The Anxious Generation - Book Review (and Some Thoughts)

Are you feeling overwhelmed by the constant buzz of notifications, the pressure to project a perfect online image, or FOMO? You're not alone. In today's hyper-connected world, anxiety is on the rise, particularly among young people. Psychologist Jonathan Haidt looks at this very zeitgeisty issue in his book The Anxious Generation.

There have been quite prominent displays of the book across many stores.

He starts off by presenting a scenario where youths are asked to be test subjects in a mission to Mars without seeking adult permission. It's a metaphor for how society has largely allowed the tech industry to shape the digital landscape without adequate oversight or consideration of long-term effects, particularly on young people. He then looks at Huizinga's Homo Ludens playful human concept, and how the fear of sexual predators and kidnappers, prevalent in the 1980s and 1990s, led to a culture of overprotection in the physical world, while the online world remained largely unregulated. This imbalance, Haidt argues, has created a generation of young people who are both hyper-vigilant about real-world dangers and vulnerable to the potential harms of the digital realm. He looks at how great harms have been done with technology and social media, especially from 2010 to 2015 where the online avatar world took youth away from their peers in real life and by algorithimically sticky apps that are sometimes nothing more than social Skinner Boxes that give us that dopamine hit when we got a like/ retweet/ follow/ subscriber etc.

Haidt's thesis is that the "great rewiring" of childhood, characterized by a shift from play-based to phone-based experiences, has had a significant impact on adolescent mental health. He cites rising rates of anxiety, depression, and self-harm as evidence of this trend. He also points to the increasing prevalence of social media addiction and the negative impact of social comparison on self-esteem

He breaks down his work into 4 streams:
- The Tidal Wave (the rise of mobile phones, the Internet and social media),
- The Backstory (the evolutionary predisposition of play, the social bonds formed and the negative consequences as a result),
- The Great Rewiring (how phone-based play led to an alteration of play and social interactions and norms),
- Collective Action for Heathier Childhoods (how we can take action to support the youth).

He then lays down his 4 points that he believes will help with the decline in mental health and loneliness we see across the world:
1. No smart phones before the age of 14,
2. No social media before 16,
3. Phone free achools, and
4. More unsupervised play and managed risk-taking

Reading the introduction, Haidt covers a lot of ground and the data, statistics and graphs seemed on point so I was up for reading on to see if he stuck the landing. I wrote notes on the gist of each chapter and my thoughts on them afterwards.

Part 1: A Tidal Wave, looks at the confluence of front facing smart phones in 2010, the rise in social media and filter apps that could only be used online and an always online mentality that took over when phones became dominant. More importantly, the rise in anxiety and depression was most stark in pre-teen girls across the Anglophone and Nordic world so it seems that certain demographics are more affected and there was not sufficient data in much else of the world.

Haidt counters the argument that some have raised which is that the constant stream of information and negative stories about climate change, a rise in terrorism, economic gloom has led to a rise in anxiety and depression in Gen Z by stating that Millennials, who would have been more keenly affected by these events as these were anchored moments in their life, did not see a huge rise in anxiety or depression and, after a couple of years, after the 2008 economic crisis, actually evened out. No, something specific is affected our youth and especially young girls and it happened between 2010 and 2015. The graphs bore this out and the data seemed to track with his conclusions.

Part 2: The Backstory- The Decline of Play-Based Childhood, looks at the evolutionary development of humans and the role that rituals, communal activities and face-to-face contact and play has. Haidt discusses how this is essential to mammal learning and how it helps humans in particular to become social beings. However, the lure of the online world has severed this connectedness and replaced it with individualism, low stakes 'brand' creating and self-censoring for like/ retweets etc. That is why there is a huge discrepancy in being more connected than ever but also a huge sense of loneliness that many people feel.

Discovery and defensive mode looks at how evolutionarily, we take risks to see what we can and cannot do-we push our limits as it helps us develop and grow. However, in our risk averse society many people have developed phobias and attachment issues and Haidt believes it is due to fearful parenting and educational and social cohesion falling. Also, the Mean World Syndrome has meant people are less trusting of others and less able to handle risk, conflict and frustration.

He looks at the onset of puberty and the creation of neural pathways; how experiences and immersion during this time can have a profound and long lasting effects. He discusses the various cultural and religious ceremonies which used to encourage a sense of social cohesion and responsibility but in an increasingly secularised world, there is a 'failure to launch’.

Haidt states that children are inherently anti-fragile but parental and societal paranoia and safetyism is causing problems as many children are growing up risk averse and afraid.

Anecdotally, this rings true with what I have seen as a parent and a teacher. As a parent, I know that I often helicopter more than my own parents used to. At the age of 7, my parents would entrust my older brother, who was 3 years older, to look after me when we went outside. We used to go to the park and spend hours there, only coming back for lunch and dinner or when it got dark. With my eldest daughter, who is 9, I sent her to the local shop to get a couple of groceries and she was asked by the shop assistnt where her parents were. In context, the shop is our local one and is only about 200 metres away from our house and there are a couple of sleepy village roads. The stark contrast between my pretty carefree childhood in a pretty rough East London town compared to my daughters experience in a sleepy village is stark and it's all happened so quickly.

Chapter 3: The Great Rewiring- The Rise of the Phone-Based Childhood, has Haidt examining the four main consequences of a phone-based childhood including sleep deprivation, societal deprivation, attention fragmentation and addiction and he says that this is all leading to a global mental health crisis. His examination of opportunity cost, where by doing something you miss out on an opportunity to do something else, is compelling. The number of hours many youths clock up in their phone use often exceeds the hours clocked up doing a full working week. By being screen based Haidt argues that there are other skills, life choices and life chances that the youth are missing out on: they have moved to a consumer based society.

He then discusses how social media companies used behavioural psychology teachings to hack into the youths by providing constant dopamine hits with Skinner Boxes or likes/ retweets/ subscribes etc. The result is many youths are constantly distracted by push notifications and constant update feeds, giving them little time to focus on any tasks for any matter if time.

The research shared shows that amongst teen and tween girls, social media use led to a huge spike in mental health problems compared to other demographics. When looked at further, it was due to low self esteem brought on by filters and unrealistic beauty standards created by some influencers.

Haidt writes about 4 ways that young girls are negatively affected by a phone based childhood:
1) Social comparison and perfectionism (comparing beauty and life standards to others online),
2) Relational Aggression (cyber bullying, shaming etc),
3) Biological and social conditions (young girls are genetically and culturally more predisposed to relationships and a fault in this affects them more profoundly than boys of the same age), and
4) Girls are more subject to predation and harassment (many girls look for as many followers as they can to attain social cache but many of the people following are older men or predatory individuals)

Haidt also looked at the ways that boys are affected by social media but clarified that the data is not as clear. He cites rising NEET figures in the UK and Hakikomori (Japanese shut-ins) and says he thinks it may be a combination of factors:
1) Less social and economic value in strength and muscles (as society has moved away from manual labour and much of the work is automated),
2) The rise of girls in education and work settings,
3) Lack of positive male role-models, and
4) The rise of online gaming and access to online adult content.

Haidt pulls both the threads of the harms caused by phone-based childhoods by looking at 'Spiritual Elevation and Degradation'. He argues that, although he is an atheist, religious or collective worship or activities (such as praying together, going to a concert with a group, watching the same football team and putting in the kit etc) creates a collective effervescence, a bond that unites rather than seperates each person. This collectivism is lost in the online world as people often seek quantity rather than quality in relationships so people lose their deep rooted trust in people or institutions. Emile Durkheim called this the rise of the profane and the lost of the profound; the everyday getting in the way of us considering that we are all part of something bigger than us.

He discusses various theories and beliefs from philosophers and religious scholars who discuss the need to 'still the monkey of the mind' to understand that we are part of a wider world. The awe created, by being in nature, meditating or from religiousity makes us understand that we matter and have meaning but not in the egocentric way that the Internet and social media has done by making us the centre of our own universe.

