tour, in support of her album Kiss Me Once, released earlier this year, featured only a few tracks from her current album. Held off the top spot by George Michael’s Symphonica upon its release, Kiss Me Once is not Minogue’s most memorable studio album.

But with countless hits under her belt, Minogue can easily put on an unforgettable show. Interspersed between what seemed like hundreds of costume changes, Minogue performed some of her biggest hits, including “Spinning Around”, “Wow”, “Slow”, “Love at First Sight”, “Can’t Get You Out of My Head” and “All the Lovers”.

A camp medley of her early hits such as “I Should Be So Lucky” was received with screaming de-

light by her hardcore fandom in the audience. Singing live to her audience, her vocals were strong, even when pitted against the band at its most blaring moments.

She also performed a cover of INXS’s 1987 song “Need You Tonight”. For an artist with an expansive back-catalogue of hits, covers are not simply spacefillers, like those on a set-list of a fledgling performer.

Instead, it seemed like a poignant nod to her former boyfriend Michael Hutchence, lead singer of the band, who died in 1997.

Her single “Into the Blue”, released earlier this year, provided an excellent ending the night, her last show in the UK. A true and ever-changing pop chameleon, if Sheffield has to wait another 12 years, there’s no way of guessing what she will more she will have achieved by then – if there is anything left to achieve.

Patrick O’Connell

KATE TEMPEST Plug November 8

T

he Ted Hughes Award winning, South East London born, performance poet and rapper, Kate Tempest put on an inspiring show, her second at Sheffield’s Plug venue but her first as the headlining act.

She appeared, after much musical hype from her band, almost coyly onstage, seeming overwhelmed at the size and support of the crowd that applauded her every other word.

She grinned, took in the sight of the packed-out venue full of spoken word lovers and told them how much of a ‘big deal’ it was for her, after 12 years of touring the spoken word circuit; having first performed at 16, though having supported big names such as Benjamin Zephaniah, Scroobius Pipp and John Cooper Clarke.

Touring her Mercury Prize nominated Everybody Down album, released in May this year, she performed several of the tracks off that with ‘Circles’, ‘The Heist’, ‘Lonely Daze’, ‘A Hammer’, and ‘Marshall Law’ receiving a mixture of impassioned agreeing shouts, claps, nods and at some points, tears. The crowd seemed united in agreement at the truth of the political, moral and ethical messages that Tempest sets within the narratives and gritty, harsh realities of the ‘fables’ that compile Everybody

Down.

With her work being politically and socially driven, Tempest took advantage of the large number of willing ears at her disposal and so gave the audience some poignant messages to take away; to help stop the world’s greed and to spread empathy and kindness to strangers, that seemed almost a continuation of her poetry, and that were just as welcomed and well-received.

She gave a humble and honest performance; making her band bow with her at the front of the stage, showing their almost familial bond and returning alone with an encore of her poem, ‘Progress’, from her poetry collection, ‘Hold Your Own’, to rapturous applause.

Charlotte Pick

Photography: Abi Dainton

Friday November 21 2014

14

Fuse Screen.

Fuse. screen

The imitation game Dir: Morten Tyldum

T

his is not a classic movie about a little-known wartime story.

It’s not even a spy thriller or a traditional biopic.

This is a tribute to Alan Turing, a mathematician and cryptanalyst who saved millions of lives and helped the Allies defeat the Nazis by cracking their Enigma code.

The Imitation Game is not entirely about Turing’s attempts to break Enigma with his team. It follows two other key moments in the mathematician’s life: his boarding school years and his friendship with fellow student Christopher in the1920s, and his awful sentence for ‘gross indecency’ (homosexuality) in 1952.

Turing’s otherness, the fil rouge of the entire movie, shines from his job interview at Bletchley Park. His homosexuality is one of the main features, without being the only one: he’s an outcast not because of

his sexuality, but for his being an unrivalled genius.

In his first British movie, Morten Tyldum doesn’t fall into the easy trap of simply stressing the persecution of gay men in the 1950s: he enlightens Turing’s tragedy by showing his unique talent, working on the details, deducting rather then merely adding. Turing is never shown in a private moment with another man because there is no need. This choice successfully strengthens the aim of the movie, rather than weakening it.

Similarly, Benedict Cumberbatch refuses to play Turing safely, proving that he will never be trapped at 221B Baker Street.

Indeed, from the very first line, he’s in full control of the part.

