Jean Michel Jarre Oxymoreworks Review

With a career spanning over 50 years in electronic music, Jean Michel Jarre is very much a legend who is still releasing music. His music has been a huge part of my life ever since I heard his music on the Landscape Channel in the late 80s/ early 90s. The track, Oxygene 4 is a masterpiece and I have been enamored with Jarre ever since, having heard all his albums and owning most.

He went through a resurgence nearly a decade ago, releasing his collaboration albums Electronica 1 and 2 before dipping back into his first breakthrough album with Oxygene 3. Then, in 2018, he released arguably his best album in years- the stunning Equinoxe Infinity. Anyone fearing that he was merely trading on past glories need not have worried as he returned to his pre-worldwide success roots in 'musique concrete' (the process of using recorded sounds to create a sound montage which is often abstract in its quality) by creating a sonic soundscape inspired by the Amazon rainforest and the works of photographer Sebastião Salgado. It was a singular album but definitely more or an experience that was best viewed as a whole rather than any individual standout track. His follow up was another leftfield decision, Oxymore, a more boombastic, denser and faster paced affair than what we’ve been used to for quite a while. I liked the album just fine but it didn’t get under my skin like Equinoxe Infinity had. However, I didn’t let that worry me; I appreciate the chameleon like nature of Jarre with all its ups (Zoolook) and downs (Teo and Tea) and always look forward to seeing what the electronica maestro produces.

For a certain contingent of Jarre fans, who expect derivative works based on the Oxygene and Equinoxe albums, Jarre has apparently 'lost it' and is ‘past his prime’ etc, but as Jarre himself said during a Facebook Live session, "Some people are always unhappy". So for those who people, you might want to visit another site as this album may not be for you. Oxymore Works sees Jarre rework the Oxymore tracks with the likes of Brian Eno, Armin Van Buurin and French 79.

The album is a bright and breezy 44 minute and zips along at a cracking pace. A track by track review follows:

Brutalism Take 2 is a banger of an opener that throws the kitchen sink into the mix; there's a driving beat mixed with some John Carpenter level arpeggios and then a wailing electric guitar wending its way through the track. It quietens midway through the track then builds up to the drop... bliss!

Epica Extension features a discordant electronic orchestra wails along to a metronomic beat before a beautifully layered augmented voice kicks in and adds layer and depths to proceedings.

Brutalism Reprise has a banging EDM vibe to it with a nod to Pierre Henry and musique concrete before some whimsical angelic vocals ends the track in a note of harmony.

Epica Take 2 is a gentler take on track with a retrowave influence really lending it a vibe that is super 80s- and I’m here for it!

Synthy Sisters Take 2 is a slice of euphoric peace amongst the boombast of the other tracks, it is calm and soulful.

Epica Maxima is a melodic trance version of this track with the legendary Armin Van Buuren and it really is uplifting and euphoric. This is the most 90s like trance track and, as that’s my sweet-spot, this goes into my all-timer Jarre tracks.

Sex in the Machine Take 2 has a slow melodic beat and some warbly vocals but isn’t really my cup of tea as it sounds like a poor man’s Burial.

Zeitgeist Take 2 is a complex track and one that doesn’t gel with me. It is quite experimental but doesn’t have a through-line or consistent sound. The discordant noises smush together to make an incoherent whole.

Zeitgeist Botanica is a more melodious take on this track with a few vocals but the persistent arpeggio and beat keep it upbeat and flowing nicely.

So, overall, I enjoyed the album I think the first six tracks are good with Brutalism Take 2 and Epica Maxima being my particular favourites, but the tail end of the album didn’t excite or engage me. I’m glad that, at the age of 75, Jarre is pushing his musical boundaries and keeping things fresh. I wonder what he’ll come up with next….

LINK- Jean Michel Jarre Amazonia Review

LINK- Equinoxe Infinity Album Review

LINK- Planet Jarre Celebrates 50 Years of Jarre

LINK- Jean Michel Jarre Oxygene 3 Album Review

LINK- Jean Michel Jarre Electronica Vol. 2 Album Review

LINK- Everybody in the Place- An Incomplete History of Britain 1984- 1992 By Jeremy Deller

Everybody In The Place - An Incomplete History of Britain 1984 -1992 by Jeremy Deller

Everybody In The Place - An Incomplete History of Britain 1984 -1992 by Jeremy Deller is an intriguing documentary about the rise, commoditisation, commercialisation and eventual loss of the rave scene.

Now, when the scene was gaining momentum I was just a toddler so I never saw the scene for myself. However, through pop culture and media consumed at the time I was aware that raves were a thing. For me, my formative years were in the mid to late 90s and this was when the trance and club scene were huge. The Ministry of Sound and Cream Annual albums would typically top the charts and tracks like Saltwater by Chicane and Till I Come by ATB reached #1. Even now, Darude's Sandstorm and Kernkraft 400’s Zombie Nation haunts my nightmares in earworm form.

Deller is an excellent documentarian and is obviously passionate about the subject material. By delivering a lecture and having a dialogue with college students, he is able to explain eloquently that trajectory of the rave scene to a group that were not alive when it was a going concern. I'm not in any way a young college student but this device means the information is delivered in a clear and precise way.

He discusses how the scene started as a way for people to capture the means of production and make the music they wanted to hear. Detroit and its post industrial landscape were a hotbed for musical creativity and we see how the creators of the time were using these derelict buildings to create a sense of community. This scene moved to the north of England but the miners strike created division within the country and struck fear into the establishment and so they went hard against large social gatherings and parties as they feared social unrest. Deller then looks at the Industrial Revolution and how the Condition of England question, where the Industrial Revolution created massive inequalities in British society, led to huge wealth disparity, and is still in effect today.

He also elaborates upon the news media creating a moral panic about the scene. A lot of the MPs representing their constituencies surrounding London were Tory and so hardline about these gatherings. Also, these large gatherings had the political classes worried with flashbacks of the miner's strikes still ringing in their head and so the idea of a politicised and active youth was scary... they preferred docile and easy to corral sheep.

The popularity that followed and then the commoditisation as commercial interests gutted the scene and took out the heart and soul of what had been created by the people for the people... free of commercialisation.

He ends on the hopeful note that although the scene died it remain in the heart of many and changed the face of the country. Deller is very good at articulating, contextualising and celebrating this beautiful scene that only lasted for a while but shone brightly.

After watching the documentary, it got me to reflect about my closest approximation of the 90s and early 00s club scene. The clubs were a venue for me to escape from the cares and worries of my everyday Muslim teen life and reach euphoric transcendence through trance tracks. Obviously I didn't let my parents know about my trips to London clubs as they saw them as hedonistic dens of inequity but for me it was a way to escape the constraints of the religious and communal expectations.

In much the same way that by the early to mid 90s saw the decline in the rave scene, as it had mostly been appropriated and homogenised by corporate money, I remember the trance scene changing and out of that came a new underground including Jungle, Happy Hardcore, Drum and Bass, Garage, Grime, Techno, Dubstep, Trap, Witch house, Drill etc. I'm not into a lot of these scenes but I'm sure that there is a vibrant scene I'm not seeing as an early 40s aged man who lives in a sleepy coastal village in south Devon, England.

I was interested in other peoples' opinions about the scene and so was looking though the comments on YouTube and a lot of the comments talked about missing these halcyon days and the perceived lack of rebellion in youth today. However, I do not agree. In the film, a lot of people who were lined up for the raves in England were homogenous white folk whereas now, through the internet and social activism, youth of all colours and stripes are fighting the system in much more powerful and meaningful ways. Just because they are not rioting it doesn't mean they are not changing the world. Look at some of the most powerful youth figures and you have Greta Thunberg, Malala Yousafzai and the myriad of school Valedictorian speeches that have condemned and shone a light on systems of inequality. Yeah, it's a shame that the club and rave scene is much diminished but the youth are not as compliant as may be assumed... They are fighting for a better future in a different way.

Oxenfree- Soundtrack Vinyl Review

I love videogames and a huge part of the experience is often the soundtracks. In fact, sometimes the soundtrack can often be the only saving grace (NES Silver Surfer is the go to for this one) or can turn a good game into a great game (Nier). Certain game music reminds of places I've been and the people I've been with; game music is the sound of my personal journey and the many worlds I've visited.

One of the best and most recent examples of a videogame that resonated with me was Oxenfree. The epic soundtrack by SCNTFC fitted in so well with the teen horror thriller game about a group of teens trying to get off a haunted island. The quippy dialogue, that didn’t seem too try-hard or Whedon-esque, and the synthy music really landed for me and reminded me of my youth with my friends. Anywho, I pre-ordered the vinyl over a year ago and finally received it today. The tracklist is:

[SIDE A]
Lost (Prologue)
Beacon Beach
Epiphany Fields
Towhee Grove
Against The Rocks

[Side B]
Cleanslate
Alsos
Cold Comfort
Lantern
Argonaut

[Side C]
Catbird Station
Against The Waves
Dead Light
Catchpole Station
From The Leads
The Gate

[Side D]
Kanaloa
Argonaut Atalanta
Days Past
The Beach, 7AM

The soundtrack comes in a heavy cardboard gatefold cover which is embellished with orange foil. The vinyl pressing itself is on translucent bright orange and is good with no jumps or warping at all on my player. The tracks themselves are as gorgeous and eerie as you remember, taking you back to Edward Island.

The Oxenfree soundtrack is an electronica delight, full of whimsy and unsettling soundscapes that suits the moods and themes of the game well.

1. Lost (Prologue) - The first track has a distorted warbly effect, almost like a damaged and stretched cassette tape, to lend it a cursed artefact effect.

