2. 2
Editor: Xander Cosgrave
Designer: Robert O’Sullivan
Film & TV Editor: Olivia Brown
Music Editor: Holly Cooney
Arts & Lit Editor: Colm Furlong
Gaming Editor: Aoife Gleeson
Fiction Editor: Austin Dowling
Humour Editor: Lauren Mulvihill
Comics Editor: Dylan O Connell
Copy Editor: Brian Conmy
As I finish off another issue of
Byline, I find myself deeply lost and
hurt, not because of anything that
any of my talented and good looking
editors did, but because my laptop
of several years has finally made its
transformation from ‘usable piece
of technology’ to ‘very expensive
brick’. Because of that, I’m writing
this on my phone, which is being
suspiciously slow, like it too wants
to give up the goose. Whoop.
By the time you’re all
reading this, it will now be after
Halloween, and you’re probably still
regretting some of those decisions
you made, like that ‘Sexy’ or ‘funny’
costume, or as everyone else saw it,
that kinda gross and probably racist
costume you picked up at the last
minute. Good job, those pictures
are on the internet forever now. I
dressed like a lumberjack, by that I
mean, I wore my normal clothes and
everyone said, ‘Hey, nice lumberjack
costume’, and I didn’t disagree with
them. I wear a lot of flannel.
This also means it’s November, that
wonderful time of year where, over
the course of a week, your exams
have moved from being far enough
away so that you don’t feel guilty
about drinking before the library
closes, right to being every other
day and oh god, what am I doing
with my life. For those of you who
are in any way actually reliant on
what your grades are to get a job,
a fair amount of panic is probably
setting in. This is fine, everything is
fine, please keep your sobbing to a
minimum in the fishbowl, I’ve still
got to finish this assignment.
It’s not all bad though, you’ve made
it through your first quarter of the
year, and things probably aren’t the
worst. Your lecturers may even like
you enough to give you an extension
if you ask for it, as long as you’ve
been showing up. Do try to show up
toclass,thatoftenhelps,andit’seven
better when there are attendance
marks, as in, you literally get marks
for showing up.
Even better, it’s now issue five and
I haven’t been fired, so either the
Editor in Chief doesn’t particularly
care if I screw up, or I’m actually
good at my job. I’m assuming it’s the
first thing.
A Shiny Aluminium Brick
#SackXander
What’s Inside... Headlines of Byline:
FILM & TV
MUSIC
ARTS & LIT
GAMING
HUMOUR
INTERVIEW
“Byline favourites Girl Band forced to cancel tour,
Holly Cooney previews the Northern Ireland Music
Prize and Holly interviews award-nominated band
The Lost Brothers”
“Colm Furlong measures the worth of creative writing
programmes and reviews the best of Dramat’s Short
Play Festival”
“AmyO’CallaghanlooksattheriseandfallofNintendo,
Jonathan Soltan talks about the death of the skating
game genre and Aoife Gleeson shares some of the worst
moments in gaming marketing”
“Lauren Mulvihill gets opinions on the gender neutral
bathrooms, Herb Simpson guides you through the
ORB, Frank Jaeger gives you 7 All-Nighter Tips, and
more”
“Music Editor Holly Cooney talks to Duke Special
about his new album, religion, the creative process and
his nomination for a Northern Ireland Music Prize”
“Colin Healy reviews the latest Bond outing SPECTRE,
Rob O’Sullivan points out the correlating hype for new
Star Wars films and Olivia Brown talks about the Cork
Film Festival”
3. 3
FICTION EDITOR - AUSTIN DOWLING
The Walk
by Nora Shychuk
She climbed out of the window and entered the cold, dark world that spoke to her
even in the brightest of days. Luckily, her house only had one floor. It was a small,
ranch-style home with brown shutters and yellow shingles. It looked like banana
bread or an off-white vanilla cake.
It was mid-November. Soon there would be snow, but not tonight. Before
leaving, she had grabbed her jacket and wool hat, but forgot her gloves. At least she
had pockets. Besides, she’d be right back.
Andrea’s mother would kill her if she knew she was out. If she knew where she
was going. The woods again, obviously. Andrea loved the old stone well-hidden
deep in the mess of pine trees. Sometimes, she heard someone laughing down
there, but she never told her mom that. The laugh was always low and rumbled,
echoing off the rocky surface of the walls. She’d say hello, then all would go silent.
That was that.
She took careful, quiet steps as she ventured away from the house. If she moved
just the right way, the motion light would turn on. Then her mom would drag her
inside and shut her back in her empty, dusty room.
Tonight the moon was dull, its light ghostly and pale. Little stars sparkled
far away, between wispy blankets of clouds and low swirls of fog. If she squinted,
Andrea could just make out the pointy branches. They looked like arms and hands.
Yes, the trees stood together like dark giants, swaying slowly in the cold wind. She
started to shiver as she entered the woods.
She knew this place well. She knew the path to take and how many steps
from the creek to the well. Silently, she counted. All in her head. Like most things.
The creek gurgled tiredly, its current a touch away from freezing for the winter.
She couldn’t see them, but Andrea felt the owls staring down at her, their heads
turning, turning, turning to watch her as she walked.
Somewhere, a twig snapped. A deer, maybe.
Andrea’s ears throbbed by the time she reached the well. It was too cold and
too dark. Oh, and here was the thing: the well wasn’t there. It should have been,
but it wasn’t. She had made this same trip just a week before and the well was right
here. Now it was gone. It moved. She listened for the laugh but heard nothing, just
the dead leaves and the branches and the feathers and the owls’ necks snapping and
turning. Andrea blew into her hands for warmth, but even her breath was icy. She
kicked the ground, then turned to go home. It was too late anyway. She jammed her
hands in her pockets, took a step, then stopped.
There. Right in front of her. An old, stone house. It had not been there before,
but now it was. It was grey and sick and cold-looking. Just like the moon.
Then, the rumble. The laughing. It was coming from inside.
“Hello?” she called.
Hush. Quiet. Nothing.
Of course, what was left to do but enter? It would be warmer. She walked
beneath the jagged doorway, the door long gone. The floor was hard beneath her
feet. Cement. The moonlight streamed through just enough to make out an old,
wobbly table with mismatched legs and a sooty, black fireplace. A couple stacks of
wood sat to the left. Maybe someone had planned to use it.
The rest of the room was empty. Just stone walls and one window on the far
end. The glass was cracked.
The laugh was right behind her then. She whirled around, but saw nobody.
There was a gust, though. A faint breeze along her neck that drifted up her cheek.
Andrea lifted her head in response and noticed a metal staircase that spiralled up
to the second floor. That’s when she heard the footsteps above her head.
Shoes on metal. Hand on the rail. Andrea ran up the stairs quickly, breathlessly,
sure she would find the source of the laugh—the source of the steps. The second
floor was even darker. No windows. No fireplace. Just a bed. A bed in the dead
centre of the room with ratty blankets. The floor was wooden, but she could hear
the termites chewing and squirming.
“Hello?” she called again.
Silence. The loud kind that makes your ears bleed.
Then, the heavy feeling. It was all around her. She waited for the laugh, but it
never came. She only felt a cold hand on hers and then the darkness from outside
turned to black, and Andrea couldn’t see anymore. She got dizzy and closed her
eyes.
Somehow, Andrea made her way to the bed and fell down on the springy
mattress and never woke up.
4. 4
HUMOUR
The Byline Travel Guide to the ORB
Riots in City Over Alleged Xmas Tree Sighting
by Herb Simpson
by Lauren Mulvihill
HEADLINES
TV LISTINGS
News Stars of UCC
house party video
confirm night was
“great craic”
Crime UK police to
prosecute Adele for
tearing out the hearts
of millions with latest
song
Health World Health
Organization confirms
that literally everything
is killing you
Culture Irish public
still waiting for video of
Drake dancing to “My
Lovely Horse”
World ‘Harry Potter
and the Stolen Child’
tickets on sale, cause
World War 3
Science Psychologists
see upsurge in youths
unable to determine
whether their squad is
truly ‘on point’
Entertainment
Local theatre kid
hugely overestimates
importance of
background part in
play
TV3, Sunday @ 8PM:
A quick sigh followed
by a realisation of your
own mortality
BBC2, Saturday @
7PM: UCC and Trinity
go head to head in
an exceptionally gory
edition of University
Challenge.
