Vol. XXIII - Issue 6 - OTwo

OTwo Volume XXIII, Issue 6

The Reflections Issue

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contents regulars

Travel

Food

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5

games

6 Creative Writing

Film&Tv

8

letter from the editOrs

10

14 PHoto: MartIn Healy

keith Barry

Music

16

18

arts&Lit

Hello lovers,

Fashion

22

Fatal Fourway aperture

28

31

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OTwo Credits Editor Roisin Guyett-Nicholson Deputy Editor Martin Healy OTwo Co-Editors Seán Hayes David Monaghan Staff Writers Ause Abdelhaq Shane Cullen Aoife Hardesty Orla Keaveney Adam Lawler Lucy Mortell

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Art & Design Editor Louise Flanagan Chief of Photography Camille Lombard Food & Drink Editor Rachel Gaffney Fashion Editor OTwo Contributors Bebhinn Campbell Barbara Campos Eithne Dodd Traolach de Faoite

Katie Devlin Music Editor Luke Sharkey Games Editor Aaron Poole Film & TV Editor Owen Steinberger

Arts & Literature Editor Ezra Maloney Creative Writing Editor Chiamaka Amadi Online OTwo Editor Melissa Ridge

Izzy Forde Alexander Glover Erin Jennings Fiachra Johnston Rebecca Kelly

Conor O’Boyle Dylan O’Neill Jack Shannon Billy Vaughan

Welcome to another edition of OTwo, the Observer’s celebrated arts and culture supplement.

This issue we’re tackling the theme of reflections, an apposite theme when discussing the arts.

Viewing art and media is the most immediate way we have of understanding our place in the world: what the dominant views upheld by society are, and how we are in conversation with them – whether we conform or reel against them.

In keeping with our theme, we’re looking at a plethora of issues in arts and culture that reflect where we are. In Food, we are given a very insightful look into Chinese New Year celebrations, as well as a review of Kinara Kitchens and a recipe for dumplings. In Games, we have a review of Resident Evil 7, Yakuza 0, and an interview with Riot Games.

In Music there is a piece on gender performativity. Gender, of course, is a social construct, and one that guides and, at times, suffocates our perception of the world and how we see each other. Our regular gig guide and an interview with Planet Parade round out music this issue.

In Film and TV, we critically examine the Oscars, as well as late night TV, and how they reflect the standards maintained by society as a whole, and how online movements like #OscarsSoWhite set to challenge such assertions. We also look at the return of Queer Eye and whether or not such a representation needs to be reflected on television in 2017.

Fashion looks at ageism in the fashion industry, and how bias maintained outside of the fashion world is reflected on the catwalk. Arts and Lit features an interview with UCD archivists, who strive to collect and preserve materials from the past, many of which show an image of where we have been.

Our centre this issue is an interview with the magician Keith Barry, who has impressed television audiences at home and abroad for years.

So before you turn the page and reflect (see what I did there?) on the content we have produced, be sure to remember why this magazine exists in the first place: arts and culture is a societal barometer. There is no quicker way to map changes in public opinion or cultural circumstances than through examining the latest media, be it through film, literature, art or games.

Lots of love, Seán and David xx

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Soapbox: On the Futility of Humanity

MYSTIC MITTENS ARIES

LIBRA

You’re really pleased that your Valentine’s date takes an interest in your family history: your mother’s maiden-name, your first pet’s name, and fail to realise that they’re actually hacking your online banking.

Violets are violet, not blue. The poem your crush sends just proves that they’re blind, which is the only reason that they’re talking to you.

TAURUS You misunderstand your date’s instructions to dress up for Valentine’s and arrive in nothing but a diaper, carrying a bow and arrow, to the fanciest restaurant in town.

GEMINI You may have a crush on your lecturer, but your efforts this semester are looking less like a “Be Mine” and more like a “Be Mine-us”.

CANCER If you’re sad about being alone on Valentine’s Day, just remember that you’re alone every other day of the year too!

LEO Don’t kid yourself, you don’t have sex daily; you have dyslexia.

VIRGO

Don’t worry that the Valentine’s card from a “secret admirer” looks just like your mm’s handwriting. Mittens is sure that it’s a coincidence.

SCORPIO Pulling your date’s chair out for them is often considered chivalrous. Pulling it out too far and laughing at them as they fall to the floor, however, is not.

SAGITTARIUS If you ever forget your date’s name, just bring them to Starbucks! The name on the cup will still be wrong, but they’ll be so appalled at your taste in coffee that you’ll never have to speak to them again.

CAPRICORN St Valentine was beaten, stoned and decapitated. Did he really go through all that just so you could get the shift in Copper’s later tonight?

AQUARIUS Roses are red, violets are blue. Vodka is cheaper than dinner for two.

PISCES The city of Verona, where Shakespeare’s Romeo and Juliet lived, receives about 1,000 letters addressed to Juliet every Valentine’s Day. A dead, fictional character receives more love-letters than you.

“NO greater mistake can be made than to imagine that every change means progress.”

A quote from Arthur Schopenhauer there. My kind of man. A real pessimist if ever there was one.

On those photos people put up of their driver theory certificates, I’d like to think that Schopenhauer would comment that you only got 35/40.

Today, I present to you a despairing diatribe against human existence itself, and the shiny toy called “progress” that we use to justify it and make it bearable. This soapbox is the mound of undissolved sugar at the end of your coffee or that friend that takes a bite into all four kit-kat fingers at once. It is one long confused scream into an empty abyss that swallows all sound and returns no answers. If you’re not up for that today, there’s an also article about weed in this issue. It’s really cool.

We’re passing through Donnybrook now. I am sporadically connected to Dublin Bus Wi-Fi that has all the grim unpredictability of a narcoleptic on a night out. A look out the window reveals that Bearded Bastard has opened up another shop, and taken a swipe at my cherished banlieues.

BeGIn SUB RAnT Bearded Bastard is not an individual of course, it is an entity. The residents of south Dublin live in the terror of its unseen presence. It stalks the suburbs, ready to pounce on unsuspecting run-down bike shops and turn them into run-down bike shops that sell €4 Americanos. Children and small dogs have been known to disappear into the thick clouds of rosemary and Amber Leaf it exhales into the streets.

Shambles is chic. Tweed is urban. Ignorance is strength.

Bearded Bastard is watching you. enD SUB RAnT We are constantly mindful of the shortcomings and failings of the world we live in. What kept me optimistic in my early university years was a sense that the world was headed in the right direction.

But are we really moving towards a utopia? Robots are slowly taking over the task of maintaining our existence while we busy ourselves with our increasingly dumbed-down and addictive media. Our society is reaching a technological zenith and an intellectual nadir. The fact that we utilise penicillin and drive around in tin boxes powered by explosions doesn’t change any of these fundamental failings.

Of course, this notion of “progress”, fragile as it is, is a drug that we are all addicted to. We all need to be convinced that we are working towards something as a species, because we simply can’t bear to face the truth that human beings are, essentially, a useless malignant growth on this planet. Think about it: just about every invention and discovery by the human race has had the ultimate goal or effect of either helping us live longer, increasing population, or making our lives easier.

Why bother? What is the point of us? To enjoy our lives and find some kind of meaning in the handful of decades we have on this earth? I imagine that nothing quite matches the feeling of knowing that you have led a content and full life, but we never really get any reward for it. There are no participation medals for this absurdity we call life. Of course, there might also be a God, in which case I sincerely apologise to the Almighty for this outrageous article.

Words: Billy “Billy Vaughan” Vaughan

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OTwo//

A r t s a n d C u lt u r e – News and Events Carvaggio Exhibition Opens: The National Gallery opened its new exhibition on the works of Carvaggio on Saturday, 11th February. Viewers are treated to works such as Boy Bitten by a Lizard, and Boy Peeling Fruit, as well as works by artists who were inspired by Carvaggio, such as Giovanni Antonio Galli and Antiveduto Grammatica. This exhibition is ticketed, and costs €15 for full price or €10 for concession. More information can be found at nationalgallery.ie.

Pop the Cherry Comedy : Pop the Cherry Comedy returns Monday, February 20th between 8pm and 11pm in Whelan’s bar. The gig brings together comedians from all across the country, and this time around sports names such as Kevin McGahern of RTÉ’s recently cancelled Republic of Telly, Aoife O’Connor, Damon Blake, Chaps Eye, and more. The event costs €5. For further information see: www.eventbrite.ie.

Audi Dublin International Film Festival: Set to kick off this Thursday (with day one featuring Aisling Walsh’s new feature Maudie) is the annual Dublin International Film Festival. The festival, closing in on its fifthteenth birthday, always brings a variety of international and domestic films to the city. With plenty of big names on offer, screenings for films like Ben Wheatley’s Free Fire (with Allison Brie and Cillian Murphy) and Jim Sheridan’s The Secret Scripture have already sold out. For further information, check out www.diff.ie.

Kevin Cosgrove in conversation with Aidan Dunne: Temple Bar Gallery + Studios is hosting a conversation between artist Kevin Cosgrove and Aidan Dunne, visual arts critic of the Irish Times. They will discuss Cosgrove’s work, which often depicts workspaces and workshops that are empty, bar the tools used by artists and painters. The event is free and will be held between 6pm and 7pm on Wednesday, 15th February. For more information see: www.eventbrite.ie Jim Sheridan’s The Secret Scripture

What’s Hot & What’s Not HOT:

NOT:

Valentines Day:

The Ball 2017:

While your friends at OTwo are the first to admit that it’s all a well-planned marketing ploy made up by conglomerate companies to encourage the purchases of stuffed teddy-bears shoved inside tacky mugs, accompanied with expired heart-shaped chocolates, it’s still an excuse to get all dressed down into your favourite matching set from Penney’s and share an evening with that special someone (or that “not so special but at least it’s someone” from Tinder.)

Why are we set on thinking that it can become a success by simply removing the ‘UCD’ part? Sure, this pared-back, minimal title may appeal to those inclined towards a certain aesthetic, but surely the fact that we’ve teamed up DIT [they don’t even have a campus! (they do now – Ed)] should set some alarms off. That, and the fact that not one announcement has been made regarding the line-up. Expect over-priced tickets, underwhelming line-ups and the usual apathy and disdain amongst student. Expect OTwo to save our pennies to get absolutely mad-out-of-it during Aphex Twin at Forbidden Fruit in June.

Week 4: It’s probably the last week in the semester that you can, without too much guilt, convince yourself that it’s okay to do the bare minimum, and just enjoy the stretch in the evenings, while eating as many chicken fillet rolls by the lake as you can. There’s a storm coming, but don’t worry about that until week 5, dear.

Newman Coffee Dock:

UCD Fashion Show:

Course Syllabi:

The time for UCD’s annual fashion show is upon us: a time to support emerging talent and a worthy cause. The show, which in the past has claimed the title of the largest student-run fashion show in Europe, will run from February 15th-16th with tickets costing €12 for students and all proceeds going to youth mental health charity, Jigsaw. Tickets can be bought from the SU shop, or through UCD ENTS event page on Facebook.

We can’t even afford the aforementioned cup of coffee, how exactly would you like us to pay for all these books? We didn’t expect to have to sing the praises of the library, but sure, here we are.

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€2.70 for a regular cup of coffee and €3 for a large? And by coffee we mean the watered-down remnants from empty, left-over coffee cups collected around the rest of campus. No thanks, UCD.

OTwo//Travel

Discovering Kraków A city of culture and tragedy, Seán Hayes recalls his visit to the Polish city of Kraków.

I DON’T know why, but from the

arches onto the surrounding square,

Yet this apparent tranquility is jarring

bar in Kazimierz, the historic Jewish

moment I pull into the station at Kraków

and a pianist plays what I recognise to

given the fact that I am about to

quarter of Kraków. The barman, after

Glówny, I’m filled with a deep sense

be Chopin.

arrive at Auschwitz, the former Nazi

introducing me to a sickly sweet Polish

concentration camp, where at least 1.1

vodka, explains to me the concept of

of unease. Perhaps it’s just the bitter

I continue down the cobbled Royal

weather outside; the temperature in

Road, keeping out of the way of the

million people were killed during the

thanotourism. It is a term I am unfamiliar

Kraków at this time of year barely rises

horse-drawn carriages that trundle by. I

Holocaust.

with, and yet is the reason why Kraków

above freezing. Perhaps it’s the bleak,

stop at a street-vendor selling szaszlyki,

imposing buildings that I’ve passed

and try some of the traditional dish

here. A group of school children run

Also known as dark tourism, it describes

on my way into the city. Perhaps the

made up of skewered pork, peppers,

excitedly along the train-tracks, the

an industry involving travel to places

pages of George Orwell’s Animal Farm,

same tracks which brought prisoners

associated with tragedy. As a people,

which I’ve just finished, are beginning to

to their almost certain death. An elderly

we are unexplainably attracted to grief

particularly resonate with me as I walk

couple sit on a window-sill eating

and death.

into a city that is, while still European, distinctly different from the Western familiarity I have left behind.

Kraków’s history can be traced back to as early as 50,000BC, with excavations uncovering Paleolithic

“She’s truly captivating, and the room she is held in is deadly silent, her magnetic appeal capturing the attention of everyone who views her.”

I don’t know how to feel when I get

ice-cream. No behaviour or reaction

is visited by 12 million tourists each year.

I’m not quite sure how to feel about

feels appropriate for the gravity of the

this. On one hand, what I saw today

situation.

wholly undermines the suffering of

We are first brought into the museum. It houses displays made up of hundreds of prisoners’ personal

millions of people. It makes a novelty out of a site of complete horror.

On the other hand, however, as

belongings: piles of suitcases, shoes,

the barman explains to me, without

toys, books and kitchen utensils.

operating places like Auschwitz as

One room is particularly distressing;

museums and memorials, the memory

and by the 14th century was established

it displays the shorn hair of female

of what originally took place there could

as a cultural hub for artists, intellectuals

prisoners whose heads were shaved

be forgotten too, and that might just be

upon arrival.

the greatest tragedy of them all.

stone tools buried in Wawel Hill. By the 10th century, the city was an important commercial centre for the amber trade

and scientists.

onion, mushroom and tomato. I get to

In September 1939, Nazi German

the end of the Royal Road, which ends

forces entered Kraków and set up their

at the foot of Wawel Hill and look up at

around the cramped buildings where

General Government in Wawel Castle,

the castle ahead.

the prisoners slept, as well as the tiny

exterminating the Jewish population

It is unlike any castle I’ve seen before

Back outside, we are brought

gas chambers where prisoners were

in the process. After World War II, the

and seems more to resemble a strange

murdered. Many of the prisoners

city fell under the thumb of communist

group of buildings plopped together.

suffocated from the sheer amount of

rule, becoming a Soviet satellite state

Heavy, defensive walls surround the

people forced into the space before

for more than two decades, until Poland

fortress-like structure, while inside there

they were ever gassed. Yet the people

emerged as a republic in 1989.

is a Gothic cathedral accented in gold,

around me seem unaffected; they

the Royal Residence and an expansive

continue to take photographs, to talk

of the Old Town, and so I begin my

Renaissance courtyard that echoes

amongst themselves.

exploration of the city that evening at

with the steps and voices of the visitors

the Main Square – the largest medieval

inside.

