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.

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The trouble with a second Brexit referendum

A new vote risks coming too soon for Remainers. But there is an alternative. 

In any given week, a senior political figure will call for a second Brexit referendum (the most recent being David Miliband). It's not hard to see why. EU withdrawal risks proving an act of political and economic self-harm and Leave's victory was narrow (52-48). Had Remain won by a similar margin, the Brexiteers would have immediately demanded a re-run. 

But the obstacles to another vote are significant. Though only 52 per cent backed Brexit, a far larger number (c. 65 per cent) believe the result should be respected. No major party currently supports a second referendum and time is short.

Even if Remainers succeed in securing a vote, it risks being lost. As Theresa May learned to her cost, electorates have a habit of punishing those who force them to polls. "It would simply be too risky," a senior Labour MP told me, citing one definition of insanity: doing the same thing and expecting a different result. Were a second referendum lost, any hope of blocking Brexit, or even softening it, would be ended. 

The vote, as some Remainers note, would also come at the wrong moment. By 2018/19, the UK will, at best, have finalised its divorce terms. A new trade agreement with the EU will take far longer to conclude. Thus, the Brexiteers would be free to paint a false picture of the UK's future relationship. "It would be another half-baked, ill-informed campaign," a Labour MP told me. 

For this reason, as I write in my column this week, an increasing number of Remainers are attracted to an alternative strategy. After a lengthy transition, they argue, voters should be offered a choice between a new EU trade deal and re-entry under Article 49 of the Lisbon Treaty. By the mid-2020s, Remainers calculate, the risks of Brexit will be clearer and the original referendum will be a distant memory. The proviso, they add, is that the EU would have to allow the UK re-entry on its existing membership terms (rather than ending its opt-outs from the euro and the border-free Schengen Area). 

Rather than publicly proposing this plan, MPs are wisely keeping their counsel. As they know, those who hope to overturn the Brexit result must first be seen to respect it. 

George Eaton is political editor of the New Statesman.