Skip to main content

Year: 2018

England seal Sri Lanka series with a win in the second Test

England won their first series away from home since beating South Africa in January 2016 by sealing a victory in the second Test against Sri Lanka. Joe Root captained the side to a 2-0 lead with the third and final Test starting on Friday 23rd November.

Going into day 5 the result was very much in the balance with Sri Lanka sitting on 226-7, needing just 75 runs to level the series. The home side started well but suffered two wickets in three balls from Moeen Ali that all but ended any hopes of a victory. First, Niroshan Dickwella fell for 35 after edging to first slip where Ben Stokes made a comfortable catch and then two balls later Suranga Lakmal was bowled for a duck.

The final wicket fell as Jack Leach achieved his first Test five-wicket haul. Leach caught and bowled Malinda Pushpakmura and the celebrations from the English side quickly followed. This was their first series win in Sri Lanka since March 2001 and only their second ever. Sri Lanka finished on 243 runs, 57 short of victory.

Talking after the Test captain Joe Root said: “The guys have worked extremely hard here. We said we’re going to play in a certain manner and we’ve backed that up completely throughout the two games. That’s probably the most pleasing thing.”

“We’ve stuck to our guns, been ruthless when we’ve had our opportunities to get ahead in the games and we’ve soaked up pressure well. This team is growing all the time, looking to improve in practice and driving that standard up which is a great position to be in.”

Root stepped up in the second innings making a fantastic 124, his 15th Test century. The Yorkshireman said that he “wants to get to number one in the world” and regardless of the outcome in the third Test England will overtake South Africa to take second place in the world rankings. Only India stands in the way.

With the Cricket World Cup taking place next May in England and Wales, Root and his team will be looking to make the most of the closing Test of this series as well as the tour of the West Indies in the new year. The final Test against Sri Lanka will take place in Colombo and starts at 04:30 on Friday 23rd November.

Magnus Carlsen and Fabiano Caruana draw tenth game in a row in the Chess World Championship

After nine consecutive draws, Fabiano Caruana and Magnus Carlsen have drawn yet again in the Chess World Championship in London. There are now just two games left for either player to find a win or the series will go to a best of four tiebreaker series.

World number one Carlsen came close to winning Game 9 on Wednesday but lost his advantage following a rushed decision to offer up a pawn on his 25th move. Grandmaster (GM) Hiraku Nakamura called the move “a little premature to me”, a sentiment which was echoed by Carlsen after the game concluded.

“I felt like I had a comfortable advantage and then I just blew it, I was poor,” said Carlsen, visibly disappointed by the way the game ended. That ninth draw set the record for the longest streak of games without a win in the 132-year history of the Chess World Championship.

Finally though, in Game 10, Carlsen went all in. After spending 15 minutes contemplating his 21st move he surprised everyone by sacrificing a pawn in order to remove a rook hindering his attacks. Once he made the move he jumped up from his chair and headed to the refreshment area.

The pressure ramped up on world number two Caruana. As the moves progressed the pair traded bishops and then queens before reaching time control on move 40. For Carlsen to win, he needed to do it with just his rooks and pawns.

Russian GM Peter Svidler said Caruana was in a difficult position. “My hands would be very shaky with white in this position. It’s very, very scary.” With the game in such a fine balance, one mistake could prove fatal.

An over-extension of the king by Carlsen potentially opened the door for Caruana to take something from the game but Carlsen managed to retreat just in time. The game then fizzled out to a draw a few moves later as neither side had a chance of winning.

There are still two games left in the series, organised by the World Chess Federation (FIDE), with a prize fund of one million euros on the line. If the score is level after these last two games then the series will go to the tiebreakers.

In these extra games each player will start with 25 minutes on the clock with an increment of 10 seconds after each move. Should the series reach this point, Carlsen will be the favourite to win given he is also the world number one Blitz Chess player.

Off the board, there was major controversy early on in the series as a two-minute video was uploaded to the Saint Louis Chess Club Youtube channel before being removed shortly after. The video showed details of Caruana’s preparation for the championship.

While the video was online several screenshots were taken and shared online. Chess fans were quick to analyse the photos, including one of a laptop screen showing openings potentially being research by Caruana. The names of three grandmasters were also contained in the video – Leinier Domínguez, Alejandro Ramírez and Ioan-Cristian Chirila – who are working as second’s to help the American prepare

The final games of the series are played on Saturday 24th and Monday 26th and are shown for free on the FIDE website. They are also streamed on Twitch.tv by Chess.com hosted by IM Daniel Rensch and GM Robert Hess with regular appearances by guests such as GM’s Hiraku Nakamura and Yifan Hou.

England rescue a win against an improving Japanese side in their third Autumn International

England scored three tries in the final 20 minutes at Twickenham to beat a Japanese side that is getting better with every passing fixture. The 35-15 scoreline may deceive fans into thinking that this was a routine victory, but the reality was very different with Eddie Jones’ team going into halftime 15-10 down.

Ten months out from the World Cup, hosted in Japan, the Cherry Blossoms showed that they are not far from the quality of the world’s best by playing some fantastic attacking rugby. Ryoto Nakamura scored the game’s opening try in the 22nd minute with captain Michael Leitch extending their lead nine minutes later.

With England struggling to find a way through the Japanese defence in the first half Jones needed to shake up his side if they wanted to avoid an upset. It took until the 56th minute for a George Ford penalty to really get the English firing on all cylinders.

Debut international tries came for Mark Wilson and Joe Cokansiga as well as another penalty for Ford and suddenly England were 30-15 up. A collective sigh of relief was let out around the 81,151 Twickenham crowd. Substitute Dylan Hartley sealed the victory four minutes from full time but the game exposed flaws that will need to be corrected before the team head to Japan next September.

After the game, Japan’s head coach Jamie Joseph said “We gave sloppy penalties away and allowed England back in which was a little bit disappointing, but I’m proud of the players all the same. Our mentality is slowly changing, we’re starting to believe that we can take these bigger teams on and that’s going to help us next year.”