One of his most remarkable peculiarities is that his voice takes centre stage. Movie by movie he continues to explore the infinite shades of his distinctive baritone.

Cumberbatch’s acting is supported by a talented cast: Keira

Knightley gives a brilliant representation of Joan Clarke, Turing’s fellow colleague and friend, as an independent woman fighting to find her place in male dominated arena. Alongisde Alan, she shares the common fate of being an outsider. Knightley naturally warms up Turing’s cold world of numbers and code by simply smiling.

As Hugh Alexander, one of Turing’s colleagues, Matthew Goode mirrors perfectly what Alan isn’t: comfortable and charming, especially with women.

Despite not being a thriller, The Imitation Game succeeds in keeping viewers’ attention. From the beginning it’s clear that the film is not about cracking Enigma, but resolving an even more complicated puzzle: Alan Turing himself.

The film aims to celebrate unique people like Turing because without them, as Joan assures him, “the world would be a worse place” Valeria Vigilante

SMALL SCREEN The Fall

BBC TWO

O

ne year after BBC’s The Fall left its audience with many unanswered questions, Stella Gibson (Gillian Anderson) and her team are back to continue their hunt for a killer of several women in presentday Belfast.

Psychiatrist and serial killer Paul Spector (Jamie Dornan) preys on attractive young brunettes, ritualising their deaths before coming home to his wife and young daughter.

The show avoids using a conventional whodunnit structure by revealing its villain from the start. Instead, the focus here is on exploring the experience of women in western society, making The Fall

CULT CORNER mulholland drive DIr: David Lynch 2001

S

traight from the over-analysed surrealist mind of visual artist and director David Lynch, Mulholland Drive is a gripping, twisted and sometimes disturbing neo-noir psychological thriller.

Mulholland Drive, a famous scenic road winding around the Hollywood Hills in California, is the initial and main setting of the film’s action.

This is the story of aspiring actress Betty Elms (Naomi Watts), a sickly-sweet, pink cardigan wearing small-town dreamer, and her meeting with the seductive yet confused Rita (Laura Harring).

The film opens with a seemingly

jovial yet ominous and hypnotic jitterbugging scene, with characters dancing out of each others’ shadows as though in a dream sequence.

This is disorientingly followed by a slower, darker foreboding scene depicting Rita’s attempted murder in a car crash on Mulholland Drive.

From Rita’s dazed perspective we are shown the view from the crash site, the whole of Hollywood lit up at night, putting the bright lights of the big city in a darker context.

In true Lynchian style, everything we see and hear is subjective and open to interpretation, such as the little details: the elderly couple’s look of foreboding at the beginning as they leave Betty is one of many strange glances that seem eerily meaningful. The dialogue often seems slowed down in a conscious effort to put across a point which is never made definite by Lynch.

The film’s tagline, ‘A love story

in the city of dreams’, makes prospective viewers imagine the film to be very different from its reality.

The ‘love’ is that of compassionate strangers: Betty looking after Rita post-accident, helping her piece together who she is in ‘the city of dreams’, a city filmed in a dreamlike way, highlighting the film’s consciousness of itself and of Hollywood’s film industry.

Mulholland Drive knows how it’s perceived and thus presents itself in a contrasting way, with seemingly unconnected and unrelated events linked by a web of blackmail and murder hidden under the facade of the movie business.

This is a Lynchian classic, satisfyingly confusing, a trait that makes it a brilliant topic for discussion and speculation with regard to what the cinematic master was trying to tell us.

Charlotte Pick

an unusual, relevant and smart addition to our screens.

In the opening of season two, the victims stories and those of Spector and his estranged family are interwoven by the ongoing police investigation.

Meanwhile, the subplot relating to the murder of police officer James Olson continues, exploring gang violence and media sensationalism.

With sparse dialogue, the direction relies on cinematography to suggest kinship between its characters, matching Gibson’s thoughtful gaze from a hotel window to Spector’s own in a distant bedroom.

A hand-held camera is used to heighten anxiety in one particularly tense sequence, while, more frequently, panning shots drift apathetically through homes and work spaces, conveying the universality of loneliness and the chilly horror of invasion.

All the characters are refreshingly treated with human compassion, neither vilified nor sacrificed to the god of cheap thrills. This considered characterisation creates suspense, as the audience is stirred by the institutionalised sexism faced

by Gibson and the numerous victimised women the show portrays.