University College Cork is a must-see
tourist destination for any visitor to
the Rebel County. Stunning feats of
early Victorian architecture are offset
by a vibrant, bustling 21st-century
campus environment, all nestled along
the banks of the gently meandering
River Lee. Undoubtedly, the highlight
of any UCC campus tour is a visit to
the famed O’Rahilly Building, or ‘the
ORB’ as it is affectionately known by
staff and students alike; one can, quite
literally, get lost within its halls.
A beacon of modern
‘planning’, the ORB can be found
nestled amongst the trees just
northwest of the Main Quad and,
boasts a host of modern artworks:
statues; paintings; and, on the upper
floors, many crude wall carvings from
the tribes of people who roam the halls
searchingfrodepartmentoffices.Justto
your right, as you enter on the ground
floor, is the Coffee Dock, serving a
range of beverages and foodstuffs for
the weary traveller. No, it’s not down
that corridor. It’s to the right of the
corridor you’re thinking of. Oh, you
went in through the other entrance,
okay. How about you just go back to
the foyer and try again. Actually, never
mind, forget it; just take the elevator to
the first floor.
The first floor of the ORB,
much like the second and third floors,
boasts a clean, off-white interior.
A leisurely jaunt down one of four
corridors leading off the common
area reveals more artwork, and all the
office space one would imagine to find
within the halls of such a prestigious
institution. Wait, did I remember to
mention to take note of what corridor
you walked down when you first
arrived? No? Oh. Well, you should be
fine. All you have to do is go down to
the staircase in corner of one of the
lounges and you’ll get right back to the
entrance, unless you’re on the wrong
side of the building. If you go down
the stairs there you end up in the Arts
Office, sorry. Try going back up, not
too far up though, that’ll just make
things worse.
The ORB is well-known to many as
a visual metaphor for college life;
while each floor may claim to be
fully navigable, with an assortment of
maps dotting each hall, your personal
experience may prove to be less so.
However, there’s no need to worry –
if in need, simply chat to the friendly
staff at the front desk, which is located
on the Ground Floor! All you’ll need is
a great sense of direction, and a bit of
faith in yourself if you want to find it.
You can even enter a full
reenactment of The Labyrinth, all you
have to do is tie a long, red string to any
immovable object by the front door
to help you find your way back at the
end of the tour. Perfect for survivalists
and thrill-seekers, the ORB is a must-
visit for anyone wishing to gain the
full ‘university experience’ – one of
confusion, despair, and self-delusion.
That’s why we give it 4 stars!
Monday saw Cork’s famous Patrick’s
Street devolve into a blazing inferno as
riots erupted over the alleged sighting
of a Christmas tree.
The tree, which is believed
to have been spotted in the window
of one of the city’s most well-known
department stores, Blue Tomás,
has since been taken down, with
many members of staff reportedly
traumatized over public reactions to
the decoration. Gardaí have detained
at least thirty-two individuals in
relation to crimes committed during
the riot, including property damage
and ‘graphic’ public nudity. Rioters
have taken to the internet in the past
days to express their dissatisfaction,
with one protester in particular
posting an 800-word rant, in which the
phrase “it’s barely f*cking November”
is repeated seventeen times, to the
official Facebook page of Cork County
Council.
While the continued
consumerisation of the Christmas
season has been a hot topic for many
years, this riot is the first of its kind to
be recorded. Already gaining notoriety
as the ‘Sure Weren’t They Right, Too’
Riot, leading instigators have dubbed it
a “boiling over of tensions which have
been simmering for years between
the everyday worker and the Bureau
of Loyal, Latent Orders for Capitalist
Kringle Success (B.O.L.L.O.C.K.S)”
– an underground network of home
decoration producers, and a bone of
contention among certain sectors of
society for the power they seemingly
exert over the Autumn/Winter market.
Mary McGovern, 75, a native
of County Cork and devout Catholic,
spoke to Byline following Monday’s
eruption.
“Now, I wouldn’t be an advocate for
violence at all so I wouldn’t,” she
revealed, “but Christmastime should
be more about the baby Jesus than the
trees and the chocolates and what-
have-you. And I have to say, I have a
chainsaw out there in the back, and
if I had known about them protests, I
wouldn’t have been far behind ‘em.”
Phillip Power, manager of the
department store whose Christmas-
themed window display is believed
to have set off the riot, has found
himself in hot water since the incident,
with several members of staff staging
pickets outside the main entrance. The
pickets, which have included such acts
as fashioning baubles into makeshift
‘shanks’ and the burning of elf hats,
have only added to the chaos in the
aftermath of the riots. When contacted
for a statement, Mr. Power responded
with the following:
“I, Phillip Power, as acting manager
of Blue Tomás, deny all responsibility
for the aforementioned outbreak
of tensions in Cork City Centre on
Monday, the 2nd of November. I did
not have seasonal relations with that
window.”
Streets may take several weeks to clear,
and in the meantime, Gardaí have
appealed for witnesses to the event.
5. 5
HUMOUREDITOR - LAUREN MULVIHILL
7 All-Nighter Survival Tips
Straight, White, Cisgender Student Has Problem With
‘Gender-Neutral’ Bathroom
by Frank Jaeger
by Lauren Mulvihill
UCC Food Science student Eleanor
Fahey has revealed this week that she is
“not ok” with the recent introduction of
a gender-neutral bathroom on campus.
The decision by the Students
Union to introduce the toilets to the SU
Common Room has been the subject of
much discussion. While some see the
move as a step forward for inclusivity
on campus, Ms Fahey – who is straight,
white, and cisgender – has been left
feeling “offended and downtrodden”.
“Personally, I believe it will negatively
affect my life,” Eleanor claims. “Despite
rarely being in the vicinity of the SU
Common Room and the presence
of several dozens of single-sex
bathrooms on campus, I am personally
uncomfortable with the thought of
using such a bathroom, and for this
reason, I believe the decision should be
reversed.”
Ms Fahey, who “totally gets the
whole minority thing or whatever”, also
added that she has “been oppressed,
like, a lot” throughout her life.
“One time, I tried to get into a nightclub
and the bouncer wouldn’t believe I was
18, and I was literally turning 18 two
days after,” she laments, “so you can’t
say I don’t understand oppression.
Plus I have a really diverse social circle;
one of my friend’s friends is an actual
lesbian, and I’m usually ok with being
around her. So if I can put up with this,
all those people going on about needing
gender-neutral bathrooms need to stop
whining.”
Many other students in the
straight, white, cisgender subgroup
who agree with Ms Fahey’s views feel
that this move by the Student’s Union
is yet another example of the type of
adversity they face on a daily basis, with
many believing that having the vote
should be enough for “minorities”, and
that by seeking equality, acceptance,
and comfort in everyday life they are
“just being awkward”.
Ms Fahey has since organised
a boycott of the bathroom in question,
with her and a sizeable minority of
two other students actively avoiding
the facility in the SU Common Room
every Monday, when she is on the other
side of campus for a lecture in the Kane
Building, which, like all other UCC
buildings, has gender-specific toilet
facilities.
“4am in the morning, and I’m putting on my 3rd pot of coffee. Fuck.
Why did I leave this so late? What on earth was I thinking? Am I any
kind of decent student at all?”
The above thought has raced through most students’ heads at some
point. Congratulations! You’re pulling an all nighter. Hardcore. You’ll
have to put up with lots tonight: rejecting phone calls from inebriated
friends, reading the same sentence a million times... and of course the
seductive lure of your soft, nebular pillows and warm, inviting duvet.
Now that you’re in this situation, I’d like to impart some delicious savvy to you... Not that I know any better: admittedly this is a product of the wretched pangs of sleep
deprivation and bitter experience.
1. Drink coffee.
Lots of it. Not that granulated, sorry excuse for
treacle rubbish either. Gotta have grounds, baby.
Those salad scoffing hipsters are right about this one.
