Creeped Out- Complete Season 2 Review

It's that time of year again as the dark nights move in and the Halloween season gets into full swing. It's been a weird year, full of highs and lows, and so I didn't fancy watching anything too scary or contemplate existentialist thoughts such as Ernest Becker's duality of the human condition; the idea that there is the external version of ourselves that we share, either by the way we speak, dress, show our affiliations, and the internal version of ourselves, which is more difficult to describe but includes our thoughts, fears, hopes and dreams. However, ultimately we all have the core anxiety which is the fear concerning our mortality and that our life is fleeting. Instead of contemplating this, I decided to watch all of Creeped Out season 2 instead.

The first series was a 13 episode series of standalone spooky tales but the second series has a shorter 10 episode run. The stories are created for an all ages bracket, so think more 'Goosebumps' or 'Are You Afraid Of The Dark' rather than 'It' or 'Saw'. The tales all start in the same way, a preamble about The Curious, a slight teen figure in a creepy mask who likes to collect tales of dread whilst whistling an unsettling melody. There are a mixture of American and British stories and as such, the cast is quite diverse and the level of acting is pretty standard, so don't go expecting any Oscars or BAFTAs grade performances. However the stories themselves are quite intriguing and do enough to keep the interest up.

The episodes are a plethora of horror tropes including creepy newborn baby, the AI taking over and magic evil maguffin and the episodes recall classic films like 'The Breakfast Club', '2001: A Space Odyssey' and 'Aliens'.

The stories all have a monkeys paw ending of 'be careful what you wish for' but one of most interesting thing to note is that no matter the episode the power of the storytelling and kitchen sink creepy atmosphere made them all worthwhile watching, which is particularly impressive when you consider each episode had a tiny budget of like a fiver.

The episodes include :

The Unfortunate Five- When a group of students has a Saturday detention they are introduced to a mindfulness coach who wants them to share their feelings. The problem is that she's an emotional succubus and gets joy from their misery... So how to deal with this?

Only Child- When a family gets a new baby the older sibling seems jealous but the new baby is not what it seems.

The Takedown- When a female wrestler gets a chain message to get what she wants she requests strength... but at what cost?

Help- When the voice controlled home assistant gains sentience and takes over the house the 2 spoiled kids learn a lesson.

One More Minute- When a young gamer meets an online friend who convinces him to continue playing the game, at the cost of other commitments, the ultimate costs becomes too much to bear. Tempus Fugit indeed.

Splinta Claws- When a boy loses a precious present in a department store he waits until closing time to retrieve it. The problem is an animatronic Santa is after him as he's on the naughty list.

Itchy- When there's a head lice outbreak it seems all pretty low-key. However, these are mutant love and they won't go quietly.

No Filter- After downloading a free filter, a young and vain girl realises that her prized feature is stolen to be sold to the highest bidder.

Tilly bone- A vloggers birthday party gets out of hand as a Tilly Bone (think nightmare creator) is gifted to her.

The Many Places- A group of children get lost in an alternate reality when one of them presses all the buttons in a lift.

The episodes are all pretty solid but for me the standouts are Splinta Claws and The Many Places as they are nerve-wracking, in a kid-friendly way, whilst having an intriguing story.

Creeped Out is a great series that leaves a lot up to the imagination. It's all quite lightweight but covers heavy stuff like parallel worlds, data theft, the rise of AI and errm, evil babies. It's all uniformly solid and worth a watch for tweens looking to be spooked out.

LINK- The 13 Best ‘Are You Afraid of the Dark’ Episodes

LINK- The Secret Garden (BBC 1975 Review)

LINK- Children of the Stones Review

LINK- Dead of Night: Cult TV Review

LINK- The Stone Tapes: Cult TV Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

Old Man's Journey- Video Games As Art

Old Man’s Journey is a slow, meditative game about the decisions we make and the repercussions. In the game you play the titular Old Man who goes on a long journey after receiving a letter. You manipulate the gorgeous landscape and hills as you try to arrive at your destination in one piece. The game is very painterly and the soundtrack is sublime, making up for the simple game mechanics.

Lost in a Good Game: Why We Play Video Games and What They Can Do for Us- Book Review

'Lost in a Good Game’, by gamer and psychologist Pete Etchells, takes us on a journey through the most pertinent questions facing the video game medium in this part memoir, part exploration of video game psychology, and, surprisingly, part research primer. The book looks behind the various demonising headlines which are often in the tabloids about how video games are leading to the degradation of society (re: violence, addiction etc) and considers if these are true. He also looks at how the research is carried out in these area as well as the broader sciences and identifies the limitations and failures of current research methodologies whilst providing solutions to improve all future research. That’s quite the remit but does Etchells achieve what he sets out to do?

Lost in a Good Game

Well, firstly I going to say that it’s a bit of a novelty that the author is British as most books and podcast I’ve read and heard/listen to are primarily American so there are some significant events that I cannot relate to. The Video Game Crash of 1984 was a huge deal in America but here in Britain, and Europe as a whole, the microcomputer revolution was chugging along just dandy (dandily?), so it's great to get another angle. Etchells is earnest and honest with his stories and this lends the whole book a feeling of relatability and self-reflection. His personal stories about how video games have played important roles in different parts of his life, gives the book an emotional weight. The places and events he mentions from his own childhood were familiar to me and relatable and so I found myself able to empathise with him. However, irrespective of the background of the author the 13 different chapters covered in the book are universal themes that cover the medium across the globe.

Chapter 1, Dungeons and Demons, looks at Warcraft and how there are many ways to play this MMORPG- there are pacifists, mages, warlocks as well as the usual warriors and fighting classes. WOW is more to do with the sense of community and collegiate responsibility than just loners, sitting in their basements. Etchells discusses why WOW was so important for him as it helped him process the death of his father. He says that through video games we live many lives and through death in video games we learn about our own mortality, to take risks and learn.

Chapter 2, A Brief History of Video Games, sees Etchells briefly talk about the evolution of early computers and video games. He discusses the Power Out Video Game Exhibition (which is found in the Science Museum in South Kensington), The National Video Game Arcade (which is found in Sheffield), and the non-linear evolution of video games. It's useful stuff for those who want a quick potted history of the medium.

Etchells talks about how the sounds of the arcade reminds him of his childhood and the holidays he had. He's not wrong, playing Final Fight and R-type always reminds me of Heathrow Airport as it was there I first played these games whilst waiting for my uncles and aunties to arrive from Pakistan in the 80s.

Chapter 3, Why Do We Play Video Games? looks at the different reasons people  play games. For the author, it enabled him to parse the fact that his father was seriously ill. For others it's based on Richard Bartle's anecdotal data that helped him create his work on the 4 archetypes of players: Achievers, Explorers, Socialisers and Killers. Etchells looks at the robustness of the research carried out and argues that there has not been enough good quality research done on the subject and that the scientific process has been left wanting, often with studies already assuming that the player will fill one of these archetypes or a derivative of one. However, Etchells argues, successfully in my opinion, that there are many different reasons why people play games and even within the same individual the reasons they play may change.

I wrote a little about how video games have helped many during the Coronavirus pandemic and me personally to process the new normal (link here). I have had Skyrim for many years and only during Covid did I pour over 200 hours in as I was seeking escape and an openness that was missing in my life. Beforehand, I'd found the game too vast and unknowable, during Covid.... No problem. Now, after Covid, I play it to enjoy the peace and calm afforded by the landscape.

Chapter 4, Control and Imagination, looks at how games are an emergent phenomenon which many moral guardians do not understand and so are vilified. Etchells discusses how Minecraft was a cultural touchstone, enabling unrivalled creativity but how many saw it as being a danger to youth as it was addictive etc. Etchells also discusses how many who look down on the medium have very little to do with it-cherry picking examples of violence to say that this is what games are but obviously there are different genres so it's a very simplistic argument.

Chapter 5, A Brief Interlude, looks at the research which is being done on video games and its influence on society and individuals psychology. Etchells discusses the problem with how scientific studied that are exciting and cutting edge are often brought to the fore and heavily advertised yet replication (repeating the experiment to see that the results track and are accurate) are not, thus you have ludicrous situations such as an experiment claiming psychic abilities exist. The test was fair and carried out well but wasn't possible to replicate but in the wide community there existed the thought that psychic abilities exist. The fact that research is funded and often the outcome will result in further funding and job opportunities means that much of Social Psychology has been found to be based on questionable research and selective data tampering, these are generally called Questionable Research Practices (QRPs). It's this that has affected many of the Sciences and led to a general weariness of headline discoveries. Etchells says that when replication experiments were carried out on hundreds of published papers nearly 3/4 were not replicable. That's means that the data and science that exists in social sciences is based on false data and the whole house of cards topples.

This chapter was particularly illuminating and paints a damning picture of the sciences, especially the social sciences where the replication procedures have shown that most of the claims made and approved in scientific papers were wrong.

Chapter 6, Are Violent Video Games Bad For Us? has Etchells looks at the issue and how scientific methodology to answer this question have not been stringent. Etchells discusses the various studies and explains how they are flawed but mentions that generally, the research shown does not link correlation with causation.

Chapter 7, Moral Panics, talks about how there are periods of time where 'folk devils' are created. This is where a narrative is pushed that an individual, group or idea is deviant and is to blame for societies ills. This occurred with the printing press, women in theatre, books, comics, rock music, Dungeons and Dragons ,
and now video games and the Internet. Etchells says that often moral panics are, more often than not, based on anecdotal data and that the scientists who pursue new media as a 'folk devil' do so because they feel like they want to better society and often have a halcyon view of their morality, childhood as a whole and their childhood. Generally, those who had more experience and interactions with youth and video games were more positive than those who didn't.