England’s final Autumn International is against Australia on Saturday 24th November. Australia has had a difficult set of fixtures with losses to both New Zealand and Wales before a comfortable win against Italy. The last five meetings between the two sides have been England victories and England will be hoping to extend that unbeaten run.

Raymond van Barneveld to retire from darts after the 2020 World Championship

Five-time world darts champion Raymond van Barneveld has said that he will retire after the 2020 PDC World Championship. The Dutchman won four of his world titles in the British Darts Organisation (BDO) in 1998, 1999, 2003, and 2005 before moving to the Professional Darts Corporation (PDC) and winning his fifth title in 2007 against Phil Taylor in an incredibly dramatic final which went to a tie-breaker.

van Barneveld tweeted a short statement announcing his retirement: “For over 35 years I have been competing at the top of darts. With high peaks and deep lows. With 5 beautiful World Titles and many other trophies I have won. I have seen many countries and met a lot of people.”

“This sport brought me everything I could hope for and I will always be grateful for that. But I have decided that 2019 will be my final year as a professional darts player. I hope to see all my fans again next year to be able to say goodbye and then put my darts down.”

Since his move to the PDC, van Barneveld has won many titles including four World Cup of Darts with his teammate and world number one Michael van Gerwen. However, he has failed to win a major singles title in four years, losing in multiple semi-finals and finals, usually to Gerwen.

“I’m not winning tournaments any more. I don’t know why but a lot of things have happened in my private life and I’ve also noticed that my body isn’t feeling 100% any more. I don’t have the drive, motivation or fitness to carry on.

“I’m a winner, that’s what I do, I lift trophies but I can’t do it any more. Maybe there are still a couple of titles left in me and that would be amazing, but I can’t do this every week. This sport brought me everything I could hope for and I will always be grateful for that.”

Formula 3 driver Sophia Flörsch suffers horrific crash at Macau Grand Prix

Formula 3 driver Sophie Flörsch was lucky to survive in a horrific high-speed crash at the Macau Grand Prix. The German, who drives for Van Amersfoort Racing, lost control of her car and went airborne before smashing into a fence and structure that was being used by photographers.

The crash occurred on lap four of the race on the turn into Lisboa when Flörsch hit the back of Carlin Motorsport’s Jehan Daruvala going at 171.6 mph (276.2 kph). The collision caused her vehicle over the inside kerb into another driver, Sho Tsuboi, before being launched up into the air, over the barrier, and into the area behind.

After the incident, both Tsuboi and Flörsch were taken to the hospital as well as a marshal and two photographers who were behind the barrier the vehicle came over. Flörsch, 17, ‘only’ sustained a spinal fracture and has successfully completed an 11-hour surgery to repair one of her vertebrae.

Her team, Van Amersfoort Racing tweeted a response to the crash saying: “Today was a very difficult day for our team at the #MacauGP. The whole world saw what happened and we can only thank God that @SophiaFloersch escaped with relatively light injuries. Our thoughts go also to the other people involved and we wish them a speedy recovery.”

The owner of the team, Frits van Amersfoort, called the crash “one of the worst of my life”. “We got some information from social media while we were waiting at the door of race control, but when you look at those images it is heartbreaking so we were thinking the worst,” Amersfoort said in an interview with BBC Radio 5 Live.

“It took quite a long time before the race control could say anything about the health of Sophia, everyone can imagine that’s not a nice thing to have. We were lucky that she was flying because she went over a barrier. If she had hit the barrier it would have gone a lot worse.”

Less than half of university tuition fee is spent on teaching

Research by an influential think tank has found that less than half of students’ £9,250 annual tuition fee is spent on teaching at universities in England.

The report by the Higher Education Policy Institute (HEPI) showed that around 60% of the annual fee is spent on resources such as libraries and technology support, leaving just 40%-45% being spent on teaching for undergraduates.

HEPI is calling for universities to be more transparent about how they spend their students’ money, with the report’s authors stating, “it is easier to discover where the money goes when buying an iPhone than it is for a degree”.

They add: “Students and their unions have been clamouring for information about where their fees go for years… Regardless of the balance between the state and student in funding higher education, students want and deserve to know where the money goes.”

A survey also conducted by HEPI showed that 74% of students want more information about where their fees are going, with money spent on advertising and recruitment being particularly unpopular among students.

The think tank suggests re-labelling tuition fees as ‘student fees’ to try and clear up confusion about what the money pays for.

However, the report warned that recent proposals to cut the cost of some degrees to £6,500 would have a negative impact on student resources.

“It is clear that any reduction in the amount of funding that institutions receive for each student is likely to lead to cuts in areas that directly benefit students and activities that help to define our world-class higher education sector.”

A spokeperson from the University of Manchester stated: “As well as teaching, the University also spends money on essential services for students such as careers advice, the library and mental health services. Next week on our website we will publish a full breakdown of how fees are spent as part of our annual financial statements.”

Yvonne Hawkins, a director of the Office for Students which regulates higher education, said: “Ensuring transparency and accountability for how student fees are spent is important and we will work with students to determine what information they would find most meaningful.”

The report follows an ongoing conversation regarding student debt, tuition fees and finance, with cheaper two-year degrees recently being proposed by the government.

Review: ‘Too Shy: Open Mic’

Chapter One Books is a lovely place to eat, drink, study, relax and, as I recently found out, enjoy open mic performances. It was here I saw Too Shy: Open Mic, and for £3 the event was a steal.

There was a diverse range of performers, from second years to postgraduates, from “Moss Side to Miami” (though, it turned out, there was no one from Miami). It was heart-warming to see such a collection of people gathering to enjoy poetry on a Saturday night.

The event, hosted by the University of Manchester’s Creative Writing Society, was titled ‘Too Shy: Open Mic’ and for good reason. Kayleigh Jayshree-Hicks, who introduced all the performers, gave advice regarding anxiety being on stage. Importantly, she discussed where this anxiety stems from and how to learn to deal with it as performer.