2. Turn your heating off.
Then turn it on again. And vice versa. Varying your
temperature will keep you awake. Plus it has the
added bonus of a small break away from whatever
disastrous scrawls you’ve cobbled together in the past
couple of hours. Bonus points if you vary the heat
while in the nude, or wear a onesie.
3. Reference accordingly.
I’m not joking, you don’t want to mess that one up. If
you use an idea from an episode of Thomas the Tank
Engine, make sure you know who wrote it, when,
and who published it. You don’t want Thomas getting
mad at you now, do you?
4. Enjoy ‘the twilight zone’.
No, don’t pull out your copy of ‘Breaking Dawn’.
Those endless sexy descriptions of Edward Cullen’s
face can wait until you’ve finished. ‘The Twilight
Zone’ is that beautiful moment where you finally
understand what you’re doing and have a huge surge
of productivity. It’s like a shot of adrenaline, or a
powerful orgasm. It’s awesome. Embrace it, it only
lasts a short while… unless you train it to last longer.
*winks*
5. Cry.
Get it done. Get it over with. What are you? Are you
a student, or a snail? Cause snails cry all the time, but
they still get around. Embrace the cry.
To stop yourself from crying (because you still
have work to do), you can use salt in your eyes. It’s
effective. It makes you so angry and pained that you
don’t feel sad anymore.
6. Avoid Facebook.
Avoid those tossers who say stuff like ‘Phew, just
submitted my assignment. I’d HATE to be up all
night.’. They are utter wankers. They deserve none of
your time or energy, as they will suck the very life
out of your study with their obnoxious overachieving
smugness. And no, I’m not just talking about med
students.
7. SUBMIT.
Seriously, if you can get one piece of advice from
this that isn’t a horrendous attempt at humour. Just
submit the fuckin’ thing. Seriously. Get it done,
submit it and forget it. There’s always the next
assignment.*
*If you’re a third year and it is your last assignment,
please ignore this. You have spent almost three years
turning into the majestic, last minute butterfly you
are and everything you write is pure genius. Good
luck to you and if it doesn’t work out, there’s always
retail or call centres.
6. 6
GAMING
Gaming’s Worst Marketing Stunts
by Aoife Gleeson
So, a few weeks ago, the official Call of Duty: Black Ops 3 Twitter account randomly changed its name to ‘Current Events Aggregate’ and started reporting fake news
stories. At first it was a little bemusing, tweeting about fake films and fashion. Then things started getting a bit dark when the account reported “BREAKING NEWS:
Unconfirmed reports are coming in of an explosion on the North bank of the Singapore Marina.” The reaction was general confusion (remember that the account,
for all intents and purposes, looked like a normal verified news account) and, after the stunt was over, the account tweeted “That was a glimpse into the future of
#BlackOps3”. It was widely criticised for being in poor taste and a non-apology, that stated it was never meant to offend, was issued by the game director.
Unfortunately, this is nothing new for gaming marketing companies. This stunt is actually pretty tame compared to some of the worst ones. Gaming advertising is
typically loud, brash and attention grabbing. It’s no surprise then that some stunts leap past the realm of good taste and end up with terribly cringe results. These ill-
conceived stunts are unfortunately commonplace and no one ever seems to really learn from them. So, without further ado, here are the worst of the worst:
God of War 2:
Being well known for its gratuitous violence and
questionable sexualisation you’d expect a certain
level of gross from God of War’s marketing. Now,
quadruple that level. In the run up to God of War 2’s
launch, Sony hosted a party in Athens which featured
topless models serving grapes, live snakes, Kratos
impersonators and fire breathers. Nothing too bad
so far. The issue arose from the centrepiece: a freshly
decapitated goat with its still warm guts spilling out.
Guests were invited to reach inside the goat and eat
its innards, giving them a chance to win a PS3. When
pictures surfaced, the press jumped on them. As if
games didn’t have enough image issues already.
Watch Dogs:
This dumb idea suffers from a particular lack of
foresight. Ubisoft anonymously sent an unsolicited
package to an Australian gaming news outlet which,
when opened, appeared to be a bomb. The bomb squad
was called and the building evacuated. When opened
the ‘bomb’ contained a copy of Watch Dogs, a baseball
cap and a beanie. Needless to say, the journalists that
they scared the bejesus out of were none too pleased.
Resident Evil 5 (and 6):
In an event to promote Resident Evil 5 Capcom’s
marketing agency decided to spread fake body parts
around London, encouraging fans to go on a ‘treasure
hunt’ for them throughout the city. These ‘body parts’
were fairly convincing looking, so you wouldn’t exactly
want to be a random oblivious person coming across
a bloody arm stump in the park. Three years later,
to promote Resident Evil 6, Capcom set up a pop-
up shop in London which was designed to look like
they were selling cuts of human meat. Offers included
‘Peppered Human Sausage’ and ‘Human Thigh Steak’,
as well as numerous hands. I actually think this stunt
is kind of cool with people more likely to cop that they
hadn’t come across an actual crime scene. Although,
the company did actually set up fake crime scenes to
promote the game so I’m taking back those points.
Dante’s Inferno:
It’s safe to say that you shouldn’t expect much
from a game that feature a boss fight with ‘Lust’, a
naked undead woman that moans at you until you
eventually defeat her by stabbing her to death in a
somehow sexually suggestive manner. Ya, it’s pretty
gross. Anyway, firstly they hired actors to pretend to
be a religious group picketing the game outside the
E3 convention centre (which is just desperate and
dishonest) and then encouraged convention goers to
‘commit acts of lust’ with Booth Babes and document
it on social media. Despite later stating that this was
supposed to mean posing for photos with the models
the ambiguous wording seemed to implicitly support
acts of sexual assault.
Splinter Cell: Conviction
When a man with a bandaged arm stumbled into a bar
in New Zealand and brandished a gun at the people
inside the reaction was understandable: people dived
for cover, someone called the police and they arrived
armed on the scene. They quickly discovered that
the gun was a fake and the gunman had been hired
by an advertising company to promote Splinter Cell:
Conviction. It’s not difficult to imagine a much worse
outcome to this story: one in which the supposed
gunman was shot right in the face.
Acclaim
Acclaim, a now defunct developer since 2004, had
so many cringe inducing marketing stunts back in
the day they deserve a unified entry. For the release
date of their racing game Burnout 2 they offered
to cover the speeding tickets of drivers in the UK,
effectively encouraging people to drive dangerously.
After a negative response from the government they
ultimately cancelled the plan. In another seriously ill-
conceived idea they tried to promote Shadowman 2
by buying advertising space on gravestones, claiming
it would help poorer people to afford better funeral
services. This plan was, unsurprisingly, also cancelled.
Lastly, to promote Turok, they offered $10,000 to
the first couple to name their baby Turok. The news
stories disappear after the initial announcement so it’s
probably safe to say that no one was dumb enough to
take them up on the offer.
7. 7
GAMINGEDITOR - AOIFE GLEESON
What Happened to Skating Games?
The Rise and Fall of Nintendo
Jonathan Soltan analyses the death of a genre
Amy O’ Callaghan recaps Nintendo’s decline
When Tony Hawk’s Pro Skater 5 was
revealed earlier this year Activision let
us all know, in no uncertain terms, that
this game would be a return to form for
the series. We were assured that this
was the reason it had the number 5 in
its title, being the next real entry in the
series after numerous inconsequential
instalments. And there was much
rejoicing. Yet, here we are a month on
from its release and everyone would
rather forget that the game exists at all.
How did we get here? Growing up in the
PS1 era, Tony Hawk games were at the
beginning of their heyday and everyone
had played at least one. Even well into
the PS2 era, the games were still of a
high quality but moving further into an
arcade, cartoonish style.
By the time we hit the last generation
the series had turned to gimmicks
like a skateboard peripheral for Ride
and Shred. By this point though I
barely noticed, to be honest, since
EA had come out with a game simply
called Skate. It brought skating games
way back to basics and kept things
pretty realistic. It also introduced an
innovative new control scheme that
I never fully mastered but that I very
much enjoyed. However, all of this is
in the past tense. Skate 3 released in
2010, and we’ve never really gotten a
high quality AAA skating game since. A
whole genre of games just pretty much
stopped existing five years ago. That’s
pretty crazy to think about.