2. Beacon Beach - Deep melodic synthy beats pulsate throughout the track. It is slowly layered as it progresses, adding depth and perpetuating the sense of unease.

3. Epiphany Fields - An airy sounding track with a gorgeous chant that wends it's way through a light repetitive arpeggio. It creates a sense of freedom and exploration.

6. Cleanslate - An eerie track with a soft arpeggio repeating over a light mysterious synthy track. It really adds a sense of unease as you are unsure where the track is going to go. You go on a real journey with this piece.

8. Cold comfort - This track sounds glacial and cold, with the synths creating a robotic repetitive beat against a higher pitched arpeggio.

9. Lantern - A haunting melody, almoat like a music box. The sound is creepy and sends the hairs on my neck on edge.

10. Argonaut - The standout track of the album for me. It starts gently with a restrained repetitive thrum but then the main deep driving synth kicks in and sets the whole piece alight. It is euphoric and truly an awesome moody piece.

19. Argonaut Atlanta - A reprise of sorts of the epic Argonauts theme but without the driving synths. However, it does hold its own as an ambient soundscape piece.

I am glad to add Oxenfree to my collection now, it’s been a long time coming but has been worth the wait. Whilst the cost of living crisis and other adulting costs keep my hobby in check, I do continue to pick up a videogame soundtrack vinyl here or there and have amassed quite a good collection (currently 20). My most recent buys have been the soundtracks to Sable, Astro’s Playroom and Nier Automata. I’ve loved wrapping myself in a blanket and reading a book whilst listening to this genre of music as it takes me back to simpler times. Now, onwards with Sayonara Wild Hearts and the Ecco the Dolphin Sega CD OSTs at a reasonable price!

LINK- Videogame Music and Vinyl

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- Sonic Mania Video Game Vinyl Soundtrack

LINK- Thomas Was Alone Video Game Vinyl Soundtrack Review

LINK- Akira Soundtrack Vinyl Review

Vampire Hunter D- Cult Manga OAV Review

In Japan, manga has been a part of the culture for a long time. The origins of manga are debated and The Handscroll of Frolicking Animals by Kitazawa Rakuten is considered a major influence, but generally it gained prominence in the post World War 2 era where artists such as Osamu Tezuka brought some levity and lightness to proceedings with Mighty Atom or Astro Boy as he's known in the West. Tezuka was to manga what Will Eisner was to American comics; the medium existed before their arrival but they brought it to the fore and forever changed it.

As a young boy growing up in east London, England, I didn't know anything about manga or anime but I was consuming it unknowingly through shows such as The Mysterious Cities of Gold and Ulysses 31.
One Saturday, I went into my local WH Smith and saw issue 22 of a magazine called Manga Mania and was taken by the big eyes, spiky hair style and tiny mouth and nose of the cover star that reminded me so much of the animation style I liked. When I picked it up, from the top shelf next to the more salacious magazines, I felt a bit of a rebel but upon opening it the kinetic imagery and artistry blew me away. Flicking through it I saw a mention of The Mysterious Cities of Gold in the letter pages and knew I had found something special.

I was lucky enough to visit Japan in 2013.

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.

One of the other manga VHS tapes I was given early on in my journey was Vampire Hunter D. I watched it at the time and loved the moody art style and its similarity to Castlevania, a videogame series I enjoyed on the NES and Megadrive at the time. Since then, I have become more aware of the artist Yohitaka Amano, who contributed to the D design as well as the art for many Final Fantasy videogames. So, on this wet, cold and dark night I thought I’d settle down and watch the Vampire Hunter D OAV film.

In the film, the world's humans live in fear of the vampires and beasts that haunt the land. When a young maiden, Doris, is attacked and marked as the new bride for the evil Count she seeks help from a mysterious swordsman. Known simply as D, the dhampir (part human-part vampire) rides to the castle and an epic battle begins.

Watching the film for the first time in about 25 years, one of the things that struck me is how like a videogame it really is. D goes to the castle to confront the Count but is sent down into the castles depths. He then goes through a sort of boss rush where he fights against various creatures, including the three Midwich Medusa sisters, a ghost wolf, a spider throwing hunchback, before rescuing Doris. However, this continues the story on from where a game would usually end. Doris’ brother is kidnapped so D has to go back and rescue him, then he is killed but rises again before he has a final confrontation with the big bad.

This 1985 OAV is a handsome piece of work, obviously created with a good budget that takes advantage of the format of the time to be a tight 81 minutes. The film does contain lots of gore and there is a bit of gratuitous nudity as the young maiden, Doris, is in the shower for a non-essential scene but, surprisingly for the time it was created, it remains relatively non-offensive.

Manga was one of my first true loves and one that has survived to this day, at least to a lesser extent. Manga is in my lifeblood and even though it doesn't feature as prominently in my daily life as it once did for me, it was formative in my youth and for that I am still grateful. Films like this remind me why I fell in love with the medium in the first place.

LINK- Japan: My Journey to the East

LINK- My Visit to the Cartoon Museum in London

LINK- Manga Exhibition at the British Museum: Review

LINK: Preserving the Spirit of Media Past

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

LINK- My One True Gaming Constant in Life- Nintendo

LINK- On, and On and Colston (Or, ‘How We Learned to Talk About the Legacy of Colonialism in GB’)

Yeti- Bonus Episode (Hair Sample DNA Tested)

A while ago, I mentioned that I was listening to a podcast with an intriguing premise: to find the Yeti. Two friends, Andrew Benfield (the believing Mulder of the pair) and Richard Horsey (the cynical Scully of the pair) were investigating the yeti. Over 10 episodes, Benfield talked about the origins of his interest in the yeti whilst the two were schlepping off to numerous Himalayan countries and following old clues and sightings to see if they could get to the truth.

I had issues with it is that any little clue was presented in an over the top 'OMG!' way by the believer; it got rather grating when it is debunked or evidence to the contrary is given. It was not as ridiculously contrived as 'Most Haunted' or that ilk of programme but the 'I want to believe' shtick was definitely there. The fact that the expedition was being closely followed by the Royal Geographical Society means that it has the approval of academia but still.. a pinch of salt would help.

The most fascinating part for me was that it placed the sightings and events into a chronological history and this was a fascinating insight into the evolution of this cryptid. As a former student of anthropology, it made me consider the relationship between folklore, mythologies and the sprititualismof the area.

The finale of the series, where they had found some hair from the ‘yeti’, had yet to be revealed but I was not expecting much from this grand reveal which kind of reminded me of Jeremy Kyle envelope opening, after the break of course. So, on the 10th October 2023 the reveal happened and, whilst I won't spoil it here, the fact that you haven't see the Yeti's face all over Time magazine as Cryptid of the Year or had The Sun release an exclusive interview with the woman who apparently had a love child with the creature should tell you that it didn't go to plan.

Overall, this is an interesting thought experiment but works less well as a 10 part series. The fact that it ends with the typical, 'There are different ways of thinking about the creature, for the West it's a search for a physical creature whereas for much of the area where the yeti has been sighted, it is a mystical creature who is symbolic of their spirituality and our connectedness to nature' shtick is aggravating.

This finale pretty much sums up the orientalism that the topic is dealt with and it doesn't sit right with me. Anyways, if you have an interest in the topic as a whole go for it but if you want a Western man trying to go on a modern Grand Tour and be a bit 'I've read The Alchemist so I'm profound now' then this is for you.

LINK: Kolchak: The Night Stalker- Cult TV Series Review

LINK- Twin Peaks Retrospective

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

LINK- My One True Gaming Constant in Life- Nintendo

LINK- On, and On and Colston (Or, ‘How We Learned to Talk About the Legacy of Colonialism in GB’)

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

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

Twins of Evil- Cult Film Review

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, The Witchfinder General and many, many more.

It was during this time that I first watched Twins of Evil. I decided to revisit the film for the first time in over 25 or so years to see if it was worth the cult classic status it has acquired over time.

The story is quite simple: At a village where superstition reigns supreme, a young woman is burned at the stake for being a witch by a band of puritans. Maria and Freida, played by the identical Collinson twins, are placed under the care of their puritanical uncle, played by an ever reliable Peter Cushing. The twins are identical in looks but very different in nature with Maria being kindhearted but Frieda being selfish and hedonistic. When Frieda secretly allies with the pleasure seeking Count Karnstein (played with suitable arrogance and charm by Damien Thomas) and is turned into a vampire, her sister seeks to get her back but is it too late?

The film is based on Sheridan Le Fanu's Carmilla but apparently this film changes quite a lot from the source material. As it is, the film is a very simple story of good and evil and the nature of humans. It's not a deep character study like The Blood on Satan's Claw or The Wicker Man but it is quick disposable fun that shows Hammer at its cheesy average.

The cinematography by the awesomely named Dick Bush is solid and the Harry Robinson composed music surprisingly jaunty, especially over the opening credits as a poor woman is writhing in agony as the flames overtake her body. Director, John Hough, knows his remit and that is to let his star actresses take the spotlight and shine in their title roles.

The film is fine but that's it. The twins are solid in their roles whilst Cushing and Thomas play their roles with suitable gravitas but the story is slight and there are few surprises. It's a recommend from me for nostalgia's sake but there are definitely better horror films from the period out there.

LINK: Kolchak: The Night Stalker- Cult TV Series Review

LINK- Twin Peaks Retrospective

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

LINK- My One True Gaming Constant in Life- Nintendo

LINK- On, and On and Colston (Or, ‘How We Learned to Talk About the Legacy of Colonialism in GB’)

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

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

Vampire Princess Miyu OVA- Cult Manga Review

During the Japanese bubble economy of the 80s, the animation studios released original video animations at a premium price. These films usually featured high quality animation and were released in waves, based on the success of sales.

