Tn2 Magazine - September 2017

SEPTEMBER 2017

ART/ FASHION/ FILM/ FOOD/ GAMES/ LITERATURE/ MUSIC/ THEATRE/ TV

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CONTENTS Tn2 Magazine Team

HEAD EDITOR Lee Jones DEPUTY PRINT Sorcha Kelly ASSISTANT EDITOR Alexandra Day ONLINE EDITOR Alden Mathieu DEPUTY ONLINE David Donovan ART Alexandra Day Stacey Wrenn FASHION Caroline O’ Connor FILM Robin Mitchell | Alice Whelan Graham Kelly FOOD Enya O’Connell Hussey Mary Hartnett GAMES & TECH Sean Clerkin LITERATURE Sarah Upton | Mia Colleran MUSIC Aine Palmer | Cliona Lynsky THEATRE Amyrose Forder Lauren Boland TV Roxane Von Hurter Lily Casson Copyedited by: Hazel MacMahon Enya O’Connell Hussey Alexandra Day

04 Jumble

Features

07 Features

24 Reviews

34 Sex

07 Fashion

08 Theatre

10 Film

Caroline O’ Connor discusses the future of Vogue as Edward Enninful becomes editor-in-chief

Saoirse Anton talks to Xnthony in the lead up to the Dublin Fringe Festival.

Alice Whelan examines queer representation in film.

12 Art

14 TV

16 Literature

Alexandra Day explores the neglected history of lesbian art.

Lily Casson investigates fantasy television and why Game Of Thrones has achieved such success.

Mia Colleran speaks to Vanessa Fox O’Loughlin about her literary career.

18 Games

20 Food

22 Music

Cover: Sinaoife Andrews Printed by Grehans’s Printers

Emma Horan goes interrailing Séan Clerkin charts the boom and across Europe and samples some bust history of Nintendo Games delicious food along the way.

Aine Palmer delves into the local Dublin music scene.

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Layout & Design: Lee Jones | Sorcha Kelly Caroline O’ Connor

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ART

Artists On the Margins of artists where Willie Bester

MUSIC

Music For...

Your Hall’s Prinks Playlist

he began to express himself through mixed-media, using found objects, photographs, and bright paints to represent the greed, corruption, and commodification of people that occurred. He played an active role in the anti-apartheid movement, depicting the reality of life in the townships. While European journalists visited South Africa and took photos of poorly constructed shacks and naked children surrounded by debris, Bester shows solidarity amongst residents and strength through struggle. They aren’t victims, they’re survivors.

In his work ‘Tribute to Steve Biko’ (1992), Bester honours a fallen anti-apartheid agitator so people remember what was needed to end apartheid — not pandering to the oppressors through lobbying and ‘debate’, but mobilisation on the streets.

You got through Freshers’ weekend flitting around each others’ apartments, but now that you’ve started to get a gang together, it’s your turn to host. You’ve been trying to gauge the vibes music-wise at other gaffs, but it’s been carnage by the time you’ve arrived every night and who even notices at that point anyway?

Realistically, you just need something to tide you over the first few awkward guests until the naggins are out of the way and everyone’s loosened up. (To be fair, crew or not, you barely know these people and aren’t sure if you have that much in common yet.)

Getting the perfect pre-drinks vibe can be a toughie; nothing too mellow (could become a bit of a downer), but you don’t want to break out the bangers too early when everyone is just sitting down having a chat. You’re still a bit nervous about going overwhelmingly alt and coming off as pretentious, but you still want something cool.

Lash on a song or two from Everything Now,

FOOD

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Worth the hype?

Agave Syrup

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In an age where fat is no longer the enemy of our diets, a new nemesis to health has arrived in the form of sugar. More specifically, ‘processed’ sugars such as high-fructose corn syrup and cane sugar. As a result, there is a growing trend of using alternative, ‘natural’ sweeteners instead. Agave syrup is one of the more prominent members of this trend - derived from the tequila plant, proponents claim it has a lower calorie count than sugar and a low glycaemic index (GI) value, so it will increase your blood sugar levels slowly.

However these claims, whilst not untrue, are missing key information. The recommended

intake of sugar per day is 25g according to the World Health Organisation. By replacing all the sugar in your diet with agave, there would be a difference of only 20 calories per day (about 3 orange segments). Although agave is more concentrated than sugar, 25g barely equals two tablespoons, and given our Western disposition to sweetness, it is unlikely anyone is going to stick to the limit, agave or not. The glycaemic index itself is also not a significantly useful tool. GI values are based on averages and individual blood sugar levels respond to the same food in significantly different ways in individuals.

So, is it worth it? If you like the taste, then yes.

But if you are looking to thwart the sugar agenda with some Mexican magic, you are out of luck.

WORDS BY ENYA O’CONNELL HUSSEY

WORDS BY STACEY WRENN

When your freedoms are taken from you, visual expressions of your frustration are all you have left. Willie Bester is a South African artist who uses his art to display the cruelty of apartheid.

Born in 1956 in Montagu, he was classified as ‘other-coloured’ as his parents were ‘mixed-race’ - Xhosa and ‘coloured’. This meant that they were not allowed a home near European or Coloured people, so he spent his childhood living in people’s backyards.

His exposure to art was unconventional. He was gifted some art materials as an unemployed teen at an apartheid army training centre where he was forced to stay for a year.

The racism he witnessed on a daily basis had a significant impact on his life. He joined a collective

J U M B L E

Arcade Fire’s fifth album. Everyone likes Arcade Fire, so you’re unlikely to alienate anyone, and it’s a new release so you’ll look in the know. Reviews weren’t great all round, but that’s great fodder for conversation. You can debate its merits and demerits, argue about whether Reflektor was ever any good at all, and reminisce over Funeral.

Leading singles ‘Everything Now’ and ‘Creature Comfort’ are both pretty decent bangers and worthy of inclusion, and if all else fails, you can reach back into the archives after that.

WORDS BY AINE PALMER

TV

Relatable Character of the Month: Kingsley from Fresh Meat If there was ever an awkward virgin who summed up university life succinctly, it would be Fresh Meat’s Kingsley (played by Joe Thomas), aka ‘The Pussy Man’. A new stab at college life has me wanting to grow a soul patch and maybe even play the guitar at some political occupy movements because that’s what students do… right?

Even if Fresh Meat wasn’t already a (student) household name, Kingsley aka ‘K-Man’ is definitely a relatable (student) household presence. Easily overwhelmed, a little confused, and weirdly malleable, he’s permanently one step behind. Having come from living alone with his mother, university is his chance to start afresh, beginning with his love life. K-Man arrives at college a virgin, but leaves behind a string of lovers. He is in a constant battle to find himself, caught between very serious relationships and being desperately single, a poignant reflection on his weak will and quick infatuations. His first

season self, complete with thinly veiled stories and early thrills at the first taste of college freedom, will always feel relatable.

Upon finding himself an Italian girlfriend, K-Man comes into his own as a panini-loving, aioli-eating, vespa-driving, campari-drinking Geology student with no direction. And we love every minute of it.

Most likely to say: “I was hoping to make languorous love rather than clang our genitals together like a pair of sex-bots.”

Least likely to say: “I’m over uni, let’s go home.”

WORDS BY ROXANE VON HURTER

LIT Poetry Corner: How to Build a Nation I grew up on a different ocean / it lashed against me and bore its salt into my brown skin / I stole anchors from its waves and dug them into my flesh / blood will flow for anything if you sharpen it enough / my heart fell out of my chest / living things grow into each other if you leave them alone long enough / suddenly there were roots groping the earth and my blood was woven into them / the ground was soaked / a poem does not know it is a poem until you slice it in half / my body did not know it was rootless / the nice lady on the tram told me my flowers would last longer if I salted the water I left them in /

Umang Kalra is a Senior Freshman in History.

She spends her time procrastinating, reading, looking at art online, watching weird and wonderful videos on YouTube, and learning how to adult. She sometimes also writes. Her favourite writers include Kaveh Akbar, Ruskin Bond, Paige Lewis, and Zeina Hashem Beck.

She is being mentored in poetry by Doireann Ní Ghíofrá.

GAMES Dublin’s Best Geeky Spots: The R.A.G.E On a quiet side street, off the vibrant George’s Street, lies an esoteric haven for nerds. The R.A.G.E. is Dublin’s leading retro games shop and record emporium. Upstairs, the walls are lined with faded, crumbling console packaging older than most of the customers. Below the decorations are racks bursting with classic titles for systems as old as the original Nintendo Entertainment System (NES). Fuelled by a growing trade-in market, the stock of games, from big-name titles to rare gems, never seems to deplete. Looking for a copy of an obscure licensed platformer for the original PlayStation?

It’s probably there somewhere. The staff are always knowledgeable and helpful, happy to diagnose a broken console or recommend a game. They also run one of the hardest working Facebook pages you will ever see. A trip to the R.A.G.E. doesn’t have to be expensive: just inside the door is the ‘bargain bin’, an eclectic mix of cartridges, boxes, and loose discs sold at a discount. You never know what you might find.

The R.A.G.E can be found at 16B Fade Street, Dublin 2.

WORDS BY SARAH UPTON POEM BY UMANG KALRA

a native does not know you are a native too if you still look twice before crossing the street / flowers will shrivel and turn to earth if they are severed from their roots / unless you turn stems to anchors and allow them to grow them anew /

By Umang Kalra

WORDS BY SEÁN CLERKIN

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THEATRE Dublin Theatre Companies: Malaprop

Who They Are: In their own words, Malaprop Theatre are a “Dublinbased collective of emerging theatre-makers”. A closer look at their body of work shows their areas of interest are as contemporary as the artists themselves. The repertoire of plays are imaginative explorations of human potential and desire, and how the two are interwoven. Malaprop’s shows take simple events from modern human existence to which they bring delightfully creative twists, delving into everything from internet dating to robots.

Why We <3 Them: At their Dublin Fringe Festival debut in 2015, Malaprop stole the show and won the ‘Spirit of Fringe’ award for their show Love+. A story of love, humanity, and robots, Love+ also secured Malaprop a position as an ‘Irish Times Cultural Highlight’ in 2015. With such an exciting portfolio, we can’t wait to see what trails they’ll blaze next.

What’s Up Next: Malaprop is taking to the stage in the 2017 Dublin Fringe Festival with their original play Everything Not Saved. It’s billed as a “show about memory (but not nostalgia).” It’s the story of rewritten and remembered histories, and how the present can unavoidably influence the past. During a week of performances in the Project Arts Centre, Malaprop’s enticing show will explore memory and misinformation, and is for anyone who finds themselves pondering over wild ‘what if ’ scenarios in the shower.

FASHION Front Square Fashion: A/W Trends

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Final year international languages student Marguerite Walsh perfectly styles the oversized jumper trend which dominated the runways of autumn-winter 2017. Appearing in every form, from cable knit at Sonia Rykeil, stripes at Alberta Ferretti and polonecks at Balenciaga, it’s a trend which hasn’t lost popularity over the past few seasons. While some can find oversized styles difficult to navigate without looking swamped, tying the hem up at waist helps to give the jumper’s volume wearability. Here, the gathered grey knit is matched with a pair of black, highwaisted tailored trousers, both of which are from NEXT. The outfit is then completed with a black pair of ankle boots, which suit the trousers’ cropped length. As the colder weather rolls in, calling for ensembles which are comfortable, cosy and chic, this outfit manages to perfectly answer to all three.

WORDS AND PHOTOS BY CAROLINE O’CONNOR

WORDS BY LAUREN BOLAND

FILM The Power of the Catchphrase: “I can fix that” Films often become iconic through a seemingly simple phrase that sticks in the audience’s mind. For me, one of the earliest examples of such a film is Holes (2003), a feature that remains a firm favourite since I was a little kid. Adapted from the novel by Louis Sachar, Holes follows a group of young delinquents who are sent to a juvenile detention camp called Camp Green Lake.

With a talented, eclectic cast (Sigourney Weaver and Jon Voight steal the show) and a compelling storyline courtesy of Sachar, Holes is difficult to dislike. What makes it stand out, however, is its portrayal of the history of Camp Green Lake and in particular, the forbidden relationship between Kate Barlow (a heartbreaking performance by Patricia Arquette) and an African American onion merchant, Sam. As a schoolteacher, Kate initially strikes up a friendship with Sam when her schoolhouse starts to leak during a storm. “I can fix that” quickly becomes Sam’s flirtatious mantra. In a series of flashbacks, it is revealed how their forbidden love ended as quickly as it begun. When the local sheriff hears word of their relationship, he sends out men to kill Sam, leaving Kate utterly hopeless and hellbent on seeking revenge.The words “I can fix that” take on a new sharply poignant meaning when she transforms herself into the notorious outlaw, ‘KB’, in the West.

Since the film’s release in the early 2000’s, Holes has found its place as a well-watched family classic and its powerful catchphrase has been given an honorary seat in the meme-osphere and beyond.

WORDS BY LEE JONES

Changing the Face of British Vogue new era of British Vogue has been ushered in as on September 1st Edward Enninful completed his first official month as the new editor-in-chief. The forty-five year-old is native to Ghana but later moved to West London with his parents and five siblings. Enninful made his fashion debut at age sixteen, when he was scouted on the Tube by British photographer Nick Knight to model for i-D. The chance encounter catapulted his career, later going on to become their youngest ever fashion director.