My hostel is located on the edge

town square in Europe. I arrive to the

Leonardo Da Vinci’s Lady with

tower of St Mary’s Basilica, capturing

an Ermine. Dating from 1490,

the attention of the people below.

it’s one of Da Vinci’s most important masterpieces. A

the trumpeter unexpectedly stops,

portrait of Cecilia Gallerani, the

breaking off mid-stream, and leaving

mistress of the Duke of Milan,

the unfinished tune lying disquietly in

she is portrayed, draped in

the air. The effect is unnerving, and yet

fine pearls, intimately stroking

the people around me continue about

a tame ermine. She’s truly

their day unconcerned. (The tune is

captivating, and the room she

purposefully performed this way to

is held in is deadly silent, her

commemorate a 13th-century trumpeter

magnetic appeal capturing

who was shot in the throat while

the attention of everyone who

sounding the alarm before an attack on

views her.

the city.)

The square is dominated by an

That night, I find myself in a small

The castle is home to

sound of a trumpet playing from the

Halfway through the tune, however,

“Yet the people around me seem unaffected; they continue to take photographs, to talk amongst themselves.”

The real reason for my visit, though, comes the next day,

immense, Renaissance hall and tower.

and that morning I get a mini-

Cloth Hall houses a bustling indoor

bus with twelve other people

gallery of market-stalls, with vendors

into the Polish countryside.

offering everything from antiques to

We pass charming villages

handmade knitwear. Restaurants spill

and wooden houses – it

out from underneath the rounded

seems like an idyllic lifestyle.

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OTwo//Food

Taste of China Orla Keaveney introduces us to the culinary traditions of Chinese New Year.

THE Chinese year of the Rooster started on the 28th of January. Although most Irish people are familiar with the parades and fireworks, most people will know little about how individuals mark the occasion in China. Few realise how significant the holiday is compared to our New Year celebrations, with many Chinese expats travelling home from around the globe to share the festivities with their friends and family.

Similar to Christmas in western countries, sharing a meal on the last day of the year with loved ones is a central aspect of Chinese New Year – it’s often referred to as the “return dinner”. However, the food eaten on the day isn’t as synonymous with the holiday as turkey or Brussels sprouts.

Traditions vary depending on region and individual habits.

For instance, in northern China, dumplings are the centrepiece of most meals, but are rarely served at New Year in the south. Meanwhile, Niango, a cake made of glutinous rice with sugar, is popular only in Eastern China.

The symbolism of certain foods often

dictates how they should be prepared and eaten. For example, the Chinese word for fish, pronounced “yoo”, sounds very similar to the word for “surplus”, so it has strong associations with prosperity and luck. Many Chinese families prepare catfish or carp on the last day of the year, and serve it at the end of the meal so that the tail and head will be leftovers. That way, on New Year’s Day, the rest of the fish can be eaten, representing hopes that the family will have more than they need for the coming year.

While the method of cooking varies, the positioning of the fish on the table is significant – the head of the fish must be directed towards the elders or guests as a sign of respect, and the two who sit at the head and tail of the fish drink together for good luck.

However, like many western customs such as Christmas trees or Easter eggs, these traditions are light-hearted and usually joked about, rather than taken as hard-and-fast rules.

There are also customs for things you shouldn’t do on New Year’s Day, such as eating porridge (which is said to bring pov-

erty) or washing your hair or clothes (for fear of “washing away” good luck). It’s also customary for married women to visit their parents only on the second day of the New Year, as doing so on the first day is thought to bring misfortune.

If you’re interested in trying out a popular New Year’s dish, dumplings are an authentic Chinese meal that doesn’t differ too drastically from the westernised Chinese food we are used to in Ireland – they are also said to bring good luck!

Chinese New Year Market

Ingredients 600g wheat flour 400g ground pork 100g Chinese cabbage 2 eggs Some ginger, green onion and garlic, 5–10g salt 20g soy sauce, sugar, cooking wine, sesame oil, chicken powder To make the wrapping, put the wheat flour in a basin. Add some salt and mix evenly. Pour water in the centre of the flour. Knead and stir the flour into dough. Cover the dough with a wet cloth for about half an hour.

Sprinkle some flour onto a board and place the dough on the board. Knead the dough into a long strip and cut it into dumpling-

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skin-size pieces, and roll each small piece flat with a rolling pin to make the dumpling wrappers. Stack the wrappers aside, sprinkling some flour on each to prevent them from sticking together.

For the filling, clean and mince the pork and cabbage, and mix with salt, cooking wine, chicken powder, sugar, eggs, and some water, and stir them evenly.

Put a spoon of filling into the centre of each wrapper, fold over and pinch the wrapper edge together hard to seal the contents (try to give a “pleated” edge, as flat junctions may bring you poverty!)

For the dipping sauce mix starch, boiled water, sugar, vinegar, soy sauce, and sesame oil, then add the sliced ginger and garlic to an oiled wok. Stir-fry them until the fragrance is

Photo credit: RUOcaled via flickr

Pork Dumplings

released. Add the starchy sauce to the wok and bring to the boil. Add the chopped green onions and stir-fry quickly to finish.

Boil some water, and add the dumplings one by one. While boiling the dumplings, stir them to prevent them from sticking together or to the pot. When the water boils again, add a small cup of water. Cover and repeat twice

more, then drain the dumplings and serve them in a dish.

Presentation is key to ensuring good luck – ensure the dumplings are served in even lines, as circles represent an aimless and repetitive life. You can even thread a white string on one dumpling, and whoever gets this one will live well into old age.

OTwo//Food

A Karachi Valentine’s IF you’re like me, you’ll probably spend this Valentine’s Day sitting in your room watching 500 Days of Summer on a loop, eating ice cream and wondering why nobody will ever love you. Of course, we’re not all so lucky, so for this issue we here at the Observer decided to bring a little romance to the restaurant review – you know, in case you do have someone special to share the day with.

When it comes to romantic restaurants in Dublin, there is no shortage of choice.

Walking down George’s Street, every second door leads to a dimly-lit, intimate eatery where the food is expensive and the wine is incomprehensible. However, if you’re yet to choose a nice place to bring your beau, and you’re getting worried, don’t fret – we’ve got you covered. Last week, in anticipation of the big day, I took a trip to Kinara Kitchen in Ranelagh, on the lookout for a romantic meal at a reasonable price.

From the outset, I expected to spend more money than I usually do – there was no surprise when I looked down at the menu and saw main courses costing around €20. Unfortunately, with great quality comes great cost and the honest truth is that you’re unlikely to find somewhere to bring your significant other which doesn’t set you back around €50.

That said, there are some restaurants that are worth it, and thankfully, Kinara Kitchen is a restaurant that’s definitely worth it.

They manage to provide an authentic, satisfying experience of Pakistani cuisine while still keeping their prices at a reasonable rate – for the most part. For my starter, I ordered the Champ Kandhari, which was described on the menu as slowly-chargrilled lamb chops with a side of mint sauce – right up my street.

The starter was simply wonderful.

The lamb was succulent, and the mint sauce perfectly complemented the meat.

In terms of taste, it was the best dish of the night. However, in terms of quantity, it was horribly disappointing – I got two small lamb chops with enough lettuce and rocket salad to fill up the rest of the plate, which is an indication of cheapness on the part of the owners.

When it came to mains, I ordered the restaurant speciality: the waitress described the Nehari Gosht as the most

popular dish. Again, it didn’t fail to impress. The beef was magnificently tender, garnished impeccably and the sauce was light enough not to overwhelm the meat.

My only reservation is that I probably should have ordered something a little more adventurous. While the dish was excellent, it was also exactly what I expected. Some people enjoy knowing precisely what they’re going to eat, but personally I prefer a little uncertainty – simply because you’re never surprised by what you know. It’s important to note that even though the size of the starter was underwhelming, the main course was genuinely too big to finish.

There are other aspects of my visit to Kinara Kitchen which stand out as positive: the atmosphere in the restaurant is exceptional, both because of the friendliness of the staff and the lighting used to create a genuinely comfortable mood.

Also, the efforts of the owners to cater to those with alternative diets is remarkable; a huge portion of their menu is dedicated to vegetarian options. If you do decide to pay them a visit, order their buttered naan as a side – you won’t be disappointed.

Overall, Kinara Kitchen is a hugely impressive example of Pakistani cuisine done correctly. Though the size of the starter was a disappointment, the restaurant ticks all the right boxes regarding food quality, accessibility and especially atmosphere.

Realistically speaking, when it comes to Valentine’s Day, that’s all most couples are looking for and might earn you points for a more original choice of cuisine!

Photo credits: Kinara kitchen facebook

Looking for love, Ause Abdelhaq may have met the dish of his dreams in Kinara Kitchen.

“…there are some restaurants that are worth it, and thankfully, Kinara Kitchen is a restaurant that’s definitely worth it.”

“They manage to provide an authentic, satisfying experience of Pakistani cuisine while still keeping their prices at a reasonable rate.”

“The lamb was succulent, and the mint sauce perfectly complemented the meat.”

Palak Gosht

Champ Kandhari

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OTwo//Games

Review: Resident Evil 7: Biohazard Fiachra Johnston

Platforms: PS4, Xbox One, PC Developer: Capcom Publisher: Capcom Release Date: January 24th

com hopes to reclaim some of that lost prestige with the latest instalment, Resident Evil 7.

You take the role of Ethan Winters, an everyman who receives a message from his missing wife telling him to find her at a seemingly abandoned mansion hidden in the swamps of LouisiResident Evil hasn’t felt like Resident Evil in a ana. The house turns out to be the home of the long time. While games in the series, such as insane Baker family, who trap you, forcing you the recent Revelations 2, have proven the fran- to find a way to escape with your wife.

What’s striking about Resident Evil 7 is how chise isn’t entirely a cavalcade of misery in the modern day, we haven’t seen a true survival- little it relies on previous material. Though there horror game since perhaps the early 2000s. Cap- are small mentions of Raccoon City and the al-

ways looming Umbrella Corporation, the game tries to stand on its own, and is so much better, and scarier, for it. The Bakers are perhaps some of the most interesting villains in the franchise, each with their own distinctly terrifying personalities, aided by some of the best voice acting the series has ever had.

Conversely however, Ethan as a protagonist experiences very little in terms of development.

It’s clear this is the case to allow the player to project themselves onto him, but it would have been nice to have a hero along the lines of series familiars Leon Kennedy or Chris Redfield to match the haunting nature of the Bakers.

The differences continue into gameplay. New to the series is the first-person perspective, and much like Resident Evil 4’s over-the-shoulder camera, it injects a freshness into the series that is much needed: Resident Evil 7 is very scary. Atmosphere oozes out of every pore of this game, as you try to conserve ammo fighting small

“Atmosphere oozes out of every pore of this game”

“The game tries to stand on its own, and is so much the better, and scarier, for it.” numbers of strong monsters and solve some of the puzzles that are a signature of the series, always wary of looming danger.

Inventory management can be a pain though, as you are forced to make room with already-limited space for plot-central items.

Although combat feels terrifying and hectic, the boss fights are disappointing, essentially existing as a slugfest for firing on the enemy with hopes the game actually lets you come out on top.

While there are some niggling gripes that stop the game just short of being a masterpiece, they fail to stop it from being one of the best Resident Evil games, perhaps even horror games, in years. It’s clear that the series has found its footing once again, and is ready to return to its throne as the king of horror.

Review: Yakuza 0 Martin Healy SERVING up Japanese crime drama for over a decade now, the delightfully weird Yakuza series has produced its first full prequel. It’s an intimidating series to hop into, but with Yakuza 0, the series creates a great entry point for new players to join in with the bizarre yet dead serious antics of Kazuma Kiryu and company.

Set during the Japanese economic boom of the late eighties, Yakuza 0 follows series protagonist Kazuma Kiryu and the early days of his Yakuza life.

Accused of a murder he did not commit, the game follows Kiryu and his journey around the seedy underground locales of Tokyo. Kiryu isn’t the only playable character on offer, as you also follow Goro Majima in Osaka, a former Yakuza who runs a cabaret club.

The Yakuza games have always been a weird mishmash of super serious, hard-boiled Japanese drama alongside absurd side stories

“Throwing bikes at a gaggle of thugs has a certain charm to it.”

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and minigames. It’s what has made the series incredibly charming, and that remains the same here. The game swings from intense scenes with

“The game does a standout job of creating a bustling world.” stern-faced, middle-aged Yakuza to side missions where you teach nerdy teenagers how to be cool punks.

The main gameplay itself – which involves plenty of fist-fights – remains the same. Although it’s never been the most engaging part of the series (and it can a bit of a slog at times), smashing a guy’s head into a phone booth or throwing bikes at a gaggle of thugs has a certain charm to it.

The main draw here is the story and characters.

Between the terrific facial animation and directing during the cut-scenes, the game does a great job of weaving together an engaging mob story.

Although the game came out on the PS3 when it was originally released in Japan in 2015, the current version still looks and runs great.

The visuals are helped greatly by the terrific world design. Boom-time Japan is rarely captured in Western media, but the game does a standout job of creating a bustling world brimming with excess and money.

Alongside running around the city, there’s a host of wide ranging and strange minigames to play. From playing baseball, to going to the arcade, to busting moves in nightclubs, there’s plenty to do. While some of the minigames are the kind of thing you play once and forget about, the deadpan seriousness Kiryu portrays during these activities is worth the price of admission.

Platform: PS4 Developer: Sega Publisher: Sega Release Date: January 24th With the series now five games deep (not counting the sixth one already released in Japan) Yakuza 0 presents a great spot for curious first-time players to jump in. There aren’t a lot of unique game series left, so it’s refreshing to see Yakuza still committing to its unique and delightful brand of fun.

OTwo//Games

BREAKING INTO THE INDUSTRY: AN INTERVIEW WITH RIOT GAMES’ ADAM COMERFORD Aaron Poole gets the scoop on what it takes to become a games developer.