Chapter 8, Are Video Games Addictive? looks at how the usual way to measure addiction is by creating a facsimile of alcohol and drug addiction. However, whereas there is plenty of evidence about substance related harm there is very little evidence as regards harm and gaming addiction. Etchells discusses the issues raised by the World Health Organisation (WHO) categorising Gaming Addiction alongside these other addiction- primarily that there is no clear evidence to support this fact. The fact that there are Bootcamps to overcome this 'addiction' is worrying, especially when news of ‘correctional camps’ in China with some suicides comes into play *cough* Uyghur *cough*

Etchells does discuss the worrying trend of loot boxes, gambling mechanics and freemium models entering the gaming space and how, in the long run, this could cause societal problems for those with addictive personalities or neurodivergent. He wrote the book in 2018 and so the recent House of Commons discussion regarding gambling mechanics hasn't been covered but he was very prescient.

Chapter 9, Screen Time, looks at the concerns surrounding screen time. Much like in chapter 8, Etchells argues that the headline grabbing hot-takes dominate the mainstream news media but actually they somewhat misrepresent the data as it is not as clear cut as they are presented. Many of the concerns are based on anecdotal rather than empirical data and this raises concerns as the conversation is affecting policies without careful thought. Etchells isn't saying that there isn't an issue with screen time or addiction but rather than the quality of research and discourse needs to be better.

Chapter 10, Immersion and Virtual Reality, has Etchells looking at the way people see virtual reality- either Matrix style subjugation by the machines, of people plugging in and dropping out of society like in Ready Player One or of a way to play games to deal with real world issues like PTSD. Etchells worries that companies will create exploitative VR worlds that maximises profit rather than build worlds that would be for the embetterment of society. We shall see but I don't disagree with him.

Chapter 11, Wayfaring and Wayfinding, looks at how video games can be used to collect data, not for nefarious means, but for scientific endeavours. Etchells talks about how the data gained from Sea Hero Quest provided lots of data for scientists researching dementia. The findings were fascinating and shows how video games can be a force for good.

I've spoken about how crowdsourcing work has helped solve problems that would have taken many years to resolve. This collective effort to solve problems could have huge real world problem solving implications.

Chapter 12, Digital Spectator Sports, looks at the rise and dominance of esports. Etchells looks at the nascent beginnings in South Korea to worldwide viewing figures surpassing the NFL viewership. He also discusses how schools and organisations are using esports to develop communication and teamworking skills. Etchells discusses how, rather than being a leveller, the leagues often have huge majority of male players, even if there are excellent female players. He cites the exclusion of an outstanding South Korean Overwatch player who wasn't picked up by any team and the lame excuses they gave.

I don't always get esports but then I rarely watch sports except the World Cup and Olympics. However, I can see the attraction of esports as it has heroes and villains in its cast and I don't mean the online avatars. I just wish the homophobic, xenophobic and mysogyny wasn't a huge part of the game. In light of the #MeToo and #BLM movement esports should be a great equaliser but it rarely is.

Chapter 13, Loss, looks at the precarious situation regarding video games. Because they are part of a planned obsolescence many studios don't keep the code or materials and as a result much is lost to time. Where games have been stored they slowly deteriorate, for example many cassettes, carts and cds don't work anymore. Rather than dwell on this Etchells believes that we should be preserving the stories surrounding the games as their cultural relevance and impact lies in this, not just the tangible objects slowly deteriorating behind perspex. I'm reminded of a small local library exhibition I used to often take my pupils to, it shared the story of 5 immigrants into England. Behind the glass were shabby suitcases, old passports and paperwork and faded fuzzy photos but what stuck with me were the phones where you could listen to the people who these items belonged to. It brought the items to life and rathe than just see these things as artifacts they became something more-that dirty old teddy with the eye missing was the most precious thing to this old lady on the phone when she was 5, escaping Austria and the Nazis. Context is everything and so, letting the artifacts die is sad but inevitable with gaming but its the larger story we should be preserving.

I like this attitude as with recent retro games prices it makes the most sense. With YouTube this is happening as some fans have started to create portfolios including Jeremy Parish with his Gameboy series and Frank Cifaldi with the Video Game History Foundation. I've kind of spoken about my personal journey with video games through my ‘Nintendo- My One True Constant’, 'What Video Games Can Teach Us’ and ‘Did Videogames Just Save the World?’

Videogames are an artform whose primary form is agency but, more than that, they offer an escape and some hold up truths within. In some story-based video games, we get to understand people and gain a deeper level of understanding of humanity and ourselves. Etchells’ book looks at a myriad of different issues and eloquently discusses them. I loved the book and would highly recommend it for anyone looking at a deep dive into the medium.

LINK- The Last Guardian- Video Games As Art

LINK- The Stone Tapes (BBC)- Cult TV Review

LINK- The Rise of Retro Gaming During Covid

LINK- Blood, Sweat and Pixels- Book Review

LINK: Japan: My Journey to the East

LINK- An English Geek in Saudi

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: Let’s All Create a ‘New Normal’.

Super Mario 3D World- Video Games As Art

I played and completed Super Mario 3D World several years ago on the Wii U but have been playing the Switch port with my daughters over the past few months. It became a weekly ritual as we played for about an hour a week, every week. Seeing the joy on my daughters’ faces as we entered a new world was one of the real pleasures of my life and, when we completed the game, the sheer excitement on their faces was heartwarming. Here are screenshots from our playthrough.

Skyrim- Video Games As Art

I’ve owned Skyrim for over 10 years, initially getting the game for the Xbox 360, but never got around to playing it properly. I think that I found the sheer scope of the game intimidating and so never really got any further than the first hour or so. Getting the Nintendo Switch port I could pick it up and play and, during Covid and the long periods of lockdown, I poured a couple of hundred hours into it-finally completing it. I feel like I’ve got that monkey off my back, finally!

Now onto more shorter game experiences for a while before my next open-world game that takes over my life. In the meantime, check out these awesome screenshots from my 3 year long playthrough of this stunning game.

The Future Starts Here: An Optimistic Guide to What Comes Next- Book Review (and Critique)

Ah, the future! Back in the day we had visions filled with undimmed optimism; we dreamt of gleaming glass spires, flying cars, natty silver or velour one pieces, world peace, robot maids named Rosie and off-world travel. Now all we see represented of the future in mainstream media is a dystopian misery as Terminator robots take over the planet, zombie hoards proliferate as small bands of humans eke out a living in a resource diminished Earth and humans vie for glory via violent games after cataclysmic climate collapse. Bleak times indeed supported by the popular circumambient (prevailing or common) narrative- It's difficult to dream of a bright optimistic future as the current common story is antithetical to this.

The Mean World Syndrome, brought about by the rolling 24 hour news coverage of terrible events, makes us think there is no hope. Even though we are currently living in one of the most peaceful times, where poverty has dropped substantially and the average life expectancy has increased, we think the world is going to ‘hell in a handcart.’

Whether its climate change, species extinction, water poverty, economic poverty or Brexit and the rise in Nationalism or popularism, we live in a world where the current thinking oscillates between the Pygmalion Effect (the idea of the positive self-fulfilling prophecy) and Golem Effect (the idea of the negative self-fulfilling prophecy). These Effects are causing problems that seem cyclical, like boom and bust economics, the reproductive rights of women, BAME rights etc and so fights and freedoms once fought and hard won, seem to be rolling backwards. This isn't history repeating itself but more that certain events in history seem to be cyclical.

This situation is further perpetuated by pluralistic ignorance, where people don't want to admit that they have a knowledge gap or will even admit to not knowing about something for fear of seeming ignorant or lesser. The problem is we increasingly live in a world where people feel they cannot be honest lest they be condemned for their ignorance.

It's all pretty disheartening... but there is another, more hopeful way of looking at the world. I've shared my reviews and thoughts on Rutger Bregman and now I'd like to bring author John Higgs into this mix. Higgs is an exciting and enthusiastic writer who I came across whilst reading the KLF biography. Whilst looking through his other works, I came across 'The Future Starts Here: An Optimists Guide to What Comes Next' and bought it straight away as I like the way Higgs brings difficult concepts to life by providing clear examples and in very clear and understandable terms.

In the Introduction, 'The Comedy of Eras' Higgs looks at how dystopian futures are now the norm in science fiction and actually many 'real-world' stories now read like the Walking Dead, with self interest at the heart of a lot of what we do. The optimism of the 60s and early 70s, shown in Star Trek, Space 1999 and The Jetsons gave way to Blade Runner, Back to the Future 2 and Terminator. The default position is that the world is doomed and we are going to hell in a handcart merrily.

Of all things, even a recent Innocent Smoothies advert highlighted the casual nature with which we are approaching our demise, with a shrug rather than a fight. Although I like the advert, the fact that Innocent is owned by Coca Cola and thus is part of a company that contributed billions of metric tonnes to the plastic pollution problem isn’t lost on me but the advert was effective in its message. Due to a bit of a backlash, Innocent removed the original advert and created this new, more serious one instead.

Higgs puts forward that this laissez-faire attitude may be due to the narrative we tell ourselves, often related to one of the 7 stories popular in the West:

Overcoming the Monster

Rags to Riches

The Quest

Voyage and Return

Comedy

Tragedy

Rebirth.