Patience Kanjira stood out to me with her performance. Her first poem was about warming up to the idea of love, explored through images of ice, igloos and glaciers, ending with a dangerously exciting ‘scorching love’. She beautifully captured the hesitance and vulnerability in her performance.

Her next poem was drastically different in style, tone and performance. Beginning with the direct question, “Why are you touching my hair?” the poem explored the fetishisation and appropriation regarding black women. The poem was full of puns and metaphors, my favourite of which was “this split-end conversation”. All this technical excellence led back to the simple question, stated at the beginning of the performance, demonstrating control and craft on Kanjira’s behalf.

Each performer brought lots of energy to their performances. Jack Greeney’s sardonic humour ran through Horror-scopes, his play on horoscopes. Nina Jakulin Vavpotič’s performance was brilliantly ironic, writing to guidelines for a poetry competition. Kofi Gyamfi’s performance centred around identity with lines such as “When the M16 in me speaks”. He performed with a deft touch, speaking on both a personal and universal level.

The chair of the Creative Writing Society, Toreh O’Garro, ended the set. One of his poems, ‘Moss Sidian Oddities’, was filled with wonderful lines like “Don’t forget the raining Sakura trees that kiss the hands of Princess Road”. Cheered on by the crowd, he brought the wonderful night to a close.

The Creative Writing Society hosts these open mic nights regularly, at different locations, with this particular Too Shy event a particular hit with those performing for the first time. They are also preparing for Uni-Slam, a nation-wide slam poetry event where universities send a team of poets to compete, as well as a chance to work with professional poets and performers. This event establishes the Creative Writing Society as an active society with engaged committee members who care about people and their stories.

Talking To The Mason Collective

Formed in the city brimming with young talent, The Mason Collective is made up of three friends from south Manchester, Blair Suarez, Mase Milo and Omar Gueda. Since founding in 2014, the trio have been pioneering all angles of Manchester’s creative scene, and if you’ve partied in Manchester you should know about The Mason Collective. From their own trademark sell-out MVSON events to frequenting fellow Manchester parties Kaluki, WHP and Parklife alike, their energy is unstoppable. Young and ambitious, the trio aren’t just pioneering their sounds in house and techno but also their signature style. After a landmark summer, I spoke to the guys to hear more about their upcoming releases and their continual involvement in the city’s home-grown fashion scene.

Asking how Manchester has influenced their sound and style, Blair tells me ‘There’s always been a strong connection, between the music and fashion scenes within Manchester, but there’s a lot of young creatives that are coming through that are trying to step away from the old 90s Mancunian style. We’re definitely not trying to follow anything, either in our sound or the way we dress, obviously we take references from here and there, but at the end of the day we’re just doing us.’

Clearly staying true to themselves is what is working so well for the trio. Their most recent achievements include playing amongst some serious line-ups in summer, both in Ibiza and across the festival circuit, in addition to their more recent sell-out Halloween MVSON events. Milo tells me that ‘Our last MVSON event sold out in about 3 hours and I think that’s the quickest we’ve ever sold out one of our parties, so that was definitely something to be proud of.’ Yet the trio are making waves much further afield than from just their loyal Manchester following. Blair says ‘Personally I think I’m most proud seeing the guys we’ve always looked up to like Loco Dice, The Martinez Bros, Jamie Jones actually play our stuff at the clubs and events we’ve always gone to like DC10, Paradise and CircoLoco, it’s unreal.’ Their success pays into numbers as their newest release ‘Feelin’ Ugly’, is working its way up the release charts on beatport, being released on Jamie Jones’ own label Hot Trax, which Blair deems to be ‘something we have always aimed for’.

Music and fashion is an ingrained part of Manchester’s culture, and the Mason guys are heavily influencing both. Reflecting upon their own style, Milo shares ‘I wouldn’t say we have a particular style; we do all like dressing well. We wear a lot of streetwear and hype fashion brands but we all have our own individual styles as well which all play off each other well. We all do our own thing yet it still works for us.’

Their eye is seemingly keen for trends as it is sound. Clothing label Gramm is another major success story from Manchester, specialising in streetwear and a strong creative direction, the brand has a history of collabs with the Collective. Their tag ‘For the youth by the yutes’ encompasses the shared spirit of the innovative, young creative scene which occupies the city. Blair tells me that. ‘Akeem who runs Gramm has been a friend of ours for years; we went to school together so we’ve always been close. He’s always helped us out with branding the creative side to the Collective. Gramm’s coming up at the moment, we’re coming up at the moment so it just makes sense to spring this into a collab.’ Gramm’s signature pieces include a chest rig bag and a bodywarmer military-esque vest, which can be frequently seen on the streets. Milo says ‘Gramm’s doing really well at the moment. Over the summer we did a collab with them as a football top, which made sense with it being the world cup, as well as being something we wear a lot. The next thing we’ve got coming up with Gramm is a hoodie and a few other bits but nothing we can let you know too much about yet. Stay tuned for that.’

Their talent hasn’t just been spotted by DJ giants like Jamie Jones but similarly by fashion forces such as Adidas, who they have an upcoming campaign and collaboration with in the pipelines. Omar tells us ‘We have a promotion coming up which we are all going to be a part of, it’s a campaign for the launch of the new Adidas trainer coming out called the ‘Yung 96’. On top of that we are holding a launch party in Manchester, which we can’t, say too much about. But it should be in December’

Yet this whirlwind year still isn’t over for The Mason Collective, ‘Yeah we still have loads of shows for the rest of the year until Christmas, a big one being the one at Studio 338 in London where we’re really looking forward to hosting the loft. Looking further forward we have some big releases on some really big labels from early next year so there’s still so much coming up for us.’

Stemming from a cult following of their distinct MVSON party vibes in Manchester, The Mason Collective are continuing to captivate a large following much further afield, and have a promising future ahead of them. What’s clear is that they’re carving their own path in the industry due to their distinct sound and style, and long may it continue.