WHILE many of us indulge in the form of escapism that video games offer, it’s often easy to forget that behind the scenes, there’s an enormous driving force that has worked to carefully craft these experiences. While most players would be labelled as mere consumers, some of us like to imagine what things would be like to be a part of the process and help create the games that we love to play.

However, for Irish students looking to break into this developer territory, it might not seem like there is a clear-cut path. But Adam Comerford of Riot Games, famous for their smash hit League of Legends, was more than willing to share his thoughts for gamergraduates who might go down such a road.

“You get to play computer games at work, it’s pretty cool right?“ he quips, as we sit overlooking the Liffey from Riot Games’ Dublin office. “But we only hire gamers, people who understand players.

just coming up on two years now, it’s the best job I’ve ever had! I’ve done the big corporate, the start-up, I’ve worked in the US, now I’ve worked here”.

Being a local developer, I asked how Riot goes about recruiting, and if the presence of surrounding universities factored into this.

“Well we have an internship program”, he explains, “but one of the things we noticed was that all of the applicants had come from England, Germany, Italy, so they weren’t coming from Ireland. It seems bizarre that we didn’t have a single applicant from Trinity, and it’s literally a five minute walk away. UCD’s not that far away either!”

This is a surprising revelation, especially given that there has been a 7% rise in the Being the most player focused company in uptake of Computer Science subjects, accordthe world is actually at the centre of every- ing to 2016 CAO figures. Perhaps it is a case thing [Riot] do”.

Comerford, who is Senior Systems Engineer and Hiring Manager at Riot Games, is a Computer Science graduate who grew up playing whatever games he could get his hands on. “I’m quite old at this point, so... it started with a Spectrum which is really old, and then on to the early consoles, and an Amiga as well, a Commodore, and then Super Nintendo, and then I could finally afford a PC!” Prior to finding employment at Riot, Comerford had been floating from career to career, before finally settling into a position he couldn’t be happier with: “I’m

“We only hire gamers, people who understand players”

“It seems bizarre that we didn’t have a single applicant from Trinity, and it’s literally a 5 minute walk away”

of there not being a huge overlap between these figures and those who are avid gamers?

Comerford thinks otherwise, “I think there is a huge overlap”, he continues, “there’s a much

“Very quickly we realised there were much better programmers than us out there.” broader audience now as well for games”. So what could be the reason for a lack of uptake?

He points out that the issue could be a lack of confidence in people who might want to enter the field, “I think if you walk into a first year CS class and you ask ‘who wants to be a software developer?’ there’s going to be a very high percentage. And I kind of had that same intention myself when I went in. Very quickly we realised there were much better programmers than us out there, and our talents lay elsewhere”.

For students aspiring to work in such a role, this comes as a sense

of encouragement as Comerford reinforces Riot’s ‘rule’ that you must be a gamer to be eligible to work for them.

“Imagine if you didn’t know anything about the game…you want people to really understand it, to get it, then you get that level of engagement”.

Despite this, he points out that he doesn’t simply hire graduates fresh out of college, and expects applicants to have accrued some degree of experience, “Someone with 20 years experience vs someone coming straight out of college is, like, you know the theory, but what can you actually do with it?”

Finally, I asked Comerford if he had any advice for someone who wants to enter games development; “Figure out what you’re passionate about, figure out what you really want to do, see if something fits in here and then apply.

There’s two things that I look for, looking at an application. First of all is work experience. Seeing what people have done, seeing what they can point out, and then a cover letter. I want to know why you want to work here. What’s the hook for you?

Where does that come from?”

He was also keen to point out that once you’re in the door, anything is possible. “A guy upstairs, his first job here was as a copy editor, and last year he got to go around North America [as part of the] League of Legends World Series. So he’s after getting to do all that and meet all these players, meet all these professional players and that is his dream job!”

“I’m just coming up on 2 years now, it’s the best job I’ve ever had!”

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OTwo//Film&TV

Oscar Fever: Taking Curative Measures The yearly tradition of the Oscars is deeply flawed, Owen Steinberger argues.

SO we’ve made it through another year and the Oscars are here. The Academy Awards have come crawling back, like some sort of shambling golden golem, after surely having been shattered into a thousand glimmering pieces and ground to dust.

Somehow, it’s as if the last Oscars never ended. Hollywood maintains a constant orbit around the awards, the “Oscar nominee?” question hanging over the heads of directors, an everpresent threat, and the #oscarssowhite controversy only served to deliver a glancing blow and to maintain the event’s media presence.

The January purge, when studios dump the worst of the previous years’ work into cinemas hoping to cut their losses and catch a quick buck, comes almost as a welcome relief before the endless cycle repeats. Oscar Fever, the tiresome media hype circus, feels more like a sickness than ever this time around.

The Academy of Motion Picture Arts and Sciences, ever since its formation, has been a heavy-weight in the film industry, its gravity soon eclipsing all who would stand against it.

The sheer gold-plated grandeur of the Awards, celebrities with glowing white smiles abounds, has always been its main attraction.

Founded by Louis B. Mayer of Metro-GoldwynMayer in 1927 as a scheme to bust film crew labour unions so he could enlist set builders to speed up the construction of his beachfront

mansion—seriously—the Academy has thrived on this spirit of grand posturing and empty opulence ever since.

1929 marked the first Academy Awards ceremony, an occasion for the well-to-do of Santa Monica beach to clap each other on the back, a means to distract from Hollywood scandals and to add legitimacy to the Academy itself. So be-

“In course correcting after #oscarssowhite… the Academy has embraced a token blackness that should come as an insult to its audience.” gan a tradition of smoke and mirrors, one that embraced specious stories of drama and hardship with all the restraint of the WWE. That the Oscars have somehow been deemed a measure of the cultural merit of film as art is laughable, given its history, or it would be if it weren’t so sad. Awkward and unnecessary categories and a flawed voting system hint at what lies under the glitz and gold plating—a poorly cobbled-together farce.

The odd distinction made between Sound Ed-

iting and Sound Mixing raises some questions, as the nominees rarely differ, and the Best Original Song nomination, a mere vessel for pop music publicity which bears little relevance to the films themselves, sticks out like a black frame.

Flaws like these turn from bad to worse when the Best Picture nomination is split apart. The Best Animated Feature, Best Foreign Language Film, and Best Documentary categories, by existing separately, all imply that they contain lesser types of film that traditional live-action blockbusters and art house cinema.

This division could be seen as positive—separate categories ensure that each genre will receive its share of awards—but it is far more harmful to the film industry as a whole, in its construction of a hierarchy that favours traditional media and excludes others as mere alternatives.

Instant-runoff voting, which routinely favours the most common choices over those ranked highest, further entrenches this idea of what’s most traditionally acceptable as being what’s best. Since the system was set in place eight years ago the Best Picture winners have been good, yet ultimately forgettable films. Who’s even mentioned The Artist since it took the crown in 2011, or Birdman in 2014?

There is an argument to be made that the Oscars have become more self-aware this year.

Responding to frustrations, it seems, the Best

Picture nominees now include three predominantly black films—Moonlight, Fences, and Hidden Figures. And yet only the former features regularly in any other categories.

In course correcting after #oscarssowhite, rather than opening its arms to a range of diverse films, the Academy has embraced a token blackness that should come as an insult to its audience. This is most apparent in the welcoming of Mel Gibson back into the fold, not only with a Best Picture nomination, but also with a personal nod for Best Achievement in Directing.

Gibson, renowned abusive racist and antiSemite, has slowly re-emerged as a Hollywood star after a ten-year “hiatus,” during which he mostly worked to avoid the press and likely lived in a dark bog or swamp. That his reception has been so warm is proof of an Academy with few moral reservations, a reflection of its reprehensible beginnings.

The Oscars are an overblown affair—more concerned with ratings than awarding great filmmaking. But that’s not enough of a reason to avoid watching. What is, however, is the Academy’s legacy of whitewashing and exploitation, one that continues to this day.

Audiences look to the Academy Awards as a means to address the lack of creativity in Hollywood, hoping that the Best Picture nomination will promote films that stand above the rest. It’s high time to recognise that the Oscars merely reinforce the spineless tactics of the film industry it claims to moderate.

Hollow on the inside, there’s little to be excited about the Academy Awards below its gold-plated surface. This year, perhaps avoid the Oscars altogether, take your pulse, and see how you feel. You may find that your fever has run its course.

“Gibson… has slowly reemerged as a Hollywood star after a ten-year ‘hiatus,’ during which he mostly worked to avoid the press and likely lived in a dark bog or swamp.”

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OTwo//Film&TV

The Return of Queer Eye With the return of Queer Eye for the Straight Guy, Adam Lawler wonders if it’s a throwback nobody asked for.

Queer Eye for the Straight Guy, along with Will & Grace, were two of a multitude of 2000s shows to feature openly LGBTQ+ people in lead roles. In the show the “Fab Five”, each with a different area of expertise, give a straight man – whom they see as lacking in some way – a makeover, or a “make-better”.

With the focus square on the five gay leads, the show felt like a refreshingly different take on the innumerable reality shows clogging up television schedules. Even though it was bogged down with the failings of the genre, it was nice to see representation, and the immediately high ratings garnered on the show’s debut in 2003 showed that there were people willing to be entertained by something like this. The show ended in 2007.

At the time, however, the show drew criticism on its stereotypical view of sexuality, specifically of gay men as fashionistas who are likely to make a catty comment on your slobbish bedsit as they fawn over whatever Britney Spears is doing. With the announcement that Netflix is reviving the show, the question is, if the show was criticised for its portrayal even then, what place has it in the current cultural landscape?

We are no longer starved for LGBTQ+ representation as we once were: there is an increasingly wide spectrum of shows that revolve around LGBTQ+ people —Transparent, in which a father reveals he is transgender and has to figure out what it means to be queer after hiding for so long, Empire, where Jussie Smollett plays one of the heirs to his bigoted father’s record company, Looking, a gay version of Girls that capitalises on trendy millennial ennui (millennui?), and Orange Is The New Black, a show about women under pressure that scans as diverse.

The sci-fi drama Orphan Black, although it loses points for casting its main gay character as a rent boy (what other employment can gay men have, after all?), makes up for any indiscretions by making Felix one of the main

leads – and one of the only other actors that feature alongside Tatiana Maslany’s portrayals of various clones – while making him a fully developed, three-dimensional character.

In one episode, he has to pretend to be in a relationship with a straight character who hams it up like a proper stereotype. That’s until Felix steps in to correct him with statistics that, unknown to us or otherwise, five to ten percent of our male friends are gay: “the point is you can’t tell, so don’t act gay.”

They also hold hands without invoking the gay panic trope that was so favoured by 1990s and early 2000s shows. It is progressive flourishes like these, accomplished with such grace and ease from shows encompassing every genre that render series like Queer Eye completely obsolete.

Not only are shows like this unnecessary in 2017, they feel agonisingly backwards. Perhaps this is a good thing in the sense that it feels so retrograde that it highlights the immeasurable progress we’ve made in representing LGBT issues since it aired. Shows like this could only work now if they were framed as a sharp critique, or on the other hand, a tactful update that eschews the more dated concepts for something brand new.

However, Queer Eye’s central idea was always iffy at best, and so it’s unlikely that such

an inherently flawed concept can be updated with any kind of tact.

For all the furore around 1990s shows like Friends, to look back on them now can be an uncomfortable experience. It was clear at the time that Joey was an awful, misogynistic womaniser as it remains clear to this day, while we watch and side-eye our dads for laughing whenever he leers at a woman. However, it’s the show’s attitude to LGBT people that most induces queasy feelings.

There’s the way Chandler is always confused for gay because he has a “quality,” or the utter freak out between male characters who hug or touch in a manner that’s not distinctly macho, or Ross’s treatment of his ex-wife and her lovers, jarring for a show about cool young people in New York. Ironically, the creators of Friends recently put their names to the comparatively progressive Grace & Frankie, a Netflix exclusive in which the central storyline is that the husbands of two older women leave them for each other.

There were many shows like Friends. They play with our internalised bigotry, set our collective backwardness to film in a way that is

cringeworthy, yet heartening in retrospect, from a comparatively enlightened future. With attitudes like the ones displayed then, it was clear that groundwork had to be set, barriers had to be broken down gently, removing one brick at a time to ease audiences into the idea of gay people being on TV. This is why Queer Eye and Will & Grace were the way they were; they needed to be entertaining enough to propel themselves into the public sphere, before even attempting to push forward. They opened the door for today’s television. Regardless if they speak to our needs in today’s political climate, they were completely necessary. Now, however? Not so much.

“Not only are shows like this unnecessary in 2017, they feel agonisingly backwards”

“If the show was criticised for its portrayal even then, what place has it in the current cultural landscape?”

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OTwo//Film&TV

Review: The Lego Batman Movie Alexander Glover

AFTER 2014’s The Lego Movie, a surprise critical and commercial success, a sequel was bound to be ‘put together’ sooner rather than later. One of the standout characters from the first movie was Lego Batman, voiced by Will Arnett. His wisecracking, self-aware and self-righteous self was a refreshing take on the brooding superhero, after a slew of releases drenched in darkness.

Over the years, Batman has taken on many guises, from the “Bam! Pow!” Batman of the ‘60s to the legendary Batman: The Animated Series. The Lego Batman Movie pays homage to

“It avoids the trap of universe-building, instead focusing on telling a good story.”

Batman through the eyes of a child.

Central to the plot is that Batman works alone and is afraid to have a family or any relationship.

When the superhero returns home after saving the day his life is filled with loneliness (and microwave meals). Shockingly, Lego Batman is one of the best films there is that delves into the “Shockingly, Lego Batman is psyche of the man in the mask. But don’t worry, one of the best films there is it’s packed with genuinely funny jokes and gags that delves into the psyche from the start, including a repeated one at the expense of Marvel’s Iron Man. of the man in the mask.”

At times the fourth wall is broken and there’s a sense that the writers were influenced by 2016’s every era of the bat and the protagonist him- Deadpool which can also be seen in the marketself admits he has “aged phenomenally.” The ing. Of course, this movie is rated PG so don’t exmany bat-variants mean that everybody has pect the same content, but there are some jokes their own Batman— anybody questioning this that may go over the heads of younger audience light-hearted take should remember that this is members.

Any fans of DC lore should be pleased with building, instead focusing on telling a good story, this movie, which director Chris McKay described something more serious films have failed to manas a “90 minute Easter Egg.” It definitely delivers age. on this promise with cameos from just about every DC hero and villain as well as other famous In A Nutshell: A fun movie for all ages. Everything characters from further afield. It may take a sec- is still awesome! ond or third viewing just to spot everything and everyone.

