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. 

Joker Covid meme.jpeg

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:

Simpsons- kids through college.gif

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.

Screen Shot 2021-06-12 at 8.47.54 PM.png

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.

New He-Man Trailer Revealed

The new trailer for the He-man Netflix revival, Masters of the Universe: Revival, has just released and I am cautiously optimistic. Over the past few years, we have had excellent reboots and revivals of She-Ra and Carmen Sandiego so I am very pleased that He-Man is getting a chance to shine with a new coat of paint and a makeover. I loved the show in the 80s but it was nothing more than a glorified toy commercial, however this revival really has a chance to revitalise the charming but janky animation of old. The series remains true to the character designs and world from that series but hopefully will have a deeper and more fufilling story arc with Head Writer Keven Smith (of Clerks, Dogma, Chasing Amy fame) at the helm. The show drops on 23rd July so here’s hoping it good!

The Color Out of Space- Cult Film Review

Whilst suffering decision paralysis, caused by having too many choices available on Netflix and Amazon Prime, I came across a film that popped up and intrigued me… The Color Out of Space. I was familiar with the short story from H.P. Lovecraft, having read it about 20 years ago, and had loved the strange premise of a meteorite landing on a farm and bringing dreadful consequences for the creatures and humans that lived in the area. However, I didn’t know how this story could be effectively adapted for the screen as Lovecraft’s Cosmicism and existential dread, about humanity’s insignificance in the eyes of unknowable beings, would lose its power if the creature (in this case, a colour) were presented on screen as nothing is scarier than the unknown. So, suitably intrigued I selected to see who was involved and upon seeing Nicolas Cage front and centre, it kinda clinched the deal for me that this was a must watch… the man is an enigma and is pushing acting boundaries- both good and bad.

I watched the movie late at night over a couple of days and, at times, it felt like a strange lucid dream. In fact, on the second night I had to rewatch 10 mins from the previous night as I wasn't sure that I hadn't fallen asleep and dreamt it. I can reassuringly say that no, I hadn't dreamt it and yes, it was in fact as strangely, magnificently, hauntingly beautiful as I had thought.

I only knew the director, Richard Stanley, from the amazing documentary Lost Soul: The Doomed Journey of Richard Stanley's Island of Dr. Moreau when he went into the rainforest and survived off the land, playing an extra under disguise after being fired from the film shoot. However, based on this film, I can say that he is a solid director and has great vision which would have made Moreau a more exciting proposition than what we ended up with.

The Color Out of Space is a glorious B- movie and the whole feel is very The Thing or, more recently, Annihilation as it is a slow burn that slowly brings out the scares without being too graphic or gory. Cage keeps it reigned in for the first hour before he starts to Cage Rage out but he never goes Full Cage (FC) or gives the powerhouse gonzo performance we are used to and expect (Think The Wickerman bees scene). Rather, this is a more tempered and measured approach with occasional FC elements like the alpaca shooting and 'family always sticks together' speech. The rest of the supporting cast are solid and play it straight.

The cinematography is stunning and there are moments of pure spectacle. The trippy visuals and practical special effects give the film a timeless vibe in that the CGI is very good for the budget and the practical effects work well in an 80s way- the period it most recalls in its homage to the sci-fi horror genre. The soundtrack by Colin Stetson is reminiscent of dark 80s synth wave but also with some heavier beats. Overall, it's an excellent soundtrack that complements this unusual film.

I know that this is the first of a planned Lovecraft trilogy and I eagerly await the next one, which I hope will happen even thought this film was disastrous financially but won general plaudits from fans and reviewers alike. If you have a spare couple of hours and want something very unique, this may well fit the bill.

LINK- Children of the Stones: Cult TV Series Review

LINK- The Stone Tapes: Cult TV Review

LINK- Dead of Night: Cult TV Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

LINK- Supernatural (BBC): Cult TV Review

Hellblazer: The Best Version of You- Graphic Novel Review

This is the second, and sadly last, run of this iteration of Hellblazer by writer Simon Spurrer and artists Aaron Campbell, Matias Bergara and Jordie Bellaire. I'm really disappointed by this as I thought the first graphic novel, Marks of Woe, was solid return to form for Constantine. It managed to balance the new set of characters and had a cohesive story arc which did its own thing whilst also paying respect to what had gone before in the original Vertigo Hellblazer run.

I have loved this version of Constantine.

I have loved this version of Constantine.

In the same way Delano offered social critique and a dark commentary on Thatcherism and the 80s, this Hellblazer is very much of the moment and all the more searing in its indictment of society. The overarching theme running over the trade is that change is occurring and can be unsettling but hatred leads us nowhere.