Live Review: Deadmau5 (WHP)

Swimming through a sea of bopping bodies I bustled myself to the front of stage, met with rapturous applause as Canadian-born DJ Joel Zimmerman, more formally known as Deadmau5, took situ behind the illuminated deck.

The vast expanse of Store Street made for a fitting venue, charming and derelict I could immediately see why it is considered the spiritual home of The Warehouse Project. Sound echoing around the cavernous walls dampened and absorbed by the mass of bodies, suited Deadmau5 to a tee as he traversed through a neat balance of well-crafted tracks, ambient, upbeat, and aggressive.

Mixing new tunes with crowd-pleasing favourites made for a musical journey that clearly pleased his legions of fans; ethereal trance tracks such as ‘4ware’ lullabyed them into a relaxed-state before progressive, melodious tunes like ‘Monophobia’ sent them into a frenzy. A highlight of this, as anticipated, was his heavyweight song ‘Ghosts ‘n’ Stuff’; hands raised high, each soul energetically jumped, swayed, and sang as broad electronic wails warped down into hard thumping drum beats.

Streaking beams of light glimmered on transfixed faces with joyous gleam as the Grammy-nominated electronic star finally put on that legendary mouse head, the spectacle triggering a vibe through the audience that shit was about to get serious. Synth-heavy melodies and pounding beats impulsively shivered through rattling air vents above, surrounding the crowd as vibrations seamed through the quaking floor.

Shuffling side-to-side and shoulder-to-shoulder I found myself impetuously clapping along to that which I didn’t even realise should be clapped to, unexpected as that, much like the structure of his musical style transitioning between sound-worlds swiftly in his unique iconic genre.

Visually striking, electronic backgrounds and lighting cinematically accompanied the slew of infectious beats and drops, suitably layering on top of favourites such as ‘Strobe’ to forge a magnetising texture. This track in particular was greeted with reflective attention, slowing down with hypnotic ostinato and prolonging build-up to bring about some feeling of melancholy and acceptance, harmoniously connecting each friendly face in the audience. I was not the only person to enjoy the eventual drop in this one that’s for sure!

With expectations high, the hitmaker certainly did not disappoint harboured feelings of the excited 12-year-old me or even my more fine-tuned current self, treating the eruptive audience to a high octane and eclectic set. WHP proved a propitious event to showcase this unremitting talent with the abundance of space quickly shrinking scarce (tho somewhat too scarce at points!) as the underground ravers, heads bopping and hands waving, proved ripe and ready to party hard.

Bringing a range of sounds and emotions it was a pleasure to witness and experience first-hand why exactly Deadmau5 has such a golden reputation, making for an energetic and absorbing night that I will not be forgetting in a long time.

9/10

Review: ‘Foolproof’ by the Manchester Musical Revue

‘Foolproof’ is the first Manchester Musical Revue (MMR) show with its new creative team, led by director James Ward-Mallinson, musical director Daniele Paolo Anderle and producer Mary Morris. It was an absolute success.

‘Foolproof’ follows a group disgruntled villains, playing cards in their hideout, planning to take down enemies, the agents (played by Ward-Mallinson and assistant director/writer Ben Pointon).

This show was self-deprecating and hilarious, made more so by occasional rewrites made by the voices of Ward-Mallinson and Pointon. True to UMMTS style, the ensemble vocals were excellent, featuring in songs like Kill the Beast (from Beauty and the Beast).

Megan Shone shone as a standout performer as the deranged dentist criminal, Smiler, she was constantly enjoyable to watch, whether centre stage or not. The play on Suddenly Seymour (Little Shop of Horrors) with Suddenly Smiler, was a captivating moment between Shone and devious school girl criminal Scarlett Gorman.

Carol-Anne McConnellogue was also excellent, managing to play villain with split personality between hardened Irish criminal and a sweet American girl.

‘Foolproof’ managed to cram in songs from like Heathers, The Rocky Horror Picture Show and The Sound of Music – any musical theatre fan’s dream. And for those who wouldn’t be so quick to recognise the songs, the cast made them their own and the comedic value was still relatable. Every cringey awkward stereotype worked and the show was also Manchester-centric, so further felt like it was catered to its audience.

The Bond jokes were deliberately obvious, with no effort made to hide, at one point the French Villainess (Keira Battersby) seemed to excruciatingly squish multiple references into one sentence, then give up, huffing “Skyfall” at a giggling audience. It was also a funny, and worryingly accurate, that the Bond agents didn’t feature much in the show and were simply old men interested in sex, who were out of a job due to lack of crime.

Special mention must go the horrendously cringey and strangely enjoyable German caricature portrayed by Harry Newman-Walley, especially when a bizarre rendition of ‘Edelweiss’ (The Sound of Music) led to the audience singing along.

A genius and powerful departure from the comedy was Hugh Summers’ rendition of ‘Being Alive’ (Company). The switch from his husky cockney villainous persona into this emotional song, was extremely impressive.

‘Foolproof’ was great fun, so self-aware that is created an atmosphere similar to ‘The Play That Goes Wrong’. MMR has yet again produced a great show in record time I can’t wait to see more!

Bugs and B-movies: can polish spoil a game?

Fallout 76’s release and reception have certainly been turbulent. While the game has certainly seen its of both die-hard fans and critics, nobody can deny the plethora of bugs and glitches in the title. Bethesda certainly has a reputation for a lack of polish in its titles, but it has never been so much an issue as it is with Fallout 76. In fact, people have often looked fondly upon the ability to ‘break’ those games.

There’s a lot of poorly put together games out there, yet some of those end up being cult classics. Much like the B-movie, unpolished video games can have a pull we couldn’t get anywhere else. Does polishing up a game, giving a professional quality, really take something away? Can bugs make a video game?