The Vampire Princess Miyu OVA was released on 2 VHS tapes, each lasting just under an hour and containing 2 episodes. The AIC published films were based on the manga by Narumi Kakinouchi and Toshiki Hirano. I was attracted to the anime as I was going through a horror phase back in the mid to late 90s and, whilst not a metal head or goth, the character design had me intrigued. It stood out against the harem and ultra violent anime available at the time.

The story is quite simple: a mysterious vampire girl seems to be implicated in numerous strange occurances, often involving the victims being drained of blood. Hot on her trail is spiritualist Himiko, who seeks to save people again this scourge but is there more to this figure than meets the eye.

In the first episode, she helps a young couple who worry that their daughter is in a deep coma due to a vampires bite. In the second, a young teenage boy faces pressure from his family to succeed and achieve and the pressure drives him to seek freedom away from them. When a young lady promises to keep him young and carefree how can he resist? In the third episode, Himiko helps Miyu recover Larva from the Lord of the Abyss after he failed to kill Miyu. It's a good look at the relationship between Miyu and her familiar and offers a glimpse into bit of their origins. In the final episode, we see Miyu's origin and also learn of the link between Himiko and Miyu. This is quite an affecting episode and ties a bow on the premise of the follow up TV series.

I have a real affection for this OVA, even after about 30 years after last seeing it. The story is simple but effective but it's the mood and world it creates that appeals. There is a sense of mystery to Miyu's origins and who Larva, her familiar, is to her. The way the evil Shinma feed off the darkness of the human souls is intriguing and each episode is self contained, Kolchak style with a monster of the week format whilst also providing a breadcrumb trail of information about the series namesake protagonist.

The art direction is excellent and the pastel saturated effect makes the characters really pop in the foreground. When you take into account the stunning music by Kenji Kawai and wonderful colour palette of the in between world, you realise that this was a quite unique proposition in the West; a romantic and wistful vampire love story years before Twilight was even a twinkle in Stephanie Meyer's eye.

The standout episode is the second one as the Noh music and art direction are incredibly strong. It has a quick pace but more than that, we see the more human side of Miyu and sense her loneliness.

So Miyu is not as frenetic or action packed as a lot of manga from back then but it does have that certain style and atmosphere that creates an unsettling feeling. The show is relatively free of the clichés and tropes that pepper the manga and anime landscape today and for that it deserved to be commended. The OAV would be surpassed in terms of developing Miyu's character several years later in the 26 part TV series but for a 2 hour collection, the Miyu OAVs are a vibe. So much so that I even have 2 cels from the TV series in my collection which I love.

LINK: Japan- My Journey to the East

LINK- The Last Guardian- Video Games As Art

LINK- The Mysterious Cities of Gold Retro Soundtrack Review

LINK- Twin Peaks Retrospective

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

LINK- My One True Gaming Constant in Life- Nintendo

LINK- On, and On and Conston (Or, ‘How We Learned to Talk About the Legacy of Colonialism in GB’)

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

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

Generational Trauma Through British Public Information Films and Shows

The 70s were an interesting time as society was going through huge upheaval; Chariots of the Gods popularised the idea that aliens may have visited and left their mark on the Earth and us, there was a dawning of the Age of Aquarius and the counterculture movement was going strong. As the decade wore on this optimism faded somewhat and what was left was this growing sense of unease with a world that no longer seemed to make sense.

Against this nervous backdrop, the British television programmes and public information films from this time have a liminally surreal aspect to them; a documentary-style, low-grade aesthetic weirdness to them. Creatives from the time were not afraid of being experimental, thus we have some products that feel like cursed artefacts. The silences, the eerie and unobtrusive music and the economy of financial and logistic design made creativity the mother of invention. Just look at some of the public information films from the period sharing some important messages to keep us safe!

The various regional channels tapped into the zietgiest, looking back to mythology and legend and cleverly blended them with the issues of contemporary youth, pushing boundaries and tackling subject matter through analogies of the other worldly. They understood that there was an audience receptive to multi-layered storytelling with a mixture of scares and thought-provoking drama. Similar in the way that Rod Sterling (of The Twilight Zone fame) was able to disguise his social and political commentary by setting the stories in the past or the future, with sci-fi and fantasy settings, the British creatives were able to present their social criticisms and concerns without attracting any backlash from viewers or television broadcasters. Seemingly, the fantastical elements made the content more palatable and so what we had was a real burgeoning of genre programmes for tweens that were slightly British Folk Horror but more palatable for the ages.

I’ve watched quite a lot of over the past few years including: The Children of the Stones, Moondial, The Owl Service, The Children of Green Knowe and Chocky and appreciate the time capsules they are. Sure, they are of an age but they really do show a society with its anxieties and fears. I wonder what people will see when they look back our programmes and adverts in 50 years time…

Goodbye Volcano High- Videogames As Art

Goodbye Volcano High is a visual novel, music rhythm and teen drama game. The game has been on my radar ever since I'd seen the screenshots in Edge a while ago and the trailer cemented the feeling that this would probably be my bag. Having played and finished it over a couple of nights, I can most definitely say that it is my cup of T-Rex.... I'll get me coat.

It brought back waves of nostalgia for the 00s teen high-school dramas that I occasionally watched on T4. The earnestness, self belief and, yes, arrogance that you have in yourself as you feel that what you're doing is important and matters as a later teen... the feeling that this moment will last forever, is captured beautifully here.

I was never a Dawson's Creek guy but more into The OC and this hits like that. Now, I'm not saying Barking, Essex, England was anything like Orange County but the idea of a small local area where music opened up possibilities to something more than the crumbing ruin around you is something very teen. The only other game that made me feel like this was Night in the Woods as it was similarly relatable. Both games know that music soundtracks your life and moments and are formative- forever intwined in your memory.

I don't think we'll have that again as there is just so much content now but back then there was more of a monoculture. The same artists and songs would play on the radio but when you found your band, your tribe, you felt your true self. For me, it was the Manic Street Preachers' Design for Life that was formative. However, going back and listening to their previous The Holy Bible album blew me away. Well, it was this, Interpol's Antics, Arcade Fire's debut Funeral and Muse's Absolution. These albums soundtracked my formative mid to late teen years.

Anyways, the game is emotional and has enough truthiness to hit as well as being a metaphor for climate collapse so enjoy this game of existential dread and ennui mixed with camaraderie and hope.

Midnight Gospel - Series Review

Midnight Gospel is a surrealists delight; weirdly trippy and highly pretentious but knowingly so. Protagonist Clancy is a space caster, a kind of intergalactic DJ/ YouTube influencer/ Interviewer. He travels across the universe in his failing, beat-up machine and, after putting his head through a portal-like hole that appears on his arse-shaped machine, finds out about certain aspects of the human condition. Creators Pendleton Ward (Adventure Time) and comedian Duncan Trussell are stating their intent quite clearly to show that this series is quite tongue in cheek yet also earnest. I watched the 8-part show impressed but also surprised that this show had been greenlit in the first place.

There are 8 episodes, all about 25 mins in length and they cover a range of topics:

Episode 1- whilst speaking to a little President during the zombie apocalypse, the topic of drugs is discussed. The final point of there not being good or bad drugs but good or bad situations is one I align with overall.

Episode 2- Clancy discusses death and how there is an existential fear of it.

Episode 3- speaks to a pirate with a fish in a bowl as a head. They discuss 'magic' but as in enlightenment rather than the Paul Daniels/David Blane nonsense.

Episode 4- whilst speaking to a Knight with a bloodsucking sword, Clancy looks at the loneliness we all sometimes feel and how a feeling of belonging and community can make all the difference in the world. It also looks at forgiveness and how it can be challenging to do. This episode had a passage from Rumi in it so it's alright in my book.

Episode 5- Existential dread is the theme for this light hearted episode... jk... It is heavy but profound as it talks about Hinduism, Buddhism and sitting with one-self and realising that death is a release. It isn't nihilism but more like an awakening that everything will end, but this is good for us as it's a release from worldly pains.

Episode 6- this episode talks about meditation and how it is important to listen to our thoughts and let them wander.

Episode 7- the industrial death complex in the West is considered. It drops some knowledge bombs about embalming in the American Civil War and how this warped the idea of the body as dangerous in death.
It's an intriguing episode as it does look at how western counties seem to fear the death body, something that people have been doing for tens of thousands of years.

Episode 8- the final episode sees Clancy talking about his birth and formative years with his mother. It's quite sweet as they discuss hardwired behaviours learnt within the first 5 years and the impact these years have on us as adults. They also talk about the ego and why people avoid talking about death as it's all too real. We get an insight into why Clancy has been interviewing people about some deep stuff and it's all quite powerful and sweet actually.

The series reminded me of Fantastic Planet, Yellow Submarine and various other surreal 70s and 80s animations including the eastern bloc animations I caught on occasion on Channel 4 in my youth. It also recalls many late night conversations with friends after they had been drinking heavily and/or taking something recreational (I'm a total tea to taller and 'Just say no' kinda guy but more power to those that chose to partake responsibly). The show shares much of the surrealism of Adventure Time but the colour pallete is bolder and stronger, all neon purple and pink hues, and the art isn't in the same superflat style.

I liked the show for discussing some deep stuff and being like an idiots guide to some complex topics. It also gave me a chance to reflect on what I thought as well as giving me potential reading material and authors to explore. Also, the content was not skewed towards Western ideas as it did discuss eastern ideas, philosophies and religions too.