The first story, Britannia Rule the Waves, is a dark story about the fishing industry and how a lowly fisherman makes a deal with the devil (old Constantine) that leads to a monkey paw situation. In the case of Hellblazer, there's always a monkey paw/hubris cautionary tale but this is a great political criticism about how the French are blamed for diminishing catches as we exhaust the fishing supply.

The second story, The Favourite, features a British Prince with a prediction for very young ladies who is given a boon with which to redeem himself in front of his mother's esteemed and privileged eyes. It's doesn't go well as an offer of a special steed goes awry and a monstrosity is released.

The final story arc, This Sceptured Isle, sees the young and old Constantine battle it out and it gets all magical and weird. As usual, the fallout is tragic as Constantine loses another colleague but isn't that always his way?

I loved the return of the Constantine we all know and love and in the hands of writer Spurrer, we got a little of what made the original graphic novel run so phenomenal. The artwork is varied in style but stunning in all its forms. We have the darkly drawn panels with sketchy art from Campbell which creates a pervading sense of dread but then we also have Bergara and Bellaire giving the book a more comedic look. The shift in art style and colours is never jarring and is thematic to the stories.

I'm sure Constantine will return again but until then, it is sweet sorrow as we part on such a high.

LINK- Hilda- Complete Series 1 Netflix Review

LINK- Comics in the Classroom

LINK- What Comics Have Taught Me

LINK- Disenchantment- Complete Series 1 Review

LINK- Gravity Falls Complete Series Review

LINK- Scooby Doo: Mystery Incorporated Complete Series 1 Review

LINK- Scooby Doo: Mystery Incorporated Series 2 Review

Robin Redbreast- Cult TV Review

Back in 1970s the BBC invested a lot into its TV drama productions and in this period there were numerous wonderful programmes created. I've already reviewed Supernatural and Dead of Night, which was released in the 1970s, and now I'm here to review another film, from the highly regarded Play For Today series.

The film is quietly sinister and unsettling.

The film is quietly sinister and unsettling.

The BFI released Robin Redbreast, a revered and influential gentle horror work recently and I decided to give it a viewing. Having never seen it before but hearing a lot about its impact on British horror cinema, namely The Wicker Man I thought it was worth a look. So, is it worth a watch in this day and age or is it looked at fondly with rose-tinted glasses by fans from the time?

Well, what I can say is that Robin Redbreast is quintessential gentle British horror in that it combines folklore, mundane village life and adds shock and surprise in equal measure.

The story is quite straight forward; newly separated from her partner of many years, a television script editor, temporarily moves to her cottage in a remote English country village to rebuild her life. At first, she finds that the villagers are friendly, if a little eccentric. However, when she becomes pregnant to a handsome villager, she begins to suspect that the locals are conspiring against her to prevent her from leaving... But to what end?

Although originally shot in colour, the BFI released it in a black and white transfer I think adds to the slightly hazy, surreal atmosphere of the piece. It also means the film could come arguably from any era as it is set in a rural, unnamed place which seems to be happy in its slow paced, traditional lifestyle.

The story itself is very much in the folk horror' genre, mentioning traditions from Frazer's The Golden Bough and rituals regarding harvest and sacrifice, but this play also asks wider, more relevant questions from the time which seem pertinent even now; tradition vs. modernity, female pleasure vs. reproductive rights, marriage vs. freedom to have partners and urban vs. rural. I found it very relevant today and was surprised to see that it was televised back nearly 50 years ago when viewing habits were a lot more conservative. I think a lot of this has to do with the quality of the acting which, whilst not up to much of today's high calibre, was overall pretty solid considering it was performed in a play format with the restrictions and style that dictates the acting.

The Storyteller: Greek Myths- Series Review

I remember it well, Jim Henson's The Storyteller aired in the evening on Channel 4 and scared the bejeezus out of 7 year old me. The year was 1987 and the show had been heavily advertised for a few months so the anticipation had been building. When finally the show aired it became an instant classic in my mind, the stuff of wonderful nightmares. The show presented nine lesser known northern European fairytale with a a mixture of live acting, animatronics, muppetry and surreally stylish imagery. With excellent production values, marvellous special effects and stunning matte paintings the various fantasy settings all came to life and drew me in.

John Hurt played the role of the eponymous Storyteller, and next to a hearth he would tell a story with relish, accompanied by his muppety canine companion. There would be occasional interludes where the Storyteller would elaborate or expand upon a point and his verbosity and wordplay would be like music to my young ears, even if a lot of his wordplay went over my head. Even after 30 years, The Storyteller fills my heart with warmth and joy, and a little bit of a chill, but in a good way.