We haven’t been left entirely high
and dry, though. We have gotten the
incredibly fun OlliOlli and OlliOlli 2
from the talented dudes at Roll7. They
play pretty much like 2D Skate games
and really hit the spot when it comes
to trying a course again and again to
master it. Many a bus journey was spent
trying to grind every rail in a single
combo.
This shouldn’t be all that we have,
though. We were all promised a real
Tony Hawk game and we were let down
in pretty much every conceivable way.
Not only is it not the amazing game
that we were all promised; it barely
even works. Slamming and grinding
are both mapped to one button so the
game has to try and figure out what
you want to happen. Combos don’t end
when they’re supposed to. Load times
are long. The list goes on. My request
is simple: somebody please just give
me a game where I can do a nose grind
without falling out of the world. Is that
so much to ask?
Nintendo’s first foray into the gaming
industry was in the 1970s, when
manufacturing began on small, coin-
operated machines that would mark
the beginning of the modern arcade
industry. Fast-forward to 1985, the
Nintendo Entertainment System (NES)
is released. Coming complete with
many of Nintendo’s soon to be most
popular franchises, Super Mario Bros.
and The Legend of Zelda, the console
was a certified hit. The SNES, Nintendo
64 and GameCube followed and
Nintendo’s reign as the king of console
gaming began to come to an end. It had
developed an intensely loyal fanbase,
ensuring its popularity wouldn’t waver
immediately. The immense popularity
of the Wii, released in 2006, seemed to
cement this fact as millions scrambled
to obtain it, making it one of the most
popular video game consoles of all time.
Alas, all good things must come to
an end. The Wii turned out to be
a passing fad, as most soon grew
bored of virtual bowling and tennis,
and since the arrival of the Wii U in
2013, Nintendo’s consoles are falling
drastically behind the PS4 and Xbox
One. As of July 2015, the Wii U has
only sold 10.13 million units compared
to the 24.77 million PS4s sold despite
the Sony console being on the market
for a shorter period. The Wii U was a
marketing failure, as most believed it
was a mere upgrade of the Wii due to
its name and lack of advertising that
differentiated the console. As well as
that, the choice of games on the console
has been sparse, as major releases such
as The Legend of Zelda Wii U and Star
Fox, which were both expected to be
released this year, are pushed forward
into sometime during 2016 instead.
The 3DS (and the bafflingly titled ‘2DS’)
have not done much better, with a bad
choice of name once again confusing
potential customers about what exactly
they’re buying. The lack of third-party
releases on both consoles also means
that many gamers fail to take them
seriously.
Nintendo seems to now be working
on its own accord, disregarding what
other companies are doing and failing
to rise to the competitiveness of today’s
gaming market. Not much is known
as to what the company has in store
besides the mysterious Project NX and
its foray into mobile gaming. The death
of the company president, Satoru Iwata,
this year could potentially be strongly
felt as the man was a significant force
behind the release of both the Nintendo
DS and Wii. Nintendo has managed to
stimulate additional revenue through
the release of Amiibo figures, but
is currently surviving mainly on it’s
young children and nostalgia-ridden
superfans, and if it doesn’t up its game
soon, it could lose even its most loyal
followers.
8. 8
INTERVIEW
Duke Specialwith
Byline Music Editor Holly Cooney spoke to Duke Special, aka Peter Wilson after his gig at the Coughlan’s Live Music Festival.
Duke Special, is as his name suggests, a special performer. His mix of styles and sounds lends a unique, retro sound that no other can claim. Over the
past decade Wilson has experimented with every genre, honing his craft to produce whimsical music with strong narratives. His new album “Look Out
Machines” is the result of a crowdfunding campaign with Pledge Music where fans pledged money in return for special extras, including house concerts
which saw Wilson travelling across the world playing in all venues big and small. His latest venture to Cork saw him close the Coughlan’s Live Music
Festival and what a performance that was. Bringing his special charm to this small venue, his energy and interaction with the crowd shows that he
deserves the title of one of Ireland’s greatest talents. The new album, nominated for the Northern Ireland Music Prize, is full of strong and explosive songs
and is a glimpse in Wilson’s world. We sat down to talk crowdfunding, religion and chart music.
BYLINE: So we all love Coughlans, but it’s a really small venue. Do
smaller venues appeal to you?
DUKESPECIAL:YeahIdolovesmallervenues.There’ssomething
actually amazing about the intimacy, [you have] people up close
to you and it’s a chance to tell stories more than bigger venues.
Over the summer I’ve been doing festivals and you can’t really
have that same kind of interaction so small venues are great for
that reason and Coughlans is like the cream of the crop.
BY: So the new album “Look Out Machines” is more electronic
than your previous work, why was there a change in direction with
this album?
DS: I think with each album I’ve done I’ve tried to go somewhere
different. So in the demoing for the tracks for the record we were
finding we were using electronic drums and fake strings and
things like that and it sounded really good so we just kinda kept
with that.
BY: There’s a lot of religious connotations on the new album,
especially with songs like “In a Dive” and the title track, “Look Out
Machines”. Do you feel that coming from the north, that religion is
an important topic that you should address?
DS: I think “In a Dive” definitely, is a bit of a rant against
[religion]. I think the whole concept of the album is, not a n t i -
religion as such, but anti things that make us try to fit into a
certain mould and religion is one of those things.
BY: Do you think that the music scene in Northern Ireland has
changed since you started out?
DS: Yeah I think so. I think there’s, in some ways a great optimism
about being able to export what you do. You know there’s a lot
more people going further afield and I think that’s balanced by
the fact that it’s really hard to make a living playing music and
just selling records. I guess if you’ve been doing it for a while
you’ll see bands fall by the wayside and people stop doing what
they’re doing and people coming through but I’ve definitely seen
a whole crop of new people coming up.
BY: Do you think there’s a sense of camaraderie, with music
especially, that bridges the religious and social divide that exists in
Northern Ireland? Do you think music helps to bridge that divide?
DS: It always has. Right through the last thirty, forty, fifty years
music has transcended any kind of backgrounds or geography. It
gets down to the stuff that’s important
BY: Your sound is really unique, obviously we all know that. What
inspired your sound and why do you think it’s so well received in
an era where chart music is the big thing?
DS: I don’t know if chart music is the big thing. I think the charts
have gone far, far away from what people who are into music
actually like. Weirdly I think that’s the case.
I don’t know how I got my sound. I think I’ve tried to be authentic
9. 9
OUT NOW:
Look Out Machines
and do things that I like, things that I do
like playing the piano and the influences
that I’ve had inevitably come through the
process of digesting those things and then
they come out in how your write and how
you come across.
BY: You use quite an eclectic mix of
instruments, not always conventional
instruments, like cheese graters and
gramophone records. Where do these ideas
come from?
DS: Everything’s an instrument! I think
again there are certain instruments that
are really useable but then everything
makes a sound. I think there’s lots of
people who found different sounds
in creating textures and for me, in a
recording it’s about the atmosphere and
the textures, as well as the song. What
makes a really interesting recording is all
the ingredients that go into that.
BY: Growing up as a kind who loved music,
who were your big influences?
DS: I think growing up The Beatles were
huge, like an epiphany. Probably hymns
and things as well, choirs and traditional
music and then all along [the way] there
have been various other epiphanies that
have informed me and influenced my
writing.
BY: You’re currently working with Pledge
music. How’s that going?
DS: I started my most recent record using
Pledge and then licensed the record to a
label, but certainly Pledge [is great]. It’s
the second time I’ve done it, the first was
in 2009 and again, it’s just the nature of
the musical landscape at the minute, in
terms of the industry side of things. You’ll
do whatever you can to get a record out.
BY: Do you think communities like Pledge
are a good alternative to traditional record
labels?