Throughout British Vogue’s traditional 101 year old history, there has never before been a male, black or openly gay editor at the helm. Announced on April 10th by Condé Nast International Chairman and Chief Executive Jonathan Newhouse, his appointment reflects a significant shift in the magazine’s outlook to make fashion more inclusive. Geared predominantly toward a white, female audience, in recent years Vogue has been the subject of a number of controversies centred around diversity. In 2016 Vogue Brazil came under fire for photoshopping able-bodied models into amputees for a campaign aiming to highlight the Paralympic Games, while American model Karlie Kloss appeared dressed as a geisha for the magazine’s own 2017 ‘Diversity Issue’.

Throughout British Vogue’s traditional 101 year old history, there has never before been a male, black or openly gay editor at the helm In 2012, Enninful’s predecessor Alexandra Schulman herself controversially stated, ‘In a society where the mass of the consumers are white and where, on the whole, mainstream ideas sell, it’s unlikely there will be a huge rise in the number of leading black models.’ However, her views around ethnicity seem to reflect an ever-increasing Britain of the past, as in the most recent census of 2011 a rising figure showed 14% of people in England and Wales identified as non-white. Shulman edited British Vogue for 25 years, but many have credited her glaring lack of diversity within the magazine’s pages as one of her biggest shortcomings as an editor. She announced her ‘Vrexit’ in January of this year and with her, a number of senior staff — including Deputy Editor Emily Sheffield and Editor-at-large Fiona Golfar — said goodbye to their positions.

Of late, British Vogue has faced an onslaught of public criticism, particularly as it shared a collage of its 2014 covers where the public were quick to condemn that every one of the models were white. Seemingly in an effort to combat the outcry Jourdan Dunn graced the February 2015 cover, but it remained largely at note that she was the first black model to appear solo since Naomi Campbell in 2002 — a twelve year gap. Shulman’s final issue as editor-in-chief was released in August and while the cover does include

native Moroccan Nora Attal, there has been but one other issue this year to feature ethnic diversity — Egyptian-Moroccan model Imaan Hammam appeared on a shared cover with two other models in February. However, Enninful and Shulman are seen as polar opposites. Known for his political activism and provocative shoots, Enninful often blends high fashion with contemporary social issues. Work such as his groundbreaking ‘All Black’ Vogue Italia of 2008 helped earn him the coveted Isabella Blow award in 2014 and an OBE for his contribution to diversity in fashion two years later.

While Enninful’s premiere as editor-in-chief will not be until the December 2017 issue — with subsequent releases until then relying on Shulman’s deputy, Emily Sheffield — significant changes have already begun. Enninful is moving away from the primarily white, middle class female face on all fronts of the magazine. Naomi Campbell now joins fellow Jamaican descendant Pat McGrath on the team of all-star contributing editors. An outspoken activist against racial bias, Campbell placed the spotlight on the magazine’s need for diversification in an Instagram post. Sharing a photograph of Vogue’s previous predominantly white, female editorial team, the model sharply expressed she was “looking forward to an inclusive and diverse staff ” under the magazine’s new lead. US Vogue’s Creative Director Grace Coddington, artist and filmmaker Steve McQueen and supermodel Kate Moss too join the new masthead, as both image and film making will have an apparent role in elevating the magazine.

While many have welcomed the change with open arms, Enninful has received his fair share of backlash as some have questioned whether Vogue’s previous blunders lead to preference being placed on his ethnicity rather than his credentials. With a background in styling as opposed to journalism — departing from his role as fashion and style director of W magazine to accept the new position — the decision was certainly unexpected.

In conjunction with this, in a world where feminism has become such a pressing issue, particularly in the past few years, many have pointed out whether it’s truly progressive to have a man herald the decisions of a women’s magazine.

Whatever the case may be, fears British Vogue has been losing its relevance have been undeniably mounting and Enninful is set to bring a long-awaited shake-up it so desperately needs. As reflected in the United Kingdom’s Audit Bureau of Circulations, the print edition of the magazine declined 1.5%, while digital fell a staggering 25.5% in the first six months of this year alone. It has become evident that in a fast-changing world, in order for the glossy contents of Vogue to remain applicable to a modern Britain, it must represent the racially and culturally diverse society of the twenty-first century.

WORDS BY CAROLINE O’CONNOR PHOTO W MAGAZINE

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THe Power of Xnthony Fresh from a successful run of the hit show DOUZE at Edinburgh Festival Fringe, XNTHONY (Anthony Keigher) is back in Ireland and ready to debut a new show at Dublin Fringe Festival this month. Since 2010, XNTHONY has been working to get to Eurovision and maintain his status as ‘Europe’s favourite-ish pop star’ through Douze, his queer cabaret, and variety nights such as XntoPanto and Lipstuck, as well as many other projects. However, now he is taking a new (straight?) path in The Power of Wow, which runs at Bewley’s Cafe Theatre at Powerscourt from 20-23 September, and we’re here to give you the low-down on what he’s up to.

So, I hear you and the Penny Slots have taken Edinburgh by storm with your show Douze, which premiered at the Dublin Fringe Festival a few years ago?

Yes! We performed DOUZE a total of 27 times during the month, not to mention the bazillion other fun appearances we made at other events.

Knowing Edinburgh Fringe and its ability to make or break a person’s character, we went in with very focused but realistic expectations. Luckily for us the show was a hit. Add a good dose of critical acclaim and we were set.

Being a show about Eurovision, DOUZE is quite a European-centred show (I’m remembering the giant glitzy European flag in particular).

I’m not going to say the dreaded, worn-out word, but has there been a difference performing the show before the referendum and now?

Would you describe your work as political at all?

Without getting into the academic, I do view my work as political, and inherently of the punk lineage. I like to push and challenge — but also entertain — audiences. My work is about the body above all, though it’s framed as entertainment I believe the actions and commitments XNTHONY makes as inherently political, as crucial acts of selfexpression, and a pushing of otherness. As a maker I want to bring the politics of the day into my work, but often this isn’t the appropriate thing to do. Some projects you’re working on will reject that, especially if your intentions are simply for the sake of it and what you want is your voice to be heard above what is truly needed to be said. It’s hard to not feel the pressure to be political and loud at the moment. But working politically can be more nuanced than standing at a pedestal in the theatre. I also feel that I can’t speak on behalf of others. I can only speak for myself and what I have experienced. DOUZE suddenly clicked, to our regret, when Brexit was confirmed. We had worked on the piece together with the feeling that this could happen. And lo and behold.

Tell us a little about the creation of the character of XNTHONY, who also features in your upcoming Dublin Fringe Festival show The Power of Wow. XNTHONY as a persona has developed endlessly since his inception in 2010. The story of how he came about is one I’ll perhaps tell in a future show but for now it’s a nice little secret for me to hold. It is linked to trauma, sadness and the need to escape into a new persona as a way of survival. I laughed once when I read that superheroes are created as a result of trauma, and the XNTHONY creation supports that theory.

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Though you wouldn’t necessarily feel it, my work has always been autobiographical. My impulse is to respond to where I am in my life. I believe our experiences are our own private power, and while XNTHONY is a public persona, for me there is a clear line between

that public and private space. What XNTHONY does is influenced by what I am experiencing, hoping for, aspiring to, running from.

XNTHONY is a curious creature; not only does he exist within different shows, but also lots of different contexts such as clubs and cabarets.

There’s something really exciting about a character which the audience (and fans) can follow in different contexts, guises and forms. I am also painfully stubborn. If someone says XNTHONY could never make a… let’s say… kids show… you can bloody well bet he’s gonna do it.

After Edinburgh you head off to Dublin Fringe to premiere your new show The Power of Wow. What we can expect from it?

The Power of Wow explores the idea of the desperation to be liked, heteronormativity in a post marriage equality age, and fake authenticity.

Having failed to reach the Eurovision, XNTHONY is rebranding as a straight man and has found a woman (Tiffany Murphy, co-collaborator on the project) with whom to seal the deal. He believes the loaded act of marrying a woman will will make him more likeable, more relatable. But of course we all know that just being ourselves is the best way forward, right? Essentially we are presenting the couple’s wedding, again and again and again, as they tour the world convincing people of their love and truth.

How has it been working almost simultaneously on two different shows which take in different points of XNTHONY’s evolution as a character?

It’s exciting. Like eating from different plates of food at different time. I am aware that I’m an awful multitasker so I am still developing a healthy and practical way to leap between the different universes. XNTHONY has a clear narrative, and it’s all about building a following and a story, like episodes of a TV series. DOUZE presents one kind of experience, The Power of Wow something different.The two shows are sort of like sisters. Twins you could say. I have a twin sister. Maybe this show is dedicated to her.

You are from Roscommon, but work predominantly in London, I know you have brought shows home, and also performed a lot in Dublin. Do you find that your work gets a different reaction or reception in different places?

I am obsessed with being from Roscommon. So much so that I am making a new project in 2018 about this. The show will explore rural and queer life following the rejection of equal marriage in Roscommon.

It will take the form of a pop concert… sort of like bringing the field to the disco ball. It’s also inspired by my Confirmation booklet I wrote when I was 12. I am obsessed with giving Roscommon a good name.

On my travels it’s really been hit home to me that Roscommon does not have the respect of the nation, and it’s hurtful. I see a correlation there

though. Growing up as a queer boy in rural Ireland you would imagine a disconnect. But I was always supported through my journey, despite the disappointing result in 2015. In a way Roscommon has become the reject of the country, in the same way we would reject someone other than ourselves. I want to remedy that. And it’s gonna be great fun.

I often feel that we place the wrong expectations on audiences. We brought DOUZE to Roscommon in 2016 and people had such a riot. Oppositely you can go to somewhere which is supposedly a ‘savvy’ audience and literally not get the buzz of them. Like milking a stone. So… this relates to my general mantra across the board — ‘unexpect the expected’. Basically, get over yourself.

Do you see the character of XNTHONY progressing further beyond The Power of Wow? XNTHONY exists in lots of different contexts. Almost like how Marvel Superheroes exist in a multitude of different movies, XNTHONY works in the same way. This came about from my desire to develop a narrative for the character, giving it focus and also separating the character from my own persona more fully.

At the moment XNTHONY is of course, rebranding, getting married, questioning his purpose as a failed pop star — I mean…he isn’t even a real pop star — and with DOUZE he was looking for validation in the form of a show about picking a song for Eurovision. Across the next while, XNTHONY will continue to develop. Following The Power of Wow, XNTHONY

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might actually manage to get real. Or maybe he’ll just lend his image to a marketing company and they can do what they want with it… who knows.

A lot of your work has a strong social media presence; do you find that interaction important to your work? In what way do you see it influencing your work?

I think social media is just an extension of my desire, or maybe compulsion, to connect with people. XNTHONY, as a persona, wouldn’t exist without his audience. If the audience turned around faced the other way I would wager he would all but melt. The same goes for a lot of performance and art in general, but I don’t think that is something artists are very comfortable having a frank conversation with themselves about. The social media interactions I create online extend within my shows too. Very often they include live streaming, sharing images, tweets usually in the guise of ‘getting more publicity’ but actually it’s about activation and pushing experiences out in a positive way.

And on the theme of social media, a final question; can you sum up your creative outlook/aims in 140 characters or fewer?

Unexpect the expected. Never change yourself for anyone.

Stick to your guns. Blow things up. Piece them back together.

Have a conniption. You’ll be alright. Don’t be afraid.

Catch The Power of Wow in Bewley’s Cafe Theatre at Powerscourt from September 20th-23rd as Part of Dublin Fringe Festival.

The Powe r of Wow desperatio explores t n to be lik he idea o e d f the , heterono marriage rmativity i equality a n a post ge and fa ke authen ticity

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WORDS BY SAOIRSE ANTON PHOTO DUBLIN FRINGE FESTIVAL

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AN EXPECTED LUSTFUL GAZE? Alice Whelan challenges the hetrosexual male gaze on female sexuality in film.

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or any member of a marginalised group, searching for representations of oneself in pop culture can be a lonely experience. For people who identify as queer, they have never been entirely invisible in film. However, the representations of homosexual relationships and queer identity have often served a wider political purpose in their attempts to ridicule homosexuality or have had to cleverly mask the representation.

Until recent decades, cinema was filled with sparse, fleeting and mostly covert hints at queerness. Movies in the early part of the twentieth century often relied on homosexuality as a form of humour. When strict censorship rules came about,representations dwindled even further, often leaving it to the audience to do the work by picking up on subtle aspects or ‘looks’.

Queerness was also fetishised or villainized, with films like Dracula’s Daughter (1936).

In recent years, the success of a number of mainstream films featuring gay characters, including Power Rangers (2017), and Disney’s first ever gay character in Beauty and the Beast (2017), attracted media attention and may suggest a shift of attitudes in Hollywood and what audiences expect from films.

Often, it has fallen on the indie movie arena to provide pictures that give us an image of queer life and identity. Moonlight (2016) garnered particular acclaim as a film with a gay central character, winning an Academy Award.

The Handmaiden (2016), which featured a lesbian romance was also popular amongst critics.

Moonlight allowed for a gay person of colour to explore their sexuality as they grow onscreen, against the background of American poverty, and unpicks the construction of black masculinity. Its intersectionality and success are encouraging. Many would perhaps now name it among the likes of Brokeback Mountain (2005), and even Blue is the Warmest Colour

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(2013), films which often come to mind when thinking of films with same sex romances.

Richard Dyer, professor in film, speaks in the docufilm The Celluloid Closet (1995) about issues facing the LGBTQ community in filmmaking throughout the twentieth century. The strict censorship laws and taboos surrounding gay themes meant that gay people felt those limitations in their everyday lives. “We could only express ourselves indirectly, just as people on the screen..we were in the closet”.

Film, for Dyer, is like a mirror in which we look for images of ourselves ‘to not be alone’. It has an impact beyond simple entertainment, especially in the times before the widespread availability of different forms of media.