So, what is less well known is that there was a shorter follow up series in 1991 created by Anthony Minghella (of The English Patient fame) which looked at the Greek myths. The 4 part series swapped out Hurt and instead placed Michael Gambon into the eponymous role. He is ably supported by seasoned theatre performers such as Derek Jacobi and Art Malik and this gives the show added gravitas. With the wonderfully emotive music the show really does shine with that early 90s glow. The soft focus and fuzzy recording make the show seem like a wondrous dream and even now fill my heart with warmth.

The 4 episodes include:

Daedalus and Icarus- the classic tale of the inventor who's son reached too close to the sun is ably retold and expanded to include what happened after the death of the progeny. It is deliciously dark and arresting and Jacobi gives it his all in the title role.

Orpheus and Euridyce- the tale of a man whose music moves a wood nymph to the world of man. After getting married the nature of the wood nymph reveals itself and she dies after being bitten by a snake. Orpheus challenges the Gods to bring Euridyce back from the underworld but just as he is about to succeed a twist prevents her return. Malik is solid in the main role but the music is the real star, being equal parts joyful and mournful. I really enjoyed this episode, especially and production values of Hades.

Theseus and the Minotaur- The classic tale of man versus beast. The minotaur is well designed and the maze is suitably creepy in this well directed retelling.

Perseus and the Gorgon- The best visually arresting and special effect heavy story is saved for last. We get the tale of a hero fighting the monstrous lady who turns anyone who witnesses her visage to stone. The special effects on Medusa are amazing for the time and production costa.

The Greek tales presented are quite mature and darker in essence than much of the sanitised, Disney-fied versions out there. I would recommend it for ages 7 and above as many of the themes touched upon are to do with the human condition and the tales are, in large part, part of the European monomyth but they do cast a wondrous spell. The love, care and attention of the production comes through on the screen and even though some of the special effects have aged, this ethereal other-worldliness leaves the show an almost timeless quality. The show is well worth the short time investment and will leave its glow long after you've stopped watching.

LINK- An English Geek in Saudi

LINK- Manga Exhibition at the British Museum

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- Ms Marvel Can Change the World

Silver Surfer Black- Graphic Novel Review

I'm a huge comic nerd and have been for over 30 years. Of course, I'd known of the Silver Surfer for many years, but he just wasn't a character I was that interested in... he just seemed a little, well, lame. I read a few of his comics back in the early 90s and found his brooding angsty vibe a bit too edgy-lordy for its own good and the second Fantastic Four movie certainly didn't help adhere him close to my heart. However, the Dan Slott and Michael Allred run was amazing and I fell in love with the character. So, when I heard that there was another amazing run I thought I'd check it out.

Silver Surfer Black

Silver Surfer: Black, written by Donny Cates, artwork by Tradd Moore and Dave Stewart on colours, was a tribute to Stan Lee who passed during its creation. As is well known, the Silver Surfer was one of Lee's favourite creations, so this comic had to be a farewell love letter. The story follows on from the events of The Guardians of the Galaxy run where the team were dragged into a black hole but are saved by the Silver Surfer, Norrin Radd, who sacrifices himself.

The story has some Dr. Who style wibbly wobbly timey wimey stuff as the black hole disrupts the flow of time, taking the Surfer to a primordial time before the universe was created. However, in this darkness lives a god who seeks to hold on to this power. The story sees the Surfer consider his tragic past and, as he goes through his usual existential crisis and guilt trip, he realises that to save his cellular degradation he might have to make the ultimate sacrifice.

The story is solid and perfectly enjoyable but the real standout is the art and colours. The trippy visuals and fantastic palette make this a magnificently presented comic book. Whilst an excellent and worthwhile addition to your comic collection I didn't feel it was as essential as the Slott and Allred run, which is one of the finest recent comic runs in my opinion, but is well worth a couple of hours of your time.

As a last salute to the great Stan Lee, it is a fitting epitaph from a wonderfully creative team.

LINK- Silver Surfer by Slott and Allred- Graphic Novel Review

LINK- Comics in the Classroom (article)

LINK- What Comics Have Taught Me

LINK- Battle Angel Alita: And So It Ends

LINK- The Moomins 80's Soundtrack Vinyl Review

LINK- Inspector Gadget Retro Soundtrack Review

LINK- Ulysses 31 Retro Soundtrack Review

LINK- The Mysterious Cities of Gold Retro Soundtrack Review

LINK- Thomas Was Alone Video Game Vinyl Soundtrack Review

LINK- Akira Soundtrack Vinyl Review

Have a Crackin' Time With Wonderful Dizzy

As a 40 year old gamer,I have fond memories of gaming in the 80's. But there is one series which came out on the micro computers that holds a special place in my heart, and that series is 'Dizzy' the lovable puzzle solving egg.

The game is very cute and done in the old micro-computer style.