DS: It’s certainly an option. It’s also
dependent on your fans wanting you to
make another record so, you know it’s
quite nerve-wracking, thinking “what if
nobody pledges” and then “ok, I’m getting
the hint”, but fortunately it was effective
again. I’d say the one thing that’s difficult
is that it creates a huge amount of work
that you have to fulfil. Everything from
doing house concerts to other different
options you provide that [mean] you have
to deliver a lot of things so you know it’s a
lot more work than if it was just a record
label, but it also brings you as the artist
more control which is great.
BY: Do you find pressure from the fans
from what they would expect from the
album seeing as you used a crowdfunding
platform?
DS: No, never. I think I’m lucky in that the
fans that I have now that I’m always going
to follow my gut and any record that I do
will hopefully go in a new direction, but I
think I’m lucky in that respect.
BY: You’re involved in lot of different
projects, from composing for the National
Theatre in London to RTE documentaries.
Do you think it’s important for musicians
to be able to diversify?
DS: Yes. I think also for me it’s so
interesting and so much fun. Music is
more than a song on the radio. The idea
of writing a song for a film or the theatre
or different commissioned projects I
think is really exciting because you’re
initially floundering and going “I don’t
know anything about this” and then you
have to educate yourself and read and
research. I find that kind of stuff really
inspiring because you end up hearing
stories, amazing stories that almost write
themselves. Most recently, I collaborated
with a writer called Andrew Doyle on
Gulliver’s Travels, [the] musical, so
again working with other people is
really brilliant because it throws you
in a different direction then you’d go
otherwise.
BY: Do you find that helps you when you’re
writing for your own albums as you’ve
experienced the other side of music?
DS: Yeah, I think you pick up a new skill
every time you write with someone, even
if that song never sees the light. I’ve
written with various people, in the record
that didn’t make the record, for no other
reason than suitability. You’re creating a
body of work that creates the personality
of the record and there’s songs that didn’t
really quite fit that [personality]. They
were little lost souls.
BY: Congratulations on being nominated
for the Northern Ireland Music Prize. How
do you feel about your competition?
DS: Yeah, it’s really strong set of albums
so it’s just really nice to get a mention.
I suppose anything other than that is a
bonus.
BY: Are there any projects in the pipleline
that we have to look forward to?
DS: The next writing thing is writing a
song for a short, independent film in
Belfast. I’m touring with Billy Bragg in
England and Scotland in November and
then I think I’m gonna throw myself into
writing.
“Music is more than a
song on the radio”
“...for me, in a recording
it’s about the atmosphere
and the textures, as well
as the song”
10. 10
ARTS & LITERATURE
On Writing: Creative Writing Programmes
Book Recommendation: The Cuckoo’s Calling
Colm Furlong asks if Creative Writing courses are worthwhile for writers.
Are Creative Writing courses worthwhile? This
question has been asked many times by many
different people. It has also garnered nearly as
many different answers.
Some people proclaim yes! Others staunchly say
no. Many declare it to be a waste of time; that
nothing can be learned, nothing can be gleaned
from taking part in one of these courses. Many
argue that true writers shouldn’t need them. Many
also argue the opposites of these statements.
I believe these courses can be of great benefit to
writers when they are done right. Courses which
focus on developing the writer’s own work are
genuinely worthwhile for numerous reasons.
The first of these reasons is the huge variety of new
techniques creative writing courses expose writers
to. Many writers start out their careers writing in
certain ways or using certain methods they know
or are familiar with. More often than not, writers
stick with what they are comfortable with; which
makes sense entirely. There is no point breaching
your comfort zone unless it’s going to make things
better. However, while on a creative writing course
you are often encouraged to experiment and try
out new ways of writing. Assignments frequently
require the work to be presented a certain way. This
is one of the beauties of creative writing courses.
You may end up discovering a new technique that
you actually really like, that might fix the problem
you’ve been having with your own work, or that
you simply want to test out on a new project. For
example, in my creative writing masters, we were
recently introduced to a technique involving found
words which I’ve since adopted and started using in
my own work. New techniques are a strong reason
why creative writing courses are worthwhile.
Another benefit of creative writing courses is the
elements of networking and workshopping that
take place. When you are on a creative writing
course, you are making connections with other
writers around you. You are opening doors for
yourself, and you are surrounding yourself with
like-minded colleagues. This network of writers
is incredibly important for your own future as a
writer. Not only could one of these colleagues help
provide you with an opportunity in the future, they
can help you to workshop your ideas and stories as
you go. A key part of any creative writing course
is to workshop ideas, stories, concepts, etc. You
work together to figure out what works and what
doesn’t. You work together to figure out those
difficult assignments. There have been numerous
occasions on my creative writing masters where
we have come together in groups to workshop
ideas for the different classes, to work together on
a group project, and much more. Workshopping
is an integral part of any creative writing course,
and it truly goes hand in hand with the network of
colleagues they allow you to build up.
Another incredible benefit of creative writing
courses is feedback. I cannot stress enough how
important feedback is for writers of every skill
level. Feedback helps writers improve. Feedback
helps writers fix issues in their work. When on a
creative course, providing your colleagues with
feedback is an integral component; and you receive
feedback of your own in return. One of the greatest
benefits I have found thus far on my creative
writing masters is this feedback. Much like the
workshopping of ideas, we also gather and share
our work with one another. We comment on each
other’s pieces, we provide constructive criticism
and feedback in order to help each other grow as
writers and improve the quality and content of our
work. This facet of creative writing courses is truly
invaluable.
Creative writing courses, just like writers, come
in many different shapes and sizes. Some of them
are not well run, and they are more of a detriment
than an aid to writers. However, in my opinion,
that majority of creative writing courses are truly
worthwhile. The skills they help develop, the
networks they help create, the problems they help
fix; all of this makes them a great benefit to writers
who take part. Of course there will always be some
writers who can work just fine without the aid of
a creative writing course; in fact most probably
could. But the benefit of sharing your work with
others is invaluable to each and every writer out
there. Creative writing courses are an excellent
vehicle for this.
The Cuckoo’s Calling is JK Rowling’s debut novel, writing under her pseudonym Robert Galbraith. It is the first in a series of novels centred on the character Cormoran
Strike; a private detective, and his new secretary Robin Ellacott. Rowling’s foray into the crime genre met with fantastic critical reception; even before the news broke
that it was her behind the name. It reads like an old school detective story, and one would not think the woman who wrote it was the same person who wrote Harry
Potter. Two sequels have since followed- The Silkworm (2014) and Career of Evil (2015). For fans of the crime genre, or fans of Rowling, I highly recommend giving
these books a try.
11. 11
ARTS & LITEDITOR - COLM FURLONG
Threeway: Short Play Festival Review
Colm Furlong looks back on Dramat’s short play festival.
From the 21st to the 24th of October, UCC Dramat treated audiences to their Short
Play Festival; this year collectively titled Threeway. The programme of the evening
consisted of three pieces: Lady Du Barry’s by Stephen Lyons, Cards Alight by Colm
Sheppard, and Eyes- written by Darragh Mulcahy and directed by Sinead Dunne.
The entire evening was a treat to behold, with some strong performances and some
strong dramatic pieces evident throughout. The three plays made fantastic use of
the space inside the Granary theatre, and each brought us into a new, and different
world.
First up was Lady Du Barry’s. This short play started the evening on a humorous,
yet philosophical note. The wax figurines of Lady Du Barry’s museum came to life
at the end of a long day, and led us on a journey through the introduction of a new
model to the world of being a wax figure.
This particular play had the audience laughing out loud throughout. The individual
and unique characters of each wax figure ensured for some hilarious comedy as
they each discussed who they were and what they were doing there. In particular,
the performance of Maeve O’Gorman as Dame Penelope Squires was particularly
amusing, as she thoroughly embraced the character and really went for it.
The highlight of this play was the level of emotion the actors, actresses and the
writing managed to bring to wax figurines. The audience was made to see them
as actual people; different from the famous figures they were portraying day in
and day out. The play brought us behind the closed doors and showed us that wax
models can have feelings too. These moments were particularly powerful.
Following on from this was the play Cards Alight. This play told two separate
stories. There was the story of Barry and The Priest who was trying to help him,
and there was the story of Alex and Lauren who were fighting over where to spend
their evening.