Anderson is mesmerising as the cool and mysterious MET officer DSI Gibson. The character’s alien status in Belfast makes her our conduit to the show’s events, encouraging us to sympathise with her as she attempts to hold the struggling investigation together.

Despite its sophistication, The Fall threatens to become too hopeless to be entertaining. The absence of light relief is conspicuous, but perhaps its dark subject matter is merely an honest- and necessaryreflection of an enraged and traumatised society.

Sophie Maxwell

Friday November 21 2014

leviathan

Dir: Andrey Zvyagintsev

T

hrilling and captivating, Leviathan follows the life of a small Russian family, Nikolai (Aleksey Serebryakov), his wife, Lilya (Elena Lyadova), and his teenage son Romka who live on the outskirts of a coastal town in northern Russia.

Threatened by the local town’s mayor (Roman Madyanov) who wants to take the family’s land away from them and demolish their

Interstellar

Dir: Christopher Nolan

W

hen a terrible blight threatens to wipe out the human race, it is up to pilot Cooper (Matthew McConaughey), alongside scientists Brand (Anne Hathaway), Doyle (Wes Bentley), and Romilly (David Gyasi), to find a new home for earth’s inhabitants.

“Gravity can eat its heart out”

Christopher Nolan (of The Dark Knight, Inception, Memento fame), is considered one of the finest directors of our time, and he maintains that status with Interstellar. His use of special effects echoes those of last year’s sci-fi thrill ride Gravity, while the writing of brothers Christopher and Jonathan Nolan makes the film feel more genuine and heartfelt than Cuarón’s. In other

THird Person Dir: Paul Haggis

T

he thing about a film with multiple story lines is that it either creates powerful resonance between individual plots, or like scattered puzzle pieces being pasted together.

Sadly, Third Person is a failed attempt to pull a coherent and compelling story together.

This film directed by Paul Haggis centres around three couples in Paris, Rome and New York.

The audience is introduced to the central character, Michael (Liam Neeson) who is a writer and also the glue between these three stories.

As the film develops, these three couples have to face their own difficulties which are all related to the torments of love and trust.

Unfortunately, it is hard to con-

house, Nikolai calls his old army friend, Dmitri (Vladimir Vdovichenkov) who is now a lawyer in Moscow.

Dmitri comes at once, and at first it seems that he is helping the situation, but as the film progresses it is clear that he brings even more misfortune to the family.

It is obvious why Leviathan has received such acclaim; the cinematography, acting and location of the film are all superb and make it fascinating to watch.

The director, Andrey Zvyagintsev, knows how to bewilder an audi-

ence as the film opens with wide shots of the barren, Russian landscape, and whales can be seen in the cold seas. But the whale skeletons on the vast beach and the old church where Romka goes to secretly smoke and drink with his friends suggest that everything is not as it seems.

These visuals give the film an eerie feel. The music is also especially spine-chilling.

The casting is generally good as the actors play their characters well; you can relate to them, as they are ordinary people who must

endure terrible events, and so the film suggests that everyone’s lives could change and that anything could happen to anyone.

Madyanov plays the mayor especially well: he adds a bit of humour to the film while showing the corruption among small town authorities and society more widely.

However, none of the characters are likeable and we don’t get to know them properly. We might not feel any kind of attachment or love towards them, but we do feel other emotions such as hatred, sadness and pity.

15 Even if Leviathan does not sound like your usual film pick, it is worth going to watch for the fantastic cinematography and the impressive acting.

The plot and message of the film make it unforgettable and will leave you with mixed feelings towards humanity.

Leviathan is an outstandingly strong film which will stay in your mind long after you leave the cinema. Don’t be put off by the running time, as it doesn’t drag at all- your mind will always be racing and you’ll be asking yourself so many questions, that by the time you look at your watch the film will be over.

Mared Gruffydd

words: Gravity can eat its heart out.

Credit must go to the actors for creating characters that are both believable and likeable. McConaughey’s Cooper is a pilot-turnedengineer-turned-farmer, who is forced to leave his children in order to save the human race. A choice that, given the long exposition and well portrayed family relationship, is felt by the viewer as much as it is by the character.

Anne Hathaway also excels in her role as scientist Brand: a character who, in spite of her generally pleasant demeanour, will irritate the audience and crew for a good half of the film.

The strong characters and their relationships also make the moments of tension all the more effective, and it is in these moments – those where director, actors, and composer work in perfect harmony – that Interstellar is at its best.

One particular

scene sees Cooper and company attempt to dock with their command ship as it spins out of control.