At different times we have a narrative that suits what's happening, so with the Enlightenment it was The Quest to find ‘The Truth.’ Higgs suggests that currently we feel we are Tragedy but are actually more in Comedy, think of the world as one giant Basil Fawlty, unable to see the absurdity of its actions and its behaviour but from a distance everyone can telegraph what is going to happen. It's an interesting idea but not one I completely agree with as it reduces all ideas and art into a checklist to pigeonhole things into, however it does contain elements of truthiness. Also, I'd argue that much of the current ennui we have in the world is due to the supermassive object problem- where something is so vast that it isn't possible to comprehend it. Talk to people about any wars or land disputes and people will often say, "It's all Geopolitics." The interconnectedness of things makes even the most seemingly arbitrary choice a philosophical conundrum, something 'The Good Place' argued with Allan Schnaiberg's Treadmill of Production Theory- the quest for profitability has led to greater extraction of resources, creating a more toxic environment and replaced labour with automation or a 'race to the bottom'. Coupled with the illusion of perpetual financial growth amongst a decimated Earth, shown by Earth overshoot day (where we take more from the planet than can be naturally replaced) and the whole world's financial institutions are seen to truly be an Emperor with no clothes.

However, for people struggling to just survive the day, whether financially, emotionally or socially, a lot of this is not their primary concern- it's all too vast and their mental bandwidth can't take it. So people do what they can; they recycle, turn off the lights when they leave the room, walk more for shorter journeys etc but all the while feeling that they are battling against the tide. Ulrich Beck called this the Individualisation Thesis where we are each responsible for our own actions as independent actors rather than society as a whole, however there is no way we can all act in the best way all the time independently by doing research-there just aren't enough hours in the day. That's why we look to governments, agencies and institutions to do that for us but we need to hold them to account when they fail their moral obligation of serving society. When they do inevitably fail, it's difficult to see beyond the 'they're all in it for themselves’ narrative. This feeling of corrosive pessimism is appealing as it requires very little except accepting that most of the people in the world are beyond saving, the future is doomed and the fate of our planet sealed.

I think Higgs is onto something as he is a pragmatic optimist and says that. for most of the situations, there are approaches we could take to give us all a chance but we have to create a narrative where we want to BE the change, and not just sign an online petition, and that is something I can get behind!

Chapter 1, 'On Being Replaced,' looks at the rise of AI and its perceived threat to us humans. However, Higgs argues that AI is all around us, what with predictive text, facial recognition, Alexa, Sat Navs etc and it's not all Skynet dystopia. Higgs also talks about the Turing Test and what it means to be truly human. He talks about AI is seemingly intelligent but what it is actually doing is learning and copying and then replicating that process rather than being creative. That's why the work is produces is derivative nonsense rather than meticulously crafted and nuanced. He argues that AI is good for organised tasks but, in terms of creativity, it is pretty bad... at the moment.

Chapter 2, 'Arrow-flight Projections', looks at the concept of 'Futurology'- this is projecting into the future where new technologies will be the norm. However, Arrow-flight Projections are extremely linear, optimistic and unlikely. As with any technology there is a through line on innovation but rarely is it a straightforward journey with no deviations. For example, we had people predicting vacationing on the moon in 1980, terraformed planets by the millenium... All this brought about by Arrow-flight Projections based on Man landing on the moon in 1969!

One of the chief concerns is with the rise of AI and how it will create a dystopian nightmare scenario with governments and powerful groups able to spy on people. There is a concern that AI could be tasked to replicate itself and improve the AI and so we could have the Singularity or 'The Rapture of the Nerds' as it is colloquially called- we know it as the ‘Rise of the Machines’ when the technology turns against us. However, Higgs believes that if this were to occur it would be by accident rather than design as AI doesn't have a consciousness let alone malicious intent... yet. That may change and we might have a HAL 9000 situation but until that consciousness develops, we should be fine.

Chapter 3, ‘Patterns,’ looks at the value of data. Higgs discusses the Facebook data problem as the company has an insane valuation on the stock exchange, not because of its revenue stream but because of the amount of data it holds. Many are not sure how valuable this data is but it could be worth a lot, but Higgs doesn't think so as people are gaming the algorithm for likes etc and so they don't see the real information, only the filtered impression of a person and the data gathered by FB shows that-it's a role play for many, an alter ego. This feeds into the filter bias with observation and confirmation bias and that's why we see more of the things we like, even though we need a more balanced view of the world.

However, Big Data is powerful, even when considering the issues above as it reveals truism and trends that even the fact, incorrect or biased data seeks to obfuscate. Yuval Harari talks about Dataism, the culture surrounding data and how it is altering the way we behave and he gives the example of fitness trackers and the unreliability of them. People will do a set exercise and know the value but the tracker doesn't always tracked so people do more to make up for the inaccuracies. We all do it.

However, Higgs is optimistic that whilst AI is useful it works better when it is complemented with human oversight as it can get into its own Reality Tunnel (our perceptions of the world- the narrative we tell ourselves).

Chapter 4, ‘The Metamodern Generation,’ looks at how each generation form their own historical narrative and how this can have real world effects and consequences. The biggest example is the normalisation of casual racism, sexism, mysogyny and homophobia by Gen Xers in 1980s films which are no longer acceptable by today's, especially Gen Z's, standards (Check out this link to Molly Ringwald’s New Yorker piece which discusses this). Even Disney, the apparent bastion of family values, has realised this with Belle’s mean song from Beauty and the Beast in which she comments unkindly about the village people she lives with.

When you think about it, Belle was actually really unkind to her village.

When you think about it, Belle was actually really unkind to her village.

Back then, much was considered okay or the norm but this isn't the case and should never have been the case and Gen Z are hoping to change it but it is a tough battle to fight as Gen X and Baby Boomers dominate and their narrative was one of nihilism, rebellion and self-centred individualism. Gen Z have grown up with the internet and have been exposed to an unprecedented amount of technology in their upbringing, so they have a greater interconnected understanding of the world and empathy.... but this may be leading to empathy fatigue as they realise what they have to battle against economic ruin, environmental collapse and the breakdown in civil society as a consequence.

Gen Z are different from the generations that preceded them in that they are a highly socially conscience group that wants to enact change but they will need help to realise that change from those in positions of authority and power. Higgs is very optimistic with Gen Z and believes that their compassion and empathy will change the world for the better.

Chapter 5, ‘The Dream of Space,’ examines the dream to travel to space and colonise Mars. Higgs talks about the cultural impact of Star Trek and its utopian outlook but also how it changed and became more pessimistic about humanities inability to improve itself in the later series, especially after creator Gene Rodenberry died. Higgs also considers the many achievements of Elon Musk and how he has made battery cars and reusable rockets more than just financially viable, he's made them seem the obvious course of action in order to save humanity from environmental collapse here on Earth. However, Higgs argues that the idea that Mars will be terraformed and humans will live in space may have some biological and economic problems as the human race will not be able to cope with living under a dome in extreme conditions and the cost will still be prohibitively high.

Over the past few weeks, it's been confusing to watch billionaires Richard Branson and Jeff Bezos fly off to space in their own commercial space flights. Confusing as it’s an amazing achievement and will have positive impacts on the fast tracking of space travel but also disconcerting as it has been done on the backs of the workers of their respective companies and their union busting strategies that denies many of their workers rights and financial benefits they should be getting, all whilst not always paying their fair share of tax. The unedifying 'Space Race' during a time of massive environmental issues and global economic and social uncertainty post-Covid just really grated on me and it shouldn't have. I think the billionaires will go to space and they will have an army of robots to gather resources as well as further science but for the everyday Joe, I think it's not likely.

Chapter 6, ‘Between the Real and the Virtual,’ looks at the power of Virtual Reality and the online digital world. The fear for some is that VR will become a way for corporations to tap into our interests and fears via our social media profiles and then start to manipulate us with targeted experiences. This is already happening with targeted ads using tracking cookies and the information we readily provide online such as interests etc but the worry is that with VR it will be more vivid. Years after the Fukashima Power Plant disaster in Japan, The Guardian visited the site for their VR App and showed the devastating consequences after the incident. Powerful stuff indeed but it didn't present the context or data to show that nuclear energy is probably the cleanest and safest energy source and so people experiencing this VR journey would have walked away thinking negatively of nuclear rather than seeing it as one of the solutions to combat climate change by reducing our need for fossil fuels.

Higgs is not so concerned as he thinks most people are aware when they are being manipulated and nascent Gen Z, who are born with a screen in their hands, will be aware that they are being played.

I agree with Higgs and I had a VR headset for a couple of years, playing RE7 and many other games. It was an experienced that I loved but I knew it was a created, curated world rather than a real world facsimile. The Matrix has made people worry that we are already part of a machine but I don't think that'll happen anytime soon, and if anyone does try it I think of Inception where you can manipulate the situation around you and the logic doesn't follow so it'll be clear you're in a dream.

Chapter 7, ‘Psychic Pollution,’ looks at how the news cycle presents a misanthropic view of the world, looking for outrage and simplified heroes and villains in broad strokes. It also looks at how Silicon Valley and social media companies are biohacking out brains with the dopamine hit achieved from Likes, Shares etc.

I've reviewed a couple of books and written articles about this before and how the news affects real world views and behaviour. Higgs now argued that that's why post millenials are abandoning FB and Twitter in droves. He believes change is coming as the power of these social media companies come to heel.