“We learn from the movies what it is to be a man or a woman, what it means to have a sexuality’.

The ‘new queer cinema’ movement beginning in the 1990’s moved away from the clichés Hollywood had thus far presented. Now, much of independent gay films aim to challenge heteronormativity. Films such as The Living End (1992) challenged stigmas surrounding both gay relationships and AIDS. Moonlight’s achievements have not been enough to allow it to “be heralded as some kind of flag-bearer for new queer cinema, heartening as its mainstream success is for the movement” writes Guy Dodge in The Guardian. Nor have the gay characters in recent Hollywood pictures been more than “fleeting moments of overblown significance” writes Jude Dry in IndieWire.

On one hand, representation of queer life in film is desirable to allow it to be normalised, and to allow audiences to develop empathy for queer characters, which can help build understanding and acceptance. This has

On the other hand, films such as Blue is the Warmest Colour, Handmaiden are criticised for being too sexually explicit, and for adopting a hetrosexual male gaze on female sexuality. Films with same-sex sexual scenes are often more readily rated R than their heterosexual counterparts, which is part of the construction of the fear and mystery surrounding same sex or queer sexual content for cinemagoers.

Dodge argues that although Moonlight’s “depiction of emerging alternative sexuality may be beautifully articulated and modulated, there’s a level of cautiousness that has enabled its broader acceptance thus far: it’s a gay romance with no on-screen sexual activity beyond an unseen handjob.”

This more bland approach is what is easier for Hollywood to sell to its big buyers, which include China, who have much less tolerance for depictions of gay characters.

On the other hand, films such as Blue is the Warmest Colour and The Handmaiden are criticised for being too sexually explicit, and for adopting a hetrosexual male gaze on female sexuality. Films with same-sex sexual scenes are often more readily rated R than their heterosexual counterparts, which is part of the construction of the fear and mystery surrounding same sex or queer sexual content for cinemagoers.

New queer film has been expected to challenge heteronormativity and subvert gender norms, but films that do that are not necessarily going to get made, or get the budget of a safer storyline such as Moonlight. Films such as The Misandrists (2017), and Princess Cyd (2017), are films which challenge binary notions of gender and allow characters to be much less defined in their sexual orientation. These films won’t be shown in Cineworld.

THE HANDMAIDEN (2016)

Films have moved away from gay characters being solely a source of humour, ridicule or fear. It would be a faux pas for even mainstream cinema to fetishise homosexuality or use it explicitly as a gimmick.

However, the films that have the widest reach may not ask audiences to challenge their view on sexuality at all, if they are lacking in material that is unlike the homogeneous version of hetrosexuality that is presented to us by the majority of the media we consume.

If, as Dyer argues, films help us learn about ourselves and the world, and shapes our notion of what is acceptable within and outside of ourselves, then it should be of importance that queer representation is pushed by those in the industry with the power to do so. Films which force us to consider more fluid notions of identity can help lives that are alternative to the Westernised rigid sexual identities we are raised with be represented.

They can help everyone out of the closet, if heterogeneous sexual identities can be more vividly portrayed.

WORDS BY ALICE WHELAN

WORDS BY ALICE WHELAN ILLUSTRATION BY DANIEL TATLOW-DEVALLY

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resulted in perhaps more palatable depictions of queer identity, particularly when it comes to sex.

11

The World of Lesbian Art Art Editor, Alexandra Day, charts the neglected history of lesbian artists and their ouevre.

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ontrary to what traditional art history courses imply, lesbians have existed and contributed to the visual art world for centuries and continue to do so today. Like artists of any other sexuality, they have painted, drawn, sculpted, and photographed their experience of the world around them, as well as their personal lives. Often (though rarely in the past, thanks to stiflingly homophobic laws), their sexuality informs their work and contributes greatly to their artistic process. Indeed, these artists’ works have contributed not only to the visual arts, but also to the LGBT movement as a whole. It is an unfortunate reality that these women are often overlooked, or their sexualities neatly written out of their history.

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This is especially noticeable when studying artists active during and before the twentieth century, when it was acceptable for two ‘spinsters’ to live together and behave affectionately (within defined social parameters) in public without any eyebrows being raised. Though many of these women were gay or bisexual, their biographers would insist on their relationship merely just being ‘good friends’ with their companions.

A tentative example of one such artist was Rosa Bonheur, a pioneer of realist painting in the nineteenth century. Furthermore, all too many depictions of lesbians, both in art and modern media, are presented as erotica, designed by and for straight male audiences. This has often swept any depictions of female love or identity under the rug of ‘smut’

and discouraged artists from depicting their experience of their sexuality in a frank and open way. The work of Gerda Wegener, whose career was most active during the late 1920s and early 1930s, is a rare example of a woman in this time period expressing her own desires and struggles. In

“All too many depictions of lesbians, both in art and modern media, are presented as erotica, designed by and for straight male audiences.” her playful Art Deco style, Wegener reflected her relationship with her wife, Lili Elbe (a successful visual artist in her own right). Their attempt to have their marriage officially recognised was additionally complicated at the time due to Elbe being a transgender woman. Though this struggle was unsuccessful, both Elbe and Wegener contributed defining works to the Parisian Belle Époque scene, such as Wegener’s ‘A Summer Day’ (1927).

From the 1970s onwards, the conversation surrounding sexuality and art has been dramatically opened. Many artists use lesbian imagery

“It is an unfortunate reality that these women are often overlooked, or their sexualities neatly written out of their history.” not offer a knowing ‘come hither’ gaze to the viewer, a common trope of traditional images of female intimacy. Since 1977, Corinne has been a leading researcher in lesbian art history, a field which until then was virtually non-existent. Of the need for lesbian scholarship in art history, Corinne said, “The lack of a publicly accessible history is a devastating form of oppression. Lesbians face it constantly.” Corinne didn’t retire from writing and she continued to fight for LGBT rights until her death in 2006, two years after the first US state (Massachusetts) legalised same-sex marriage.

However, a group of lesbian artists which are doubly overlooked by the traditional canon of art history, and even contemporary art critique, are women of colour. Racism in both the LGBT community and art scholarship has too frequently led to the work of these women to be undervalued and marginalised. Despite this, these women have and continue to contribute some of the most influential works to the art world. Their works cover many themes and media, offering an invaluable insight into their lives and experiences of the world. These include Zanele Muholi, Lenore Chinn, Alma López, Sherley Camille Olopherne, and countless others. One of the most well known is Mickalene Thomas, whose complex paintings touch on themes such as femininity, sexuality, and performance. Thomas frequently inserts herself into the paintings, simultaneously expressing her power as an artist as well as her identity as a gay, Black woman. One of her most famous works is ‘Origin of the Universe I’ (2012), a painting inspired by Gustave Courbet’s ‘Origine du Monde’ (1866). In ‘Origin of the Universe I’, Thomas uses herself as the model. By first photographing herself in the same pose as Courbet’s model and then painting the picture, Thomas subverts the crass objectification of the original painting into an image of female agency. Her body is studded with dark rhinestones, a hallmark of Thomas’s style. Throughout her career, Thomas has critiqued the white-centric portraiture of the late nineteenth century by depicting Black women in the traditional poses and scenes. The universe which Thomas has crafted in her work is one populated by strong women, glamour and fantasy. However, moments of vulnerability and realism can also be found, particularly in the collection Happy Birthday to a Beautiful Woman: A Portrait of My Mother (2012), an exhibition which examined Thomas’s relationship with her mother. Indeed, the work of Mickalene Thomas spans numerous styles and topics, offering a rich tableau of artistic invention.

There are many lesbian artists who work outside the boundaries of so-called ‘figurative’ art, using abstraction to portray their identities and experiences. One of the most famous of these was Bernice Bing, a Chinese-American painter whose calligraphy-inspired works stood out from the San Francisco Bay Area art scene which she was associated

with. A devout Buddhist, Bing viewed her work as an extension of her spirituality, as well as a means to reconcile her cultural heritage, faith and identity as a lesbian. Bing avoided the trends which dominated Abstract Expressionism from the 1950s onwards, and staunchly disengaged herself from the self-promotion and self-mythologising which produced ‘names’ like Rothko and Pollock. Bing’s remarkable talent in using the fluid line can be seen in an untitled piece of abstract calligraphy which she created in 1989. The dynamic lines of the work invoke the artist’s energy and strength. The contrasting red and black inks create a striking visual contrast, referring to the traditional ink landscapes which Bing studied at Zhejiang Art Academy in Hangzhou. The same year, Bing joined the Asian American Women Artists Association (AAWAA), a non profit organisation which promotes the voices of Asian-American women in art.

Through her commitment to art and activism, Bing created an inspiring body of work which challenged the elite establishment of modern art.

Another remarkable artist that specialises in abstraction and mixed-media is Harmony Hammond. Based in New Mexico, Hammond asserts the artistic value of traditionally ‘feminine’ materials, subjects and methods in her work. Chronically undervalued fiber arts such as weaving and sewing are frequently used as the primary medium in her sculpture. In the piece ‘Presence VII’ (1972), Hammond created a hanging form from lengths of woven fabric and painted scraps of material. ‘Presence VII’ is physical and evocative, leaving viewers wondering what lies at the centre of the layers and layers of fabric. This is enhanced by the fact that the work is intended to be displayed hanging freely in a room with at least five other ‘presences’.

The use of woven fabric and sewn elements continues to feature in the paintings which Hammond has produced in her later career. Hammond has been an activist in the LGBT community since the early 70s, having curated A Lesbian Show in 1978, an exhibition which featured works by lesbian artists. In 2000, Hammond wrote the influential Lesbian Art in America: A Contemporary History. Throughout her writing, Hammond has argued against the idea that ‘labelling’ an artist as lesbian is both constrictive and othering. In an interview with We Who Feel Differently, she stated, “If you do not name, you do not have a cultural history, and if you don’t have a cultural history, you do not exist…I never felt that putting the words “lesbian” and “artist” together was limiting in any way. It’s only a box if you let it be. ” Putting the words “lesbian” and “artist” together is a political gesture, acknowledging a historically marginalised group’s ability to independently create. However, within that group there are many different identities, political interpretations, and experiences of oppression. The women which have been discussed throughout this article (which is by no means exhaustive) span different times and styles, each providing a unique and complex body of work. They share the commonality of being gay and making art. Their work, which has so often been overlooked, deserves both respect and consideration. For too long women were afraid to openly identify as lesbians for fear of having their art ridiculed or being objectified. Theright of self expression and determination for women of all races, sexualities and religions is paramount to begin creating spaces in which they can thrive not only as artists, but as people.

WORDS BY ALEXANDRA DAY ILLUSTRATION BY KIM SHEEHAN-THOMAS | FEATURES

to start a dialogue about their lives and experiences. Tee Corinne, one of the most most famous LGBT artists of the late twentieth century, used photography to capture the daily lives of the women around her.

Corinne’s work frequently depicted women in moments of intimacy. The vulnerability and warmth of these images has made them a cornerstone of counterculture art of the 1970s. One of the highlights of Corinne’s work is from the collection entitled A Woman’s Touch (1979). It is a solarised image of a nude female couple embracing. The two women hold each other close, completely involved in one another’s presence. They do

13

F L I G H T S O F FA N TA S Y

(Charlie Chaplin in The Great Dictator, 1940)

WHY IS IT SO DIFFICULT TO MAKE FANTASY FOR TV?

Deputy TV Editor Lily Casson questions the lack of successful fantasy adaptions for the small screen and why Game of FEATURES | 14

Thrones can’t be the only one.

T

he scene: Westeros. The set-up: winter is here. Daenerys is (finally) there, and Game of Thrones is over for another year. It has turned dense, pseudo-medieval fantasy fiction into one of the most watched TV shows of the last decade. But what is the fantasy fan to do in the long wait between seasons, or the even longer wait between books, of pop culture’s current colossus, when quality fantasy TV is so hard to come by?

Elsewhere in storytelling media, adventures that take place in fictional worlds — occasionally with magical or semi-historical elements — are a boomtown of sprawling sagas which regularly top bestseller lists or develop loyal fanbases. Some become beloved classics, exuding a kind of timelessness or otherworldliness rarely seen in other areas of fiction.

Fantasy films, too, are a box office draw; there’s something about a two-hour stretch of escapism that continues to pull in audiences. Then there’s Lord of the Rings, which has been both. Tolkien’s works have been a formative influence on high fantasy, from its languages and creatures to its widely seen film adaptations, which remain cultural touchstones (I personally find second-breakfast one of the most important meals of the day). Yet fantasy is a notoriously difficult genre to get right on the small

“

Far more crucial than how deep the pockets go, however, is the commitment asked of a fantasy audience

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Of course, most television productions don’t have quite the same backing as blockbusters, and books — from which the vast majority of fantasy adaptations are drawn — need only a well-chosen handful of words to create spectacular scenes. Bloody, busy and with a budget big enough to run a small country, Game of Thrones has known what to do with its rare and ever-increasing purse. Forget lame green screen or expensive guest stars (in this house we do not talk about Ed Sheeran, Lannister minstrel); from the muddy courtyards and faux-fur of Winterfell to detailed onlocation shoots in Croatia and Iceland, its sets and costumes seem to build the series from the ground up. After all, how is the audience expected to believe the story if they can’t believe the people and places within it? A series without world-building clout risks reliance on plot, and that isn’t always the best strategy when your quest revolves around a cast’s ability to glare moodily at the camera (2011’s one-season Camelot) or mystical elfstones and clothing that looks like it’s been put through a paper shredder (The Shannara Chronicles).

