Govan Ghost Story- Cult TV Review

Plays on One was a drama anthology series which ran on the BBC from 1988 to 1991. I never knowingly saw any of it (I might have watched some accidentally when I was ill at home from school but can’t say for sure) but had recently heard that Govan Ghost Story was a particular highlight. I found the whole one hour film on YouTube and gave it a watch.

Govan Ghost Story tells the story of Jock, a former shipwright who used to work in the shipyards before the strikes and recession brought the industry down. This is a bleak visions of Thatcher's Britain where proud people who used to work and want to work cannot find employment. Jock has been out of work for nearly six years; “five years, four months and twenty-three days” and this puts him in conflict with his daughter, who is a part of the new yuppie culture. Whilst she is thriving within this new economic model, Jock struggles and lives in the dilapidated high rise council tower blocks of Iona Court, an area that would soon be demolished within a few years. In the empty flat next door, Jock keeps hearing eerie noises and sees a little girl playing in the hallway. At night, he hears the terrible sounds of the girl being beaten by her violent abusive father. Why is Jock hearing these sounds and what can he do to help the girl move on?

It's interesting to see how the film uses the supernatural element as a backdrop to explore these very real social issues. Jock's character, ably played by Tom Watson, is complex and relatable as his disillusionment with society and his personal struggles are mirrored in the crumbling concrete and steel of his surroundings. Also, the contrast between Jock's working-class background with the affluent lifestyle of his daughter's friends is a poignant commentary on the growing social divide that arose in the 80s.

The film is informative for someone like me who didn’t grow up in this period of time and was not able to see the effects that the recession had on traditional industries. The decaying physical environment of Iona Court reflects the psychological decay of the main character and is incredibly potent. This film is well worth an hour of your time as it is a time capsule of a difficult time in British society.

Summer, Fireworks and the Corpse- Book Review

I have gone down a Japanese narrative rabbit hole on my Kindle app, picking up a few novels on the cheap. I prefer the feel and biblichor of actual books but many of these are highly prized and expensive as it is a niche market in the West and the print runs were often small. So digital it is for Summer, Fireworks and the Corpse which features the title story as well as Yuko, a gothic short story. Both are the works of renown author Otsuichi.

The first story Summer, Fireworks and the Corpse concerns the untimely death of Satsuki, a 9 year old girl who dies after being pushed from a tree by her friend Yayoi. Alongside her brother Ken, Yayoi conceals the body and they become adept at lying to conceal the facts of this tragedy.

The story is intriguingly set up as we get a ghost narrator in Satsuki who tells the story from beyond the veil as she oversees what is happening. Alice Sebold's The Lovely Bones borrowed this style 5 years later but I can see why- it's an effective tool to tell a narrative in an unusual and interesting way. Not only do we get the narrative told in an engaging way we get the emotions of the victim at the centre of the tragic tale.

As the two children hide the body and try to avoid being caught, it turns into a game of cat and mouse- much like one of my favourite shows Colombo. You can't help but root for the kids as they are clever and inventive in covering their trail. Ken particularly is very astute but can come across as a bit sociopathic as he seems to enjoy the 'game' whilst younger sister Yayoi is all weepy eyed and ready to fall apart at any moment.

There are also moments of real pathos though as Satsuki says upon seeing her friends set off for their first day of school, ''Upon everything but me, morning came, and everyone but me was alive''. It is really understated yet incredibly powerful as it brings home that fact that Satsuki was incredibly young upon her death and will never experience all that life has to offer.
Also, the character of Midori, who interacts with the children a lot, is an intriguing one as there are hidden depths that reveal themselves.
Overall, Otsuichi's story is short but leaves a mark as it is filled with observations on life, death and everything between which are lyrical and moving.

The second and shorter story, Yuko, is set after World War II and concerns Kiyone, a young lady who works as a servant for a reclusive writer and his never seen, bedridden wife. Over time, Kiyone slowly starts to go crazy with curiosity and seeks to look at the mysterious wife... but will it end well?

Yuko is a intriguing short story with a Japanese twist on the gothic tale; an isolated location, an unusual house owner, a mysterious hidden figure, unknown deaths and wary local towns people. The put-upon housekeeper tries to get to the truth and in the end we have diverging viewpoints on what has happened. It's a solid premise but I think there is a simple flaw in knowing what happened, look at the physical evidence in the aftermath of the finale.

I really enjoyed my time with these stories as they were short and breezy, only taking a couple of hours in total to read. From reading a few biographies online, I know that Otsuichi wrote the book when he was just 17 years old so I look forward to reading some of his later works to see how he developed his craft over time.

The Haunting- Cult Film Review

The Haunting of Hill House by Shirley Jackson is probably the most famous haunted house story ever written. I had heard great things about the classic 1963 film adaptation directed by Robert Wise, who is also known for his impressive work on beloved films such as West Side Story (1961) and The Sound of Music (1965). I found myself wondering, it couldn't really be that scary, could it? As the dark autumn nights began to draw in, I thought it would be the perfect time to finally give it a watch and see for myself what all the excitement was about.

At the very beginning, we learn about the sinister and unsettling history of the building through a dramatic and captivating narration, “An evil old house, the kind that some people ominously refer to as haunted, is like an undiscovered country waiting to be explored by brave souls. Hill House has stood for an impressive 90 years and might very well endure for 90 more. Silence lay steadily and ominously against the wood and stone of Hill House, and whatever walked there…walked alone, isolated in its own chilling presence.”

Wow, what a way to get you into the fright night zone!

We are introduced to supernaturalist Dr. Markway who wants to investigate the paranormal activities within Hill House. He has a list of 6 volunteers drawn up who each have their own backstory as they investigate the haunted house, however only 3 turn up though as the others were scared off by the reputation of the place.

The characters are the usual ragtag crew:
- Eleanor Lane, the anxious and highly strung spinster sister, who feels like she is a burden upon her married and settled sister. She is an empath and feels presences. She is called to the house as she had an experience with a poltergeist when she was 10 years old.
- Theodora, a sassy and confident young woman who doesn't put much stock in the spooky, has ESP powers but is a mean card shark as well as a bit mean.
- Luke Sannerson, a confident and cocky bachelor, who will inherit the house from his aunt when she passes and is just in this game for a lark. He is an unbeliever.

The film continues to be remarkably impressive and captivating even 60 years after its initial release.

This is the first time I have ever seen the film, and as is usual with cinema of a certain vintage, it is a deliberately slow-paced affair that gradually cranks up the tension in a most effective manner. The black-and-white cinematography is truly superb, making the most of the shadows and employing interesting and creative use of camera angles that collectively contribute to making the entire viewing experience unsettling and unnerving. Hill House itself is beautifully gothic on the outside, but the set designers have really outdone themselves with the exquisite detail they have placed in the set dressing, reflecting a high level of craftsmanship. The intricately carved wooden details found on the furniture, beams, and staircase add to the rich baroque gothic vibe, while the thoughtfully chosen creepy statuary, haunting paintings, and chintzy decor evoke a Mrs. Havisham feeling of faded past glory that has begun to fall into disrepair over time.

The sound design is suitably eerie and the effective foley work adds door slams, thuds and creaks that will add that extra chill to proceedings. The actors give it their all and I especially enjoyed seeing Russ Tamblyn who I only knew and loved as Dr. Jacoby from Twin Peaks. He plays the arrogant and self-assured nephew well but this isn't to detract from the other actors, Julie Harris, Claire Bloom and Richard Johnson all do a great job in what is essentially a story told with a tiny cast of just 4 main people.

Sure, it doesn't have the special effects or jump scares that many horror films use now but it does have an excellent central conceit and a suite of actors and actresses who give it their all. The final 15 minutes, when the shizz hits the fan and the door starts to pulse to the rhythm of the houses heartbeat is extremely well done and, like The Woman in Black, the less is more economy of design works in its favour.

Even after approximately 60 or so years since its initial release, the film remains well worth a watch and continues to deserve its esteemed status as a gothic horror classic.

The Life Impossible by Matt Haig - Book Review

I have read a couple of Matt Haig's books and find myself looking forward to his every new release. I find that they are like the warm, cozy hug and an uplifting pep talk that you didn't know you needed as life has been getting a little too much. The Midnight Library was a wonderfully life-affirming piece of work and I was very much looking forward to his latest.

I loved the Midnight Library as within the magic realism tale were many truths about the human condition. This carries on that heady mix of aphorisms and truths that hit hard but with a more sci-fi and improbable premise.

A retired and lonely maths teacher, Grace, is emailed by an old student who is struggling with life. Seeing his plight, she responds with a life affirming tale aimed at giving him hope.

The tale she recounts is about the time she inherited a house in the Mediterranean, on the island of Ibiza to be precise, from an old and now deceased colleague. This unexpected act of kindness sees Grace say goodbye to rainy old England and hello Balearic sunshine but there is a deeper mystery as to what happened to her benefactor....

Over 300 or so pages Haig explores themes of life, death, destiny and the choices we have made along the way. Now, that's all noble and everything but that's a bloody long email, Grace! I kid as I enjoyed the concept of a benevolent alien life force and wormhole to a new planet-it's a soupçon of sci-fi in comfy chunky soup form. The whole story reads like a tale about empathy fatigue and the idea that ignorance or misanthropy is not an option.