Well, taking us back to 2014 the answer to the latter would seemingly be a ‘yes’. Goat Simulator by Coffee Stain Studios was ultimately a parody of the wonky engines that had been prevalent in open world games. The internet fame it received was right in line with the popular hilarity of seeing awkward physics in games a la QWOP. It used bog-standard assets in a sandbox game with an unpredictable physics engine. These games, however, are a form of high comedy, and their great postmodern musings require exquisite taste alongside considered analysis – not to mention the goat flew really far with a funny hat. As these are intentional parodies that construct their entire identity around being hilariously dysfunctional, it doesn’t feel apt to use them as a parallel to a B-movie.

Perhaps a better example can be found in someone who has a habit of making ‘hidden gems’ or ‘flawed masterpieces’. Games that, despite their flaws, continue to draw in dedicated fans with their unique gameplay elements, stylistic aesthetic, and abstract storylines. Hidetaka ‘SWERY‘ Suehiro has gained himself a reputation for putting out polarising titles, and in particular Deadly Premonition comes to mind. With gameplay and pacing that was relatively dull and unpolished by comparison, the title gained a cult following. The uneasy horror vibe is balanced with an awkward, yet endearing, sense of humour. If you were to ask the fans what draws them to Deadly Premonition, you wouldn’t find much importance placed on the gameplay itself. 

Likewise, Vampire: The Masquerade – Bloodlines was, for its time, an experimental first-person role-playing game. Running over its budget, and suffering a lack of direction and myriad development issues, the game released in a fairly unpolished state. The unfinished content was cut, and the game later relied on community efforts restore its direction. Diehard fans were opposed to community fixes, and in some way claimed that fixing bugs seemed to no longer be true to what VTMB‘s appeal is. For them, polishing the game would seem to remove its appealing aesthetic. Though the majority of fans would likely enjoy additional features and bug-fixing; the game for them is rather appealing because of its experimental style and lovingly-crafted story.

Both of those titles are not cult classics because of their poorly put-togetherness, but rather people clutch to the elements that are truly subversive, experimental, or unique. Much like the B-movie, it provides a space to escape typical institutional culture to experience the new, the weird, and the bizarre. Fallout 76 likely creates such a negative response because it lacks any of the redeeming qualities we can latch on to. Some of those bugs are so severe that they hinder the potential development of those positive qualities. In other Bethesda titles, bugs offered a style of comedic relief in an otherwise engaging story. Using the ability to interact with objects in Skyrim and place a pot on someone’s head was hilarious, yet didn’t hinder your overall experience (especially seeing as it was easy to reload).

Those bugs could then be described as somewhat participatory. For them to really get in the way of your gameplay, you need to seek them out. In the case of speedrunning, poking holes and exposing bugs is essential to the format. It’s only in this instance that the various glitches or so tend to supplement the game, by providing additional engagement for players. Unless this is the main objective, as it is in parody games, participatory technical issues do not make or break a game. Fallout 76 seems to be at the worst of both ends. Obstructive technical issues are hardly worth the bother in a game that lacks truly redeeming elements. As ever, annoying bugs tend to be attracted to shit – but they never seem to polish it.

Review: Outlaw King

Bold, brave, and bloody. Outlaw King has broken out on Netflix as an epic that does not hold back on the gore and guts of 1300s Scotland and the tyranny of medieval English forces.

Directed by Scotsman David Mackenzie, Outlaw King follows the story of Robert the Bruce — one of two heirs to the Scottish thrown — who surrenders to King Edward I of England, in 1304, as part of a promise that his lands will be returned to him if he shows homage to the English crown. Bruce is arranged to marry the noble Elizabeth de Burgh, stating the union between the neighbouring countries. After two years of  suffering the oppression of heavy taxes on his lands, Bruce finally begins to realise the unpopularity of the English amongst the Scots and decides to start a revolt, to regain his rightful place on the Scottish throne.

Leading on from the historical epic Braveheart, Mackenzie does not refrain from revealing the brutal journey of the lesser known Robert the Bruce. On multiple occasions, we see extreme and even barbaric violence, such as a baby being thrown against a castle wall and a young man being hung and drawn. Sometimes, I felt this violence was possibly unnecessary and therefore found myself gritting my teeth at the horrific bloodshed. The battle scenes and guerrilla warfare are depicted by Mackenzie in an impressive Game of Thrones style, but sometimes I feared that the violence drew away from the historical accuracy of the film. For example, Elizabeth De Burgh was never known to have been hung from the side of a castle in a cage, making that scene in particular seem almost comical.

The actors portraying the oppressed Scots, however, are not to be laughed at. Instead, Chris Pine (Robert the Bruce) and Aaron Taylor-Johnson (James Douglas) need to be commended for the utter ferocity and passion they display throughout the film. I am sure I am not alone in feeling a sense of loyalty to Scotland, instead of my own country England, due to the complete and ruthless courage projected through these two characters in particular. After seeing both Pine and Taylor-Johnson in many comical and maverick roles, it was a refreshing experience to see them savagely scream out in battle scenes, whilst plastered in blood, and still remain convincingly tied up in the desires of the two characters. Not to mention, Pine’s Scottish accent was extremely well- portrayed for someone who originates from the Gold Coast.

The acting from Stephen Dillane (King Edward I) and Billy Howle (Edward, Prince of Wales) was less convincing. Mackenzie seemed to have insisted on making Howle portray the Prince of Wales as ultimately crazed and sadistic, which is completely historically inaccurate. Yes, the young Prince was often in the shadow of his father, along with many questions pointing at his sexuality, but in this portrayal, it almost seemed at times completely laughable. King Edward I is widely known as ‘The Hammer of The Scots’, yet Howle’s over-exagerrated, barbaric portrayal of the Prince made him seem nothing more than a mere child’s toy hammer.

Mackenzie has created an exhilarating epic, full of impressive cinematography, that will satisfy lovers of battle scenes and the incredibly beautiful Scottish landscape alike.

Rating: 3/5.

Are emojis really expression?

