Venue 390

By Lily boag

venue Deputy

Targeting art galleries, in 2022, has allowed for a climate action breakthrough. Climate protestors have sparked a radical movement, using art as their ammunition in the climate war. The streak of stunts taking place at cultural centres across the world have been described by climate activists as a “wake-up call in the face of a climate catastrophe.”

Gluing their hands to art

gallery walls, activists have been drawing worldwide attention, starting conversations, sparking controversy, and actuating change. For centuries, activists have used art for protest - from the civil rights movement and the queer movement to the suffragettes. A catalyst for change, art is, and has always been, radical. Before influencing the development of modern art, even Van Gogh’s post-impressionist paintings were controversial when they were first produced.

So, in 2022, why has art and architecture become a platform for environmental protest? And where does the real value of art lie - in the piece itself, or in the messages it can facilitate?

On October 14th, Just Stop Oil protesters hurled a

tin of tomato soup over Van Gogh’s Sunflowers in the National Gallery, sparking shock and outrage. On October 22nd, Last Generation activists poured mashed potato over Monet’s Les Meules at the Museum Barberini, causing chaos in Potsdam, Germany. Two days later, protestors threw chocolate cake into the face of King Charles’s waxwork at Madame Tussauds, upsetting loyal royalists.

On September 7th, Big Ben was targeted by Animal Rebellion as they covered Westminster’s Parliament Square Junction with white paint, resembling milk, to disrupt the dairy industry. In July, Italian climate activists glued their hands to the glass of Sandro Botticelli’s Primavera in Florence’s Uffizi gallery, following a stunt in London’s Royal Academy, where protestors glued themselves to the frame of a 500-year-old painting of The Last Supper.

In the National Gallery, sunflower soup protestors Anna Holland and Phoebe

Plummer echoed the actions of Mary Richardson, the suffragette who in 1914 slashed Velázquez’s nude painting Rokeby Venus with a meat chopper, protesting the arrest of British suffragette Emmeline Pankhurst. They questioned onlookers, asking “what is worth more: art or life?” They emphasised how climate change is the leading cause of catastrophes, such as “33 million people in Pakistan [being] displaced by apocalyptic floods,” and “36 million [lives] ruined by the famines in east Africa.” Making Monet their stage, and the public their audience, the mashed potato activists declared: “people are starving, people are freezing, people are dying.”

One question the protest action raises is whether we neglect our planet in favour of painted worlds? But what we must consider is whether a suffering society can still be repainted by climate activism. As we face a canvas of environmental nightmares that threaten our very survival, we must not question the value of art, but how much we value the planet that we are slowly but steadily destroying.

By jess gibbs

The book industry is undying, with books sales only soaring due to the combination of online and printed, and a large amount of influence from online advertising. Romance books have been around for hundreds of years, from Austen and the Brontës, to Nicholas Sparks and John Green. It is a type of fiction that has transcended culture, transforming from traditional to contemporary - it seems an unstoppable force, as every generation needs some sort of love to relate to.

If anyone was part of the early 2010’s book culture,

I’m sure you’re aware of the online aspect that fuelled the book industry. Websites like Wattpad, Archive of Our Own, and Tumblr, all excelled in promoting young people’s work. From a lot of these, there was an emersion in certain book tropes. The classic enemies to lovers, fake dating, or even dating to win a bet all appeared rewritten or reimagined in one way or another.

Tropes are well loved; they are literary techniques to fuel a growing demand of romance genre—and the demand has only been on the rise. It is an undeniable fact that TikTok is a huge influence on all forms of media, such as music, films, and especially books. The popularity of ‘BookTok’ has reformed what many people are buying as their current read, and the mar-

keting behind it has changed how people shop for books.

TikTok is an advertising platform for a lot of people, especially authors who make short, captivating videos to try and draw in readers. They seem to add overused captions just to sell their books and draw on tropes just to ensnare a certain audience. It becomes less about what the substance of the book is, and more about a trope to sell the story—it takes away from quality to sell to the masses.

Reviewers throughout ‘BookTok’ seem to also focus on these tropes. They only seemingly promote works that contain these stereotypes, so they attract attention. To get views on social media they begin their posts by stating things such as, “the dumb jock falls in love with the nerdy girl while trying to win a bet.” It has been a trope since at least the 1990s, and remains popular, so it is reused to catch the spotlight in a very competitive, difficult to navigate algorithm.

