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Day: 1 December 2015

NOT-FOR-ONLINE-PLEASE-SUB Mancunion’s Choice: Games of the Year

Written by Josh Goldie on . Posted in Games.

2015 was an interesting year for gaming; with brand new sequels to originally critically acclaimed games Metal Gear Solid 4 and Fallout 3; a new major IP from Nintendo in the form of Splatoon, and an E3 that tried to show that 2016 may very well overshadow all of this, giving us reasons to be excited going into the new year. With the Game Awards just airing at the end of last week, and 2015 entering its final month, I decided to get my team together in order to give you The Mancunion‘s choice: our games of the year for 2015. Enjoy.

Undertale – Josh Goldie [Games Editor]

Undertale is a unique game for me, both in how the game is played and how I came about it. I am so used to knowing about a game, its mechanics and ideas before I jump into it, but with Undertale, I knew nothing. Everyone was just talking about it out of nowhere, saying nothing but praise. It was not until a good friend of mine began to join in with this praise that I decided to go out on a limb and buy the game on Steam. I have no regrets. This game deserves all the praise that it gets. Not only is the story amazing and the writing tight, but the gameplay is something I had never seen before in an RPG. This game easily earns my GOTY and I recommend everyone to go into it as blind as possible. Just remember that in this game, no one has to die.

Honourable Mentions:

Splatoon

Yoshi’s Wolly World

Rocket League – Deven Kara
My GOTY has got to be Rocket League. I have played a fair few games this year—mainly console—but the only one that stood out was Rocket League. Psyonix really hit a niche genre with this, and that may be part of the reason as to why it was so popular. Also great is the fact that it has an even playing field for all since there is no tuning on the cars, so games are played through skill or pure fluke. It is constantly evolving, by its way of adding new things; new cars are available to buy, but maps are for free. Good move, Psyonix. Rocket League takes everything home in my opinion.

Honourable Mentions:

Grow Home (console port)

Destiny: The Taken King

Rocket League – Connor McBride

Rocket Car Football. Three words have never sounded so attractive. Thanks to great online play, Rocket League suits itself equally well to single players online or local multiplayer battles with your friends. The recent addition of a ‘mutations’ mode—variations on the standard such as low gravity, or replacing the ball with a cube—ramps up the opportunity for carnage and chaos tenfold. Easy to learn, hard to master—this game will have you hooked well into the small hours of the morning on deadline day.

Honourable Mentions:

Undertale

Crypt of the Necrodancer

Bloodborne – Stephen Lewis
After my recent article, it should come as no surprise that Bloodborne takes my top spot for best game of 2015. Having sunk the most hours into this incredible world and now being taken back there with the Old Hunters expansion, I am constantly reminded of how great the gameplay and atmosphere is. Whilst games such as the Witcher 3 and Metal Gear Sold 5 gave a lot more in terms of either a direct story narrative or mission variety; and Halo 5 being the most fun I’ve had with online multiplayer in quite some time—none of these beat the Victorian-esque streets and lovecraftian world of Yharnam.

Honourable Mentions:

The Witcher 3: Wild Hunt

Metal Gear Solid V: The Phantom Pain

Halo 5: Guardians

Fallout 4 – Robert Parris

A late contender for game of the year, but a respectable achievement nonetheless, Fallout 4 never ceases to amaze me. The world handed to the player in this iteration is admittedly leaner, yet incredibly tight, and every feature from Fallout 3 and New Vegas have been reinvigorated. Gunfights have been ramped up to 11, and remain uncompromisingly violent and satisfying affairs throughout. With an abundance of worthwhile content, and with the modding scene just beginning to scratch the surface of this RPG’s potential, this is a game that could very well last you the rest of your degree.

Honourable Mentions:

Hotline Miami 2

Metal Gear Solid 5: The Phantom Pain

Shovel Knight: Plague of Shadows – Andrew Dixon
Over this past year, games have moved from strength to strength. With titles flying at us such as Fallout 4, Metal Gear Solid 5, The Witcher 3 and other seemingly endless, beautiful and brilliantly made games. However, for this year, after ploughing my mind about what has been the best experience I’ve had, my game of the year is Yacht Club’s Shovel Knight; Plague of Shadows.

Plague of Shadows, whilst attached to Shovel Knight, offers an incredible new story, mechanics and difficulty to an already brilliant game—for no price at all. At first, Plague Knight appears janky and uncontrollable, but by manipulating the way I attack enemies by combining bomb components, I ended up flying through levels—leaving such devastation behind me that the big boss could only dream of doing. An absolute gem in an era ruled by season passes and microtransactions, Plague of Shadows for me (as well as the original Shovel Knight), is a game that every gamer should experience.

Honourable Mentions:

Metal Gear Solid V; The Phantom Pain

Tales of Zestiria

Mortal Kombat X – Jasmin Tiyur
Does anything really need to be said? It’s Mortal Kombat in next gen HD. Fatalities that make you want to cry, Scorpion being fine as hell (video game crushes are normal, I swear), and basically witnessing your childhood transcend into adulthood epicness—it just proves that you’re never too old to be a gamer. (Because you probably should be at least 16+ unless you want to be scarred for life!)

Honourable Mentions:
Bloodborne: The Old Hunters DLC
Disney Infinity 3.0

Subterfuge – Saboor Qureshi

No other game this year has taken over a week of my life quite so much as this one. Despite only being a mobile app (Android/iOS), this game alone caused massive disagreements and paranoia amongst my group of close friends. Certain people I knew had gotten so into the game that I would have had trouble speaking to them in real life, because their eyes were constantly glued to their phones in eager anticipation of the next submarine strike. All of these things would not be possible if the game didn’t have such an elegant design—one sculpted perfectly for the modern day.

Honourable Mentions:

Life is Strange

Splatoon.

Review: Bridge of Spies

Written by James Moules on . Posted in Film.

Bridge of Spies—a film with a title far more exciting than its actual subject matter. Steven Spielberg’s latest picture is not, as the misleading title would suggest, a gripping and edgy Cold War spy thriller. The movie tells the tale of the behind-the-scenes battle of wits between the USA and the Soviet Union to resolve the U-2 spy plane crisis of 1960. Both sides have hostages to trade, but are not initially willing to let their prized captives be released.

Enter James Donovan (Tom Hanks), an unflinchingly moral American lawyer who, after unsuccessfully defending Soviet spy Rudolph Abel (Mark Rylance) in an espionage trial, is called in by the US government to broker the exchange deal. He is sent out to a tension-ridden East Berlin, where he is forced to engage in a fierce locking of horns with Soviet and East German officials to find a solution to the situation.

Credit has to be given to Spielberg’s masterful visual storytelling. Bridge of Spies could have been an unbearably dull film in the hands of a lesser director. A vast majority of the runtime consists of people in rooms talking—not exactly a cinematic scenario. Seeing as Spielberg’s previous effort, Lincoln, consisted of similar content and ended up being an unapologetic tranquilizer, it is a relief to see that Bridge of Spies manages to sidestep this perilous pitfall. But considering that this movie was scripted by none other than the Coen brothers, it’s hard to not feel that the screenplay is something of a letdown.

It is a typical trope in espionage dramas to put a sense of moral ambiguity at play. We have been, in many a Cold War movie, invited to ask ourselves who the real ‘good guys’ and ‘bad guys’ are, assuming that there are any at all. Bridge of Spies does not provide us with such thought-provoking content; instead, we have a clear-cut image of a heroic America and a villainous Russia. Look, for example, at their prisons: Rudolf Abel is detained in the States in a brightly lit and clean cell where he is allowed to paint portraits to his heart’s content. Gary Powers, the captured U-2 pilot in the Soviet Union, is kept in a grim room that is poorly lit and ankle-deep in water. This straightforward approach to the moral themes of the story deprives Bridge of Spies of an opportunity to be considerably more interesting. Even the relationship between Donovan and Abel, which could have been used to explore this, is severely undercooked.