This chapter rang true for me as I had what my wife called Little Prince Syndrome, I was cooked and looked after at home but I was lucky to have many cultural experiences due to my variety of friends, interests and financial position. I wasn't wealthy but my proximity to London, access to transport and the freedoms conferred on me by my parents meant I lived a pretty relaxed and social life until getting married at the age of 29. I still lived with my parents and probably still would if I hadn't met anyone, why leave when life is easy and good? Additionally, the chance of getting on the property ladder by myself would have been miniscule so why risk what I had? This was a definite failure to launch but it wasn't because my parents hadn't prepared me for life but because the economic crisis, property price bubble, low wages and other key anchor points meant I never was able to look beyond a certain point.

However, once I decided to shake up my life and leave my job, travel around the world for 6 months, get married and work as a teacher in Cambodia for 2 years my life changed forever as I had all these experiences and met new and interesting people- my understanding of the wider world and my presence in it grew as I went to awe inspiring places and met awe inspiring people.

Part 4: Collective Action for Healthier Childhood, looks at a way that all of society, including governments and businesses, can work together to ensure a safe and protected childhood. Haidt gives a lot of reasonable and practical advice and a lot of it is a no-brainier but requires willingness and agency from various parties.

Roughly broken down it means:

Governments- Change the online safety bill to make companies out their apps on the highest security setting and make companies liable for problems.

Families- Collective action and let children grow (by allowing more time for them to play outside and the community deciding not to give phones to their children until an agreed time)

Schools- banning phones from school and allowing more freeplay (Children will not have their phones on them at all during the school day and any phones are put in a phone locker to allow them to fully connect with their peers).

Reading the book, I felt like it made sense and I left it a while before writing this review to apply my TED Talk Method - where you are swept up with the tail and theory at the time but, after walking away and getting some distance and perspective, it makes less and less sense. Here, I felt that Haidt covered a lot of salient points, was supported with evidence and aligned with a lot of the thinking I had with my current experience as a primary school teacher with over 21 years in the front line at the chalkboard. This felt a lot more evidence led rather than the 'Trust me bro, it's all real' of Jonah Lehrer and his Imagine: How Creativity Works. The graphs and data presented the information in compelling ways but, in the words of Churchill, 'There are lies, damned lies and then there are statistics.'

However, a key area I do think Haidt misses is that he doesn’t look at how many young people feel disillusioned by a capitalist system that seems to prioritize profit over people and planet. They are concerned about issues like climate change, social injustice, and economic inequality, and are seeking alternatives that prioritize sustainability, fairness, and community well-being. They are suffering from Empathy Fatigue but they cannot look away as there is a constant stream of bad news so they are finding their tribes online which makes them more brittle in their opinions and less able to listen to the other side. To be honest, this is a whole world issue with the rise of populism but I do think Haidt misses out on the bigger existential social malaise affecting most of the world with the rise of social media.

Overall, I think Haidt is doing great work and I look forward to seeing further works that builds upon his evidence led assumptions.

LINK: Japan: My Journey to the East

LINK- Utopia for Realists- Book Review

LINK- On And On And Colston ( Or, How We Kinda Sort of Learned to Talk About the Legacy of Colonialism and the British Empire)

LINK- ‘Natives: Race and Class in the Ruins of Empire’ LINK: Elden Ring- Videogames As Art

LINK- Toxic: Women, Fame and the Noughties- Book Review (and Some Thoughts)

LINK- Pure Invention: How Japan's Pop Culture Conquered the World- Book Review (and Personal Reflections)

LINK- The Rise of Retro Gaming During Covid

Hilda and Twig Hide From the Rain- Graphic Novel Review

Hilda fans, rejoice! While we may have said farewell to the television series for now, the magic of Hilda's world continues as Luke Pearson has released a new book in the series- his first in 5 years!

In this latest prequel graphic novel, Hilda and Twig live in the enchanted woods outside of Trollberg. When they find themselves caught in a sudden downpour, they seek shelter. They stumble upon a mysterious burial mound, where they encounter a group of quirky creatures who all share stories and speculations about the mound's history, Twig ventures outside and makes an extraordinary discovery: a giant, gentle white snake. The snake, it seems, is a guardian of the mound.. but what is it protecting?

Pearson's signature art style continues to change and evolve, and this new graphic novel is no exception with a stylized Cal Arts look, combined with a super-deformed chibi style. This, once again, brings a fresh and playful aesthetic to the series. Younger Hilda and Twig are absolutely adorable, and Twig's thought bubbles add a delightful layer of humor and insight.

If you're a fan of Hilda, you won't want to miss this latest adventure. Hilda and Twig Hide From the Rain is a charming and heartwarming tale that expands the lore of Hilda's world while introducing new creatures and mysteries. It's a perfect read for both young and old, and a testament to Pearson's enduring talent.

They Were Eleven- Cult Manga Review

I heard of this anime by chance when I fell down the YouTube rabbit hole and someone mentioned that this manga was an inspiration for the videogame Among Us. The creator on record said it was the part game Mafia and The Thing that inspired him but this anime is quite likely too - down to the teamwork and sci-fi setting. Intrigued, even though I don't really play the game, I thought I'd check it out as the premise sounded intriguing.

Centuries after humanity discovered warp drive, Cosmo Academy brings together a class of promising cadets from across the galaxy. Think Galaxy High, but with a twist. Ten cadets are assigned to a 53-day mission aboard a spaceship. However, eleven cadets arrive. Someone is an imposter, and their goal is sabotage. As the days tick by, tensions rise within the already fractious crew. Who is the saboteur? What are their motives? Can they be unmasked before it's too late?

Come on, this is an amazing whodunnit... in SPAAACE! (Imagine that in your best Tim Curry voice, a la Command and Conquer). This early 80s anime, based on a 70s manga by the legendary Moto Hagio, offers a deceptively simple yet compelling premise: who do you trust when your life is on the line? The 90-minute runtime is perfectly paced, building suspense and shifting your suspicions as you follow the investigation. The conclusion is satisfying, and the ending, while featuring the then-common (now cliché) montage of character futures, feels surprisingly fresh and fitting here.

We Are 11 isn't just a thrilling mystery; it also explores themes of prejudice, the difficulty of intercultural communication, and the fragile nature of trust. The character designs and animation, while clearly products of their time, have a certain retro charm.

I thoroughly enjoyed We Are 11 and highly recommend it. It's a quick, engaging watch that's well worth your time.

The Book of Horror: The Anatomy of Fear- Book Review

I love horror films as I find that the genre encapsulates so much in its broad church; it is many things to many people often reflecting societal anxieties, cultural shifts, and technological advancements. The genre offers a fascinating historical context for the scares as they are a product of their time.

The book is a hefty tome and the paper stock quality is great.

For example, the classic monster movies of the early 20th century dealt with fears of the unknown, reflecting a world grappling with rapid industrialization and scientific advancements. Then came the Cold War era, and suddenly we have anxieties about nuclear annihilation and the loss of individuality, which manifested in films about alien invasions and body snatchers. It's not just big, sweeping societal issues either as horror can also reflect more personal anxieties, like those surrounding family, relationships, and even our own bodies. The slasher films of the 1980s, for example, often played on anxieties about changing social norms and the breakdown of traditional family structures.

Most recently, we've had horror films based on the theme of technology as we're living in a world increasingly dependent on technology, and with that dependence comes a whole new set of anxieties.

It's fascinating how the horror genre constantly evolves to reflect our changing world and looking at this evolution, we have Matt Glasby's The Book of Horror: The Anatomy of Fear in Film to guide us. Glasby, a seasoned film journalist, brings a wealth of knowledge and a palpable passion for horror to this project, resulting in a book that's as informative as it is engaging.

The book is a meticulously crafted exploration of the genre, dissecting the very essence of fear on screen by looking at the core films he sees within the genre, starting chronologicalally from Psycho all the way to It: Chapter 2.