Reading through this there were elements that reminded me of a myriad of media; The Abyss, Cocoon, The Matrix, Shirley Valentine, What Women Want, Alan Moore's Swamp Thing, The OA, Mr. Nobody and Contact. It's an amalgamation of heady ideas but presented in a summer Richard and Judy Book Club kind of way.

Overall, I enjoyed Haig's incredibly humanist work which aims to show that people are inherently unique and special and that the most obscene thing that a person can do is to worship things that devalues human life. Irrespective of your religious beliefs, I like to think that the whole thing about god punishing people for idolatry is not just a silly story: it's about something deeply human and important that points at a fundamental truth- late state capitalism is bad and also hell is other people but hell is also no people at all.

With age I am getting more and more wary of misanthropy and isolationism because, in the end, the only thing we have is us. There's very little happiness that can be had without other people involved (I mean, some fun for sure but maybe not a lot of true happiness).

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

LINK- Japan: My Journey to the East

LINK- The Future Starts Here: An Optimistic Guide to What Comes Next- Book Review

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

LINK- Nintendo: My One True Gaming Constant

LINK- Let’s All Create a ‘New Normal’.

LINK- An English Geek in Saudi

The Comic Speculation Trend (and What Videogames Could Learn From It)

I fell in love with comics during the late 80s. My best friend at the time showed me his small comic collection and I remember listening to Jean Michel Jarre and reading them. The art, stories and dynamism shown on the page blew me away ; it's interesting how such seemingly different art forms can intertwine and create such a powerful impact. For me, the sound of Oxygene combined with late 80s/ early 90s Iron Man, creating a truly immersive experience my head.

I remember vividly going to bed excited to visit our local comic book store, Rodney's Books and Games. The makeup of the shop was strange but cool, at the top was Rodney who sold second hand books and in the basement was Ian, the mid-30 pony tailed guy who sold the comics and manga. I'd been visiting this place to get the books as I was really into the Fighting Fantasy series of books by Ian Livingstone and Steve Jackson. I'd never really ventured downstairs as that was where the men and older teenagers hung out.

There was a connecting space as at the top were rows of comic book boxes with grab bags, £1 a piece, which contained about 4 to 5 comics. The corners were snipped off but it was a cheap way to read loads of comics really easily. Sure, you'd never get a story arc but back then it was a great way to be introduced to a wealth of comics.

I loved visiting every Saturday morning with my best mate and spending our pocket money. However, the early 90’s were when I stopped collecting comics, this was when the comics boom started. I had only a little amount of pocket money and the possibility of getting a girlfriend, socialising with friends by going to the cinema or Pizza Hut buffet whilst collecting all the variants and crossovers made it all too hard for me to keep up with everything. Also, factor in the price rise in comics (from about 80p to about £1.50 to some being over £2) and I was out of the game. Speculators made it hard to collect the comics I wanted and when I could get it, the comic seller had usually jacked up the price. The biggest example I have of this is I was a huge Iron Man fan, who I'd followed since reading a mate’s issue of #250, which I bought and still have. I'd buy monthly issues but the Death of Tony Stark was the next issue (#284 for those who are interested) and I couldn't find it for love nor reasonable money.

I moved onto Flair Cards and loved them for their stunning artwork, interesting facts and good quality card and foil effects but then they became a speculative bubble. I knew this was happening when my group of equally geeky friends suddenly saw many more of our student peers collecting the cards in the playground, it became a phenomenon. Then, after my young cool uncle lent me VHS copies of Akira and Devilman, I got into manga and that was my thing for the next couple of decades.

I know I sound like a hipster but I'm not- I like the stuff I like because I genuinely like it. When things get speculative I get priced out and that's annoying. I loved comics and felt sad that I had to step away however, when I got my first proper paid weekend job in Peacocks, as well as saving some, I'd buy CDs, DVDs but also graphic novels. I found that with graphic novels you'd usually get a whole story arc and the prices wouldn't be speculated on. I've amassed a sizable collection of over 700 and have continued collecting, getting only the stuff I want to read. I don't follow trends or hype cycles but follow the creatives or characters I want. I dropped out of comic collecting because it became prohibitively expensive. I only get a few issues a year and usually they are for the big events like the death of Kamala Khan (Ms. Marvel) or the first appearance of Spider Boy, and even then I don't stress about variants, foils etc... life's too short! I find that the indie scene is exciting and I enjoy supporting new creatives as there are genuine innovations and a refreshing ideas. I buy several graphic novels each year as the price is quite expensive buy I do get a few single issues too.

As a lifelong videogamer, I’ve been surprised and thankful at how game prices had remained relatively low. It's incredible how much the market has changed over the years. The early 2000s were definitely a golden age for bargain hunters, especially those with a penchant for older systems like the NES, Gameboy, Master System, Megadrive and SNES. However, the internet and nostalgia (as well interest heightened during Covid) have driven up prices for retro games.

When you want to buy a game you don’t expect to look at a table to consider your purchase.

The comic book industry has shown that offering too many different versions of a product can confuse consumers and lead to decreased sales overall. Thus the videogame industry should heed the lessons learnt from that industry and not over-saturate the market with different editions of games or Day One DLC, microtransactions or season passes that are not considered worthwhile for the customer. It’s been a real bloodbath over the past couple of years and I hope the industry recalibrates itself.

LINK- Blood, Sweat and Pixels- Book Review

LINK- Streets of Rage 2 OST on Vinyl 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- Children of the Stones: Cult TV Series Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Carmen Sandiego- Complete Series 1 Review

Haibane Renmei- Cult Manga Series Review (As Well As Some Reflections and Thoughts)

I recently wrote a retrospective about how manga and anime had been an integral and formative part of my youth and teenage years. It wasn't just the zeitgiesty and cult appeal of the shows, although there was plenty of that for hipster-like credibility, but it was more the way the medium made me appreciate the wider world and the innumerable questions I had about my place in it.

Sure, there were certainly existential shows like Evangelion, which deeply made me think about various aspects of faith and philosophy, but my absolute favorite anime of all time is a bit of a forgotten hidden gem—it's Haibane Renmei. This unique series offered a beautifully woven narrative that resonated with themes of redemption and self-discovery.

This particular series holds a deeply special place in my heart and always will. Discovering it, as I did in the early 2000s, felt like a true revelation during a time when I was grappling with an existential crisis—an experience common amongst many young adults suddenly thrust into the uncaring and cold job market after years of comfort and routine provided by the education system. The story and art by Yoshitoshi ABe was unlike anything else out there and the muted colour palette really stood out to me.

Rakka, a young Haibane, emerges from a cocoon in the mysterious ‘Old Home’ in the village of Glie . She has a delicate halo and, after a Cronenbergian body horror scene, sprouts small gray wings, but has no memories of her past. Named after her cocoon dream of falling, Rakka learns to navigate the strange town while following the strict rules that keep the Haibane from leaving their walled town. As time goes on, Rakka and the other Haibane worry about the mysterious disappearances of their kind on the ‘Day of Flight,’ as they know little about their fate or future. What follows over 13 episodes is a character study on community, grief and, ultimately, salvation.

The series is a complex combination of slice of life anime, mixed with some body horror and then a large sprinkling of existential questions that have always plagued us all our lives. On one hand I hate that it doesn’t get talked about as much as other series. On the other I’m glad it doesn’t because it feels like this special little piece that you have to actively seek out or just stumble upon. It’s definitely an experience and every time I revisit it I am moved by it even if I can't eloquently articulate why.

For anyone who is a Fumito Ueda fan of games like Ico, Shadow of the Colossus and The Last Guardian, I feel like they would appreciate this series because the stories are told in a similar manner in the way that they don’t tell you all the answers, you feel like you are given a tiny glimpse into a wider world with lots of lore you aren't party to. Also the music is down by the same composer, Kow Otani, and it is just phenomenal. The series also introduced me to the works of Haruki Murakami, whose Hard Boiled Wonderland apparently inspired some of its story.

The hopeful rather than nihilistic nature of the show really appeals to me - the early 00s anime ennui has not aged too well with many other series but with Haibane it is hope that has kept the show alive in my, and many others', heart. The idea to do better and be better is something that people can get behind; it makes you contemplate life and the human condition itself and that is something very special indeed in this late state capitalist hell scape we find ourselves in. 

Finally, I have some thoughts about the series and wanted to share them. I have done it in a stream of consciousness way as I can’t articulate it all in a cohesive way with a though-line just yet. I am processing it and, as each year I read more and learn more, the meaning and symbolism are fluid for me:

  • The journey of Reka over the course of the series is touching as her self-loathing leads to her looking for redemption.

  • Asking for help, and recognizing that it's okay to ask for help in the first place, is something we can all struggle with. Reka embodied that struggle beautifully in the latter half of the series.

  • The haibane are all named after their dreams and whilst we do not know what their dreams mean I know some interpretations online see it as the method of their death or suicide; Kuu from floating in the air (jumping off a building) , Nemu from a deep sleeping (sleeping pills), Kana from floating in a river (drowning), Hikari from dazzling lights (electrocution) and Reki from small pebbles on a moonlit path (hit by a train).