Director: Chris McKay The DC Extended Universe has gotten off to Starring: Will Arnett, Zach Galifia rocky start, which Warner Bros. hope to coranakis, Michael Cera, Rosario Dawrect this year with Wonder Woman and Justice son and Ralph Fiennes League. The Lego Batman Movie is not a part of that ‘universe’ but it looks set to be met with a Release Date: February 10th warmer reception. It avoids the trap of universeRuntime: 104 minutes

Review: Billy Lynn’s Long Halftime Walk

Jack Shannon

Directed by: Ang Lee Starring: Joe Alwyn, Steve Martin, Vin Diesel, Garrett Hedlund, Kristen Stewart Runtime: 113 minutes Release: February 10, 2017

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Billy Lynn’s Long Halftime Walk is director Ang Lee’s first film since Life of Pi, which earned him an Academy Award for Best Director in 2013.

Unfortunately Billy Lynn, which chronicles the internal struggle of a decorated young soldier, does not live up to Lee’s previous standards of filmmaking. In fact, this film falls far short of being a good film in any sense at all.

The narrative traces the course of one day, in which Billy Lynn (Joe Alwyn) participates in the

halftime show at an American football game. It is obvious from the outset that Billy is in a different state of mind than his fellow soldiers, and Lee introduces this theme quite subtly at first by framing him separately to the others. However this allusion is made countless times throughout the film, with little development, and becomes more tiresome each time. This frustration is not helped at all by Alwyn’s poor performance as Lynn, who perhaps Googled “morally perplexed facial expression” and adopted the first result for the duration.

A good performance is hard to come by in this film, as is decent dialogue. Billy Lynn features a host of supporting characters, from the stadium staff, to Billy’s family, to other soldiers. Though there are many speaking parts, only a handful manage to be convincing.

One scene, in which Billy and another soldier share a joint with a staff member, is nothing short of cringe-worthy. The actors are not totally to blame here, as their lines are poorly written, either too on-the-nose or utter nonsense. Some of the dialogue sounds like it was written for American Pie. Billy Lynn is about the soldier’s search for meaning, and whether he should stay in the military or return home. Many ideas are

“A considerable dive in quality for director Ang Lee… a mess of undeveloped themes, poor scriptwriting, and bad acting.” touched on—the military as a function of American consumerism, the disparity between soldiers and civilians, and Billy’s personal reasons for enlisting—but never explored to their potential. This bombardment of “issues” makes for a thematically muddled film, and results in a weak ending.

This marks a considerable dive in quality for Lee. Despite a promising start, Billy Lynn soon becomes a mess of undeveloped themes, poor scriptwriting, and bad acting. It tries to communicate something profound but falls flat in every way.

In A Nutshell: A film with some big ideas that never ends up saying much.

OTwo//Film&TV

The TV We Don’t Talk About Traolach de Faoite takes a look at late night television at home and abroad.

“One is unlikely to see something like Miriam Margoyles talking about giving a blowjob to an American serviceman á la Graham Norton on an American talk show.”

LATE night television has been an American in- grown up with Irish or British talks shows such stitution for decades. During the early era of tel- as The Late Late Show or The Graham Norton evision the late night programming block con- Show. Their inability to consistently book big sisted of variety shows like The Ed Sullivan Show, name stars means Irish chat shows often feasimilar to content that had been broadcast on ture guests who discuss serious issues. Poor exradio. It took series like The Tonight Show with amples of light entertainment, they instead may Johnny Carson to invigorate the medium, and offer thought provoking insights on society. The their format is still in use today. Now, with sites best examples of this are the appearances of like YouTube reaching new heights of global Blindboy Boat Club of the Rubberbandits on The popularity and prominence, the late night game Late Late Show: his perceptive comments on has changed again. modern Ireland often generating much discusDespite not being discussed in the same sion the following day. way many scripted US television series would British chat shows, on the other hand, follow be, clips from American talk shows nonetheless America’s lead in focusing on humorous “interappear on Irish websites and are shared by Irish views” with celebrities instead of serious discuspeople via social media. This has resulted in a sions. The Graham Norton Show is the best and certain familiarity with US talk shows in Ireland least of these—rather than taking centre stage — it isn’t hard to find someone who knows who like American hosts, Norton concedes the conConan O’Brien is, for example. However, the versation and chemistry to his guests, who are wide popularity of late night television contrasts interviewed round-table with drinks supplied. with its lack of coverage.

There is an anarchic approach to proceedings, Most Irish viewers would probably have with guests being shocked by each other’s sto-

“This emphasis on personality and creating viral content reflects the dominance of YouTube, and indicates that late night hosts are cynically mimicking what young people watch....”

ries, or how well Norton’s researchers have done their research.

American talk shows feature an intense focus on the host, evidenced by the monologues they perform and their participation in skits and ongoing gags. Hosts like Jimmy Fallon and James Corden also have a tendency to play games or do challenges with their guests, pulling the focus towards their own entertainment brand.

This emphasis on personality and creating viral content reflects the dominance of YouTube, and indicates that late night hosts are cynically mimicking what young people watch in an attempt to attract their attention. Instead what’s reflected is a similar sense that guests and hosts are merely performing, engaging in shallow mimicry for quick views and profit.

Having actual film stars such as Tom Cruise completing YouTube challenges instead of internet stars does little to elevate such uninspired material. This problem is compounded in that, while these clips may draw thousands or even millions of views at times, this rarely translates into primetime viewership. YouTube videos are watched, laughed at, and then quickly forgotten.

Interviews in US talk shows are unlike ones on this side of the Atlantic in that they are prepared in advance. This means guests know what subjects they are going to talk about, resulting in polished interviews that add to the falseness of proceedings and the idea that everyone is giving a performance. If audiences feel they are being lied to they quickly tune out, often seeking out the show’s competitors to fill the empty timeslot.

Television networks are notorious for restricting the comments their host can make, and combined with these performative YouTubeinspired tropes, American talk shows have become almost irredeemably artificial. If all speech is pre-approved by both a celebrity and a US television network there is a limit to how controversial, poignant, or even interesting conversation can be.

One is unlikely to see something like Miriam Margoyles talking about giving a blowjob to an American serviceman á la Graham Norton on an American talk show. Instead, they engage in a meek relationship with current affairs. This effort clashes with their desire to be fun-yet-inoffensive and makes for uncomfortable moments.

Donald Trump’s appearance on The Tonight Show with Jimmy Fallon is a recent and egregious example of non-confrontational behaviour: Fallon affectionately rubbed the thenpresident-elect’s hair. This was seen by critics as the dangerous normalization of a dangerous man. However, this also led to a rare moment of discussion and publicity for the show, and in a cynical sense this may have been what Fallon needed to boost ratings.

The artificiality of American talk shows seems to trap them in a middle ground. Network standards and over-preparation hinders their ability to address social issues or to provide good comedy. They can often be interesting or entertaining, but their artificial atmosphere means they rarely match the genuine sense of fun found in British equivalents, or make one think like Irish chat shows occasionally do. It’s likely that the modern American formula won’t last forever, or if it does, ratings will fall and another form of content will rise up to fill the gap.

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OTwo//Creative Writing

Zee

I HAVE a little person inside my head. I don’t know what she looks like, but I can imagine she doesn’t look a lot like me. I like to think she’s always wearing a morph suit that covers the entire body and changes colour, like the mood rings I used to buy at the foreign markets on holidays when I was a kid. When I get sad, she turns blue. When I get angry, she turns red. When I get scared she turns pink for some reason.

I like to call her zee because she likes to fall asleep on me a little too often. When she is awake, she likes to talk. Sometimes she’s quite quiet, but generally she’s loud enough to escape my mouth. The people around me have trouble understanding her when this happens, but I’ve gotten very good for translating for her, especially when I’m working.

My co-workers would ask me “Have you posted the minutes from the last meeting yet?” zee is often colourful in her language in describing how this statement bothers her.

Yes. I posted the minutes of the meeting you failed to attend. Maybe you should check the email I sent you before asking me with such passive aggression I can only imagine you picked up from your disappointed parents.

“Oh yes I did! I think I sent you an email, did you get a chance to see it? No problem if you didn’t; I can go through it with you before the presentation”, I’d say instead.

I do enjoy having zee with me. She’s not always the most rational but she makes life a bit more interesting. She likes to kick my skull when she gets frustrated or if I don’t give her enough attention. This hurts and I tend to start crying when she does. Or instead, she would start screaming in my ear, but she has the talent of making it into a ringing noise, especially after a few shots of tequila. Sometimes she goes away for a while. She liked to disappear during my exams in school and college, just for an hour or two, but always came back to remind me of information I left out in the essays. There were other times she went away for a lot longer; when my dog died or when my younger brother went missing. Occasionally she would leave for no particular reason and for an undetermined amount of time. When she came back, she liked to get annoyed at me for what I did or didn’t do while she was gone.

By R. S. Ennis You’re unbelievably lazy, you have been doing nothing and you are going nowhere with your life.

You should have rung your mother back sooner; she thinks you’re ignoring her. I hope you’re happy now you’ve upset her.

Maybe I should stop trying to help you, you hardly ever listen to me and I’m always right.

It doesn’t bother me when this happens, I’d always prefer to have her back with me. She had gone away for a long time before Oliver was introduced to me. There was no reason as to why she left in the first place, but she made a spectacular entrance when I saw him.

My sister had worked with Oliver for several months. I went to visit her, with plans to go to the cinema. This was late in the winter, coming up to the holidays. I was shaking with the cold that always rested in my shoulders. I refrained from taking my hands out of my pockets; I didn’t dare expose them to the frost that would tear at my skin. Instead I pushed the buzzer with my chin, something I’m sure zee would have noted as odd, and waited for my sister to open the door.

She came down and let me inside, up the stairs and into her office. She offered hot drinks and food, but I told her I would rather get going so we wouldn’t miss the upcoming previews. That didn’t seem to bother her, while she took her time getting ready to leave.

Oliver walked in and was making his way to his impeccably tidy desk when he caught my eye through the black bush that was my fringe.

Even from several feet away, I could see the brightness in his emerald eyes. At the sight of the most beautiful colour I had ever seen, zee rushed into my head screaming.

Who’s that?

“Hello,” I squeaked at him.

“Hi”, he smiled at me, sincere and solid.

Who is that?

I looked at my sister who was smirking at me. “This is my sister Vera. Vera, this is Oliver.

He’s been working under me for the last six months”, she turned to Oliver. “And he’s been doing a grand job”.

“Hello,” I repeated, anticipating the retort.

You already said that.

I reached out my hand for him to shake.

Your hands are sweaty. They are so sweaty!

He had a firm grasp but was it was a kind shake. zee continued to rave nonsense at me, panicking at every action I made. I almost missed him insisting he’d take me to the bar instead, and my sister agreeing, to which zee was running around hopping off my skull and making my cheeks go deep red.

He likes you, this is utter madness, he really likes you!

He’s paying for your drink. You shouldn’t really let him, you can pay for your own. But don’t make it awkward, just let him.

Oh, no, that was definitely strategic; he’s leaning closer to you on purpose.

Jesus Christ he is kissing you. Kiss him back! zee was very much present in this sense on every occasion. When he kissed my cheek, she used to run down to my chest as quick as she could and fill my lungs with sweetened air; I couldn’t help but sigh. She liked to turn rosy when Oliver held me and she liked to sing when I lay in bed next to him. When he turned to me in the middle of the night, groggy and dead to the world, I would breathe him in, needing him more than I would let zee admit aloud.

I love you, zee screamed.

“I really love you”, I whispered to him, surprised when he fluttered his eyes open with a smile and replied, copying me word for word.

On nights like those, zee curled up into a soft, little ball and let me feel a numb happi-

ness incapable of expression. I liked to think that on these occasions, she went to meet Oliver’s own little zee. Maybe she climbed out of my head for a few hours and Oliver’s left his head. The two would disappear into this nothingness space and would be together.

They would lie together like Oliver and I did and when they returned to us, we knew each other better in tiny and honest ways; how we thought and why we acted in certain ways. It was a trust of information that I relied upon.

One day, zee had disappeared with him.

Oliver had spoken to me, attempting to shatter and isolate me. He left, but I didn’t wait for him to come back. I didn’t expect him to. But zee was still gone. I waited and waited and I called for her and I cried for her. She couldn’t or wouldn’t hear me; whichever one, it didn’t really matter. I suspected she had stayed with Oliver’s zee and when he left, she got lost.

She’s probably still with him, crying or getting angry. She might be screaming to get out, or maybe she doesn’t care if she comes back to me. I have to wait either way. I’ll stay here in an oblivious state of numbness and cling on to the only hope I have that she will come crawling back into my head and start singing again.

IllustratIon : MeaDHbH sHerIDan

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Poetry

OTwo//Creative Writing

relief

lungs

and the dead tree gives no shelter, the cricket no relief.

—T. S. Eliot

A grey weathered man stands beneath a weather stained bus shelter.

A woman stands arm’s length away from him.

He isn’t aware of her and she’s not aware of him.

Relief must be found.

I wake in a desert, not knowing how Or why this place can be in me, or I In it. This land is broken, the sky now Is jagged. The sun and moon, at war, cry As each falls into the other’s shadow.

Solid ground is dust. The boundary breaks.

There exists no direction, that I know.

Fire chills, wind burns, stone melts, clouds fall, hope forsakes.

There is no relief.

There is a relief.

This is no desert, an oasis you’re not But you are like one. You are not water But you help me quench the drought. You are not Fire. Somehow you show me a new light. You’re Not air. Yet now I breathe easier. You are Not stone. But with you this ground becomes whole.

This desert holds just one soul, not a pair Yet here we must meet, and each play our role.

You are my relief.

Relief is not real.

Mirages lie in the desert of the mind.

Odd illusion hides even in a dream.

I want your voice to guide me, but I find That voice is an echo of mine. I seem To ask you for the key, yet I hold it.

You are at the door. You are the entrance.

Yet the door stands here in my thoughts, and it Opens on a wasteland. I wake. Perchance, Can there be relief?

She is fixated on the book in her hands.

He is fixated on the cigarette in his.

Resting the filter against his lips he closes his eyes And inhales...deeply.

The smoke fills his lungs.

He pauses…

Holds it inside for a moment...then releases, Expels it from his chest through his mouth.

A cough engulfs him, Shakes him to the core.

The coughing subsides and he takes in a mouthful of air.

two Months I felt him use me for sport, for pleasure.

I myself, so innocent, So pure.