This then brings into the question whether the value of the writing is being overshadowed by what could be called ‘cheap’ tactics just to sell to a wider, mainstream audience. It becomes more about getting views, or going viral, rather than the creativity that literature was based on.

I think it’s fantastic that small authors are being able to get out there and promote their works successfully. TikTok has been a great asset in getting authors the notice they deserve. However, in terms of the book industry on a wider scale, should we be concerned that it seems to be the same idea churned out over and over in different formats? Rather than the originality of ideas that used to fuel writing.

I like to believe that this world functions of the creation of new ideas; it’s one of the aspects that keeps humanity evolving, keeps us moving. It becomes my worry that maybe these new creations are being overshadowed by a prejudice of the old, used tropes, and that the soul of writing may be struggling to shine in this social media fuelled frenzy of fighting for attention by using attention-grabbing ideas rather than individuality.

By CLEM HAILES

Twenty-two lay in the dirt of the patio. There was something magical about trying to be part of the dirt and worms, but having that sheet of concrete to stop you from decomposing.

Twenty-two has a toke of the worst cigarette ever rolled. It was the first cigarette since the last cigarette in February smoked under the fire alarm of the last night of drunkenness.

Twenty-two ashes up their nose.

“Have you seriously not learned to roll any better in five years?”

“Creature?”

Creature sits before them through the smoke and dirt, like some shit suicidal genie. Bald, in fishnets and a bin bag dress.

They have a joint in one hand, ratty plastic bottle of mixed spirits in the other.

Twenty-two sits up. This is bad fucking news. Creature is bad fucking news.

Creature smokes the joint like it’s both an inconvenience and the best thing they’ve ever done.

Twenty-two wants to smack them, but Creature would probably enjoy that.

Creature scuttles closer.

“Feeling under the weather, huh? You know what you should do?”

“I have an idea.”

Twenty-two wasn’t opposed to that idea.

“Mix all the pills in your secret drawer and see what happens. Take all of them.”

Twenty-two doesn’t like Creature.

It’s already getting too much. And now Creature was here.

They shouldn’t be there.

Not now. Not while that man was here, that man who was always there, in words, in sleep - holding a saw blade to their neck, no sleep, in each humiliating panic attack in the SU toilets, in each cry in an alleyway, in the kitchen, in shouting FUCK at random curly haired men in the street because they are terrified, they are terrified -- it was all getting too much and the fact that they are just a creature who doesn’t know how to deal with anything other than with booze and suicide --

It’s already getting too much and now Creature is here when it is already far too much.

“You are even worse than I remember.”

“At least my hair doesn’t look like it was cut in the dark,” Creature says.

Twenty-two touches their slightly questionable trim.

“At least I have hair.”

Creature smiles at that one.

“How’s the future?”

She finishes the joint then starts chewing the roach.

“Seems like you’ve got everything sorted. Twenty-fucking-two, smoking a fag, lying on some random patio and looking at the sky like it might do something to help you.”

Creature drinks some of their vile concoction.

“No one is going to help you, which is why I like to help myself.”

Creature takes Twenty-two’s fag. They offer the bottle of foul liquid as a trade.

“I’m sober.”

Creature laughs. “But how do you get happy?”

“I don’t.”

Creature waves the bottle in their face.

“Don’t you miss being happy? Don’t you want to be happy, old man?”

Twenty-two looks at the bottle.

“More than anything.”

“So, like I said, some pills, maybe some wine. I’ve got some nos in my bag if you want it, and...”

“Shut up.”

“Or maybe some mandy? Mandy is more your speed. Or well technically, that last lot was cut with speed. That was so fucking funny.”

“Shut up, Creature.”

“Or maybe...”

Twenty-two grabs Creature and smacks them against the floor.

“I hope you’re enjoying that manic episode because as soon as you get out of it you’re going to lose all of your friends. All of them. These people only like you because you’re their funny little performing monkey but as soon as you’re no longer a good little monkey everyone will leave. Because nobody likes you, really. You are a spectacle, not a person.”