  • The Day of Flight is when Haibane ascend or pass over. It should be a celebration but can be tragic for those left behind as they are left mourning the loss of a friend.

  • The crows are like psychopomps or harbingers for Rakka as they foreshadowing, signal and signal key events that occur. Whilst Rakka is depressed after Kuu's flight she is guided by a crow to the Western Wood and undergoes a transformation whilst stuck in a well. It reminds me of the story of Toru in Haruki Murakami's Wind Up Bird Chronicle, where the well acts as a physical manifestation the subconscious mind.

  • The Sin-bound are the Haibane who have black or dark spotted wings or who do not remember their cocoon dreams. But one who recognises their sin has no sin - this is the circle of sin as explained by the Communicator.

  • Rakka goes through talk therapy with the Communicator who helps her when she gets out of the well but is lost in the Western Woods.

  • The Bell Nut Festival is a way to commemorate the end of the year by giving thanks to those who have helped you over the year. Reki reconciles with her frenemies at the Old Warehouse but still feels alone and abandoned. She succumb to her loneliness and her quest for self-annihilation manifests in dramatic fashion but only by trusting  in the power of her relationship with Rakka does she realise that she has changed the world for the better by existing within it- she is and never was alone. All she needed was to ask got help.

  • The fact that this anime was talking about the powers of talk therapy and Salvation years before it became mainstream blows my mind and makes me incredibly happy. It is a wise anime that only gets better with age in my humble opinion.

Bonding With My Girls Through Our Interests

My girls are growing up and time seems to be moving quickly. In the words of the great Ferris Bueller, "Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” My wife is working full time in her job and so, for the first time ever, I'm the main caregiver: this means having A LOT of time with my kids. Now, don't get me wrong... I'm loving it but it also means I'm seeing them grow and develop their own interested and personalities in intense detail. We’ve had lots of bonding moments over gaming including during our playthroughs of Mario 3D World, Mario Kart 8, Yoshi's Wooly World, Kirby and the Forgotten Land, Alba and Switch Sports.

They grow up so fast and I want this quality time with them, it's not the game per se as much as it's a chance for us to have fun, communicate and, on occasion, trash talk each other.

Recently, my eldest has made it a bit of a habit to watch me play games whilst the youngest is asleep and my wife is out. She says it's relaxing and helps her feel calm. During these sessions I've played Zelda: Tears of the Kingdom and Dordogne, quite relaxed games with a lot of reading. I'll read the text in funny accents so she doesn't miss out and usually she falls asleep whilst I'm gaming; these have been lovely bonding moments.

My girls are also into graphic novels with Jasmine (the elder) having read all of the Lumberjanes series (that's 23 graphic novels), Hilda (6 graphic novels) and all of Raina Telgemier's books and some other young kids appropriate books. They've also watched the whole Hilda series, Carmen Sandiego and are getting into the new She-Ra series, all shows I've watched and loved but they've discovered it in their own time.

We've also had some quite existential questions coming up as my girls are starting to realise their role in the wider world. This has led to some discussions about faith and their own path. As I'm a cis male my life experiences, life choices and chances are different so even though I can empathise and sympathise I haven't walked in those shoes so I've been listening to lots of audiobook and podcasts to get a deeper understanding. Over the past year, I’ve listened to a lot of autobiographies and podcasts and learnt about the following:

Tegan and Sara- peer pressure, standards of beauty, drugs and alcohol.

Mel C- life goals, resilience, sexuality, the male gaze and social and mainstream media.

Cassandra Peterson (Elvira)- abuse and toxic masculinity

Mel B- dyslexia, toxic masculinity and abuse.

Abbi Jacobson- glass ceilings, toxic concepts of beauty and work pressure

Dear Koko- how to help your daughters grow and develop

Femina- Powerful women in Medieval history who have been erased from the public consciousness.

Michelle Zauner- the lives of POC in a country is conditional and not guaranteed.

Jenette McCurdy- peer pressure, standards of beauty, parental neglect and abuse.

Britney Spears- life goals, parental abuse and neglect, mental health, resilience, sexuality, the male gaze, social and mainstream media.

I have been playing lots of Jarre in the car with my daughters as my wife is working now, so I have to do a lot more school pickups, club drop offs and park and library runs. My youngest turned to me and said, "Dad, Jean Michel Jarre sounds a lot like Mysterious Cities of Gold" and I have to say, I've rarely been prouder. She is her dad's daughter.

Additionally, we all enjoy going to the arcades. Previously, the girls had only had a slight taste of the arcade experience at the piers with their limited range of games or at the Comic-con, where there were a few emulator systems and mini consoles. However, this changed when we went to a proper arcade called Boneyard in Exeter. We went for my birthday and we played for a couple of hours, enjoying Puzzle Bobble, Tempest 2000, Sega Rally, Asteroids, DDR, Art of Fighting, Galaga (Jasmine’s favourite) and many, many more!

To balance it out, I do want to state that I'm pushing my limits too, I've got an appreciation of Jojo Siwa's music, Kids Art Hub and random shells, sticks and stones. We often use Jojo's music as our 'tidying up before mum gets home' music and I have to say, the lyrics are proper girl power ish. The girls have also introduced me to Teen Titans Go, I knew of the series and had seen a few episodes here and there but for my girls it's a very formative cartoon that feeds into their personality and quirky sense of humour, especially Leela's which is more exuberant and wacky. Jasmine has a love for swingball and is actually really good at it, as is her trash talking. It's all very PG rated sick burns but gosh can the girl chat sass!

I hope my girls realise that they are interconnected, global citizens who are truly people of the world, with all the life choices and chances that provides. I hope they grow into informed and educated young people who are emotionally intelligent with a respect for all people. My wish is that they don’t realise that their life may be conditional due to their heritage; some people will bring this fact about when there are geopolitical, social and economic changes happening somewhere in the world over which they have no control. They may have a chance of ‘passing’ (to be mistaken to be ‘white’) but I hope they are proud of who and what they are and remain true to themselves.

LINK: Lost Manga and Anime

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

LINK: Japan: My Journey to the East

LINK: Battle Angel Alita: And So It Ends

LINK: Fire Tripper: Cult Manga Review

LINK: Manga Exhibition at the British Museum

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

LINK: My One True Gaming Constant in Life- Nintendo

Moominvalley- Season 3 Review

I have a deep love for the Moomins which only came around in the mid 2000s with the release of the comics. Tove Jansson's comics were published in the 1950s in the Evening Standard and it was here that the characters became popular, however the collected volumes weren't released until 2006. As a comic collector I noticed the first 4 volumes on sale and decided to buy the set and it was here that the whimsical stories with heart and street philosophy entered my life. I have previously watched the creepy stop motion animation in my youth and it haunted my dreams with its jerky style and strange music (which I purchased and have a new-found appreciation for), but I did watch the 90s animated show occasionally and liked that just fine.

Sky and Finish Channel YLE released two series of Moominvalley in 2019 and 2020 and I enjoyed the shows with my family- my two young daughters and my wife. They knew the characters from the various items strewn around the house, the children's books and our visit to Moomin World in Finland several years ago. They loved it but I thought the show was attractive enough but not remarkable. I felt at the time that whilst the lush vistas of Moominvalley and the crystal clear rivers and lakes were wonderfully realised in computer animation, there was something lost in translation as the texture and expressive lines that bring comic characters and the world were missing. However, over the past few years as my family and I have had many multiple viewings of the show, my appreciation and affection for the show has grown and I have grown to love it and judge it less harshly.

So, it was with bated breath that we waited for the drop of season 3. Covid delayed the release, for obvious reasons, but the show finally came out in 2022. The first thing to note is that the voice of Moomintroll has changed from Taron Egerton to Jack Rowan but it’s not that noticeable as they both sound similar enough.

Another big change is the flow of the stories; this season unexpectedly shifts from late summer to Autumn, with Winter episodes in between, and now concludes with the start of summer. I could be reading too much into this but I think this change shows how the characters have grown. Initially, they followed predictable paths, but now they're stepping out of their comfort zones. No-one illustrates this growth as much as Snufkin who usually appears in Spring and leaves in Winter, sticking to this routine in the first two seasons. This season however he remained part of the story throughout, even during Winter. In fact, by the end, he chooses to stay with the group, showing personal growth despite his past social anxieties. It’s unclear if this growth means he has overcome his anxiety or simply feels more comfortable in Moominvalley with the community he has become a part of.

The Moomins themselves have also changed; they don’t hibernate this time and are active throughout Winter, adding to their character development. So what we have is a Moominvalley that has truly undergone some change and matured.

There is real growth in character this season, especially for Snufkin.

Here are my synopses of the episodes and my reflections:

Homecoming- When the Moomins return back to the Valley they see their home in a state of decay. They realise that a false prophet is selling easy solutions to problems and it is causing conflict. Moominmamma comes up with a very simple solution, after all "Talking is all we have... We all have more in common than naught. We shouldn't allow petty differences to divide us... We wouldn't have to create sides if we didn't create borders."

This is a deep and pertinent episode after the stratified discourse we have had across the world with Covid, Brexit, Climate change and the various conflicts playing out.

Moomintroll's Grand Adventure- When Moomintroll falls overboard he lands on an island. He meets Snork, the inventor, and proceeds to play out a great adventure in the style of Robinson Crusoe. Unfortunately, Snork is practical and reveals that the island is not what Moomintroll was expecting. So, Moomin makes up tall tales to impress the creatures in the valley but this has repercussions on his relationships.