Unfortunately, I don't think it works as an animation. The 'story' is usually Clancy following some individual through various surrealist landscapes discussing things but they're more of a distraction to what is being said than a complement. Maybe that's the aim, like in transcendental meditation, where they don't want to link ideas and words to imagery but allow it to pop out of your subconscious. Either way, I liked the show for being so daring and swinging for the trees but I don't think it's for me at this time of my life. Yup, I'm falling back on the 'it's not you, it's me' trope but I believe that long and short form essays by other creatives have stolen it's thunder. For example, Like Stories of Old and Jacob Geller cover much of the same material as Midnight Gospel but do so in a calmer, more coherent and meaningful way for me. The Good Place looked at moral philosophy to answer similar questions and, even with its absurdities, covered the material in a much more cohesive and meaningful way... at least for me. But, having said that, it doesn't mean I don't appreciate what The Midnight Gospel is trying to do and I'm sure it'll find its tribe who will love it for what it is.

It's just a shame that Netflix decided to pass on season 2 as I would have been interested to see where it could have gone and what existential questions it could have looked at.

Ghost Stories for Christmas- Cult TV Series Review

During the late 1960s and 70s, the BBC had a reputation for producing some genuine yuletide scares with its Ghost Stories for Christmas series, which ran from 1968 to 1978 initially. This original wave of films were fondly remembered and kept cropping up whenever I did any research on cult television series to watch. So, I bit the bullet and bought the 6 disc definitive collection.

Whistle and I'll Come to You (1968)
A professor of philosophy goes for a holiday by the seaside and enjoys brisk walks, fresh salty air and theological chats with fellow guests about the physical realm. He doesn't believe in ghosts or the supernatural but, whilst on a walk near a graveyard he comes across a flute inscribed in Latin, which changes everything.
The short film is a concise 45 minutes and there is very little dialogue; it's all about mood and the economy of design that creates the tension. The black and white print certainly cranks up the atmosphere and the lead, played phenomenally well by Michael Hordern, certainly sells this spooky tale of a slightly arrogant man taken aback by inexplicable forces. The special effects, which are simple and thus still effective even in this modern age, makes this a rightly considered classic of horror.

Whistle and I'll Come to You (2010)
This keeps to the same premise of the original but this time gives the professor a wife who is suffering from dementia. He considers Life, the Universe and Everything and contemplates the fragility of the human body and whether our spirits live on. As he leaves his wife in a care home and goes on holiday to contemplate such matters, he goes to the beach and makes a discovery of a ring inscribed in Latin with 'Who is this who is coming?' The story then plays similarly to the original film but has a different and more emotionally impactful denouement, in my humble opinion.
John Hurt is in the main role and, like always, plays it magnificently. He embodies the world-weary everyman who suffers from guilt about leaving his wife in a care home whilst having a respite break, all whilst contemplating his own mortality. The slow-burn pacing and immaculate sound design make this a worthy modern retelling of the much admired original.

The Stalls of Barchester (1971)
Whilst cataloguing a cathedral's library collection, an archivist is shown a locked chest which contains some forbidden text kept secret by the old, long-dead Dean. What is uncovered is a diary recounting the story of the Dean's rise to power. And so, we have a back and forth between the present time in 70s Britain and a flashback to a hundred years before that where the Archdeacon died in an accident... or so it seems.
The story of a diary telling the present day reader the truth of the past is not a new one but is done effectively here; the guilt consumes the perpetrator of the heinous act. The acting is solid and features a few cast members I recognise from elsewhere including Hyacinth Bucket's husband in Keeping Up Appearances and Mavis from Coronation Street.

A Warning to the Curious (1972)
The myth of the three crowns of Anglia, where as long as they remain undisturbed the county would not be conquered, starts off this tale of dread. As antiquarians excavate the land and get ever closer to the last crown, a malevolent entity/ person seeks to stop them. Up pops amateur archaeologist, played with suitable heft by Peter Vaughan, who is hot on the trail of the treasure. When he finds it and tries to escape with it out of the village a ghostly presence stalks him.
This is a pretty spooky story due to the fact that much of it happens in the woods. The director luxuriates in the bleak quietness of the land and this marinates the story with an unsettling atmosphere. It's a great story, well translated into short film with deft acting by Vaughan.

Lost Hearts (1973)
An orphaned lad is taken in by an eccentric lord. As the tween's birthday draws near, on Halloween night no less, the learned gentleman, who has a keen was interest in the esoteric, seems to be taking an unhealthy interest in the boys health. The boy meanwhile has sightings of a young boy and girl who are missing their hearts. What malevolent intent do they have?
This is an interesting tale which hints at child abuse and neglect; it's quite tame but the predatory undertone is there. Thankfully, it's more wholesome than that with the old codger merely trying to take the youthful life essence of the child. It's very well shot and the creepy hurdy-gurdy music adds an extra layer of spookiness.

The Treasure of Abbot Thomas (1974)
When a scholarly clergyman and his young protege undertake a quest to find the lost gold of an old cleric from many centuries ago, they follow his clues in a Da Vinci Code-esque adventure. This is a rather more staid affair but no less thrilling in a Victorian/ Edwardian way.
This was one of my favorite tales as I liked following the cryptic clues to it's inevitably spooky conclusion. There is a price to pay for disturbing the treasure and it comes right at the end, cutting away at the denouement. The final 'monster' is very disappointing, looking like a muddy puddle, but the rest of the production is spot on.

The Ash Tree (1975)
A young squire becomes lord of the manor after his old uncle dies. He finds it a wonderful place and renovates it in an Italian style. He deems to make other amendments including disturbing a sole grave, marking the spot of old lady Mothersole who was tried as a witch long ago, so he can have a pew placed for his wife to be and their future offspring. Through flashbacks we see the fate of Mothersole and the hanging of an innocent old woman. The past and present merge as we see the family curse is still in effect.
This is an intriguing story about the past affecting the future. The conclusion is suitably spooky and highly symbolic of the power of women.

This marked the end of the M. R. James adaptations and what followed were from a variety of authors and from different time periods.

The Signalman (1976)
A rambler comes across a train signalman and the two bond. The signalman confides in him some ghostly goings on but the portents of doom continue. What can it all mean?
This is a Charles Dickens tale but it suits the theme quite well as it is still a scary ghost story about premonition, fate and fear of the unknown. Elliot Denholm is exceptional in this as the haunted man who has a deep sense of duty but also a creeping dread of things to come as the ghosts in the machine take hold.

Stigma (1977)
When a family move into a new cottage in the country, they try to relocate a huge stone that is in the garden. Upon it's lifting, the mother finds herself constantly bleeding. What is the cause and will the family survive?
This is a jarring change of pace as it is set in the present (for the time at least, it's the 70s) and the setting is more modern. It features a mum, dad and teenage girl dealing with a move and the unnatural goings on. I liked it but it's not as immediately interesting as the more period pieces.

The Ice House (1978)
The story starts in a sauna (one of my favourite places, so that got me immediately interested) and follows a man's journey at an exclusive resort. He enjoys the company of the brother-sister team who maintain the property and the scent of flowers but is unsettled by their demeanour and the locked ice house. What follows of a murder mystery as a body is discovered.
I've really enjoyed this story of a man finding peace and solace at a spa guesthouse, only to fall into a plot featuring the ice house and the sinister siblings. It's slightly strange and not much happens but it is quietly effective.

There was then a huge gap of about 25 years and then the next two stories come along. Of the first wave, I have to say that I loved them. The thing that comes through in all these productions is the silence; they are not afraid to be quiet to let the mood or the gravity of the situation take precedence over the dialogue or inane prattling that many films nowadays struggle with. Also, the period costume detail is on point and, even though on a tight budget, the economy of design lends the whole thing an air of authenticity; it doesn't come across as a polished costume drama but rather rough and ready Edwardian period pieces with some 60s design thrown in.

A View From a Hill (2005)
An archaeologist visits a country pile to evaluate the collection of the hier's father, an amateur archaeologist who discovered many an object. Whilst going for a walk, he spies a church tower but on closer inspection it seems to vanish. Looking through the artefacts he comes across a sketching of said tower, but apparently it was dissolved by Henry VIII centuries ago. What is happening? Maybe the camera obscura-type binoculars can help?
This is a modern production and so benefits from a clearer image and better sound quality. The M. R. James story itself is intriguing and contains that feeling of unease that his best work contains- a man intrudes on the locals with their ways and a land not his own and struggles. The scene in the woods is particularly spooky and intriguing whilst the glimpse into the past is wonderfully portrayed but tinged with a danger of forbidden sight.

Number 13 (2006)
A college man visits a small village to look through a trove of paperwork and artefacts hidden within a hole in the church wall. One night he finds a hidden manuscript with strange markings and has a Hieronymous Bosch 'Garden of Earthly Delights' -type horrific nightmare piece. There is a mystery linked to room 13 at the man's lodgings and a link to an unliked bishop.
This is a suitably moody piece and the dark subject matter is well covered with beautiful piano music complementing the well - shot, dark film. The finale is suitably scary with a proper jump scare rather than a whole ‘It's left up to you’ denouements. As a statement of intent, this story is a highlight of the renewed Ghost Stories series.

I thoroughly enjoyed watching these films over the course of several weeks; the productions were well produced and added an edge of darkness to what can be an unremitting sugary, syrupy time. The genuine shivers some of these films sent down my spine shows the potency, even some 50 years after their time.