I used him for short-term fun.

And then called for us to be done.

Our time was quick but not within measure.

For I never even gave him a single piece of my heart to treasure

Ilene Brady

A grey weathered man stands beneath a weather stained bus shelter.

He is fixated on the cigarette in his hands.

Resting the filter against his lips he closes his eyes And inhales...deeply.

The smoke fills his lungs...

Sean Tate

Calvin Duffy

IllustratIon : MeaDHbH sHerIDan

15

OTwo//Keith Barry

Now You See Me

Currently touring the country with his latest show, magician Keith Barry speaks to Seán Hayes about his love of performing live, how hypnotism can be used in everyday life and hacking into Morgan Freeman’s brain.

IRELAND has long been associated with producing some of the world’s biggest and brightest names across the artistic fields of music, literature and drama. Magic, on the other hand, has often been reserved for the blazing, bright lights of metropolises such as Las Vegas and New York. Waterford City is not often considered a hub for magic, but it is in exactly this city that a fledging magician, Keith Barry, began tentatively practicing his first tricks and routines before becoming a household name, both in Ireland and across the world.

Barry is currently on his national tour HypnoMagick, the latest in a long series of almost annual, critically acclaimed and regularly soldout tours. Having just finished up the first two nights of a sold-out, four night stint at Dublin’s Olympia Theatre, Barry is enjoying being back on stage, and interacting with a live studio audience after some time away working on

16

various other projects.

“I do a lot of different things,” he enthuses, “like working on movie sets, my own television shows, and hypnotherapy, but by far my favourite part of what I do is being on tour.”

This year, HypnoMagick focuses heavily on the art of hypnosis. Explaining the programme of the show, Barry reveals that, “With this show, I decided that, under hypnosis, I would give people their first ever magic show. So with the hypnotised volunteers on stage, I transform them into three year-olds and make them believe that they’re seeing their first ever magic show. I do the most basic tricks for them, but they’re freaking out because, in their heads, they’re only three years of age. The audience is just laughing their heads off.”

The show has been well received by critics and audience members alike, and has been particularly praised for its inclusiveness with

the entire audience. One particular highlight comes towards the end of the show, as Barry explains, “I create a mass hallucination in the minds of the people in the audience. All 1,200 people this weekend will actually experience an illusion, but only inside their minds. It happens when two people appear to dematerialise off the stage. It looks like CGI graphics, but the audience knows that it’s just happening in their brain. That tends to drive them temporarily insane.”

Barry’s beginnings in magic, however, were rather more humble. His interest was sparked at an early stage, when he received a magic set for his fifth birthday. “After that,” he laughs, “I used to get a magic set every year for Christmas and birthdays.”

When he was 14, he received a book, Magic for the Complete Klutz. It was this book that marked the beginning of his performing

career, and he began to perform for friends, family and members of his local community.

Reflecting on this time, he almost sounds surprised when he admits that, “My parents were very supportive of what I was doing as a magician. In the back of my mind, I knew that I was destined to become a full-time entertainer.”

Barry’s shows are regularly noted for their original material. In the same way that a writer or musician needs to create new material to keep an audience’s interest, Barry similarly feels a pressure to keep his shows fresh and interesting. His creative process, however, might strike some as slightly odd, as he seems to almost work backwards from the finished product.

“I always start with the name of the show first,” he explains. “It helps me devise the material. So for this show, I came up with the name, HypnoMagick, and then I decide, ‘What

OTwo//Keith Barry is HypnoMagick?’ It’s obviously a mixture of hypnosis and magic, and from there I have to figure out the material from that.”

The inspiration for his material, he admits himself, can strike at any time, as if (excuse the pun) by magic. “I’m always on the lookout,” he reveals. “Even now I’m on the lookout for the next tour! I can sometimes get inspiration from just watching movies. I watched a documentary the other day about a bodybuilder, CT Fletcher, and one of the routines in the next show comes out of watching that. When I was working on the movie franchise, Now You See Me, I was once sitting with Morgan Freeman and he challenged me to hack into his brain, so one of the routines in the current show came out of that scenario.”

Barry stays coy about just exactly what happens when you attempt to hack the mind of one of the most famous faces and voices in the world. His involvement with the successful franchise, however, isn’t as well known as his other work. Barry took on the role of Chief Magic Consultant for the 2013 film, Now You See Me, and its 2016 sequel, Now You See Me 2.

The films brought in over $680 million between them at the box office, and a third installment is now in the works, which Barry has also signed on for.

Describing his involvement, Barry reveals, “I got to work with everyone: Morgan Freeman, Woody Harrelson, Michael Caine, and Jesse Eisenberg. It’s a different part to what I do. I was going from the design department, to the props guys, the builders, and then running over to the actors. The illusion where Lizzy Caplan gets her head chopped off took about two months of design and tweaking to get that to a stage where it could be done with no CGI. Then I might have to teach Dave Franco cardthrowing at some stage. It was very exciting; I really enjoyed it.”

While working on the golden screen may have taken him out of his comfort zone, Barry

is very comfortable with appearing on the silver screen. His television credits include, Deception with Keith Barry, Close Encounters with Keith Barry, and You’re Back in the Room.

Given its format, working on television is inherently different to working with a live audience.

Magic performances on television have sometimes struggled to fully captivate audiences, as members can feel somewhat removed or disconnected. Barry acknowledges this challenge, admitting that, “You’re always wondering, naturally, is that a plant, is it a stooge? Obviously they’re questions people have in their minds. For me, though, television is still live, because I still have to extract a reaction from whoever, through magic, mentalism or hypnosis.”

While speaking on his television work, Barry reveals a highly controlling side to himself. It seems natural, however, that he should have a controlling personality, given the fact that his skills involve controlling the minds of willing participants. He admits that a lack of control can sometimes make working on television difficult.

“I’m under a lot of constraints,” he reveals.

“There’s directors involved, there’s TV executives involved and everybody involved has an opinion. At the end of the day, with a live show, I’m in charge. I’m not really responsible to anybody except myself. The creative process for the show all comes down to my brain, as opposed to somebody on television. Sometimes, for whatever reason, the network doesn’t want me to do certain things, which can be very frustrating at times. Performing live is much more enjoyable.”

One particular aspect that Barry enjoys about performing live is the fact that anything can happen. While Barry is in control of his volunteers on stage, each person will naturally react differently to each situation. “I think it would be very boring for me if the show was structured to an extent that I knew what was

going to happen. I like not knowing what’s going to happen. It always ends up in a bit of mayhem. I obviously have to control the mayhem, but with those people, under hypnosis, it’s their imaginations that take over.”

The control associated with hypnotism becomes, perhaps, even more interesting when taken out of the entertainment realm and applied to everyday life. In December of last year, Barry hosted a seminar, Stop Smoking Now, where he revealed the useful benefits of using hypnosis everyday.

Describing the process, Barry explains, “We all fall in and out of trances everyday; we’re just not aware of it. When people are driving to work, they don’t think about it. It becomes a subconscious action. It’s a fantastic tool that people can use if they learn how to use it. I used hypnosis on my wife during the birth of our second child because she didn’t want any painkillers. I’ve treated thousands of people at this stage for different issues: anxiety, stress, smoking, fear of heights, fear of aeroplanes, eczema – all these different things that are affected on a neurological level can be assisted using hypnosis.

Barry himself admits to hypnotising himself on a daily basis. “I use it on myself every night to go to sleep,” he reveals. “I use it on planes, on long journeys. I use it in pain management.

I was in a massive car accident ten years ago, I was nearly killed. Now I’ve got a seven inch plate and 13 screws in my ankle and full arthritis. I use self-hypnosis to overcome the pain of that.”

While Barry does not claim to be able to read the future, the opportunities that hypnosis could make possible now appear to be endless. Indeed, what he has lined up for the next year seems similarly as endless. HypnoMagick, his current tour, was originally intended to end in March, but has now been extended up until June due to popular demand.

His new television show, Hypnotise Me, has been recorded and is ready to be aired this summer across America. He is also waiting to begin working again on the third installment of Now You See Me, while also developing another TV show, which he is currently pitching to executives both in Ireland and Australia.

Whether kept purely for entertainment purposes, or used more wildly in everyday life, Barry is a strong advocate of the art of hypnosis and magic, an art which should receive just as much attention and recognition as the other, more traditional, artistic pursuits.

“I was once sitting with Morgan Freeman and he challenged me to hack into his brain.”

“I used hypnosis on my wife during the birth of our second child because she didn’t want any painkillers.”

“It always ends up in a bit of mayhem. I obviously have to control the mayhem, but with those people, under hypnosis, it’s their imaginations that take over.”

Keith Barry and the cast of Now You See Me

17

OTwo//Music

WG

e’re Gonna Need More litter

LAST year was tough on ‘80s kids. They lost a lot of their icons, to whom their memories will always be tethered. The loss they felt resonated with their sons and daughters, who sat on their beds, bereft, suddenly acutely aware that the idols they had adopted as their own were never their own to begin with.

The 70s may have witnessed the glitter of glam-rock, but it was the 80s that put artists in a position to really mess with antiquated notions of gender. Flaming red mullets and pasty faces; precision-trimmed facial hair and eyeliner. Colourful suits and sleek bouffants; wearing dresses, cravats, thigh-high stockings or nothing at all on their album covers. They sang “She turns me on, don’t get me wrong” to a man, and “Am I black or white? Am I straight or gay?”; the answer to all of which being unequivocally “yes”.

David Bowie, Prince, and George Michael were artists who never presented masculinity in the way that was expected. Maybe the gender fluidity in their aesthetic influenced this side of them, or maybe it was a direct result of it. Fiercely independent, they never bowed to norms, and existed only in the space they created for themselves in which to innovate.

The running theme between the three was fluidity; Bowie changed guises constantly, George Michael was unapologetically gay and masculine, while Prince changed his name to a symbol, which arguably acted as precedent for methods of gender-fluid identification. Without them we wouldn’t have Lady Gaga, La Roux, or Childish Gambino’s latest album. Much has been

“It’s about completely disregarding the idea that gender exists” made of the post-gender world inhabited by Frank Ocean on last year’s Blonde (in the video for “Nikes” he wore sharp winged eyeliner), and Ocean has said he admires Prince for his disdain for “obviously archaic ideas like gender conformity.”

This influence is crucial in a time when we face the threat of being set back decades by the Trump administration and other influences.

Losing these icons leaves us worse off than ever. We need to realise that although we may have needed them before, we haven’t for quite a while.

Bowie, although critically adored, could slink back into obscurity for another ten years

Adam Lawler mourns the loss of some of the most progressive icons in music, and wonders what’s next for boundary-pushing pop.

without a sound; Prince was deep in his experiments, ignoring the mainstream, and George Michael’s last proper album was released in 2004. They may have left an indelible imprint on popular culture, and losing them feels momentous, but what we need most now are new innovators.

In examining today’s cultural climate, you’d be forgiven for thinking that the world stopped turning after the 80s in terms of the gender progression spearheaded by these figures.

While Bowie wore a dress around the streets of London, male make-up artists still get an excessive amount of hate online. Instead of strange or radical, we have faux-sensitive bro-pop from the Chainsmokers, and people still lodging complaints about female singers wearing “skimpy” outfits on stage.

If slut-shaming and toxic masculinity are still ever-present forces in the mainstream, what

everyone, or only playing with gender in trendy, fashion-house-approved ways peddled by the likes of Young Thug and Jaden Smith.

It’s about more than just wearing a skirt or transparently trying to generate think pieces.

It’s not about wearing a red mullet, or thighhigh stockings, or colourful suits because that was someone else’s idea of self-expression.

It’s about completely disregarding the idea that gender exists, in a singular way. It’s in the specifics of the individual that translates to the universal; after all, who on this earth can’t relate to the drive to innovate and succeed on one’s own terms?

This is the enduring quality of stars: they live above us all, guiding us while we remain hung up on

who gets to use which bathroom. David Bowie, Prince, and George Michael were musical deities because they did what we all wish we could – defy conventions and transcend boundaries,

“What we need most now are new innovators” yet by constantly evolving and never remaining static, they also represented the fullness of human nature in all its complexity.

In their own words, “it’s time we all reach out for something new.”

“You’d be forgiven for thinking that the world stopped turning after the 80s” hope have the label-defying kids trying to break through? It’s a dire state of affairs, and compared to the era of Bowie et al, utterly regressive.

The only obvious heir to the throne is Christine and the Queens. Her real name is Heloïsse Letissier, and she has said that having a stage name reflects the amorphous process of making music. On one track, she sings “A half-breath away from changing my mind / ‘cause just when you thought I’d still be a little girl / I’m one of the guys.”

Christine makes music that features all of the chilly glitchiness that is so mode-ish among alt-pop darlings at the moment, but combines that with showmanship reminiscent of the big three with more than a twist of Michael Jackson and an abundance of idiosyncratic charm.

She has danced her way firmly into the limelight in chic menswear, short trousers, and black leather Oxford shoes. This is the way forward: icons not dulling their edges in the process of trying to represent Illustration : Rebecca kelly

18

OTwo//Music

shoot for the

stars

“It’s hard to know what to recommend to young bands, except to just work on music for the love of it rather than to make a load of money.”

PLANET Parade are an Irish pop-dance duo comprised of Michael Hopkins and Andrew Lloyd.

Since 2009, the Kildare natives released a steady stream of EPs and singles such as, ‘Face to Face’, ‘Blue Sky’, and ‘Cardiac’, and opened for such names as Passion Pit and Ellie Goulding. 2014, however, saw Hopkins and Lloyd take a step back from the stage to focus full-time on writing and recording their first album. This album, and the fruits of their labour, is finally due to be released at the end of the month.

Unlike the classic backstory of most bandmates meeting in college, Hopkins and Lloyd began collaborating at a much younger age. “We met when we were both 15 or 16,” Hopkins reveals, “we had a mutual friend who was a singer for another band.

He knew I played drums and Andrew played bass so he kind of put us together. We’ve been together for fifteen years or so ever since!”

Defying yet another band cliché, Planet Parade did not rush towards the musical capitals of the world to kickstart their careers – they’re currently based in a home studio in Maynooth. “We actually grew up in Clane. We started rehearsing in school bands so we really started even more rural than Maynooth! I’d only want to go somewhere else for nicer weather,” Hopkins laughs.

“It doesn’t matter how good you are, or how hard you work, sometimes it just doesn’t happen, things just take time.”

Space-men Planet Parade sit down with Orla Keaveney to discuss their new album Mercury, doing it yourself, and making it from your sitting room.