But when Bridge of Spies is judged within the boundaries that it imposes upon itself, we are left with a reasonably effective drama. Tom Hanks is characteristically superb as Donovan, giving us a memorable American hero for whom we can happily root. Even when the screenplay veers into the territory of unsubtle moralising, Hanks still succeeds in delivering his lines effectively. He’s not given enough material to make a truly noteworthy character, but he manages to do the best he can with what he has. Mark Rylance also excels in his (relatively limited) role as Abel. Again, he is often constricted by the script, but his scenes with Hanks are the most memorable parts of the movie.

Many of Spielberg’s best and worst tendencies are on display in Bridge of Spies, not least his lifelong penchant for sentimentality. While few directors are better capable of executing this tone than Spielberg, it’s hard not to feel that this often jars with the Cold War setting of the film. The fear of nuclear annihilation—which could (and should) have been a tangible threat throughout this film—is merely breezed over in favour of more heart-warming and triumphant moments. This is, unmistakably, a Spielbergian Cold War movie.

Bridge of Spies will keep viewers satisfied for its runtime, but many will endure a sickly-sweet aftertaste in their mouths upon exiting the cinema. To one end, it represents a missed opportunity for an intelligent spy drama, but it also serves as a fine demonstration of Spielberg’s prowess as a visual and emotionally engaging storyteller. Take your pick.

3/5  

Review: Black Mass

Written by Imran Bukhari on . Posted in Film.

On the surface, Black Mass could crudely be labelled a film that has been catered as a comeback role for Johnny Depp. The actor portrays a true-life figure, Jimmy ‘Whitey’ Bulger, the most infamous criminal in the history of South Boston, (who also happened to be an FBI informant). It is no secret that the actor’s career has been stuck in the slumps for the best part of a decade, with his last Oscar nomination coming in 2008 for Sweeney Todd. Indeed, his last performance of any real note was way back in 2009, as John Dillinger in Michael Mann’s underrated Public Enemies. Since then, his roles have varied, ranging from forgettable Tim Burton collaborations—see Dark Shadows (or rather don’t)—to simply offensive white-washing in the Lone Ranger. That’s without mentioning this year’s highly misjudged Mortdecai. Remember that one? Me neither. If anybody needs a renaissance, it’s Depp.

The bad news is that this may be a performance to savour for the considerable future, because Depp’s upcoming projects don’t inspire much excitement. There’s another Pirates film to endure and a sequel to Alice in Wonderland that nobody asked for. The good news is that Depp, at least in this film, is operating at the highest level. Despite its flaws, Black Mass nevertheless provides a telling reminder of the talents that Depp possesses. Hidden behind the piercing contact lenses and bleached slicked-back hair, which at times can become rather distracting, Depp is unrecognisable. He oozes creepiness and terror to a nauseating extent. Evidently, when Depp is given material that challenges him and when he is not allowed to simply act out eccentricities, he remains an actor who can truly ignite the screen.

The director, Scott Cooper, has yet to find a signature style of his own, and is far too reliant on superior auteurs, whom he mimics. He does, however, have a clear talent for showcasing the darker side of characters. In any scene involving Bulger, Cooper lets the tension ratchet up to white-knuckle level, allowing Depp to leave the audience reeling in anticipation for either a cacophony of violence, or simply a cackling laugh.

As a recount of history and factual events, the film does a fine job, but there is a longing for more in the way of substance. There needs to be a reason to engage in such a despicable character, which begs the question: Are we meant to sympathise with Bulger? The script does its best to try to paint Bulger as a three dimensional person. Alongside his terrible crimes, he is also shown to be a caring father and a loving son. But Bulger’s motives are never truly explored and he unfortunately does not progress enough, coming across as nothing more than a one note maniac. A more fascinating film may have been constructed from following Bulger on the run as a fugitive, and the subsequent hunt for his whereabouts, from the perspective of the team on his tail.

The supporting cast of the film deserve acknowledgment as well. In particular, Joel Edgerton does great work as corrupt FBI agent John Connolly. In fact, his character provides the film with its most compelling arc. He plays Connolly as an almost-dim cop who has a child-like infatuation with Bulger, which allows him to be manipulated with ease. The movie’s greatest pleasures lie in this examination of how the lines between cops and criminals can become so easily blurred. Ultimately, Black Mass is a middling effort that doesn’t really do enough to distinguish itself from the mainstays of the gangster genre.

3/5

Students promote the importance of the arts

Written by Jennifer Sterne on . Posted in News.

Arts Emergency Manchester is a faction of Arts Emergency, a London-based charity working to create an alternative to the old boy’s network in creative industries. They are in their second year of running workshops in schools in the Manchester area.

On the Arts Emergency website the charity claim that “learning to read poetry or philosophy or how to understand a painting or film are not elite pursuits, but now rising tuition fees and the withdrawal of public funding for the teaching of Arts and Humanities at university means they risk becoming so.”

The number of students taking arts subjects at GCSE level and beyond has been in decline for many years. The Cultural Learning Alliance revealed this summer that over the last five years there has been a decline of 13 per cent in the number of arts GCSE entries.

Bianca Ama Manu, co-chair of Arts Emergency Manchester told The Mancunion: “As a Manchester student branch, we work in conjunction with Access All Areas at the University of Manchester Students’ Union in order to offer top quality workshops to secondary school pupils. We aim to address under-representation and equal opportunity in Higher Education by providing local secondary school students with the opportunity to explore the wide range of arts and humanities subjects offered at the University of Manchester.

Last year the project was very successful, a stand out success being the rescuing of Sociology from being scrapped as a GCSE choice in a school.

The main aim of the project was to encourage young people to think about university and humanities subjects as options. Bianca said of last year’s achievements, “students were concerned about leaving home, choosing the right subject and rising tuition fees. We invested a lot of time dispelling myths and negative images about university. By answering all the questions and concerns students might have had about university, we made it approachable and accessible.

The results of last year’s workshops speak for themselves with 100 per cent of the 24 students strongly agreed that all their questions about university were answered because of the project. 63 per cent strongly agreed the programme had made them think more about university as an option for them, whilst 71 per cent strongly agreed the Arts Emergency Schools programme had helped them discover subjects they hadn’t previously known about. 98 per cent of students would like to go to college or sixth form, and 92 per cent were certain about advancing to university.

Arts Emergency Manchester plans to hold more workshops this year beginning in January 2016 for ten weeks and each week will consist of an hour-long lesson. The selected students will be given an insight into humanities or social science subjects including Anthropology, Geography, Politics, Journalism, Anthropology, American Studies, and History of Art.

Bianca added: “This year, we intend to increase our reach and work with another secondary school. We need as much support to make sure we can keep promoting the importance of arts, humanities and social sciences.”

If you would like to get involved email [email protected] or join their Facebook page for updates.

The night we lost our Ann Summers Virginity

Written by Eva Katz on . Posted in Lifestyle.

Last week, I lost my Ann Summers party virginity. At first we were a little apprehensive, but we soon learnt that “time flies when you’re playing with vibrators.” Our Ann Summers Ambassador, ‘Anal Andrea’, with 14 years of experience below her belt, got right down to it.

We were each assigned a naughty name whilst we perused the catalogue. Sat between ‘Tight Twat Pat’ and ‘Deep Throat Deirdre’, I was the first to make the mistake of referring to a fellow partygoer with their actual name instead of their naughty substitute and for this I was to be punished. The snitch too was sentenced to join me. Our comeuppance: A demonstration of as many sex position as possible within 50 seconds. An ice breaker like none that I’d experienced before, it most certainly warmed us up with a mixture of physical exercise and embarrassment .