This is a super sweet episode as when Moomintroll reunites with Snufkin we get a huge hug. This shows the personal growth that the man in green has undergone and the payoff is huge. Also, we learn lots about being honest and being true to yourself.

Brisk and Breezy- We are reintroduced to the chauvinistic Mr. Brisk as he is a camp leader leading our menagerie of characters. Through a plot device, Little My finds out that Brisk may, in fact, be her dad. She puts him through trials and challenges to gather if he has the mettle. When a storm puts the life of the group in danger they work together to stay safe.

I liked this episode a lot as we get to see the more emotional side to Little My. Usually, she's a sneaky agent of chaos but here she needs validation and seeks approval. It's a sweet episode with heartfelt moments with Little My and Moominpappa.

Inventing Snork- We meet Snork and realise that he is quite a eccentric character, probably on the autistic spectrum. Moomintroll endeavours to befriend him and introduce him to the characters of Moominvalley, unfortunately his directness rubs people up the wrong way. Snork leaves the valley and the crew try to get him back.

This is a really sweet episode as Snork stays true to himself. He makes friends by being his authentic self. As a teachable moment it is lovely.

The Stinky Caper- When the scoundrel Stinky comes to Moominvalley and steals a painting from Mrs. Fillyjonk, the Moomin's try to get him to see the error of his ways. The newly formed crew create a plan to unheist the painting.

I loved this episode as it played with the genre stereotypes. It's cute and places Moominmamma as the arch matriarch

Toffle's Tall Tales- With Winter approaching, the Moomins are getting ready for hibernation but they need to make sure Toffle is sorted. However, they live far away so Moomintroll and Sniff decide to take them there. However, Toffle is reluctant to be alone and delays them on their journey.

This is a cute story about the worry of being alone. Toffle doesn't like being alone and, as they open up, they show their more vulnerable side. I like how the series has made the character non-binary, they/ them, and how it doesn't change the story in any way but it is representative. Representation matters.

Winter Secrets- Stinky breaks out of jail (as the jail door wasn't even closed) and the fuzz are after him. Moominpappa gets a posse to round up the criminal whilst Moominmamma harbours the criminal. It is a tough balancing act as she tries to keep the guests that keep visiting her house happy alongside Stinky.

The episode looks at the justice system and if it rehabilitates or punishes. Moominmamma sees the good in people but people take advantage of her good nature. She and Stinky team up to gather belongings of her visitors to make their stay more acceptable. It's a fun vibe and very cute.

Lonely Mountain- Moomintroll goes on an adventure in the wintertime, during the period he should be hibernating, to climb the Lonely Mountain to join Snufkin on his annual migration. Snufkin and Moomintroll are great friends but the latter is a bit much and disturbs the peace, much to Snufkin's annoyance. In the b-story, Little My connects with a squirrel and learns that friendship is important and that magic is real.

This episode is very sweet as it's all about connecting but also reflecting. It's a chance for Snufkin and Moomintroll to start being honest about their feelings and for Little My to see that friendship and opening up is not a weakness.

Miss Fillijonk's Last Hurrah- After nearly choking to death, Mrs. Fillijonk is confronted with her own mortality and decides to do away with her worldly possessions. She creates a bucket list and experiences many of life's adventures, with hilarious consequences.

This is a hilarious episode about living life to the full and not regretting anything. What makes it more special is that the b-story, about carefree but selfish Sniff finding a new toy he truly loves, is a good juxtaposition to uptight Mrs. Fillijonk finally living life to the full. I like the musical number-a first for this show that is full of whimsy!

Snufkin and the Fairground- When a storm endangers life at a fairground, Snufkin and the Hemulen save the lives of the people there. However, after seeking a new path and quitting the carnival life, the Hemulen passes on responsibility to Snufkin- which he struggles with.

This episode shows Snufkin undergoing real growth, having to accept the responsibility he initially tried to delegate out to Moomintroll. Also, we see another side to the Hemulen, a kinder, more sweeter side.

Call of the Hattifatteners- When a hattifattener is found without his spark, the Moomin crew look to reunite the creature with his family and reignite his electricity. They go to sea and undertake an epic adventure. Meanwhile, at home the ancestor wreaks havok and draws all over the house.

This is a sweet adventure where Moominpappa, Little My and the Fisherman look to save the hattifattener. The fisherman and the hattifattener develop a close bond and Stinky pays a visit.

Moominmamma's Flying Dream- When Moominmamma develops a cold, Mymble takes over the house. This leads to chaos in the house as Moominmamma recovers and remenesces about her hot air ballooning past.

This episode is about the dreams of our youth, how life happens and how we should never give up on them. The sight of Moominmamma when she sees the hit air balloon is delightful and filled me with joy, kinda making me teary-eyed.

Midsummer Magic- When there is a solar eclipse, the residents of Moominvalley don't understand what is going on. They fear it has been stolen so Moomintroll, Snufkin and Sniff go on a journey to find it. They encounter the Hobgoblin who has stolen it for his enchanted garden and uses his wiles to get the group to stay with him forever.

The b-story is the main draw here for me as the group left behind deal with the fear of not having the festival occur or the adventuring party not coming back. The main story is of being true to yourself and not being tempted by false dreams and idols.

I very much enjoyed my time with the third series of Moominvalley as I felt that it offered even more dynamic animation and intricately woven complex stories, showcased prominent b-stories and showed notable character growth throughout the episodes. Fan-favourites such as Stinky and Snork finally made their much-anticipated debut, with Stinky bringing an exciting edge to the narrative and Snork providing warmth and empathy, particularly for those on the autistic spectrum.

Overall, it was an excellent series with a real humanist touch. I highly recommend this series to both fans of the original work and newcomers alike.

LINK- Moominvalley Season 1 Review

LINK- Moominvalley Season 2 Review

LINK- Moominvalley Soundtrack

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- Nintendo: My One True Gaming Constant

LINK- Ulysses 31 Retro Soundtrack Review

LINK- Akira Soundtrack Vinyl Review

The Streaming Revolution is Failing

Over the last decade, we have seen a huge rise in digital media. There are many pros and cons to this and I wrote an article several years ago, sharing my thoughts on the matter. In light of recent developments, I felt it pertinent to revisit the matter and discuss it again as the landscape has altered somewhat.

There were many positives to a digital only future, primarily the fact that it saves space and resources. For many, housing space is a premium so having a library of digital media means nothing physical is taken up. Also a lot of the time digital media is accessible from different location via online services like Netflix or the cloud, this makes it really convenient to access resources from many different locations and there is no risk that the digital media can be damaged, lost or stolen. Digital media can be cheaper to acquire the physical copies, especially when it comes rare or retro games. For example Mother on the SNES used to trade on eBay for over £100 but now is available from the Nintendo Online store for only £6.49.

Through digital, I’ve been able to buy rare or out of print copies of books (Ico, Parasite Eve), albums (Best of Popol Vuh Werner Herzog soundtrack and films (Ringing Bell and a lot of old Toho animation stuff).

As we can see, there are many pros for buying digital but I do have my concerns. Physical media has a resale value. With some games costing £70 on release now I like the fact that if I like it I can keep it in my collection but if don't or I don't think it is worth having permanently I can sell it on. I can afford now to keep all my physical games but as a child I depended on trading games in order to purchase the next game, otherwise there was no way I could have afforded it on my £2 a week pocket money.

However my concern with digital media is mostly to do with the legacy. PT, the now legendary free Silent Hills demo from Sony, is no longer downloadable on the PS Store. PS3s with the game installed are now much sought after collectors items which is nuts! Many games have been taken down from the iOS store, only downloadable to those who bought them initially and can download again but not for any new customers. Many modern games use online servers to play multiplayer, but after some time the servers are turned off meaning the multiplayer is no longer accessible.

With the removal of films and shows on streaming platforms, it is more likely than ever that content will be lost forever to the ether. With the gutting of TCM and the removal of shows and films from streaming services in a process of consolidation and profit maximisation I get why people are more interested in getting a hard copy of something they love; they don't want their favoured content to be lost forever to the ether. The fact that television shows are also being pulled from streaming services, movies are not even being distributed even when they are complete (Batgirl) or even being removed (HBO Max removing Westworld) is a worrying trend. How else are we going to be able to make documentaries and behind the scenes films years later if everything is digitally erased with no physical backup?

I bought the Switch release of Scott Pilgrim as a physical copy as licenced games are notorious for getting pulled from digital storefronts. Even worse, with Games As A Service games that don't keep raking in the moolah have their servers shut down. Now, I don't think anyone will pour one out for Babylon's Fall, but that's not the point. Yes, there are our friends on video sharing, torrenting and the bay of privateers, but we lose the surety that all is saved. Sure, not everything needs to be saved or can be saved but surely we can't just lose whole swathes of entertainment. Even stuff we have bought digitally can be removed from our libraries, just take the case of Discovery films and shows removed from PlayStation without much notice. It’s not theft apparently, as we are renting these products under the terms and conditions we sign up to, but we are digital serfs under the yoke of our digital landlords under this technofeudalism. Okay, maybe I’m exaggerating but the technocreep that is eroding our rights leads us down a Blade Runner and dystopian future. But its not all doom and gloom.