The structure is both logical and accessible, with a grading system based on dread, the unexpected and other key theme and a graph of the key moments. Glasby's writing style is clear and concise, avoiding academic jargon and technobabble while still maintaining a level of intellectual depth for cinephiles. He manages to be both informative and entertaining, making the book a pleasure to read even for casual horror fans.

Given the wide expanse of horror content out there, Glasby can not cover the entire genre but he does cast his net wide and the recommended viewing lists provide plenty of avenues for further exploration for those so inclined.

Overall, The Book of Horror: The Anatomy of Fear remains an essential addition to any horror fan's library.  It's a beautifully designed, intelligently written, and thoroughly engaging exploration of the genre.  Whether you're a seasoned aficionado or just beginning to explore the world of horror cinema, this book is sure to provide you with new insights and a deeper appreciation for the art of fear.  It's a book that you'll likely return to again and again, discovering new details and perspectives with each reading.

We Are OFK- Videogames As Art

I recently played We Are OFK, a vibrant and heartfelt episodic adventure that looks at the story of four queer friends navigating the music industry and their own personal lives. While the gameplay was fairly light, the emotionally authentic portrayal of queer experiences made it a truly memorable and moving journey. I’m not queer myself but it spoke with a truth and heart that I feel would resonate with anyone with the human preoccupation of finding worth and fulfillment. The fact that the art is stunning and the characters well designed also helped the 5 hours or so of gameplay.

If you're looking for a game that celebrates music, friendship, and self-discovery, We Are OFK is a must-play.

Toxic: Women, Fame and the Noughties- Book Review (and Some Thoughts)

Toxic: Women, Fame and the Noughties by journalist Sarah Ditum, looks into the cultural phenomenon of the early 2000s, examining the rise and fall of female celebrities like Britney Spears, Paris Hilton, and Lindsay Lohan.

The book promised to go beyond mere celebrity gossip, and offer insightful social commentary on themes like misogyny, body image, the rise of reality TV, and the changing dynamics of fame. So, does Ditum achieve that?

Over the course of 350 pages, I found that Ditum examined the complex interplay between celebrity women, the media, and the public, and offered a nuanced and critical analysis of their experiences. She was able to expertly dissect how these women were both products and victims of their era, trapped in a cycle of manufactured personas and public scrutiny, all the while being subjected to the pervasive mysogyny. I liked how she avoided simplistic victimhood narratives, acknowledged the complexities of fame and the agency of those involved. It did have me reflecting back at that period of time where casual sexism and cruelty pervaded in much of pop media. Whilst, it is not good to put our current moral standards on the past, it does make you think of how much things have progressed, even if recently we do seem to be backsliding…

Chapter 1- Britney Spears
The author discusses Britney's rise and how she was the last big star of the more traditional era of media, through TV, radio and magazines. Once the Internet took hold and file sharing happened the music industry went into a decline. 1999 was the biggest year for music in America in terms of revenue with $14.6 billion earned from CD sales. Once Napster started that all changed and CD sales fell into decline with 2009 recording just $7.9 billion, less than half. That meant artists had to tour more so were in the public eye and consciousness more.

There was also a shift with more aggressive and antagonistic online media coverage and young women were more clearly targeted in the quest for content that would get clicks.
When Justin Timberlake and Britney broke up, the Cry Me a River video painted her as the scarlet woman but, from Britney's autobiography, she states that he cheated many times beforehand. The mood against her soured at the time and only recently has there been a reexamination of the situation, especially post #MeToo.

I read Britney’s autobiography last year and it was quite powerful. The amount of people who took advantage of her was unbelievable. Even her own family seemed to see her as a cash cow and I feel sorry for her as she had to deal with that nonsense on top of the media scrutiny. Luckily, people seem more switched on about mental health now so hopefully we can learn from what was done in the past.

Chapter 2: Paris Hilton
This chapter looks at the original 00s ‘It Girl’ Paris Hilton. Reality TV shows were big in this era and one of the big pioneers were The Osbournes but The Simple Life with Paris Hilton and Nicole Richie soon followed and was popular. The show was on loop on MTV but I was never into it, the whole contrived schadenfreude thing never worked for me. However, it was a huge hit and with the leak of her private salacious tape and her laissez-faire wild girl persona she was everywhere but the tone was always a mysogynistic 'dumb blonde'.

After the various run-ins with the law, Paris focused on her business and built her own empire, only really emerging in the light of #MeToo to share her trauma of abuse at school. Since then, she's back in the public eye and seems more assured and confident and, after her abuse claim, more respected and understood. Paris left an undeniable mark on popular culture, influencing fashion, music, and reality television. She had the last laugh as she made a lot of money and attained the fame she craved but at what cost?

I'm glad that Paris is back as I always felt she was treated appallingly by much of the media. Sure, I don't know what she got up to but the time she served for drink driving should mean that she be allowed to live in peace rather than it be used as a stick to constantly beat her.

Chapter 3: Lindsey Lohan
When fame came for Lindsey with The Parent Trap, it brought a lot of attention on the actress. She was only 11 at the time and the fame, when it came, was so much more intense than anytime prior in her other films or modelling phase. With the disintegrating marriage if her parents she often felt like she was the one keeping it together for her 4 siblings and, when she went through puberty and matured, the constant scrutinity of her body and party lifestyle proved great fodder for celebrity media and bloggers.
What America was dealing with was the typical child actor problem of wanting to transition to more mature roles but being held back by the back catalogue and nostalgia for who you were.
As Lindsey partied and leaned into the percieved wild lifestyle, America seemed to be struggling with how to deal with who she was now. As her roles dried up she parties harder until 2007 when things seemed to go south for her, Paris and Britney.
Lindsey stepped away from filming for a while, appearing in fewer films of note and has only recently made a sort of comeback with Netflix romantic comedies.

I really like Lindsey's earlier films as she came across as a bit of a cheeky little pickle but someone you could root for. I saw the constant horniness the media had around her and feel sorry for how she was treated but am glad that she's back and seems to be happy.

Chapter 4: Aaliyah
This chapter looks at the talented Aaliyah and the problematic relationships she had with R Kelly. It looks at her talent being spotted and the alleged abuses she suffered at the hand of Kelly. Even though it was a well known open secret, most of the media decided to just concentrate on their respective music careers.
When Aaliyah moved record labels away from Kelly, she thrived and became a huge success, becoming more confident with her sound and self.

It seems like many in the music industry knew about the abuses but didn't speak up, letting Kelly get away with his crimes for longer than should have been allowed. I didn't really follow the R ‘n B scene back then, being more of a trance and indie rock guy, but even I knew about the allegations through Dave Chapelle's 2004 sketch 'Piss On You' music video skit from The Chapelle Show.

Ditum looks at how Stranger Danger was the main worry for much of the world but there was less emphasis on the fact that most abuse happened with people already familiar to the victim or, most likely, a family member. In England, we had a reckoning with Jimmy Saville after his abuses came to light with many people knowing about it but choosing to ignore because of his powerful connections to the establishment. Ditum looks at the prevalence of violence and abuse against black women, especially in the music industry with artists like Rihanna and Chris Brown, Bobby Brown and Whitney Houston and many others. She ends with a reflection that it was only when their star had started to fade and there was not that untouchable feeling surrounding them were these men brought to account after #MeToo and documentaries like Finding Neverland (about Michael Jackson) and Surviving R Kelly.

Chapter 5: Janet Jackson
The story of Janet Jackson's wardrobe malfunction was everywhere and even for someone like me, who doesn't like American Football, the half-time show nip slip became a huge story that dominated the news cycle. I liked Janet's work just fine, loving The Velvet Rope but not really knowing much else from her back catalogue except the single Rhythm Nation but the opprobrium shown to her seemed unhinged. Ditum looks at the outright aggressive and unhinged reactions of some of the people in areas of influence, including head of radio companies, media certification and people in certain political circles. She was effectively blacklisted.

In 2018, Janet Jackson was inducted into the Rock and Roll Hall of Fame as many in the public arena considered #MeToo and how she had been treated harshly.