Nolan’s choice of interior and exterior shots perfectly juxtaposes the

centrate for two hours on these three separate stories.

The connections between them are not indicated until the very last part of the film, and even then in an unconvincing way.

If we look at the three love

stories individually, there are nice performances given by the starry cast, notably Adrien Brody and Olivia Wilde. Some of the cinematography is impressive, however, the whole film cannot be saved by the cast and the use of camera, as the storytelling itself is not justified

“Essentially, Interstellar is 2001: A Space Odyssey for the 21st century” claustrophobic conditions of the crew inside their lander module with the infinite vastness of space.

This in conjunction with Hans Zimmer’s incredible soundtrack – one of both epic sonic structure and haunting synthesisers – will make your heart race as if you yourself were in the spacecraft.

Essentially, Interstellar is 2001: A Space Odyssey for the 21st century. It is tense, incredibly directed, and has an ending that will make you question your own knowledge about the universe.

But don’t worry if that last bit doesn’t appeal to you; it’s not a film you necessarily have to understand to fully enjoy. And that, in a way, is its beauty: those who watch the film analytically will gain great insight from it, while those who watch for enjoyment will receive just that, and lots of it.

Interstellar is a fantastic film in every aspect and possibly even the film of the year.

James Turner More reviews online Read more reviews online at Forge Today

DOT COM

Follow us on Twitter @ForgeScreen to the audience.

It leaves the viewer perplexed as to why these stories are being put together throughout the film, and underwhelmed even after the link is revealed at the very end.

As a result, the film is like an immature piece of work that needs much more polishing in order to execute its ideas and themes.

It is clear that this film attempts to convey a message and critically discuss the way people deal with trust issues with their partners. This interesting theme and the competent cast could have been a great asset towards this film’s success.

However, the lack of momentum and direction in the film makes it difficult for the audience to engage with the movie. It is the fundamental problem of pulling these three stories together which makes a potentially compelling story turn out to be a disappointment.

Vienna Lee

Fuse Listings.

Photo: Joshua Hackett

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

Screen.

Games.

Midnight Marauders: Mad Max 2 (November 21, the Showroom, 11:55pm) Mel Gibson stars in this classic sequel about a lone wanderer in post-apocalyptic Australia, who must fight off a gang of bikers in his search for the world’s most precious resource - petrol.

Science Fiction, Science Fact: The Fantastic Voyage (November 22, the Showroom, 3:30pm) The series of talks about the feasibility of science fiction continues with this 60s classic, about a crew of scientists who are shrunk to microscopic size and injected into a diplomat’s bloodstream.

Followed by a talk fom Professor Richard Jones, pro-vice chancellor of Research and Innovation at the University of Sheffield.

Film Unit: Indiana Jones Trilogy and Treasure Hunt (November 22, Students’ Union, 12pm) Film Unit celebrates its 65th birthday with a screening of one of the greatest film trilogies of all time. Start at midday with a treasure hunt across the city, with prizes including tickets to Film Unit and Pop Tarts and Nandos vouchers! Then after the films, you can use your ticket to buy a meal at Interval!

Coming soon to the University of Sheffield’s independent cinema...

Friday November 21: American Movie Saturday November 22: The Indiana Jones Trilogy (see above) Sunday November 23: Chef Friday November 28: 12 Angry Men Saturday November 29: Edge of Tomorrow Sunday November 30: The Lunch Box For more info on future releases or to volunteer go to filmunit.org.uk

PokéTarts (November 29, Foundry & Fusion, 11pm, Tickets £4) PopTarts is holding a surprise giveaway to celebrate the release of Pokémon: Omega Ruby and Alpha Sapphire for the DS, so grab your Pikachu onesie for a chance to win! Don’t forget - PokéSoc has meetings every Friday at 5pm in the Union, Gallery Room 4.

Game Releases November 21 Pokémon Omega Ruby and Alpha Sapphire (3DS) Super Smash Bros for WiiU (WiiU) November 25 Geometry Wars 3: Dimensions (PS3, PS4) Persona Q: Shadow of the Labyrinth (3DS) Penguins of Madagascar (3DS, WiiU) December 2 Kingdom Hearts HD 2.5 Remix (PS3) The Crew (PC, PS4, Xbox 360, Xbox One)

Tickets: £2.50 each

December 4 Chivalry: Medieval Warfare (PS3, Xbox 360) Dead State (PC)

Arts.

Music.