The internet creates tribes and ardent fans, there will always be someone or a small group who preserve something of interest and disseminate its. As a Mysterious Cities of Gold fan it was thanks to joining the Goldlist mailing list that I was kept up to date on developments on the new series. YouTube uploaders also preserve classics like Quatermass and emulators upload roms of classic and obscure games onto websites.

So the whole issue is pretty complex but for me physical media is the way for most ways to consume most media but there are occasions for digital media. I’ve been finding my collection of things I've accumulated over the years becoming unintentionally more valuable over time. I mean, it's nice to have stuff that's worth a fair bit but it means other stuff I would like is now probably going to remain unbought or collected. This is a first world problems for sure but one that has implications for the preservation of the arts.

LINK- Ico and SOTC: Reflections of a Gaming Life

LINK: Japan: My Journey to the East

LINK- The Future Starts Here: An Optimistic Guide to What Comes Next- Book Review

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

LINK- Nintendo: My One True Gaming Constant

LINK: Let’s All Create a ‘New Normal’.

LINK- Battle Angel Alita: And So It Ends

LINK- Akira Soundtrack Vinyl Review

Chungking Express- Cult Film Review

I have been a film aficionado for a long time. My father brought me up on classics like David Lean's adaptations of Oliver Twist and Great Expectations as well as the various black and white classic comedies of Charlie Chaplin and Laurel and Hardy. However, I became interested in cult TV series and films whilst attending university. Our campus was media-centered and as a result it had a huge catalogue of videos to rent, free of charge. I ploughed through many often taking the maximum 8 out at a time and consumed them voraciously. As a result I believe that I am quite literate in films and TV. It was also around this time that I really got into foreign language films, devouring the works of Akira Kurosawa, Krzysztof Kieślowski, Shunji Iwai and Wong Kar-Wai.

In the case of Kar-Wai, the first film I remember seeing of his was Chunking Express. I have the film on DVD in its Artificial Eye version and remember liking it. However, it has been 30 years since its release and about 27 or so years since I last saw it so I thought I'd revisit it.

Since watching the film, I have had the fortune and misfortune of staying at the Chungking Mansions twice. The first time, I had intended to stay there for just a couple of days whilst travelling through Hong Kong in 2011 on my 6 months sabbatical from teaching. Unfortunately, the Japanese earthquake put paid to my plans so I remained stuck in Hong Kong for an extra week whilst altering my travel plans to include Shanghai. Now, accommodation is incredibly pricey in Hong Kong and the Mansions were the only really affordable place so I stayed there, biding my time before I could travel on to Sydney, Australia.

The buildings have a bad reputation as a den of inequality and crime and, whilst they are indeed incredibly cramped and a huge fire risk (there was only a couple of lifts for the whole building from my recollections) I found the people there to be friendly, welcoming and reasonable with their prices for tourists like me. In fact, I had some of the most authentic Indian and Asian food from there and all at under £5 (in 2010 prices mind you).

The second time, my wife and I stayed there for a couple of days whilst on holiday for a week in Hong Kong from Cambodia. Indeed, my wife appreciated the food and great location but less so the cramped but clean room and the interminable waiting in the queue for the lift.

Anyways- away from my own personal reverie- watching the film now fills me with nostalgia as I can spot some places that seem familiar to me and feel the vibe that Director Kar-Wai and Cinematographer Christopher Doyle have captured so vividly in this work.

There have been several film movements which revolutionise the language and aesthetics of the medium including Soviet Formalism, German Expressionism, the French New Wave, Italian Neo-realism and Dogme 95. Film movements are the result of a shared common philosophy on the film-making process or a political agenda. The first Hong Kong New Wave included the works of Tsui Hark and John Woo, who were outward looking as Hong Kong and it's financial clout rose in influence in the late 70s and 80s.

The second Hong Kong New Wave, of which Chungking Express is a part of, took the references of Western globalisation but filtered it through a local cultural lens. There were anxieties about Americanisation, growing Western influence, mental health, isolation and, more worryingly, the handover of the territories back to China in 1997. These uncertainties bled into the post-modern films that looked at these concerns in an artistically creative way. The second Hong Kong New Wave style in Chungking Mansions reminds of the French Nouvelle Vague as both movements sought to break free from traditional conventions and experiment with new forms of storytelling- the two stories wend and wind into each other in playful ways.

The first story- such as it is- involves a policeman names Wu, played by Takeshi Kaneshiro, who operates in and around the Mansions. He is broken-hearted after being dumped by his girlfriend of five years, so he tucks into cans of nearly expired pineapples and calls up old girlfriends and acquaintances. It's very sad really. Meanwhile, a mysterious blonde-wigged woman operates a drug running business but when her mules run away she is on borrowed time to get them back. The pair meet by chance late night in a bar and connect after a tetchy initial exchange- both seem like lost souls and connect on this night in a platonic way, revealing a bit of their true self only to part and never see each other again.

In the second story, we meet Faye who works at a takeaway in the mansions. She likes her music loud and plays California Dreaming a lot. She meets a cop (played by a dashing Tony Leung) who is heart-broken after his air stewardess girlfriend leaves him. Faye falls for the cop but he is surrounded by things that remind him of his ex at home so he can't move on. She decides drastic action is needed and manages to obtain his house keys and slowly start to replace the items that illicit hurtful relationship memories as well as watering his plants, buying him new goldfish, getting him new bedsheets and cleaning his house.

Writing that I can see how problematic this sounds now but back in the mid-90s this was considered cute and not stalker-like behaviour. Different times man. Obviously, this is a romantic part of the film so flights of fancy are allowed but in real life this is most definitely a red flag and a long costodial sentence!
However, under Doyle's cinematography and Kar-Wai's direction, this is a whimsical tale of love in the most unconventional sense. The themes of love, loss and remembrance are central to the story but so is the idea that life is an adventure and we must be open to it.

The soundtrack for this film is amazing, taking in the South and East Asian melting pot cultures that exist in the Mansions and adding a dash of Western pop music from The Cranberries and The Mamas and Papas. The latter especially features heavily in this film.

I really love this film as the characters are not stereotypes but seem genuine and bizarre- y'know, real with agency, idiosyncracies and nuance. The storytelling seems freewheeling but is actually poetic, showing the real human interactions that can happen in oppressive big cities where it can be easy to be seen as another faceless person in a sea of people. The film is all about connection and this truth; people are more complex, less shallow and self-absorbed than they may appear at first glance. We are all idiosyncratic and individual in our own ways.

LINK: Japan: My Journey to the East

LINK: Battle Angel Alita: And So It Ends

LINK: Fire Tripper: Cult Manga Review

LINK: Akira Soundtrack Vinyl Review

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

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

LINK: Hammer Glamour- Book Review

500 Days (Okay, more like 41 days) of Summer 

I love the summer holidays. Many of my most abiding memories from my youth are of sunny days spent in Greatfields Park in Barking, playing football or cricket with my older brother and other locals from the area. It will be the rose-tinted nostalgia speaking but the summers seemed to go on forever and were full of marathon sessions of cartoon watching and video gaming.

As I got older and became a primary school teacher, the summer holidays remained special as it meant time to catch up with friends, unwind, travel to London for visits to museums, galleries and shows and giving some time to my hobbies, namely reading comics, gaming and going to gigs.

Having kids changed all that: the summer holidays meant having quality family time together and ensuring that they are kept busy and entertained but balancing that with relaxation. Also, it's good for kids to be bored on occasion, right? As my wife and I were both teachers it meant we had a great time as a family but as my wife moved away from education into a full time role on the council without the holiday perks we teachers enjoy I'm now Daddy Daycare. Now this analogy doesn't really hold as I am their parent and it is not a job in the regular sense but a part of parenthood, but you get the idea.

This has meant a squeeze in hobbies or downtime - except it hasn't really. Sure, I can't sit down for a 3 to 4 hour gaming session but I've been able to find piecemeal chunks of time to finish the following over the six weeks summer holidays:

Films
King Richard
Robocop (the OG)
Escape from the Planet of the Apes
Conquest for the Planet of the Apes
Battle for the Planet of the Apes
Kingdom of the Planet of the Apes
Annie (remake)
My Spy: The Eternal City
Blade Runner: Final Cut
Dangerous Days: The Making of Blade Runner
Touching the Void
Dark City
Chungking Express
To the Devil a Daughter
Young Sherlock Holmes
Coraline
Legend

Series
Diagnosis Murder (Season 1- don't judge me, my wife loves it)
Master of the Universe: Revelations (6 episodes)
The IT Crowd (Season 1- I know the creator is problematic but it is one of my favourite shows)

Manga Series and Films
Shadow Star Narutaru (13 part series)
Kotaro Lives Here (10 part series)
Haibane Renmei (13 part series)
Dragon's Heaven (OAV)
Gundam I
Gundam II: Soldier of Sorrow

Books
The History of Japanese Video Games Vol. 3 by John Szczepaniak
The Raw Shark Texts by Steven Hall
The Imagination Chamber: Cosmic Rays from Lyra's Universe by Philip Pullman
Constellations: RoboCop by Omar Ahmed
The Skeleton's Holiday by Leonara Carrington
Yellowface by R. F. Kuang
Parasite Eve by Hideaki Sena
The Movie Doctors by Simon Mayo and Mark Kermode
Studying Chungking Express by Sean Redmond
Summer, Fireworks and My Body by Otsuichi
Ico: Castle in the Mist by Miyuki Miyabe

Magazines
Infinity (x2 editions)
Edge (x3 editions)
The Darkside (x1 edition)
Retro Gamer (x3 editions)

Audiobooks
Locke and Key- Joe Hill
A Movie-Making Nerd- James Rolfe
The Disney Revolt- Jake Freedman

Podcasts
Retronauts (2 episodes)
The Back Page (6 episodes)
VGApocalypse (8 episodes)
Miss Me? (8 episodes)
Desert Island Discs (5 episodes)
Good Bad Billionaire (3 episodes)
High Score (2 episodes)

I've put away the gaming for the entirety of the summer (except a couple of hours of Illusion Island and Mario Kart 8 with the girls) to plough through some of my massive 'pile of shame' using a combination of physical and digital media. My Kindle app has allowed me to read whilst waiting on the kids and shopping line queues and my Audible app has allowed me to listen to books whilst moving and organising the house, travelling along in my car or when walking the dog.