“But for music, Ireland is as good as anywhere.

It’s all very much online these days, so you might as well be in Ireland. There’s a great Irish music scene, and it’s a small enough country where everyone knows everyone – I don’t know why we’d move and start again.”

The elusive creative process behind the music varies greatly from artist to artist, whether it comes after hours of painstaking attempts or just a flash of inspiration. Reflecting on their own process, Hopkins admits that: “It could come from anywhere, could be any day – some days you have nothing, and other days you could have three songs. I could be walking to the shops one day and make a recording, with trucks going past and me humming any old gibberish into the phone, and you come back and do something with it, even months later.”

Planet Parade have released a number of music videos for their songs, but Hopkins isn’t comfortable with the over-emphasis on appearance in the music industry. He reveals his frustrations, explaining that “videos can be a bit annoying to deal with for musicians because they’re more interested in their music, but there’s this pressure to have a video these days. They can be expensive, and if it looks crap, you don’t want it to jeopardise the song, so we try and be careful with videos…

We don’t like showing our faces too much either.

We always mess them up or ‘effect’ them a little bit, so there’s a quirk to it rather than just a plain image.”

The pair are much happier with their album art, designed by Maynooth-based American artist Lauren Varian. Singing her praises, Hopkins

explains: “She’s been doing all the artwork and keeping a continuity to everything. There’s just the main image, and for every other bit of artwork we try to work off that main image, so it’s all connected rather than just random images every time you have a song.”

Although Planet Parade was formed back in 2008, Mercury will be their first full album, the fruit of four years’ work. Reflecting on their time spent away from the spotlight, Hopkins admits: “We’ve been mostly writing and working on the studio, it wasn’t like we were in every day trying to write songs for four years! In that time, we almost have our second album finished, which

“I could be walking to the shops one day and make a recording, with trucks going past and me humming any old gibberish into the phone.” we’re hoping to release pretty soon after this one.

We’re ready with a good few songs – way more than we need!”

The two, however, aren’t content to rest on their laurels just yet. “We’ve a gig, kind of an album party thing in Whelan’s on March 30th,” Hopkins says. “We’re intentionally leaving it a few weeks after the album so people can get familiar

with it. We’re hoping we’ll play all the festivals over the summer, and get a few decent supports in, just see what happens, maybe plan another album! We’re doing it all DIY, nothing’s stopping us from just putting songs out, we’re not too protective.”

Over the past decade or so, the music industry has been changed beyond recognition by the internet, giving more power to the bands instead of the record companies. Hopkins, though, doesn’t think this makes life much easier for aspiring musicians: “Compared to how I would have been when I was younger, I’ve a more realistic view of how things work – it doesn’t matter how good you are, or how hard you work, sometimes it just doesn’t happen, things just take time. “ On the bright side, the convenience of online music enables musicians to release their material without taking huge risks. “I think that’s the beauty of it,” Hopkins reflects, “because people have nothing to lose now. They can release music themselves, like we did in our own studio. There’s a great app called TuneCore, where you can just upload your music and it takes care of all your royalties and stats, so you can manage it all yourself.

It’s great, some bands could take off on Spotify just from putting something online from their sitting room. But it’s hard to know what to recommend to young bands, except to just work on music for the love of it rather than to make a load of money.”

The album, Mercury, will be available on February 24th. For more on Planet Parade, check out their Facebook page or look them up on Spotify, SoundCloud or iTunes.

19

OTwo//Music

RADAR: fish i n th e S k y Dublin band Fish In The Sky chat with Rebecca Kelly about their musical inspirations, upcoming EP and learning from video game music.

Dublin Gig Guide Erin Jennings gives you the low-down on what’s going down around the city this month.

The Pigeon Detectives – 2nd March – Whelan’s

AFTER a brief search and rescue operation, I finally manage to sit down and talk with the members of Dublin-based Fish In The Sky – Sean, Cillian, Dara, Joseph and Thomas. The friends turned bandmates originally came together during their fourth year of secondary school, simply out of the necessity of earning enough credits to pass their music module.

They wound up taking a shine to one another and the group they had created, and thus, Fish In The Sky was born.

The lads began to perform under the working title of The The’s, something leadsinger Sean begrudgingly admits, his fellow bandmates laughing at him, that not only “sound[ed] super dumb”, but was also blatantly plagiarised from the English post-punk group The The. Sean, however, managed to redeem himself one day during rehearsals when he mixed up a couple of the lines in Nina Simone’s ‘Feeling Good’, the slight fumble ended up being a blessing as lead guitarist Dara exclaimed “Now that’s a band name!”

When asked to describe their style, with the strict guidelines of avoiding the words indie and alternative, they define it as a “jazzrock fusion band with blues and psychedelic influences.” (Members of the group would like to clarify although they often listen to psychedelic music they do not use or condone the use of hard drugs.)

The guys themselves listen to and are inspired by a wide range of music varying from alternative and Celtic-Irish rock to ambient and “video game music.” Originally starting off as a cover band, the boys decided to branch out and began producing their own

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“Now that’s a band name!” songs, as it seemed like a natural move for them with members studying music in college.

With no fixed lyricist their songs often vary in subject matter and genre, each giving off the unique vibe of the artist who created it.

From the humorous ‘Controversial Dole Walk’ to the polished ‘Expectations’ there really is a bit for everyone.

Right now, the guys have no news on upcoming gigs as they are about to start work on their new EP. They admit that it can be difficult for them at times to be inspired: “sometimes the songs just flow onto the paper naturally whilst others take weeks on end to perfect.”

For the time being, eager new audiences will have to check out their SoundCloud and YouTube channels to catch a glimpse of what lies in store for the group. As the announcements for the upcoming summer festival season begin, no doubt Fish In The Sky will be reaching new ears across the country in no time at all.

The music video for “Expectations”, the band’s latest single, has been released on YouTube.

The Pigeon Detectives are back on tour, not long after they announced their new album Broken Glances, set for release early this year. Formed in 2004, the band have a fan base that are drawn to their high-energy sound and carefree persona.

The popularity of ‘I Found Out’ from their 2007 album Wait For Me epitomises their classic and catchy indie rock sound that you can sing out in unison with, alongside the band’s well known irreverent style of lyrics in their notable Yorkshire twang. Unlike their previous releases, the band are switching gears and debuting a more eclectic sound with a reflective tone. With a mixture of the old and the new, Whelan’s is set to hold an all-rounder of a show. Tickets are priced at €18.

Hamilton Leithauser – 12th March – The Workman’s Club Following a collaboration with Rostam Batmangli, a Vampire Weekend veteran, Hamilton Leithauser is showcasing a solo performance in The Workman’s Club. The pair earned some much deserved critical acclaim during 2016 with their album, I Had A Dream That You Were Mine.

Perhaps the name doesn’t ring any bells, but Leithauser has actually been around for a while, perhaps better known as the lead singer of the indie-rock band The Walkmen.

Now on his own creative terms, his timeless sound will not only delight in its likeness to eras that have come before – Bob Dylan may spring to mind – but his experimental fusion of genres will reverberate in your mind of its own accord. Leithauser has no doubt made his own stamp on the music industry and with a raw innovative style both found in his single tracks, ‘In A Blackout’ and ‘A 1000 Times’. His presence in music is not likely to wane anytime soon. With tickets at a reasonable €22, you’ll get your money’s worth. Promise.

Bear’s Den – 19th March – Academy After the release of their latest album Red Earth & Pouring, British alternative folk trio Bear’s Den, are now on their European tour, with a date at the Academy on March 19th. The band released their debut album, Islands, in 2014 with their enchanting single ‘Above The Clouds Of Pompeii’, propelling them to the forefront of folk and gaining enough attention to be nominated for an Ivor Novello award, which recognises the merits of song-writing and composing. If you are a fan of Mumford and Sons, this trio’s sound will remind you of the poignant effects of folk instrumentals. What sets them apart, however, is their gentler sound and with distinct evocative lyrics, this gig will offer an uplifting, dreamlike experience. Tickets are on sale at €21.

OTwo//Music

A lbum reviews Little Fictions Elbow

Mouth Moods

Ty Segall

Neil Cicierega

Ty Segall

What Are You

Listening To?

LitSoc committee members share their favourite currents tracks with OTwo.

Much has changed in the three years since Elbow’s last album. An extended hiatus, most notably, saw singer and lyricist Guy Garvey release an acclaimed solo record and get married, as well as the departure of founding member and drummer Richard Jupp. These events have caused a noticeable deviation in the sound of the band we’ve come to know over the course of six albums.

The songs on Elbow’s seventh effort are more groove based than before due to the absence of a drummer in the writing process. Little Fictions is also notably a lower key album for the usually exuberant band. The orchestrations are rarer and, when present, more subtle. The exception to this being one of the album’s standout tracks ‘Magnificent (She Says)’ which captures a joy not seen in the band’s catalogue since 2009’s ‘One Day Like This’.

Guy Garvey has also swapped the heavy melancholy of earlier melodies with a brighter, more optimistic tone. A result of his current relationship status maybe? His lyrics remain wonderfully over the top if not a little mundane.

Unfortunately the mundane is also a feature of the music in parts of the album. The more effective moments tend to be the quieter ones with track ‘Head For Supplies’ showing the band at their vulnerable best.

Overall, Little Fictions while consistently pleasant proves to be an underwhelming regression from the incredibly strong run the band have enjoyed. However, the music of Elbow is rarely immediately gratifying. Repeat listening’s and further meditation must follow.

In A Nutshell: Newcomers to Elbow might find better starting points elsewhere.

NEIL Cicierega has been around since the earliest, weirdest days of the internet. From “Potter Puppet Pals”, which he created nearly a decade ago, to early YouTube memes like “Brodyquest”, you’ve likely encountered his warped sense of humour before.

Mouth Moods is the third in a series of mashup albums Cicierga has released since 2014. By far his best, this record does not rely on nostalgia alone for its appeal. Through creative and sometimes shocking combinations, Mouth Moods manages to achieve moments of pure pop bliss – its familiarity is merely how it gets its hooks in.

The bargain-bin pop tunes that Cicierga unearths for use on this record are given new life.

‘Floor Corn’ takes ‘Bodies’ by Drowning Pool, a notorious nu-metal relic, and warps it into a pop ear-worm on top of Hot Butter’s ‘Popcorn’, while ‘The End’ sees Linkin Park over a funky Doobie Brother instrumental, the result somehow immediately danceable.

Mouth Moods also manages to carry real emotional weight at times. A triumphant urgency animates ‘T.I.M.E.’, which sees The Village People’s ‘Y.M.C.A.’ placed over the Inception soundtrack, uncovering a dark social awareness in the original’s lyrics that is often overlooked.

It’s the surprises, the many twists and turns throughout that make Mouth Moods such a joy to listen to. You never know when Smash Mouth’s ‘All Star’ or ‘One Week’ by the Barenaked Ladies will sneak up on you – but when they do, you’ll definitely laugh.

In A Nutshell: Mouth Moods splices together pop songs from the past in the strangest of ways, yet somehow, it’s all a match made in heaven.

During the unequivocal disaster that was 2016, music became our only refuge from the storm.

Amidst the tirade of political and social events, Ty Segall’s powerful ninth album emerged, beginning 2017 with the howl of electric guitars and pounding bass drums desperately needed to shock us out of our slump.

Produced by Steve Albini, the genius sound engineer behind more than 1,500 albums, it isn’t surprising that the album’s sound is both raw and engaging.

Much of the sound is reminiscent of Nirvana’s seminal In Utero (also produced by Albini himself) such as the opening track ‘Break a Guitar’ where the lyrics are almost incomprehensible and the sound is addictively noisy and stripped down. The same can be said of later tracks such as ‘Freedom’ and lead single ‘Orange Color Queen’.

The album’s most prominent strength lies in Segall’s ability to veer madly between genres.

This ranges from the glam-rock undertones of ‘Talkin’’ to the Elliot Smith pop of ‘Orange Color Queen’. Clearly this album, Segall’s second selftitled work, is a showcase of his many talents as an artist and lyricist; there’s something here for all the family.

Considering Segall is someone who has released an album almost annually for the past nine years, it’s astounding that the well of creativity has not yet dried up. Instead, he has gone from strength to strength, a chameleon of modern music in an era defined by genre. The album also benefits from having been recorded with a live band, a first in Segall’s career. Overall the album feels like a consistent addition to Segall’s discography, perfectly produced with just the right amount of intense energy.

“Greek Tragedy ” The Wombats James Guerin, Treasurer

“Monkey ” George Michael

Caoimhe Donnelly, OCM

“ Brooklyn Baby ” Lana Del Rey Maeve Cassidy, PRO

“Prayer for the Dying ” Lisa Hannigan Mieke O’Brien, Secretary

“Bad Angel” KVKA, DENZ1 Sorcha Doyle, Auditor

Conor O’Boyle Owen Steinberger

In A Nutshell: Exactly the start this year’s music needed.

Ezra maloney

21

OTwo//Fashion

FUTURE FOCUS: uCD FaShIoN ShoW The future is now. Izzy Forde evaluates UCD Fashion Show’s Young Designer of the Year finalists and the importance of Irish design.

THE UCD Young Designer of the

effort of their staff and volunteers. A

Year competition has returned once

fitting addition to this competition,

again, bigger and better than ever,

which recognizes the exceptional

weeks looming, there is no better

that portrays her love of memories by

and boasting the very best emerging

craftsmanship of young aspiring Irish

platform for the designers to launch

constructing her very own textile diary,

creative talent. This year the Fashion

fashion designers and their creations.

their brand. “UCD fashion show has an

which reveals her journey of creativity. “I

The Young Designer of the Year

excellent reputation and is one of the

did a ton of sampling, trying to find the

Show is in aid of Jigsaw - The National

largest student-run fashion shows.

With London and New York fashion

continues to produce incredible young talent. Munnelly has created a piece

Centre for Youth Mental Health.

Competition is open to all students

biggest highlights on the calendar for

right medium and process that would

Their mission is to alter Ireland’s

or recent graduates of fashion or

emerging fashion designers to profile

do justice to my concept,” explains

preconceptions of mental health and to

design-based disciplines in third-

their work,” says competing young

Munnelly. Between the colourful

provide support to young people who

level institutions across Ireland. The

designer, Michele Munnelly.

printed portraits and long white train of

may be facing challenges.

competition offers contestants the

While we may think that this emerald

opportunity to showcase their own

isle is microscopic in comparison to the

Jigsaw has re-designed itself with a

creative designs on the catwalk of the

fashion capitals of the world, Ireland

February 15th-16th in the Astra Hall, and

new name, which acknowledges the

UCD Fashion Show, one of Europe’s

has become a design island, which

King of Snapchat, James Kavanagh, will

Formally known as Headstrong,

Models getting resdy for the semi-finals of the UCD Fashion Show 2017

Designer: Michelle Munnelly NCAD, 2016 Graduate Model: Dasha Protsenko

22

pockets, she has undoubtedly nailed it.