Far more crucial than how deep the pockets go, however, is the commitment asked of a fantasy audience. Big-budget, cinematic fantasy can go wrong, as seen earlier this year with Guy Ritchie’s 300 million dollar Dark-Agesmeets-Cockney car crash, King Arthur: Legend of the Sword. Fantasy needs heart if it’s to stick (Charlie Hunnam’s Arthur wouldn’t have known one if it had hit him in the face) and even the most traditional swords-and-sorcery adventure requires an immense suspension of disbelief. Thrones has drawn criticism for its altering of storylines, inexcusable misogyny and in season seven, unfathomable pacing. Do you know how far a horse can travel in one day? I do and it’d get you about thirty miles outside King’s Landing by the end of an episode. With modern audiences used to brooding crime dramas or documentaries, for most executives the many perils of bringing rich, otherworldly stories to the small screen seems like too much of a risk. Some have strayed as far as low or urban fantasy (real-world series with fantasy elements thrown in), as with Netflix’s demons-and-dodgy-

CGI offering Shadowhunters or Supernatural, the show that, infused as it is with all manner of trudging creatures, just never dies. They’re hardly critical or ratings contenders and to challenge Thrones’ domination of the epic genre, most have gone with historical alternatives, like warrior drama Vikings (complete with visions, battles, family breakdowns and a bloke named Ragnar) or Saxon drama The Last Kingdom (complete with visions, battles, family breakdowns and another bloke named Ragnar).

So what does constitute a successful fantasy series? Neil Gaiman’s ratings winner American Gods straddled the line between dark low fantasy and visually arresting mythology. The BBC’s Merlin punched above its weight for more than five years, cornering an unusual sweet spot between familyfriendly Saturday night viewing and compelling character-driven drama. A more recent — and far more tongue-in-cheek — musical fantasy, Galavant, wrung the very most out of its twenty minute comedy runtime, packing in clever laughs and surprisingly catchy songs as the titular hero pined for a damsel who’d turned villain, fought a villain who turned good, and the whole cast burst into falsetto at every available opportunity. Unfortunately, this gem was missed by most — there’s an entire song about the show’s unexpected renewal in the series two premiere — and it seems that the charming trick of not taking yourself too seriously will also be missed by other television efforts for the moment. Upcoming fantasy projects to look out for include adaptations of female-led, seven-book, NYT-bestselling young adult series Queen of Shadows and a multi-episode outing for Philip Pullman’s His Dark Materials from Harry Potter and the Cursed Child playwright Jack Thorne.

Has there yet been a perfect fantasy drama? Of course not. Could there be?

Perhaps. If there is something to be learned here, it is that the audiences of the small screen have a taste for big stories, including or perhaps especially when they come with the kind of vast, plot-heavy sprawl once thought too hefty for a ten-episode run. It’s the puzzle of the game of thrones that makes it so exciting, and it’s the characters who make us care. Television has more work to do, however, when it comes to bringing audacious pitches to fruition, particularly when it comes to bringing more women to the helm and telling stories that have not been told before. Game of Thrones may be a behemoth looming over its televisual brethren at the moment, but I for one will be keeping an eye on the stories that begin to see the light of day as its shadow slowly recedes.most movies offer. And by making them laugh (or squirm) the subverted message may just resonate.

WORDS BY LILY CASSON ILLUSTRATION BY EVIE MCCLOUGHAN

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screen, with more dodgy dialogue and see-through sets than you can shake a sword at. With such successes in other media to draw on, why is so rare for epic fantasy TV to reach epic heights?

15

An Interview with Vanessa Fox Oâ&#x20AC;&#x2122;loughlin

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Deputy Literature Editor, Mia Colleran speaks to Vanessa Fox O’Loughlin, founder of The Inkwell Group and Writing.ie

How did the initial plan for The Inkwell Group come about?

Inkwell started as Inkwell Writers’ Workshops and I was only going to organise one originally for crime writers. I had been writing for some time and went to a weekend workshop down in Dingle, it gave me the confidence to know that I could write, but also showed me how much more I needed to learn. I wanted to hear from bestselling authors and one-day workshops in a lovely venue with nice people.

There wasn’t anything like that in Ireland at the time, so I started my own. Once I’d found the right venue and started thinking about it, it seemed silly to organise only one, so I planned five, beginning with Start Writing ending with Getting Published. The idea was they would run on the first Saturday of each month during the winter when the children were in school. Once I’d done one season, people wanted more, so I organised another. It sort of grew from there; I had people travelling from all over the world to come to them!

What exactly is The Inkwell Group?

Inkwell is a publishing consultancy group.

We bridge the gap between writers and the publishing industry, whether that be agents or editors. We help writers get their books into the best possible shape for submission and, where we can, help them in that process by introducing their work to agents.

“Often it’s not your first book that gets you a deal”

It seems that writers today are either selftaught or are graduates of a Creative Writing MA. What, then, do you think, is the status of writing courses like those on offer at The Big Smoke in today’s literary industry?

To be self-taught you need help! Google doesn’t offer all the answers. And not everyone can do an MA, hundreds of people are writing at work in their lunch hours or when their babies sleep. Courses like Big Smoke’s are invaluable as they are facilitated by writers who have been through the process, they can answer all sorts of questions and can help to constructively critique work on an individual basis within a class. Every time I hear a writer speak I learn something new, you can’t replace that face to face contact.

As a literary agent and writer, what prompted you to start writing workshops at Inkwell?

I started them literally to help me to learn to write better. I wasn’t working in publishing, I didn’t know anything about how it worked. I was from a marketing, retail, and event management background. Everything I do now has stemmed from that first Start Writing workshop that I ran with Julie Parsons and Rose Doyle back in 2006.

How do you find new talent in a market that is becoming increasingly digitised? Are posted manuscripts a thing of the past now?

No, I still like to read hard copy, so I often ask for manuscripts to be posted if I’m assessing them for a submission or, for instance, as part of the International Literature Festival Dublin’s ‘Date With An Agent’ event (which will be running in 2018 again - do please make a note if you are reading this and consider submitting, it’s a fantastic opportunity). I find new authors in many ways - most come through Inkwell; we do lots of readers reports for writers, reading their complete book and critiquing it and, if it shows promise, my readers let me know. But I’ve found authors through competitions, through reading their blog online, through twitter. I always have my radar switched on to new ideas and new voices.

WORDS BY MIA COLLERAN PHOTO THEGLOSS.IE

What do you look for in a good manuscript?

Great writing is essential, but it’s not always enough. There needs to be a strong story with a hook and fabulous characters who immediately engage me. It’s a bit like the X Factor , those guys who can just sing are a joy to watch, but it’s what they do with their voice, the way they interpret a song that makes them really interesting.

Apart from writing a good manuscript, what strategies should new writers employ while trying to get published?

Read tons, get to as many events as possible (book launches, festivals, library events) to hear published authors speak, and learn about the industry. Understand the commercial end - unfortunately, publishing isn’t all about great art, it’s a business, and elements like genre and word count can be crucial. You can only break the rules if you know what they are!

“The skill in writing is in rewriting and polishing” Do you have a favourite literary event that you attend in Ireland?

I love Listowel Writers’ Week but, unfortunately, only get to go when I’m programmed to speak as it’s such a long way. I also love open mic events, like Staccato in Toners Pub in Dublin, because they give new voices the chance to shine.

Everyone has a story to tell.

Have you any parting advice to budding writers in college looking to master their craft?

The best advice I was ever given, by Sarah Webb, was just keep writing. Often it’s not your first book that gets you a deal, that’s where you serve your apprenticeship, where you learn the craft.

Little Bones was my fifth book. The other thing is to make sure you finish your book. The skill in writing is in rewriting and polishing, you can only do that when you’ve got to the end of your story. Then you know what it’s really about and can make sure you’re starting in the right place, that all the characters are there for a reason, that the plot is properly developed. Monica McInerney’s advice is “Read. Read. Read.

Write. Write. Write. Edit. Edit. Edit”, only then consider submitting.

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Vanessa Fox O’Loughlin is a notable author, literary agent, and the founder of The Inkwell Group. She is also the founder of writing. ie, a website dedicated to all things writingrelated. These are only a few of her many accomplishments in the field of writing and publishing. She has also written several books which have received wonderful reviews. I chatted with Vanessa last week about her major contribution to the writing world in Ireland, and she shared some advice for budding authors.

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THE BOOM AND BUST I

n recent years, the internal workings of Nintendo have been an enigma. The company would often make seemingly idiotic decisions that left fans worrying for the future of the company and, by extension, beloved pop culture icons such as Mario and Zelda. Nintendo’s past 15 years have seen unparallelled boom and bust cycles.

2002 \

For years, rumours circulated of a new console known internally as Project Revolution. In April 2006, Nintendo revealed the market name of their long awaited home console: the Wii. With this release, Nintendo’s fortunes would change.

The Nintendo Gamecube launched in Europe on 3 May 2002 to little fanfare. Once the king of the gaming world, Nintendo had two significant competitors by the early noughties. The Sony Playstation 2 (PS2) and Microsoft Xbox were poised to challenge Nintendo for the top spot in this emergent multi-billion dollar industry. By the end of the generation in 2005, the PS2 emerged as the victor with tens of millions more units sold than the Gamecube. What went wrong for Nintendo? A number of poor design and marketing choices doomed the Gamecube from the start.

The Wii was the first home console to utilise motion controls, an amazing concept at the time. Along with backwards compatibility for the Gamecube, appeal to the casual gamer, and an attractive asking price of $250, the Wii became the must-have gadget of 2006, even outside the games industry. A focus on multiplayer and bundling the console with Wii Sports allowed the Wii to market itself through word of mouth. People would try out a game of tennis or baseball at a friend’s house and find themselves running to buy a console the next day.

The PS2 offered backwards compatibility with the extremely successful games of the PS1, whereas Nintendo’s decision to finally switch from cartridges to discs prevented access to the N64’s library. Nintendo offered more powerful hardware than Sony, but as the PS2 sold more and more units, developers increasingly thought it unwise to release a game on the losing platform. They needed to go where the market was. However, the biggest attraction of the PS2 was that it could play DVDs. This meant that consumers could buy one box to serve as their living room entertainment centre.

The Wii went on to sell over 80 million units in its lifetime, making it the second bestselling console of all time after the PS2. Nintendo had caught lightning in a bottle. They had a formula that would appeal to a huge range of audiences and managed to execute it in an affordable, accessible way.

While the Gamecube certainly didn’t send Nintendo into bankruptcy, the seeds were sown for a future of disconnection with fans. For their next move, it seemed Nintendo needed to return to their roots and make a sensible, cheap, unremarkable console to attract third party developers.

However, what came next was completely unexpected.

What is your next project?

I’m working on a second novel right now, told from the alternating perspectives of two characters as they finish school and go to college. In a way it’s a coming of age novel, but not so much about an individual as about a relationship. I think.

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2006 \

HISTORY OF 2012 \

So how do you follow one of your most successful products ever? It seemed that Nintendo themselves had trouble answering this question. The successor to the Wii would need to innovate again in order to have the same mass appeal. In January 2012, the Wii U was announced for release by the end of the year. It featured a tablet-like controller with a 6.2 inch screen built in. Nintendo boasted that this extra screen could be used to play games in a handheld mode, as well as function as a second screen for traditional gameplay.

The WiiU went on to be one of Nintendo’s biggest flops. This was primarily due to its disastrous marketing. Nintendo chose to keep the Wii name and logo, which confused consumers. Many of the casual gamers who made up the majority of the Wii user base thought that the Wii U was a tablet addon for the original Wii, rather than a completely new system. Additionally, the console was underpowered, even when compared to the then five year old PlayStation 3. This meant that large third party publishers such as Ubisoft, Bethesda, EA and Activision saw little advantage in bringing their games to the Wii U. Lack of publishers’ interest led to a smaller library, which led to fewer sales of the system, continuing the spiral. The Wii U was also plagued with hardware and software issues. Nintendo lagged behind Microsoft and Sony in creating an online ecosystem, with only barebones online functionality in a few games. Users also complained about the tablet controller’s awful battery life and high repair costs.

2017 \

Determined to show their hand early, Nintendo began commenting on their next home console, referring to it as the ‘NX’. By this point, many gaming pundits believed Nintendo was on its last legs. The NX would make or break their hardware business. Should it fail, Nintendo would likely go the way of Sega, dipping out of hardware to publish games on other platforms such as PlayStation and Xbox.

We got our first look at the NX last October, when Nintendo revealed its market name, the Switch. Some fans were disappointed to find that this console was yet another “gimmick” like the original Wii and 3DS. It was an entirely handheld device with detachable controllers that could also connect to a TV for living room play. Its main selling point was that home console games could be easily taken on the go and played anywhere. Gimmick or not, this idea seems to have thrilled many fans as the Switch is proving to be one of Nintendo’s most popular consoles to date. Some reports indicate that the system has sold over 5 million units since it launched six months ago.

All the while, Nintendo’s handheld consoles were beginning to waver as well. After releasing the 3DS in 2011, sales began to level off. Consumers were not keen on the console’s gimmick of stereoscopic 3D. Combined with a loss of interest in handhelds as a whole, thanks to the mobile market, Nintendo was now struggling to sell their products. In 2014, they reported their largest ever operating loss.

Nintendo’s history has been a roller coaster. As we reach the beginning of a new boom with Switch, the question to ask is “how long does it last?”. As a Nintendo fan, I hope the end remains out of sight for some time. You can be sure, however, that somewhere in a Kyoto office, the seeds of a new gaming gimmick are being sown.

WORDS BY SEAN CLERKIN

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So what enabled this latest success story? One factor has to be the phenomenal first party support for Switch.