I was scrolling back through my messages the other day and I noticed that at least 40% of the words I use are not words at all, but round little yellow faces, otherwise known as emojis. As a languages student with a tendency to sit, dwell on and over-analyse the messages I receive, I found myself considering whether choosing these tiny circles over actual words from the English language was improving the clarity of my message or limiting it.

Every language has a finite number of word choices at any respective moment in time. This would suggest that the number of situations we could accurately describe is also finite. In other words, there is a potential for certain situations to exist that that could not be described with a single word but instead require a combination of words to effectively denote them. Perhaps there are even circumstances that the English language fails entirely to describe.

By increasing the options we have to describe a situation (be it through adding words or pictures to a message), we should be able to enrich the possibilities of expression and therefore improve our ability to effectively communicate.

This argument would stand in a situation where emojis were used as an addition to words. When we begin to replace words with pictures however, this takes a slightly more sinister tone for the well-being of our language. Without even entering into the debate on misinterpretation, I believe replacing words with pictures can be incredibly limiting.

Given that numerous situations might be described by the same emoji. For example all the myriad uses for the monkey with his hands over his eyes; from the retelling of an embarrassing picture to trying to revoke a poorly judged comment. Actively choosing not to use language to express ourselves works fine when we are sitting behind a screen. In real life however, when turning myself into a monkey and putting my hands over my eyes is not an option, how would I go about expressing my emotion?

It is not all technology that is inhibiting our proper use of, and enjoyment of the English language, there are many ways in which it has enriched our literary heritage. Arguably, computers and the internet facilitate more modern approaches to writing; the poem is now far less constrained to stanzas in a poetry book but can play around more with structures and typefaces. It is the phenomena of emojis, the actual act of replacing words with something more convenient, which is restricting our language.

Whatever your qualms about text language, I am certain that the increasing popularity of emojis will end up having a negative impact upon our use of the English language. Think just for a minute of the emoji you use the most and then try to put that emoji in words…

Live Review: Sports Team

On the 13th November I ventured up into the heart of the Student Union to Academy 3 to wait for Sports Team to perform. As the band kicked off, it was easy to see why the band have been cited as one to watch.

The six-piece thrived off each other, performing with eager energy and fuelling the room with an electrifying sound. Particular attention ought to be paid to their drummer, Alex, who tied the band together with her cohesive beats and rhythms that allow the guitars and vocals to shine. It was also particularly nice to enjoy the representation of a female drummer in such a male-dominated position. Launching themselves into action with ‘Camel Crew’, the band allowed the audience an opportunity to relish in their guitar-led sounds.

When I interviewed Rice last month, he told me that friendship was key to the band. This came across as one of the most important parts of their performance; they shared in-jokes, nattered and giggled between tunes and all seemed willing enough to put up with Rice’s ostentatious but enjoyable persona as lead singer.

He performed pitch-perfectly as he strode around the stage, lit in neon and regularly mouthing the words to his own songs as he stepped away from the microphone. As he owned the stage, dressed in a glimmering chain necklace, jumper and white trousers, it was impossible to tear your eyes off him. He danced around, flinging his limbs to his own music and trying his best to amp up the audience for headliner Hinds as much as possible.

Rice hung over the edge of the barrier as he sang into the crowd for fan-favourite finisher ‘Kutcher’, and the audience was hanging onto every word. The guitar solos were strong and electrifying behind him, and it’s easy to see just how much the six-piece adore the opportunity just to play together.

Sports Team were fun, vibrant and undeniably talented. Each member was incredibly tight in their music counterparts and appeared utterly enthused about being on stage. They had turned a room that was half-full at their start into one pulsating with an evident energy and enjoyment regardless of whether their audience was particularly familiar with them or not.

When they finished, leaving ears ringing with their sound, the girl next to me turned with an open mouth and asked for their name. I am sure there will be more asking the same question – and people should relish in giving the answer before they shoot to fame.

9/10.

‘We’re All The Same’: an exhibition to humanise homelessness

When entering the We’re All The Same exhibit in 1 Spinningfields, you’re instantly struck by its size. The small space is cosy, intimate, and touching. An absorbing array of  selected photographs are suspended by pegs, where bold colour, forms and characters hang in balanced tandem. The viewer walks into a space where homelessness has a human face and dignity; where photographic expression sheds a light on greater human experience.

The essence of this exhibition is to show that hope and aspiration are inextinguishable realities of every part of our society. This exhibition’s message is truly resonant and necessary, especially in the face of the daily dehumanisation of homeless people and the immobilising effects of austerity policies.

We’re All The Same was just one of the many events of the ‘With One Voice‘ International Arts and Homelessness Summit, which took place in Greater Manchester between 12th-18th November. This summit saw an estimated 20,000 members of the public and 250 delegates from 15 countries come together to explore and celebrate how arts can tackle the issue of homelessness in modern society.

Certain charitable organisations played a critical role in making all this possible. Pledge, a charity that helps fight poverty in Greater Manchester, curated this exhibition. MASH, a charity that supports women who are sex workers in Greater Manchester exhibited 12 anonymous photos with the theme of ambiguous portraiture; an invitation to the viewer to apply the lens of their own perspective and imagination.

The importance of giving a voice to homeless people is paramount to this exhibition. Ilisa Stack’s Raw exhibit challenges stereotypes by showing the differing faces of homelessness. The selection of portraits from the series shows a variety of people captured in stark black-and-white rawness, with the exposure making subjects pop from the frame.

Although the choice of location for this exhibition was slightly ironic, within one of the most exclusive luxury office blocks in one of the most exclusive districts of the city, Manchester is a suitable setting for this festival. The city is the base for many projects that use the arts to tackle homelessness, as part of the Manchester Homelessness Charter.  The cultural sector is making a widespread comittment to support people in dealing with the experience of homelessness.

The aim of this exhibition was to show that underneath all of the trappings of modern life, we are all the same. We all live through the same passions, pains and imperfections that are part of the human condition. By realising this, judging a person by their current circumstances of homelessness is replaced by the overpowering recognition of our common humanity. We see people for where they’ve come from, and where they are going.