Chapter 8, ‘Fixing Things,’ has Higgs looking at the existential threat to all life on earth due to climate change. He discusses the Dark Mountain Project which has the aim to alter the current circumambient mythos about us plucky humans overcoming the odds and progressing and instead looks at environmental collapse and the end of civilisation. Higgs believes that this viewpoint and pessimism seems to be ingrained in the older generations including Gen Xers. However, he argues that Millenials and the newer Gen Z are more determined that ever to alter this and give themselves a fighting chance by not being as materialistic or laissez faire with larger environmental and geopolitical issues and problems. A lot of this change has been driven by changes in technology, as the modern smart phone does much of what separate items would use back even only 20 years ago, but also due to the lack of lack of space (many live at home or in rented tiny apartments or rooms). Netflix, Audible and Spotify take the place of CDs, DVDs and books in terms of material goods but also IKEA, cheap and practical furniture take the place of more expensive or impractical, heavy furniture. It is because if this we hear much of the old media bemoan that 'Millenials are killing xyz' etc. Higgs also considered the call for Universal Basic Income and whilst this seems inevitable for some, for the generation brought up on the new version of the Protestant Work Ethic where ‘Greed Is Good,’ this seems antithetical to the way they were brought up. The Great Chain of Being, the idea that humans can use the Earth as they see fit, has been the circumambient mythos for centuries, but this is changing as we realise that perpetual growth is not possible. With nature reserves and rewilding projects like Knepp Farm, nature is recovering and many countries are now dedicating more space to nature reserves and parks.

I liked this chapter as I've written before about anchor points that have affected the life of Millenials, including me, struggling to pay the newly introduced uni fees, get on the property ladder whilst property prices exploded, manage job prospects after the Dot Com bubble burst and made many uni courses unviable and maintain long-term jobs in a time of zero hour contracts which were either low paid or low skilled. It also captures the zeitgeist of the Gen Z, who are hustling and are the slash generation as in barista/ shop worker/ streamer... they are adaptable and have had to learn to pivot and take part in the gig economy. They are also more socially conscious and networked and as a result, have a higher level of compassion and empathy and want to change the world for the better, no more biodiversity and environmental loss through inaction for them.

With Chapter 9, ‘More Than Individual,’ Higgs looks at the idea of Immediatism, the idea that you do something just for the sake of it without commercial interests- it’s the social interactions that matter. It's like the mantra 'You only live once' so why not enjoy things for the moment? There is also an opposition between Old Power and New Power; Old Power is in the hands of the few and individualistic but New Power is more democratic and connected to networks- think about the power of Harvey Weinstein in the 90s and early 00s to his decline in power and the rise of the #MeToo movement. Many people had decided that enough was enough to this open secret of abuse and he was brought to heel.

Higgs also looks at the ascending and descending path, one looks to spirituality and the Heavens and one looks to life on Earth. Up until very recently, many people were just looking at the ascending hoping to find their path to heaven but with the decline in influence of places of worship and falling religions etc in many places across the world, we are starting to think about collective responsibility and are recognising that we need to work together to solve the issues the world faces, such as climate change, ecological collapse etc.

I really enjoyed the book as I feel Higgs is pretty much spot on with what I can see is happening in the world. A new circumambient story is being formed and this one has humanity survive living beside nature instead of mastering it- this is at the heart of what I see happening across the world. The Covid pandemic has accelerated this realisation as we have seen how we have truly messed up the natural order that existed in the world and so this is almost a fresh start, The Great Reset but not in conspiracy-laden nonsense but actual real opportunity to do better, to be better. Higgs recently wrote a post-script base on this and I've pasted the video of it below as he talks about this more clearly and eloquently than I can ever imagine to do. But the upshot is that the world has changed and it can be clearly seen in many areas including the fact that this situation has made many consider their lives and so we have the Great Resignation and many businesses are using the Hybrid Approach to work where people are working at home and in offices too, meaning there is more time for hobbies and family- it seems that there is going to be more balance in the world going forward.

Myth and Mogul: John DeLorean- Series Review

Ah, the DeLorean- a car forever immortalised with the Back to the Future film series. However, the story of the creation of this most singular of cars is equally as interesting with ambition, greed and hubris all mixed together within the fascinating tale.

I didn't know much about the car's creator John DeLorean but had heard that it was a tragic tale, so when a new 3-part Netflix series popped up in my feed I thought I'd dive right in and fill in this knowledge gap.

The documentary is told in a fascinating way as it moves through time, showing DeLorean at different times of his life. We see him at his General Motors peak, creating plain looking cars with powerful engines to appeal to the youth. Then we see him ascending the Detroit car industry ranks, making a big name for himself and earning $600,000 a year (that's 70s wages!)

However, during a period of huge social and economic upheaval in the late 70s, DeLorean decided to go it alone with his own car company... and that's when it started to go wrong. When he couldn't secure funding, DeLorean took advantage of the British government's desperate need to help ease the Troubles in Ireland by creating jobs by securing a total of £200 million pounds. Skimming 10% for himself, DeLorean is presented as a complex character, no doubt a great engineer but also incredibly vain, narcissistic and an egotistical grifter who had a history of not following through with his grand visions.

The documentarians, Chris Hegedus and her late partner, DA Pennebaker, share behind the scenes and candid footage from the 70s and 80s when they were filming DeLorean for a documentary. It's particularly interesting to hear Hegedus talk retrospectively about her front row access into DeLorean's life and marry this up with what was learned from his childhood and college. The look into his tough upbringing shows that he grew in extreme poverty but his abilities led him to go to further education, however his propensity to grift almost landed him in jail if not for the intervention of his college teachers.

The documentary is fascinating and the fact that DeLorean's son and ex-wife talk about the man lends the whole series some respectability and authenticity. The mixture of corporate videos, 70s and 80s documentary footage, grainy FBI footage and current talking head segments all blends well to tell an intriguing story about a deeply flawed man of undeniable ability brought down by his own hubris.

Myth and Mogul: John DeLorean a great story well told. At about 2 1/2 hours the limited series is definitely worth your time.

Penda's Fen- Cult TV and Film Review

I first heard of Penda's Fen a few years ago when it came up on my recommended list on Amazon after purchasing the 'Children of the Stones' DVD. I gave it a miss as I had loads to other things to watch but, on a rainy, cold day recently I thought I'd give it a whirl.

Penda's Fen

The film was made in the 1970s and is a strange beast. It explores the history of Britain and is a poetic study of Britain's pagan and historical past. Main teenage protagonist Stephen is a devout Christian who has a very narrow outlook on theology. However, as he experiences visions, dreams (featuring prominent figures from Britain's past including Elgar) as well as his sexual awakening, he undergoes a transformation of sorts.

Over the past few years I've watched some cult and strange retro television shows and films (many are linked below) but this one might be one of the strangest. It shares a lot of the common DNA of those other shows; a feeling of other-worldliness and a strange ambiance which was effective and powerful, even with its budgetary constraints. However, it is also quite unique in that I can't really compare it to anything I've watched before.

I didn't fully understand the plot or various characters that make the occasional appearances but I get the general gist that it is to do with the end of local traditions and religions with the spread of monotheistic Christianity. However, the whole thing is wonderfully shot with stunning views of the Malvern Hills and gorgeous music by Elgar.

I'm sure that for people who watched it at the time it will bring fond memories but for others, who might not have seen this before like me, it is a curiosity and there are worse way to spend an hour and half of your time. 

Did Video Games Just Save the World?

Okay, so the title is purposely provocative but did video games actually save the world during Covid? No. No, they did not. Of course they didn't! Covid-19 hasn't gone away but with the vaccines, social distancing and other measures in place, much of the world seems to be getting over the worst of it. However, there is no denying that video games made these long periods of isolation more bearable for huge swathes of the world's population. The mental and emotional wellbeing games provided can't always be measured accurately but from personal and anecdotal experience, it has offered respite from the harsh realities of the world for many.

Ever since I've been a kid, video games have been seem as a waste of time by many, distracting men (apparently gamers are only ‘men’ if much of mainstream media is to be believed) and influencing violence (I’ve written about video game violence before). However, this past year gaming has been an escape for many who haven't been able to get out. Now, some people might say that Netflix or Amazon Prime or any other streaming service really, have done even more by providing almost infinite amount of programming but there is a magical ingredient that is exclusive to gaming- agency. This means it is not a passive medium. You are in control of your destiny and, in a world gone topsy-turvy, that was reassuring for many, providing routine and security.

As well as taking people to magical and fantastical places video games have also allowed people to communicate, collaborate and share their experiences with other people. Now I'm not an Animal Crossing fan but I have many friends and family who have spent hundreds of hours within the game. A huge part of that was due to the fact that you can visit each other on your island and who wouldn't want to do that when there was no physical place to actually meet during the lockdown?

For me, I don’t play online with others as I often find the online world to be quite toxic and stressful so I jumped into Skyrim. I bought the game on the Xbox 360 but never actually played it but when it came on the Switch I bought it about a year ago and have been playing it off and on. During the lockdowns it became my game of choice and I poured a couple of hundred hours into it. I loved the freedom and fantasy the game offers, allowing me some respite from the realities of the world.

However, for others gaming offered a way to process what was happening in the real world. Often, there is a snobbery against gaming with some people saying that gaming worlds don't reflect the real world. Okay, many don't per se but often themes are addressed through allegory- these experiences allow us an opportunity to ruminate or consider our anxieties in a safe space, leaving us better equipped to handle situations in the real world. Games like Death Stranding (about a post apocalyptic postman), Last of Us 2 (about civilisation after an apocalyptic fungal virus creates cauliflower faced zombie creatures) and Plague Inc (a real world simulation about a pandemic spreading) allowed people to process this brave new world we were entering where the familiar became unfamiliar and the busy, comfortable communal spaces became liminal.