Chapter 6: Amy Winehouse
The tragic story of Amy's meteoric rise and sad decline was constantly in the news and, even before her death, it seemed unlikely that she would make it to her 30s. She became a member of the 27 Club and her legend will live on but the constant media attention played a complex role in her story. While they amplified her music and brought her to global fame, they also contributed to the intense scrutiny and pressure she faced. The constant tabloid attention, focusing on her appearance and personal life, undoubtedly added to her struggles.

It's important to remember that Amy Winehouse was a human being first and foremost, an artist grappling with deep-seated issues. Her talent deserves to be celebrated, and her struggles should serve as a reminder of the importance of mental health awareness and compassionate treatment.

Chapter 7: Kim Kardashian
The story of Kim, a woman who wanted to be famous for the sake of fame is an intriguing one and a good indicator of the time in the mid 00s. There was a burgeoning of scripted 'reality tv' and The Kardashians was a huge part of that. I never watched the show but admired from afar how Kim and her family played the game and won. They have so many businesses and side hustles so good for them but Ditum looks at the culture that seemed to revel in the sex tape and the celebration of unattainable beauty standards. Coming a couple of years after the Paris Hilton tape, it seemed like the puritanical zeal around that was forgotton as the Internet had a meltdown about that and the pictures of the bottle balanced on her bottom.

Overall, I could care less about the Kardashians but the racist slurs and mysogyny against Kim and her family has been marked. They represent what is a complex issue which has roots in colorism and the objectification of women in popular culture. Whilst I don't condone their shilling of harmful 'dietary' supplements to young women, especially when they are bilionaires, I do dislike the nouveau riches attitude shown against a family who hustled at fame and won.

Chapter 8: Chyna
I didn't know Chyna as I stopped watching WWE back in the late 90s but it was interesting listen. Hearing about her early life, it was clear that Chyna had a difficult upbringing with apparently dysfunctional parents and attention from older men in her early teen years. However, she is presented as an unreliable narrator as her autobiography and interviews contradict each other. Whatever the case, it seems that it is the typical story of many wrestlers with steroid addiction, opioid pain relief and and falling star in her latter years. With the added pressure of the male gaze, Chyna seemed to feel a lot of pressure with her unconventional looks. However, once out of the WWE she went into the adult film industry as she could not seem to find any other work.

This chapter was particularly bleak as it seems that Chyna sought to go the Paris Hilton route to fame but with much less success. Her declining mental health and addiction to drugs proved too much in the end but, in light of the recent WWE allegations of misogyny, I wonder what protections were out in place to guard women like her from the predatory system?

Chapter 9: Jennifer Aniston
This chapter looked at the rise of one of America's Sweethearts, Jennifer Aniston. Tabloids and magazines constantly wrote about her love-life and, when the Bradgelina love triangle hit, it proved a boon for the rags. Jen was portrayed as lovesick but Ditum argues that her onscreen and offscreen life was part of a larger culture war about women's role in the workplace and the effect it was having on the family.

It's interesting as I have watched all of Friends loads of times and, even though some of the jokes are of their time, the tale of a group finding their way in a challenging world still has universal truths. Aniston's decision to forge forward with her career at the cost of having a family baffles many at the time but I see more women want to do this and why not? It's their decision and the need for patriarchy to rail against 'cat mothers' is deranged and weird. Their body, their choice. End of. Aniston seems to have bared the brunt of this reckoning at a time when this was just hitting the mainstream with shows like Sex in the City.

Ditum ends by concluding that 2013 was the end of the' upskirt decade' with Robin Thick's Blurred Lines coming caught up in a firestorm of controversy around its 'rape-y' lyrics and appalling video. Also, Taylor Swift calling out Tine Fey and Amy Poehler for their skit during the Golden Globes marked a turn when powerful women used their spotlight to advocate for better treatment from their peers. With the power of social media and youths turning to their phones to get their pop culture fix, the power dynamics shifted from legacy to new media.

Looking back at this period of time, I remember the febrile celebrity coverage in mainstream papers. There would hardly be a day where something unremarkable would be trumpeted as a huge deal for some celebrity. When some celebrities were turning 18, the weirdly gross glee with which newspapers and website would have a countdown to their birthday was creepy AF. I remember in the 90s thinking why were some section of the media perving on Charlotte Church, she was a teenager just trying to live her best life yet they had a counter each day tracking the date to her 18th birthday. That isn't normal and should never have been seen as such.
Whilst it is important to not impose our current norms of behaviour back at this time, recently re-watching some of the movies, listening to some of the music and reading some the magazines from that time, the mood seems to be one of febrile misogyny, toxic lad culture and casual cruelty. It's embarrassing really and I hope we have changed but I don't think we have all that much.

Sol Bianca - Cult Manga Review

This animation has been on my watch list for a long time, about 35 years. It came out in 1990 and was released by AD Vision but I just never got around to it, until now. Clocking in at just under an hour, it's a quick watch but was it worth the wait?

Whilst stowing away in a space frigate, a young boy is captured (along with the booty) by a 5 woman team of space pirates. They are trying to find the legendary gnosis (a repository of all the knowledge of the world from before the galactic era) which is said to exist on the mythical Earth. However, the problem is that the treasure is held by an evil dictator. Will they be able to get it? Well, they're gonna give it a try, even if it means a rescue attempt whilst the citizens are in the midst of a revolution. It's all very dramatic!

I enjoyed my time with the film and felt that it was a pretty solid and straightforward sci-fi adventure with a quirky cast. The female crew are all pretty well characterised and are not at all fanservicey which is a truly pleasant surprise, as this lets their skills and personality shine. Sure, within the hour there's no time to really know the characters that well but it moves at a quick pace and you get the gist of who they are and their motivations from the off. The English dub is good as I am usually a subs guy but the voice actors really did give it their all.

The animation is solid and, whilst it was not going to win any awards, pretty consistent. The space dogfights fare better and are more exciting and dynamic but this is not a showcase of powerhouse animation. It feels like a more mature Plastic Little but without the etchiness of that OAV *shudders*

Overall, Sol Bianca is a fun and entertaining watch for fans of retro anime and space opera. It may not be a masterpiece, but its charm lies in its unique blend of action, humor, and a touch of sci-fi adventure.

Still Wakes the Deep - Videogames As Art

It was with some excitement that I awaited Still Wakes the Deep, an atmospheric exploration adventure game, sometimes called in derisory terms as 'walking simulators'. I am a huge fan of the genre and find them good palette cleansers from other, more time and focus intensive games. I have loved the story and music of The Chinese Room’s other works including Everyone Has Gone to the Rapture and Dear Esther but the high point for me in the genre was What Remains of Edith Finch by Giant Sparrow Studios. Would Still Wakes the Deep reclaim the throne?

Still Wakes the Deeps effectively captures the claustrophobic dread of a 70s-era North Sea oil rig. The Lovecraftian horror elements are well-integrated, with the isolation and the rig's creaking metal amplifying the sense of dread. While I haven't personally experienced life on an oil rig, the game's atmosphere feels authentic and immersive

I liked the game itself just fine though but felt the fetch quests dragged in places. However, at 3 or so hours, the game doesn't really overstay its welcome and the voice acting is top notch.

Masters of the Universe: Revolutions- Season 2 Review (and Critique)

Kevin Smith, the reknown director of Mallrats, Clerks, Dogma and various Jay and Silent Bob movies, is a bonafide He-Man fanboy. In 2021, he was given the keys to Mattel's Masters of the Universe Grey Skull Castle and created Masters of the Universe: Revelations. The 10 part series aired on Netflix and was an interesting show that tries some daring things. It featured He-Man but he is not the main focus of the series as he was taken out of the equation pretty quickly. Instead what we had was an intriguing character study of those left behind with a special emphasis on Teela.