Because this was such a crucial product launch, Nintendo were careful to assure fans that great titles were coming. In the short while the console has been available, titles like The Legend of Zelda: Breath of the Wild, Splatoon 2 and Mario + Rabbids: Kingdom Battle have been released, with many more to come. Nintendo has certainly shown their commitment to the system. Secondly, Nintendo have made an ingenious business decision in unifying their handheld and home console markets into a larger library. For example, the traditionally handheld only titles, Monster Hunter and Pokémon, both have upcoming iterations announced for Switch. This larger library will sell more systems, which will attract more developers and so on.

19

Carbs, Clubs and Culture: A Culinary Interrail

Emma Horan re-examines her experience inter-railing over the summer and the variety of delicious food that she ate along the way.

This summer I spent a few weeks ambling around Europe with a big orange rucksack on my back and two mad friends trotting along beside me. With a hunger for travel, and what was possibly an even greater, more wildly insatiable hunger for all things edible, we traversed the continent one dinner table at a time (using the term dinner table here loosely as quite often our table of choice was the nearest street kerb). We learned a lot, and ate a lot more.

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It all kicked off in Paris with a baguette. Touching down in Charles de Gaulle airport there was only one thing on our minds. Sitting within a dilapidated store in the City of Love was a humble and self-conscious baguette, cowering in its undersized paper bag, waiting to be chosen by someone ravenous enough to overlook its underwhelming appearance and appreciate it for the culinary masterpiece that it was. Cue our entry.

Wrecked after trawling from our hostel to the city centre, and with rapidly waning standards, I grabbed the little guy and paid. It wasn’t until we tore its fresh crust apart and experienced the sensory beauty of its fluffy, doughy interior on our tongues that we realised what the

bread-makers in this neck of the woods were about. Bread in France is treated with a rough kind of respect. It’s kneaded relentlessly, bakers everywhere beginning in the early hours in a harmonious rhythm — pound, pound, pound and thwack — into the snarling oven, slowly rising, puffing, crisping, before being flung into unforgiving baskets and boxes to be grabbed by hungry hands. The process is pure and unpretentious, allowing its main talking point to shine gloriously through: the bread’s outstanding quality. Standing a few metres from the Louvre with breadcrumbs sprinkled all down our fronts, hunks of crust in each hand and slow-spreading smiles of satisfaction on our faces, we understood what the rest of the world had known all this time: French bread truly is the best out there.

Baguettes became a large part of our lives from then onwards. It was sort of an emotional thing, the profound attachment we felt towards those unassuming lunch items. Each day we spent in Paris began with the careful selection and prompt purchase of a suitable doughy companion, who spent wonderful times with us exploring the inherent romance and

entrancing culture of the city... right up until around 1:30 PM — lunchtime.

In every picture I took of a historical monument or memorably decorated house front, I made sure to include the baguette in the frame, held at a jaunty angle for the optimal pleasing effect. My favourite was the picture I took upon my first rapturous sighting of the Eiffel Tower, which would have been incomplete without the presence of that day’s stick of bread, cheekily rearing its head in the bottom right corner.

“French bread truly is the best out there” Fast-track to the sun-warmed cobbled streets of Prague. Following a brief traipse through Amsterdam (whose brownies I would definitely vouch for) and Berlin (whose curry sausages I most definitely would not), we found ourselves in an old Czech city, famous for its gargantuan castle and historic town squares. Sampling nothing but McDonalds and cheap bruised peaches in a vain effort to remain nutritionally balanced on our first day there, it wasn’t until the first night that I got to try anything out of the ordinary. My world unduly changed that night. Stumbling back to our budget hostel after a visit to the famed ‘Ice Bar’ nestled under Karlovy Lazne, Central Europe’s biggest nightclub comprising 5 floors of varying genres of wince-inducing chart music (mainly Nicki Minaj’s ‘Starships’), I needed some soul-cleansing junk food, and I needed it bad. My heart and pitifully empty stomach cried out for the familiar nourishment that Camden Street grants me, after a night spent swatting other people’s beads of sweat from my shoulders and trying to sway to the beat of ‘Let’s go to the beach, -each’. That’s the thing about other European countries though. For some unknown reason, that could only be construed as deep-rooted insanity, their food vendors close shop come night time (you’d swear the workers needed to sleep or something). I stood weary and bleary- eyed, closed shutters bearing down on me from all angles, when I spotted the distant gleam of what appeared to be a trading food stall. Hurtling down the street with tunnel vision I decided I’d get whatever was on offer — this was a situation

is essentially a thick cake/sweetbread/manna-from-heaven, made by expertly rolling a narrow length of sugary dough into a triumphant cone shape around a short pole and roasting it to perfection by turning it over open smouldering flames, just like a little pig on a spit. But topped with ice cream, not marinade. This baked street delicacy itself is known to some as a ‘chimney cake’, or in Czech, a trdelník. There is speculation that my own pet name for this glorified 99 cone is a derivation of the Czech term, but I’ll leave that open to interpretation. The dumping of hot syrupy whole strawberries and decadently thick hot chocolate sauce into the cone, with the subsequent addition of creamy whipped ice cream as its crowning glory, was enough to make me weak at the knees on that fateful night in Prague. Delirious with joy, I pottered back down the street with my new finding and long forgotten were the curry chips I had so desperately longed for an hour ago. I found it hard to stop thinking about Trundleniks over the next few days. I must have eaten about 3 a day during our time in Prague, which thankfully wasn’t a long stop or I would have encountered some real difficulty fitting into my shorts. What intensified my longing for constant Trundlenik consumption was their unwavering scent that permeated every cobblestone and romantically lit street in the place. The enticing aroma of sweet baked goodness chased me everywhere. The Trundleniks knew I was vulnerable and defenceless; one whiff and I was at their mercy.

“The enticing aroma of sweet baked goodness chased me everywhere.”

Two weeks deep into a constant state of blissful dirtiness and enlightening culture shock, I started to recognise a weakness in my own resolve. I found myself dreaming of home comforts: freshly washed bed sheets, clean t-shirts, and most of all the simple potato. Never in all my years have I experienced anything like that desire I felt for a fluffy baked potato. I accept the fact that I was a living Irish stereotype, but little did I care right then for flying the flag of multiculturalism. I was an Irish girl abroad and I wanted a potato so badly it hurt. All of the travelling, the adventure, the laughter, the long train journeys and mad encounters with all sorts of people, the stunning sights and mind-blowing history; the tantalising foods and musical languages; all this seemed to lead to this pivotal realisation — I missed home. That’s when I found myself in the vegetable aisle of the closest Tesco I could find in central Prague, thrusting handfuls of familiar baby potatoes into a plastic bag. Whilst my fabulous friends rushed out that night to a brilliant techno club in the city, I remained back in the hostel, quietly boiling my potatoes in a wonky little pot in the kitchen, thinking to myself that Ireland wasn’t half bad after all.

of absolute urgency. I ordered the best of what they had and waited with eager anticipation until I was handed a hot, dripping creation bundled in crumpled newspaper. I stared awestruck at what was essentially an oversized ice-cream cone. Behold the Trundlenik. It’s highly likely you have never heard of the Trundlenik. That is quite alright because I fabricated that name entirely. This breathtakingly ingenious concoction

| FEATURES

WORDS BY EMMA HORAN

21

Homegrown

DISCOVER MUSIC | DISCOVER DUBLIN

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FEATURES | 22

ublin wears its culture proudly. Our streets boast plaques commemorating every Ulyssian step of Leopold Bloom, walls are emblazoned with Maser’s murals, and, at this time of year, we prepare for the annual Culture Night, when the city gets to showcase the best it has to offer. For those of us who have migrated from the quieter corners of Ireland to pursue our education in the capital, one of the most exciting prospects of our new home is probably this new deluge of events, exhibitions and art, just waiting to be discovered.

Culture is a product of urbanity. That is not to underestimate the wealth of art that emerges from and is inspired by rural landscapes; from Romantic poetry to painting, the silence and solitude of the countryside has provided inspiration for a huge wealth of poetry, music and visual art. Yet it is within an urban context that the machinations that actually produce cultural artefacts, turning them into a reality, take place.

Perhaps this is most evident in the production of music, a process that is inherently collaborative; even the most independent of songwriters still need an audience to sing to, after all. Music requires bands, songwriters, instrumentalists, technicians, producers, venues, and audiences in order to transpire(more often than not, that is.) Your favourite band never came to play in Ballygobackwards because, let’s be fair, about ten people would have turned up, and transport would have been a nightmare. Similarly, you

quickly noticed that your band’s crowd always played to the same fifteen faces, because there just weren’t that many more people to see what was going on. (Also, it’s likely that your bass player only ever picked up the instrument after realising there were no bassists in the area. Though this is by no means exclusively a rural problem.)

Dublin’s sheer vast size can be intimidating initially; with a population of over half a million, and an urban landscape that pushes against the county boundaries, it can seem daunting for those not familiar with its streets. Or, perhaps I was just an especially green fresher; I remember being disgusted with the insistences of hardened Dubs that the city was really just a big village when I first made the move. This sprawling monstrosity was several times the size of my native Cork, and absolutely nothing like a village. (Far fewer tourists and Spanish students in villages for one thing.) Yet, retrospectively, I underestimated the communities to be found within the city. In an attempt to scratch the surface of Dublin’s musical underbelly, I picked the brains of a few of the city’s acts; Étáin, Sub Motion, Bicurious, The Fontaines and MUNKY.

“Definitely there’s a sense of community there, the Irish music scene is so small that everyone knows everyone and it’s like a tight knit little family,” agrees singer-songwriter Étáin. If anything, the close community of musicians found in Dublin can go against those trying to break into

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“Culture is a product of urbanity.” the industry; “it is more difficult for rural musicians to feel part of that community because the industry is so very Dublin centred, like every Irish industry really.” Étáin has been gigging in Dublin since she was 16, juggling the three-hour commute from Leitrim on weekends with school and studies.

Sean O’Connor, drummer of Sub Motion, similarly notes the sense of community found amongst those gigging in the city. “And not just musicians, there’s a close sense of community among promoters, sound engineers and venue staff as well. It’s a tough industry to try and break into and we all know it, so everyone gives each other a hand when they can.”

Live music continues to be a favourite way for publicans to fill seats, and Dublin is packed full of venues, yet amongst the musicians I chatted to, some seemed to remain firm favourites. The Workman’s Club is beloved by both Bicurious and The Fontaine’s, upholding its reputation for good tunes (and arguably has one of the nicest smoking areas of this fair city). Whelan’s naturally came up. (‘It’s such an iconic venue in the music scene not just in Dublin, but the country’, says Sean.) The International is a good spot for those looking for a quieter vibe, offering singer-songwriters a platform through their open mic nights. Different venues suit different musicians, of course; as Étáin says, ‘you come across venues every now and then that sit really well with you and you feel like they’re a perfect fit for your music’. As true as this is for the gigging musician, it is equally true, perhaps, for the gig-goer. If the chemistry is good enough to make one night great, it might be more than just the band, and a return visit is worthwhile.

In the twenty first century, of course one must ask whether online communities, forums and spaces are replacing the city, in terms of function. Access to new music is vastly simpler now than in days gone by (sure, isn’t everyone on Spotify these days), and the existence of online communities that gather together specific identities and subsections of society present value access points for those wishing to target their music to niche areas. Gay, of Bicurious, cites the usual blogs as a means of discovering new Irish music; Goldenplec, Nialler9, The Last Mixed Tape.

Above all, however, word-of-mouth and real life interactions still seem to

trump the lure of the online world. Étáin points out that, although social media is important, ‘even today it’s still fuelled on word of mouth. It’s still about meeting the right person at the right time who tells you about an event or showcase, and, in a way, it’s nice that there’s still a humanity to what’s fast becoming a very mechanical industry’. Of course, there’s also the joy of coming across a good band live as a support act; ‘You like their stuff, you have a chat, and you keep in touch with what they do’, Sean says.

Living in the capital introduces the danger of forgetting the rest of the country. Dublin can become an impermeable bubble; for those outside, impossible to break into the scene, and for those already inside, trapped playing the same venues with the same acts. ‘We love playing in Dublin because it’s where we’re from and where most of our fanbase is, but want to avoid playing there too often,’ Bicurious’ Taran says. ‘No matter how good you are, people will get bored of you if you play the same place week in, week out. That’s why we try and get as many gigs as possible outside Dublin, and that way we can try and get the name out there a bit more.’ Étáin, coming directly from a rural background, has a heightened awareness of the potential divide. ‘That’s why, even though I’m Dublin based at the moment, I was determined to create every aspect of my upcoming release in Leitrim, from the writing stage to production to the video. I really wanted to bring together East and West because the divide often seems vast but, I think it’s like any art form. Varying environments influencing musicians from either side of the Shannon can be really interesting when brought together’.

WORDS BY AINE PALMER

LOOK OUT FOR OUR FULL INTERVIEW

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23

theatre

REVIEWS NEON WESTERN

Conflicted Theatre Samuel Beckett Theatre

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Conflicted Theatre’s Neon Western pushes boundaries. Rejuvenating classic Western genre tropes, the show eclectically adds a club feel, neon lights and and a fierce unce-unce. It’s a dystopian new-age, where corporal punishment is rife and communicating through dance is the only way to avoid the hands of the sheriff. As the show was strictly over 18s, we were given a Smirnoff half way between damaged Sheriff (Mark D’Aughton) and a red Adidas tracksuit; a grieved widow turned through to take the edge off. prostitute; an angelic devil stalking for prey; a boxing ring; a preacher being chain whipped for speaking her mind; a soiled dove. The sparse dialogue was often trite, instead the action takes The show utilises every inch of the Samuel Beckett place to a techno house beat, for which immense credit must be given to composer Peter Power.