West Side Story (November 21-22, the Montgomery Theatre, 7:30pm) Mount St Mary’s College presents Stephen Sondheim’s classic musical about two rival gangs, the Sharks and the Jets, who snap their fingers at each other on the mean streets of New York City as two star-cross’d lovers meet for the first time.

Bolshoi Ballet: The Pharaoh’s Daughter (November 23, the Showroom Cinema, 3:10pm) One of the most remarkable productions in the Bolshoi’s repetoire, The Pharaoh’s Daughter based on Théophile Gauthier’s Le Roman de la Momie - tells the story of an English lord who stumbles upon an Egyptian tomb and dreams the princess enshrined there has come to life.

Hockney: Live from LA (November 25, the Showroom Cinema, 7pm) An exploration of one of the most important artists of his generation. David Hockney gives director Randall Wright unprecedented access to his personal archives, and an unflichingly honest portrayal of his long career. The screening will be followed by an in-depth interview with Hockney, broadcast live into cinemas from his studio in Los Angeles.

Cinderella (November 25-29, the Lyceum, 2pm matinee, 7:45pm evening) Northern Ballet sets the classic fairytale in Imperial Russia, at a time when superstitious people still believe in the possibility of magic. With a new score from Philip Feeney performed by the Northern Ballet Sinfonia, this is one to watch out for.

Anything Goes (November 28 - January 17, the Crucible, 2pm matinee, 7pm evening) The classical musical by Cole Porter and PG Wodehouse arrives at the Crucible in time for Christmas, promising tap-dancing sailors and classy heroines. When Billy Crocker discovers that his heart’s desire, debutante heiress Hope Harcourt, is engaged to an English aristocrat, he stows away aboard the SS American to win her back.

Live Gigs Focus - 22/11, Corporation Bicep - 22/11, Plug The Orwells - 22/11, Leadmill Lilly Allen - 23/11, O2 The Skatalites - 23/11, Queens Jools Holland - 23/11, City Hall Electric Six - 25/11, O2 Orgy - 26/11, Corporation Women Of Steel - 26/11, Cathedral Echo and the Bunnymen - 26/11, Leadmill Hey Bulldog - 27/11, Green Room

Imelda May - 28/11, O2 Nine Below Zero - 28/11, Greystones Jonny Brown - 28/11, Rocking Chair Basement Jaxx - 29/11, O2 Peter Gabriel - 30/11, Motorpoint Arena China Crisis - 30/11, Greystones Magnum - 2/12, Corporation Catfish and Bottlemen - 2/12, Plug Tieks - 2/12, Tuesday Club Temples - 4/12, Leadmill

SingSoc Swings (November 22, Firth Hall, 7:30pm, £8 adults/£4 concessions) SingSoc celebrates the music of the 20s, 30s and 40s with a concert dedicated to the best of swing. Featuring performances from the Main Chorus, the Ladies’ Choir and Socii Cantorum, the concert will include hits like ‘Mack the Knife’, ‘Beyond the Sea’ and ‘Putting On The Ritz’, and the dancers of SwingSoc will also be coming along to show off their steps.

The Hallé: Sunwook Kim (November 30, City Hall, 7pm) Part of a season of concerts with the Manchester-based symphony orchestra, this concert sees renowned Korean pianist Sunwook Kim playing concertos by Prokofiev and Kodaly.

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.

Kung Fu Weapons Gallery Room 4 Wendesday November 26 3:00pm £2 Get fit and look like a total badass at the same time, using traditional martial arts weapons in a series of flowing, graceful movements.

Leave nunchucks at home.

Piñata Workshop Gallery Room 4 Saturday November 29 2:00pm £4.50 Come make a piñata with the Latin American Society in time for the holidays. Because nothing says Christmas like hitting something with a stick until it bleeds chocolate.

Kelham Island Xmas Market Students’ Union Building Sunday November 30 8:00am FREE Kelham Island need volunteers to give visitors to their Christmas Market a ‘Dickensian welcome’, presumably by locking them in workhouses and feeding them gruel.

Circus Skills Drama Studios 1&2 Monday December 1 8:00pm £1 Sheffield’s infamous Flying Teapots invite you to a workshop of circus skills, including juggling, plate spinning and something called Diabolo, which sounds painful.

Tarot Card Reading Dovedale, Ranmoor Wednesday December 3 7:00pm £3.50 Learn the history of tarot reading, find out how the cards really work and try to decipher your own future.

Closed minds need not apply.