The fashion show takes place both on

OTwo//Fashion be the guest MC on the opening night,

celebrated individuality, this competition

making it even more of a ‘gorge’ event.

has reached a whole new level. Kirsten

The finalists will be judged by Maria

Durand-O’Connor created a particularly

Lola Roche, a previous winner of the

intriguing pink piece, which played on

contest, and Claire Garvey, a Dublin-

the evolution of the ‘naked dress’. “The

based fashion designer who specialises

naked-dress screams ‘look at me’ which

in bespoke pieces. Having attended the

is what I used as my quote throughout

semi-finals at Everleigh Gardens in early

my design,” explains Durand-O’Connor,

February, the judges certainly have their

about the inspiration behind her

work cut out for them with the eight

ensemble.

chosen finalists.

The pieces are innovative,

“uCD fashion show has an excellent reputation and is one of the biggest highlights on the calendar for emerging fashion designers to profile their work.”

From the creative process to the finished product, one can’t help but feel

aesthetically impressive, and wildly

a Jeremy Scott vibe with her unique

fun. And while fashion has always

blend of humour and precision. Her

“The pieces are innovative, aesthetically impressive and wildly fun. And while fashion has always celebrated individuality, this competition has reached a whole new level.”

would wear.”

come as a surprise, however. Let us

design is playful

not forget the gifted Aideen Gaynor

but powerful,

who was named Brown Thomas’s

to grow with Irish textile and fashion

and the piece

“Designer to Watch” at last year’s NCAD

designers collaborating at this year’s

would not be out

graduate fashion show. Her collection

Showcase – Ireland’s Creative Expo,

of place on any

of oversized swing coats in bold colours

to create an explosive fashion show

major runway or

and patterns was second to none. The

of contemporary and unique designs.

campaign.

timeless pieces by Gaynor proved that

Fashion guru, Peter O’Brien, worked

fashion has no curfew.

together with Mourne Textiles to create

To get a behindthe-scenes look

Another exciting newcomer to Irish

The Irish design scene continues

a stunning collection.

at the finalists’

design has to be Dee Mangan of Kinsale

designs, head over

Leather, who was named Irish Accessory

exceptional year in Irish design but after

to the UCD Fashion

Designer of the Year 2016. Minimalists

viewing the pieces made by this year’s

Show official

will love her simple structured bags. In

Young Designer of the Year finalists, the

Facebook page.

an interview with The Gloss magazine,

future of Irish design looks even more

This rise of young

Mangan explains how she wanted to

promising.

talented Irish

create an accessories line “with pieces

designers shouldn’t

that a woman in Paris or New York

Needless to say, 2016 was an

PHOTOS: JOANNA O’MALLEY

“Her design is playful but powerful, and the piece would not be out of place on any major runway or campaign.”

Designer: Kirsten Durand O’Connor Dublin Insititute of Design, 2016 Graduate Model: Karina Zujewska

23

OTwo//Fashion Designer: Silvia Ortega Moyano - Dublin Institute of Design, 2016 Graduate Model: Sarah Demi Adesanya

Designer: Karla Bowden NCAD, 2016 Graduate Model: Emily Cahill

Designer: Barbara Gorman Sallynoggin College of Further Education, 2nd Year Model: Designer’s own

24

Designer: Megan Murray Limerick School of Art & Design, 4th Year Model: Ellen Devereux

OTwo//Fashion

Designer: Mairead Wall NCAD, 2016 Graduate Model: Mark Mannion

Designer: Lauren Murphy IADT Dún Laoghaire, 2016 Graduate Model: Designer’s own

Designer: Róisín Pierce NCAD, 2016 Graduate Model: Christine Campion

25

OTwo//Fashion

Caption That Shane Cullen examines the relationship between fashion and statement-making in this politically charged climate.

CAPTIONED clothing is making a bold

American designer Thom Browne took

Chiuri’s t-shirts were inspired by the

range was a supporting “embrace” after

return to the catwalks with a new

his own stand on marriage equality by

book of the same title by Chimamanda

twist. This new flair doesn’t include the

staging a “wedding” with two of his male

Ngozi Adichie, who was also in

overdone #squadgoals t-shirts or “Gigi

models in a response to protests. These

attendance, and became a staple at the

superficial and gimmicky but the truth is

and Kendall” slogan sweaters offered

designers have shown that you can in

recent women’s marches, being worn

far from that. Political and social change

by River Island. Instead, this is all about

fact marry politics and fashion powerfully

by everyone from Natalie Portman to

happen so frequently, why shouldn’t

making a statement. Dior and Stella

yet subtlety.

Rihanna. Beyoncé’s feminist anthem

McCartney are just some of the big

After the announcement of Dior’s

names leading the revolution, and fashion

first ever female creative designer Maria

writers and fans are loving it.

Grazia Chiuri last summer, anticipation

the Brexit referendum last summer.

The fashion world is often perceived as

“Formation” provided the soundtrack to the show.

Stella McCartney is also taking a

“Political and social change happen so frequently, why shouldn’t fashion reflect that?”

built around what she would present on

strong political stance on her runway

have been openly expressed on the

her first catwalk show. Chiuri did not fail

shows, incorporating themes of female

catwalks on areas including sexuality

to deliver, debuting a contrasting range

empowerment and anti-fur campaigning.

and equality. Back at his Autumn-Winter

of structured, tailored suits and flowing

McCartney debuted her slogan clothing

2014 launch with Topshop, London-

skirts. Paired with a midnight blue skirt

for her Spring-Summer 2017 collection

based designer Ashish Gupta wowed

and trainers, a simple white t-shirt

where captions included “Thanks Girls”

the audience with a rainbow sequined

captioned “We Should All Be Feminists”

and “No Fur and No Leather” featured on

fashion reflect that? For McCartney, the

t-shirt unveiled with the caption “Love

instantly caught attention, and became

array of t-shirt style dresses.

political message is important. “There’s

Will Win”, giving his nod of approval to

the most Instagrammed post of the

gay marriage.

show.

Political statements within fashion

In an interview after the catwalk show, McCartney revealed that the clothing

love all over it…. I think fashion can do that. We have that voice.”

BLURRING THE GENDER LINES

As the curtain falls on men’s fashion month, Lucy Mortell questions the effectiveness of the current fashion week format.

JANUARY has come to a close, as have

pearing on both his men’s and women’s

many things; the January blues, Dry Jan-

collection.

uary, most New Year’s resolutions and

Even high street brands like COS offer

of course, Men’s AW17 catwalk shows.

the same genderless clothing in both

With the end of any fashion month also

male and female sizes. Anna Wintour

comes the much awaited trend reports,

once said that “fashion reflects the times

but one would be forgiven for thinking

as much as the headline in a newspa-

they’d just re-read the trend reports pro-

per”, so why is it that Fashion Week

duced for 2017’s Pre-Fall Womenswear

remains so stubborn in its division of the

collections.

sexes?

Crossovers are now commonplace;

Fashion Week’s persistence in sticking

we are seeing key trends like oversized

with the tried and trusted formula of

shoulders, vinyl, statement sleeves and

gender segregation might well put it on

all-in-ones among the looks strutting

the back foot. Is this the reason Rodarte

their way down both the male and female catwalks. This is not the first – and definitely won’t be the last – time we’ll see, not just similar, but almost the exact same clothes on the male and female runways. This raises an interesting question; what’s the point in continuing the segregation of gender on the runway?

There is no doubt that today, fashion is at the forefront of a shift. It’s a massive shift towards not only recognising the phenomenon of gender fluidity, but having major retailers making a change.

For instance, Selfridges in London is dedicating an entire space to “agen-

“This is not the first – and definitely won’t be the last – time we’ll see not just similar, but almost the exact same clothes on the male and female runways.”

der” fashion, perhaps following in the footsteps of Alessandro Michele’s Gucci SS16 collection aimed to blur the masculine/feminine divide with delicate lace, intricate embellishments and bows ap-

26

Once this season ends, Rodarte plan

Burberry opted to use both male and

to completely abandon the traditional

female models in their September ’16

fashion calendar, instead planning their

show to great success, so what’s the

shows during Couture Week in January

big deal? Well commercially, combining

and July. Vetements and Kenzo made

men’s and women’s shows could result

similar moves previously.

in design houses showing only twice a

These changes just add to the ever-

year instead of four times. This would

changing dynamic of fashion week,

have massive financial repercussions for

with big names like Versace pulling out

the industry. Much relied upon sponsor-

of haute-couture week and Oscar de

ship funds could potentially be halved.

la Renta opting to link up with Monse.

Over time, as more and more de-

Designers and creators are taking it

signers pull out, maybe the time has

upon themselves to alter the way in

come for fashion week organisers to

has decided to ditch New York Fashion

which they present their collections and

completely reconsider the way they do

Week in favour of Paris and independ-

it looks like they’re not getting any help

things. If they don’t, they could risk a

ently presenting their shows privately?

from the organisers of Fashion Week.

full house but an empty catwalk.

OTwo//Fashion

The Golden Age Has being young gone out of style? Bébhinn Campbell investigates the issue of ageism in the fashion industry. are the statement and the models

of sixteen or younger, and are thrown

it now seems that the roles are finally

and balanced out their representa-

head-first into a life of glamour and

being reversed.

tion of women by including plus-sized

promises of success. How many are

Brands are now exhibiting real

warned that this success will be short

people in their shows in an effort to

lived, and that they may be forced to

tion – and perhaps to avoid the critical backlash from an increasingly socially aware younger generation. Vetements has demonstrated how the model can wear the clothing, and how each piece

Is this a bold statement or an overdue wake up call to an industry obsessed with youth?

In recent years, the fashion industry

There has been a universal call for personality and diversity, and to provide a better representation of society. It has always been the case that the clothes

an alternative to their dream careers?

Vetements is not the first brand to have gone with an older look. In 2014, cosmetics company Nars celebrated year old actress and model Charlotte

pressure to fit into an unrealistic mould has dampened the confidence of a

Rampling the face of their Audacious models. Such decisions have received

Lipstick Collection, a choice which

an overwhelmingly positive result. At-

led to an undeniably sophisticated ad

titudes, however, towards age equally

campaign.

demonstrate the continued exclusivity of the industry.

“Brands are now exhibiting real people in their shows in an effort to relate and appeal to the wider population.”

Modelling slots are repeatedly filled

universal audience. The world has had enough, and people are finally taking a stand after being told time and time again what an individual should look like.

Achieving equal success, 64-year old Jessica Lange represented Marc Jacobs Beauty the same year. Such

by women under a certain weight –

women perfectly exemplify style and

and under a certain age. This leaves

class, and are key influencers in fashion

little room for aspiring models who

past and present. Why then have mem-

narrowly miss these limitations, and

bers of their generation so often been

even for those who do fulfil them, their

afterthoughts when depicting beauty

working years are cut short once they

in the media?

reach the dreaded age of 30.

has come under scrutiny for the way it portrays women and sells clothes.

often turning to acting or presenting as

its 20th anniversary by appointing 68-

FRENCH fashion house Vetements

Autumn/Winter 17 Paris catwalk show.

change their paths at a certain age,

who that model is.

A singular definition of beauty is

significantly older models in their

“Why have members of their generation so often been afterthoughts when depicting beauty in the media?”

can be individualized depending on

repeatedly presented to us, and the

made the decision this season to use

Many models are scouted at the age

supermodel look in recent campaigns,

relate and appeal to the wider popula-

64--year old Jessica Lange, Marc Jacobs’ Beauty representative 2014

Lingerie brand Aerie has ditched the

wearing them are merely canvases, but

While big names such as Kate Moss

In an industry dominated by youth, it is refreshing to now see some older

and Heidi Klum may be exceptions,

and more diverse models come into

the vast majority are forced to wave

the spotlight. Their elegance and time-

goodbye to their careers at the sud-

lessness is finally being recognised in a

den appearance of their first wrinkle.

commercial way. About time too.

Campus Chic Aoife (Aoife didn’t want to say anything about her clothes.)

Jennifer “I got my jumper in New York and I think the jeans are River Island. I think I got the coat in a thrift shop.”

photos : camille lombard

27

OTwo//Arts&Lit

REVIEW:

Jackself

Barbara Campos reviews Jacob Polley’s latest poetry collection, Jackself – the winner of last year’s prestigious TS Eliot Prize. their relationship is introduced by a quick-wit dialogue reminiscent of any ‘wannabe’ savvy teens:

“Polley’s collection speaks to the traditional canon of oral tradition, particularly to those forms which are connected to song and childhood.”

Jackself finds Jeremy Wren in the goose shed who the fuck has a goose shed, Wren says people with geese This poem also introduces a more palpable violence that foreshadows the collection’s main theme: suicide and the subsequent haunting for those who, in a sense, ‘survive’ it. The collection tells the story of two friends, both in life and in death: PHOTO : DAVE WALL

LAST month, Jacob Polley’s Jackself was announced as the 2016 recipient of the TS Eliot Prize. As well as a £20,000 cash prize, Polley now joins the esteemed ranks of fellow writers such as Ted Hughes, Seamus Heaney and Carol Anne Duffy. The chairwoman of the judging panel, Ruth Padel, described the poetry collection as “a firecracker of a book; inventive, exciting and outstanding in its imaginative range and depth of feeling.”

The work is the Cumbrian poet’s fifth collection. Reading it, there is a constant concern with charting a modern reality alongside

“It is the unusual routes which Polley takes to describe nature that make his poetry especially beautiful and accomplished.”

28

nature, which is recognisably inspired by Seamus Heaney and Ted Hughes, and the myths and folklore traditions of northern England.

