Online publishing feeds bewildered consumers a mass of mediocre content

...but there are flecks of gold there too.

Consumer campaigning group Which? recently published the results of a survey claiming around a fifth of consumers are regularly deceived into buying supermarket imitations of major food brands, as a result of clever mimicry in own-brand packaging design.

While I might venture to say there’s not too much difference between one tube of pressed oat lumps and another, when one is made by a supermarket chain and another by a multinational biscuit empire, the distinction between imitators and the imitated becomes much more pronounced when applied to visual and written media.

Back in 2005, a production company called The Asylum, which had been happily making low-budget, direct-to-video horror movies since 1997, did something extraordinarily clever.

It released a bargain basement adaptation of HG Wells’ War of the Worlds in the same year as Spielberg’s no-holds-barred Tom Cruise adaptation of the same, and was rewarded with an immediate order of 100,000 copies by video rental chain Blockbusters.

The big win spurred a new business model for the Asylum, with the years to come seeing the release of films such as Paranormal Entity, Transmorphers, The Day the Earth Stopped, and Snakes on a Train – all bearing remarkably similar cover design to the films whose releases they shadowed.

The Asylum’s demographic was clear: tired parents in video rental stores, failing to remember the titles of big hits and picking boxes that, in a state of fatigue and unfamiliarity with pop culture, seemed identical to their recollection of movie posters.

Now of course, blockbuster has gone, and with it those late night box-browsers. But the model pioneered by The Asylum is far from obsolete: in fact, the purchasing environments fostered by online streaming services such as Lovefilm, Blinkbox and Netflix make it all the more lucrative.

Last night, my wife and I were browsing one of the above for a movie to watch, when we happened upon a movie called “Tooting Broadway”. The box design was slick, reminiscent of countless snarling Cockney stabathons, and it was only upon looking the film up on Wikipedia (where we were informed that the ending would “leave [us] in very surprisement”) that it became obvious it was a “let’s film my mates having a fight in a garage” type of affair.

Nevertheless, we only looked it up because, having ourselves lived in Tooting for years, the idea of someone using at as the titular manor for a gangster flick was faintly hilarious. But if we were living in Little Rock, Arkansas with little to no knowledge of South London geography, the film would have seemed as good a bet as Layer Cake or Snatch. And at £3.49 to buy, there would be very little reason to be discerning.

In the digital video shops we increasingly use as our sources of film entertainment, these movies are ranked alongside genuine big-budget efforts, with only a paragraph of description and a cover design (usually the most professional component of the whole project) to distinguish them from the real deal. In this sense, we have all become tired Blockbuster dads.

What’s more, book-buying has become a similar experience, through the advent of the Kindle and other e-readers.

The Kindle, to me, does to reading what electronic cigarettes attempt to do to smoking: provide a convenient technological replacement for a habit rooted in physicality. When I acquired mine, my reading habits changed dramatically, and with them the way I bought books. Rather than travelling into town and blundering round a shop or having to contest with delivery times – and thus my own attention span - online, I could simply select names from a list and have them appear in moments.

With the massive swell in self-publishing on the Kindle platform, these lists are getting very swollen indeed – and with the tiny price tags attached to the work of no-name authors, the temptation to play supermarket sweep when browsing can become irresistible.

I am an avid reader of science fiction, and I have recently developed a guilty pleasure whenever I run out of reading material: performing late-night trawls of the genre’s bestseller list on the Kindle store, and picking up six or seven extremely cheap books that seem to be being read and enjoyed by the masses, all by authors I have never heard of.

Most are mediocre – either bloated short stories that appear to have been proofread by drunks, or cliché-ridden hatchet jobs written in an attempt to jump on the rusty and creaking post-apocalyptic fiction bandwagon. But at 70p or £1.50 a pop, one can hardly feel cheated.

Besides, there are flecks of gold in there too. A case in point here is Hugh Howey’s Wool, a genuinely excellent survivors-in-a-bunker story I was reading on the way into work today, and which has gone from being a humble Kindle self-publish in 2011 to an international talking point with 20th Century Fox picking up film rights.

If the media I had access to was restricted to a pool of heavyweight titles approved by big studios and publishers, it’s very unlikely I would come across stories like this at all. And if the price of this occasional serendipity is a few pounds handed over to entrepreneurial hacks each month, then so be it. The more the merrier.

Photograph: Getty Images

By day, Fred Crawley is editor of Credit Today and Insolvency Today. By night, he reviews graphic novels for the New Statesman.

Photo: Getty
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Who will win the Copeland by-election?

Labour face a tricky task in holding onto the seat. 

What’s the Copeland by-election about? That’s the question that will decide who wins it.

The Conservatives want it to be about the nuclear industry, which is the seat’s biggest employer, and Jeremy Corbyn’s long history of opposition to nuclear power.

Labour want it to be about the difficulties of the NHS in Cumbria in general and the future of West Cumberland Hospital in particular.

Who’s winning? Neither party is confident of victory but both sides think it will be close. That Theresa May has visited is a sign of the confidence in Conservative headquarters that, win or lose, Labour will not increase its majority from the six-point lead it held over the Conservatives in May 2015. (It’s always more instructive to talk about vote share rather than raw numbers, in by-elections in particular.)

But her visit may have been counterproductive. Yes, she is the most popular politician in Britain according to all the polls, but in visiting she has added fuel to the fire of Labour’s message that the Conservatives are keeping an anxious eye on the outcome.

Labour strategists feared that “the oxygen” would come out of the campaign if May used her visit to offer a guarantee about West Cumberland Hospital. Instead, she refused to answer, merely hyping up the issue further.

The party is nervous that opposition to Corbyn is going to supress turnout among their voters, but on the Conservative side, there is considerable irritation that May’s visit has made their task harder, too.

Voters know the difference between a by-election and a general election and my hunch is that people will get they can have a free hit on the health question without risking the future of the nuclear factory. That Corbyn has U-Turned on nuclear power only helps.

I said last week that if I knew what the local paper would look like between now and then I would be able to call the outcome. Today the West Cumbria News & Star leads with Downing Street’s refusal to answer questions about West Cumberland Hospital. All the signs favour Labour. 

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to British politics.