However any awkwardness was rapidly diffused by Anal Andrea; this woman does not take no for an answer, although she is open to compromise. Think sassy teacher crossed with your favourite aunt—sounds odd, but she had a strangely comforting presence.

Party games are key to the Ann Summers experience. Simply done with the aim to get you giggling, I even found myself reciting the words “I love to cum so get the mop and bucket!” (no, these were not of my own creation) and this was after a single glass of wine. The recital of AS’s version of the ‘Lord’s Prayer’ gave us a hint of what was to come as we thanked heaven for the gift of vibrators.

Next came the moment we had been anxiously anticipating from the moment we booked the party—playing dress-up. Andrea, being the expert she was, judged her audience well. We were offered a compromise: We were all to don outfits for a consequent catwalk but whether we kept our clothes on underneath was at our own discretion. For myself, Andrea selected the Red Devil costume—a sexy number complete with horns and miniature glittery red pitchfork, I was in my element preceding to prod every one of my now scantily clad amigas as they strutted and posed in their outfits. So content in my costume, it took me a while to realise that I was the only partygoer still wearing a saucy ensemble 20 minutes later.

Still, we were soon to discover that Andrea had been teasing us, as the climax of the event was yet to arrive. The sex toy demonstrations left no burning questions unanswered. An explicit exhibition of their uses, unique designs and stimulating abilities, this is quite an upgrade on your school’s awkward excuse for sex education. The ‘sink’ and the ‘moregasm’ tests were particularly awe-inspiring, but you’ll just have to have your own party to uncover these mysteries.

From rampant rabbits and bijou bullets, Ann Summers has it all, and Anal Andrea’s years of experience allow her to recommend a product to suit all wants and whims. At one point, I even turned to find my friend, ‘Shag a lot Sarah’, sat clutching three pulsing vibrators giggling with glee. Some toys, however, were a little more weird then wondrous, namely ‘The Ultimate O’, resembling the hand of an extraterrestrial. But we soon learnt that looks are deceiving, as this ugly duckling is in fact one of AS’s best sellers.

You’d be mistaken to believe that Ann Summers parties are all frivolous games and filthy fun (although this does make up the most part). Bra fitting and lingerie parties are also offered. With the statistic of 80 per cent of women wearing the wrong bra size, AS are on a mission to put the world and their breasts right.

On the other hand, if this all seems too tame for you, or if you’re quite simply an old hand at AS events, then a Dark Desires Party could be for you. A little more hardcore than the Original, this alternative delves into your wildest fantasies and adds a little ’50 Shades of Grey’ to your evening.

University of East Anglia introduces food banks to combat student poverty

Written by George Ball on . Posted in News.

The University of East Anglia Students’ Union has launched a food bank programme in response to the rising problem of student poverty. It is part of a wider ‘Cost of Living’ campaign to give students “the time and money to get as much as they can from their education.”

The initiative, called FoodbankSU, uses money and food donated to the shop on campus with the proceeds being split between the student food bank and further banks in the Norwich area. Students in need are required to first meet with the dean of students to discuss their situation and will then receive a food token. UEASU plan a campaign for later in the year to increase the stock in the food bank, as well as raising awareness.

Liam McCafferty, a postgraduate education officer at the university, outlined the situation. Speaking to The Independent, he said: “Flatlining student maintenance support, the rising cost of living, and sky high accommodation prices are forcing some UEA students into impossible situations and dangerous payday debt.”

Whilst the UEASU are the latest to act, it seems student poverty is rapidly becoming a more prominent issue. In January this year, the New Policy Institute published a report to highlight some serious issues. It showed that there were 440,000 students at the time living in poverty, some 25 per cent of all young people in poverty in the UK.

Back in April 2014, concerns were already being discussed. Then-Vice-President of the NUS Colum McGuire, speaking to The Independent, stressed the severity of the situation. He said “People are struggling… our members report that they have to provide food parcels to students who literally cannot afford to eat.”

Furthermore, a recent study reinforced the view that finance and diet was an issue for the majority of students. The 2015 National Student Money Survey showed 80 per cent of students ‘worried about making ends meet’ and a further 63 per cent were of the view that this affected their diet.

Students using food banks is unfortunately not a new occurrence. Last year, Manchester Central Foodbank reported an increase in the number of student users of the service. The University of Hull Students’ Union also reported an increase in students using food banks last year, with numbers doubling.

The foodbank launched on the 13th of November and the campaign is due to continue  throughout the rest of the academic year.

Review: The Hunger Games: Mockingjay – Part 2

Written by Nadia Cheung on . Posted in Film.

Jennifer Lawrence reprises her role as protagonist and hero Katniss Everdeen for the last time. We see all sorts of familiar faces in this last instalment, especially the late Philip Seymour Hoffman, who died in the middle of filming in early 2014.

A one-year wait is quite a long time to wait for the second half of a film that did not prove to have much happening plot-wise in the first place. In a way, I guess it built up anticipation for this one—especially for its loyal fans. Opening up straight from the first Mockingjay film, Katniss Everdeen, after healing from her shock-asphyxiation and almost being murdered by a “hijacked” Peeta (Josh Hutcherson), prepares to kill President Coriolanus Snow (Donald Sutherland) to end the war in Panem and restore peace in its post-apocalyptic land once and for all.

The Hunger Games: Mockingjay – Part 1 set up a lot for this film, meaning that as an audience, you won’t really understand much of the film unless you have seen the previous films, which puts a lot of expectation on an audience. This can be good for returning audiences or people already familiar with The Hunger Games, because it is saved from repeating itself in order to delineate backstory, but it leaves the other prospective viewers in the cold, not knowing who, what, why and where—I imagine, this because I felt this way with the Harry Potter franchise.

A lot of action occurs in this film. It has to. Gunshots, explosions and all sorts of war-like violence to the Capitol. A lot of familiar characters unfortunately die, leaving many of its associated characters in mourning—which in a way, is cathartic for some. But Katniss cheats death multiple times as the Mockingjay—the icon for its rebels, led by President Alma Coin (Julianne Moore), who wants to keep her safe and protected, because she proves to be a valuable asset in uniting the rebels in order to overthrow President Snow’s power in the Capitol, where most of the film’s violence (and death) is set.

The Hunger Games trilogy became known for its love triangle thing going on between Katniss, Gale (Liam Hemsworth) and Peeta—who still has not yet recovered from being brainwashed to kill Katniss because he was convinced that she was truly evil. This final instalment allows the audience the moment where Katniss finally chooses—which doesn’t really seem like a decision… since she was disappointed with one, and it had become clear since the first part of Mockingjay, how much she missed the old Peeta in the first place.

Part 2 is not the best of its trilogy. It was a continuation from the last one, tying up the loose ends that had left you hanging in Part 1. I feel like this is sadly another cash cow film from a franchise that didn’t have enough material to make more films. This final film is more of an action drama with a twist of really predictable pre-teen romance, that reminded me of Anne of Green Gables, where you followed a protagonist, saw her live out her whole life with the bumps on the road and the events leading up to who she chooses to eventually marry and have kids with, and what she does next—which isn’t a good thing. Katniss Everdeen finally gets a rest in this trilogy. Any other option next would probably be to buy the DVD, go on Netflix, or pick up the books with Suzanne Collins’s name on. But I feel that a lot of people might not do any of those anyway. Goodbye, The Hunger Games.

2/5

TV Binge: Master of None

Written by Robert Rowan on . Posted in Film.