Theatre to its advantage, even commencing on the This music tells the audience whether to sway to the beat or pay attention to the violence. A nearfire-exit stairs outside. There is no proscenium - the constant background sound of coins rattling suggests the capitalistic nature of this dystopia, audience stand in the middle with the cast darting making the world feel ever closer to our own. in and out, so close you can smell them. The Mellow Tonics choir, in fluorescent raincoats, gather on the edges, watching over the dystopian world like While Neon Western’s concept could have been a zeitgeist for our techno times, the lacklustre a chorus from a Greek play. Sometimes the story storyline meant I departed feeling more impressed by the design than the overall production. They takes us to mesmeric set-ups on balconies and achieved a balanced sense of hygge with the intensity of the club scene, or perhaps this feeling may platforms around the black-walled room, where have derived from my own sobriety. More DJs than dramatics, more Hangar than histrionics, the neon ‘DANCE’ and ‘DRINK’ signs emphasise the acting just didn’t capture the audience like the beat did. commandments of this world.

WORDS BY AMYROSE FORDER Rather than following a linear plotline, the story unfolds as a set of images. A cat-and-mouse chase

MY LEFT NuT

Dublin Fringe Festival Bewley’s Café Theatre

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Michael Patrick lost his father at the age of eight and suffered with a condition known as hydrocele testis (a buildup of fluid which causes the scrotum to swell) from the ages of fourteen to seventeen. My Left Nut is a comedic autobiographical play, telling the story of Patrick’s teenage years and his struggle to define masculinity with no father to guide him and a swollen testicle weighing him down.

REVIEWS | 24

I take my seat and digest the stage – bare, except for a chair, a green school-tie and pair of shoes. A young Catholic, the backdrop for Patrick’s youth is new Belfast, one vying for peace following decades of unrest. Amid this unsettled political landscape, he battles with the empty space left by his father. Patrick navigates through numerous scenes from his adolescence, rapidly moving between different characters – his best friends Tommy and Conor, his mother, an ultrasound technician and his doctor, just to name a few. Each scene advances his story, detailing formative experiences and displaying

the effects on Michael’s character.

The play relies primarily on the acting talents of Patrick. This is Patrick’s performance, his story – lights are used subtly to indicate a scene shift , short sound clips add comedic effect on occasion. However, My Left Nut is all about how Patrick takes ownership of his journey through adolescence, and it is his agency that drives that story.

My Left Nut is essentially a collection of memories implanted in Patrick’s mind, that he has immortalised in the form of theatre, projecting moments from his youth onto the stage in an attempt to study the impact of exceptional circumstances on the process of growing up. Despite the idiosyncrasy of certain elements of Michael’s teenage years, the play succeeds in encapsulating the male adolescent experience. Ranging from Michael’s heartwarming exchanges with his mother to the crassness of sexual experimentation, the play explores a range of quintessential elements associated with maturing to adulthood – sex, societal expectations, self-identity. By the end of the play, a weight is lifted from Michael’s, ahem, shoulders, as he begins to form an image of who he is as a person. As Michael slips out of consciousness during surgery at the conclusion

of the play, he revisits earlier scenes from his teenage years with a new sense of coherence.

This play understands what it is to be a ‘coming of age’ drama.

For a play about testicles, My Left Nut is charming, a documentation of the struggle to find one’s true self in the face of personal trauma and public turmoil.

Written by Michael Patrick and Oisin Kearney, My Left Nut has been selected as one of this year’s “Show in a Bag” productions by Fishamble: The New Play Company, Irish Theatre Institute (ITI) and Dublin Fringe Festival. It runs at Bewely’s Café Theatre at Powerscourt from the 11-23 September.

WORDS BY FIACHRA GALLAGHER

IT

film

Dir. Andrés Muschietti

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The much revered It has finally hit cinemas and you’re guaranteed to be in for a scare. It has been 27 years since director Tommy Lee Wallace’s miniseries take on Stephen King’s classic horror novel It, Andrés Muschietti has done an extraordinary job resurrecting this fan-favourite. Muschietti is an Argentinian director who rose to prominence for his debut film Mama in 2013, a supernatural horror, and once again he doesn’t disappoint.

It is celebrated by fans as King’s most terrifying work. The monster of the tale is Pennywise, a clown who can transform into certain illusions to lure in unsuspecting victims. The classic creepy clown, however, does not do Pennywise justice. It is of course creepy, but also manipulative, child-like, and menacing. The shape-shifting monster’s preference for taking the clown’s shape goes hand in hand with the manifestation of his victims’ worst nightmares. Bill Skarsgård manages to depict this complicated persona in such a gripping manner that every time Pennywise shows its face you can’t help but keep your eyes glued to the screen with fear and amazement.

themes and a music-box melody that culminates in a distorted and dark version of itself.

All in all, It is a great horror film with a strong plot and fantastic characters. However, if you’re hoping for non-stop heart-pounding fear you may be left disappointed. The fear factor dwindles as the film progresses, reflecting the growing bravery of the “Losers’ Club”. Whether or not it will give you a perpetual fear of clowns, It is definitely worth a trip to the big screen.

Set in the small American town of Derry, Maine, in the 1980s, the residents are shaken by a surge in disappearances, especially those of children. It is a group of kids, the self-proclaimed “Losers’ Club”, who discover that Pennywise is the culprit and set out to defeat it, while simultaneously trying to avoid sadistic bullies and over-protective parents. It is a similar group to the one that stole our hearts in the TV series Stranger Things with Finn Wolfhard’s performance shining through, who plays a notorious chatterbox, bringing in hilarious lines even during the most gripping and tense scenes.

STRATTON

Dir. Simon West

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Stratton is the newest film from Simon West, which seeks to emulate the spy-thriller genre that has given the Bond and Bourne franchises such so much success. Despite being a new entrant into the genre, based on the books by Duncan Falconer, Stratton utterly fails to achieve anything even mildly original. This film goes down a wearying route, crossing off seemingly every stereotype and trope that could be dreamt up.

The films plot is standard British-Secret-Service-with-enigmatic-agent stuff; after losing a friend in an unrealistic botched Mission: Impossiblestyle operation, John Stratton (Dominic Cooper) and his ally Marty (Tyler Hoechlin) swear revenge on the mastermind behind the murder, a one-dimensional ex-KGB Dr. Evil, Grigori Barovsky. After a nose around in a bomb-maker’s apartment in Rome to give the film its little Sherlock moment, the plot reaches its climax in a very Bond-like boat chase down the Thames.

The standout feature of the bullet hole-riddled plot is its sheer ability to cram so many spy-thriller clichés into one film: there’s an ample amount of shouting and shooting to ensure your eardrums aren’t napping, the dead soldier hasn’t yet seen his newborn baby, the counterintelligence agency is headed up by an authoritative M-type figure (Connie Nielsen), and an awful lot of rapid typing on computers with flashy graphics. There’s even a romantic subplot thrown in for good measure.

WORDS BY ROBYN MITCHELL

Unfortunately, none of these elements are well executed. The acting is subpar, the dialogue is trite, and the script is admirably liberated from any need for creative authenticity. Even the chase scenes have a rough, badly-edited feel to them, lacking the adrenaline of more polished blockbusters.

Stratton presented a prime opportunity to bring something fresh to a movie bracket which can feel repetitive and creatively stale, but it completely fails to deliver. Not even pulling its own weight, it relies on well worn tropes and bland action sequences to while away the time, before reaching its mundade maritime finale. Even within its own genre, its a poorly put together piece of work, failing to excite the audience. If this is the beginning of a new franchise, the next movie must make its mission to accomplish more.

WORDS BY GRAHAM KELLY

| REVIEWS

It’s score is horrifyingly spectacular. Composed by Benjamin Wallfisch, the music perfectly complements the most fear-filled scenes, including circus

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music

AMERICAN DREAM LCD Soundsystem DFA/Columbia

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Following a five year hiatus, James Murphy and LCD Soundsystem return with an powerfully poignant album of realisation and maturity.

After returning with a number of festival performances last year, the band announced that their fourth LP American Dream would be released this September, along with an extensive American and European tour. Mixed emotions followed the announcement, with many still hurting from the ‘fake goodbye’, while others were curious to see whether the band could emulate the acclaimed trilogy of albums LCD Soundsystem, Sound of Silver and This is Happening.

American Dream is a complex collection of seemingly eclectic tracks which becomes more cohesive with every listen. The album is intensely familiar; still featuring their characteristic existentialism, but this time with a maturity and sincerity previously overshadowed by songs like ‘Drunk Girls’ and ‘North American Scum’.

REVIEWS | 26

Murphy is just as self-obsessed on American Dream, but here, he is no longer worried about ‘Losing His Edge’ - that cool persona he once obsessed over - but is instead fully aware that he has lost that superiority over others, and subsequently his need to prove it. On ‘I used to’, he reflects on the person he once was, asking ‘where’d you go/ You led me far away’ while repeating ‘I’m still trying to wake up.’ It is this awareness and interrogation of his ageing and transition which brandishes the album with maturity and wisdom.

Murphy’s neurotic composition remains, with layers of electronica fused with screeching Bowie-esque guitar (‘Change Yr Mind’), melodic bass lines reminiscent of New Order’s Power Corruption and Lies (‘Call the Police’), while the band also pay homage to Talking Heads,

The Cure and Donna Summer amongst others.

It is worth mentioning that while Murphy often takes the limelight, the musicianship on the album is incredibly crisp, with Al Doyle (guitar) and Nancy Whang (Keyboard/Synth), who are a highlight of their live shows, shining throughout.

No longer obsessed with proving his validity, Murphy’s true talent is allowed to shine. LCD have long been known for their ability to blur the line between electro bangers and ballads and each of the songs on American Dream is a collision of dance worthy rhythms and angsty lyrics. The tremendous ‘How Do You Sleep? is an aural overload which progressively builds from single synth chords, transforming when a heavy hitting base line drops. The song is reminiscent of ‘Dance Yourself Clean’; however where the latter features witty, jabs at society, and an uplifting motto, HDYS is its minor equivalent, signifying above any other song on the record the heavier direction LCD are currently heading.

Murphy’s lyricism remains impeccable throughout the album, which is an honest selfdeprecating expression of his greatest anxieties and regrets. In ‘Tonite’, he shouts ‘you hate the idea that you’re wasting your youth but you stood in the doorway until you got older’, an obvious hint at his own late beginnings in music. In title track ‘American Dream’ he attacks the notion of an imperfect society and the pressure to pretend everything is ok. ‘Grab your keys and head to the doorway/ If you dance out no one complains/ Find the place that you can be boring/ Where you don’t have to explain’ reflecting unironically on his younger years.

2007’s Sound of Silver, featuring the mammoth ‘All My Friends’ remains one of the best albums of the last decade, and is still, in my eyes, their

most complete album. However, American Dream deserves equal merit for illustrating the band’s impressive versatility. The album represents a sort of rebirth for the band, who after years of rebelling against the system and trying to be maintain their edgy ‘coolness’ have embraced a sincerity previously been hidden behind irony and Brooklynite pretensions.

While many will lament the lack of instant dance floor classics such as ‘Dance Yourself Clean’ or ‘Daft Punk Is Playing at My House’, American Dream is a complex and masterful album which improves with every listen, solidifying LCD’s status as a great band who continue to maintain their integral sound, while finding new ways to express themselves, something which only the best bands can do.

A year on from their headline performance at Electric Picnic, LCD Soundsystem return to play the Olympia Theatre on 27-28 September.

If you were lucky enough to get a ticket, expect a night of non-stop dancing, a wall of sound, and a dedicated performance from Murphy and Co, who really do just shut up and play the hits.

All three shows sold out in seconds, so for those who were disappointed, Hangar are running an ‘LCD Soundsystem: I didn’t get a ticket party’ which will surely ease the pain a little.

TOP 3 TRACKS How Do You Sleep I used to American Dream

WORDS BY ELLEN PENTONY

FORGOTTEN FACES

art

National Gallery Ireland

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While much of the recent coverage surrounding the National Gallery of Ireland has centred on the remodelling and re-opening of the old wing and the much lauded Vermeer exhibition, a smaller and humbler affair resides, for a short period longer, at the end of the gallery’s Milltown wing.

The premise of the Forgotten Faces exhibition is a unique one. It comprises of eleven portraits, mainly hailing from the Netherlands, but also Italy and Spain, which were painted throughout the sixteenth and seventeenth centuries. What ties the portraits together to create the exhibition is the story behind each portrait, or rather, the lack thereof. Upon entering the exhibition space, we read that the identities of the portrait’s sitters have faded from memory. The paintings themselves are the only relics the gallery has of them and while we can surmise, based on the clothing and objects with which the sitter is painted, some detail about the identities of the sitters, the portraits fail to reveal the whole story.

This does not detract from the experience but creates it. Upon walking into the relatively dark gallery space we are met by the penetrating gazes of the eleven individuals portrayed, a

somewhat unnerving experience in itself. Each portrait is individually lit by a single spotlight, visually reinforcing the exhibition’s premise of individuals recovered from the fog of the past.

In the absence of biographical detail, the information plaques for each of the portraits ask questions about the individuals represented in the paintings, and the larger themes of the exhibition, such as mortality and the purpose of portraiture. Sometimes they provide insight into the possible purpose or story behind the portrait; the likeness of one soft-lipped and smouldering Dutch man, we are told, was likely

Beyond The Sea: The Ocean After Nature

created for his long-distance lover, for example.