I thought it was a brave move that expanded on the lore and motivations of the stable of characters but knew it would upset some of the fanboys who were looking for a more action-oriented, boys-own adventure featuring the main man, He-Man. Similar to Batman: The Dark Knight Rises, the focus of the story was on deconstructing the idea of what a hero is, looks like and does. The fellowship rallys after falling apart and takes on Skeletor and his army, seeing Adam and He-Man return in dramatic fashion. The show ended on a huge cliffhanger as Skeletor is defeated and possessed by Motherboard and Hordak.

MOTU: Revolutions sees the story continue from where we last left it; He-Man and his fellowship go to Subternia, the Eternian version of hell, to regain the souls of his fallen friends Fisto and Clamp Champ. They hope to revive Preturnia, their version of Heaven, to allow the souls of all the fallen (and gravely ill King Randor) to ascend. They succeed in regaining the two souls but upset the Scare Glow, the Hades like figure of the underworld, who vows revenge.

Teela, who is now the Sorceress, wants to revive Preturnia but needs to go on a mission for 3 maguffins that will synthesise the magic of the world into one. Meanwhile, Skeletek, the Hordak hacked Skeletor, becomes an acolyte and recruits new members to the Horde Army, giving them a Motherboard glow up as part of the recruitment process to take over and leech the magic of Eternia for their own nefarious purposes. However, the complex origins of Skeletor is revealed and it seems he is more connected to the royals of Eternia than first thought. Throw in some Techno Titans, high tech mech creatures revived from Eternia's past, doing battle with the people of Eternos and we have a heck of a series where various storytelling strands weave and intertwine in intriguing ways.

There is strong character development, especially of Prince Adam who becomes King after his father dies. Can he manage the intricacies of diplomacy that Kingship requires whilst balancing the role with He-Man? Evil Lyn shows growth as an anti-hero but, once again, Teela bears the heavy burden as her responsibilities as Sorceress and love for Adam conflict.

The final battle is suitably dramatic and ends on a note of optimism with democracy declared in Eternia. There is also a stinger at the end hinting at another season, which I hope happens as this has been a great show moving along at a cracking pace. To all the naysayers I’d say, give it a chance as it is more intelligent and nuanced that the original series with much better characterisation. I enjoyed my time and look forward to the next season (if we are so blessed).

LINK- She-Ra and the Princesses of Power Complete Season 1 Review

LINK- She-Ra and the Princesses of Power Complete Season 2 Review

LINK- She-Ra and the Princesses of Power Complete Season 3 Review

LINK- Gravity Falls Complete Series Review

LINK- Scooby Doo: Mystery Incorporated Complete Series 1 Review

LINK- Scooby Doo: Mystery Incorporated Series 2 Review

LINK- ‘Natives: Race and Class in the Ruins of Empire’

LINK- On And On And Colston ( Or, How We Kinda Sort of Learned to Talk About the Legacy of Colonialism and the British Empire)

LINK- The Rise of Retro Gaming During Covid

LINK- Blood, Sweat and Pixels- Book Review

LINK- Streets of Rage 2 OST on Vinyl Review

LINK: Japan: My Journey to the East

Rhea Gall Force - Cult Manga Review

Rhea Gall Force is a 1989 anime OAV film which is set in a bleak future where humanity is on the verge of extinction after resurrecting an alien life force hidden inside the Moon. The film follows the last remaining human soldiers as they fight for survival and a desperate chance to escape to Mars. Will they succeed in saving humanity or will the aliens take over?

The film is quite gritty for a short anime and its post-apocalyptic setting and the conflict between humans and machines creates a compelling backdrop for the story. The main characters, though somewhat archetypal, are distinct and have their own motivations. Sandy, the hopeful young soldier, is the epitome of spirited and hopeful young lady who seems to draw people to her with her earnestness and honesty.

The animation is striking, with detailed character designs and impressive mech battles. However, the film suffers from a slow pace and some clunky exposition. Also, the dialogue and character interactions can feel a bit dated and stereotypical at times but it is a product of its time and, once again, isn't too egregious even with our modern sensibilies. Sure, there is the obligatory gratuitous shower scene for no real reason but unfortunately that was late 80s anime.

Overall, Rhea Gall Force is a visually appealing but flawed OAV. It explores themes of survival, hope, and the conflict between humanity and technology well and despite its shortcomings, it is an enjoyable watch for fans of mecha anime and post-apocalyptic stories.

Come Find Me: An Autumnal Offering - Graphic Novel Review

I do love a good anthology series. Over the past few years, I have reviewed Goosebumps, Are You Afraid of the Dark?, Love, Death and Robots, Hammer House of Horrors and many more besides on this very website. However, anthology comic books have had a trickier path to follow as the received wisdom has been that there isn’t a market for it anymore… or is there?

I recently started to read Hello Darkness, which is published by those fine fiends at Boom! who seem to specialise in the horror, sci-fi and mystery genres. At the time of writing (Jan 2025) it has 7 issues and seems to be going strong.

When writer and artist Becky Cloonan, who I have followed since Demo days, through to By Chance or Providence, Gotham Academy and, more recently, the multi-Eisner award winning Somna, mentioned that she was working with DSTLRY to create a one-shot horror anthology book called Come Find Me featuring a variety of creatives, my interest was piqued and I promptly ordered a copy from my local comic shop.

With anthologies, variety is a key strength that keeps you interested as you get a diversity of voices, genre-bending and find hidden gems of stories and artists. In this book, there are 6 stories to delight and horrify:

Devil's Trill- A young man becomes fascinated by and opera singer but are his intentions pure? No. No they're not.

Portorium- When grave robbers disturb a corpse, a young lady the penny intended for Charon so he exacts revenge.

Down by the Water- A man struggles to get over the death of his beloved, who drowned. But

Coal and Clover- When a union man is killed by his bosses his wife takes revenge against the company but there is a heavy price to pay.

La Cheta- I'm not gonna lie; I didn't quite understand this story totally. As far as I can make it, in a small village a new teacher comes along and people start to die by some evil presence. I'm not sure if she is the killer or if it's some malevolent other force.

The Warmth of the Hunt- When an intensely passionate relationship falls apart the consequences are fatal.

Obviously, taste is subjective but there were a couple of standouts for me; Portorium by Becky Cloonan, Lee Loughridge and Pat Brousseau, told a Medieval gothic horror tale warning you about what happens when you try to cheat the ferryman, Charon. Over the course of just several pages, you get a chilling tale about what guilt does to the psyche and it's presented beautifully with Cloonan's distinctive gothic style.

The other tale that got me was the mythic folk horror Coal and Clover which looks at the price of exacting revenge. You know it isn't going to end well but the price exacted is too heavy for any parent to bear.

The book is beautifully printed on good paper stock and the colours pop off the page in between the pitch black places. The artwork is consistent brilliant and has a variety of styles, the most impressive for me being Cloonan's and E. M. Carroll's, whose artistry is really something special and appeals to my style.

Overall, I had an excellent hour or so marveling at the artwork and creativity on show here and look forward to other seasons, if that becomes a thing.

The Art of Castlevania: Lords of Shadow - Book Review

Whilst scanning the sale section at Forbidden Planet, London, I picked up the Castlevania: Lords of Shadow Art Book by Martin Robinson for £4.99. The book usually cost £30 so it was a heck of a discount, but was it worth it even at this low, low price?

The Castlevania videogame series has always been a bit of a sumptious visual feast, and this stunning art book delves deep into the Lords of Shadow trilogy's artistic soul. I played and completed the original LoS, played a little of LoS 2 but fell off after the whole 'you're a rat' insta-kill stealth section early on but I never got around to the handheld offering Mirrors of Fate on the 3DS as I never owned the system. Whatever the case though, the sheer artistry of the game from MercurySteam was clear from that first game this art book highlights the intricate details and the sheer imagination that went into their creation.

Art Directors Juan Antonio Alcazar Redondo, Jose Luis Vaello Bertol and Rafael Jimenez Rodriguez show and explain how they masterfully created the gothic mood in the settings, captured the grotesque beauty of the creatures, and personified the cursed legacy of the intricately designed Belmont clan.