Aziz Ansari has made a career out of exuberant comedy, whether he’s being Tom Haverford in Parks and Recreation or himself in his stand-up. However, as Dev in Master of None he takes on a noticeably more subdued role; for once Aziz is not a caricature, but just how you imagine he’d be in real life. The tone of the show is understated and surprisingly calm, but still hilarious. Frankly, this new Netflix original is brilliant, sharply written and wonderfully shot—it exceeds all expectations.

The basic premise of the show is nothing revolutionary: a youngish man trying to find his feet in New York, navigating problems in both his career and his personal life, and stylistically it’s similar to Louie, but more upbeat. Master of None is unashamedly modern; Dev uses Rotten Tomatoes ratings as a gauge for his relationship, and the countless effortless references to our modern world make the dialogue incredibly realistic, I’m convinced I’ve had some of the same conversations with my friends. Furthermore, it’s stunningly shot, painting excellent scenes and adding a real intimate feel to the show. Master of None frequently looks like a film rather than a TV series.

Each episode focuses in something different and they all do a wonderful job—Parents, which actually stars Aziz’s real parents, is a touching look at family relationships, whilst Indians on Television is a funny and frank look at the acting industry. Mornings is perhaps the best episode; it takes place over the course of Dev’s relationship and perfectly captures it, warts and all. In fact all the relationships are really well done—Dev’s romantic entanglements are believable, whilst the friendships are great, and Eric Wareheim’s Arnold is particularly hilarious (think an X-rated Marshall Eriksen).

What I cannot express enough is how funny it is, the majority of the jokes take a while to build but end brilliantly, and the writing team have done a great job of inserting the occasional witty one-liner to keep you going, even the sad moments bring a smile at the least. It flows smoothly, the plot works well, and real growth is seen throughout.

Overall Master of None is wonderful. It’s excellently made, wonderfully acted and brilliantly written. Netflix have made yet another great show and this should be the next series you watch. I really can’t emphasise how good Master of None is; it’s just the perfect modern comedy, and a real joy to watch.

Review: Güeros

Written by Hannah Fielding on . Posted in Film.

Güeros is the debut film from Mexican director Alonso Ruizpalacios. It is a beautifully shot, meandering coming of age film, demonstrating the real conflicts and learning processes of growing up.

Tomas (Sebastian Aguirre), a rebellious teenage boy, is sent by his single mother to live with his brother, a student in Mexico City. His character is deadpan, responding to his situation with resignation. His feelings are never fully explored, and he remains a slightly inaccessible teenager throughout the film. We learn about him primarily through what he sees—and in this way, the character development is subtle.

More is revealed about his brother, Sombra (Tenoch Huerta), who lives in a small apartment with his friend Santos. We first see them at the breakfast table, with close-up shots of coffee being poured, cigarettes being lit and cards being shuffled—a typical student scene. They are both part of the student strike, but Santos has become disillusioned from the movement’s aims. He seems playful and jokey, however, as the film progresses, it becomes clearer that he is deeply troubled, affected by panic attacks. These are the uncertainties and conflicts of youth. He possesses a desire to change things, but lacks in knowledge the best way to go about this.

These student strikes, and Sombra’s attitudes towards them are brought up throughout the film. They visit the campus to pick up Sombra’s love interest—the impassioned student activist Ana. The walls are emblazoned with slogans, and an assembly reveals the tensions between goals—who are the students fighting for? But despite this division and the almost high school movie presentation of its different groups, the film does not aim to criticise.

The boys are on a mission to find a dying, unknown Mexican rockstar—whose song they have listened to since youth—in order to get his autograph on their cassette tape. We never hear the song, and this creates the impression of the brothers bonded by a force that is not quite visible to the audience. Tomas is the one most enthusiastic about this mission; he is, perhaps, the least jaded compared to his brother.

But the mission leads them to drive across the city on various adventures. Their informal jokey conversations and interactions undercut the potentially serious arty nature of the film. The dialogue in the film does not flow—it is disjointed and realistic. In this way, the journey itself becomes the thing of importance rather than the goal.

Arguably it is the cinematography in the film which is central to the film. Filmed in black and white, its use of specific camera angles also reveal French New Wave inspirations. It is a beautiful film, with banal moments amplified through closeups and jump cuts. The soundtrack is also disjointed—with moments of silence and sound effects, which add further emphasis to these small moments.

It is possible to argue that this film is more about the style than its ability in making judgements on people or events. But this is perhaps in reflection of the characters’ journey. They are moving through life, learning and observing what’s around them—and this wide-eyed observation is central to the film’s aims. This is an indie film about growing up, with beauty and a subtlety of presentation that marks it out.

4/5

Review: Vase

Written by Felix Sanders on . Posted in Film.

Out of the ashes of the once-great Blueprint Skateboards, rose Isle. It was the brainchild of industry stalwart Paul Shier and Nick Jensen whom—as well as career in skateboarding—acquired a BA in Fine Art from Central Saint Martins and an MA from the Chelsea School of Art and Design. Together, they began a new era of British skateboarding.

On the 17th November 2015, they held a screening of their first visual offering, Vase, above the Terrace in Manchester’s Northern Quarter, as part of a premier tour around the UK.

Vase was shot and edited by Jacob Harris. His previous film, Eleventh Hour, had started out as just a ten minute promo for online magazine Grey—which then evolved into one of the greatest independent films to come out of the UK, winning Best Video at the 2014 Bright European Skateboard Awards.

The film was shot using the Sony VX1000—by the far the most famous format for capturing skateboarding. The VX1000 is discontinued by Sony and has been known to be infamously difficult to repair. In a brief discussion after the screening, Harris confessed to going through “five or six” cameras over the two-year filming process.

Vase opened up with a two-song part from London native, Tom Knox, who is easily one of the best skaters coming out of the UK at the moment. Knox’s part was incredible—an onslaught of amazing footage from some of his hometown’s grittiest spots. It was a great testament to his and Harris’s long-term friendship.

The part which I personally, was most anticipating for, was that of the ever so stylish, Sylvain Togneli. The native Frenchman’s part was filmed largely in Berlin and did not fail to disappoint, that it could even survive as an instructional video on how to properly skate a bank to ledge. Jon Nguyen and Paul Shier shared a song for their parts and featured some quality downtown L.A. footage. Casper Brooker had clips from Paris and London. Despite the different locations, all the spots had a similar aesthetic and slotted together seamlessly—no doubt a pre-meditated notion for the project.

Chris Jones had the last part, which was also a two-song epic. I was really surprised by the level of Jones’s skating. When he kickflipped across stairs, and into the bank at the undercroft, there was an audible sound of jaws dropping, followed by some serious cheers.

The music supervision for the whole video was exceptional, partially because it was so different from the current skate music Zeitgeist. Instead of a soundtrack of What a Time to Be Alive hits and obscure, wordless house tracks, Harris opted instead for the sounds of Roy Orbison, The Smiths and a wonderful cover of Bob Dylan’s ‘I Shall Be Released’ by Nina Simone.

With full-length features becoming more and more antiquated, Vase was a wonderful lesson in delayed satisfaction. It was also very exciting to see a new echelon for British skate films.

5/5

Top 5: Films set in Paris

Written by Jane Simmons on . Posted in Film.

5) The Aristocats

What better way to serenade to the eternal city than with a bunch of singing felines? Disney’s classic The Aristocats is a sweet film about a crazy cat lady who has her family of cats stolen by her scheming butler.  A wonderful celebration of song and life in the city of love. The animated realisations of the city, and the blossoming romance between pampered puss Duchess and Thomas O’Malley, “the alley cat” will make any heart swoon.

4) Bob Le Flambeur

This French New Wave film from the 1950s is totally unheard of, but a masterpiece nonetheless. Quite literally translated as ‘Bob the Gambler’, it’s a tense heist movie about a broke gambler who gets together his team of cool, urbane criminals to rob a casino in the South of France.