Creature is more scared than they have ever been.

“I’m going to lose all of my friends?”

“And you’ll get fat.”

“I’ll get fat?”

“Fat, sad, alone because you are a depressing, embarrassing postcard of a person who constantly behaves like a FUCKING CHILD!”

Creature tries to cry. She’s not entirely sure how.

“I am a child.”

Creature has just had their seventeenth birthday.

Twenty-two should know better. But they are still seventeen.

Twenty-two leaves Seventeen lying on the patio and runs upstairs.

It is all far too much.

Twenty-two goes into their room and knows exactly what to do. Creature coached them well. They shut the door.

It’s quiet and desperate.

They open the secret drawer and covet the pills. Creature would google the exact dose for overdose to make sure it was worth it but Creature wasn’t here and Twenty-two had had enough.

Their finger presses on the blister pack, ready to pop out. The tiniest pressure could pop the bubble.

“Is it time for bed?”

Seventeen sits on Twenty-two’s bed. They are no longer gleeful or manic. Just tired.

“I want to go to sleep so fucking badly,” Twenty-two says.

“Then go for it. No one is stopping you.”

Twenty-two stares at the pills. They stare back.

Creature holds their own hand, ready to disappear.

Twenty-two looks at Creature. They put the pills back.

Twenty-two sits on the floor and eats an entire carrot. It’s weirdly soothing.

Creature sits beside them. Twenty-two holds her hand.

“I’m sorry,”Twenty-two says. “I love you. You have so much to look forward to.”

Creature wants to cry. She is starting to know how to.

“I’ll tell you everything, not just the bad. How long have you got?”

“Five years.” Creaure says, with hope.

Creature is visiting right now. It feels

frightening, but she’s not really scary. She is scared. She’s Seventeen and she’s scared.

But it’s okay, because Twenty-two is here to hold her fag stained hand.

By LILY BOAG VENUE DEPUTY

Gen Z Fashion 101: Haven’t managed to sneak into an Urban Outfitter’s recently to see what all the cool kids are wearing? (Hint: if they’re not locked away already, it’s time to hide those skinny jeans). Everyone knows how the fashion cycle works. If you hadn’t heard already, Y2K fashion is a mainstream trend again. (Tip: think of the summer croc renaissance.)

Covering the late ‘90’s and early-to-mid 2000’s, Y2K was widely influenced by the female pop culture that energised our childhoods. Fashion was defined by Britney, Beyonce, and Paris Hilton. Now, it makes for a nostalgic revival, as hot pink, double denim, and bedazzling returns. Making their mark on a new generation are bootcut, low-rise jeans, cropped tees, ribbed cardigans, and kitsch accessories (some of which, nowadays, might even be

deemed as ‘vintage’.)

But how has this trend spread, and what does it tell us about Gen-Z shopping habits? Today, Gen-Z (those born between 1997 and 2012), accounts for 25 percent of the world’s population. They are a generation who have an enormous cultural impact on society.

Informing new styles, fashion boosts Gen z’s confidence and allows them to express their true identity. A digital generation, they are adept at producing and consuming fashion content, as social media enables them to discover, purchase, and dispose of fashion at their fingertips.

The online world, however, rushes the pace at which young people are encouraged to “haul”, with the unspoken rule that once a picture goes on the grid, you can’t wear the same miniskirt again. But on the pro-side, the use of social media by Gen Zs has also allowed for a digital catalogue of permanent aesthetic trends: Barbiecore, Cottagecore, Dark Academia

and Coastal Grandma.

A digital generation reshaping the fashion world, research from Business of Fashion depicts Gen-Z as a “socially-progressive and environmentally-aware” generation, perhaps due to the dense cultural backdrop which shaped their very childhoods (including a worsening climate crisis and other global movements including, “Black Lives Matter”, “#MeToo”, and Covid-19). But up against desires for sustainability, affordability often wins.

Crumbling under the pressure to constantly update and renew their wardrobes, Gen-Z are a generation who monstrously overconsume. Falling for the trap of fast fashion, a polluting industry linked to human rights abuses, Gen Z choose to impulse-buy from the easier and cheaper alternative. Why? They get more value for money. Buying vintage and second-hand is one way in which Gen Z’s can keep fashion rolling in at a low cost. However, with

limited sizing and stock availability, sustainable shoppers pay with patience.