The heavy stock pages are filled with high resolution printings of the gorgeous concept art and sketches that show the evolution of the design to the final game. The commentary included beside the artwork provides invaluable insights into the developers' minds. We learn about the influences that shaped the game's art style, from classic horror films to gothic literature as the developers openly discuss their design choices, explaining the reasoning behind specific monster behaviors and the challenges they faced in bringing these creatures to life. The influences of Guillermo Del Toro, Goya, Spanish architecture and the Spanish light are freely explained.

One particularly interesting aspect is the acknowledgment of the intentional homages to games like Shadow of the Colossus. The book clarifies that the similarities in certain boss encounters were not accidental but rather a conscious effort to pay tribute to a game that had a profound impact on the development team.

With crisp, full-page spreads showcasing the artwork, this book is a must-have for any Castlevania fan. It's a visual treat that offers a deeper appreciation for the artistry that has made the series so iconic.

Century Falls- Cult TV Series Review

I go through weird flights of fancy as I fall down rabbit holes of interests but this might be me at my most niche: children television shows from the early 90s written by Russell T. Davies. Davies is a name synonymous with modern British television as he is known for his amazing work on shows like Doctor Who and Queer as Folk. However, before he conquered the small screen, he crafted a series of intriguing children's programs, one of which is the lesser-known gem, Century Falls.

Century Falls is pretty creepy, especially for a ‘kids show’.

I fell down this particular wormhole after I'd discovered Dark Season, a 6 part 1991 kids show that looked at the strange sci-fi tinged adventures of a trio of teens in a secondary school. Reading the comments, I saw some people speak of Davies' other spooky kids show called Century Falls, so I thought I'd give that a go.

The 6 part series tells the story of a pregnant mother and her teen daughter, Tess, who move to the quiet village of Century Falls. They find it to be a very strange place indeed as there seems to be a sadness which seems to be linked to a religious ceremony that went wrong 40 years prior. It seems that a curse on the place has meant that no children have been born since that time.

As Tess gets to know the two other visiting children in the village (Ben and Carey) she finds that Ben has special powers which are linked to the eponymous waterfalls nearby. But why are the children all here at the same time and for what purpose? Is it fated or chance? That is the central conceit of this mystery/ folk tale.

The story is intriguing and, whilst I did not recognise any of the cast, all very earnestly and pretty consistently acted. It has that folk tale premise of an isolated community, pagan rituals, and the unsettling presence of the supernatural. The village of Century Falls itself seems to be a character, with its own history and secrets. This adds an extra layer of depth and intrigue to the story.

It's all very engaging stuff and, in places, quite spooky like when the gathering (seance) happens in the second episode. 5:10pm on the BBC might be a bit spicy for this Wicker Man style mystery... Lucky, no-one is sacrificed for a good harvest in a burning effigy but there is an intriguing golden masked figure who seems to have evil intentions upon the world who appears in a temple of fire.

Davies has similar thematic grounding in Dark Season and Century Falls as both deal with encountering the unknown, teenage angst, coming of age and challenging authority and systems of power.

Overall, I liked both series but preferred Dark Seasons more as the script was lighter and more relatable. However, for the curious Century Falls is a show well worth checking out.

LINK- Dark Season Cult TV Series Review

LINK- The Rise of Retro Gaming During Covid

LINK- Japan: My Journey to the East

LINK- Children of the Stones: Cult TV Series Review

For the Love of Niche Videogame Magazines

The videogame magazine sector has been having a torrid time of it for quite a while now. Back in the 90s and early 00s, the racks were stacked (oi, none of that giggling at the back, we're British!) with mags but with the rise of the internet and access to free information, as well as the recent rising costs of paper and energy, it has been the death knell for many a publication. I still buy my monthly issues of Edge and Retro Gamer without fail but have noticed a severe reduction in the amount of magazines out there.

However, something heartening has happened in recent years; there has been a huge resurgence in the fanzine and bespoke small-press videogame journalism publishing. Niche publishers have been able to create a business for themselves by selling directly to their consumer or by being able to more easily reach their audience through targeted marketing online. It's been wonderful to see the phoenix-like return of the gaming zine scene as these independent publications offer a unique and often passionate perspective on gaming culture, often platforming diverse voices, exploring niche genres, indie games, and allowing for more personal experiences in a way that larger publications have not.

This trend is particularly interesting because it highlights the growing importance of community and shared experiences in the gaming world. Years ago, the only website (and subsequent book) was The Offworld by Leigh Alexander and I loved that. Publications like these can foster a sense of belonging and intimacy among like-minded individuals, creating spaces for discussion, debate, and celebration of all things gaming. There have been two high quality coffee table videogame magazines that have come out recently whixh I have bought and appreciated.

A Profound Waste of Time is a premium videogame magazine which features a who's who of writing talent from across gaming journalism including Simon Parkin, Matthew Castle, Matt Leone and Kat Bailey. These stalwarts of the industry were given a chance to write about whatever they wanted, which is a real boon as we see the fruits of intelligent journalists writing about topics they really care about rather than SEO diktats and clout chasing posts demanded from above.

The presentation of the essays is beautiful with stunning art styles and layouts reflecting the personality of the content. It is clearly a labour of love with an eye on aesthetics.

There are a few standout essays including:
- Simon Parkin speaking to Fumito Ueda about his work on Ico, Shadow of the Colossus and The Last Guardian,
- Ben Bertoli's deep dive into the The Life and Minds of Tim Schafer,
- Xalavier Nelson Jrs comic strip Never Again which looks at game creation, and
- Kat Bailey's Rieko Kodama Loved the World article which looks at Kodama's influence at Sega.

ON, another premium coffee table magazine about videogame culture, is designed and co-edited by former Edge Art Editor Andrew Hind. Not only is it sumptuous to look at but it also contains many wonderful articles including:
- Jen Simpkins' article on playing dress up which looks at the popularity of fashion games (including Barbie Fashion Designer which sold over a million copies and was put into the Videogame Hall of Fame in 2023),
- Youssef Cole's thoughtful piece on Life, Death and Cyberpunk 2077, and
- Nathan Brown's article on the Meditative Joys of Run-based Games.

Publishing is evolving and, while I believe it cannot beat the experience of browsing a well-stocked bricks and mortar store, I appreciate that all tastes can be catered for within this brave new world. It's a brave new world and I appreciate that good long-form writing still exists in some form.

LINK- Blood, Sweat and Pixels- Book Review

LINK- The Offworld Collection- Book Review

LINK- Shadow of the Colossus- Book Review

LINK- The Midnight Library and the Idea That You Can’t Go Home Again

LINK- Japan: My Journey to the East

LINK- Manga Exhibition at the British Museum

LINK- The Transportive Nature of Objects (And the Power of Mini Consoles)

LINK- My One True Gaming Constant in Life- Nintendo

Parasite Eve- Cult Film Review

Back in the mid to late 90s, I heard the hype surrounding a survival horror RPG game called Parasite Eve which was out on the PlayStation. I knew of the game as it was reviewed in various game magazines and the horror story angle from Hiranobu Sakaguchi, creator of the Final Fantasy series, had me intrigued. I never got a chance to play it as there was never a UK release due to rights reasons but weirdly enough did play the two sequels, Parasite Eve 2 and The Third Birthday which did get a release in these territories.

It's always been a regret that I never experienced the first game at the time and, whilst there are ways various to play the English translation now, I think it might be a tough hang to go back to it now, what with its tank controls and old skool pacing. That didn't stop me from buying a Japanese copy from Akihabara when I went to Japan in 2013 though- I just wanted a copy in any form!

Earlier this year, I decided to give the book a try, as the game references events that happened in the acclaimed book by author Hideaki Sena. I liked the book but found that it was a bloated, slow and methodical read until the thrilling final third. I knew that there was a film out and decided to give it a watch... maybe it would be a pacier affair.