Sure, the gaming backlog remains but I've moved house, had quality time with the kids, socialised and eased some of my cognitive load I've had for articles and ideas for this very website. I haven't published anything since the beginning of the holidays but will now resume the work as the new academic year is upon us and routine is back.

I still have a huge media backlog left but I've made a heck of a dent in it and it is a relief as the guilt of accruing more books and films was getting to me (and to my wife in all fairness). I feel artistically, intellectually and creatively nourished now. Nom, nom, nom! On with the new academic year of teaching.

Lupin III: The Fuma Conspiracy- Cult Manga Film Review

I knew of Lupin III through its run in Manga Mania and the stunning Ghibli film Castle of Cagliostro but I did not have that much experience of the character. Whilst looking down the retro anime and manga rabbit-hole, I came across this and remembered an old review of it I’d once read that praised it. With some time available, I thought I’d give it a go.

Whilst not the greatest film ever, The Fuma Conspiracy is a fun and jaunty film.

This film starts at breakneck speed as Goemon is about to get married to Murasaki of the Suminawa Clan in a traditional Japanese wedding ceremony. However, when his bride-to-be is kidnapped within the first five minutes of the film, it's up to Lupin and the gang to get Goemon's betrothed back whilst also protecting her clan’s treasure. The crew quickly rescue Murasaki and then it's a race against time as the Fuma Clan close in the treasure. What follows is a Goonies/ Indiana Jones-type adventure with puzzles, traps and labyrinths.
The tenacious Inspector Zenigata joins proceeding, coming out of retirement as a monk to once again try to apprehend the gentleman thief. Things reach a spectacular head in a cavern under the mountain where the hidden treasure trove is kept.

The first thing to say is that, even though the film is nearly 40 years old it has aged extremely well. The opening animation is stunning with the Japanese temple and scenery beautifully realised in a detailed painterly style. The period costumes and style are wonderfully evocative of a side of Japan we don't often get to see in many modern manga and anime.

There is also one of the best car chase sequences ever animated as Lupin and Zenigata battle it out through a local town. The chaos that ensues is hilarious, like some right out of the old Herbie films or The Italian Job (the good old one, not the travesty of the Mark Wahlberg one).

The strength of Monkey Punch's manga work was his characterisation of this lovably roguish group and this portrayal of the group in this anime film is all pretty spot on from what I know. Lupin is his usual charming self but it is Goemon, usually the stoic swordsman, who gets a chance to share his gentler side as we see how he met and grew the love of his life through flashbacks to his youth. Murasaki is a likeable addition in this story, she is rescued early on and shows her mettle during the rest of the film. She is plucky, fiesty and a strong woman who knows how to tease her straight-laced beloved.

The music is jazzy and jaunty, effortlessly stylish and cool without trying to be. The end credit sax jazz is sooo smooth and groovy!

Overall, I really enjoyed this film; it's an enjoyable romp and at just over 73 minutes, doesn't overstay it's welcome.

Lost Manga and Anime

I've recently immersed myself in a nostalgic journey through the late 80s and early 90s manga and anime that shaped my youth. It has been a truly enlightening experience traveling back to an amazingly formative period in my life as I navigate through what some may call a mild mid-life crisis. It was a golden time for 'Japanimation' - that term still makes me shudder a little- and this period holds a truly special place in my media-consuming heart.

Now, I had a lot of VHS tapes, both original and recorded but with my many house moves and the transition from VHS to DVD I shed a lot of my manga and anime VHS collection along the way. I give them away to friends, exchanged them at CEX for credit or donated some to charity shops. I had many bootleg copies of series that I have saved on a hard drive but my physical collection has whittled down somewhat.

Manga Entertainment built a bit of a cult following in its heydey of the late 80s and early 90s. When the transition of VHS to DVD came, it re-released its main titles but all the others disappeared as VHS was phased out. Classic series like 3x3 Eyes, Crying Freeman, Guyver, Angel Cop, Devil Man and Doomed Megalopolis remained stuck on VHS, never getting an official DVD release in the UK. I praise the sun for my multi-region DVD and Blu-Ray player as I know some of these have been released abroad but there is so much more that has been lost. Even the early anime rippers and translator forums, which were the lifeblood for fans seeking unreleased or undistributed media, are empty. As a result, we have lost many good anime titles that may have otherwise found their way to eager modern audiences who want to look into the past.

Determining the exact number of titles that lack official releases on DVD or Blu-Ray poses quite the challenge and, while not classified as lost media (as they can often be accessed through alternative means such as various video streaming platforms and torrent sites) it would be great to see specialised distributors, similar to those catering to horror films, to consider producing limited print runs for these sought-after titles in contemporary formats at a reasonable price.

I'm beyond excited for the Macross Plus Blu-Ray but the limited edition £150 release is too rich for my blood. The 4-part series is an all-timer for me as it introduced me to the music of Yoko Kanno and the wonders of rogue AI Sharon Apple. Hopefully, a £30 or so regular Blu-Ray release will be forthcoming and pave the way for other classic anime and manga OAVs, films and series to finally see the light of day again. I think there is a niche market for physical releases of old skool manga and hope we get more.

The Carry On Girls- Book Review

Back in the 80s and early 90s, there was traditionally a Carry On season at least once a year on ITV. This would be all the films shown in chronological order over the course of several weeks. This would often be the case with the annual Bond season too. These were a special time for us to gather together as a family and immerse ourselves in movies that ran the gamut from the ridiculous (in the best possible way of course) to the sublime.

I loved the innuendo and silly slapstick humour of the Carry On films back then but might it be deemed problematic now with its objectification of women? Some argue that it is the women who have the last laugh as they are the ones who poke fun at male weakness. I'm not in any position to comment either way but it is an interesting point made by author Gemma Ross, ably accompanied in this undertaking with her husband Robert Ross.

There were a large number of actresses across the 31 films and each gets a detailed biography including candid interviews from the surviving actresses or archival quotes from past interviews for those who are no longer with us. These biographies are far more than mere flattering pieces, as they are notably critical of the prevailing attitudes and treatment many of these women faced from the often misogynistic and sexist British film industry of that era. Interestingly, the Carry On films stood out for their progressive approach in this aspect.

The authors confront issues, but find bright spots including from the actresses themselves who share positive experiences, emphasising a familial atmosphere without concerns. Kenneth Williams recalled that when there was a love scene or some guy was getting into a lather about a woman in some state of undress, the women were usually sent home and it would be director Gerald Thomas in the eye line of the actor but out of scene telling the actor to get all hot and bothered. This forward thinking protection of women in the workplace was commendable and ahead of its time. Additionally, the women were often paid relatively well and, in some cases like that of Shirley Eaton, even more than their male counterparts.

The book is a handsome tome with good quality paper stock and crystal clear photographs taken from the films are archives. The layout of the pages is consistent with large photographs of the actresses in their film roles as well as promotional shoots. This book is a respectful look at the first ladies of comedy and is highly recommended by me.

Monsters: What Do We Do with Great Art by Bad People? - Book Review (and Some Thoughts)

The premise of Monsters: What Do We Do with Great Art by Bad People? is simple: can you and should you consume the works of someone who is, in the words of the author, 'a monster'. This question is one that many have considered, especially in light of the #MeToo movement, but it is complex. Should you ignore stunning works of art, music or other areas of the creative industry even though what has been produced may be amazing, genius even? Is biography a fallacy?

I listen to Evil Genius, an excellent BBC podcast series which looks into the same issue but in a more playful way. This book promised a more thorough and scholarly examination of the matter and, with that in mind I dove right in.

In the introduction, author Claire Dederer discusses the issue straight away with her love of Roman Polanski, the legendary film director and alleged child abuser. Dederer described herself as a humanist so how can she square such horrid abuses with the art she loves. Should we separate the art from the artist? The book examines this conundrum about how can you be a virtuous consumer yet also a citizen of the cultural world.