The lack of transparency surrounding fast fashion supply chains may be one reason why they maintain their young customer-base. As marketing machines encourage us to empty our pockets, influencers fuel the cycle of overconsumption as public figures collaborate with brands, profiting from deals and endorsements.

However, slowly but surely, undercover investigations into fast-fashion lines are revealing the secrets of the trade. For instance, documentaries such as ‘The True Cost’ (2015) and ‘Inside the Shein Machine: UNTOLD’ (2022) explore the environmental damage and labour violations caused by the industry. While this may prevent some from investing into fast-fashion lines, will it prevent Gen Z?

By TABI FIELDING

MUSIC Editor

In early October, I was lucky enough to go to and see Beabadoobee at the LCR, touring her Beatopia album. The whole evening felt as if I was in some sort of lucid dream.

It began at around half six when myself and my friend, Vick, arrived at Uni for the show. Never in my four years at UEA had I seen an LCR queue quite as impressive as this one was. I knew the night was going to be good. Once we arrived, it was a little wait until Beabadoobee came on. I’d say the crowed was a half teenage, early twenties female demographic, with the rest of the crowd being all mixes of people.

The stage set created a very mystic ethereal environment which felt as if we were in a bubble, an odd but comforting sensation.

The opening song was 10.36, a track that discussed Beabadoobee’s dependence on human contact for sleep. The track plays with the theme of intimacy with lyrics such as “you’re just a warm body to hold”

and “you don’t need me”. The bubbly, innocent vocals combined with the heavy guitar riffs contrasts ideas of love with the practicality of life, setting the tone for the rest of the gig.

The lyrics often to the struggle to form healthy attachments towards others in relationships. Ending the show with big hits, coffee and ripples, the crowd went wild, an optimistic ending. It was a beautiful, energetic show that I would recommend anyone go and see for themselves.

By Louise Collins

If you watch a lot of horror, you’ll easily recognise the trope of ‘The Final Girl’. If you don’t, it’s straightforward. Coined by author and professor Carol J. Clover in 1992, ‘The Final Girl’ is typically the sole survivor of the slasher film; she defeats the bad guy, and usually suffers a great deal of loss along

the way. Now, horrors and slashers don’t always get things right when it comes to female representation, but I must admit, it’s pretty satisfying seeing the ‘innocent, weak’ girl best the villain (even if the film centres around her suffering). Especially because nine times out of ten, the villain is some creepy, obsessed guy.

There are some amazing Final Girls in cinema, dating back to, and perhaps even before, the 1970s. We have Laurie Strode (Halloween), Nancy Thompson (A Nightmare on Elm Street), Alice Hardy (Friday the 13th). Nevertheless, a lot of them play with, quite frankly, sexist tropes. The Final Girl doesn’t drink, doesn’t have sex or take her top off. She survives because she’s a ‘good girl’. Howev-

er, what I’m interested in is when the films say ‘screw you’ to that trope.

Jess Bradford, from Black Christmas, for example, was clearly not a virgin. Throughout the film, she faces coercion and violence from the men around her, especially once she makes the decision to have an abortion. But, despite her sexual activity, she survives, subverting the trope of punishing the unmarried, sexually transgressive young woman.

Grace from Ready or Not is too iconic to leave out. She begins as the innocent bride of her perfect husband, only to realise she’s entered a nightmare. As her new family begin a frightening game of hide and seek, Grace discovers she’s signed on for way more than she’d been led to believe. However, she doesn’t shy away from fighting back, with the film ending as she sets the house on fire, blood-soaked wed -

ding dress on, and a laugh bursting from her mouth.

Happy Death Day’s Tree Gelbman is a party girl down to her soul. She wakes up in the time loop, in someone else’s bed, before heading over to take part in an affair. She shouldn’t survive – and technically she does die repeatedly - but she manages to figure out the killer and stops the loop.

Sidney Prescott must be one of my all-time favourites. The first film leads you to believe that she’ll survive because she won’t have sex with her boyfriend, as well as her friend Randy’s declaration that to survive a horror film “you can never have sex”. However, the Scream franchise is known for subverting horror tropes, and that’s precisely why Sidney has sex in the movie. Moreover, she’s the most genius of all the Final Girls, because she never assumes the killer is dead first time around. As the series progresses, she takes agency over her life, going from an (understandably) traumatised shut-away, to having a family of her own.