On another note, the surge in retro gaming sales has been unprecedented and retro games, consoles and mini consoles of retro systems have broken records in terms of sales. I think it's fair to say that when things go bad people like to remember better times and often it's the sepia tones of childhood and the past that appeals; I know that I bought the recent mini Bubble Bobble arcade machine purely for the feelings of nostalgia and affection for my childhood days with this game.

I loved my arcade machine and have no buyers remorse.

I loved my arcade machine and have no buyers remorse.

There's no denying that the industry has had an amazingly profitable year with many recording record profits but many of the AAA gaming publishers, as well as some individuals and indie studios, haven't behaved themselves. The industry has been facing multiple scandals covering a whole smorgasbord of abuses including harassment, toxic workplace environments and mandatory overtime (‘crunch’ in gaming parlance). As a gamer I question my complicity by buying games from companies who have allowed such abuses to occur. Should we, as the consumers, voice our concerns by boycotting such companies? I don’t know as obviously this has knock on consequences for the workforce but maybe, by bringing these issues to light, we can save the industry from the unscrupulous CEOs and people in authority who give themselves huge pay rises by sacking the workforce or by rushing out janky video games that don’t work (I’m looking at you CD Projekt Red with Cyberpunk 2077) or allowing workplace predators to continue to profit from shares in the company even though they have left the company? It’s a multi-faceted and complex problem but video games have been a refuge for many this year and I hope we, as gamers, appreciate that the gaming workplace needs our support and we need to stand up against those in authority who are hurting the industry through loot-boxes, poorly thought out ‘roadmaps’ for DLC and per-orders and actual malpractice and predatory behaviour.

Video games have been a welcome respite for me during this difficult year but at what cost to the creators and teams behind their creation? Did video games save the world? No. But did it offer a safe haven and respite for hundreds of millions at home? Yes. Now that we seem to be coming out of the pandemic we need to make sure that the workers in the industry are supported and safe and those in positions of power, who are abusive. are made to take account of their actions.

It’s been a strange time but what a time to be alive where there is the possibility of real change in the world.

LINK- The Last Guardian- Video Games As Art

LINK- The Stone Tapes (BBC)- Cult TV Review

LINK- The Rise of Retro Gaming During Covid

LINK- Blood, Sweat and Pixels- Book Review

LINK: Japan: My Journey to the East

LINK- An English Geek in Saudi

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: Let’s All Create a ‘New Normal’.

Little Nightmares 2- Video Games As Art

I loved the darkly beautiful Little Nightmares, a puzzle- platformer game with horror elements developed by Tarsier Studios. I loved the creepy characters that reminded me of various shows including Jim Henson's The Storyteller, the work of the Bolex Brothers and the unsettling creatures created by stop-motion supremo Jan Svankmajer. The art style was grotesque, and even though there were horrific scenarios, the imagery it created were beautiful that stuck in the mind long after the game ended.

I awaited the sequel with much excitement and am happy to report that Little Nightmares 2 builds on this world further and still features Six, alongside main protagonist Mono. The story is intriguing and is not a straightforward sequel or prequel but rather a more complex, wibbly-wobbly, timey wimey affair. I completed the game in about 6 hours in a couple of sittings and loved it. I also loved the advert which is a work of art itself with the mysterious illusionist Derren Brown narrating the nature of nightmares.

The Storyteller Soundtrack- Retro Soundtrack Review

Jim Henson’s The Storyteller soundtrack is something of a special treat. Only 1500 copies were made and pretty much sold out instantly, fetching high prices on auction sites. I managed to grab a copy of the soundtrack through a friend and love it.

The Storyteller Soundtrack

Over the course of nearly 3 hours and 3 discs, you are transported away to fantastical realms with a rich orchestral score composed by Rachel Portman, who also composed Chocolat and Ciderhouse Rules and many other films. What's extraordinary is that the show was granted a 28-piece orchestra to produce such vibrant scores and they stand the test of time. The only comparable soundtrack from the time that comes to mind is The Secret Garden movie soundtrack by Zbigniew Preisner, which is also all strings and majesty (and one of my favourite soundtracks of all time).

Generally there are 2 tracks from each episode of the show and each story has two suites, each roughly 4-6 minutes long. The score is warm and impressive sounding as the leitmotif are usually played on woodwind instruments which helps create the mood required, flutes for more powerfully emotive pieces with oboes for more melancholy tracks, although this is not always the case.

The tracklist on The Storyteller soundtrack is pretty comprehensive:

Main Title (Extended Version)
Hans My Hedgehog (Suite A)
Hans My Hedgehog (Suite A
A Story Short (Suite A)
A Story Short (Suite B)
Fearnot (Suite A)
Fearnot (Suite B)
The Luck Child (Suite A)
The Luck Child (Suite B)
The Heartless Giant (Suite A)
The Heartless Giant (Suite B)
End Title
Main Title with Narration (featuring John Hurt)
The Soldier and Death: (Suite A)
The Soldier and Death: (Suite B)
The True Bride: (Suite A)
The True Bride: (Suite B)
The Three Ravens: (Suite A)
The Three Ravens: (Suite B)
Sapsorrow: (Suite A)
Sapsorrow: (Suite B)
Main Title (Short Version)
Unused Bumper A
Unused Bumper B
The Storyteller: Greek Myths Main Titles (UK Version)
Theseus & The Minotaur (Suite A)
Theseus & The Minotaur (Suite B)
Perseus & The Gorgon (Suite A)
Perseus & The Gorgon: (Suite B)
Daedalus & Icarus (Suite A)
Daedalus & Icarus (Suite B)
Orpheus & Eurydice (Suite A)
Orpheus & Eurydice (Suite B)
Main Titles (US Version)
Theseus Bonus (Material Suite)
Orpheus Bonus (Material Suite)

I haven’t seen ‘Jim Henson’s The Storyteller’ for a while but there is always a strong memory for the 1987-89 13 episodes that made up its two seasons. Even without that nostalgia, the test of any CD soundtrack is whether the music can stand on its own and, as soon as you hear Portman’s rich music, it’s clearly strong enough as it is evocative, rich and emotional. I only caught up with the The Storyteller: Greek Myths recently and loved it as it shared many of the same qualities as the OG The Storyteller, including a stunning soundtrack.

There are a couple of standout tracks for me:

The main titles theme is distinctly playful and we have the orchestral and John Hurt narrated versions here.
The Hans My Hedgehog Suites are beautiful as the flute combines with the a harp and other stringed instruments to create a yearning, soulful motif.
The Fearnot Suites have the mellow warmth of woodwind instruments combined with the playfulness of strings. It has an Irish influencing tinge.
The most eerie suite is from the Orpheus and Eurydice as it captures the sadness of an artist losing his muse.

The Storyteller is a stunning show with a beuatiful soundtrack that deserves to be heard. It is fetching a pretty price on auction sites but, if you do get a chance to listen to the soundtrack, it is worth the price of admission for this singular auditory experience.

LINK- The Storyteller- Series Review

LINK- The Storyteller: Greek Myths- Series Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- The Secret Garden (BBC)- Cult TV Review

LINK- Children of the Stones- Cult TV Review

LINK- The Dead of Night (BBC)- Cult TV Review

LINK- The Stone Tapes (BBC)- Cult TV Review

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

LINK- An English Geek in Saudi

LINK- Manga Exhibition at the British Museum

Masters of the Universe: Revelations- Season 1 Review (and critique)

Over the past couple of days, I have been watching the Masters of the Universe: Revelations series on Netflix and it’s an interesting show that tries some daring things. It features He-Man but he is not the main focus of the series. He is taken out of the equation pretty quickly and instead what we have is a character study of those left behind. It's a brave move that expands on the lore and motivations of the stable of characters but may upset some of the fanboys who were looking at a more action-oriented, boys-own adventure featuring the main man. However, with the He-Man name removed from the title that should have maybe been a clue as to what the intention of the show were by series lead writer, Kevin Smith.

He-Man’s presence is only fleeting in the first episode as the story starts with a bang as Castle Greyskull is taken over by the hordes from Snake Mountain. Skeletor traps the Sorceress and finds the secret contained inside the castle. Teela is made Man At Arms and she leads the Eternian army to battle and witnesses the deus-ex machina which changes the status quo we have grown used to from the old 80s series. The events of the opening episode act as a catalyst for an in-depth character study and so we have 3 episodes following Teela, Evil Lyn, Orko, Man At Arms and various villains as they try to find their place in an Eternia bereft of magic and He-Man. Similar to Batman: The Dark Knight Rises, the focus on the story is on deconstructing the idea of what a hero is, looks like and does and give other characters a chance to shine in the hour of need. In this case, Teela steps forward and takes centre stage. Much like with the rebooted She-Ra, the change of format of Masters of the Universe has upset some of the fanbase and I get (some of) it; this wasn’t what they expected but something bolder and different.

The rebooted, 5 series run of She-Ra and the Princesses of Power was a modern reimagining of the classic ’80s Filmation series and I loved it. She-Ra is a part of the He-Man universe and so holds a place in many fans’ hearts, and as expected this led to many debates about the redesign of the characters, reworking of lore etc. Some arguments seemed to be reasonable, like the complaints about the cartoony, super-deformed art style, or the redesign of She-Ra herself, but some seem purposely argumentative and toxic like why there was a wider LGBTQ+ and minority ethnic representation on the show and why She-Ra herself was much less 'feminine'. However, the fact was that the story was amazing and well paced, the characters were well thought out and the interplay between them felt natural and the whole show was an excellent piece of television.

With Masters of the Universe, the approach has been somewhat different:

  • The animation is Castlevania-level great (it’s made by the same studio) and, even though it goes for a more realistic style compared to She-Ra's cuter, chibi style, it’s still a knockout.