The book is not about judging the art against the crime but rather is an examination of us and how we, as a audience, can decide this most thorny of moral conundrums. She looks at the feelings and thoughts that people have towards these figures the two would often collide as the accretions of a life lived often informed both. People who had a step-parent in their life felt disgusted by Woody Allen as it was a betrayal of a special trust and bond whilst many felt revulsion at Pre-President Trumps "Grab 'em by the ¶u$$y'" and the casual misogyny and assault this implied. She covers different themes within this dilemma over numerous chapters:

Chapter 2: The Roll Call. She names creatives- alive and dead- who might fit into this paradigm.... What do we do? Boycott everything they produce? Illegally download or watch a mates copy of their stuff so they do not financially gain?

Chapter 3: The Stain. This looks at the concept that no matter what we decide to do with knowledge of the problematic behaviour the 'stain' (as she calls it) colours the work and affects our appreciation of their art- both current and past. For example, the allegations against Michael Jackson mean that many do not feel like they can listen to any of his work, even his early work as part of the Jackson 5 before such alleged abuses ever occured.

Chapter 4: The Fan. Dederer looks at how the onset of the Internet has led to a para-social relationship between fans and the objects of their affection, thus making the biography of the content maker more pertinent.

Chapter 5: The Critic. This looks at the consumption of art with subjective and objective responses. She discusses her search for theory and praxis and how auteur theory became a big thing in the mid-90s. She discusses how, as a reviewer, she had to almost become auhtorotative and make critical pronouncements but struggled as she knew it was opinion based upon her subjectivity. It was difficult to be the arbiter of good taste as the biography of the artist and the biography of the consumer are interlinked- thus the decoupling is personal and there is no simple answer or one stop algorithm.

Chapter 6: The Genius. Dederer looks at the concept that some people have a hall pass due to their greatness.  For some, the talent of the genius is mercurial and so, to ask them to alter their process would be to mess with their muse. Many people who believe this quote musicians, singer songwriters etc who 'lost their talent' when they got on the band wagon and stopped their vice, whatever it may have been. However, is their talent mercurial? Could it be that the sense of entitlement makes people believe that the creative is a genius or, by buying into the hype, do we help create monsters? Side thought: Are monsters born or are they created? Does society help to create them? Anyways, Dederer looks at Picasso, Gaugin, Hemmingway and the villainy of their own base impulses.

Chapter 7: The Anti-semite. Racism and the Problem of Time considers the idea that people are products of their time and that, generally, people were (in the author's words) "Jerkier" in the past. The third conditional tense is the idea that 'If I were there I would have done better' but would you? Looking at the current state of the world if doesn't seem like we are actually learning from the past- we are at the apex of history but repeat it's mistakes continuously. Just look at some of the terrible hot takes about what is happening in Palestine and the way society still seems to, by a large, ignoring it.

Chapter 7: The Anti-Monster looks at Lolita and Nobakov. Did the author have a penchant for younger girls? There is no evidence to say he did but Derderer seems to pursue the idea that writing a character as heinous as Humbert hints at art as biography. I don't think this is a valid point as the whole point of narrative is that you can be experimental and crazy, pushing boundaries, but that doesn't mean you agree or condone the actions of the characters. Thoughts are not action and Nobakov created the portrait of a monster whilst not being one (seemingly).

Chapter 8: The Silencers and the Silenced, looks at institutional presence and how often some people are overlooked. As such they are often forgotton and their works not appreciated. Dederer considers the work of artists and how males are often remembered but their female muses or companions left out, even if they were great artists in their own right.

Chapter 9: Am I A Monster? looks at how monstrousness seems to be considered a spectrum. There are extremes where people almost condone the fact that dreadful things have been done but with the proviso, 'at least it wasn't that bad.' According to the author, the world is set up as a patriarchy and so men have it easier than women. Women, until very recently, were the ones who nurtured and looked after children and family. However, the women who achieved success were those who abandoned their family and children.

Chapter 10: Abandoning Mothers, looks at the phenomenon of mothers leaving their children to get their great works done. She mentions Doris Lessing, Joni Mitchell and a few others who achieved great success and were driven enough to abandon their children to achieve greatness. 

Chapter 11: Lady Lazarus, looks at how the act of woman affects their work via 'the stain'. In this case, Dederer looks at the Scum Manifesto of extreme feminism by Valerie Solanas and the works of Sylvia Plath. Both are stained by their acts, Solanas by her shooting of Andy Warhol and Plath by her suicide.

Chapter 11: Drunks, considers how alcoholism and abuse of drink can affect the behaviour of people. Raymond Carver was a notorious and abusive drunk but, after going sober, became a calm and contemplatively gregarious man. Should his earlier behaviours stain his work? That is the question we are asked to contemplate- do we cancel someone for their earlier misdemeanours or is there redemption? Dederer looks at the #MeToo movement where many just said to cancel the individuals involved and divert funds but when dealing with emotions, atomised consumer behaviour does not work as systemic issues and complicity need to be dealt with- even unintentional complicity must be considered and changed otherwise nothing changes in the long run.

Chapter 12: The Beloveds, looks at the utilitarian vs aesthetics debate. We are trying to apply consumer thinking to subjective emotions and it does not work- you love what you love and no stain can stop that. Sure, it tarnishes the work but something about the art, whatever it may be, speaks to you and that's just human. So what do we do when there is a monstrous stain on your artlove? Something that may be linked to a part of your identity.

Throughout the book, Dederer explores the question of monsters from a very personal perspective and doesn't pretend to offer the answers. What she does do is present a personal perspective in bitesized chunks, which reads a but like a series of essays.

I like that Dederer is trying to address the issue but her non-sequiturs, colloquialisms and tangents felt more like a late night pub cod-philosophy rather than a cohesive piece with a throughline. In my opinion, the masters of presenting the facts whilst seeing the interconnected of society and self are the two Jo(h)ns: Jon Ronson and John Higgs. They are fine purveyors of the human condition and how audio-visual Proustian flashbacks (is that even a thing?) affect our present ideas- the idea of memory and ego are entwined and affect the present, like it or not.

Art is unique as it had the ability to transcend time; the life of the artist ends but, for those pieces considered worthy, their art goes on, either in its original or copied, edited and remixed form ad infinitum.

Reading the book got me thinking about the words of Ramesses II, 'Look upon my works and weep...' He thought he would live forever through his legacy but his works are scattered to the wind and his grand vision lies in ruins. His work is apprecited but he, as a person, is largely forgotton, except in the role played by Yul Brenner. Sometimes artlove transcends time and as we grow older our viewpoints about the artists can alter or change.

Overall, I thought that there was the bones of something good here but a stronger writer than Dererer would lift this up significantly in my opinion. She raises some good points and it is worth sitting with them- if only to consider your own views and ethics and think about where they might be coming from.

World of Horror- Videogames As Art

Inspired by the eldritch horrors from the world of H. P. Lovecraft and the strange surreal works of Junji Ito, this roguelite point and click videogame is a wholly unique proposition. It's MS Paint 1-bit aesthetic is wonderfully evocative and creates an aesthetic rarely seen on games. The composition of its shots demonstrate an awareness and deep knowledge of the visual vocabulary of folk horror and thrillers.

This sense of mood and atmosphere is very evocative when playing and the effective soundscape and soundtrack helps further this sense of unease. The game has a intimidating looking CRPG interface and, after getting my head around it, the game was pretty easy to play. Here are some screenshots from my play.

DoDonPachi Resurrection- Videogames As Art

My initial encounter with the arcade world happened when I was just 6 years old. It took place in the cozy confines of my local video shop which housed iconic games like Pacman and Space Invaders . These captivated my young mind but I found myself drawn to the allure of shoot 'em up games, with their pulse-pounding action and excitement. I vividly remember my fascination with the compact, sit-down cocktail cabinet Space Invaders game.

They've always held a special place in my heart as once the enemy patterns are learnt and memorised you can look like a boss completing a game. I have a vivid memory of playing R-Type at Heathrow Airport and getting to level 3, that huge base ship. I bought the game on the Amstrad CPC 464 and felt like a bad-ass as my little ship  took down a warship that was bigger than a screen, in fact it was a whole level in and of itself. Over the years I bought R-Type again on the Master System and then progressed to the Megadrive where I continued my love of shoot 'em ups with the Thunder Force series.

However, with time, bullet hell games took over. I liked them as I felt zen when I played them but they were not the same as the shoot 'em ups I grew up with. Bullet hell games made their way West in larger numbers during the reign of the Xbox 360 Live Arcade and included games like Deathsmile and Akai Katana (both of which I owned and still have). They have a place in my heart but, according to aficionados of the genre, they were stagnant compared to Dodonpachi and Ikaruga, the true exciting innovators of bullet hell. Luckily, I was able to buy Ikaruga on the Switch and recently purchased DoDonPachi Resurrection. It is a brilliant game and rock hard are Cave shooters usually are. Anyways, here are screenshots of my playthough.

Les Mysterieuses Cites D’or: Les Secrets D’une Saga Mythique- Book Review

I first caught the series on BBC 1 in the early 80s and was beguiled by the mythical adventure story of a young Spanish boy named Esteban who joins a voyage to the New World in search of the lost Cities of Gold and his father. The impressive looking background art, sharply drawn characters, and the beautiful soundtrack kept me entranced throughout the whole series, becoming my favourite programme of all time. It was incredibly formative for me and introduced me to the wonders of the ancient world including the Incas, Aztecs, Atlantis and El Dorado. Even at the age of 37 I still regularly revisit the programme every year and I can attest to the fact that it still holds up as an impressive piece of work.