There performances in this piece were incredibly strong and rife with emotion.
The actresses really brought the characters to life, and the audience was invited to
sympathise with their struggles. The themes of this piece were darker than that of
the piece that went before it.
In particular in this play, I want to highlight the performances of Peggy Gilbert
and Deirdre Finn as Alex and Lauren respectively. The dialogue between these
two as they fought over changing for those you love was very powerful; and it was
brilliantly brought to life in front of our eyes.
That does not take away from the performances of Niamh Birkett and Rí Fox who
adopted the masculine roles of Barry and The Priest, and pulled them off with
aplomb.
Cards Alight was a dramatic, powerful, and emotional piece of theatre.
The final short play of the evening was Eyes. I thoroughly enjoyed this piece. It hit
the right levels of creepy and intense, and it really fit the mood in the lead up to
Halloween.
With a plot centred on giving in to the voices which torment you, and finding your
inner eyes in order to truly ‘see’, this play brought strong levels of fear and intensity
to the Granary. More than one member of the audience was left squirming in their
seats.
The highlight of this play was the fantastic performance of Aisling O’Mahony as
Y. She thoroughly embraced the weirdness of the character and delivered a nerve
wracking performance. She chilled the audience with her voice, and also caused
them to jump in shock when she raised it. Everything from her movement, to her
body language, to her voice was brilliant. Her fellow cast member Douglas Lordan
also delivered a strong performance as X; portraying the fear and terror that was
at the heart of the play.
In conclusion, UCC Dramat’s short play festival was a resounding success. The
festival showcased the talent of the writers, directors, actors, actresses and crews
Dramat possesses. It demonstrated some real emotion, some powerful drama, and
some brilliant comedy.
12. 12
MUSIC
Girl Band Forced to Cancel European and North American Dates
Northern Ireland Music Prize 2015
By Holly Cooney - Music Editor
Like many others across the city I was gutted to miss out on tickets for the highly
sought after Girl Band show at Coughlan’s Live on New Year’s Eve, what a way to
ring in the year! Their Coughlan’s gig sold out almost immediately, but last week the
bad news came that the band have had to cancel the remainder of their 2015 dates
across Europe and North America, including January 1st at Coughlan’s and in the
Button Factory on November 7th. Their Facebook page cites the cancellation of the
dates “due to health issues in the band”. There have been no further explanations,
but frontman Dara Kiely is known to have suffered poor mental health in the past,
an experience which inspired many songs on the September release “Holding
Hands With Jamie”. This may or may not be relative to the cancellations, as Kiely
has also been suffering from damaged ligaments which may also be the cause. In
any case, get well soon Girl Band, we miss you already.
Following on from our cover interview with the one and only Duke Special, Byline present the Northern Ireland Music Prize special. Like the Northern version of the
Meteor Choice award, the NIMP is a celebration of the wonderful albums coming out of the North, whose music scene is a lot bigger than one might think. The event
forms part of the Sound of Belfast music festival which takes place from November 6th to 14th, hosting a variety of gigs, film screening and conferences and advice for
those wishing to break into the music industry. The Northern Ireland Music Prize is produced by Oh Yeah music centre and supported by the Arts Council of Northern
Ireland with the aim to promote music in Northern Ireland.
The Divine Comedy will play at the event in Mandela Hall on November 14th alongside the various nominees. Tickets are priced at £13.75 and are available from
http://www.nimusicprize.com/
From a list of over seventy nominees, the final twelve have been whittled down
for this year’s Northern Ireland Music Prize. They are; A Plastic Rose “Flickering
Light of an Inner War”, And So I Watch You From Afar “Heirs”, Axis Of “The Mid
Brae Inn”, BeeMickSee “Belfast Yank”, Ciaran Lavery and Ryan Vail “Sea Legs”,
Duke Special “Look Out Machines”, The Lost Brothers “News Songs of Dawn and
Dust”, Malojian “Southlands”, Not Squares “Bolts”, SOAK “Before We Forgot How
to Dream”, Therapy? “Disquiet” and Tim Wheeler “Lost Domain”.
Such a brilliant and different shortlist, it will be the job of a panel of industry expert
to pick a winner, with performances on the night from nominees such as Ciaran
Lavery and Ryan Vail, Malojian and The Lost Brothers. As well as the NIMP, there
will be a special Oh Yeah Legend Award. This prestigious award is given to an
individual from Northern Ireland who has had an exceptional contribution to the
music scene in Northern Ireland. Previous winners have included Gary Moore,
The Undertones and Henry McCullough, and the calibre of this year’s Oh Yeah
Legend will certainly not disappoint.
Hailing from Enniskillen, Neil Hannon of the Divine Comedy is one of Ireland’s
greatest musical exports. Due to the success of the band Hannon has also been
involved in television and film scores, first venturing into this world with the by
now iconic “Father Ted” theme tune and later branching out to work on music
for productions such as “Doctor Who” and “A Hitchhikers Guide to the Galaxy”.
As such, it comes as no surprise that Hannon has been chosen as this year’s Oh
Yeah Legend. Stuart Baille, CEO of Oh Yeah music centre explained their choice
saying the “stunning songs” full of “wit emotion and intelligence” are central to
their decision, but also how Hannon “continues to bring distinction to Northern
Ireland”.
13. 13
MUSICEDITOR - HOLLY COONEY
Duke Special “Look Out Machine”
The Lost Brothers “New Songs of Dawn and Dust”
The Lost Brothers; The Trail That Leads Home
Among the list of nominees include our cover star Duke Special and big interview, The Lost Brothers. Holly Cooney takes a look at both albums to see how they’ll fare
against such strong competition.
Byline’s Music Editor Holly Cooney speaks to The Lost Brothers following their nomination for the
Northern Ireland Music Prize 2015.
Our cover star Mr. Peter Wilson, aka the wonderfully eccentric Duke Special is certainly in the top three albums to win this year’s Northern Ireland Music Prize. No
stranger to album nominations Wilson has spent the last ten years honing his craft of eclectic, emotionally driven, retro style songs and “Look Out Machines” is certainly
no different. Returning to the smart, imaginative songs he is known and loved for, Wilson also changes it up with a more electronic vibe. Songs such as “In a Dive” focus
on the religious divide reminiscent of his upbringing in Down and Belfast and this, along with the other tracks are presented in a warm and romantic style with Wilson’s
signature character.
The Lost Brothers write stories, not songs, using beautifully descriptive imagery combined with haunting melodies that make them some of the best songwriters in the
country. “New Songs of Dawn and Dust” is a cracker of an album, using the Lost Brother’s usual gentle, melancholy music to bring you to a serene and faraway place.
The songs don’t feel new, such is the strength of the song-writing of Oisin Leech and Mark McCausland that these songs are so laden with emotion and depth that they
bring a sense of familiarity. Based on song-writing alone “New Songs of Dawn and Dust” is certainly in the running.
BYLINE: Hey Oisin! You guys
have had a really hectic 2015,
from touring with Glen Hansard
to playing festivals such as
SXSW and Electric Picnic, have
ye had any highlights?
Well that gig (Coughlan’s Live Music
Festival 2015) there was one of my
highlights. We really loved it. We’ve
played Coughlan’s a few times but that
was up there with one of our favourites.
Do you like the Cork crowd?
I love the Cork crowd, they were up for
a laugh there just now.
The new album was produced by
Bill Ryder Jones from The Coral,
how did that collaboration come
about?
We lived in Liverpool. I’m from Navan
and Mark’s from Omagh, but we lived
in Liverpool for five years and Mark
used to be in a band called “The
Basement” who were on Deltasonic
Records and they toured with The
Coral. This is about ten years ago, and
Bill played guitar in The Coral and then
started hearing Lost Brother songs and
said “wow, this is good” and if we ever
wanted to do an album let’s do one. So
we recorded a single with him about
five years ago and then the time came
to make an album and we said “let’s do
it!”, so we sent him the songs and he
loved them.
Folk music has been enjoying a
revival over the last number of
years, why do you think that’s
been?