The 90s were an extraordinarily successful time for Japanese pop culture in the West as manga and anime broke into the mainstream and Japanese horror and psychological thrillers worked their way into Hollywood with remakes of Dark Water, The Ring, The Grudge etc all proving quite successful.

Parasite Eve was a 1994 production but was not a part of this Hollywood remake boom- I decided to watch it out of curiosity and see why it wasn't remade.

The plot of the film concerns Toshiaki Nagishima, a biology and pharmaceutical researcher and his wife, Kiyomi. When she wraps her car around a telephone pole after having a weirdly prescient dream, she is declared 'brain dead' but Nagishima can't let her go. He donates his wife's kidney to a young girl, Mariko, but keeps the liver to carry out his groundbreaking research on mitochondria. What follows is a tale of body possession as the ever evolving sentient mitochondria takes control of the new hosts body and seeks to become the dominant biological entity on Earth by reproducing and creating a child.

Compared to the novel, the film moves at a much brisker pace and doesn't get too bogged down on exposatory detail; it follow the main story beats of the book but offers focus and brevity to get the main themes of the story across. This is either a positive or negative, depending upon your personal taste.

The direction by Masayuki Ochiai and cinematography by Kozo Shibasaki is spot on; I particularly enjoyed the dolly zoom used as the mitochondria announces it's arrival by giving a dictatorial speech via a poor scientist to a shocked auditorium.

The music is by the legendary Joe Hisaishi and adds much atmosphere to an already handsome and well shot production. The scenes of scientific pottering around looked authentic enough but I studied Anthropology at university so what do I know? The detailed scenes featuring the extraction of the organs and the transplant are quite graphic, not gore porn graphic, but realistic looking enough that it may not be for the squeamish. It didn't bother me and made the whole thing seem quite believable, except the whole sentient mitochondria bit, obviously!

Now, the CGI effects are pretty poor but I'm sure at the time, and with the television film budget this probably had, it would have looked fine - they're not Reboot bad and they've aged better then that infamous Scorpion King uncanny valley CGI but they are rudimentary at best.

Overall, the film covers the same story beats of the book but weirdly enough I prefer the book as it is more scientific based and is a darker take than the film. I get that they couldn't show a young teen girl getting inseminated by mitochondria as that would be problematic but what we have here is very PG compared to the horror 15 rating that I guess the book would be.

Red Riding Hood in Armchair Theatre- Cult TV Review

I do love an anthology series as you are never too far away from a new world and new ideas. By it's very nature, some episodes of an anthology series will stick with you more than others but that's the nature of the beast. I was born in 1981 so had never heard of Armchair Theatre, a series that ran from 1956 to 1974, but had heard that there were a few episodes that were still fondly remembered by those who had seen them. One of these was Red Riding Hood, written by John Peacock, which takes the old Grimm fairytale into a modern setting.

The tale is of Grace, played with wide eyes innocence by Rita Tushingham, who is a put upon librarian. She lives and cares for her elderly annoying father and travels to see her entitled ungrateful grandmother who lives further away. She dreams of escaping the financial pressures of her life and the rut that she finds herself in.

When Keith Barron, the killer/ wolf of this story, moves into Grace's nan's house after killing her, he has designs upon Grace. They bond over their love of books and their dreams of travel when he informs her that his nan has gone away to see family for a fortnight. Grace and the wolf connect and bond over the two weeks but her mental health starts to deteriorate as she reconcile the fact that this freedom and affection is built on the back of her nan's death and her father slowly dying from starvation.

I really quite enjoyed this 50 minute episode. The neat conceit shows that Riding Hood isn't a poor victim but actually a young who wanted to be free from the impositions put upon her by society. Even after finding out about her nan's murder she willingly decides to escape reality with the wolf, even if for a while. The denouement of Grace's fragile mental state and guilt over what may have been real or imagined overwhelms her she suffers a break whilst in the childrens' section if th library.

Overall, I really enjoyed this episode and commend the acting and barebones set design. It shows that with very little budget but a neat idea you can look at the familiar through a slight wonky lens and end up with something quite unique. Fairy tales were always cautionary tales that taught us lessons and morals to keep to the status quo and in this poor Grace tries to buck that but pays the price. This is a fascinating time capsule of 1970s fashion, gender politics and subversion of societal expectations. Women were wanting more autonomy and unfortunately much of society wasn't ready.

Parasite Eve- Book Review

Back in the mid to late 90s, I heard the hype surrounding a survival horror RPG game called Parasite Eve which was out on the PlayStation. I knew of the game as it was reviewed in various game magazines and the horror story angle from Hiranobu Sakaguchi, creator of the Final Fantasy series, had me intrigued. I never got a chance to play it as there was never a UK release due to rights reasons but weirdly enough did play the two sequels, Parasite Eve 2 and The Third Birthday which did get a release in these territories.

It's always been a regret that I never experienced the first game at the time and, whilst there are ways various to play the English translation now, I think it might be a tough hang to go back to it now, what with its tank controls and old skool pacing. That didn't stop me from buying a Japanese copy from Akihabara when I went to Japan in 2013 though- I just wanted a copy in any form!

So, all these years later, I've decided to give the book a try, as the game references events that happened in the acclaimed book by author Hideaki Sena. This 1995 horror story has many sci-fi elements in it and on release it won lots of plaudits and garnered critical acclaim. The 90s were an extraordinarily successful time for Japanese pop culture in the West as manga and anime broke into the mainstream and Japanese horror and psychological thrillers worked their way into Hollywood with remakes of Dark Water, The Ring, The Grudge etc all proving quite successful. Parasite Eve was a part of this wave but we had to wait until 2005 to get an English translation of the Parasite Eve novel- there has never a Hollywood movie however. Acquiring a physical copy of the book is expensive, often a few hundred pounds for a paperback, so I bought it on Kindle for £7.99. So, has it been worth the wait?

The story concerns Toshiaki Nagishima, a biology and pharmaceutical researcher and his wife, Kiyomi. When she wraps her car around a telephone pole after having a weirdly prescient dream, she is declared 'brain dead' but Nagishima can't let her go. He donates his wife's kidney to a young girl, Mariko, but keeps the liver to carry out his groundbreaking research on mitochondria. What follows is a tale of body possession as the ever evolving sentient mitochondria takes control of the new hosts body and seeks to become the dominant biological entity on Earth by reproducing and creating a child.

The first 2/3rds of the story is pretty straightforward with lots of medical and pharmaceutical technobable which talked about the beauracracy and systems in place when designating kidney transplantation. It's not so much flavour more than minutaia explaining the process in LOTS of detail, which have been painstakingly researched (as supported by the extensive bibliography).

Interspersed within this we get the stories of Toshiaki and Kiyomi, their childhoods and then their meeting at college and falling in love. However, the pace of the story sags here as whole chapters are dedicated to the scientific process without much else happening. Also, the burgeoning relationship between the pair felt dry as Toshiaki comes across as a boring nerd who fixate on mitochondria to the nth degree. He's not a likable protagonist either. I felt that a lot could have been cut from the first 200 pages without any adverse effect on the story. A short novella rather than the 300 page book is what was required here as the final third is actually very exciting and picks up somewhat as it goes hard into Lynchian weirdness and Chronenbergian body horror. It gets a bit gross and gruesome towards the final act but that is where the excitement is.

Overall, the book is a slow and languid read until the thrilling final third. I can't recommend the book though as it is great payoff from a very slow start.

Viy - Cult Film Review

I like to look out for quirky, strange, or cult films, as I find that there are often many fascinating ideas or unique themes that many mainstream films do not typically address or explore in depth; these unconventional movies can lead to intriguing conversations and allow for a deeper understanding of different perspectives within the realm of cinema. And so it was whilst looking through folk horror film lists that I first heard of the 1967 film Viy- a landmark of Soviet cinema apparently. With that kind of provenance it'd be rude not to watch it, so with the wood stove crackling away on a dark, cold and windy winter's night, I partook in this film.