By libby hargreaves

concrete editor

Earlier this month, Channel 4’s UNTOLD series brought us Inside the Shein Machine, in which Imran Amrani investigated the fast-fashion giant, the condition of its workers, effect on the planet, and the secrets to its success.

As students, most of us aren’t in a position to shop wholly sustainably or ethically. Some of the most ethical clothing brands in the UK include People Tree (which partners with Fair Trade producers and uses eco-friendly dyes and cotton, and most items are vegan) and Miyamiko (which provides opportunities to women in Malawi and produces vegan fashion,

whilst the clothes are made in a solar-powered workplace, where all its employees are trained from scratch and helped in their individual efforts to set-up their own businesses). However, a simple cotton jumper is £99 at People Tree, and a cotton shirt on Mayamiko is £69. It’s therefore understandable when many of us turn to outlets such as Primark, PrettyLittleThing and Shein, as a cheaper option–even if we know it’s the less commendable choice.

Amrani’s investigation delved into exactly what these moral implications of our purchases are. The investigation followed an undercover factory worker who was getting paid a mere two pence per garment, working 18-hour days without holiday, and even experiencing pay deductions for any errors made.

Despite being less than 50 minutes long, the depth of the investigation was remarkable. Though devastating, we’ve seen exploitative

working conditions before–our media consumption has generally dehumanised us past a few minutes of reflection on these matters– but that is not the feeling I was left with after watching this UNTOLD episode. Factory clips were combined with environmental statistics, interviews with consumers and brand promoters, as well as the most personally shocking element of ‘the Shein machine’, the technology driving its $15.7 billion profit (in 2021).

The element of the documentary episode, which was most intriguing, was the explanation of cog after cog of immorality in the way Shein entices consumers. It seems it is not those who rely on cheap clothing who are targeted, but rather wannabe influencers and those vulnerable to spending addictions. The programme expertly laid out the ways the company entices these shoppers, Chris Xu, Shein’s CEO, catalysed the fast-fashion brand’s growth using his technological expertise. Amrani explained the site and app is designed to be “addictive”, immediately luring in shoppers with pop-

up discounts. This addictive nature is enabled by an algorithm, not unlike that which curates your TikTok FYP– making your shopping experience unique and most importantly, easy– convenience drives online fast-fashion retail business. You could buy similarly priced clothing at a local charity shop, but you don’t because you’re only a few clicks away from the outfit of your dreams.

She also spoke to some micro-influencers who promote fast-fashion brands in their content. This was the first time I have seen a genuinely unbiased, non-judgmental consideration of this side to clothing consumption– whatever your own views on the responsibility of individual Shein customers, it was useful to see how fast-fashion giants lure them in, it felt predatory to watch. Shein’s response is blasé at best, they are “extremely concerned by the allegations”. This highlights exactly the point of the documentary– a willingness to overlook the issues exhibited in the show, in favour of individual benefit.

Whatever level of knowledge you have regarding the fast-fashion industry, whatever your own part in consuming or protesting Shein, I highly recommend watching Inside the Shein Machine on All4, you’ll find something new to take away whoever you are.

By chris njorge games writer

In current times brands need to market themselves on whatever platform relates to their target audience the most in order to attract as much attention to their product and service as possible. This is true when it comes to games as well. The gaming market has seen a colossal rise in the amount of marketing and companies such as Epic Games, Nintendo and Ubisoft are spending astronomical amounts to attract new audiences and retain their current fanbase.

According to Sentence (2022), in the beginning of this year 52% of UK media buyers’ clients requested that money be spent on in-game marketing compared to 33%

in the US. Additionally, they stated that “By the end of the year, three billon active gamers, globally, could spend up to $176 billion on games”. Hence, the importance of marketing games has evolved into a crucial part of a brand’s success.

Which means if they can tap into the market with smart and targeted marketing campaigns then they can keep their audience entertained and intrigued on upcoming projects and game developments and have that consistent customer retention that helps build any brand to the acclaim and fortune you see today.