Halloween 3: Season of the Witch- Cult Movie Review

Nigel Kneale is one of the great British horror writers, gaining prominence with his Quatermass trilogy and other sci-fi/ supernatural works in T.V. drama including The Stone Tapes and Beasts. Over his 50 year career, Kneale wrote many pieces that are still considered high televisual watermarks. What is less well known is that he did go to Hollywood and ended up working on a draft for the film that would become Halloween 3: Season of the Witch. His draft was based on his interest in folk tales and witchcraft but there was a desire for more gore and blood so he left the project, washing his hands of the whole affair.

Some say the Halloween name cursed the film, encumbering with it the ghost of Mike Myers.

I knew that upon it's release the film had flopped but had become a bit of a reevaluate cult classic over time- appreciated by a new audience who saw the lack of the main man Mike Myers as bold. It could be seen as an audacious act to move away from the sequelitis with diminishing returns that plagued many other horror franchises from the time or, as John Carpenter admitted at the time, a chance to create something different: an anthology series which altered the story to something different.

Based on this fascinating back story I knew I just had to watch this movie so I ordered a DVD copy and on a dark evening in October, I sat down to watch this reevaluated horror.

The film starts promisingly enough with an elderly man holding a pumpkin mask and running away from some assailants who are pursuing him in a car. Whilst he manages to escape, he collapses and a kindly petrol station attendant takes him to the hospital where his assailant kills him before killing himself.
What follows is unusual as a lothario of a middle-aged doctor, played with great skill by Tom Atkins, persues the case. He isn't some handsome or dashing hero but rather an everyman just trying to figure out what is going on. With the able accompaniment of the victims daughter, Ellie played by Stacey Nelkin, they try to get to the truth by going to the factory town of the mask manufacturers, The Silver Shamrock Company.

I have to say that I found the movie to be solid and well worth my time . It was a moody mystery with an intriguing premise. The Men in Black figures were menacing and, whilst violent, it wasn't all gore or splatter porn; it was more considered and ritualistic. The film is problematic for the relationship between a much older man and a younger woman grieving the loss of her father but, for the time or came out, it wasn't as mysoginistic or as problematic as many films from the time.

What it does put in its sights is consumerism, the power of advertising and corporate overreach. I'm not sure that a film as subversive or as anti-franchise as this obviously was would be made in this day and age. Where SEO, brand recognition and franchise potential is all carefully considered, something as leftfield as this would be considered too risky.

The film is a great horror piece and shows the potential the anthology idea had. It's a shame it wasn't taken forward but at least we have this curio to appreciate and champion.

Goosebumps- Retro Series Review

For many people of my ages (early 40s if you must know) Goosebumps was their first entry point into horror. I never really got into the book series in the early 90s myself, preferring fantasy and sci-fi at the time of its initial popularity. I watched a few episodes of Are You Afraid of the Dark? at the time and watched the entirely of series a few years ago, which I have reviewed here. So, when many people were saying that Goosebumps was well worth a watch too, I dived in and watched the award winning TV series over a few months. With the darkness and cold night setting in, I thought the time was right to catch up with R. L. Stine and share with you the 13 best episodes, in my humble opinion of course.

The entire TV series was spread over 4 seasons and contained 74 episodes. The episodes were a veritable smorgasbord of horror tropes including classics like ghosts, vampires and werewolfs to more offbeat but no less terrifying creatures including ventriloquist dummies. The most interesting thing to note is that no matter the episode the power of the storytelling and creepy atmosphere made them all worthwhile watching, which is particularly impressive when you consider each episode had a tiny budget. Strict age rating restrictions meant economy of design and smart editing left much to the imagination and often what you imagine is worse than what is shown, as H. P. Lovecraft so often used to startling effect.

I have selected my favourite 13 episodes which are the ones I'd recommend you watch. All the episodes are PG rated so are scary without being gory  or too violent.

Welcome to the Dead House
A family move to Dark Falls as a house comes on the market that seems too good to pass up. The town is quiet and eerie, having never been the same since the chemical plant accident that occured 3 years prior.

This is a proper B-movie zombie horde double episode as the family uncover the secrets of the house and are surrounded by the town who are looking to feed. The atmosphere created is surprisingly intense, creating a gloomy and suspenseful mood that would be right at home in a Stephen King movie.

Welcome to the Dead House has a B-movie zombie horde feel to it… but in the best possible way.

Night of the Living Dummy 2
When a young girl is given a ventriloquist's dummy little does she know it is the incorrigible Slappy, a malevolent besuited insult and roasting figure that breaks up families wherever he goes. In this case he does small level stuff that gets his owner, Amy the middle child of three, in trouble. Her family turn against her and they think she might need some therapy or a psychologist. Will she be able to prove that Slappy is to blame in time?
Slappy's design is on point here and he is suitably evil but in a strictly U way. The story is quite basic but is quintessential Goosebumps. He became the kind of totem for the series and it's easy to see why on the strength of this solid episode.

Slappy is kind of the talisman of the show. He is probably its most recognised character.

Deep Trouble
A brother and sister are staying with their scientist uncle for the Summer holidays. They explore his basement and see that he is creating experiments that turn animals giant. An enlarged sea creature is on the loose and could pose a problem.
This is an effective tale as halfway through this 2 parter they end up stranded on an island with the creature stalking them nearby. It's like an old school Sinbad movie with oversized creatures, such as lizards and crabs, for tweens. The Green screen is obviously cheaply done but it gets the tone across effectively enough.

The practical effects looks cheesy now but in the 90s they were plenty effective.

Say Cheese and Die
After stealing a camera from an eccentric scientist, a young boy learns that it takes a picture of the future, showing death and tragedy.
It's an interesting concept about knowing the future in the Final Destination style. The curse is all too real and so it must be given back before something worse happens.
The camera obscura, the camera that sees the hidden world is a great idea and I quite enjoyed this story ad it wasn't too horrory.

This episode is quite quirky but fun.

The Werewolf of Fever Swamp
A family move into a home near a swamp but something is disturbing their dear. Legends of a werewolf abound but the scientist parents dont think it's real.
The atmosphere created for the swamp is excellent as it feels eerie and isolated. Also, I'm glad that with the limited budget they had, they only showed the werewolf in bits and pieces. This stops the whole 'the special effects are so naff' syndrome that so many tween horror films and series had back in the day.

The special effects are kept to a minimum and the moody atmosphere of the dark woodlands creates the requisite tension required.

Ghost Beach
A couple of kids spend their summer with their uncle and Aunt near the beach. Along the way they meet a couple of kids who tell them the legend of the pilgrim ghost who lives in a nearby cave.
The story is a simple one of 'who to trust' but is effective with a surprise twist at the end.

The twist is a novel one.

The Scarecrow Walks at Midnight
A couple of city kids go to the countryside to stay with their grandparents. At night, the young boy says he can see the scarecrows move but how have they come alive?
This is a genuinely spooky tween horror episode as the scene with the scarecrows trying to come in during the thunderstorm is suitably creepy. Cornfield are a staple of horror and rightly so as you can get disoriented and discombobulated.

The lighting really adds to this story and this scene is particularly spooky.

Stay Out of the Basement
When a botanist is made redundant, he holes up in his basement and carries out weird experiments. The children are intrigued as to what he does and venture down to find out. It doesn't go well.
This is a great episode as it creates a mood, from the autumnal leaves falling in the wind on the opening scene to the emerald green hue of the basement, it all adds tension to a surprisingly powerful ending. The actor who plays the dad, Judah Katz, gives a very creepy performance and is the MVP of this episode.

Judah Katz is excellent in his role as the slightly sinister Doctor.

A Night in Terror Tower
A couple of kids visit London and travel to a tower where princes and political prisoners were kept and tortured. They experience a time slips and travel back and forward in time to medieval times.
For show that was aimed at kids, this episode quite unsettling. The scene at the beginning when the boy is being warned off by a ghost at the top of the tower creates a sense of foreboding that is quite palpable even now. The scenes of the tour guide discussing the many contraptions of pain in his plummy English accent is suitably creepy but it's the mood, which reminds me of the old Madame Tussaud's Chamber of Horrors exhibition, which truly sends a shiver down the spine. The scene in the execution chamber is beautifully lit and the whole thing looks to be a higher production value. This is definitely one the best Goosebumps episodes in its entire run and my favourite with wobbly wobbly, timey wimey stuff in it.

This is my favourite Goosebumps episode as it is quite complex and compelling.

Be Careful What You Wish For
When a young girl who finds it hard to fit in is given three wishes for helping a stranger, she has a typical monkey paws situation where all her wishes backfire.
The episode is interesting as it looks at that old classic of being careful what you wish for. It's all pretty light hearted but does get sinister.

A typical monkey’s paw tale but for the U genration.

The Haunted Mask
A young girl with self-esteem issues picks a scary mask to wear for Halloween but it doesn't come off as easily ad it goes on.
This is an excellent episode as the actress Kathryn Long really sells the role of Carly Beth. The story is quite emotional too as it pulls the whole 'be true to yourself as be proud to be you' shtick. This is a bona-fide classic and rightly so.

For many fans, this is the best episode.

The Haunted Mask 2
A year after the events of The Haunted Mask, the possessed mask returns and takes over the shopkeeper. Now, seeking revenge a new mask of a creepy old man takes over a frenemy of Carly Beth.
This is quite an unnerving episode as the young cast do a great job of elevating the material. Kathryn Long is excellent once again and the ending is quite dramatic. A worthy follow-up to an all timer Goosebumps.

This is a solid follow up to the fan favourite.