  • The voice cast is solid and Sarah Michelle Gellar's Teela does a lot of the heavy lifting, but the voice acting is uniformly solid. Mark Hamill's Skeletor leans to his Batman: Animated Series Joker a bit too much but that's fine as it suits the character well.

  • The show is uniformly played straight and, whilst there are a few asides and jokey bits, the stakes are high here so don’t expect any pratfalls or Skeletor shaking his fists vowing, “I’ll get you next time He-Man!’ schtick. However, there is an amazing ‘Oh bollocks’ bit by Evil Lyn that had me in stitches!

It doesn’t have much humour but Evil Lyn is my MVP.

It doesn’t have much humour but Evil Lyn is my MVP.

Kentucky Route Zero- Video Games As Art

Kentucky Route Zero is a magic-realism point and click adventure game about an old delivery driver’s last job to deliver goods on the eponymous road. The game is set in the oft-forgotten rust belt of America but the tale it tells is truly universal and could apply to any town which feels neglected or abandoned pretty much anywhere in the world.

Playing the 5 episodes of the game over 15 or so hours had me reflecting as it rang true on so many levels about my hometown of Barking, Essex in east London: coming back to a place to see how much yet how little it has changed, how people you knew have moved on or not at all and how tough life has been for some people, who live within the shadow of one of the richest places on Earth, over a decade after the economic crises hit in 2008.

Kentucky Route Zero resonated with me as it shows how once thriving towns can easily spiral downwards after a huge economic shock, in this case the massive downsizing of Ford Dagenham and the impact it had on the surrounding towns including my hometown. The devastating economic and social impacts can still be felt in the area today with the shopping centre, Vicarage Fields -which opened with so much promise welcoming all to partake in its free peppermint lollies emblazoned with the logo, the cool bookshop on the top floor and the video game shop Whizz Kids selling the latest system and offering playable Atari Lynxes with Chips Challenge- an empty shell with cheap clothes stores and stalls selling phone accessories and plugs.... A shadow of the promise it offers in its youth, even before e-commerce became a thing. The town centre has a prevalence of gambling, pound chicken shops and cheap, barely edible, vegetable and fruit bowl sellers.

But for all this woe here in the UK we are lucky as we have the NHS. In KRZ we see how the crippling cost of healthcare can cost people their very souls and it is heartrending. However, KRZ is optimistic as it looks at people trying to rebuild these forgotten towns and making them a community again.

Barking itself seems to be rising from the ashes of Ford’s as the old 70s high-rises are being knocked down to make way for the new low wise apartment complexes, feeding the lifeblood of the city as it turns into yet another commuter town. This is an improvement after about 20 years of decline but it does feel like an end of something, I’m not sure what though… community maybe?

It is said that Art speaks of the human condition and Kentucky Route Zero is truly and artistic endeavour.

Humankind: A Hopeful History- Book Review

I enjoyed Rutger Bregman's previous book Utopia for Realists and so was interested in his follow up, Humankind: A Hopeful History. In my review for Utopia I stated that Bregman doesn't pretend to be a man of destiny with all the answers but he does present some broad counter-arguments to the much entrenched views that exist about original sin and the inherent darkness of human nature. He is an economist not a historian or scientist but if you take that into account is it still a worthwhile journey to take?

In this book, Bregman argues for the case that the idea that humankind is selfish, nepotistic and individualistic is incorrect. He believes that actually humans are more like to develop bonds with each other than fight but that through an entrenched individualistic education system where capitalism, the prevalence of the Selfish Gene theory alongside Hobbesian philosophy, we believe that the world is a dark and horrible place where only the strongest can survive.

He kicks off with the negative thoughts we often have about our peers by discussing the Mean World Syndrome brought about by the rolling 24 hour news coverage of terrible events. Even though we are currently living in one of the most peaceful times, where poverty has dropped substantially and the average life expectancy has increased, we think the world is going to ‘hell in a handcart.’ This is similar to the Blue Dot Effect I've spoken about in my BLM article where poorly placed misconceptions affect the real world.

He argues that where people see the norm of human nature being 'Lord of the Flies' or Hobbesian, actually it's more positive like the philosophy of Rousseau and the real life story of the 6 lost Tongan boys, who actually survived and thrived on an island for over a year after becoming shipwrecked in 1966.

In Part 1, The State of Nature, The Rise of Homo Puppy chapter looks at how wild animals can be domesticated if selected carefully for traits, such as friendliness, and breed. He uses the example of wild silver foxes bred in Siberia by Dmitri Belyaev, which was selectively bred and domesticated in just a couple of decades. He says that this may be what happened to homo sapiens compared to our ancestors, the Neanderthals. By working together, homo sapiens evolved and developed the skills to learn collectively whereas Neanderthals may have been individualistic and didn't work together- thus dooming them when the world went through a deep freeze. Homo sapiens were able to adapt quickly due to collective education which built on the shoulders of previous giants whereas lone Neanderthals couldn't develop quickly enough, even though they had a bigger brain size.
He also argues that the mainstream books which popularised and backed the violent nature of human ancestors sold significantly better this those texts that were less lurid and more restrained in their bold claims.

Part 2, After Auschwitz, looks at one of the most extreme examples of human horror, the holocaust, by examining the social psychology experiments that underpin most if our current thoughts about human nature. Bregman looks at William Golding and his ‘Lord of the Flies nihilism, Richard Dawkins Selfish Gene, Jared Diamond’s cautionary tale of Easter Island, Philip Zimbardo's Stanford Prison Experiment and finally, Stanley Milgrims Shock Machine Experiment.

Bregman breaks  down how the data or experiments were manipulated to fit an agenda or to make the results tell a different tale from what was being presented, that is all except for Milgrim's where the experiment has been replicated with similar results each time. Looking into this, Bregman reached the conclusion that people can do terrible things if they believe that they are doing good, in other words the road to hell are paved with good intentions. The people who pushed the electric shock button causing pain to others felt that even though they were doing wrong, if it was for the benefit of science and humankind so that was alright. Chillingly, Eichmann, the Nazi, told the Nuremberg courts that he felt fine with killing 5 million people as it was for a higher purpose and he felt he’d achieved that.

If we look at current world conflicts no-one believes that they are the bad guy, in fact many would believe they are on the side of good and right (discounting for people with identified serious sociopathic behaviours that is).  That's the problem, Bregman argues; we are not mindless robots but we can be misled and do heinous things when we believe in what we are doing- a skewed Moral Imperative and Purpose if you will. Philosopher Hannah Arendt believed this too but has been lumped in with Milgrim's 'We are born sinners and evil' etc.

Part 3, Why Good People Turn Bad, looks to turn over the theory of 'pure evil' as it seems to be an easy answer to think that the people who do bad things are not like us but something apart. The problem is, they often aren't, except in ideology or mindset. One of the big names in deception and lies is Machiavelli, with many world leaders - including Churchill, Mussolini, Hitler, Stalin, Charles V and Napoleon- having the book, The Prince in their library. Machiavellianiasm is considered to be an inherent truth about human nature; cheaters DO prosper. In fact, much of the world believes that this is the only way to get ahead, however experiments have found that this is counter to evidence. In fact, Survival of the Friendliest seems to work best... except when it doesn't and this is usually as we climb up the corporate ladder. In fact, under the criteria for diagnosable sociopathy, CEOs are at 4 to 8% compared to the average of 1% in the general population.
The other area Bregman looks at is myths and how belief in religion, states, companies, nations create a narrative for the stories we tell ourselves e.g. The notion of the British stiff upper lip. The idea that the ‘Enlightenment’ introduced ‘Reason’ and this did away with misconceptions about human selfishness is untrue as institutions were created with the notion built in that humans are selfish, irrational and require taming for the good of society.

Part 4, A New Realism, has Bregman consider a world where the dominant human thought is that humans are kind and want to do good. He argues that we live in a world where the current thinking is based on the Pygmalion Effect, the idea of placebo and where high expectations in people lead to improved results AND the inverse, which is the Golem Effect, where low expectations and it's insidious cycle of negativity can have long lasting effects. We oscillate between these two and it causes problems that seem cyclical, like boom and bust economics (or the reproductive rights of women, BAME rights etc)

This situation is perpetuated by Pluralistic Ingnorance, where people don't want to admit that they have a knowledge gap or will even admit to not knowing about something for fear of seeming ignorant or lesser. The problem is we increasingly live in a world where people feel they cannot be honest lest they be condemned for their ignorance. It's disheartening but there is another, more hopeful way; 'The Will to Believe' in the inherent goodness of people. 

The current model that is used across the world, which applies irrespective of political leaning, is of extrinsic incentives bias- the belief that people are solely motivated by material gain. This was popularised with mechanisation of industry in the 1900s by Fredrick Taylor and is called Taylorism. The idea is people are lazy and feckless and only money motivates them. That is why they need to be monitored, watched and their performance scrutinised. However, behaviouralists in the 1970s kept finding research that showed for most people it was the intrinsic value in their work that they found most important, irrespective of financial inducements. Money was essential of course but there was a limit as to how much money could motivate, there was generally a ceiling on how much it would yield 'better results, more productivity' etc. Research has shown that if people do something because they want to do it they will often do it better than when they are paid to do so. 

The idea of intrinsic value is the focus for the chapter on education and the streamlining of learning to the core lessons of Maths, English and Science. Bregman argues that play is key to encourage pupils to think big and be creative but has been limited by pressure of exam and education boards and league tables. 