I don’t know, yeah everything comes in
circles you know and I think it’s brilliant
when music changes and evolves and
the whole scene changes, but it’ll always
come back to songs. I think songs
matter most, you can’t get away from
a good song, and folk music and great
songs are connected. Folk music doesn’t
have to be woollen jumpers or Aran
jumpers, you know playing a guitar in
the corner of a wooded forest, it can
be anything, anything and everything.
Folk umbrellas everything. It’s just
music.
Where did your interest in folk
music come from? Has it been
from a young age or further
down your career?
My first love was punk music when I
was like fourteen or fifteen. I was into
bands like The UK Subs and Stiff Little
Fingers and used to go to punk festivals
by myself in England and I’d be the only
kid there. Like I was fifteen and there
were all these adults with mohicans
and I’d pitch up my tent and listen to
bands like The Stranglers, The UK Subs
and then somebody gave me a cassette
of Bob Dylan when I was sixteen,
“Freewheelin’” and that just opened up
a whole world of music to me, artists
like Led Belly, Rory Gallagher, Woodie
Guthrie, Van Morrison and further
back to blues men like Robert Johnson
and I connected with that old music
and just started collecting records. I was
trying to learn songs from that whole
world and then Mark and I started
writing these songs.
You guys always have great
album artwork, where does it
come from? Do you think music
and art are closely linked?
Oh definitely. Mark from The Lost
Brothers does all of our album artwork.
He did this one, the new one. Mark
painted it up, painted the birds etc. We
love to have a theme running through
all our artwork, so they’re all hand
painted. The first three albums had us
on the front of them, but the fourth one
doesn’t because this I the start of a new
chapter. I think it’s important to have a
recognisable album cover, I think we
call this album “the yellow album”.
You’re about to go on tour again
with Glen Hansard to Germany
and Italy, how do the Europeans
like the music?
We’ve never gigged in Europe! We’ve
gigged in Paris and Switzerland, [as]
one off gigs, but this will be the first
tour and I can’t wait, because they’re big
theatres as [we’re playing] with Glenn
Hansard again and we’re really excited.
We’re gonna go to Hamburg and do The
Beatles tour. Rory Gallagher and Van
Morrison played the old blues clubs
there so we’re gonna go find those old
places.
Well we love you back home
anyway, so much so that “Songs
of Dusk and Dawn” has been
nominated for The Northern
Ireland Music Prize, how does
that feel?
It feels cool, yeah it’s nice to get
[recognition], it’s nice when things like
that pop up out of the blue. We weren’t
expecting it so we’re gonna go along
and have a party! If we win we’re gonna
come back and buy everyone in Cork
a Lamborghini (we’ll hold you to that
Oisin!)
If you guys don’t win, who will
you be rooting for?
You know what, I haven’t even looked
at the list! I heard that The Divine
Comedy are playing, so I can’t wait to
see them, Neil Hannon is a genius. But
when I arrive there I’ll look at the list
and say “errh who have we got to beat
here!”
14. 14
FILM & TELEVISION
Review: SPECTRE
Aww Here It Goes
By Colin Healy
Designer Rob O’Sullivan looks back in anger at the build-up to the Phantom Menace & how we’re falling for it all again with Episode 7
The 4th instalment of the Daniel
Craig series and the 25th instalment
in the Bond franchise, Spectre takes
place a few months after the previous
movie ‘Skyfall’ ends. In this movie, a
new threat arises from the shadows
that seems to be connected to Bond’s
past in some way. While Bond leaves
without authorisation to investigate
this mysterious organisation named
‘Spectre’, his antics jeopardise the ‘0-0
programme’ in MI6 which means he is
soon on his own against an organisation
that seem to be everywhere.
There is really a lot to say about this
movie and unfortunately not all of it
good. Starting with the good, Christoph
Waltz and Andrew Scott are both really
enjoyable to watch in the film with both
bringing a cool but menacing presence
to their characters. I was happy to see
an older bond girl (compared to the
previous) be included with Monica
Bellucci playing the woman to be
seduced. The other love interest (Léa
Seydoux) plays a more bad-ass bond
girl than we are used to which was also
cool to see.
Visually this movie is spectacular.
There was a clear desire to make this
one big as we are taken across the world
from the opening scene in Mexico,
with the flourishes of colour from a
Day of the Dead parade, to the snowy
mountainous peaks of Austria. Finally
there is the overall storyline. Although
not perfect by any means, it’s interesting
enough to hold the viewers’ attention
for the 148min running time and does
tie together the other Daniel Craig
movies, although it’s not a great link.
You could watch this without seeing the
others.
For the sake of not coming across as a
ranting old man and not wanting to give
away any spoilers, I’m going to keep my
discussion of the “not so good” parts of
the film to a minimum. First off there
was not enough Christoph Waltz. I was
really excited when I heard he would be
in this movie and honestly I don’t feel
they used him enough. In relation to the
main “baddy”, it’s actually quite boring
and stereotypical when you think of it.
It plays on the classic ‘German trying
to take over the world’ line and some
of the things he does in the movie are
typically what you have come to expect
from a Bond villain (and yes I am aware
Christoph Waltz is Austrian I’m just
stating that the villain seems German).
The collateral damage in this movie
is staggering, like seriously they crew
laugh in the face of tactical approach
and stealth, while buildings collapse
and Bond uses a plane as a weapon (and
not a ranged weapon either). It seems
the idea of espionage is no longer Bond,
making the whole thing get a little silly
at times and gives it a Die Hard feel.
The film has a lot of plot holes and lazy
moments and honestly at times can feel
a little clichéd, especially the ending.
In saying all this, I would recommend
it. It is ultimately a good send off to this
chapter of the series and I did actually
enjoy the movie. I suppose I had high
hopes for it and I really didn’t expect
the level action that was put out. So I
would say go see it, but be prepared for
some visually stunning but mentally
dumbing scenes and explosions.
As you can probably tell by the ‘Kenan
and Kell’ reference in the title I am a
chid of the 90s...who is now panicking
that current Freshers are so young that
Kenan and Kell jokes don’t land. Being
a child of the 90s I distinctly remember
playing with my cousin’s hand-me-
down wrestling action figures when my
dad called me into the sitting room, sat
me down and said “son, we’re going to
watch a Star Wars.”
I wish I could give you an
academicly brilliant insight into what
my little mind was feeling as Luke set
out on his adventure a long time ago
in a galaxy far far away, but all I can
say is it rocked me; rocked me to my
very core. There is something about
the characters, even at such a young
age, that just captured my imagination:
Luke, a young adventurer, Ben Kenobi,
a wise grandfather helping Luke on his
way, and Han Solo, the coolest dude in
the Universe. Me and my dad sat down
on that couch and watched VHS after
VHS (they might actually have been
VCDs) until the trilogy was done, the
credits rolled and John Williams’ music
echoed throughout my head. This was,
I thought, the greatest moment of my
tiny little life, until my dad uttered
possibly the greatest words ever to
be said: “they’ve made a new one, it’s
coming out in a few weeks.”
And thus, on a bright morning
in July the family gathered: cousins,
uncles, grandparents alike made this
pilgrammage to the Reel Cinema in
Ballincollig. Spirits were high, toys
were bought, tickets were bought and
we were ready: it was clear, even to
5-year old me, that this excitement was
not exclusive to those under 18: my
parents, wide eyed and giddy, had seen
all the trailers, seen Liam Neeson, seen
Darth Maul and had heard all about
this podracing thing. Part of them,
surely, were not in Ballincollig, but were
in a dingy pop-up cinema in the village
hall where they first saw the original
films. And then, time came: I picked
up my Qui Gon Jinn figure and walked
up the ramp to the Reel Cinema. That
innocence, that childhood wonder
would soon be gone, never to return...
...oh, not me. I thought it
was alright. I was five like, the racist
cartoon rabbit stepped in the poopy,
I was delira....my parents on the other
hand: simply silent. Maybe three words
were uttered from the credits to our
front door. This is the power of a bad
Star Wars film. I wasn’t allowed watch
Attack of the Clones, or rather, I wasn’t
told it even existed. In 2005 I was now
11, big enough to know about the new
Star Wars, and hey, people said it was
actually not too bad; and that’s what it
was: not too bad. “Not too bad” isn’t
good enough for Star Wars, but at least
we were done. Aside from the odd CGI
edits, we could enjoy the Originals
again, and that would be it.