3) La Haine

A familiar one for those of you who studied French at A-level, La Haine is an angry revenge tale of three banlieue youths, whom, after the wake of violent riots in Paris, plot to kill a policeman. Everything about this film screams edge—from the black and white cinematography that highlights Paris’ rich and poor, to the taut 24-hour narrative—you will be on the edge of your seat until the explosive dénouement.

2) Last Tango in Paris

For those of you who like a saucier film, this stars classic actor Marlon Brando as a depressed American who shacks up with a young French woman in a Parisian apartment. The film was notorious for its graphic depictions of sex (including a questionable butter scene), and provoked outrage from conservative 1970s Britain when it was released.

1) The Beat That My Heart Skipped

French tour de force Romain Duris stars as thuggish gangster Thomas, who must choose between a life of cocaine and crime working for his father’s gang, or escape to a successful life through his talent as a classical pianist. With a fantastic use of sound and editing, Jacques Audiard’s breathtaking snapshot of the life of a French gangster will stay with you for life.

Live: Godspeed You! Black Emperor (Liverpool Music Week)

Written by Kayleigh Brook on . Posted in Music.

Camp and Furnace, Liverpool

27th October

8/10

In the deep dark corners of Liverpool’s Baltic Triangle, Camp and Furnace plays host to one of post-rock’s biggest names and biggest soundscapes. Depending on who you ask, the mention of Godspeed You! Black Emperor seems to summon two responses: a blank stare or an emphatic nod, and it is those giving the latter that packed the Victorian warehouse space that evening. A band with such a strong cult following needs to do little to win over their crowd, and every face seemed enthralled as each member walked on one by one, picking up an instrument and adding to the increasing drone.

The eight members seemed stoic as they played, facing one another rather than performing for the audience. It gave the feeling that these were people who played for the love of music rather than for appreciation, continuing a long-spanning career in which they have frequently avoided courting the mainstream. The set included a full performance of their 2015 album Asunder, Sweet and Other Distress, their second outing after reforming following a decade-long hiatus. Both the album and its performance included a 15-minute drone section, which despite the seeming discord was clearly played with precision and ardour.

Behind the band (and often superimposed on them), two projectors beam disjointed, flickering images on a screen. One of the stalwarts of a Godspeed gig, nauseating loops of landfills and abandoned construction sites complement the often agitated-sounding playing. ‘Mladic’ summons a heady, almost militant stomping beat out of the dissonance, and for the first time the band begins to thud along to the drum beat, the audience falling in step almost as part of a ritual.

As the night draws to an end, ‘Blaise Bailey Finnegan III’ begins to sound out, voice samples from the record transforming the room’s ambience into that of uncomfortable voyeurism. As the playing ends, the group becomes individuals, leaving alone, their instruments left ringing onstage. The audience applauds, before stepping into the quietly autumnal Liverpool night.

Album: El Vy – Return to the Moon

Written by Jacob Bernard-Banton on . Posted in Music.

Released on 30th Oct by 4AD

7/10

There’s a gentle, endearing irreverence throughout EL VY’s debut album (the work of Menomena’s Brent Knopf and The National’s Matt Berninger) as though its creators are a bit weary of their respective bands: “I can’t even look at reviews anymore, I score an 8.6 on a fucking par 4,” drawls Berninger at one point. Their combo yields often great results.

The National’s chugging, reverb-swathed guitars are abandoned. Instead, grumbling funk-tinged basslines are the order of the day with panicked post-punk riffs for company. Babbling electronics and howling synths add to the slick, modern production. ‘I’m the Man to Be’ is deceptive, slippery and genuinely odd, opening with a thrum of deep bass. Its unbeatable chorus surfs on increasingly strange sonic arrangements: the brief mild applause of a studio audience suddenly appears. The title track carries hints of Roxy Music as scrappy guitar dovetails with sighing strings, sounding like The National let loose at a disco, or a transatlantic latter-day Franz Ferdinand.

The tunes here are less hummable than serpentine, as the shifting, restless ‘No Time to Crank the Sun’ confirms. Berninger’s engagingly cryptic lyrics, delivered in his world-weary baritone, can sometimes be as demanding as the music. Curious lines come at you with alarming consistency. “I imagine myself being cool in the backseat of your car,” he muses on the title track. “I was in a moment for a moment, then I wasn’t,” he murmurs on the crisp, wayward new wave of ‘Paul is Alive’, offering the sort of curdled reimagining of 80s pop favoured by The Phoenix Foundation. Likewise, the lyrics on ‘Need a Friend’ are deliciously wry and well-observed, sitting atop dozens of lithe, shimmering grooves all collapsing brilliantly on each other.

Inventive and immediate, there are hooks here aplenty. Though, it can veer too close to mid-tempo MOR-pop given the alt-rock treatment, not a million miles away from Broken Bells; less 6Music than Radio 2’s drive-time playlist, discernibly running out of steam towards the end. At times, the songs pack in such a crowded storm of ideas they threaten to leave you gasping for breath. However, the stirring ‘Sad Case’ is breathtaking for all the right reasons, its pounding staccato chorus fenced in by bursts of ghostly ambience, fidgety drums and anxious, lopsided guitars. The same again next time, guys?

Live: Editors

Written by Elinor James on . Posted in Music.

Manchester Academy

22nd October 2015

8/10

Icy spotlights singled out each member of Editors on stage at the start of their Manchester Academy gig. Tom Smith’s hands writhed snake-like around the microphone stand, his instantly recognisable vocals taunting, “I’ll boil easier than you, crush my bones into glue, I’m a go-getter”. ‘No Harm’ (from new album In Dream), the first of their 21-song set, was the potent first taste of Smith’s incredible voice. When plummeting into the lower octaves, Smith’s voice became addictive: An unusual nasal quality not often heard in such deep voices, permeated. He oscillated back and forth between the extremes of his huge vocal range all night—carrying everyone with him as he moved between emotions. Russell Leetch, bassist for Editors, was visibly buzzing too, and passion resonated from the rest of the band (Ed Lay on drums, Justin Lockey on lead guitar and Elliott Williams on keys, synth and backing vocals).

Four songs into their set, Editors burst into playing ‘Blood’ and ‘End Has a Start’ (both from earlier albums), which turned up the voltage somewhat as the crowd were reminded of Editors’ flair for discontented indie rock. Only seven out of 21 songs came from In Dream; Editors delighted their enduring fans with mostly old and well-known tracks. Around halfway, Smith performed a solo acoustic rendition of ‘Smokers Outside The Hospital Doors’, compelling what sounded like most of the crowd to accompany with their own backing vocals, too. One lone hippie in front held up his lighter but then quickly decided against it.

There was an apparent lack of teenagers at the Academy for a change, which made sense considering it was in the mid-noughties that Editors’ magic had first bewitched the indie rockers. The darkness of the Academy was not itself splendid or remarkable, so Editors enchanted instead with their cunning light show. During frantic classic ‘All Sparks’, from 2005 debut album The Back Room, fiery oranges and yellows flashed from the back wall of the stage, funnily enough, just like the glow of “bouncing cigarettes burning on the road”.

Editors, as always, blasted their resigned anger at the crowd all night. However, guarded optimism also surfaced in songs from In Dream. New song ‘All The Kings’ used synth strings which were reminiscent of Elbow, and Editors slowly wound the crowd down with the final song from their new album, ‘Marching Orders’, which resonate reflection and, dare it be said—flickers of hope. Before leaving the stage, Editors bowed and reflected back the applause with obvious respect for their fans. This was the first time under the face-to-face spell of Tom Smith and the rest of Editors for me, but hopefully it will not be the last.