Chapter 5, The Other Cheek, looks at the Broken Windows theory, where there is an almost zero tolerance approach to crimes and even small misdemeanors. By being firm you set boundaries but the problem, as Bregman points out is increased incarceration and a predisposition for many institutions to malign certain minority groups. Also, the Broken Windows theory doesn't seem to be as successful as Complementary Behaviour which is about being polite and respectful as the other person will mirror that. Added with Contact Theory, the idea that by interacting with other groups you get to develop bonds and to see their lived experience, you develop compassion. Complimentary Behaviour is, well, complimentary. Apparently, more contacts with a diverse range of people means you become more open to ideas and themes of brotherhood, equality and freedom for all. 

Bregman ends on a note of hope and offers 10 rules to live by:

1) When in doubt, assume the best, 

2) Think in win-win scenarios, 

3) Ask more questions, 

4) Temper your empathy, train your compassion, 

5) Try to understand the other, even if you don't get where they're coming from, 

6) Love your own as others love their own, 

7) Avoid the news, 

8) Don't punch Nazis, 

9) Come out of the closet: don't be ashamed to do good, and 

10) Be realistic.

My reading list over the past couple of months has been a bit eclectic.

Overall, Humankind takes up the same themes and his previous book and develops them into a more cohesive philosophy of utopianism. Bregman urges everyone to believe in the good, do good, and promote good things as the best way to achieve a better world. The less attention given to the darker side of humanity the better and I kind of agree.

Over the course of Covid, we were frequently shown the dark side of humanity as people hoarded food, went on anti-lockdown protests but if you look at the bigger picture, much of the world did the ‘right’ thing and stayed at home, helped each other and front line workers put their lives on the line for the greater good. Okay, financial implications were obviously a huge necessity for some- I'm not that naive to believe that everyone who was in the front line did it for the sake of greater humanity- but there were tales of workers in old peoples homes deciding to not go home so they could support their community, tales of doctors and nurses working gruelling overtime to support a struggling NHS and many other selfless acts of heroism and stoicism.

A lot of what I saw on social media were Veneer Theory quotes from the Joker in the Batman: The Dark Knight and pictures of cleared shelves and a poor nurse or old lady looking despondent. I know that selfishness and self interest did occur but for the most part the world listened, helped each other out and showed that, when required, the world didn't need to burn. 

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What Remains of Edith Finch- Video Games As Art

What Remains of Edith Finch is a wonderfully atmospheric exploration adventure game, sometimes called in derogatory terms, 'walking simulators.' I am a huge fan of the genre as I find them a palette cleanser from the regular games I play and I would say that Edith Finch is the peak of the genre so far.

In the game the player controls Edith, a young woman exploring her ancestral home to uncover the mystery behind her family history and what happened to the various occupants there. The story is told through a series of immersive vignettes and each is powerful and emotional in different ways.

The Rise of Retro Gaming During Covid

The retro gaming market has gone crazy over the past year or so and it's been interesting to investigate why this has been the case. The global pandemic left much of the world stuck at home and many looked to the past for familiar comforts such as classic telly, films and video games.

My old mancave was full to the brim of comics, graphic novels, video game vinyl soundtracks and stuffies. It’s my nostalgia den!

So why is the past such a siren, especially when things are going wrong? Well, for many the pandemic caused fear, anxiety and discomfort, and so they looked to find something that would help them; nostalgia. Nostalgia is a sentimental often rose-tinted look at the past. This process helped many to deal with the difficulties of the situation here and now, acting almost as a comforter during these unprecedented times; they offer secure memories about better times. The Rule of Drift is the process whereby we create a cohesive whole by being selective with our information and past memories. For example, we imagine the long summers that seemed to stretch on forever, playing football in the park from morning till evening only going home for lunch and staying home for dinner, the hurricane of '86 where we went to the park and gathered hundreds of fallen conkers to play at school etc. It seems like a single cohesive timeline rather than the confusing hodgepodge that life actually is where we spent rainy Sundays playing Monopoly at home, being bored and fighting with siblings. Nostalgia is a powerful thing and we are selective with what we choose to remember and so, spending hours playing games offered many the comfort they sought. In the gallery below are some of my comfort purchases which reminded me of yesteryear.

I've been into gaming for nearly all my life and, whilst in my younger years I sold my collection to buy the upgraded consoles and games, ever since the N64, PS2 and GameCube era, I've kept my favourites games. About 10 years ago, I got into the retro game collecting scene and bought much of the older games I had liked in my youth for the Mega Drive, Master System and Gameboy, as these were the systems I most associated with my youth. Needless to say, I've got a pretty solid collection of games I've kept and loved but I've had no desire to be a hardcore collector and have every game on a console system or have a complete set of anything; I collect the things I love. But, over the past year some of the prices have doubled, tripled or even more.

My Streets of Rage 1 and 2 mint in box with booklets have jumped in price due to the interest caused with the release of Streets of Rage 4 last year but even the games that haven't been in the spotlight recently have shot up, and many of those aren't even rare or limited in print quantity!
And don't get me started on the mini consoles, my £59 SNES Mini is currently available for about £250 and that's not even at the top end of the scale! Scalpers are definitely price gouging here but there has been genuinely huge interest in the mini consoles, (except the PS One Classic as the games on that were shite) as it was the most affordable and practical way to enjoy retro games on the new television setups.

I did make a retro purchase (kinda) when I bought the Bubble Bobble Mini Arcade Machine but I would have bought that at any time, irrespective of lockdown. I was just lucky it came out then to quench that nostalgia thirst. There is great power in nostalgia, but a rose tinted view of the past doesn't disguise the fact that tastes and things have changed. Many of the gaming norms from days past feel positively antiquated by today's standards. Now, I love Bubble Bobble as it scratches that itch and is pretty evergreen in its gaming loop but I wonder how often Altered Beast was turned on before being swiftly switched out for something more playable this year. I know scalpers have affected the market somewhat but this is more than that. The market is too huge for scalpers to affect it so greatly so I think is genuinely is a lot of people either trying to recapture that memory or fondness of past times or trying to share their nostalgia with their children, who they've had to spend an inordinate amount of time with this past 18 months. I know I've shared Bubble Bobble and the Mysterious Cities of Gold with the girls so far and they've loved this 'Daddy-daughter' time.

I'm not sure if the retro gaming market will balance out or if this is the new normal but I don't care really. I'll keep buying what I like and won't pay the premium to keep up with the Joneses. With the London Gaming Market opening up this weekend, I'll be interested to see what the prices are like as they were always at a premium anyways.

I wonder if any of the vendors will be able to say:

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Press Reset- Book Review

Press Reset is Jason Schreier ‘s follow-up to Blood, Sweat, and Pixels, which looked at the inside story of how video games are made. Press Reset takes a further look behind the curtain and reveals what it really takes for the games we love to be created. In light of the constant news including #MeToo and #BLM much of this won't come as a surprise for those who follow the gaming news behind the big AAA announcements and promotional pieces but what Press Reset does is give you the inside track, often with big names sharing their experiences.

Over the course of the half dozen or so games, we hear tales of crunch, abuse, corporate buyouts leading to the scrapping of hundreds of hours of work, burnout and systematic layoffs after games have just released to make the balance sheet appear more profitable. Schreier is a video game journalist of some repute and writes with passion and a clear knowledge of the subject matter. It is refreshing to see an honest insight into the creative process of the biggest entertainment industry in the world without the glossy sheen of promotion or soundbites.

Press Reset- Jason Schreier

Chapter 1, The Journeyman, looks at the creation of Epic Mickey by Warren Spector. Epic Mickey was a title I owned and was excited about but ultimately disappointed by due to its shonky camera, floaty jump and surprisingly gloomy graphics. I wanted to love it but it felt a little rough around the edges, however I felt it was a worthy effort. The follow up, Epic Mickey 2: The Power of Two, garnered less praise and wasn't as charming as the first game. Many commented that it seemed like a rush job with little passion or care shown. We learn from Schreier that Disney Interactive had moved the deadline for release forward, got rid of a lot of the workers and tried to introduce elements from Facebook and mobile games, which they thought were going to change the gaming landscape. They were wrong. I feel for Spector as he seems like a stand up guy who just wanted to make niche immersive sims a la Dungeons and Dragons but the suits consistently let him down.

Chapter 2, Project Icarus, looks at the creation of Irrational's Bioshock Infinite. The original Bioshock game became a beloved and bona-fide masterpiece which took narrative to another level in gaming but the follow ups and Infinite were difficult and some of that seems to be due to Ken Levine's divisive managerial style. It's fascinating as I played and completed the game and felt like, even though everyone was praising it to high heaven, it was a straightforward, boring corridor shooter with a very pretty coat of paint and cod-philosophy and quantum physics thrown in. A few months later, the hype had calmed down and I think much of the industry realised that the Emperor had some okay but not high-falutin' clothes.
The end of Irrational was due to Ken Levine's leaving and this is the auteur problem; you get to work with an ideas guy but when the guy decides to leave, the lights go out. And so it was.

Chapter 3, Rafting Upstream, looks at some of the staff that left Irrational setting up their own idea studio and releasing isometric rogue like puzzler The Flame and the Flood (which I haven't played). It looks at how Kickstarter and digital distribution made indie games a more viable solution for smaller teams to pursue. It also looks at how big name players can come in seeking to mooch in and disrupt things but can often lose interest and leave people hanging (Google and EA come to mind).