First Time: Nathaniel Hall breaks stigma surrounding HIV

In his upcoming one-man play ‘First Time’, Nathaniel Hall aims to break the stigmas around being HIV-positive and have an open conversation about the realities of living with HIV. Inspired by the Positive Speaking Program, which gives those who are HIV-positive a voice to tell their stories, Hall takes to the stage to share his experience. Speaking to Hall, he hopes to dispel common myths surrounding HIV as well as tell his story with hopes to inspire those that watch.

Having not told his family about his HIV status until 14 years after his diagnosis, Hall opens up about the stigma and shame surrounding the virus. He talks about the “power of the stigma”, explaining how it can lead to a variety of mental health problems, such as depression and anxiety. Many people associate HIV with reckless behaviours. Its link to sex and injected drugs mean that the general public often moralise the contraction of the virus, despite the realities that affect the most responsible of us.

A lack of knowledge around the virus is a major contributor to the fear and stigma surrounding HIV. Hall discusses many developments in HIV that are often unknown to the wider public such as PreP and U=U.

PreP, pre-exposure prophylaxis, is a drug that can be taken pre-emptively that stops the taker contracting the virus. This drug is vital in communities that may be at a higher risk, such as injecting drug users, but is yet to be widely available in the NHS. It is currently being trailed across England but Hall comments that the delay in funding PreP has meant that “people are still getting HIV that shouldn’t be”.

U=U stands for undetectable=untransmittable. A plethora of scientific research has confirmed that when a person living with HIV is receiving effective treatment, their viral load can be reduced to a point where it is considered undetectable. Once a person has reached this stage in their treatment, they are then unable to transmit the disease to someone else. This has been a major breakthrough and means that if this treatment is accessible to everyone, we could be looking at a future that is HIV-free.

Manchester has become part of the Fast Track Cities network, a global group spearheading the fight against HIV. The city has pledged to end all new cases of HIV by 2030, a commitment that Andy Burnham has called ambitious yet achievable. Hall spoke about his hopes to eradicate new infections of HIV in the same way we eradicated diseases such as small pox.

The main message Hall wanted to get across was the importance of everyone to know their HIV status and get tested. With National HIV Testing Week running from the 17th to 24th of November, Hall highlights the importance of everyone knowing their status. Roughly two-thirds of new infections come from people not knowing they have HIV. Getting tested allows us to “be empowered to protect yourself and others”. We all have a responsibility in stopping the spread of HIV and getting regularly tested is how you can do your part.

With a brave, honest and thought-provoking message, ‘First Time’ runs at Waterside Arts Centre, Sale from the 29th November to the 1st December.

DNA sequencing: a bias against some

DNA sequencing has become an increasingly-used technique in the modern world. It can be used to decode human diseases as well as study our genetic history in exquisite detail. It has led to numerous advancements in healthcare and forensic science, and plays an indispensable role in contemporary life sciences.

DNA sequencing is the process of determining the sequence of nucleotides (A, T, G, C) in a sample of DNA. Since its foundations in the 1970s, complex and sophisticated mechanisms like Sanger sequencing and next-generation sequencing have made it cheaper and easier to map entire genomes.

In recent years, DNA sequencing has been implemented in border security. The Home Secretary, Sajid Javid has admitted to Parliament about the compulsion of immigrants entering the UK into DNA tests in order to prove their identities. 83 applications were rejected, seven of which were refused on “suitability grounds” because they had not subjected themselves to mandatory genetic testing.

Canada, France, and Norway have also adopted these techniques at times. DNA tests have also been used by border forces under the Trump administration to reunite migrant families that they forcibly separated. In some countries, DNA testing forms a key prerequisite to gaining citizenship.

Though DNA testing has been a large part of policing, it has led to an over-representation of young black men in many DNA databases. This means that efficacy in detection and investigation is vastly different across socio-economic and ethnic lines. If a close relative of yours commits a crime and logged into a database, you are more likely easily identifiable in any future police investigations.

In Sweden, France, and the Netherlands, authorities have used “family trees” and registration lists of all the members of the Romani community, a minority in these states. Such practices have been used by hostile states who support anti-minority policies. DNA sequencing can also be misused if there is a failure of the sequencing reaction. For example, mixed signals in the trace, short read lengths by the mechanism, and poor quality of generated data.

A completely different application of DNA testing are private genetic tests. Current medical genetic databases, research projects, and institutions are biased towards white populations, making DIY-type ancestry kits very popular in Europe and North America. The leading provider of private genetic testing, 23andMe, recently reached five million users and signed a drug development with GlaxoSmithKline, one of the leading pharmaceutical companies in the country.

In the effort towards transforming healthcare, DNA sequencing could cause further inequalities and be more biased towards white Western populations. Large populations of the globe are poorly represented on the DNA databases in medical contexts. The cost of testing, and the lack of drive among many companies to promote it, makes it highly socioeconomically, geographically and ethnically imbalanced.

There are advantages and disadvantages of DNA sequencing and it is quite essential in many aspects of modern life. However, if there could be more study into creating equality in DNA sequencing it would become useful to all of humanity instead of specific populations.

Review: ‘Freshwater’ by Akwaeke Emezi

“When you name something, it comes into existence – did you know that?”

This is one of the many questions asked in Freshwater, an intensely terrifying yet magical debut novel by Akwaeke Emezi. Full of spirits and different voices, Freshwater reads like a fairy tale. But not the happily-ever-after type.

It has more in common with those original, darker fairy tales. The ones where the grandmother is chopped up and Little Red Riding Hood unknowingly eats her, where Sleeping Beauty is raped in her sleep.

Freshwater explores the life of Ada (a name that means ‘first daughter’ in Igbo) and her struggles growing up in a body that was not meant to survive. A body that was meant to “come back home”. Ada is an Ogbanje, which is the word used for children who come and go, infused with evil spirits believed to torment the family and disrupt their lineage. This bildungsroman is thrilling in its unapologetic narrative style, with multiple voices that Ada debates with.