Take InnerSloth LLC (the game developers of Among

Us). They used the personalised approach of Discord servers and continuous response to consumers on social media platforms like Twitter. By approaching their marketing through a personalised position, building a community that gained a mass of attraction to become a small indie game developer into a welcoming and noticeable brand and game developer company.

Although, as is life, it did not last and suffered the same fate as every product and lost attraction and value. With products in any industry there is a cycle they go through from introduction, growth, maturity, and then decline. The company wasn’t

expecting the growth of the game and lacked the ability to adapt to such attraction and therefore retain it. From the lack of updates, new maps, and not communicating to the influencers on social media, their product was maturing and declining in users. As a result, Among Us suffered the fate of most products brands that release into markets when there is a saturation period. Also, consumers may also turn away from a product in favour of a new alternative.

The gaming market is continuously evolving, and companies need to make sure that through consistent communication and creative marketing that they can remain profitable.

Q: From Anon: I’ve identified as queer for about seven years now, with the term bisexual being mostly suited to me. I’m super out to my friends and a few chosen family members, but there’s still some that I’m scared to come out to. They’re never outwardly homophobic but they make alot of ‘jokes’ regarding to pride and queer couples on TV. I don’t think there’d ever really be aproblem telling some of them and I don’t think they’d react aggressively or anything, but I haveno idea how to even approach it as they don’t send out totally positive vibes. Do you have any advice? Thanks Anne Glia!

A: Hey, thank you for your submission!

Starting with the positives, I think it’s so great that you’ve been able to establish your queer identity and I hope you take a lot of pride (pun intended) in that. Coming to terms with aspects of ourselves is always such a mixed bag of emotions, and well done on you for making it. However, what is slightly a worry is that you describe your emotions as feeling scared to come out to your own friends. The kind of ‘’jokes’’ you’re referring to I can only assume are micro aggressively homophobic ones, and because of that, I understand entirely why you feel unable to come out to these kinds of people. They are openly mocking people that you relate to, it’s hurtful and offensive.

Personally, I came out as bisexual at 18, I’m from rural Norfolk so you can imagine the insensitive comments and sexualisations I’ve experienced from that. However, it has made me able to distinguish from someone who is intentionally

spreading homophobic hatred versus someone who is genuinely uneducated; and is receptive to being more progressive in their views.

Ideally, if you could work out your family’s intentions in this regard, then I think it would be a great place to start in approaching coming out to them. Consider the ‘’jokes’’ made; are they coming from a place of hate or insensitivity/ignorance? And remember, even if they don’t intentionally mean to cause harm with what they’re saying, it can still be hurtful to you, both can be true.

With regards to the actual coming out itself and how to verbally approach it, if you’re feeling this nervous, I would recommend easing yourself into it. As silly as it may sound, you could practise saying what you want to say to them in the mirror, or write it down, or talk to someone else who knows. Familiarising yourself with the words you want to choose and the routine of speaking about it will help you with your confidence.

A huge part of coming out is an acceptance of self, something I’ve personally struggled with, so I get your struggle here. Allow emotional freedom and time from yourself to grasp at your queer identity and find enjoyment in it. This could look like joining pride societies, reading books by LGBTQ+ authors, speaking to other friends of yours who identify on the LGBTQ+ spectrum.

when I was going through my bisexual coming out phase, I religiously listened to Girl in Red, and it felt so liberating, like I was being heard and recognised. Immersing yourself into LGBTQ+ culture should hopefully empower you to feel more solid and validated in your coming out experience.

Above all, your safety is what’s absolutely the most important here. Frustratingly, I can’t know enough from a submission to determine whether it is safe for you to come out to your family.

But if you decide it is, then remember to only do so if you feel their ignorance doesn’t run deeply into any actual hatred or that any harmful homophobia is present. As you said, you don’t think they’d act aggressively, which is a good sign! But please do remember to do so in a safe place just in case. Maybe even have someone else with you who already knows?

Lastly, coming out is so personal, and so your own, do not give yourself a hard time over the outcome or delivery. Whatever happens, providing you have prioritised your safety and made room for your queer identity, you are on the right track. I’m wishing you all the best and sending you so much love and empowerment. You’ve got this!