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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Rising crime and fewer police show the most damaging impacts of austerity

We need to protect those who protect us.

Today’s revelation that police-recorded crime has risen by 10 per cent across England and Wales shows one of the most damaging impacts of austerity. Behind the cold figures are countless stories of personal misery; 723 homicides, 466,018 crimes with violence resulting in injury, and 205,869 domestic burglaries to take just a few examples.

It is crucial that politicians of all parties seek to address this rising level of violence and offer solutions to halt the increase in violent crime. I challenge any Tory to defend the idea that their constituents are best served by a continued squeeze on police budgets, when the number of officers is already at the lowest level for more than 30 years.

This week saw the launch Chris Bryant's Protect The Protectors Private Member’s Bill, which aims to secure greater protections for emergency service workers. It carries on where my attempts in the last parliament left off, and could not come at a more important time. Cuts to the number of police officers on our streets have not only left our communities less safe, but officers themselves are now more vulnerable as well.

As an MP I work closely with the local neighbourhood policing teams in my constituency of Halifax. There is some outstanding work going on to address the underlying causes of crime, to tackle antisocial behaviour, and to build trust and engagement across communities. I am always amazed that neighbourhood police officers seem to know the name of every kid in their patch. However cuts to West Yorkshire Police, which have totalled more than £160m since 2010, have meant that the number of neighbourhood officers in my district has been cut by half in the last year, as the budget squeeze continues and more resources are drawn into counter-terrorism and other specialisms .

Overall, West Yorkshire Police have seen a loss of around 1,200 officers. West Yorkshire Police Federation chairman Nick Smart is clear about the result: "To say it’s had no effect on frontline policing is just a nonsense.” Yet for years the Conservatives have argued just this, with the Prime Minister recently telling MPs that crime was at a record low, and ministers frequently arguing that the changing nature of crime means that the number of officers is a poor measure of police effectiveness. These figures today completely debunk that myth.

Constituents are also increasingly coming to me with concerns that crimes are not investigated once they are reported. Where the police simply do not have the resources to follow-up and attend or investigate crimes, communities lose faith and the criminals grow in confidence.

A frequently overlooked part of this discussion is that the demands on police have increased hugely, often in some unexpected ways. A clear example of this is that cuts in our mental health services have resulted in police officers having to deal with mental health issues in the custody suite. While on shift with the police last year, I saw how an average night included a series of people detained under the Mental Health Act. Due to a lack of specialist beds, vulnerable patients were held in a police cell, or even in the back of a police car, for their own safety. We should all be concerned that the police are becoming a catch-all for the state’s failures.

While the politically charged campaign to restore police numbers is ongoing, Protect The Protectors is seeking to build cross-party support for measures that would offer greater protections to officers immediately. In February, the Police Federation of England and Wales released the results of its latest welfare survey data which suggest that there were more than two million unarmed physical assaults on officers over a 12-month period, and a further 302,842 assaults using a deadly weapon.

This is partly due to an increase in single crewing, which sees officers sent out on their own into often hostile circumstances. Morale in the police has suffered hugely in recent years and almost every front-line officer will be able to recall a time when they were recently assaulted.

If we want to tackle this undeniable rise in violent crime, then a large part of the solution is protecting those who protect us; strengthening the law to keep them from harm where possible, restoring morale by removing the pay cap, and most importantly, increasing their numbers.

Holly Lynch is the MP for Halifax. The Protect the Protectors bill will get its second reading on the Friday 20th October. 

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