Freshwater is infused with a polyphony of poetic and rhythmic voices. A key aspect of Igbo storytelling is its oral nature and its musicality. The voices that fill the novel are at times cruel and malevolent. And yet turn the page, and they are desperate, confused, hurting. They argue, they share things, they vote and volunteer on who will be on the frontline, who will “fill in Ada’s flesh” and present to the world. They are unified; Ada is them and they are Ada.

Emezi does not allow or encourage us to think in binaries. They are simply voices, spirits, a “godly parasite with many heads, roaring inside the marble room of her mind”. Reading through the perspective of multiple identities, of multiple personalities, illnesses and spirits is masterful. It’s certainly a page-turner.

While Freshwater is a novel about Igbo cosmology, it is also a novel about the birthing process. Emezi explores sex, transgenderism, sexuality, mental illness and rape committed on university campuses or by those closest to us. They shed an uncomfortable and intensely sharp light on the cruelties inflicted on humans by humans. As uncomfortable as “shoving a sun into a bag of flesh”.

Emezi skilfully weaves the narrative between liminal spaces, between one world and another,  between the mind and the body. They explore what it is to occupy human flesh, whilst at the same time feeling disassociated from your own body. Ada must follow the first rule of being an Ogbanje, that you must “feed your gods”, and so she cuts herself. Descriptions of Ada’s pain, suffering and blood are related in the poetic, irresistible language of the spirits that feed on it. Whose anger is satiated by it.

Do we read the novel differently once we find out that it isn’t all simply a work of fiction but that it’s somewhat autobiographical, a memoir of Emezi’s? Do we find it more poignant? Even more disturbing? The choice to write in the form of fiction was yet another way Emezi refuses to stay within binaries. As they write, “a story can be true without necessarily sticking to straight facts”.

Freshwater is a haunting and impassioned debut novel that asks many thought-provoking questions. After all, “How do you survive when they place a god inside your body?”

Half-Life, 20 years on

Picture the scene: It’s 1997. If you were playing First Person Shooter games on your beige PC and massive CRT monitor, you were playing Quake II, Duke Nukem 3D or DOOM. In all three of the aforementioned games, story took a backseat. Sound design boiled down to deciding how to make the guns shootier, and world design primarily consisted of placing explosive barrels.

Fast forward another year; it’s November 1998. The dot-com bubble is expanding nicely, Antz is playing in the cinema, and Cher’s Believe is blasting from your personal CD player. After an excruciating wait, you finally get a copy of Half-Life. You bring it home, install it, and finally boot the game up, ready for some first-person-shooting. But – where’s your gun? Where are the enemies?

Welcome to a new chapter in the FPS genre. Storytelling in video games as a whole was nothing new by 1998, but merging the FPS genre with it, and especially in Valve’s signature style, was. This was a game where you experienced everything through the character’s eyes; there were no prompts on screen, no books to read, no menus to navigate, and no cut-scenes. All this without even mentioning the massive strides forward the game made in 3D animation, character profiling, and level design.

The first five minutes of the game is a cinematic sequence, taking the player through the sprawling industrial project that is the Black Mesa research facility. While some of it make look dated or pedestrian to our 2018 eyes, in 1998 this was absolutely cutting edge. Having the game’s protagonist Gordon Freeman as a faceless, speechless puppet allowed for the player to project themselves inside the game’s story in a way that had never really been done before.

Even after the introduction, the game doesn’t give you guns straight away; you’re left to fend your way through attacking headcrabs using nought but your signature crowbar; the game seeks to teach you how to use weapons and items naturally, a massive leap forward for the time. Taking the player through scientific labs, military installations, and alien worlds, Half-Life boasted a variety of story and setting that few other games could claim to have; the game was absolutely lauded by critics at the time and is still beloved to this day.

Half-Life still holds up today, mostly; some of its design paradigms are painfully 90s, everything is blocky and square, and some of the sound effects are laughable. The core gameplay, though, is tight as it ever was and it’s still a joy to play.

And what of its legacy? Half-Life spawned many titles we still play to this day; Portal, Team Fortress and Counter-Strike to name but three. Half-life, and its successor, Half-Life 2, released in 2003, are games that first person shooters are still trying to emulate all this time later; that speaks volumes about just what a monumental game this is.

Strongbow Dark Fruit… bakery?

Yes, you read that right. Strongbow Dark Fruit cider is opening a bakery. Sadly, it is only going to be a one-off treat, setting up camp in Manchester this Saturday (24th November) from 12-8pm.

These eight glorious, sugar filled hours will give you the chance to try some rare delicacies such as Dark Fruit cupcakes or Dark Fruit ice cream sandwiched between two chocolate cookies. Most importantly, however, Strongbow is teaming up with the amazing Doughnut Time to provide you with homemade Dark Fruit doughnuts!

The pop-up will be held in Barton Arcade in Deansgate and all proceeds from the baked goods will go towards local charities.

If this wasn’t already enough to convince you to make your way down to Deansgate this weekend, the bakery will also feature the winner of a fan-led baking competition that was hosted by Example. Two super fans of the fruity alcoholic nectar baked Dark Fruit themed cakes in two hours and were scored on ambition, creativity and taste. The winner of this competition will be displaying their bake on Saturday – and yes, you get to taste it too.

The bakery has been inspired by you – the Dark Fruit fans, as you took to social media and spread the joy, love and obsession with the cider by showcasing your inventive Strongbow Dark Fruit inspired bakes. In fact, earlier this year Manchester proved its worth to Strongbow, being voted one of the three cities that Kyle Gentleman’s Strongbow Dark Fruit ice cream should visit.

So what better thing is there to do this weekend than head to Deansgate, treat yourself to a tipple of the drink of the Gods and coat your teeth in sugar? Dark Fruit fans from far and wide will be there, and I’m sure you don’t want to miss out on this once in a lifetime opportunity.