Chapter 4, The Case of the Missing Studio, looks at the interesting Studio Marin situation where a studio had mass layoffs but wouldn't say it had, saying it was 'reallocating resources.' As a worker it made it more difficult to get a job as usually when studios shutter companies rush to pick up talented staff. However, due to the closure of the studio many of its alumni went off to make successful independent games such as Gone Home (which I loved) and Kine (which i have yet to play).

Chapter 5, Workaholics, looks at the creation of Visceral Studios and the critical success of Dead Space and Dead Space 2. Then with EA' s 'Games As a Service' agenda it was mandated to make Dead Space 3 as a strange multiplayer shooter to compete with the likes of PUBG. I played Dead Space 1 and 2 and loved the creeping dread feel of being alone. By inserting a companion, I felt that Dead Space 3 would lose its identity and so it seemed as many fans turned away from the series. EA shuttered the studio after its poor decisions led to a poorly received game. The bean counters had struck again and affected the lives of so many for the benefit of so few through in terms of balance sheets, stocks, shares and self-awarded pay rises. At the time of writing this review news has just come in that EA are seeking to revive the series with a reboot but I don’t trust them to do anything worthwhile after they shuttered the studio due to their own corporate hubris.

Chapter 6, Bloody Socks, looks at the shuttering of 38 Studios, a studio created by an American Baseball star player, Curt Shilling. A huge fan of World of Warcraft, Shilling wanted to create his own MMORPG. Unfortunately, lack of business acumen and knowledge of the working side game development studios, and unfortunate legal wrangling with Rhode Island State meant that a sad fate awaited his much-hyped game Kingdom of Amalur.

Chapter 7, Big Huge Problems, looks at how Big Huge Games was bought by THQ and the problems that arose when their parent company became bankrupt. When 38 Studios and Curt Shilling came calling to buy the studio and support their in-progress MMORPG, BHG thought its problems were solved. This chapter is another angle to the tale told in chapter 6 and looks at how Shilling's meddling, upper management's confused messaging and video gaming experience and unrealistic expectations led to BHG's downfall too. After 38 Studios closure, the BHG team were out of a job, even though it had a completed game that was ready to ship. Luckily, it was bought by Epic who liked what the team had done before it too decided to close the door after only 8 months. It seems like the early 2010s had companies trying to push the 'Games As Live Service' and micro-transaction model, meaning games well into production were pivoted to produce Frankenstein’s-monster games where pieces of games were carved out to sell on digital storefronts, to the detriment of the game quality.

Chapter 8, Gungeon Keeper, looks at the ouroboros nature of video games and studios. This chapter looks at EA’s habit of buying studios, and then pulling the plug. And so it is was with Mythic, who were tasked with creating a game for the burgeoning mobile games market. Mythic was asked to pitch mobile games alongside working on Ultima Forever. Looking through the back-catalogue, Mythic Entertainment fell in love with Bullfrog's Dungeon Keeper 1 and 2. The game, created by the legendary game designer/ hype man Peter Molineaux, was a dungeon crawler but viewed askew as it was from the point of view of the 'bad guys'. Unfortuanely, EA insisted that the new game had to follow the freemium model (where the game was free but you paid micro-transactions to speed up 'cooldown timers') as the suits were looking to ape the huge financial success of Clash of Clans, which had earned hundreds of millions in the previous couple of years. It didn't go to plan and the studio was shuttered but a few of the team decided to go independent and from this came Indie hit, Enter the Gungeon. I hadn’t played Enter the Gungeon but after hearing this chapter I decided to support the plucky studio and I gotta say, the game is a blast!

Chapter 9, Human Costs, Human Solutions, looks at the cost of making games and offers possible solutions to the sometimes toxic environments and conditions that exist; dedicated outsourcing houses, freelance consulting and unionisation of the video game industry,

The AAA videogame industry is unsustainable as it currently stands. It has a high drop out rate and the brain drain is huge as many seek more stable work to support themselves, especially if they are looking to settle down, buy a house or start a family. In many countries, unions have helped protect worker's rights but in many parts of the videogame industry unions are considered one step away from Communism. However, Covid may have changed the way we think about work and remote working may be the way forward.

Whatever the case, Schreier has brought to light the highs and lows of the industry and in a thoroughly engaging way. This book is a must read for anyone with even the slightest bit of interest in the video game industry or the creative process.

LINK- Blood, Sweat and Pixels- Book Review

LINK- The Offworld Collection- Book Review

LINK- Uncharted 4- Video Games As Art

LINK: Japan: My Journey to the East

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: Let’s All Create a ‘New Normal’.

LINK- Mario Odyssey- Video Games As Art

The KLF: Chaos, Magic and the Band who Burned a Million Pounds- Book Review

The early 90s were a strange time for music. Being just 10 years old, I don't remember liking much of the music at the time but there were some huge tracks that stuck with me; the Shaman's Ebenezer Goode, Snaps Rhythme is a Dancer and Haddaways What is Love? were undeniably massive tunes but I remember hearing KLF’s 'Justified and Ancient,' '3 a.m. What Time is Love' and ‘Last Train to Trancentral ' and being puzzled as these tracks were something special. As I grew up, I listened to more of the KLF's albums, appreciating them for their banging tunes and weird lyrics and learned the legend of their burning of £1 million at the height of their power. Over time, this iconoclastic act has grown in power but the reasoning behind their actions has remained a mystery.

It was whilst perusing the Audible sale, I came across Paul Higgs’ book, The KLF: Chaos, Magic and the Band who Burned a Million Pounds, and, based on my curiosity, I purchased it. I have listened to it for the past week on my commute to and from work and what a fascinating listen it has been!

This is the story of The KLF but this ain't your daddy's garden-variety, run of the mill celebrity biography, oh no! Rather the KLF are the contextual point for Higgs to consider a variety of wide-ranging ideas brought together under the KLF banner to make an interesting yet haphazardly enjoyable read on the possible influences of the band.

Through the lens of the burning of the £1 million Higgs takes us on a strange and magical journey through philosophical ideas that influenced band mates Bill Drummond and Jimmy Cauty including quantum physics, religion, conspiracy theories, art, magic and Doctor Who. Famous names like Alan Moore, JFK (and his assassination) and Echo and the Bunny Men also get dropped as does a strange trickster rabbit entity that seems to follow Drummond in the early years of his career.

I found the insight into how The Illuminatus Trilogy and Principia Discordia greatly influenced the band and underpinned their motivation fascinating. The Illuminatus Triology is a zany and wacky journey through conspiracy theories that links the JFK asssasinaton with the Illuminati etc. It’s all very pseudo-science before pseudo-science gained more mainstream traction if not respectability. Meanwhile, The Pricipia Discordia was a text written by a small group of Dischordians with the aim of purposefully and playfully writing alternate facts and conspiracy theories to initiate 'Operation Mindfuck'- the aim was to create a jokey counter culture narrative against the prevailing norms of society.

I loved listening to this book as it took so many turns that it totally bamboozled me but had me interested in the topics as it go to the core questions we all ask; what is our purpose and where does true art come from? Their Discordian background offered an interesting philosophy in challenging the norms but in light of the freeflow of information on the Internet, it may have got out of hand as people who do not recognise the changing world or are afraid of change look for rational (or irrational) explanations. And so we have what we see in most of the social media streams; a bell curve of the most shrill on the left and right.

For the KLF, their music was a celebration of pop music but also a battle to not lose their soul to the music industry. By being true to their agents of chaos roots it’s clear that the KLF were ahead of their time in many ways as they were rebelling against a system they had been in for over 20 years and seen destroy many lives. They also knew that the world was changing at a fast pace and their place in the music industry would be assured as they received approval from The Brit Awards and sold millions of records, so why not end their time in the spotlight with a bang?

For Higgs, The KLF was created to challenge the norm yet it may have claimed their sanity but maybe through Magic, the process of creating something, it helped ease their burden. Maybe they foresaw the inherent evil that money, specifically usury, inflicts upon the world and so may have chosen to burn it. Or, they could just be arrogant, egotistical pricks like many claimed at the time of their ‘stunt’. Either way, this is one music biography you do not want to miss as it will have you questioning your own self-evident truths.

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: Let’s All Create a ‘New Normal’.

LINK- Mario Odyssey- Video Games As Art

LINK- Hellblade: Senua’s Sacrifice- Video Games As Art

LINK- An English Geek in Saudi

New Dogtanian Movie Trailer Drops!

Being a kid in the 80’s, there were certain shows you couldn’t miss as they were either long serials, perennial summer favourites shown during the holidays or were on constant loop- there was The Mysterious Cities of Gold (my favourite), Ulysses 31, Around the World With Willy Fogg, Jayce and the Wheeled Warriors and also… Dogtanian!

With one of the most catchy theme tunes in animation history, Dogtanian followed a young pup as he sought to become a musketeer. There were 2 series and a movie made and the property had remained dormant… until now! A new CGI movie of Dogtanian and the Three Muskehounds will be release in cinemas on 25th June 2021 and I must admit, my interest is piqued. Now don’t get me wrong, it doesn’t look that great but I do like to support retro revivals so distributors know that there is a market for these old properties. We’ll see how the film pans out but with a budget of $10 million, I’d say it stands a chance.

The Cuphead Show Trailer

Cuphead was a beautiful, but tough as nails, run and gun game with a 1920/30s cartoon aesthetic. I’d heard that the show had been in development for a while so when the trailer dropped I was suitably excited. From the looks of it the charm and ‘rubberhose’ style of animation (where the characters look like they are dancing even though they are standing still) remains.

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Over the past few years, we have had excellent reboots and revivals on Netflix, includingShe-Ra and Carmen Sandiego so I’m excited to see what is achieved with this new-old inspired property.