And now it’s 2015. I’ve seen the
trailers, seen that the original cast are
back and I’ve heard all about this Kylo
Ren. And worst of all, the worst part of
the pull that Star Wars has, is that none
of the obvious deja vu occurred. Not
one bit. It wasn’t until late one night in
the Express Office when I showed a
friend of mine the newest trailer; the
look in his eyes, the look of childlike
wonder, the look of a person whose
mind was just blown to pieces, was
a look I’d seen before, and years of
George-Lucasian memory repression
was undone. Oh no...it’s happened
again.
“It’s fine” I told myself, “JJ Abrahams is a
competent director, Harrison Ford is in
it, how bad could it be?” Then I looked
at Phantom Menace, and told myself
“Liam Neeson is in it, Ewan McGregor’s
a good actor, how...bad could it be?”
I’d love to tell you I fought the good
fight, that I calmed down and went to
approach Episode 7 as a regular film...
...yeah....see you all on Midnight on
December 17th. I mean, how bad could
it really be...
15. 15
FILM & TV
60th Cork Film Festival Is An Event of Firsts to Be Rememberedby Olivia Brown
It’s no secret that Ireland is a hub for
cinematic celebrations. Here in Cork
alone, we are awash with festivals.
IndieCork has just finished wrapping
things up, Cork Film Festival is about
to get underway and the Cork French
Film Festival, Fastnet Short Film
Festival and the Japanese Film festival
are still to come, it isn’t hard to see the
city is bursting with cinematic galas.
There is a feast of events and screenings
to keep you entertained all year round.
When you live in a city as small as Cork
that hosts so many festivals you can’t
help but question their purpose. Sure
short films or the other somewhat more
alternative features which can be found
here may not be your thing but don’t
disregard the underlying importance
of these events. They benefit both
filmmakers, actors, producers and the
local communities and businesses in a
variety of different ways.
The obvious winners of any film
festival, besides the actual festival
winners themselves, are the producers,
directors, actors, actresses and anyone
else involved in making a film. It gives
amateurs and seasoned filmmakers
alike a chance to reach out and capture
new audiences. They get to introduce
a variety of people to their work. It’s
rare you go to a film festival with the
intention of seeing a more conventional
film. You go to see something a little
bit more out there or just a little bit
different to what you’re used to.
It’s also a chance for up and coming
directors, actors, actresses and
producers to add another notch to their
belt. Festivals are a fantastic way to keep
an eye on the new talent on the scene.
Most documentary makers get their
big break at such events. Some festivals
such as IndieCork pride themselves in
their efforts to support and promote
new and local talent.
Film festivals provide one of the mains
ways to “support your own” in the
cinematic world. It can be heard for
local acts to make it onto our screens
without the support of the network
a festival can provide. Producers,
directors, filmmakers in every shape
and form come together and create a
support group for each other. Contacts
are made, films discussed, and ideas are
shared.
Organised workshops usually go hand
in hand with festivals, as seen with
the Cork Film Festival and IndieCork.
They aim to educate the film makers,
providing them with tips, tricks and
ideas. Some of the films shown at the
festivals, are purposely picked with the
intention of educating their audience. A
prime example of this is the Illuminate
Series which is hosted as part of the
Cork Film Festival and aims to draw
awareness to mental health via the big
screen.
With the crowds that are drawn into
such events, film festivals are also
significant in terms of the tourism they
provide to an area. People come from
all over the world to attend certain
festivals. They stay in local hotels, eat
the in local restaurants, spend their
money in the shops all of which adds
up and benefits the local economy.
Sponsorship deals and offers also aid
the locality. The effort and dedication
it takes to organise a festival can also
encourage a great sense of community
involvement.
Film in Cork is an organisation
which provide a range of services
to those working in film, television,
and animation, while also promoting
the Cork region as a wonderful place
to work. Speaking to Byline on the
significance of film festivals in Cork,
Film in Cork Manager, Rossa Mullin
said
“Film In Cork revels in the hugely
vibrant film festival culture in Cork
throughout the year: from the Cork
FilmFestivalwhichfor60yearshasbeen
delivering fascinating film programs
to Cork audiences, to the more recent
filmmaker-oriented festivals such
as IndieCork for independents and
Underground for emerging filmmakers,
to the wonderful festivals by the sea:
Schull’s Fastnet Film Festival and the
First Cut Film Festival in Youghal - btw
location for the classic John Huston
“Moby Dick” starring Gregory Peck and
Orson Welles. And that’s not forgetting
the French Film Festival every March
bringing to Cork screens the best from
the birthplace of cinema!”
It’s a Festival of firsts as the Cork Film Festival celebrates its diamond anniversary.
Theglitteringtendayevent,whichisprincipallyfundedbytheArtsCouncilIreland,
is running throughout the city from 6th to 15th November. The 60th Edition will
see four new Festival venues, an appearance by well-known British actor Simon
Callow, a live performance by the RTÉ Concert Orchestra, a commemoration
of the 20th anniversary of Rory Gallagher’s passing and an Oscar-hopeful short
movie by Irish actor Hugh O’Connor.
Commenting on the exciting line-up, Cork Film Festival Creative Director James
Mullighan said “The Festival may be 60, but this is a year of firsts.”
This year sees the Everyman Theatre, St Luke’s Church, the Pavilion and the
Ballymaloe Grainstore joining the Festival for the first time as new and exciting
venues. Another 60th Edition treat is the expanded hugely entertaining Family
Programme. It features two sing-along presentations of Disney’s FROZEN at the
Opera House with the Youth Choir of the Montfort Academy of the Performing
and, a chance to see Disney’s THE LION KING on the big screen at the Gate
cinemas in Mallow and Midleton.
The eagerly anticipated Steve Jobs biopic starring Michael Fassbender will have its
Irish premiere at the Festival. While for the first time in Cork, the RTÉ Concert
Orchestra will perform the live score to David Lean’s romantic masterpiece, Brief
Encounter, on the Cork Opera House stage.
This must-see live event was developed in collaboration between RTÉ and the
Festival’s creative team and promises to be one of the highlights of the ten days.
RTÉ is the Festival’s newly announced Principal Partner while the Arts Council
Ireland continues its long-standing work as the Festival’s primary funder.
Inkeepingwithitssterlingreputationfornurturinghome-growntalent,theFestival
will screen over 50 Irish Short Films, almost half of which were made in Cork. This
year, the winners of the Grand Prix Irish presented by RTÉ Cork and, the winner
of the Grand Prix International, will automatically progress to the Oscars longlist
for consideration for the first time ever.
To mark the significant increase in the number of locally made short films, the
Festival has created a feature length presentation - Homegrown: New Shorts From
Cork - to take place in the Cork Opera House, before the opening night film, Jerzy
Skolimowski’s Irish-Polish thriller; 11 Minutes.
This year’s Irish Gala Strangerland, starring Nicole Kidman, Hugo Weaving and
Joseph Fiennes, was directed by Australian Kim Farrant and produced by Macdara
Kelleher for Dublin Company Fastnet Films. The Irish-Australian production tells
the story of a newly arrived family to an isolated, outback Australian town and the
subsequent disappearance of their children, just before a massive sand-storm hits.
The film has been lauded for Kidman’s powerhouse performance, has also been
noted for the eerie and beautiful cinematography by Kerryman P.J.Dillon.
This year also sees the much anticipated return of ILLUMINATE, the mental
health film and discussion series supported by the HSE and Cork’s Arts and Minds.
ILLUMINATE is the cornerstone of the Festival’s newly expanded IDEAS series,
which this year explores the complex issues of assisted dying, the refugee crisis and
abortion. Films in each series are followed by expert led discussions and debates.
ILLUMINATE and IDEAS will welcome broadcasters, academics and policy
makers to discuss these issues with audience in an innovative fashion.
Full details of all events can be found on corkfilmfest.org and in the official 60th
edition brochure
EDITOR - OLIVIA BROWN