This new collection explores the Jacob Polley same nightmarish qualities as his previous collection The Havoc (2013), which, at the time, was also shortlisted for the This regional concern harkens back to distinguished prize. writers like Hughes whose writing seemed Jackself is an intriguing read, its title taken informed by specific English landscapes, and from a Gerard Manley Hopkins poem, “My own certainly an idea of a connection of history and heart let me more have pity on; let.” Hopkins, modernity – “Only the sooty twilight of South like Polley, asserts a sense of ‘commonness’ Yorkshire / Hung with the drumming drift of with Jack and of individuality of self. Therefore Lancasters.” suggesting that while this collection is of In fact, Polley’s collection speaks to the individual creation and experience, it is also of traditional canon of oral tradition, particularly experiences that are universally relatable. to those forms that are connected to song Polley’s new collection assuredly situates and childhood. ‘Every Creeping Thing’ is an itself in a northern English context. Its first poem, example of this, the consistent rhyming and ‘The House that Jack Built’, seems to encapsulate repetition creates not a poem but a song: a a certain Anglo-Saxon heritage – “then slept desolate nursery rhyme – “By leech, by water / an age in the northern sun, blackening / to mite / by the snail on its slick light.” iron” and “raised as / cloud’s axles.” The setting The collection evolves from this childlike appears to be increasingly important as the poem wonder, reflected in this imaginative nature, to progresses, and even if one were not aware of the a very sudden and realistic adolescence where poet’s Cumbrian heritage, one could take a guess we are introduced to a mature Jackself and from his words – “tasted the rain”. his friend Jeremy Wren. In ‘The Goose Shed’

The weight of the dead face he’s sure is Jeremy Wren’s no if it was his, he’d be calling Jackself a softshite and worse through the webbing but Wren is gone.

Although there is an exploration of human relationships, the poems shine when they look to nature for inspiration. It is the unusual routes Polley takes to describe nature that make his poetry especially beautiful and accomplished. Moreover, this nature always appears symbolic, even perhaps slightly pastoral in its relation to Jackself, and it is in these connections that the natural achieves its maxim. Like in the poem ‘Redbreast’ which explores a barren nature and the pain and grief of Jackself who sings:

I see a robin redbreast in a blackthorn tree I see a robin redbreast in a blackthorn tree The seasons turn but all year round it’s wintertime in me.

Polley’s latest work is a concept collection, significant not only in the narrative arc weaved throughout, but for its experimental and innovative format and layout. Polley ignores all the rules of poetry structure and form, instead favouring a form that, while initially jarring, lends itself greatly to the rhythm and reading of his work.

While the collection’s format, as well as it’s highly personal and intimate themes may initially seem somewhat exclusive to the everyday reader, the ideas explored – boyhood, friendship, family and growing up – means that there is something to be found and enjoyed by everyone.

OTwo//Arts&Lit

Digitising History eithne Dodd explores the current projects in UCD to preserve old literary texts, amid the recent digisation of literary journal, Hermes.

HERMES, a literary journal published in UCD between the years 1907 and 1908, has recently been digitised by the UCD Library.

All four issues are available to read online by visiting the UCD Digital Library website. The periodical welcomed literary submissions of short stories, essays and poems from students and staff of UCD, as well as work from the other colleges of the Royal University such as Queen’s Colleges in Belfast, Cork, and Galway.

While Hermes is the first UCD literary publication to be digitised by UCD, this year the digital library wants expand its focus, moving onto UCD official publications such as the president’s report and statutes.

Audrey Drohan, digital librarian at UCD library, added that Special Collections received significant interest from users in relation to Hermes. “It makes sense once you’ve got popular collections to put them online,” she said.

Hermes was the successor of the more well-known St Stephen’s, a UCD literary publication that ran from 1901 to 1906. Drohan is currently working on digitising St Stephen’s, explaining that: “it’s one of the most popular ones [student publications], it’s an earlier

“All student and society publications released every year could become forgotten by time if not properly managed, causing gaps in knowledge for future researchers.”

one, and it’s phenomenal. Hermes was a smaller publication so we got it done quicker.

We would have actually done St Stephen’s first but it’s proving to be quite tricky trying to identify who the copyright holders are.

Hermes was good to go.”

Though Hermes has been published online and St Stephen’s is currently under the same process, the digital library has a long way to go before there is an extensive collection of UCD student and society publications. Some of the collections that the library does hold includes St Stephens series 1-4, the National Student (Comhthrom Feinne); The Student; Blather and The Torch located between the library special collections and store journals.

This list, however, is only scratching the surface of all the student and society publications that have yet to be sourced by UCD library archivists. Caveat Lector, the current student literary publication, published by the English and Literary Society, has yet to draw the attention of Drohan, and her colleague, Julia Barrett.

Drohan also recalled coming across a book given to the library that said, at one time, there had been 14 student publications in UCD,

but only mentioned the most noted journals.

The trouble is, as societies change hands, the old documents and journals of societies can easily get lost in the annual committee transfers.

The fact, however, that UCD Societies has an annual award for “Society Publication of the Year” suggests that student societies alone produce several publications a year. This is in addition to everything published officially by the university and the Students’ Union, as well as the two student newspapers.

Securing the publications is a big issue for the digital librarians working on them. If they aren’t sure that they have everything belonging to a particular collection, they are reluctant to digitise it. In the event that more material comes to light, the librarians would have substantial changes to make to the meta-dating done on the part of the collection they have already digitised, creating more work for themselves, and inconvenience for the reading public.

As Drohan says, “It’s easier to focus on the historical stuff because it’s more contained.

There’s less publication issues and less copyright issues as well.” Additionally, in

terms of current student publications, many are already digitised and so do not need to be prioritised by the library.

It does, however, highlight the risk that all student and society publications released every year could become forgotten by time if not properly managed, causing gaps in the information and knowledge available for future researchers. Right now, the library staff and the student societies have no framework for liaisons between them in terms of publications. Barrett suggested that: “maybe there’s a service here whereby we could advise the campus societies on how they could actually archive their own publications rather than us taking them in at some future date.”

For anyone interested in what UCD students and staff were writing about over 100 years ago, visit the UCD Digital Library website to read Hermes. With the continued efforts of archivists and staff, and with a little luck, it will be the first of many student literary works for future generations of students and researchers to enjoy.

You can visit the website at https://digital.ucd.ie/

“It’s easier to focus on the historical stuff because it’s more contained. There’s less publication issues and less copyright issues as well.”

Pages from the the 1908 issue of Hermes, the first UCD literary publication to be digitised

29

OTwo//Arts&Lit

! n a m t a B , k c i k e d i S oly

H

Coming-of-age fiction is renowned for its emphasis on friendships. Dylan O’Neill explores the importance of the sidekick to the story.

FROM introducing you to house parties to helping you destroy Horcruxes, the trials and tribulations of the sidekick in coming-of-age entertainment are often overshadowed by the triumph of the protagonist.

As a secondary character, it is the sidekick’s job to help the hero defeat the forces of evil and humbly stand to the side as they save the day. They have often served as a two-dimensional character, contrasting with the more fleshed-out hero. It has long been the duty of the sidekick to provide both comic relief for the audience and prompt growth within the protagonist.

In coming-of-age fiction, however, the role of the sidekick can be somewhat elevated to provide more than just the comic relief of the story. They also serve as an emotional guide for the protagonist’s journey throughout the course of the book. They themselves can undergo a transition or remain simply as a contrasting character to that of the main character.

In Stephen Chbosky’s seminal coming-of-age novel, The Perks Of Being A Wallflower, siblings Sam and Patrick introduce Charlie to a supportive group of friends and by the

30

“This, however, only raises some damning questions concerning gender roles and the patriarchal realm which the sidekick inhabits.” end of the novel, he has become a participating member of society, with clearly defined personality traits and goals. Sam and Patrick, however, remain unchanged as they both leave Charlie and begin life in college, mostly unchanged by the events of the novel.

In the Harry Potter series, the long-suffering Ron experiences the same progression towards adulthood as Harry. Both face grave danger, explore their sexuality and deal with the loss of loved ones simultaneously throughout the book series. Ron’s character develops throughout, growing from the awkward cowardly sidekick who stole his father’s flying car to the self-confident, darklord-defeating wizard, albeit to a lesser extent than Harry (he is the sidekick after all).

Meanwhile, Hermione endures the loss of her parents and like Ron and Harry must deal with the loss of a loved one. However, her pre-established drive, which she previously used to

help Harry in completing his quest, neither increases nor decreases, and she does not experience much in terms of character development. This, however, only raises some damning questions concerning gender roles and the patriarchal realm that the sidekick inhabits.

Not all sidekicks are relegated to the role of plot devices, simply there to further the narrative of the main character. In the popular science-fiction series, Doctor Who, many of the Doctor’s companions undergo significant development and self-actualization. It must be noted that Doctor Who does not fall into the category or genre of coming-of-age. This is true for the most part, but it does have similar features in its characters that allow for it to be considered as such.

The most notable example is Rose Tyler.

Rose both serves as a sidekick to the Doctor while also developing into a mature woman who defends the Earth on several occasions.

When we first meet Rose, she is a seemingly

“Not all sidekicks are relegated to the role of plot devices, simply there to further the narrative of the main character.”

average girl who lives with her mother in a council estate in London and works in a department store.

After meeting the Doctor and experiencing their shared adventures through time and space, she transforms into a fully rounded character, filled with self-confidence, heartbreak, and in possession of an enormous gun to defend against the Daleks threatening the Earth. Rose, as an accomplice, even manages to challenge the Doctor at various points throughout the series, thus she is seen as equal to him and not as merely his sidekick.

No longer just the lesser companion of the protagonist, sidekicks have the capability of being written as well-developed characters in their own right and should be treated as such.

One only has to look at Batman’s Jason Todd to see the results of a sidekick

who is treated badly and neglected by others in a series.

The sidekick, however an unflattering moniker it may be, plays a vital role in advancing the narrative progress of a story and offers balance and advice to the main character.

The importance of sidekicks should no longer be underrated but celebrated for their importance to the story.

FATAL FOURWAY Worst First Date

Owen Steinberger I was in Queens, New York, just gotten off a long plane ride and after sorting out an apartment, a real dive of a place I had to share with a mate. Although I was away I still needed to make a quick buck and started sweeping at a fast food joint—some McDonald’s ripoff.

Anyhow, I was there at the restaurant keeping busy when I met this girl. Beautiful, and strong willed too. The feminist type. After one conversation I’d fallen in love but I couldn’t see how she could be interested in me—she was the boss’ daughter, and we were just so different.

Later that week I heard about a rally going on and that she’d be there speaking about the community and renovations and what not.

Turns out she had this obnoxious boyfriend, real corny, all style no substance type. Standard. But I could see they weren’t getting along too smooth and I thought, hey, maybe I had a chance.

So I’d talk to her at work and we’d head to baseball games and movies together and as she drifted apart from that jerkoff we got closer and closer. Then the kicker was that guy tried to marry her, and she broke it off! And our first date—well, it was something else.

But then my father came all the way from Zamunda to visit and tried to stop our wedding, even though I, the rightful prince…. Oops, sorry, that was the plot from Coming to America.

David Monaghan LET me relate to you the worst first date I have ever had. I met the guy on Grindr and at first he seemed pretty cool: he was 27 and was already a medical doctor at this early stage in life. I was impressed, and so we agreed to meet in person.

We sauntered over to Starbucks on College Green, and it was here that he told me about his two true loves: Mariah Carey and Harry Potter.

Any attempt to interject during this conversation was swiftly ignored. I was bored, but decided to give him a chance.

This resulted in us travelling to the George, specifically the bar in which the older gays live, where we happened upon a DJ who was playing pop hits from the 80s and 90s.

Mr. Mariah Carey saw his chance. He persistently pestered the DJ to play ‘Hero’ by his queen, and despite the DJ’s protestations over how it will kill the mood, he eventually buckled. The song played out over the speakers and yer man mimed every single word to me while pressing my hand to his chest.

I always find it awkward when people mime the words to a song I don’t know in my general direction, but this was on a whole other level.

Anyway, the DJ was right. The song killed the vibes, and all the older gays had gone from bopping wholeheartedly to crying into their pints.

Satisfied with his ballad-loving self, Mr. Mariah Potter then dragged me to the main nightclub, danced badly, and bought me a shot which he spilled all over the countertop.

At this point I decided to call it a night, and made a memo to delete Grindr.

Luke Sharkey THERE have been countless times where my second name has been the butt of someone else’s joke. I’m almost, but not quite, numb to it now. However, the example which immediately comes to mind, revolves around a first date with my girlfriend of three years and some change.

Looking back, the set up was obvious. It was all there from the get go. We decided we’d meet after school by the sea front and go for a coffee; 17 year olds play acting at what we thought adult dates would be like. Was I nervous? I was indeedy.

Perhaps this is why I decided I’d get changed after school before heading to meet her as opposed to sticking to our plan of meeting in our uniforms. Upon seeing her reaction to my skinny jeaned self- approaching I quickly realised the error of my ways. What a fool I was, I’d destabilised the playing field before a word was spoken between us.

Things went from bad to worse. The result of an awkward kiss/hug dance routine we performed in front of everyone gathered at the sea front on that glorious day. The refuge of the indoors was quickly sought. We decided upon a café and to my amazement, my date announced she needed to get sick. I held my head in my hands while I waited outside the bathroom. Berating myself for the fool I’d been deciding to get changed.

Explaining the situation to a mutual friend of ours later on, the punch line sauntered in the door. “Relax Sharkey”, she said, “It’s just the seafood, she’s allergic to it”.

Aoife Hardesty The day was full of hope. It lingered around every corner, its sweet scent filled the air. I knew what the evening held, and I was full to bursting with excitement. Long had I awaited my first real date, and I so wanted to be ready. Completely ready.

Within 74 minutes I was ready, wearing the perfect outfit. In the end, I selected a dress. Looking back it was too much, too fancy, completely wrong for the occasion, but right then and there, in that moment, I thought I was beautiful.

I was sixteen, on the cusp of womanhood, and tonight, my first date, would propel me into that glamorous (and slightly terrifying) world. In a manner reminiscent of every coming of age movie, I glided down the stairs, and entered the kitchen, where my date awaited. And there it was.

Or there they were I should say. I counted 8 in a small white bowl. 8 dates, each roughly the size of my thumb, the golden brown colour of maple syrup, and each one wrinkled. Nervous now, I tentatively reached for one, and popped it in my mouth.

It wasn’t quite like I expected. It was harder, and the taste was not what I would describe as pleasant. It was so sweet, and somehow, not sweet enough. But still, I kept going and swallowed. I had not been expecting the aftertaste.

All hope and excitement gone, I felt bitter and empty inside. As time went on, I took it slow with dates, never letting my hopes get too high, and now, now I enjoy dates, as I hoped I would as a younger girl.

Illustrations: Louise Flanagan

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A PERTURE //reflections//

Nikhil Wali “Lily Pads“ Eamonn Maloney

Tatiana Stefanov Danube Delta, Romania

Nikhil Wali “Dropback“

If you are interested in submitting photographs or illustrations for Aperture please send them to design@universityobserver.ie

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