What drag taught me about identity

Written by Kyle Zabawa on . Posted in Fashion & Beauty.

As someone who has never been one to conform to behavioural or gendered expectations, identity is something that, thematically, has always been very important to me. Even as a young child one of my favourite pastimes was to neatly organise my toy trains on the basis of some imagined, yet seemingly sophisticated hierarchical system. Today, few things are as captivating to me as the spheres of classy couture and cutting-edge cosmetics, yet, for this week’s confessional of sorts, I have decided to focus my attentions on to something a little more candid.

Long interpreted as a statement regarding the permeation of female inferiority throughout society, Madonna’s 2001 single ‘What It Feels Like for a Girl’ opens with an interpolation of the following dialogue from 1993 film ‘The Cement Garden’:

“Girls can wear jeans and cut their hair short, wear shirts and boots, because it’s okay to be a boy. But for a boy to look like a girl is degrading, because you think that being a girl is degrading.”

In what can be interpreted as an aggrandisement of social media culture, for the Instagram generation, the pressure to be somebody is well and truly on. The contemporary female needs only to journey to her nearest WH Smith where she is greeted at eye-level by a glisteningly tempting copy of Cosmopolitan magazine with its hackneyed headlines: ‘Feel Sexier Instantly! The 50 Quick Tips to Get the Beach Body YOU Deserve’, ‘Sex Goddess Secrets: The Key to Being Amazing In Bed’, or my personal favourite ‘Fasting: The Ultimate (and Best) Diet. You Can Do It If You Try!’. The heat is also very much on for those possessing a Y chromosome; Men’s Health, for instance, is forever peddling the clichéd fitness themed headlines of ‘The Shirt-Off Muscle Plan’, ‘The Insanity Workout’ and ‘The 29 Minute Fat-Frying Inferno’.

It makes sense to announce here that my intent is not to nullify the entertainment value of these publications—I’ve always loved these styles of magazines for their sheer irreverence. Instead, I wish to make the case for their nuances within popular culture. Sex sells—it always has, and probably always will—but what can we do to inspire the hearts and minds of the disenfranchised, for whom these cookie-cutter cover stars who adorn our magazines do not resonate? Ladies and gentlemen (and those of you who have yet to decide), hear me out, for I believe that drag queens could possess the answers we so desperately seek.

The expression of identity is a defining factor of the human condition—but what happens when the way you think and dress doesn’t quite live up to the standards purported by wider society? Armed with a slick of luminescent lip-gloss and a wit as sharp as the studs of a Louboutin heel, the art of drag elegantly illustrates just how constructed 21st century fashion and beauty standards are. Drag as we know it today is conceptualised by characterised exaggerations of gender roles. Through repetition of images of women in dresses (and men in suits), historical stereotypes have become commonplace. At least in my opinion, in the modern era, what one wears and uses to paint their face with should be a matter of choice rather than a biologically-based prescription.

Drag relies upon the aura of illusion. Drag can reinforce inner confidence. Drag says: “Okay, you might not like your nose, but if you accentuate your dark eyes and lashes, then nobody will notice it.” Drag is about owning your flaws, because poor self-esteem kills. That contouring tutorial you love so much? Drag queen approved. That joke that made you laugh that one time? A queen probably wrote it first. In recent years, even everyone’s favourite pop divas have been known to take influence from drag culture, sporting the bedazzled costumes and sizeable hairpieces that queens have been wearing “since the year drag.”

An unexpectedly logical countermovement to dissatisfaction with one’s image is to shape and mould conventions of appearance in order to present a new character—someone who displays how truly forged these ideological constructs are. For some queens, the underlying message to their act is the irony that, what you see in front of you, is being achieved by a 6’5 gentleman sporting an intricate ensemble of glitter, cosmetics and rhinestones. Identity is a performance—we have the power to be, or become, whoever we want to be (thanks for that, Judith Butler). The way that we dress can set us free.

In an online interview, piano-playing chanteuse, Vanity Von Glow, starlet of ‘Drag Queens of London’, details how, in its essence, her feminine aesthetic has enabled her to unleash her performing talents:

“I wanted to perform from the position of a character who had a status and presence that was different (or perhaps even greater) than my own… I wanted to create a character that kind of projected either real or imagined glamour. And with that heightened reality of bigger hair, and lashes, and statues, and sequins, I could explore bigger emotions and I could hopefully relate those emotions to an audience.”

While to some the art of drag and debauchery go hand in hand (and for some queens this may be true), at its core, drag is a mode of activism in one of its purest guises, albeit, a highly contoured one. Society promulgates austere definitions of identity (alongside fashion itself) whereas drag generates a fluid continuum of an unfathomable range of expressions. Drag blurs the binary to demonstrate how opposed ideals of sex-related behaviours are flawed and need no longer be relevant.

Through teetering across the gender divide, a ceremonial exploration of the grey areas in between can take place. From the extreme Hollywood glamour of the archetypal midnight Marilyn to the recent rise in unorthodox bearded queens, drag is the personification of possibility. If you don’t fit the mould, then that’s okay—through your own journey in life, you can carve out your own sense of beauty and belonging.

For Generation Y, labels of identification are only a hashtag away—but why should we be happy to be put into a box? Our identities are a sophisticated merger of the multiple flavours of life that make us unique, regardless of the stereotypical images of heterosexual masculinity and femininity that the media tries to sell us on a permanent basis. Drag gives us the carte blanche to carouse with how society deems it appropriate to dress, think and act.

In the minds of some, I imagine that I am (and in some ways always will be) that one, quiet boy from school who was often lost in an avant-garde daydream—and I’ve learned that that’s not only true, but also okay. Drag shows us how to challenge our thinking but also to accept who we really are. Behind the frothy fun entertainment of what is essentially ChapStick and mascara, lies a unique humanity and vulnerability. Owning your identity unapologetically and authentically is something that drag queens do best and, for that, they have my sincerest applause.

Review: Assassin’s Creed: Syndicate

Written by Deven Kara on . Posted in Games.

Have you ever wondered what it would be like to see London from the top of Nelson’s Column? It’s fair to say that I hadn’t considered it… until Assassin’s Creed: Syndicate came out. With the newest addition to the Ubisoft franchise set in London, it’s on home turf for a lot of fans. Underneath this Victorian façade, however, is still the same Assassin’s Creed that we are used to, with the standard plethora of assassination missions, tailing missions and stunning viewpoints.

The game follows on from that of Unity, with the storyline of the Initiate. Many may argue that the present day story became a little thin after the events that occurred in AC3. But in my opinion, I feel that it is an interesting take on the story because it shows the process of becoming an Assassin. And, with certain characters making a reappearance, it paves the way for much more interesting developments in future instalments.

To deviate from partner characters, Ubisoft decided to include the Associates, a group of allies for whom you complete missions, rewarding you with loyalty to that Associate as well as weapons, upgrades and outfits. Unlike the historical figures used in earlier games, Associates in this game are fictional characters who all relate to Victorian London in some way. A child mastermind, a transport mogul and the sergeant of Scotland Yard are just some of your allies in this game. Child factory liberations, cargo hijacks, and bounty hunts are the respective missions for each of the Associates listed, and completing each will give you reputation with that Associate, which in turn will give you weapons that will help with the progression of the campaign, or in just running around and killing people.

Photo: Ubisoft Entertainment S.A.