The lack of archaic noble titles and details of aristocratic lives to which we cannot hope to relate, which are usually presented alongside portraits of this sort, encourage us to experience them in a way we perhaps had not considered before. Aided by the intimate surroundings, the portraits take on an unexpected level of humanity. We are encouraged to see the sitters as individuals subject to the same mortality as ourselves. Grouped together, the experience can be humbling and uplifting. The noble effort is well worth a visit.

WORDS BY AISLING GRACE

Hugh Lane Gallery

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There is great variety in the media featured in the collection, which creates an immersive

atmosphere. This diversity feels fresher by comparison to traditional single-media exhibitions. However, certain entries prove less engaging than others, such as the installation ‘Does This Soup Taste Ambivalent?’ (201416) by the United Brothers (Ei and Tomoo Arakawa). Though it features the interesting premise of the relationship between radish soup and radiation caused by the Fukushima power plant disaster, it feels alienating in its hyperacademic presentation.

The true strength of the exhibition lies in the ability it has to remind viewers of the eternal

power which the ocean holds, even today, and how it shapes humanity as much as we shape it.

Hyung S. Kim’s intimate portraits of three female South Korean divers (haenyeo) in their working clothes explore how their identities and social status are tied to the sea. The three-channel video ‘A Dashed State’ (2015) by Manny Montelibano captures the changing relationship between the daily lives of islanders in the Philippines with the sea, reflecting the constantly shifting politics in the West Philippine Sea. The fluctuating sounds and images projected onto the walls are truly hypnotic, proving difficult to leave.

The Ocean After Nature is an exhibition which poses questions to viewers about their place in the world, as well as their effect on it. While oceans once separated us, we are now more connected by them than ever. In this way, the works do not only reflect the power of the ocean, but become mediums of its power in their own right.

WORDS BY ALEXANDRA DAY

| REVIEWS

As part of the Hugh Lane Gallery’s 2017 programme surrounding migration, The Ocean After Nature is an exhibition which explores the relationship between humans and the sea through the works of twenty different artists and collectives. Given that approximately 71% of our planet’s surface is covered by water, it seems natural that the endless oceans have left humankind awestruck throughout the centuries.

In modern times, the ocean has become less of an unknown expanse, and more a place of migration, economy, and politics. The artists featured in The Ocean After Nature consider new ways of representing the ocean to reflect how humans use (and abuse) this natural resource in the present day. Themes range from personal and communal experiences of emigration and daily labour, to the universal investigation of trade and the effects of a globalised world on the environment.

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THE DEFENDERS Netflix

●●○○○ The Defenders, a new addition to the Marvel universe on Netflix, unites the titular superheroes from four previous series (Daredevil, Jessica Jones, Luke Cage and Iron Fist). The first three forced short-form superheroes to up their game, blending well-choreographed action with themes like addiction, African-American culture and identity, and abusive relationships. This made for much grittier content than anything Marvel had tackled before. Iron Fist, the most recent release, is the weakest of the four, tackling such difficult issues as what it’s like to be white, rich, and good at karate. The stark variation in quality becomes particularly evident under the intensity of The Defenders. The Iron Fist segments of the episodes are replete with stilted dialogue and wooden acting. Thankfully, Charlie Cox’s Catholic guilt-ridden Matthew Murdock/Daredevil, Krysten Ritter’s foul-mouthed, hard-drinking Jessica Jones, and Mike Colter’s formidable yet charming Luke Cage, have enough charisma to pull the audience through any tedious moments.

TV lacklustre climax. It struggles under the weight of expositional storylines and awkwardly staged fight scenes - a huge contrast to the slick action of Daredevil and Jessica Jones. It’s not all bad, and there are definitely some inspired moments, but it’s sadly not enough to redeem Marvel’s latest pet project. If you’re looking for fun action sequences and thoughtfully examined themes, you’re better off returning to one of the original series, all of which provide much more in the way of compelling, exciting television than what’s on offer here.

The Defenders essentially devotes its first two episodes to character reintroductions, so viewers unfamiliar with Marvel’s superhumans should have no trouble catching up as our heroes join forces when an ancient organisation known as ‘The Hand’ threatens to destroy New York City (for permanently unclear reasons). ‘The Hand’ is a vague threat throughout, though its mysterious leader, Alexandra, is played by a captivating Sigourney Weaver who makes for a fascinatingly nuanced Marvel villain.

Unfortunately, the series as a whole spends too much time setting up the plot, and not enough exploring the core characters in this new four-way dynamic.

Though it benefits from a shorter eight-episode order than its sister series’ (with thirteen episodes each), it still manages to waste plenty of time meandering at a glacial pace. After a slow start, the series picks up halfway through, only to lose momentum again as it approaches a

STRIKE: THE CuCKOO’S CALLING BBC

●●●●○ The Cuckoo’s Calling was published in 2013 as the debut crime novel of Robert Galbraith. The release was soon overcome by a media frenzy after it was leaked to The Sunday Times that the pseudonym was, in fact, the first foray of Harry Potter creator J.K. Rowling into detective fiction.

Rowling had hoped to produce work detached from the expectation and comparison of her previous books. Alas, viewers and media pounced on the fact that The Cuckoo’s Calling displayed the rather darker recesses of Rowling’s mind. The book was picked up by the BBC in 2014 with Rowling acting as executive producer. The Cuckoo’s Calling was revamped into Strike, named after the lead detective of the series Cormoran Strike, to be played by Tom Burke (The Musketeers, War & Peace).

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The first three episodes of the series revolve around the suspicious death of supermodel Lula Landry, which has been framed as suicide but is unveiled to be murder. When we first encounter the army veteran turned sleuth, Strike is living out of his dishevelled office in central London, his relationships and private investigation practice on the brink of collapse.

As his perpetually remote ex-girlfriend Charlotte (Natasha O’Keefe) runs away from him, a new sidekick, aptly named Robin (Holliday Grainger) hurtles toward him, all set to clean his desk and make him tea.

Where Burke is just the right touch of rough, he manages to maintain 28a certain charm, Grainger takes it too far toward the doe-eyed angel.

She is predominantly just efficient filing and quick thinking; at one

WORDS BY ELIZABETH MACBRIDE

point in the second installment she drives a rented Fiat off road through forests and fields in a thinly veiled attempt to make her appear ‘badass’.

However, Strike is not weakened by her presence. If anything it allows us to appreciate Cormoran’s charm and he is a decidedly interesting character.

The one legged amputee and estranged son of a rockstar and a model with an incomplete Oxbridge degree, he maintains his cool without ever trying too hard. Although there are elements of Sherlock, he is admirably intelligent while still being relatable. London also shines as a third character, both an aid and an enemy to Cormoran and Robin. The expensive, flashy world of Lula Landry contrasts with Strike’s grimy pubs and ill-lit passageways as trendy Dalston nightclubs awash with supermodels are wryly followed up by greasy diners. Overall the atmosphere is dark and if it weren’t for Robin’s permanently pouted lips and bleach blonde hair, it would be foreboding too.

WORDS BY ROXANE VON HURTER

Roddy Doyle

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Roddy Doyle’s highly anticipated novel Smile hit bookshelves at the beginning of this month to mixed reviews. It tells the story of Victor Forde, a middle-aged, failed music journalist who moves back to his hometown following the breakdown of his marriage. He begins a lonely pilgrimage to Donnelly’s pub each night “for one slow pint”. Interrupted by a man in a pink shirt one evening, Victor is forced to remember a past he had thought buried. With distressing clarity, five years of violence at the hands of the Christian Brothers bubbles to the surface at a mere suggestion from his new drinking partner.

parallels across the decades. “The rhythm of the middle-aged Dub” and the performative nature of schoolyard bravado mirror one another, while Victor’s observations of the abortion referendum of 1983 nod to the position women currently hold in Irish society.

Though one cannot wish to give too much away, no review of this novel could comfortably leave out its shocking ending. It shreds with vicious alacrity everything we thought we knew about Victor and the sexual abuse

WORDS BY SARAH UPTON

LIT

SMILE

Smile is an undoubtedly fine novel, displaying Doyle’s famed mastery of dialogue and ventriloquist-like ability to assume the identities of his characters. The pub conversations can sometimes tend towards the banal, but if you enjoyed Two Pints the kitsch won’t bother you. Unlike most of Doyle’s fiction, this is not a funny book and is perhaps better compared to The Woman Who Walked Into Doors.

The novel’s strength lies in Doyle’s precise yet impressionistic evocation of the workings of memory and trauma. Childhood trauma is rendered in a manner that is at once harshly exact and vexingly evasive. Memory both creeps up on Victor in small steps and batters him in great crashing waves. It can prove unreliable and fails him when has most need of it: “The memory. It’s like dropping bits of yourself as you go along, isn’t it?”

Similarly, Doyle’s prose is both impeccable and confounding, leading the reader into folly as much as clarification.

Finer still is Doyle’s characteristically excellent portrait of Ireland, and of Dublin in particular. While often on the nose—Victor’s work-inprogress is titled Ireland: A Horror Story—Doyle’s detailed representation of seventies, eighties, and present-day Ireland provides an unerringly complete backdrop for his plot. He neatly and sympathetically draws

TANGLEWEED & BRINE Deirdre Sullivan

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he suffered at the hands of Brother McIntyre. While it impressively captures the lurching processes of the traumatised mind, the ending abandons the reader to mounting confusion.

A timely and stunningly poignant novel wrought with great wit and pathos—though hardly flawless—Smile should make a welcome addition to anyone’s Roddy Doyle collection. of the originals, Sullivan places the suffering and triumphs of women front and centre. In the face of domestic and sexual violence, child abuse and traumatic pregnancy, Sullivan’s heroines are often their own saviours, taking comfort in the wisdom and love of maternal ancestors. The prince’s role is displaced by Cinderella’s mother in ‘Slippershod’. The heroines of ‘Ash Pale’ (Snow White) and ‘Beauty and the Board’ follow in the footsteps of their witch mothers, wielding magic mirrors and planchette boards against patriarchal tyranny.

All of Sullivan’s female characters are complex and vital, and all have the capacity for love, goodness and, most engagingly, violence. The lines drawn between wicked witch and wronged princess, handsome prince and evil king are deliberately blurred.

In her stories, Sullivan subverts the work of the Brothers Grimm, Charles Perrault, Hans Christian Anderson and Walt Disney to craft something of genuine novelty. While remaining true to the bloody and gothic eeriness

WORDS BY SARAH UPTON

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It is rare that the aesthetic of a volume counts towards its overall merit, but in the case of Deirdre Sullivan’s book of feminist fairytales Tangleweed & Brine (2017), an exploration of its carefully organised pages and beautiful illustrations by Karen Vaughan proves as enjoyable as Sullivan’s remarkable prose. Her thirteen tales are divided between ‘Tangleweed’, stories set in the forest among ‘the leaves and roots and flowers’, and ‘Brine’, in which seas, rivers and lakes predominate.

Sullivan is fantastically attentive to the power and significance of objects in fairy tales. Food is central to ‘Come Live Here and Be Loved’ (Rapunzel) and ‘You Shall Not Suffer…’ Blood appears in almost every story. Clothing has particular symbolic importance. In classic tales such as Cinderella, beautiful gowns offer escape and self-actualisation. In Tangleweed & Brine, however, physical beauty can confine. It is the wolf pelt in ‘The Woodcutter’s Bride’ and the donkey skin in ‘Riverbed’ that empower their wearers. The female body proves most formidable of all; Ash Pale is “fat with sorcery and anger,” while the mermaid in ‘Consume or Be Consumed’ misses her “whale-thick” form. Food, blood, clothing, shoes and mirrors are the building blocks of classic fairytales, rearranged here to form something material and modern.

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NEW YORK FASHION WEEK 2017 Spring/Summer 2018 Fenty x Puma | Gucci

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fashion

Running from 7-13 September, New York Fashion Week 2017 has displayed some of fashion’s biggest names, including Dion Lee, Jeremy Scott and Calvin Klein. This year, the Park Avenue Armory hosted two of the most anticipated shows of the spring-summer collections: Tom Ford, and Rihanna’s latest collaboration for Fenty x Puma.

Ford kicked off the fashion season in spectacular style a day ahead of its official start date with his womenswear collection. Alongside the recent launch of his new limited-edition fragrance ‘F***ing Fabulous’ (a bottle of which was included with each invitation), the mood for the collection was clear. Ford revamped the exhibition space into a seductive all-pink lounge, with mirrors lining the walls, reflecting the glint of a dance floor poised for an all-out after-party for guests, who included Suki Waterhouse, Kim Kardashian, Chaka Khan and Anna Wintour.

The set-up was in stark contrast to the unveil of the designer’s autumn-winter 2017 collection, which cast away the runway completely and was seen strictly by private appointment.

armour-like sequinned sleeves which dazzled in the lights of the runway but were themselves slightly sheer to reveal the feminine figure underneath.

The show recalled vintage Tom Ford, particularly his early success as creative director at Gucci.

The collection perfectly encompasses the key elements for which Ford has become known as it walks the line between sex and glamour, while still retaining its wearability. Clean-cut, easyto-read garments coordinated with cropped hairstyles and slightly smudged winged eyeliner gave each model an effortlessly cool look. Flashes of skin were prominent as low-rise trousers matched with body suits playfully exposed the top of the thigh, while micro-mini sequinned jumper dresses flaunted the full length of the models’ legs. The largely subdued colour palette of neutrals was punctuated by the bright hues of an orange trench coat, structured cobalt mini dress and lavender trousers. Footwear in the form of cap-toed stiletto pumps in candy colours of scarlet, fuchsia, cobalt and yellow added a fresh pop of colour, helping to keep the outfits modern.

Rihanna crowned the athleisure trend, creating a wardrobe of separates which can be easily matched together or stand strong on their own.