One Day at Horrorland
When a family on a road trip are lost they come across Horrorland, a spooktacular theme park. Yet, the resident are not what they seem and the family get involved in a quirky quiz show before being left on a real cliffhanger.
The idea behind this, a theme park full of monsters, is great but the special effects are very low budget so it is a harder sell. However, the makeup and set design are on point and really sell the story of a family desperate to escape from a surreal nightmare.

This is an offbeat episode but the make-up is on point.

Overall, all these episodes are great and I'd definitely recommend them but they often follow the same premise: a family with a couple of teenagers move into a too good to be true house in the sticks. The neighbours are weird and the area is rundown but the parents got the house cheap because the previous tenant mysteriously vanished...so swings and roundabouts. Oh, and there's a creepy creature somewhere nearby but it's probably just a legend. This is tween horror 101 and is proper by the books but it doesn't mean it's enjoyable... it was a gateway to more exciting and subversive horror for many readers and watchers of the series later in life. For those looking for the same kind of vibe but in the more current age with a wider story variety I'd recommend Creeped Out.

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

LINK- The Secret Garden (BBC 1975 Review)

LINK- Children of the Stones Review

LINK- Dead of Night: Cult TV Review

LINK- The Stone Tapes: Cult TV Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

Cabinet of Curiosities- Complete Cult Series Review

I do love a good anthology series. The idea of many little stories, based on an overarching theme, always appealed to me as if you didn't really like a story another one would soon be up and it might be more your cup of tea. I've watched many Outer Limits, The Twilight Zone, Goosebumps, Are You Afraid of the Dark? as well as the BBC series such as Ghost Stories for Christmas amongst many other 70s horror anthologies and I can never get enough.

When I first heard of Cabinet of Curiosities I was excited, but when I heard it would be produced by Guillermo Del Toro, one of the best writers and directors of our time and a huge cult horror nerd I was ecstatic. Over the course of a couple of weeks, I watched the entire run of 8 episodes. Here's my breakdown of each episode and my opinions.

Lot 36
When an auction lands a desperate man a storage room, he finds that it's mostly junk. However, there are a few books and accoutrements linked to the dark arts and a collector seems interested in these. To pay off his debts how far will he be willing to go?
This was an amazing episode as the main protagonist comes across as a rude and bigoted man, so when he gets his comeuppance it seems well deserved. The directing is solid and the special effects are excellent with the 'big bad' reveal.

Graveyard Rats
A gravedigger and robber eyes the riches of a deceased man but the rats in the graveyard pose a threat. With debts to pay, will he be able to secure the goods, pay off the debtors and enrich himself? As he searches in the tunnels under the graveyard he finds the black church and creatures from nightmares.
This is a tight episode clocking in at under 40 minutes but it is filled with tension. The moments when the man is crawling through the tunnels are terrifyingly claustrophobic and the creatures are horrendous. A favourite of mine.

The Autopsy
When a mining disaster devastates a community the sheriff calls upon an old pathologist pal to investigate. What they find is unexpected and possibly extra terrestrial so the pathologist starts to carry out an autopsy.
The cinematography in this film is impressive and recalls Friedkin's The Exorcist. The noirish lighting, hues of black and amber gold, lend it an intimate yet unnerving feel. The story is very creative and, even though it is an alien parasite story, the denouement has a big payoff and that is mostly due to the masterful acting of F. Murray Abraham.

The Outside
A bank clerk struggles with her self-esteem and is sold on a beauty product which is apparent transformative. Will it provide the results she wants without any monkey’s paw ending?
This is a curiously quirky episode as it reminds me of the pushy neighbour scene in Edward Scissorhands, where everything is retro stylised up to 11. The story is quite interesting and goes some places but it wasn't one of my favourites as it was look quirky.

Pickman's Model
When an artist encounters a new, more mature college colleague they bond over an appreciation of art. However, when Pickman, the older artist shares paintings of cosmic horrors it haunts the man and his family.
This is a true homage to H. P. Lovecraft with the unnameable cosmic horrors that exist outside the realms of our imagination entering the real world through Pickman's art . This is a dark gothic piece and ratchets up the tension throughout. At points, it reminded me of the classic Nintendo Gamecube game Eternal Darkness. If you get that reference then you'll know that's high praise indeed.

The Murmuring
An enthusiastic ornithological couple go on a work trip to an island to research the murmuration of the local dunlin population. Whilst there, they stay at an old coastal mansion where spooky goings on occur. It brings to the fore the underlying grief felt by the couple at the loss of their child.
This is a moody episode, much in the style of an M. R. James story in that outsiders visit a new place and encounter ghostly goings on featuring an angry mother and a dripping wet child. The sound effects are suitably spooky and the tone is set for a solid haunted house mystery about the circumstances of the previous owners' demise.

The Viewing
Four strangers are requested to meet at a successful but reclusive eccentric businessman's house. They don't know why they are called but they go nonetheless. The astrophysicist, musical prodigy, bestselling author and alternative therapy guru are regaled with their success and are pushed to be even better by their amiable host before being introduced to a mysteriously acquired item. What is it and where did it come from?
This starts off as a typical haunted house mystery in which you think the guests will have to work together to get to the bottom of the mystery and find how they are all connected, like the Saw franchise. But this is different. Peter Weller gives a suitably creepy performance as the drug addled owner of The Sandpiper House who is a wordsmith who craves power and knowledge, but it is the creature that emerges that is pure brilliance. The set design is amazing and the cinematography phenomenal in presenting a late 70s opulence style via 2001: A Space Odyssey. The red light diffusion adds the film an eerie tinge whilst the conclusion is startling and gory as the best body horror is.

Dreams in the Witch House
An adaptation of a Lovecraft short story where a brother tries to reach the other side after his sister's spirit is taken by a ghost when she was young. Growing up, he seeks a way across the bridge between this material world and the spirit Plain to bring her back but it carries a lot of risks.

The story is a bit of a trippy classic and pretty unfilmable in its original form but this version makes it more linear and accessible. Rupert Grint does a great job as the down on his luck brother doing all he can to rescue his sibling. The ending is bittersweet but end with a joie de vivre ditty.

I thoroughly loved Cabinet of Curiosities as, through his short introductions, Del Toro adds a dash of ringmaster to these takes and recalls Rod Serling. Also like Serling, Del Toro is able to disguise his social and political commentary through these short parables. By setting the stories in the past or the future, with sci-fi and fantasy settings, Serling could present his social criticisms without attracting any ire from the viewers or television sponsors and advitisers. Seemingly, the fantastical elements made the content more palatable. In this case, Del Toro doesn't care about any criticism, he is just heading a smorgasbord of horror talent, many of which carry a social commentary. But then, most horror is successful as it amplifies societies fears and often personifies them in a terrifying monster.

The Blood on Satan's Claw- Cult Film Review

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.

For this dark season, I thought I'd watch the Unholy Trinity of British folk horror; The Witchfinder General, Blood on  Satan's Claw and The Wicker Man.

I saw Witchfinder General on Bravo back in the late 90s/ early 00s I believe. I watched it again recently (read my review here) and still found it a powerfully violent film with something important to say about the violence wrought against women in the name of faith and power. However, I had never seen Blood on Satan's Claw so I decided to watch it on a cold, rainy day.

It is a typical English folk horror tale: a farmer finds the remains of a mysterious creature whilst tilling the soil. After the discovery, much evil is unleashed on the village. The locals start to act strangely and the youth are particularly susceptible to the powers of darkness.

The typical genre elements are all present and correct: rural setting, isolation, and themes of superstition, folk religion, paganism, sacrifice and the dark aspects of nature. The old trope of an outsider who comes into the community but doesn't understand the old ways is present, in this case the judge does not believe in witchcraft and superstition, leaves the village to carry out his duties elsewhere leaving the innocent locals to fend for themselves against the evil infected peers.

Director Piers Haggard has a wonderful eye for period detail and the cinematography of the English countryside is beautifully represented. The title music by Marc Wilkinson is playfully haunting, it sounds olde English but has a sinister woodwind string wending it's way through.

Even after nearly 50 years, the film is still a indictment about the power of suggestion, mob rule and religious paranoia. Even though it is set several hundred years ago, the collective ideology and influence of a few to change the society they exist seems prescient. The small town, local people mentality shows how quickly people will turn against people they consider outsiders.

The cast overall are great and the fact that it doesn't have a big name attached lends the whole affair a sense of mystery and uniquenessall its own.

Linda Hayden (left) plays the malevolent and precocious Angel Blake extremely well.

The actors and actresses all do a wonderful job but special mention must go to Linda Hayden, who plays malevolent Angel Blake, as she is only 17 at the time of filming yet seems to command a screen presence beyond her years. Patrick Wymark is effective as the judge who becomes the jury and executioner at the end of the film when he fights the Devil with a secret weapon. The scene is presented in slow motion and this gives the finale a nightmarish, surreal feel.

Overall, I can see why the film is held in such high regard and can see that it definitely earns it place amongst the Unholy Trinity.

LINK- Children of the Stones: Cult TV Series Review

LINK- Dead of Night: Cult TV Review

LINK- The Stone Tapes: Cult TV Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

The Witchfinder General- Cult Film Review

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 was a real boon. 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.

For this dark season, I thought I'd watch the unholy trinity of British folk horror; The Witchfinder General, Blood on Satan's Claw and The Wicker Man. No, not the Nic Cage remake. Now, say it after me…

A true crime against nature.

I saw Witchfinder General on Bravo back in the late 90s/ early 00s I believe. I hadn't seen it since then but remember the violence being quite disturbing at the time.