The main additions to this game are the Twins: Jacob and Evie Frye. In a new venture, Ubisoft have opted to have two separate protagonists. They may be twins, but cannot be more different from each other. Jacob, the leader of the Rooks, prefers to use his fists to solve problems, whereas Evie takes the more stealthy approach. In the events of the game, they pursue two different objectives, which do sometimes clash. Both paths can only be completed by the relevant Assassin; Templar assassinations for Jacob, whilst Evie goes about searching for the precursor artefacts, a.k.a. the pieces of Eden. To aid in character development, and to help with the missions, there are two separate skill trees for each of the twins. One can be levelled faster than the other since free roam allows an instant change from one to the other, not constraining you to a single character. Progression through the game will grant you skill points, which can be spent on making Evie stealthier (so much so that she becomes invisible when stationary), or making it so that Jacob takes a mere sliver of damage from a full-on attack. However, you may find that whatever your play style, both characters level very quickly, and can both be fully leveled even before finishing the campaign.

As good as all this sounds, it’s hard to not mention the hot water that Ubisoft have been in for the past few years. It started with the introduction of time-saving micro-transactions in Assassin’s Creed 3, and the problems have carried on all the way to last year’s instalment of the franchise, Assassin’s Creed: Unity. The game didn’t have the smoothest launch with a lot, and I mean a lot, of people reporting game-affecting bugs. Missing graphics, unusual NPC behaviour, lost missions. The game wasn’t as polished as previous versions, and resulted in the release of many patches. Too many to keep track of and they weren’t always a good solution.

While one problem might have been fixed, another rose in its place due to the patch. This went on for a while, until in the end, it seemed as if Ubisoft might have benefited from delaying the game a few weeks to try to iron things out. Assassin’s Creed: Syndicate is a much better game in terms of launch, gameplay and amount of bugs. Having played the game for a while now, it is a much smoother experience, with very few glitches occurring. If glitches were to occur, it would be more to do with the NPCs bugging out and minor things with the protagonists. NPCs decide to hover; weapons are hovering from the positions they were in after a big fight, and most recently, Evie stayed invisible for the last part of one mission. But these are minor and are fixed very easily by just walking away. It seems Ubisoft learnt from their mistakes and decided to ship a game that can be played with little graphical frustration.

Photo: Ubisoft Entertainment S.A.

With all AAA games, the whole game isn’t shipped. DLC is one of the things that makes Assassin’s Creed what it is. There are a whole host of missions that are linked to the season pass, pre-order bonuses, or available with the special editions. This is where the famous people are introduced. Charles Dickens and Charles Darwin are just two of the characters that can only be interacted with when the DLC has been obtained. Queen Victoria makes an appearance in the base game, however, she does so only for four missions. The Dickens and Darwin DLC gives an extra 15 or so between the two of them. The timing may be slightly out, and their motives questionable, but it’s all in the nature of the game to make everything about the fight between Assassins and Templars. Who cares though, it’s all in the name of fun, and by Jove, is it fun! I mean, who wouldn’t want to go ghost-hunting with Charles Dickens. Currently, I do not have the season pass, so cannot comment on the missions from a personal experience, but from trailers and other gameplay (I’ve been trying to stay away to avoid spoilers), it does look like a worthy expansion to the London scene.

Assassin’s Creed: Syndicate is just that. An Assassin’s Creed game. There is no fancy multiplayer factor to it, no extra application for mobile devices, and is very simple to get your head around. It is basically a modern version of Assassin’s Creed 2. Ubisoft have partly redeemed themselves with this instalment, and it makes a very good addition to the arsenal of Assassin’s Creed games that Ubisoft have produced. If you are a fan of the series, go out and buy it. It is not a game to miss, and who knows, maybe playing this may prompt you to play the previous ones that you may have missed. If you are new to the series, it is not a bad place to start, and again, it may push you to play the older games in a chronological order. Regardless of what rank of Assassin you are, go out and buy it.

Victoria Hall (UBS) Netball Team: It’s the taking part that counts!

Written by Laura Callard on . Posted in Sport.

Victoria Hall (UBS) Netball Team adopts a relaxed approach to the Campus League. Whilst every match is driven by a level of competitiveness, it cannot be said that we are the most serious team in the league! With our players ranging from third year history students to first year nurses, we have a wide range of disciplines and ages playing for the team. It provides the opportunity for students to socialise with girls that they don’t see every day on their course or live with.

Training every Wednesday afternoon at Withington Girls School, a relaxed atmosphere has proved key to our success. Whilst circuit training and drills are weekly events, we ensure frequent water breaks and gossiping are included in the schedule. The last quarter of the session is dedicated to a practice match against MathSoc. Sharing training allows our teams to unite and swap tales of previous matches to warn one another about upcoming opposition and tactics!

Wednesday evenings are match nights, so we equip ourselves with our black kit and a fierce attitude and prepare to face our opposition! Rotating throughout the match, players get to play a minimum of two quarters each, and at least one in their preferred position. In our most recent match, we faced St. Gabriel’s Hall, and surprised ourselves with a 28-8 win.

In light of our matches so far this season, areas for improvement certainly include slowing down our game, making use of the three-second time allowance, and finding space on the court. Whilst we may not take ourselves too seriously, the competitive edge in us all has encouraged us to build upon our strengths and to continue improving. We hope to see a clear progression in our performance at the end of the season, in comparison with the start. We are currently working alongside Victoria Hall Residents Association to purchase new kit, so hopefully the New Year will see this development as a success.

Losing a number of players this season while they embark on a year in placement, or have opted to study abroad, we started this semester low on numbers. However, each year it is amazing to see fresh faces, with new skills and personalities brought to the team. We have entered the season with a development in tactics, hoping to climb the league table!

A fan of socials, we try to hold as many a year as possible, though this year we have not been so successful. Hopefully we will manage to hold a couple in the upcoming festive period. It is important that we retain our relaxed approach to the sport, enjoying training and matches, yet still experiencing success! Awarded ‘Most Enthusiastic Team’ at last year’s Campus Sports Ball, we aim to continue this season with the same attitude!

Whether you are a netball fanatic or just fancy experiencing a new sport and socialising, we are always welcoming new faces. If you would like to find out more about how to join the team, please e-mail [email protected].

Sport in the City: Manchester’s outdoor Curling lanes

Written by Adam Selby on . Posted in Sport.

Over the course of the academic year, as well as paying close attention to, and prioritising the progress and successes of, our university’s very own societies, teams and campus sports, let our new Sport in the City feature tempt you into a very different sporting day out. Whether it’s a new sport, a team about whom you did not know, or just an event that interests us, we hope that we will be able to entice you to explore the wide sporting variety that the city has to offer during your time studying at the University of Manchester.

In the spotlight this week: Manchester’s outdoor Curling lanes

Well…what is it?

And the award for the most unpredictable Sport in the City featured activity goes to…Curling. This Christmas, Manchester is to welcome outdoor Curling lanes for the first time, to allow the general public the opportunity to try their hand at the winter sport. Arguably a sport traditionally reserved for Curling clubs throughout the country, Manchester will host the country’s only outdoor Curling lanes this winter, and in doing so, shall provide a unique festive experience. Aimed at wannabee curlers of all abilities, do not be deterred if you had no idea about the winter sport before this article. Whether you’re an amateur or a professional makes little difference, unless you wish to go brush-to-brush in the outdoor Curling lanes league table. All in all, if you have ever been interested in how the sport works, or simply wouldn’t mind a try at mastering the art of Curling, then you are certainly in the correct city. Just be ready to grab a broom and Curling stone and brace yourself for a sport that is often described as chess on ice!

How do I get there?

Luckily, the UK’s only outdoor Curling lanes this winter can be located not too far from the city centre, meaning it’s certainly not too difficult to get to. By means of public transport, the short journey from Piccadilly Gardens to the ice rink situated on New Bailey Street can be reached by bus, in particular bus numbers 12, 25, 36 and 37. All services are sure to drop you a mere minute’s walk from your destination. However, should you wish to catch the tram from Manchester City Centre, your nearest Metrolink stop to the destination would be Deansgate/Castlefield and if you simply walk down Deansgate, and then take a left onto Quay Street, you will find the ice rink on your right as Quay Street turns into Irwell Street. Alternatively, you can make the journey by train, just make sure to book a ticket to either Salford Central or Deansgate Railway Stations.