Masculine, over-sized jackets and cargo pants contrasted against sleek swimwear and skintight lycra bodysuits. Vivid shades of electric blue, lime and yellow were at times daringly paired together in entire outfits, but most often detailed with muted colours to create a striking contrast. Two of these combinations were at the forefront of the collection. Navy blue with pink opened the show in the form of an oversized navy windbreaker paired with tight cycling shorts with pink side panels. Later, opposing orange and black appeared in a number of outfits such as a loosely fitting, matching black tracksuit with thick orange stripes running down the arms and legs.

This season, Ford brought some of his most desired menswear details to his women’s collection as masculine cuts were brilliantly mixed with ladylike sophistication. Broadshouldered suit jackets with sharply-cut lapels, reminiscent of the 1980s, were paired with plunging necklines or bralettes, some cut from a bright fuchsia fabric, to emphasis the play between the sexes. Gigi Hadid led the series of figure-hugging finale dresses which closed the show. The ruched, floor-length gowns boasted

The Park Avenue Armory was again dramatically transformed around the midpoint of fashion week as Rihanna launched her new Fenty x Puma collection on Sunday night. Featuring a mix of men and womenswear, the singer-turneddesigner brought the fun to New York with her motocross-inspired clothing. A trio of bikers opened the show in jaw-dropping style as they flipped their motorcycles over mounds of bright pink sand which then acted as the backdrop for the circular runway of the show.

Footwear saw a mixture of flats and heels, the pinnacle of which was the combination of the classic flip-flop with a stiletto-style heel, but also featured a range of ankle boots, trainers and thigh-highs. Matrix-inspired sunglasses with the same brightly-coloured detailing added a sense of modern cool to the collection. It was left in the safe hands of Brazilian supermodel and close friend of Rihanna, Adrianna Lima, to close the show, wearing the stand-out finale piece: a zip-up biker suit in cobalt and lime, with the Puma logo featured across the bust.

In the battle between classic elegance and sex appeal versus new age athleisure, a surprising set of similarities appeared. Both played with the relationship between masculinity and femininity, while bright pops of colour were used to punctuate a more muted background.

While evidently targeted to vastly different audiences, both collections are also commercial in their ready-to-wear aesthetic. At first glance of each, my heart lay with Rihanna, whose laid back pieces I could find a number of spaces for in my wardrobe. However, after I found myself numerously replaying Tom Ford’s updated twist on classic cool, the collection ekes by to win my five stars.

WORDS BY CAROLINE O’ CONNOR

MINECRAFT STORY MODE: The Complete adventure Nintendo Switch Available Now ●●●●○

The visuals are faithful to Mojang’s Minecraft, but Telltale have added extra flourishes and brighter colours that give the blocky design a new lease of life. The frame rate drops from time to time in portable mode, though it doesn’t have a big impact on gameplay. The game looks and plays better when the Switch is docked, and playing on a TV provides a more cinematic experience.

Unfortunately, the control scheme is a little dissatisfying. The button configuration just doesn’t feel natural at all. The game can also be played using the touchscreen, but it’s too awkward for scenes that require quick responses.

Despite the unreliable frame rate and unnatural controls, Minecraft Story Mode is incredibly entertaining to play. Only a Minecraft player will understand the gags, but the game is really only intended for fans of the series anyway.

Minecraft Story Mode isn’t groundbreaking, but it features an inventive plot, stellar characters and a truckload of humour. If you need a reprieve from raiding Sea Temples, escaping the Nether or fighting the Ender Dragon, Minecraft Story Mode: The Complete Adventure has got you covered.

WORDS BY RORY CODD

Minecraft Story Mode is entirely based on the sandbox game Minecraft, albeit with original characters and a fully fleshed-out plot. The game stars Jesse, pig companion Reuben, and their ragtag group of misfit friends. Following an unsuccessful building competition and a backalley deal gone sour, they are suddenly tasked with saving the world from annihilation at the hands of the fearsome Wither Storm.

The game includes the most important aspects of Minecraft by incorporating crafting, building, and even fighting monsters into the story. The dialogue is witty and filled with Minecraft references, and the voice acting is top-Notch.

I’ve been utterly charmed by the wide array of characters, and Episode 6 even includes cameos from popular YouTubers like StacyPlays, LDShadowLady and StampyCat.

F1 2017

PC | Mac | PS4 | XBox One Available Now

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F1 2017 is more of an iterative change from last year than a complete redesign. What makes it feel different are the cars themselves. Previous years’ low-drag designs have been ditched in favour of high-grip, high downforce models more in line with older cars. Practice is more important than in previous iterations, as it nets you resource points to use in a truly massive development tree. This allows you to model your car to better suit your driving style or to focus on what is important in the character of the next track. While complex, this is a great expansion on 2016’s offering.

mode through invitational events, which offers a good respite from the demanding career mode.

Outside of the career, there are time trials and series to enter which offer special scenarios such as extreme weather conditions. There is also a specific event section which offers a scenario based on the race happening during the week you play.

games

Licensed games for Formula 1 are highly dependent on the Formula itself. This year, the cars have intentionally been made more extreme, and this is reflected in the game. Another factor that these games encounter is, despite being based on a sport, they’re not sports games in the truest sense. They are driving games and compared to other driving series, it is highly commendable.

A noticeable change has been in the more vibrant colour palette, but the human animation leaves a lot to be desired. It’s nice to have podium celebrations but when they haven’t changed in 3 years and fail to express driver personality, they bring down the experience.

F1 2017 is saved by the real world sport’s new regulations and having some of the greatest tracks in the world, but it still has rough edges from the game engine change made in 2015.

However, if you’re a fan of the sport it is a worthy purchase. Even as a driving game fan, you’ll find nothing quite drives like these cars.

Classic cars are also featured. They each handle in their own way and are filtered into career WORDS BY ALEXANDER NORTON

| REVIEWS

Have you ever wondered what life in the world of Minecraft would be like? Look no further, as Minecraft Story Mode: The Complete Adventure will give you all of the insights you’re looking for. The game is developed by Telltale Games, who are well-known for their interactive pointand-click adventures like The Walking Dead: A Telltale Series.

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THE HAPPY PEAR

food

Greystones

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Great food, great vibes, and a great location – The Happy Pear is the complete package. The café-restaurant attracts plenty of buzz for its family values, strong social media presence and ambition to provide healthy food. So, on a warm(ish) summer’s day I hopped on the DART to Greystones to discover if the growing enterprise lives up to the hype.

The Happy Pear was a bustling hive of activity. Although the ordering and payment counter areas were small, and customers were many, efficient staff meant waiting was not much of an issue. Food is served in a carvery style, so once you have made your selection you are mere minutes away from delving into your delicacy.

I opted for a Buddha bowl, an eclectic mix of hot and cold foods for €12. Most dishes on the lunch menu are over €10, but the portion size is large enough to compensate. Mine included sliced avocado, kale leaves and shredded carrots alongside beetroot, brown rice and a portion of curry. The blend of flavours truly complemented each other and everything tasted deliciously fresh. I especially loved the cherry tomatoes in the curry, which were so soft that they almost melted in my mouth.

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Afterwards, I indulged in a Chocolate Fudge Brownie for €2.50 and a strawberry, banana, and raspberry smoothie for €2.95. As a brownie connoisseur, I find a typical problem with brownies is that they are either too chocolate-y and rich, or too dry with not enough chocolate. I’m happy to say that The Happy Pear has nailed a brownie that has neither too much chocolate nor is lacking in it; even Goldilocks couldn’t but conclude that it’s just right.

The Happy Pear prides itself on pioneering a “health food revolution”, which is reflected in the restaurant’s vast array of fruit and vegetables, from the everyday carrots and potatoes to the edgier pak choi and avocado. It’s a wonderful opportunity to try out some tastes not found in a typical eatery, however it may not be for everyone. Although I have always liked trying new foods, I visited The Happy Pear with a life-long “picky eater”, who unfortunately was not able to find anything to eat that in any way resembled chicken nuggets – the good people of Apache Pizza down the road took excellent care of her. With avocado, kale and lentils being staples of many Happy Pear dishes, they may not be the right choice for those who prefer to dine on some good ol’ chicken and chips. But if vegetables aren’t your enemy, or you’re at least willing to experiment with an armistice, The Happy Pear has an exciting array of meals that look delicious and taste even better.

All in all, I thoroughly enjoyed my visit to The Happy Pear. Situated just minutes away from the Greystones DART station, it’s ideal for a half-day trip from the city centre. Take in the coastal views of Dún Laoghaire, Bray and Greystones along the DART line, eat a delicious lunch at The Happy Pear, and stroll along the peaceful beaches before heading back to Dublin with a happy stomach.

WORDS BY LAUREN BOLAND

RECIpE:

RECIPE

COCOCNuT RICE & KWA- RICE & KWA ZuLu NATAL CuRRY COCONuT ZuLu NATAL CuRRY

It’s Freshers’ Week. When I started college, yelling Gordon Ramsey insults was all the culinary experience I had.

One piece of advice I can offer in these trying times is to cook for yourself— you’ll save an enormous amount of money. Asian-style cooking is a great place to start as it’s quick, easy and adaptable.Since affordable sustenance is invaluable for the first few weeks of college, coconut rice is a life-saver. It’s more filling and creamy than any rice you’ve ever tasted, and delicious enough to be eaten by itself.The curry is a recipe from my nanny in South Africa, from the Kwa-Zulu Natal province, and perfect for using up food about to go off. It’s dead-easy to cook and, with the addition of potatoes, it’ll last through the week.To make the recipe vegan, substitute chicken for chickpeas or pre-cooked lentils.

Ingredients For the rice: · 1 cup of rice (basmati is best, but any is fine)* · 1 cup of coconut milk · 1 cup hot water For the curry: · 1 chopped onion · 3 cloves chopped garlic · 1 thumb-sized piece of ginger, skinned and cut into matchsticks · 2 chopped chicken breasts · 1 tin coconut milk · 1 stock cube (chicken or vegetable) · 1 tbsp curry powder Optional: · 1 large potato, parboiled and cubed · Pinch of cumin · 1 chopped apple · Handful of sultanas · 1 can chickpeas · 2 sliced bananas Method For the rice: · Wash rice in cold water until water is no longer milky. · Put rice in saucepan along with liquids. · Bring to high heat. The fat in the coconut milk it will make it come to a boil quickly. Once it is boiling bring it to a low heat until all the liquid is absorbed (about 15 minutes).

For the curry: · Add a splash of oil to a pan, heat it on medium high until there are wisps of smoke rising when the pan is titled. Be careful not to make the oil too hot! · Add the curry powder and cumin, coat it in oil and quickly follow with the garlic and onion. Fry until the onions are clear and halfway through add the ginger and apple. · Add the chicken until browned. · Pour in coconut milk, and the stock cube, add hot water if needed. · Add chickpeas, sultanas and potato and simmer for a few minutes, before adding salt to taste. · Add bananas and serve with rice. *The ratio of liquid to rice is usually 2:1, but check the instructions of your rice.

WORDS BY ENYA O’CONNELL HUSSEY

| RECIPE

Prep time: 15 minutes Cooking time: 20 minutes

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SEX

DUBLIN’S SEX SHOPS DEPUTY SEX EDITOR, KYLE CHAMBERS, REVIEWS DUBLIN’S SEX SHOPPING SCENE

Condom Power, Dame Street This little sex shop is surprising as it’s very easy to miss. Located across from the large Spar on George’s Street, this store has a tiny entrance that is only noticeable because of its slightly disturbing neon sign. Despite its strange location (which reminds me of sneaking into Grimmauld Place in Harry Potter), this place has a nice, cosy atmosphere. There is a bubblegum pink aesthetic that borders between sleazy and really cute. The staff are discrete and happy to ignore you, which can be nice for the more selfconscious shopper. The range of products is limited but satisfactory, fine if you’re only looking for the basics. The price is reasonable if you stick to the less luxurious brands. Overall, Condom Power is an average sex shop which provides what most people need in a fuss-free and generic environment.

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Basic Instincts, Eustace Street This large glossy store has a great location on Eustace Street, opposite The Hub which is host to popular gay clubs Prhomo and Sweatbox. The unique selling point of Basic Instincts is that it doesn’t market itself as a “sex shop”, rather its main focus is as a fetish gear and mask store. As soon as you walk through the tinted doors, the first thing you see is not the usual porn and dildos along the shelves, but authentic Venetian masks.

The atmosphere is incredibly relaxed yet polished and the staff are very friendly and eager to help you find what you’re looking for. There is a cinema downstairs for private members, but it isn’t often that anyone goes in or emerges from there. This store is very LGBTQ+ friendly both in regard to the range of products that are stocked and the general environment - such as the very obvious HIV testing kit on the front counter. Half of the store is also dedicated to the brand Mr. B, a Dutch gay fetish gear supplier. There are a vast array of high quality products here that are difficult to find elsewhere in Dublin. Although the price range is a little higher than Condom Power, it is definitely worth it for the better products.

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Glamworld, Mary Street The upstairs of Glamworld has all the basic tenets of a sex shop with a fair, though not extensive, range of options. Downstairs holds all the BDSM gear and implements. There is an impressive array of fetish products, despite the fact that their display is cluttered and requires time to root out their best pickings. The price is affordable with most of the products being of high quality. This store could almost rival Basic Instinct if it paid closer attention to accessibility of products as a shyer shopper may miss many of the items available.

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WORDS BY KYLE CHAMBERS

CHECK US OUT ONLINE AT TN2MAGAZINE.IE editor@tn2magazine.ie facebook.com/tn2magazine @tn2magazine @tn2magazine

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