Over a decade ago, I bought Les Mysterieuses Cites D’or: Les Secrets D’une Saga Mythique (The Mysterious Cities of Gold: Secrets of the Mythic Saga) knowing that it was in French but knowing that sooner or later, there would be technology available to allow me to conveniently translate it. And lo and behold, Google Lens has made my life much easier by allowing me to do just that. It's not an elegant solution mind you, holding up a phone over the page and waiting a few seconds for it to translate and then reading it before moving onto the next paragraph is a lengthy procedure so this book better be worth the hastle! So, has it been worth the wait? Let's see...

The book is split into 3 parts: the first looks at the origins, pre-production and production of the series, the second looks at the parallel between its fiction and reality with a look at the characters and setting, and finally, the third looks at the legacy of the series. Since this book was written in 2013 it only looks at the first season but that is is fine by me as it's the one I most resonated with and the one that holds most nostalgic value.

The first section looks at the legend of El Dorado and the city of gold before moving onto Scott O'Dell's book, The King's Fifth. Attaining the rights to create a television series loosely based on the book, DIC and NHK (alongside MK and RTL) worked together to create a story bible of sorts. Whilst there were disagreements about character designs and music along the way, the process was mostly smooth.
Of particular interest to me in this section was the chapter on the creation of the documentaries. As a youth, I loved seeing these and they opened up my eyes to another world of which I knew very little. Additionally, the sublime music, which was so formative for me gets a full four pages talking about the precise keyboards and processes used to create that signature sound. This was mana for heaven for me.

The second section looks at the character, setting and mech designs. The sketches of the original designs was great to see as you could see the iterations that occured along the way before we end up with the designs we all know and love. There is also a section on the themes and ideas of the show, which is very humanist in it's tone.

The final section was very interesting for me as it looked at the myths and legends that formed part of the 'fantastic realism' of the series. The legend of Atlantis, a lost ancient population  of giants, old world advanced technology and many other alternate history theories have all been part of the bibiliographic milieu for centuries, all the way from Plato to Dan Brown. The MCOG used these ideas as a springboard to create a fantastical world in the genre known as 'esotericism'.

The deep dive into the symbolism of the show was amazing as it offered new insights into a show I thought I knew pretty well. The idea that the location of the 4 cities represents the natural philosophical elements of air, earth, fire and water was honestly a bit of a revelation.

Overall, as a huge fan of the series, this book was everything I could wish for and more. It goes into deep dives about all the areas you would want covered and does so with an insiders insight and  flourish. I love this book and it is a forever one for my collection.

LINK- The Mysterious Cities of Gold: Season 4 Review

LINK- Mysterious Cities of Gold Season 3 (English Dub) -Complete Series Review

LINK- MCOG Series 2 Review

LINK: Japan: My Journey to the East

LINK- Ulysses 31 Retro Soundtrack Review

LINK- MCOG Soundtrack on Vinyl Review

LINK- Twin Peaks: The Return Series Review

LINK- Secret History of Twin Peaks: Book Review

LINK- Twin Peaks: The Final Dossier Book Review

Being an Anime and Manga Hipster (Before It Was Cool)

Yup, I've realised I'm a hipster. I ‘discovered’ manga before it became big and achieved mainstream success in England! *tongue very much in cheek here fyi*

Japan has held me in awe for so long due to a variety of factors. I was (and still am) a huge Mysterious Cities of Gold (MCOG) fan, which I found out was a specific style of animation called anime. For me the series had it all; relatable characters, amazing adventures and a thrilling story line. I found out much later that the series was only 39 episodes long but back then it seemed to stretch on forever, like Dogtanian, Ulysses 31 and Willie Fogg; all large sequential series that showed on BBC 1 and ITV weekly and then in large chunks in the morning during those looong summers.

Whilst wondering through our local WHSmiths (a newsagents here in England) I saw Manga Mania on the top shelf, next to the more salacious magazines. The art seemed reminiscent of MCOG so after seeing it a few times over the next few days I finally picked it up and fell down the rabbit hole. I vividly remember going over the next few months with my friend to WHSmiths and reading Fire Tripper, a lesser Rumiko Takahashi work but for me at the time I didn't know any better and it was perfect! My uncle who was only slightly older than me, saw that I had an interest in manga and gave me Devilman and Akira to borrow on VHS- not bad for a 13 year old kid enthralled by this new genre. At the time Akira blew my mind, I didn't understand it then and don't even pretend to now but I knew that I was watching something special.

This was the later sign of the shop.

There was a local comic shop in our town called 'Rodneys Books and Games' which sold games, VHS films and books too. Every Saturday, my best friend and I would go to browse and occasionally purchase something.  Even though I knew they sold anime and manga it wasn't until I'd been given the films by my uncle that it clicked, these were the same genre and style that I'd liked- for all those years I hadn't noticed them but now I was all about them. The first series I worked through and completed was The Guyver, getting only a couple of pounds a week it took me a couple of years to complete the entire 12 part collection.

Rodney's only had a few tapes here and there and most were the mainstream fare like Urotsokidoji, Winds of Amnesia and Wicked City. These were hardly the highlight of the medium but they attracted a certain curious and/or thirsty crowd. I was more interested in the story and art than gratuitous tentacle stuff so I got into Ghost in the Shell, Akira etc.

My interest in manga peaked at the same time of the Marvel and comic boom in the early to mid 90's and I soon forged a group of friends who became Japanophiles and comic buddies, recording and swapping recordings off the Sci-fi Channel and Channel 4 late on Saturday nights. However, getting some cool or fresh manga was difficult as it was still pretty cult. I found loads of stuff in Forbidden Planet but it was at premium price...

I became a huge Yoko Kanno fan and bought all the soundtracks I could find that she had worked on. These are some from my collection. That Memories one cost me £30 (that’s 1997 or so prices!)

These are my bootleg soundtracks from back in the day. I don’t think they work...

Later on, with the advent of the internet, getting stuff became easier as I could always get things on eBay, usually bootleg copies of stuff that hadn't made it's way West yet.

I'd buy a series, usually for about £15 to £20 and consume it over the coming weeks. I found that the guy I was buying from lived just in the next town do I'd get on the bus, pop over to his house and buy a few series at a time. This was how I watched Haibane Renmei, Cowboy Bebop, Serial Experiment Lain, theVampire Princess Miyu TV series, The Big O and many, many others.

With the onset of Pirate Bay and other file sharing platforms I just bought a hard drive and got loads of stuff that way but the DVDs were the best for me as they felt real and looked impressive rather than ephemeral and disposable. I still have a lot of these bootleg series in the loft, alongside my real copies of stuff I bought, but these were halcyon days of anime and manga and I miss the camaraderie of a tight group sharing and discussing cult stuff. Yup, I've realised I'm a hipster but what can I say? I discovered manga before it became big and achieved mainstream success! *tongue very much in cheek here fyi*

LINK: Fire Tripper- Cult Manga Review

LINK- Akira Soundtrack Vinyl Review

LINK- Monster City- Cult Manga Review

LINK: Japan: My Journey to the East

LINK- The Offworld Collection- Book Review

LINK: Manga Exhibition at the British Museum

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

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

Countess Dracula- Cult Film Review

I have been an avid film fan for a long time, developing and growing my love for cinema by exploring the world of classic films that my father introduced me to. This included classic comedies like Laurel and Hardy and Charlie Chaplin to the epic works of David Lean and the sword and sandals films of Ray Harryhausen.

During my time at university, I immersed myself in cult TV shows and movies, taking full advantage of the tonnes of films available on campus. Despite being limited to borrowing only 8 films at a time, I managed to consume a large number of them. While I appreciated the wide variety of movies and shows, I have always had a penchant for the cult or unconventional. My love for old horror films started in my formative teen years. The BBC would show cult horror films late on Friday and Saturday nights in the early to mid-90s and, when we got Sky, late 90s/ early 2000s Bravo Channel. Some were the more salacious films of 60s and 70s European cinema, often in the horror genre but not always-  some were experimental pieces which had a deeply ethereal feel and long moments of quiet where the gorgeous scenery and silence would wash over you. It was here I first saw Circus of Horrors, Vampiros Lesbos, Twins of Evil and many, many more.

One film that piqued my interest was Countess Dracula- the tale that intertwines the narrative of Dracula with the dark and disturbing real-life account of Elisabeth Bathory. She was a Hungarian noblewoman who gained notoriety for the heinous deeds of murdering virgins in order to bathe in their blood to gain eternal youth. It is a dreadful tale of one of the earliest known serial killers and thus would make a traumatising film as is, so the Hammerfication has made it slightly more palatable.

Central to the film is Ingrid Pitt's portrayal of the countess. She is captivating in the role, injecting a compelling element of drama into the role of an older lady who is enthralled by a younger soldier, played earnestly by Sandor Elés. She is a force of nature and demands attention on the screen- oozing charisma and confidence. The film's opulent sets and costumes contribute to its visually striking appearance, perfectly complementing its eerie storyline and gothic leanings.