It starts off with a quiet countryside scene with lush green grass and lolling sheep. It quickly cuts to a hangman setting up a gallows on a hill whilst  a mob drags an old lady up to it. Whilst the priest recites the last rites the noose is put around the old lady and the stool is kicked away from underfoot, she swings and it smash cuts to Vincent Price as Matthew Hopkins, the Witchfinder General, watching from astride his white horse. For a cold open, this scene is brutal and it doesn't stop there. The statement of intent has been set and it's not backing down.

The smashcut of Vincent Price is brilliant and the beginning is brutal.

The music by Paul Ferris kicks in to offer a brief moment to catch your breath as the credits roll. When the narrator sets the scene about 1665 and the English Civil War, we see that the rule of law is broken and cruelly inequal- dispensed without due process.

When a Roundhead soldier, Richard, is given leave after saving the life of his captain, he goes to see his lady love, Sarah. Her uncle gives him permission to marry his niece but wants him to take her away as the threat of being accused of witchcraft hangs over the area. The soldier returns to his regiment but, unfortunately, the following day the Witchfinder General comes to town and falsely accused the priest. He makes advances against the niece and, in exchange for a night with her, promises to free the priest. When Hopkins goes to a nearby town, his second in charge, John Stern, assaults the niece too. The priest is then dunked in the water and hanged for witchcraft as the niece's sway is lost.

The soldier returns to his love and promises to avenge the priest's death and the loss of her innocence by killing the witchfinders. What follows is a cat and mouse chase as the soldier looks to catch up to the witchfinders whilst they continue to carry out their dreaded executions.

The film is brutal in it's portrayal of violence done against the innocent and voiceless but the threat of cynical Puritanism and greed that underline this dark tale, still persist in today's world. The cinematography by John Coquillon is stunning shot as the beautiful greens of the beginning  contrast against the autumnal colours when Hopkins comes to town and brings his brand of justice. The costumes are on point and whilst you can tell that this isn't an expensive production, the economy of design lends it a charming period look.

Even after nearly 50 years, the depravity shown is still shocking but the tale of systemic violence done against women whilst the community watches is still relevant and prescient even of the rise of the far right and populism where hardwon womens' rights and liberties are being rolled back for a similar puritanical zealousness, underpinned by greed and power. Director Michael Reeves, who died tragically young, has created a film that has stood the test of time and is prescient.

LINK- Children of the Stones: Cult TV Series Review

LINK- Dead of Night: Cult TV Review

LINK- The Stone Tapes: Cult TV Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

Playing with Reality: Gaming in a Pandemic- Book Review

Covid swept across the world nearly 3 years ago and created a ‘new normal’. In the lockdowns, people adapted and gaming came to the fore like never before, connecting people in virtual worlds.

It was a unique time and I’m glad that there is a new book looking back at this unprecedented time. Playing With Reality: Gaming in a Pandemic by Alex Humphreys is a fascinating book and there are mini essays which are broken down into chapters about how the videogame industry was affected, both positively and negatively, during the pandemic. The writing style is conversational, easy and very British with mentions of Greggs and the Lurpak commercial with Douglas the buttery trombone player.

The book is broken down into 6 chapters looking at key themes. The inside covers contain a montage of photos that are relevant and referred to in the articles, providing visual context.

Chapter 1: Stay Home, Play Games
- The Videogames industry wanted to help during Covid but we're wary of WHO, who had classified Gaming Addiction as a mental health issue in 2018, but they worked with influencers to spread the message using gaming imagery and music to support the various governments.
- Videogames made record profits in the West as people engaged with gaming in their isolation to escape from reality, connect with friends or just to pass the time. In Asia, many gaming cafes (where most PC gaming occurs) closed and haven't opened up whilst sales of mobile games and the Switch rose greatly in these territories.
- eSports and real world sports merged during this period with lots of professionals playing games of their sports to keep their skills sharp and fans engaged. It brought a kind of legitimacy to the eSports world for some. Codemasters hit gold with F1 and Dirt 2.0 recruiting new fans into the fold whilst shifting record number of units.
- Canned fan chanting and cheering from EA was used to make football matches behind closed doors in England less weird. There was some cognitive dissonance between seeing the empty stands and hearing belated cheers after a goal went in but it kind of worked. Also, Football Manager promoted men's mental health charities as they knew many in their fanbase would be struggling with issues.
- Zynga had to make the difficult decision to move to remote working and had to figure out how to support staff with their mental and physical health whilst still maintaining a high work ethic.
- King, creators of Candy Crush and other games, states that the mainstream medias dialogue around gaming changed and society generally has a better opinion of gaming as a social activity rather than the stereotypical loners choice.
- Blizzard discuss their Shadowlands update and how hybrid working helped to create this expansion.
- EA recorded the Star Wars Squadrons soundtrack using an orchestra but each person played their instrument apart together.
- Rare discuss how Sea of Theives connected many people, including those who struggled with socialising, and found it's groove a couple of years after it had been released, reaching new heights in the pandemic.
- Mental health took a battering during the pandemic but the free games offered to some key workers allowed many to destress and connect with others in the online community.
- Jamming the Curve was a game jam where the focus was to help spread a positive message about the vaccine and combat misinformation.


Chapter 2: We Are Gathered Here Today
- Revd Simon Archer, the Vacarious BIG, gained a following by streaming games and talking about god. By being his authentic self, he found a growing community who could ask him questions about god as well as his gaming skills.
- Twitch and Discord saw record numbers of people using their tools to join their community. Watching people playing games was a huge past time and long form content could not be supplied quickly enough.
- Over the lockdown, gaming offered solace for many and Animal Crossing: New Horizons, Amoung Us, Rocket League were the big winners during this time.
- Girls Make Games moved to a digital camp during the pandemic and saw a huge rise in international collaboration.
- Melbourne, Australia was one of the most locked down cities in the world which lead to challenges for neurodivergent pupils. A server was created for these pupils to interact and the friendships formed were deep and menaingful: mode of communication not as important as the quality of interactions.
- Some games, including Minecraft, Second Life and Roblox, were used in education as a contextual hub for learning as well as for virtual tourism.
- The NHS has a Centre for Gaming Disorders but the word 'addiction' is bandied around a lot by people when actually the number of addicts is actually a lot lower. The horrible mass trauma of lockdown exacerbated other underlying issues for many and gaming was an outlet rather than the cause.

Chapter 3: Lockdown 2.0
- FMV games boomed during the pandemic as many had exhausted their streaming catalogue and wanted some interactivity. Some people think this may stop the brain drain in more rural or deprived areas as hybrid or Work From Home becomes more viable.
- Psychonauts 2 was a challenge to create during lockdown but the themes of mental health, isolation and empathy really found an audience.
- Asynchronous communication was challenging when creating a game but using other tools such as Zoom, Notes, Discord etc. helped to bridge the gap for Inflexion Games and showed the potential for remote working.


Chapter 4: Retrograde
- Tim Schafer liked to surround himself in stuff that made him happy in his home office as he spent an awful lot of lockdown there. His philosophy was surround yourself with stuff that makes you happyand you can obsess about for a bit- whatever it takes to get you through.
- Milgemilge used The Sims 4 to create buildings from her youth including her Grandma's house as well as the Ukrainian city of Lviv. It's was a comfort to her and helped her think of better times.
- The Corrupted Blood in World of Warcraft game from over a decade before offered epidemiologists an insight into human behaviour during a pandemic. Disease modelling uses a similar dataset to project how they think people will react but people are unpredictable *ahem, toilet rolls anyone?*
- Gaming offered many a chance to reconnect with old friends through online play. The game wasn't the important thing but the interaction and camaraderie.


Chapter 5: Parallel Lines
- Build the Earth was a project kickstarted by PippenFTS to create a 1:1 representation of the Earth, including it's estimated 4 billion buildings.
- A Welsh bronze age site was recreated in Minecraft to teaxh audiences about the period and give them the opportunity to carry out virtual archaeological digs (see Brny Celli Ddu in Minecraft).
- Whilst mnay used gaming to escape from the pandemic realities others noticed the pandemic overtones in many games released over that time including, Spiderman (pathagen released me at citizens wearing masks), Assassin's Creed Odyssey (plague) and The Last of Us 2 (pandemic). Some embraced it whilst others struggled to play these games during these unprededented times.
- A philosophy professor found solace in Red Dead Redemption 2 as it looks at the end of the Wild West and the rise of a different world. He felt it mirrored life in that there was a pre and post pandemic world.
- An Asian American discusses how Animal Crossing helped her to socialise when there was a spate of anti-Asian attacks in the USA. She states that it is a reminder for many people that 'the freedom to exist as you are is conditional' and post-Brexit, I can see that as a British Asian.
- Animal Crossing features heavily in pandemic games played by people and became a pop culture phenomenon, being on the front page of the Financial Times when they discussed turnip prices on the stock market.
- The National Videogame Museum in England created an Animal Crossing Diaries exhibition to capture peoples' experiences of the game--they felt it was important to capture a moment in time before it is lost to the ether.
- Tim Schafer discusses Zoom fatigue but says that the pandemic has fast forwarded the transition to online and hybrid working by several years.
- The metaverse is a thing but no one is quite sure what it is or what shape it is going to take when it happens.
- The metaverse(s?) might exist but grifts like NFTs and Web 3.0 and dubious moneymen make it difficult to see how this will occur in a sustainable and equitable way.


Chapter 6: The (Final) Next Level
- Gaming trends and wider digital trends accelerated.
- Videogames were seen in a mostly positive light and even the mainstream media seemed very pro game.
- It helped many with mental health (especially in the UK) by in other places many still suffered, mostly due to lack of exercise and social interactions.
- However, there are many issues such as toxicity especially around gaming communities as well as the political and social fracturing through online discourse.
- The lines between the physical and digital world have blurred and there is a danger that the online mysogyny, racism and other -isms may bleed into the real world.