But how much does it cost to get in?

For such a novelty activity this Christmas, the pricing is surprisingly cheap, and given the nature of the sport in needing a small group of people for Curling to work smoothly and properly, the cost of time spent on the ice I feel is both reasonable and affordable. In each session you are allowed a maximum of four people per lane and tickets (available online now) start from £20 for a group of up to four people per 15-minute session on the ice and three sessions per hour are also available. If a quarter of an hour simply isn’t enough, there is also the option for an hour session costing £60 and working out at £15 per person in a lane of four people participating. Please note: it is advised to purchase tickets in advance, because tickets might be in short supply and there could be limited availability at the venue itself.

What are the facilities like? 

Manchester’s Curling lanes are located next to the 620sqm ice-rink in Spinningfields and are modelled on the traditional appearance and layout of what is traditionally known in Curling as a sheet. The rectangular area of ice is modelled to be as flat as possible in order for the Curling stones to glide as desired. Traditionally, one can expect a Curling lane to be anything up to 150ft long and around 15ft wide, although due to space and the leisurely nature of Manchester’s outdoor lanes, please do not expect these Curling sheets to be perfect simulacrums of the Olympic specifications and guidelines! What you can expect, however, is to experience a surface more than adequate to properly practise the sport on, and in doing so get a flavour of what Curling is all about. After your stint on the ice, you can then expect a different type of surface, and the taste of a different flavour in the Curling clubhouse with a range of festive refreshments on offer as you get warm again.

Tell me something I didn’t already know…

I can’t imagine many of you are experts on both the art of Curling and the fine details of the sport itself (me included), but rather than tell you the basics of the sport, which you can easily pick up after some time on the ice at Manchester’s outdoor lanes, here are a few facts that you may not have known earlier. Curling is traditionally known as the sport of good sportsmanship. After a good shot, it’s of great importance and respect to congratulate your opponent, and conversely, to not cheer a mistake or miss, whilst traditionally the winners have to buy the losers a drink after the match. Manchester is etched in the history of the sport, too, after opening its first ice-rink in 1877. As a country, England’s most significant contribution to the winter sport is their invention of artificial ice. And it doesn’t take practice to appreciate that the Curling stones used must weigh heavily Coming in between 17kg and 20kg, and the granite used for the Curling stones is only sourced from two places, both within the British Isles: The Scottish island of Ailsa Craig and the Trefor Granite Quarry in Wales. Who knew, eh?

Finally, when can I see this in action?

The Manchester outdoor Curling lanes are now open to the general public and are open every-day except Christmas Day until the 26th of January, 2016. The lanes are open weekdays from noon up until the last session at 7:40pm and at weekends for slightly longer, opening at 10:00am and shutting after the last session at 9:40pm. For more information, please visit http://thecurlinglanes.co.uk/

If you have any requests for local teams, sports or events taking place in Manchester, or if you wish to be involved, please contact: [email protected].

Essena O’Neil: Sensation or sob story?

Written by Aj Mal on . Posted in Lifestyle.

Australian social media star Essena O’Neill made headlines around the world recently following her rebellion against Instagram and the unrealistic body image it promotes. Despite having over half a million followers herself, she canceled her accounts and sponsorship deals, deleted pictures and rewrote a number of captions to reveal the truth behind her photos, whilst also encouraging followers to quit social media themselves.

Photos typically featured Essena laughing, admiring sunsets or sunbathing whilst wearing bikinis or glamorous frocks, with captions such as, “things are getting pretty wild at my house.” The radically changed captions now criticise the contrived images, stating, “This has no purpose. No purpose in a forced smile, tiny clothes and being paid to look pretty,” and that, ”the format made me feel incredibly alone.”

Can we take this at face value or is there a deeper message lurking beneath the surface?

In essence the message is a fantastic and healthy one, battling the perceived norm that internet culture promotes of waking up with perfect hair, staring idly out to sundrenched seas from white sandy beaches whilst flaunting enviable curves, and promoting the ‘secret’ shakes, tablets, clothes workout plans and diet fads that help to achieve the look.

Of course, Essena is right to bring this to attention, and has done so in a bold way, which should make a genuine difference to the over 600,000 followers on her Instagram account, who would copy, diet unhealthily, work out excessively and purchase promoted products all in the pursuit of the ideal that has now been revealed as a sham.

There definitely exists a pressure to look a certain way, yet the perceived norm these days is not in fact normal. A brief glance at the body images in the media of the 80s and 90s reveals a plethora of normal body types. Even amongst celebrities it was not unusual to see a variety of normal shapes and sizes in all but the most exclusive supermodels. Body hair, love handles, and a bit of cellulite were all far more accepted.

However, we are now encouraged to diet extremely, and work out to the maximum in order to achieve a look consistent with those we see in the media. This is prevalent in both sexes, with massive reported rises in steroid use amongst males seeking to increase muscle mass and lower body fat levels in search of the ideal six-pack. Whilst the images that social media, and formerly Essena O’Neill, sought to promote, claimed to be healthy, in addition to simply eating and exercising more, there was a great deal of encouragement of harmful behaviour. Anxiety over body image is harmfully affecting an increasing number of people, particularly the young and impressionable.

The ‘contrived perfection’ that Essena has highlighted, has led to body insecurity on a massive scale, which has in turn led to an increase in eating disorders, nutritional deficiencies, and the use of cosmetic surgery and procedures such as Botox. Those who have felt unable to obtain the body that they feel is socially acceptable have suffered social anxiety, depression, self harm and even suicide.

A simple walk around a supermarket shows the increase in magazines featuring extreme exercise plans and unrealistic physiques, whilst a number of diet pills, health meals and protein shakes adorn the shelves. Ask yourself if you would be willing to place a photo upon your own social media that shows you looking less than your best. The ability to take numerous photos and select a favourite is undoubtedly contributing to promotion of unrealistic body images. Would you prefer a photo of yourself that only gets two likes, or one that scores a thousand?

However, whilst Essena is to be applauded, the claim that social media caused her a great deal of suffering and ruined her life is less believable. Let us not forget that Essena was making a healthy living from this unhealthy obsession with her appearance. And whilst she has now shunned the associated image and sponsorship that accompanied her previous social media image, she has in fact launched herself into a new level of fame, with an image as a hero rebelling against the misogynistic ideals of imagery that dominate the internet. Indeed, her new posts promote veganism, a book (The Power of Now by Eckhart Tolle), and her new social media sites. Her recent video blog has also featured requests for fans to donate money to pay for this ‘new’ lifestyle. Whilst denouncing the influence of the media, Essena has recently attended a flurry of interviews and has been featured in newspapers and magazines around the world. Is this simply cold, calculated commercialism from a master of the art?

Social media has made a star of Essena O’Neill, although belatedly for the right reasons. It is unlikely that she would have ever come to our attention without the success of her initial, contrived Instagram page. However, it is her rebellion against it that has led to her huge current notoriety, and this is to be applauded. Her pandering to the artificial, beach body, fat-free, tanned and airbrushed airhead imagery promoted by so much of social media led to a moderate amount of success. However, it is her unique stand against this, speaking out against the norm and taking a stand, that have led to real fame and international support. This teaches us that it is our unique differences that are to be celebrated, and our individuality that makes us special.

Whilst Essena has the right to benefit from this new wave of attention, it also essential that we learn from her advice and no longer unquestioningly follow the images and advice we are fed by social media… from Essena or her contemporaries.