Konstantin Yershov and Georgi Kropachyov created this chilling adaptation of Nikolai Gogol's short story, transporting viewers to 17th-century Kiev, Ukraine. The film follows Khoma Brut, a young seminary student (someone who studies scripture, theology and philosophy) who is more interested in revelry than piety, as he is tasked with performing a three-night vigil over the corpse of a suspected witch. This seemingly simple duty soon unravels into a terrifying ordeal that tests the boundaries between the living and the supernatural as he prays over the corpse of a woman who tried to seduce him in her crone form on one of his debauched nights. Over the course of the three nights, the test becomes sterner and the danger greater but will Khoma make it?

This visually arresting film, directed by Alexander Ptushko, delves into profound themes of temptation, sin, and the power of the supernatural and serves as a cautionary tale, reminding viewers of the dangers of straying from their faith and the importance of resisting worldly temptations.

Looking at the film now, with no nostalgia for it at all, I can say that I thought the story reminded me of Jim Henson’s The Storyteller series which also presented many European tales with a dark edge to them. Also, the section where the young men, freed from the seminary, go forth but get lost in the woods reminds me of Rudyard Kipling's The Way Through the Woods- another deceptively simple but incredibly creepy premise.

The film sets themselves are beautiful with vibrant colours and costumes that are lush and detailed. It looks like an expensive production and this lavishness extends to the special effects, which may look laughable now but at the time, and with I’d imagine a tight budget, were impressive. The film has little dialogue so the Russian vocal track shouldn’t detract non-Russian speakers as the visuals and simple story can be enjoyed by all. The actors, Khoma (wonderfully played with drunken indifference by Leonid Kuravlev) and young Pannochka (played by the beautifully feral Natalya Varley) are excellent in their role and are earnest in their portrayal of the respective characters. The soundtrack, by Karen Khachaturian, is wonderfully eerie in places and cheerful with the daytime countryside scenes or the rare moments of levity.

After nearly 60 years, I can see why Viy continues to captivate audiences with its chilling atmosphere and unforgettable imagery. It stands as a testament to the power of storytelling and the enduring appeal of classic horror.

LINK- Dead of Night: Cult TV Review

LINK- Children of the Stones: Cult TV Series Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

Dark Season- Cult TV Series Review

Dark Season is a 6 part series that aired in 1991 on the BBC but I never saw it at the time, only finding it recently whilst falling down the YouTube rabbit hole of weird British children's programmes from the 70s to 90s.

The show is about a trio of teenagers in a secondary school who understand something strange is going on within their school. In the first three episodes, the story arc is about an apparent philanthropist who donates computers for each pupil. So far so sweet, but when an EMP wave hits the school the kids get together to thwart a plan to take control of their minds.

In the second three episodes, an apparent archaeological dig on school grounds unearth a tomb of the Behemoth, a monster of lore. Ms. Pendragon and her blonde haired blue eyed crew of Neo-Nazis seek to revive the creature and create a New World Order. But, is the monster real and what are its abilities?

Dark Season is an very watchable series with a strange mix of inspirations: from the Dr. Whoesque opening credit scene, the Lovecraftian plot and a surreal sense of quirkiness in the vein of The Prisoner or Scooby Doo- Dark Season is quite creepy for a kids show.

Considering the limited budget that this show obviously had, it does well by create likable characters in an adventure story you can get behind. This is the first appearance of Kate Winslet and she does a good job of it as Reet, a tom-boyish character with a great sense of gallows humour. However, the standout is Marcie, excellently played by Victoria Lambert, the kooky teen who looks at life a little askew but is prescient in her thoughts. She carries a paddle in case, things go a bit ‘up creek.’ She doesn't always understand the world but does her bit to save it, making her a sympathetic individual who isn't all clean cut heroine material. The teacher, played by Brigit Forsyth is marvellous in her role as the unwitting supporter of the trio. She plays the role of Scully to Marie's Mulder well but becomes game each time when the truth is revealed.

I have no nostalgia for the show as I never saw it on release but I really enjoyed my time with it. It reminded me of early the revival of Dr. Who and it was upob looking further that I saw Russell T. Davis was the writer.

Also, whilst not an influence (as it came out several years later) Eldritch looks like Wesker from Resident Evil, with his sharply flat shock of blonde hair, black sunglasses and long trench coat. Grant Parsons does a great job of making Eldritch sinister and an almost anime-like villain. I wonder if Shinji Mikami was a fan of the series…

Recently, a 13 part radio show was created and the original crew returned, including Kate Winslet. It's an extraordinary victory lap for a cult show that not many people watched but those who did loved it intensely.

John Carpenter's Lost Themes- Music Review

John Carpenter is the legendary director and musician extraordinaire of such films as Halloween, The Thing, Escape from LA, Assault on Precinct 13, They Live and The Fog. He is a singular talent and his soundtracks are instantly recognisable with their mix of sinister cold synthy arpeggios and driving beats; his musical style, distinctly his own, has influenced much of pop culture.

His Lost Themes is not a collection of B-sides or left-over tracks from previous endeavours but new original tracks, created in his usual style. Listening to them may allow your mind to wander and imagine images from his ouvre that would suit or for as-yet-unmade films.

The tracks are all uniformly excellent and here is a breakdown of each. Please remember that I am not a music critic and neither do I know the correct terms for the different aspects of musicology but I'll give it a go with the vocab I do have.

From the first track Vortex the atmosphere sucks you in to the dark and gloomy atmospheres reminiscent of Halloween, The Fog, Prince of Darkness and Escape from New York. Vortex is all dark and gloomy with a heavy atmosphere. It has a simple repetitive arpeggio with a driving metronomic synth.

Obsidian feels quite prog rock as it starts with shimmering twinkles and then a gentle synth enters before a roar of electric guitar and heavy drums enter. It then goes a bit gentler before a warbling rhythm adds some much needed weirdness and wonk. This is a classy track all the way through.

Fallen has a driving rhythm which is undercut with a gentler arpeggio, combined with a light synth and a driving sound of a train-like beat. This piece is more airy and light; a flute wafts through the piece. Then, nearly 3 minutes in, it changes tack and goes all mysterious and more hair metalish (thankfully without the terrible singing).

Domain is a strange piece as it has Carpenter's distinct synthy sounds but also parts that make it seem like the credits of an 80s game show before going into 'Phantom of the Opera' church organ grandious pomposity and cheery Jingle Bells mode. Not one for me this track as it is tonally everywhere.

Mystery starts off with a quick organ piece before the cold synthy beats kick in followed by airy and, dare I say, a romantic feeling light sound follows before slowing for dramatic effect. Then, about 3 minutes in, it gets faster, more electric guitar and drums drop and the feel gets creepier and sinister.

Abyss is a lighter start with a more cheerful feel as the instruments don't seem so oppressive. The piano is the main instrument here and it is complimented by the synths, but they all play second fiddle to the piano. (Yes, I'm aware of my clever wordplay thanks!) At about 4 minutes a stacatto beat drops and the piano is complimented by more persistent pacing synths.

Wraith is a great track as it has droplets of sounds with a cool electric guitar wending it's way through the piece. Airy sounds and echoes make the track ethereal and otherworldly.

Purgatory is a slower, more meditative piece with lots of space for the notes to breathe. It is piano centres before a stacatto drum beat raises the tempo somewhat.

Night sounds like how you'd imagine a track named this by Carpenter to sound; it has a persistent dark synthy beat and echoing arpeggios that work their way from left to right and back again to create an unsettling yet cool mood, like Hammer' Crockett's Theme.

Overall, I loved this album as it really is great mood music. I was listening to it reading a dystopian sci-fi book and it worked well to create the atmosphere needed.

LINK: Japan: My Journey to the East

LINK- Blood, Sweat and Pixels- Book Review

LINK- The Offworld Collection- Book Review

LINK- Ico and SOTC: Reflections of a Gaming Life

LINK- The Rise of Retro Gaming During Covid

LINK- Japan: My Journey to the East