I very much enjoyed the book as it covers a lot of ground within the gaming industry. The sheer variety of people Humphreys speaks to ensures that you get a good overview of opinions and insight. However, she speaks often to CEOs, Production Executives and the like from companies such as Blizzard, Riot and Ubisoft so what we get is insight of their pandemic processes but done through the lens of corporate speak. They mention all the right things about supporting their staff, maintaining good mental health and work life balance but these companies have since been accused of horrific abuses as well as hiring excessively during Covid but now firing the same staff as they now seek to consolidate and maximise the profit for the elite few higher ups.

The accounts of the main chalk face people on the ground are not often discussed in this book but that may be because this is not Humphreys' aim; she is looking at the industry wide pivot in light of Covid restrictions and in this context, this book is a triumph of capturing a unique moment in time.
However, I would now like to see an 'all sides' account of what occured during the pandemic and the repercussions, beyond the corporate speil. I get that every business's wants to put it's best face forward but I do think a critical look at what occured post-Covid with mandated return to office, huge worker culls amid consokidation/ mergers/ acquisitions closures of many Games As A Service titles as well as the loss of hard fought rights, such as insurance etc which have been rolled back. Now, that would be an interesting but depressing book to read. Maybe a Jason Schreier type author would create a book that is a critical look at the industry. We'll wait and see as I'm sure it's incoming from somewhere.

LINK- Let’s All Create A ‘New Normal’

LINK- Straight Outta Quarantine: 14 Days in Blighty

LINK- Flying Home From Coronavirus

LINK- One Month on From Social Distancing in Saudi

LINK- Life in Coronavirus Lockdown Saudi

LINK- Life in the Times of the Coronavirus

Who Hunts The Whale - Book Review

Who Hunts the Whale by authors Laura Kate Dale and Jane Aerith Magnet  is a satirical critique of the videogame industry. So far so good as gosh knows a few powerful individuals and CEOs need to be taken down a peg or two; but, is it any good?

I read the book whilst on holiday as it was a light and easy read.

The story follows the newly hired PA Avery as she  joins the hit making Supremacy Software family. With access to the Top floor she sees the excess and extremes of the industry and how it chews people and spits them out, all in order to make more for the 1% ers. Over the course of the year, we see Avery collecting evidence of managerial impropriety in the hope of taking down the system. Will it work though?

I bought this book as I felt that the blurb had the potential for it to be an acerbic takedown of an industry that is well known to protect it's own, even if it is rotten in certain places (a lot of places). However, I found that the characterisation was bland and the story of releasing the next iteration of Call of Shootey, whilst highlighting the poor conditions and abusive management, didn't really hit for some reason. True, the book showed the downsides of the industry and, having read a lot about the layoffs, abuse and the solemn jpeg over the years, there is a story to be told but it needs to told better.

I know it is satire but satire can be ascerbic, refined or broad but this is paper thin when addressing issues like doxxing, predatory monetisation, crunch, the shuffling around and failing upwards of abusive staff.

This book is on the side of the good and I was rooting for it but it was just not that well written or executed in my opinion as it doesn't do things subtly or with nuance. Read it if you'd like an insight into the industry but don't expect Haruki Murakami, Sandor Murai, David Mitchell or any other impressive authors who have surnames ending in M. Rather, I'd recommend the books and articles of Jason Schreier, who is the Ronan Farrow of videogame journalism, or the videos of James Stephanie Sterling, who looks at the abuses within the system in their own unique and hilarious way.

Tomorrow and Tomorrow and Tomorrow- Book Review

I'd heard good things about Tomorrow and Tomorrow and Tomorrow from various media outlets and thought a YA fiction book that looked at the creative process behind videogames from the perspective of two young adults growing up as the industry grew and matured was intriguing. So, setting aside a couple of days I read the whole thing.

I bought the book soon after release but only got to it several months later.

The synopsis is quite simple: two pre-teens meet in a hospital and become friends over a shared love of video games. Sadie is visiting her sister who is undergoing cancer treatment whilst Sam is getting his foot fixed after a tragic car accident. Years later, they meet by chance on the platform of a train station and reconnect. They share their fond memories of the past and bond over the game making process, making a hit game. What follows is the highs and lows of their professional and personal relationship and the impact that achieving fame so young can have on the ego.

Reading the book, I felt waves of nostalgia for my history with videogames. The period of time covered in the book was coincidentally similar to my formative teen years, and author Gabrielle Zevin’s, so I could relate quite well. The characters of Sam and Sadie felt realistically portrayed as they are presented as creatively eloquent yet not always able to express their emotions or feelings clearly. Their behaviour was redolent of teens trying to figure out the way forward and not always making the right choices. It rang of truthiness and had me reflecting on my past behaviours and how I would act in those situations now. Dov, the antagonistic game designer and creepy lecturer, is well written and I am sure representative of a lot of people within academia who are sketchy. Marx, Sam's friend is a saintly figure and came across as too perfect in places. Sure, he was a confident player but he also lacked any personality to make him seem well rounded.

The book jumps about in time quite a bit through Sam and Sadie's life but I didn't find it confusing as it is clearly signposted if it was set in the past, present or future. I felt many occasions of dimpsy, a feeling where the past speaks to us, as the book namedrops videogame and pop culture references all over the place.

The games it mentioned included: Donkey Kong, Frogger,  Oregon Trail, Mortal Kombat, Tekken, Street Fighter, Super Mario Bros, Duck Hunt, Commander Keane, Doom, Space Invaders, Tetris, King's Quest 4, Zelda, Chrono Trigger, Metal Gear 3, Wolfenstein 3D, Zelda: Oot, Mario 64, Ms. Pacman, Myst, Diablo, FF, Ultima, Leisure suit Larry, Warcraft, Monkey Island, The Colonel's Bequest, Persona, Madden, Harvest Moon, Everquest, Half Life 2, Halo 2, Unreal Tournament, Call of Duty, The Sims, Journey, Uncharted, Braid, Bioshock 2, Heavy Rain, Wii Sports,

On top of this, the book is full of pop culture references including: D and D, Kotaku, Studio Ghibli, Akira, Ghost in the Shell, Hokusai, Yoshitomo Nara, Haruki Murakami, Toshiro Muyuzami, Dickens, Philip Glass, The Bible, Homer, Shakespeare, Chuck Close, Escher, Wired, Mary Lou Retton, Rube Goldberg, James Bond, William Morris Agency, Speed Racer, Takashi Murakami, Sigaharu Fujita, Philip Glass, Brian Eno, Miles Davis, John Cage, Terry Reilly, The Heroes Journey, The Odyssey, Call of the Wild, Call of Courage, The Language Instict, Chris Cornell, Soundgarden, Antigone, That Love is All There Is by Emily Dickenson, Jackson Pollock, Game Depot, Simon and Garfunkle 1981 concert, The Matrix, PlayStation, Nintendo, Xbox, Gameboy, Kafka, Titanic, Thomas Anders Junior, Noh Theatre, Cherry Blossoms at Night by Katsushika Oi, Strawberry Thief by William Morris, Everybody's Free to Wear Sunscreen, Kurt Vonnegut, Macbeth and Visual Novels.

The book is an interesting read and, as a fictional account of achieving fame at a young age, would be a good companion to the book Masters of Doom which looks at the creation of Doom by John Romero and John Carmack. There are some emotional beats here that hit hard, such as the comment on real-world identity  politics and how putting your head above the parapet can have consequences, or how depression can immobilise and isolate you.

Overall, the book is well plotted and paced but the language is serviceable rather than exemplary. Sure, it doesn't match the eloquence or style of a Murakami, Gaiman, Márai or Mitchell but then it doesn't have to; it is an interesting story well told and I am sure the inevitable film will be solid, if fan-servicey.

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

Storyland: A New Mythology of Britain by Amy Jeffs- Book Review

I have a real interest in myths and legends from around the world. One of the reasons I studied anthropology in university was to find out more about the commonalities between ancient cultures and how they influence the world today through belief systems, structural hierarchies and etymology.

I knew a little about British folktales but probably not much more than the average person on the street- Joseph of Aramathea visiting Glastonbury, King Arthur and the Knights of the Round Table and the Loch Ness monster. You know, typical stuff that you pick up from living on these sceptred isles. When I heard about Storyland by Amy Jeffs I picked it up as I thought it would be a good way to plug my knowledge gap.

The stories are told, one per chapter, with all the lineages of the families and details about the geography. It adds a real academic element to these fantastical stories but I often found that stories are clearly told but lacked the lyrical flourishes of Neil Gaiman's Norse Gods or Stephen Fry's Troy or Mythos series of Greek myths. What we have are a smorgasbord of myths and legends from creation to about the 1200s but with none of the personality of these stronger writers.

Jeffs is obviously passionate about the subject and her stories are meticulously researched. Her critical commentary after each tale provides an informative breakdown of the symbolism and the provenance adds an element of academia to it but it lacks the lyricism of prose to make it an engaging read. In places, it felt stuffy and dry which is difficult to achieve considering these are tales of daring-do, mighty battles and magic. Having said that, this is a handsome tome with the linocut artwork adding a unique artistic style to proceedings.

Overall, this is a useful book to have for research purposes or to have access to a wide range of  tales in one handy volume, but it is not a great read.

LINK- The Stone Tapes: Cult TV Review

LINK- How to be Perfect: The Correct Answer to Every Moral Question by Mike Schur- Book Review

LINK- The Good Place and Philosophy- 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- Pure Invention- Book Review

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