I met the twins a few years ago and they were very amiable and signed my copies of their Dizzy game. A short while ago, I backed their Kickstarter for a signed Mystery World Dizzy NES cartridge and also read their biography, Let’s Go Dizzy.

I met the Oliver Twins years ago and they were lovely and approachable.

I met the Oliver Twins years ago and they were lovely and approachable.

So, when it was announced that they were making a new game with Dizzy I was ecstatic. Wonderful Dizzy is set in the world of Oz and through his journey across the land he meets the usual coterie of characters including the Scarecrow, Tin Man and Cowardly Lion. The game is the usual Dizzy fare and is free to play in-browser.

Rumaysa: A Fairy Tale- Book Review

Whilst walking by my local Waterstones, I came across a book in the window display that caught my eye; it featured a drawn image of a girl wearing a hijab and the teal/blue foil cover shone in the sunlight. Reading the cover I saw that it was a fairytale and so in I went, read the blurb and bought the book. Rumaysa : A Fairytale is a book with a trio of interconnected reworked fairytales based on popular stories including Rumaysa (Rapunzel), Cinderayla (errr, Cinderella) and Sleeping Sara (yup, you guessed it... Sleeping Beauty).

The heroine from the first story, Rumaysa, goes on a journey to be reunited with her long lost parents and along the way goes on a Polly from the classic 80s British kid T-bag adventures/ Littlest Hobo-esque where she helps people along the way whilst trying to finds her own way home. It's all lovely stuff with diversity, female empowerment and self-determination at the forefront as the 3 female leads all fight against various forms of oppression and control. Now, before you roll your eyes and think it's all 'woke' nonsense I can say that it's all quite subtle, not preachy or heavy handed and carries a universal message of kindness and respect that will appeal to anyone.

I whiled away a lovely couple of hours, face masked and exfoliated, appreciating the cultural touchstones it mentions like Eid, jalebis and hijabs which made me feel all warm inside. In the first tale it says, "It was the only book Rumaysa owned where the characters had similar names to her and shared her skin colour," and I agree that books like this are important for younger readers to see themselves represented in the mainstream.

The book is sweet and well-intentioned with well told stories. Don't get me wrong- it's no Pullman, Rowling or Dahl- but for its target audience and for this 40 year old British-Asian guy, it was an enjoyable read.

LINK- An English Geek in Saudi

LINK- Streets of Rage 2 on Vinyl Review

LINK- Manga Exhibition at the British Museum

LINK: Japan: My Journey to the East

LINK- Battle Angel Alita: And So It Ends

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- Ms Marvel Can Change the World

Moomins and the Great Flood- Book Review

Just over 75 years ago, Tove Jansson introduced the world to the Moomins and changed children's literature forever. I have a love for the Moomins as many of you may know. I've discussed the Moomins multiple times before (links are available below) but what many people may not know is that my love for the Moomins is all pretty recent. When the Japanese animated show came out in the early 90s, I was already too old for the show and was busy being edgy with the X Men cartoon. No, my love for the Moomins came in the mid 2000s with the release of the comics. 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 fell in love with these hippo-like creatures that spouted aphorisms and enjoyed the simple things in life. Since then I've snagged all the released collected volumes, read many of the books and seen both series of the recent CGI animated Moominvalley. However, it was only in the past couple of days that I managed to read the original tale that started it all - Moomins and the Great Flood- and what an interesting start to the phenomenon it is.

It’s a beautiful book with premium quality paper and vivid illustrations.

It’s a beautiful book with premium quality paper and vivid illustrations.

It starts with Moominmamma and Moomintroll looking for Moominpapa as he has gone off adventuring with the hattifatteners to find a home for his family having grown tired of living behind the stove pipes of others. As they travel, they encounter many creatures including a little creature, who would become series regular Sniff, as they try to beat the flood threatening to destroy their world. The seeds of future stories are sown with Hemulens, the Groke and Snufkins mentioned. Whilst it is a solid introduction to the wonderful literary world we know it becomes, it does read more like a prelude to 'Comet in Moominland'

That's not a slight as the story is wonderfully written but the philosophy and aphorisms that underpin much of Jansson's later stories aren't to be found here and that's fine for this 60 page novella. Jansson's artwork is beautiful and equally dreamy and unsettling, mixing monochromatic and sepia-tones painting and penwork.

Moomins and the Great Flood is a wonderful work and deserves a read, it is such a touchstone for what comes later, but more than that- it's just a lovely tale of finding a home and being a family.

LINK- Comet in Moominland

LINK- The Moomins- Retro Soundtrack Review

LINK- Adventure in Moominland Exhibition at the Southbank Centre

LINK- The Wonder of Moomin World

LINK- Moominvalley- Season 1 Review

LINK- Moominvalley- Season 2 Review